Editorial note — Chapter III · OF PICTURES, AND IMAGES, AND CURTAINS, AND THE ORNAMENTS OF CHURCHES

[Footnote 293: A monk named Constantine set before the prince those judgments of God which are in all the world, and the retribution of the life to come: his discourse powerfully affected the heathen monarch (Vladimir, afterwards S. Vladimir); and this was particularly the case when the monk pointed out to him on an icon, which represented the Last Judgment, the different lot of the good and the wicked. "Good to those on the right hand—woe to those on the left," exclaimed Vladimir, deeply affected.'—Mouravieff's 'Hist, of the Russian Church,' p. 11, On which his translator, the Rev. R. W. Blackmore, sensibly remarks, 'Whatever may be the right view of the abstract question respecting icons, and the showing outward respect to them, the Russians at least cannot reasonably be blamed for revering a usage which was made the means, in part at least, of so blessed a result as the conversion of the great Prince Vladimir, the Constantine of their church and nation.'] [Footnote 294: This flower work is excessively common in Norman churches: that of S. Sepulchre's, at Cambridge, was a notable example of it. ]