Under St. Paul.
Technical Points.—Both figures very genuine, the lower one almost entirely so. The painting of the red book is quite exemplary in fresco style.
XII. DOGMATIC THEOLOGY.—After action and worship, thought becoming too wide and difficult, the need of dogma becomes felt; the assertion, that is, within limited range, of the things that are to be believed.
Since whatever pride and folly pollute Christian scholarship naturally delight in dogma, the science itself cannot but be in a kind of disgrace among sensible men: nevertheless it would be difficult to overvalue the peace and security which have been given to humble persons by forms of creed; and it is evident that either there is no such thing as theology, or some of its knowledge must be thus, if not expressible, at least reducible within certain limits of expression, so as to be protected from misinterpretation.
In red,—again the sign of power,—crowned with a black (once golden?) triple crown, emblematic of the Trinity. The left hand holding a scoop for winnowing corn; the other points upwards. "Prove all things—hold fast that which is good, or of God."
Beneath her, Boethius. Under St. Mark. Medallion, female figure, laying hands on breast.
Technical Points.—The Boethius entirely genuine, and the painting of his black book, as of the red one beside it, again worth notice, showing how pleasant and interesting the commonest things become, when well painted.
I have not examined the upper figure.
XIII. MYSTIC THEOLOGY. [Footnote: Blunderingly in the guide-books called 'Faith!'] Monastic science, above dogma, and attaining to new revelation by reaching higher spiritual states.
In white robes, her left hand gloved (I don't know why)—holding chalice. She wears a nun's veil fastened under her chin, her hair fastened close, like Grammar's, showing her necessary monastic life; all states of mystic spiritual life involving retreat from much that is allowable in the material and practical world.