Jlfi Architecture and Mosaics of Wilton Church. 



the most gorgeous is the glass tessellation usually applied to walls 

 and vaults ; the groundwork is almost invariably of gold ; figures, 

 architectural forms, and conventional foliage are formed of irregular 

 pieces of glass of all tones of colour. There are many churches 

 in Rome, and in other parts of Italy, where these mosaics still 

 exist in great perfection ; but it is in Sicily where they are seen in 

 still greater splendour, in the Capella Palatina at Palermo ; and at 

 3Ionreale every part of the interior is coated with this magnificent 

 decoration. 



The parts, however, usually covered with this sumptuous incrust- 

 ation consist of the semi-dome of the apse and the adjacent walls 

 of the sanctuary within the triumphal arch. In the middle ages, 

 when every part of a church had a symbolic meaning, this was 

 figurative of the transition through death from the Church militant 

 on earth to the Church triumphant in Heaven. Here, then, was 

 usually represented our Saviour in Glory, a colossal seated figure, 

 giving the benediction, and surrounded by his Prophets, Apostles, 

 and Saints. 



At the commencement of the 14th century the rapid improve- 

 ment of painting under Giotto, and the superior resources of fresco, 

 superseded what may be called the high art of the mosaicist. 



It is true we have none of this elaborate kind of mosaic at 

 Wilton, but there are some good specimens of the same material 

 as applied to the decoration of ambones, columns, &c, and usually 

 called Opus Grecanicum. It will be found in and about the 

 chancel in the form of twisted marble pillars, ornamented 

 with a spiral branch of mosaic, also some panels of the usual 

 geometrical pattern ; some smaller pillars are also used in the 

 pulpit. It is formed of small cubes of variously-coloured and 

 gilded " Smalto," inserted to the depth of about half-an-inch into 

 grooves cut in white marble ; these simple forms are arranged in 

 such geometrical combination as to compose the most elaborate 

 patterns. The modern additions will easily be distinguished from 

 the old work ; they are interesting, however, as showing some- 

 thing like a revival of the art. 



Nothing can exceed the beauty of this kind of decoration as seen 



