The church of SMaria antiqua . nting (p. 12) was composed, the treatment J Tischendorf, Evangelia Apocrypha, 370. 2 Messrs. Schultz and Barnsley {Monastery of St. Luke, 48) are under a misapprehension inthinking that the name is a mistake as applied to the scene in the eleventh-century mosaic in thechurch of St. Luke of Stiris. They have misunderstood Diehl, to whom they refer forconfirmation {Convent de St. Ltu, 42.) S. Maria Antiqua. ii5 had become very elaborate, and the old name had been given But till the eleventhor twelfth century the regular design shows a symmetrical composition (
The church of SMaria antiqua . nting (p. 12) was composed, the treatment J Tischendorf, Evangelia Apocrypha, 370. 2 Messrs. Schultz and Barnsley {Monastery of St. Luke, 48) are under a misapprehension inthinking that the name is a mistake as applied to the scene in the eleventh-century mosaic in thechurch of St. Luke of Stiris. They have misunderstood Diehl, to whom they refer forconfirmation {Convent de St. Ltu, 42.) S. Maria Antiqua. ii5 had become very elaborate, and the old name had been given But till the eleventhor twelfth century the regular design shows a symmetrical composition (specially adaptedfor a lunette) in which Christ stands in the centre, facing the spectator, between twogroups. In one hand he holds a cross, while with the other he raises Adam from thetomb. Behind Adam appears Eve. This group is balanced by two or more figures(generally David and Solomon) rising from a tomb on the other side of the Saviour,under whose feet the broken fragments of the sepulchres, or, more rarely, the prostrate. Fig. 8.—The Descent into Hell. (Harl. MS. 1S10.) figure of Satan, are represented. This type, of which the examples are numerous,2 isrepresented in Fig. 8, taken from a twelfth-century Greek MS. of the Gospels in theBritish The figure behind the kings is St. John the Baptist. This treatment seems to be a development, for reasons of symmetry, from a simplerand earlier form in which only Christ and Adam and Eve appear. In representations ofthis type the Saviour stands sideways as he approaches and takes Adam by the hand. 1 Didron, ed. Stokes, ii. 319. Schultz and Barnsley, Fig. 39 ; dAgincourt, T. xiii. 21 (doors of S. Paolo fuori,Rome), lvii. 6, lix. 6(MSS. in Vatican); Gori, Thes. Vet. Dipt. iii. T. xxxii. ; Melanges dArch,et dHist. 1888, 316 (eleventh-century MS. at Messina). Cf. Diehl, Convent dc St. Luc, 42, forother instances. 3 Harl. 1810, f. 206 b. I 2 Ii6 The British School at Rome. Though he sometimes appears with the Cross,
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