in it; invented a new Doric capital to replace the spoiled Roman one: and all over the Roman empire set to work, with such materials as were nearest at hand, to express and adorn herself as best she could. This Roman Christian architecture is the exact expression of the Christianity of the time, very fervid and beautiful—but very imperfect; in many respects ignorant, and yet radiant with a strong, childlike light of imagination, which flames up under Constantine, illumines all the shores of the Bosphorus and the Ægean and the Adriatic Sea, and then gradually, as the people give themselves up to idolatry, becomes Corpse-light. The architecture sinks into a settled form—a strange, gilded, and embalmed repose: it, with the religion it expressed; and so would have remained for ever,—so does remain, where its languor has been undisturbed.19 But rough wakening was ordained for it.

§ XXI. This Christian art of the declining empire is divided into two great branches, western and eastern; one centred at Rome, the other at Byzantium, of which the one is the early Christian Romanesque, properly so called, and the other, carried to higher imaginative perfection by Greek workmen, is distinguished from it as Byzantine. But I wish the reader, for the present, to class these two branches of art together in his mind, they being, in points of main importance, the same; that is to say, both of them a true continuance and sequence of the art of old Rome itself, flowing uninterruptedly down from the fountain-head, and entrusted always to the best workmen who could be found—Latins in Italy and Greeks in Greece; and thus both branches may be ranged under the general term of Christian Romanesque, an architecture which had lost the refinement of Pagan art in the degradation of the empire, but which was elevated by Christianity to higher aims, and by the fancy of the Greek workmen endowed with brighter forms. And this art the reader may conceive as extending in its various branches over all the central provinces of the empire, taking aspects more or less refined, according to its proximity to the seats of government; dependent for all its power on the vigor and freshness of the religion which animated it; and as that vigor and purity departed, losing its own vitality, and sinking into nerveless rest, not deprived of its beauty, but benumbed and incapable of advance or change.

§ XXII. Meantime there had been preparation for its renewal. While in Rome and Constantinople, and in the districts under their immediate influence, this Roman art of pure descent was practised in all its refinement, an impure form of it—a patois of Romanesque—was carried by inferior workmen into distant provinces; and still ruder imitations of this patois were executed by the barbarous nations on the skirts of the empire. But these barbarous nations were in the strength of their youth; and while, in the centre of Europe, a refined and purely descended art was sinking into graceful formalism, on its confines a barbarous and borrowed art was organising itself into strength and consistency. The reader must therefore consider the history of the work of the period as broadly divided into two great heads: the one embracing the elaborately languid succession of the Christian art of Rome; and the other, the imitations of it executed by nations in every conceivable phase of early organisation, on the edges of the empire, or included in its now merely nominal extent.