Chapter L: Section X: But the severity which is so marked in the pulpit at Torcello

is still more striking in the raised seats and episcopal throne which occupy the curve of the apse. The arrangement at first somewhat recalls to the mind that of the Roman amphitheatres; the flight of steps which lead up to the central throne divides the curve of the continuous steps or seats (it appears in the first three ranges questionable which were intended, for they seem too high for the one, and too low and close for the other), exactly as in an amphitheatre the stairs for access intersect the sweeping ranges of seats. But in the very rudeness of this arrangement, and especially in the want of all appliances of comfort (for the whole is of marble, and the arms of the central throne are not for convenience, but for distinction, and to separate it more conspicuously from the undivided seats), there is a dignity which no furniture of stalls nor carving of canopies ever could attain, and well worth the contemplation of the Protestant, both as sternly significative of an episcopal authority which in the early days of the Church was never disputed, and as dependent for all its impressiveness on the utter absence of any expression either of pride or self-indulgence.