[Illustration: MOSAIC FROM RAVENNA; THEODORA AND HER SUITE, 16TH
CENTURY]

Ravenna is the shrine of the craft in the fifth and sixth centuries.
It is useless in so small a space to attempt to describe or do
justice to these incomparable walls, where gleam the marvellous
procession of white robed virgins, and where glitters the royal
cortège of Justinian and Theodora. The acme of the art was reached
when these mural decorations were planned and executed, and the
churches of Ravenna may be considered the central museum of the
world for a study of mosaic.

Among those who worked at Ravenna a few names have descended. These
craftsmen were, Cuserius, Paulus, Janus, Statius and Stephanus,
but their histories are vague. Theodoric also brought some mosaic
artists from Rome to work in Ravenna, which fact accounts for a
Latin influence discernible in these mosaics, which are in many
instances free from Byzantine stiffness. The details of the textiles
in the great mosaics of Justinian and Theodora are rarely beautiful.
The chlamys with which Justinian is garbed is covered with circular
interlaces with birds in them; on the border of the Empress's robe
are embroideries of the three Magi presenting their gifts; on one
of the robes of the attendants there is a pattern of ducks swimming,
while another is ornamented with leaves of a five-pointed form.

There is a mosaic in the Tomb of Galla Placida in Ravenna, representing
St. Lawrence, cheerfully approaching his gridiron, with the Cross
and an open book encumbering his hands, while in a convenient corner
stands a little piece of furniture resembling a meat-safe, containing
the Four Gospels. The saint is walking briskly, and is fully draped;