surmounted by a circular dome, or cupola. On entering the front door, you find yourself in an octangular hall of about thirty-two feet in diameter. (Fig. 28.) In the centre is a large bath of white Grecian marble, ten feet in diameter, and three and a half feet deep, and provided

Fig. 28. PLAN OF BAPTISTERY OF RAVENNA.

with an outlet for the purpose of emptying it. Attached to this basin is a marble pulpit, from which the administrator addressed the catechumens before the performance of the rite of baptism.

The cupola is divided into three circles, the smallest of which is the medallion centre of the vault, where the baptism of the Saviour is depicted in mosaics of great magnificence. The Redeemer stands up to His waist in the River Jordan; above Him is the dove representing the Holy Ghost; John stands on the bank to the left, one foot raised on a stone, his head erect, and with his right hand he pours the water from a cup on the Saviour's head. With his left he holds a jewelled cross.

Much stress has been laid by some writers on the fact, that in these mosaics, which are of great antiquity, John is represented as pouring water on the Saviour's head; therefore, they conclude that baptism in primitive times was administered both by immersion and affusion. It is well to note, however, that the mosaics of this baptistery

N

have been repeatedly restored, and well informed critics are of opinion that unwarrantable additions and alterations have been made in this magnificent work by incompetent artists. These restorations have been rendered necessary by the leaky condition of the cupola, a defect which unfortunately still exists.

The head, right shoulder, and right arm of the Saviour have been restored; and also the head, right shoulder, right arm, and right leg and foot of John the Baptist. Thus we may be indebted to a restorer for the cup, which John holds in his right hand, and the jewelled cross in his left, for in every other painting of the same period, he is represented holding a reed in his left hand, and placing his right on the Saviour's head. The mosaics of this famed baptistery have therefore lost much of their archæological value, in consequence of these restorations and alterations.

Fig. 29. THE BAPTISM OF CHRIST. Sculpture of the fourteenth century, on southern door of baptistery of Florence.

Paciaudus, in his De Cultu S. Joannis Baptista, attributes these alterations to the ignorance of the painters, who

were unacquainted with the historical facts, which they attempted to represent. We quote his own words :

'Numquid Christus Dominus adspersione baptizatus? Tantum abest a vero, ut nihil magis vero possit esse contrarium, sed errori et inscientiæ pictorum tribuendum, qui quum historiarum sæpe sunt ignari, vel quia quidlibet audendi potestatem sibi factam credunt, res, quas effigunt, mirifice aliquando depravant." (Was our Lord baptized by aspersion? This is so far from being so, that nothing can be more contrary to truth, but it must be attributed to the error and ignorance of painters, who, being often unacquainted with history, or believing they could dare every thing, sometimes greatly altered the subjects they portrayed). (Figs. 29 and 30.)

Referring to the mosaics in the baptistery of Ravenna, Messrs. Crowe and Calvacasella, in their valuable History of Painting in Italy, remark very rightly that "it is ludicrous to suppose that restoration is sufficient if the original cause of damage remains. The roof of the baptistery of Ravenna is not waterproof, and the rain filters even through the repairs lately made. A new roof is required." "Again" they add, "it might be advisable when restorations are undertaken, to intrust them to skilful hands and not to mere mechanical mosaists, ignorant of form and design, however able they may be in the technical difficulties of the art. Before touching monuments such as these, Italy should possess a school devoted to the study of the character and style of art in various periods. A competent person should be employed to study the mode in which emblems and accessories were used in different epochs. For there is no doubt that the period in which a monument was erected or adorned may be detected by the peculiar character of its emblems and accessories; and the use of false ones by restorers produces endless deception." (Vol. i. p. 22.)

The other baptistery was erected by the Arians under the reign of Theodoric, and now forms part of the oratory

Fig. 30. PETER ADMINISTERING BAPTISM. Painting of the fifteenth century,

in Church del Carmine, at Florence.

There still

of the church Santa Maria in Cosmedin. remains in the centre a round block of granite, about eight feet and a half in diameter, believed to be a part of the

ancient baptismal font. This baptistery has a domical vault, and is supposed to have been adorned with mosaics after the expulsion of the Goths, which took place in the year A.D. 540. The cupola is divided into circles like that of the earlier baptistery. The same subjects adorn the basin of the dome and the circle immediately beneath it. In the baptism the Saviour is represented youthful and beardless, standing in the Jordan up to his waist; a nimbus surrounds his head, and the dove sheds green rays upon his features. John, on the right, finely shaped, with long hair and beard, holds a reed in his left hand, and places his right on the Saviour's head. The water is level, and not raised into a hillock in the absurd manner afterwards introduced in the middle ages.*

The following is a synopsis of the office of Baptism, found in a manuscript of the twelfth century, which belonged formerly to the church of Ravenna, and was till lately in the possession of Father Jos. Baptista Martini, of the Conventual Minors of St. Francis, in Bologna. It now forms part of the library of the University in that city.

This ritual begins with the Blessing of the Salt, as follows:

Exorcizo te, creatura salis, in nomine Dei Patris omnipotentis +, et in charitate Domini nostri Jesu Christi +, et in virtute Spiritus Sancti +. Exorcizo te per Deum vivum +, per Deum verum +, per Deum sanctum +, per Deum qui te ad tutelam humani generis procreavit et populo venienti ad credulitatem per servos suos consecrari præ

I exorcise thee, creature of salt, in the name of the Father Almighty +, and in the charity of our Lord Jesus Christ, and in the might of the Holy + Ghost. I exorcise thee by the living God +, by the true God+, by the holy God, by the God who created thee for the protection of mankind, and commanded thee to be consecrated

D'Agincourt, Archit. tav. 17, Nos. 16 and 63; Nos. 18 and 19. Bellenghi, Dissertazione su i Battisteri. Ciampini, Vetera Monumenta. Ricci, Storia dell'Architt. in Italia.