beyond a doubt by the inscription it bears, recording its being made by order of the Emperor.[1]
3. The specimen next to be noticed is the largest and most interesting example remaining of the enameller's art, namely, the Pala d'Oro, at St. Mark's, Venice. This splendid altarpiece is composed of two portions, united by hinges, and placed one above the other, the lower one being twice the height of the upper. The centre of this lower division is occupied by a large square composition, consisting of enamelled medallions representing our Lord, the four Evangelists, and several other saints. Under this are five compartments, containing figures of the Blessed Virgin, Doge Faliero, and the Empress Irene, and some inscriptions. On either side of the centre compartment, are three rows of figures, six in each row; the lowest row contains prophets, some with Greek, others with Latin, inscriptions. The middle row is one of apostles, and the upper one of archangels, with Greek inscriptions. Along the top of the whole lower division of the altarpiece is a series of seventeen panels, eleven of them representing scenes from the life of Christ; the other six, diaconal saints. On each side of the division are five subjects from the life of St. Mark; they all have Latin inscriptions. The upper division of the altarpiece contains, at its centre, a large medallion representing St. Michael, with his name in Greek, surrounded by many small medallions of saints; on each side of this centre, are three large plates representing scenes from the life of Christ (with Greek inscriptions), measuring no less than 1212 by 1214 inches. All the enamelled medallions of the altarpiece are set in silver-gilt, and surrounded with gems. The silver ornaments consist of friezes and canopies very Gothic in their details; among them are scattered small square medallions of enamel, representing saints.
The early history of this curious relic is rather confused; there seems to be no doubt that in 976, Pietro Orseolo I., Doge of Venice, "commanded an altarpiece for the church of St. Mark, to be made at Constantinople, of wonderful workmanship in gold and silver." Sansovino informs us, that owing to many accidents, it was not brought to Venice from
- ↑ This description is partly taken from Labarte's Introduction to the Debruge Catalogue, p. 120; vide also Lord Lindsay's Christian Art, vol. i.
