History of mediæval art . theSouth, where architectural decoration, closely following antiquemodels, had retained a considerable degree of excellence, the tra-ditions of painting were lost, and it was only towards the close ofthe period that anything of importance was produced in this branch. After the works of Germigny-des-Pres mosaics with figures were FRANCE. 431 not employed as wall decorations. Although a high artistic charac-ter is not expected in mosaic pavements, even the most modest re-quirements could not be satisfied by such a work as that preservedin the apse of the Church of Cruas
History of mediæval art . theSouth, where architectural decoration, closely following antiquemodels, had retained a considerable degree of excellence, the tra-ditions of painting were lost, and it was only towards the close ofthe period that anything of importance was produced in this branch. After the works of Germigny-des-Pres mosaics with figures were FRANCE. 431 not employed as wall decorations. Although a high artistic charac-ter is not expected in mosaic pavements, even the most modest re-quirements could not be satisfied by such a work as that preservedin the apse of the Church of Cruas (Ardeche), the interest of whichis heightened by its unquestionable date, A. D. 1048 {Fig. 264). Itmight be thought that the hardness and ungainliness of the twofigures of the prophets, Elijah and Enoch, could not be surpassed,were it not that the unnaturalness of the trees upon either side ofthe symbol of the cross is even more astonishing. The remains ofother mosaics, as, for instance, those from the site of the Church. Fig. 264.—Mosaic Pavement in Cruas, Southern France. De la Major at Marseilles, which has been demolished, from near theCathedral of Valence, and from St. Trophime at Aries, are of greaterartistic value, but probably of earlier date. That mosaics with fig-ures were also customary in the north of France was proved by thepavement of St. Remy, in Rheims, of 1090, which has now disap-peared. Together with biblical scenes, it contained representationsof other subjects, such as the earth and sea, the seasons, months,the zodiac, and the arts, all of which showed classical any of the mural paintings of France date to the elev-enth century, and but few are as old as the twelfth. The earliest 432 PAINTING OF THE ROMANIC EPOCH. appear to be those of the Chapel of Liget (Indre et Loire), or thefigures in the Baptistery of St. John at Poitiers, both very Byzantinein character. In the meander ornaments, drawn in perspective, ofthe latter church th
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