Chap. I. EARLY ROMAN MOSAICS. 17 triumphal arch of this church were adorned, it is evident that little change had taken place in the sentiment, which dictated pictorial delineation. It was still the aim to glorify the Redeemer and the saints by representing them in majesty and dominion and by multiplying angels as heavenly messengers. Yet withal the classic Roman form still held sway and struggled for mastery over purely religious art. The four angels, 1 who stood guard on each side of the Lamb in the triumphal arch of SS. Cosmo e Damiano were but little different from those of S. Maria Maggiore. 2 In their short stature, their heads adorned with tufts of hair held back by cinctures, their free move ments and classic draperies, flying in the wind, they were still reminiscent of the art, local and peculiar to Rome. The artists had not yet fallen so low as to possess no technical ability, and the masses of light and shade were still well defined. The mosaics of the apsis were executed with less force of relief than those of the triumphal arch. 3 The Saviour in tunic and mantle and as usual colossal stood out against golden edged clouds in the centre of the space, stretching out his right arm in token of command and holding a scroll in his left hand. A gold nimbus en circled his head and a hand issuing from above pointed down to him symbolizing the first person of the Trinity between the date of the mosaics of S. Paolo fuori le Mura and those of S.S. Cosmo e Damiano, is marked by the invasion of the Goths and Vandals, by the two successive sacks of Rome in 455 and 472, by the fall of the western Empire, and the desola tion of Italy. The completion of S.S. Cosmo e Damiano took place, after peace had been restored to Italy, by Theodoric the Great. 1 These angels have blue nimbi. 2 The lamb stands on an altar with the cross above him. Three candlesticks are on one side of him, 4 on the other. Left and right of these are two winged angels, 4 in all nimbed (blue) and standing on clouds. Of old the symbols of the Evangelists appeared above the angels. One of these, repainted anew, and symbolizing S. John alone remains on the extreme left. The triumphal arch seems to have been reduced in size during re pairs, for the prophets on the lower course are cut away and an arm with a hand and crown pro jects singly at each side and indi cates the place where these figu res stood. This mosaic is executed on gold ground and has been restored. 3 Or restoring has impaired that quality. 2 VOL. I.