of sixth century work of various kinds. In the centre, Christ is
seen, enthroned under a kind of palmetto canopy; above him, on
a long panel, are two flying angels displaying a cross set in a
wreath; at either end stand little squat figures, with balls and
crosses in their hands. Scenes from the miracles of Our Lord occupy
the two side panels, which are subdivided so that there are four
scenes in all; they are so quaint as to be really grotesque, but
have a certain blunt charm which is enhanced by the creamy lumpiness
of the material in which they are rendered. The healing of the
blind, raising of the dead, and the command to the man by the pool
to take up his bed and walk, are accurately represented; the bed
in this instance is a form of couch with a wooden frame and
mattress, the carrying of which would necessitate an unusual amount
of strength on the part of even a strong, well man. One of the most
naïve of these panels of the miracles is the curing of "one
possessed:" the boy is tied with cords by the wrists and ankles,
while, at the touch of the Master, a little demon is seen issuing
from the top of the head of the sufferer, waving its arms proudly
to celebrate its freedom! Underneath is a small scene of the three
Children in the Fiery Furnace; they look as if they were presenting
a vaudeville turn, being spirited in action, and very dramatic.
Below all, is a masterly panel of Jonah and the whale,--an old
favourite, frequently appearing in mediæval art. The whale,
positively smiling and sportive, eagerly awaits his prey at the
right. Jonah is making a graceful dive from the ship, apparently
with an effort to land in the very jaws of the whale. At the
opposite side, the whale, having coughed up his victim, looks
disappointed, while Jonah, in an attitude of lassitude suggestive
of sea-sickness, reclines on a bank; an angel, with one finger
lifted as if in reproach, is hurrying towards him.