[1] See Scribner's Magazine, vol. v., p. 219, New Series.
EXTANT REMAINS: The frescos that are left to us to-day are largely the work of mechanical decorators rather than creative artists. They are to be seen in Rome, in the Baths of Titus, the Vatican, Livia's Villa, Farnesina, Rospigliosi, and Barberini Palaces, Baths of Caracalla, Capitoline and Lateran Museums, in the houses of excavated Pompeii, and the Naples Museum. Besides these there are examples of Roman fresco and distemper in the Louvre and other European Museums. Examples of Etruscan painting are to be seen in the Vatican, Cortona, the Louvre, the British Museum and elsewhere.
CHAPTER IV.
ITALIAN PAINTING.
EARLY CHRISTIAN AND MEDIÆVAL PERIOD. 200-1250.
Books Recommended: Bayet, L'Art Byzantin; Bennett, Christian Archæology; Bosio, La Roma Sotterranea; Burckhardt, The Cicerone, an Art Guide to Painting in Italy, ed. by Crowe; Crowe and Cavalcaselle, New History of Painting in Italy; De Rossi, La Roma Sotterranea Cristiana; De Rossi, Bullettino di Archeologia Cristiana; Didron, Christian Iconography; Eastlake (Kügler's), Handbook of Painting—The Italian Schools; Garrucci, Storia dell' Arte Cristiana; Gerspach, La Mosaïque; Lafenestre, La Peinture Italienne; Lanzi, History of Painting in Italy; Lecoy de la Marche, Les Manuscrits et la Miniature; Lindsay, Sketches of the History of Christian Art; Martigny, Dictionnaire des Antiques Chrétiennes; Pératé, L'Archeologie Chretienne; Reber, History of Mediæval Art; Rio, Poetry of Christian Art; Lethaby, Medieval Art; Smith and Cheetham, Dictionary of Christian Antiquities.
RISE OF CHRISTIANITY: Out of the decaying civilization of Rome sprang into life that remarkable growth known as Christianity. It was not welcomed by the Romans. It was scoffed at, scourged, persecuted, and, at one time, nearly exterminated. But its vitality was stronger than that of its persecutor, and when Rome declined, Christianity utilized the things that were Roman, while striving to live for ideas that were Christian.