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Little meanings attached themselves to oval portraits of ladies, evidently ancestral, whose muslin sleeves were tied with blue ribbon, to Byzantine-looking Persian paintings, to odd brass bowls and faint-coloured embroideries.
Little meanings attached themselves to oval portraits of ladies, evidently ancestral, whose muslin sleeves were tied with blue ribbon, to Byzantine-looking Persian paintings, to odd brass bowls and faint-coloured embroideries.
I admit it becomes a very confusing riddle in such a country as England to determine which is the Catholic Church; whether it is the body which possesses and administers Canterbury Cathedral and Westminster Abbey, or the bodies claiming to represent purer and finer or more authentic and authoritative forms of Catholic teaching which have erected that new Byzantine-looking cathedral in Westminster, or Whitfield's Tabernacle in the Tottenham Court Road, or a hundred or so other organized and independent bodies.
In the chapel to the left is a Byzantine-looking relief gilded all over except the hands and faces, which are painted pink, mounted on a polished slab of black marble. The subject is the Virgin and Child standing, the Child draped. A half-finished building not far off is all that was completed of a magnificent church designed to house the arca of S. Simeon.
The deep recess of a round-arched porch of the twelfth century is covered with quaint figures which have not lost a nose or a finger. An angular Byzantine-looking Christ sits in a diamond-shaped frame at the summit of the arch, surrounded by little angels, by great apostles, by winged beasts, by a hundred sacred symbols and grotesque ornaments.
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