Excerpt from Early Christian Iconography: And a School of Ivory Carvers in Provence The solution of the problem can only come when archaeologists agree on the characteristics, the boundaries, and the limitations of the different artistic centres. At present the monuments, after the Hellenistic period, are variously assigned to Constantinople, Asia Minor, Syria, Palestine, Upper Egypt, and the eclectic school of Ravenna. In many cases they are also attributed in a general way to broader divisions, syro-anatolian, syro-palestinian, syro-egyptian, and palestinian-coptic; and in the West, which the Orient soon invaded, minor places, as Milan and Monza, are cited as productive. From these possibilities each authority, after his own conception of their character and in many cases after his own intuition, has built up by attribution his own set of schools. Unless, therefore, the student treads carefully through this maze, the result can only be greater chaos. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1918 edition. Excerpt: ...of these two scenes, in both of which Christ, most oddly, sits upon a globe.4 As the Widow's Mite the scene on the Milan book covers5 is similar, save for the globe, to the rendering of the same scene in a mosaic of S. Apollinare Nuovo at Ravenna (Fig. 135). In this sixth century mosaic the widow stands at the left of the composition, her hand extended over a table, which resembles the table on the ivory, and faces Christ, who is accompanied by a single disciple.6 With the exception of the globe, both representations are noticeably alike and accurately illustrate the Gospel account.7 It is also interesting to note that about the middle of the fifth century Perpetuus recorded that among other Biblical scenes the Widow's Mite was figured on the walls of the church of St. Martin at Tours.8 Whatever the correct interpretation of the scene may be, we have 3 Examples of this scene occur at S. Apollinare Nuovo (Fleury, L'Evangilc, pi. LVIII/2), and in the Homilies of Gregory of Narianzus, gr. 510, Bibl. Nat., Paris (Fleury, op. cit., pi. LVIII/3). 4 Bertaux, L'art dans I'ltalie meridionale, fig. 99. 5 This interpretation is that of Westwood (Fictile Ivories, p. 41), Stuhlfauth, Elfenbeinplastik, and Dobbert, Jb. Preuss. Kunsts., 1894, p. 136. 9 Garr., op. cit., IV, pi. 248/5. 7 Mark xii, 42; Luke xxi, 1-4. 8 Kraus, Ceschichte der christlichen Kunst, I, p. 602 sq; Perpetuus, "Tituli der Basilica des Heil. Martin zu Tours" in Von Schlosser, Quellenbuch cur Kunstgeschichte (Neue Folge, 4), p. 32. Fig. 135. Ravenna: S. Apollinare Nuovo, Mosaic. The Widow's Mite. already indicated the Italian character of the globe as a seat for Christ.9 Although the only other examples of its use in miracle scenes in the eleventh century are the frescoes...

An interdisciplinary study of the practice and purpose of early Christian baptism as it is depicted in pictorial art and as it was practiced in-built structures, this book integrates physical remains with literary evidence for the early Christian initiation rite.