Again, the only parts of the picture permitted to
be seen are the heads, crossed hands, black legs and feet. Christ
with the open book of judgment is another conspicuous figure; also a
companion head, gigantic in size, is the Madonna, directly Byzantine
in type, though its smooth and well-kept surface gives little sign of
age. The Christ, too, must be accounted but as modernized Byzantine;
here is none of the severity or of the tenuity of the early periods.
The type is poor though refined, debilitated though ideal. The hair,
parted on the forehead, falls thickly on the shoulders. The face is
youthful, not more than thirty, and without a wrinkle; the cheeks
are a little flushed, the prevailing expression is placidity. The
accessories of glory, drapery, and open book are highly decorative;
here embossed patterns on the gold coverings enhance the richness
of the surface-ornament. Once again the Russians appear supreme
in metal-work, especially in the elaboration of decoration in the
flat. Most of the pictures above mentioned are evidently supremely
holy; they are black and highly gilded; moreover, they move most
deeply all sorts and conditions of men, women, and children.
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