The Catholic encyclopedia (Volume 2); an international work of reference on the constitution, doctrine, discipline and history of the Catholic Church . music; Ulyssesattached to the mast is believed to typify the Cruci-fixion (O. Marucchi). Occasionally a carving on aCatacomb tombstone shows real merit, and thelamps adorned with Christian symbols are frequentlyartistic. As they depart from the classic tradition,however, Christian rehefs grow ruder and more im-perfect. Those of the latter part of the second andthe third century have little merit. The fourthcentury, in spite of the decline, bequ
The Catholic encyclopedia (Volume 2); an international work of reference on the constitution, doctrine, discipline and history of the Catholic Church . music; Ulyssesattached to the mast is believed to typify the Cruci-fixion (O. Marucchi). Occasionally a carving on aCatacomb tombstone shows real merit, and thelamps adorned with Christian symbols are frequentlyartistic. As they depart from the classic tradition,however, Christian rehefs grow ruder and more im-perfect. Those of the latter part of the second andthe third century have little merit. The fourthcentury, in spite of the decline, bequeathes somespecimens, now in the Lateran Museum; the sar-cophagus of Junius Bassus in the vaults of St. Petersis highly esteemed as a work of art. AVhen theChristian basihca replaced the cubiculum the influ-ence of imperial Constantinople had substitutedmosaics for Doth sculpture and painting. The fewreliefs of that period that have survived bear astrongly Byzantine character, which is also apparentin all early Franldsh workmanship, rehefs, ivorydiptychs, etc. The reliefs of Ravenna, from the timeof Theodoric, show the same influence in combina-. Head of St. John Presented to Herod, Donatello tion with the Teutonic spirit, as in the sixth-centurysculptures of San Vitale. In figure-carving, how-ever, there is a distinct tending from symbolism toreaUsm. The rude Lombardic bas-reliefs of Milanand Brescia frequently border on the grotesque, butthe authors went to nature for their hunting scenesand forms of animals. The bronze reliefs of thechurch of St. Michael, Hildesheim, Germany, are oneof the legacies of the eleventh century; those of theGolden Gate, Freiburg, are considered the finestwork of the late Romanesque period. With the merging of the Romanesque into theGothic, relief sculpture assumes a new character and^ peculiar importance in its close association witharchitecture, and in the many uses it is put to intympana, spandrels, etc. As a purely Christian andbeautiful form o
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