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72 FIRST PERIOD.
together, and the mystery of its redemption; for the mazes
of interwoven lines and changeful pictures lead always at last
to the Cross, lifted and carved in every place and upon every
stone; sometimes with the serpent of eternity wrapt round it,
sometimes with doves beneath its arms, and sweet herbage
growing forth from its feet; but conspicuous most of all on
the great rood that crosses the church before the altar, raised in
bright blazonry against the shadow of the apse. And although
in the recesses of the aisles and chapels, when the mist of the
incense hangs heavily, we may see continually a figure traced
in faint lines upon their marble, a woman standing with her
eyes raised to heaven, and the inscription above her, " Mother
of God," she is not here the presiding deity. It is the Cross
that is first seen, and always, burning in the centre of the
temple; and every dome and hollow of its roof has the figure
of Christ in the utmost height of it, raised in power, or returning in judgment.
§ xix. Nor is this interior without effect on the minds of
the people. At every hour of the day there are groups
collected before the various shrines, and solitary worshippers
scattered through the darker places of the church, evidently
in prayer both deep and reverent, and, for the most part,
profoundly sorrowful. The devotees at the greater number
of the renowned shrines of Romanism may be seen murmuring their appointed prayers with wandering eyes and
unengaged gestures; but the step of the stranger does not
disturb those who kneel on the pavement of St. Mark's ; and
hardly a moment passes, from early morning to sunset, in
which we may not see some half-veiled figure enter beneath
the Arabian porch, cast itself into long abasement on the floor
of the temple, and then rising slowly with more confirmed
step, and with a passionate kiss and clasp of the arms given to
the feet of the crucifix, by which the lamps burn always in the
northern aisle, leave the church, as if comforted.
§ xx. But we must not hastily conclude from this that the
nobler characters of the building have at present any influence
in fostering a devotional spirit. There is distress enough in
| Title | The stones of Venice - 2 |
| Creator | Ruskin, John |
| Publisher | J. Wiley |
| Place of Publication | New York |
| Date | 1889 |
| Language | eng |
| Type | Books/Pamphlets |
| Title | 00000092 |
| Type | Books/Pamphlets |
| Transcript | 72 FIRST PERIOD. together, and the mystery of its redemption; for the mazes of interwoven lines and changeful pictures lead always at last to the Cross, lifted and carved in every place and upon every stone; sometimes with the serpent of eternity wrapt round it, sometimes with doves beneath its arms, and sweet herbage growing forth from its feet; but conspicuous most of all on the great rood that crosses the church before the altar, raised in bright blazonry against the shadow of the apse. And although in the recesses of the aisles and chapels, when the mist of the incense hangs heavily, we may see continually a figure traced in faint lines upon their marble, a woman standing with her eyes raised to heaven, and the inscription above her, " Mother of God," she is not here the presiding deity. It is the Cross that is first seen, and always, burning in the centre of the temple; and every dome and hollow of its roof has the figure of Christ in the utmost height of it, raised in power, or returning in judgment. § xix. Nor is this interior without effect on the minds of the people. At every hour of the day there are groups collected before the various shrines, and solitary worshippers scattered through the darker places of the church, evidently in prayer both deep and reverent, and, for the most part, profoundly sorrowful. The devotees at the greater number of the renowned shrines of Romanism may be seen murmuring their appointed prayers with wandering eyes and unengaged gestures; but the step of the stranger does not disturb those who kneel on the pavement of St. Mark's ; and hardly a moment passes, from early morning to sunset, in which we may not see some half-veiled figure enter beneath the Arabian porch, cast itself into long abasement on the floor of the temple, and then rising slowly with more confirmed step, and with a passionate kiss and clasp of the arms given to the feet of the crucifix, by which the lamps burn always in the northern aisle, leave the church, as if comforted. § xx. But we must not hastily conclude from this that the nobler characters of the building have at present any influence in fostering a devotional spirit. There is distress enough in |
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