and walls of the basilica under his direction. At the same time,
he established a school at the monastery, and the young members
were instructed in the arts and crafts of mosaic and inlay, and
the illumination of books. Greek influence was thus carried into
Italy through Monte Cassino.

In the twelfth century the celebrated Suger of St. Denis decorated
one of the porches of his church with mosaic, in smalt, marbles,
and gold; animal and human forms were introduced in the ornament.
But this may not have been work actually executed on the spot,
for another narrator tells us that Suger brought home from Italy,
on one of his journeys, a mosaic, which was placed over the door
at St. Denis; as it is no longer in its position, it is not easy
to determine which account is correct.

The mosaics at St. Mark's in Venice were chiefly the work of two
centuries and a half. Greek artists were employed in the main,
bringing their own tesseræ and marbles. In 1204 there was special
activity in this line, at the time when the Venetians took
Constantinople. After this, an establishment for making the smalts
and gold glass was set up at Murano, and Venice no longer imported
its material.

The old Cathedral at Torcello has one of the most perfect examples
of the twelfth century mosaic in the world. The entire west end of
the church is covered with a rich display of figures and Scriptural
scenes. A very lurid Hell is exhibited at the lower corner, in the
depths of which are seen stewing, several Saracens, with large
hoop earrings. Their faces are highly expressive of discomfort.
This mosaic is full of genuine feeling; one of the subjects is