Legends of the Madonna, as represented in the fine artsForming the third series of Sacred and legendary art . 3 Mosaic. Spoleto. a. D. 1209. Mosaic. Lateran. 1287—1292. But about the middle of the thirteenth centurj, and con-temporary with Cimabue, we find the first indication of adeparture, even in the mosaics, from the lifeless, formal typeof Byzantine art. The earliest example of a more animatedtreatment is, perhaps, the figure in the apsis of St. JohnLateran. In the centre is an immense cross, emblem of sal- rvation; the four rivers of Paradise (the four Gospels) flow fromits base; an
Legends of the Madonna, as represented in the fine artsForming the third series of Sacred and legendary art . 3 Mosaic. Spoleto. a. D. 1209. Mosaic. Lateran. 1287—1292. But about the middle of the thirteenth centurj, and con-temporary with Cimabue, we find the first indication of adeparture, even in the mosaics, from the lifeless, formal typeof Byzantine art. The earliest example of a more animatedtreatment is, perhaps, the figure in the apsis of St. JohnLateran. In the centre is an immense cross, emblem of sal- rvation; the four rivers of Paradise (the four Gospels) flow fromits base; and the faithful, figured by the hart and the sheep,drink from these streams. Below the cross is represented,of a small size, the New Jerusalem guarded by an the right stands the Virgin, of colossal dimensions. Sheplaces one hand on the head of a diminutive kneeling Nicholas IV., by whom the mosaic was dedicated Kugierabout 1290; the other hand, stretched forth, seems to re-commend the votary to the mercy of Christ. Full-length efiigies of the Virgin seated on a throne, orglorifi
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Keywords: ., bookcentury1800, bookdecade18, booksubjectmaryblessedvirginsaint
