OR, THE HISTORY OF CHRISTIAN ART IN THE Addkhe Nasoléen Sec. du Comité Historique des Arts et Monuments, TRANSLATED FROM THE FRENCH BY E. J. MILLINGTON. IN TWO VOLUMES. VOLUME I. COMPRISING THE HISTORY OF THE NIMBUS, THE AUREOLE, AND THE GLORY, WITH NUMEROUS ILLUSTRATIONS. LONDON: HENRY G. BOHN, YORK STREET, COVENT GARDEN. TRANSLATOR'S PREFACE. M. DIDRON'S work on Christian Iconography is well known. to the Archæological world; but as it has never appeared in an English form, and the original volume is not very accessible to general readers, the present publication will, it is believed, prove an acceptable contribution to Archeological literature. The subject of which it treats has never yet been adequately investigated, although the various sketches which have occasionally appeared prove that its importance has been duly appreciated. The ensuing pages will be found to contain much valuable information, available equally to the artist and the architect, and to every votary of Archæological science. In the chapter on the nimbus, many curious facts are elicited in reference to the form and decoration of that symbolic ornament, which cannot fail to be materially useful in marking correctly the distinct character of different figures in early subjects, whether of painting or sculpture. As, unhappily, it is of too common occurrence in this country, to find figures mutilated and partially destroyed, every additional characteristic that may aid in setting a distinctive mark upon the persons represented, is an acquisition of no trifling importance. For this object, the form of the nimbus, and the distinct signification of cruciform, triangular, and decorated nimbi, present most invaluable data which have never, it is believed, been so clearly set before the reader as in the work of M. Didron. The history of the various gradations by which the art advanced to its most perfect and glorious conceptions of the Deity, under a human form, and the influence of popular feeling, as exemplified in the manner of representing God the Father, form a most interesting portion of this work. It embraces the whole range of Iconography, in its relation to the Divine persons of the Blessed Trinity; first treating of each individually, and lastly, as of the three persons united in one. Many contending elements grew up, even in the bosom of the Christian Church; men's minds were subjected to opposing influences, and the faintest shadow that darkened or the lightest breath that disturbed, the internal harmony of the Church, was immediately reflected by the pencil of the artist and the chisel of the sculptor. Almost every ancient edifice, therefore, becomes as it were to the eye of the Christian student a hieroglyphic record of the changes which the Church has undergone during successive ages, whether produced by external influences, or by heresies generated within herself. In some countries, too, even local feelings and jealousies have occasionally been perpetuated, as is exemplified by certain sculptures in the porch of the church at Rouen. Neither time nor labour has been spared in rendering the present translation as perfect as possible. In many instances the books and sculptures mentioned by M. Didron have been examined by the Editor of the present volume, who availed himself of the opportunity afforded by a stay of some months in Paris to investigate several MSS. in the Bibliothèque Royale and elsewhere. To his fine taste and knowledge of the subject the Translator is, indeed, most deeply indebted; and she gladly takes this opportunity of expressing her lively sense of the advantages she has derived from his friendship and assistance. The value of the translation is considerably enhanced by the fact that the engravings are the identical ones used by M. Didron; they are in no respect inferior to those in the French work, and their perfect accuracy as illustrations of the text may be most confidently relied on. At page 437 will be found an extract from the translation of the third book of Durandus-the Rat. Div. Off., and the correction of a singular error committed by the translators of that work, published by the Cambridge Camden (now the Ecclesiological) Society. The word "rotuli," by them translated wheels, is clearly shown to be incorrect, rolls being the proper term. And taken in this sense, the passage, which is at present unintelligible (none of the Old Testament prophets having, I believe, ever been represented with wheels), becomes simple and highly interesting. The different signification of the roll and open volume, the one prophetic and shadowy, the other an open and perfect revelation, is well known and generally recognised. Little more need be said in reference to the original work, which will, doubtless, commend itself by its title to all who are interested in this peculiar branch of Art, and by whom the want of the aid which it affords, has no doubt been frequently experienced. We have not at this moment any work in our own language to which the student could apply for a knowledge of the leading principles of sacred Archæology. Treatises there are; some on one important branch ; some on another. Sketches, too, there are of the science of Iconography, but they are mere silhouettes; the outline of a painted window with the contours only; the minor details, the colours, and all that gives warmth and animation to the subject, omitted. What has principally been required is a grammar of the science, containing its fundamental principles clearly set forth, systematically arranged, and illustrated by choice examples and copious authorities. Each subject should be traced through the various changes. which have taken place since Christian artists first commenced their labours of love, and should be compared with the holy texts from which they were originally derived. All this M. Didron has done, and the evidence of his success is before us. If it be objected that the same facts |