APPENDIX 383 seum dea Laterans (1890) ; ib.j Die Bedeutung der altchrist- lichen Dichtungen fiir die Bildwerke (Gesammelte Studien- Festgabe fiir Anton Springer, 1885) ; A. Peratd, L'Archdolo- gie chr^tienne (Bib. de I'Enseignraent des Beaux-arts, 1892), Woltmann and Woermann, History of Painting (Eng. Trans., 1880) ; WickhofF, Roman Art (London, 1900). Byzantine art: There exists no sufficient history of Byzan- tine art, i.e. a history based upon an exhaustive examination of monuments and documents, which shall trace the origin and development of this art from the foundation of Con- stantinople to the seventh century, its course through the times of the Iconoclastic controversy, and then the period of revival from the tenth to the twelfth century, and its final decline. The work must include architecture, sculp- ture, mosaic, and miniature painting. Only such a history can form the proper starting-point for the study of the influ- ence of Byzantine art upon the various countries of the West. The Byzantine question is no single general problem. The existence of that art is indisputable and also the fact that it influenced the West. The questions are. What countries of the West were influenced, how strongly, when, and in what branches of art? Should Byzantine influence upon the art of any particular Western land be divided chronologically into periods, or separated and classified ac- cording to localities and schools? Cf. £. Dobbert, Zur Byzantinischen Frage, Jahrbuch der Konigl. Preuss. Kunst- sammlungen. Vol. XV, pp. 125, 211, and 229. For a general conception of the origin and character of Byzantine art, see Strzygowski, in Byzantinische Zeitschrift, 1892, pp. 61-73. The moet serviceable general work is Bayet's L'Art Byzantin (Bibl. de I'Enseignment des Beaux-arts). Kon- dakoff, Ilistoire de I'Art Byzantin (1886-1892), affords a history of miniature; Diehl, L'Art Byzantin dans ritalie Meridionale (1894), is a satisfactory discussion of Byzantine painting there; R. Cattaneo, L^Architettura in Italia dal
