History of mediæval art . Fig. 46.—Wall - decoration of the Basilica of JuniusBassus. After a drawing by A. da Sangallo, nowin the Barberini Library. APSE OF S. PUDENZIANA. 81 S. Pudenziana in Rome, dating to the end of the fourth century{Fig. 47). It represents Christ enthroned in the middle of a lowexedra, beyond the tiled roof of which are seen the buildings of theHeavenly Jerusalem and a hill surmounted by a cross. At the feetof the Saviour sit ten of the twelve apostles,—the two missing, andthe lower part of the bodies of those remaining, were obliteratedduring the restoration made in the
History of mediæval art . Fig. 46.—Wall - decoration of the Basilica of JuniusBassus. After a drawing by A. da Sangallo, nowin the Barberini Library. APSE OF S. PUDENZIANA. 81 S. Pudenziana in Rome, dating to the end of the fourth century{Fig. 47). It represents Christ enthroned in the middle of a lowexedra, beyond the tiled roof of which are seen the buildings of theHeavenly Jerusalem and a hill surmounted by a cross. At the feetof the Saviour sit ten of the twelve apostles,—the two missing, andthe lower part of the bodies of those remaining, were obliteratedduring the restoration made in the year 1588. The characteristicattitudes and the expression of the faces are still apparent, — therelative importance of St. Peter and St. Paul, who are seen in profile,being indicated by their positions next to the throne. Behind them. IlK II W ? Jij) ! Fig. 47.—Mosaic in the Apse of S. Pudenziana in Rome. stand two women holding wreaths, who may be considered either asS. Pudenziana and St. Praxedis, or as representatives of the Churchof the Jews and the Church of the Gentiles. The symbols ofthe Evangelists float above in the blue sky, which is streaked withlight clouds. The design is not without life and truth, being in thisrespect equal to the best frescos in the catacombs of the third andfourth century, while it far surpasses them in correctness and beautyof form and in mechanical execution. The superiority of the mosaics over the wall-paintings is notdue to any improvement in the general style of art; this could onlyhave been brought about through the introduction of entirely new 6 82 EARLY CHRISTIAN AND BYZANTINE PAINTING. elements. But the influence of the altered position of the Churchin regard to pictorial decorations is sufficiently plain, — an activeencouragement having, in the course of years, taken
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