212 Sloan's Architectural Review and Builders' Journal. [Sept., The early Christians had confounded — in their horror of Idolatry — imitative art and artists ; and regarded with de- cided hostility all images, and those who wrought them, as bound to the service of heathenism ! All their visible repre- sentations of sacred persons and things were denoted by mystic emblems : the cross signified redemption ; the fish, baptism ; the ship, the Church ; and the serpent, sin. The fourth century witnessed the struggle between Paganism and Christi- anity ; and the final overthrow of the former. The first representation of the Saviour was in the character of the Good Shepherd, with the attributes of Orpheus and Apollo. In the cemetery of St. Calixtus, three heads were dis- covered — one of Christ, distinguished by a strong and almost coarse outline ; the others represented St. Peter and St. Paul — all three from a master hand ; and all retaining that expression of grave and holy dignity with which the early painters ever invested the Saviour and the Apostles. Mosaics were then almost universally adopted ; and some rare specimens may still be seen in the oldest churches in Rome, Pisa and Venice. Art in the seventh century was divi- ded into two great schools : the Roman, distinguished by solemnity of feeling, and grandeur of expression; and the Byzantine, differing from the Roman, by greater mechanical skill, a profusion of gilding, and spiritless conception of forms. In the tenth and eleventh centuries, Italy was in a condition of complete barbarism and confusion. Of this period, only a few extremely rude works remain. Some specimens of that age are pre- served in the galleries of Berlin, Flor- ence and the Louvre. Nicholas Pisano, who flourished at Florence in 1220, and died in 12*70, gave the first grand im- pulse to modern art. Cimabue, who was his immediate successor, is styled, though incorrectly, by Vasari, the father of modern painting. The latter's most famous monument is the church of St. Francis, at Assissium, which had been begun by several artists, was contin- ued by Pisano, and finished by Cima- bue. The splendor of the coloring, the beauty of the monuments, the elegance and dignity of the figures, all stamp it as a production of the highest order of genius. Giotto, no less famed, and upon whom his mantle rested, was 'then Cimabue's pupil. Like his great successor Michael Angelo, Giotto was fiery and impetuous, haughty and disdainful ; but like him, he was also skilled in the literature of the age; and deeply versed in the occult sciences of the time. Cosmo the venerable — the founder of that princely house, which at different times has played a distinguished part, in the scenes of Continental history — was, at once renowned for his spirit of mercantile enterprise, fondness for litera- ture, and patronage of the arts of design. In his day, the love of liberty still reigned in full force at Florence, and in the defence of their rights, the citizens frequently had recourse to arms. The character of Cosmo is painted, by Italian chroniclers, in the brightest colors. He had, at that time, a rare and valuable Museum of Busts, Coins, Yases and Medals ; together with a large library. The same fleets, which re- turned laden with the wealth of India, were also filled with the most precious manuscripts, Egyptian papyri, and cu- rious toys, in which, then as now, the Eastern nations excelled. Cliye, when examined before the House of Lords, related that he saw, in the hoards of the East Indian princes, pieces of old Italian and Tuscan coinage. Some of those veiy books imported by Cosmo are now in the Louvre, carried thither by Cath- erine de Medici. The conduct and retinue of Cosmo were marked by the most unpretending simplicity. Gifted by nature with a large and candid soul, his views were
