The three persons of the Trinity are represented barefoot in Christian iconography, and the figures of the God in unity, with those of the Angels, of John the Baptist and of the Apostles, are also distinguishable from others by their bare feet. However, examples may be found of Divine persons having their feet clothed." We have described two instances of such* and given an illustration of a third.† When the Father or the Son appear in papal dress, then the footgear of the sovereign pontiff is given along with the pontifical vestments; but this is quite a peculiar instance, and even in such a case the feet of the Divine persons are often left naked. 品 Fig. 150. THE TRINITY IN HUMAN FORM, WITH CRUCIFORM NIMBUS AND AUREOLE OF FLAME. The form of the nimbus, the crown and the aureole ; the form of the globe and its divisions, along with the objects which fill these divisions; the form of the book and of the letters in the writing contained therein; the shape, number, nature, and colour of the robes furnish archæological characteristics by which the date of sculp * They occur in the manuscript of Anne of Brittany, and in another manuscript of the same period also in the Bibliothèque Nationale, Paris. No. 886. † Vol. I. page 226, Fig. 63. VOL. II. G tured, chiselled, and painted effigies of the Trinity may be determined. It will be sufficient to give the accompanying illustration of the Trinity (Fig. 150), a work of the fifteenth century, which shows the three persons, each one in human form. Each has the cruciform nimbus, and is enveloped in an aureole of flame. The Divine Dove is seen seated on the head of the youth who personates the Holy Spirit. The Father, as Pope, carries the globe of the Almighty; the Son, as Christ, bears the Cross of infinite love; the two persons, Father and Son, are united by the Holy Spirit, who is the central figure of the group. Thus ends this portion of my task. I have felt it necessary in the first instance to give the history of an important archæological attribute, that is, the nimbus or glory; then that of the Being who presides over all images as over all Christian doctrine-the history of God. To enlarge in like manner on the rest of Christian iconography would be exaggeration; nor could one life suffice not only to bring forward, but even to gather the materials for such a work. However, some very brief and purely technical information on the Angel, the Devil, on scenes from the Old Testament, the Gospels and the legendary or apocryphal writings will doubtless fulfil the object proposed by the Committee of Arts and Monuments. ICONOGRAPHY OF ANGELS, DEVILS, DEATH, THE SOUL, AND THE CHRISTIAN SCHEME OF SALVATION. CONCLUDED AND EDITED BY MARGARET STOKES. EDITOR'S NOTE. I HAVE been requested by the publishers of the English translation of this work by the late M. Didron to continue and complete it. No reason has been alleged to explain why the original scheme, as laid down in the Introduction to our first volume, was never carried out, but it is more than probable that its very magnitude prevented its completion, and that the labours undertaken by the author in the editorship of the Annales Archéologiques,' commenced in 1844, and only closing with his death in 1867, interfered with the completion of this special work. However, the history of the Iconography of Angels and Devils was in course of preparation at this period, and the 70 wood engravings from drawings by M. Durand executed to illustrate these subjects have ever since remained unpublished. Portions of the letterpress intended for this work appeared from time to time in the pages of the ‘Révue Française' vol. x., and ‘Annales Archéologiques,’ vols. i., xi., and xviii. The numerous engravings accompanying these papers will now be reproduced here along with those hitherto unpublished. I have been obliged reluctantly to curtail these contributions of M. Didron to the periodical literature of his day, in order to avoid printing much that, although new when it first appeared, is now familiar to English readers. I have also occasionally been compelled to introduce passages explanatory of some of the illustrations prepared by the author for the continuation of this work, but for which no descriptive text could be found and the very provenance of which I had to discover. It only remains to explain that the portions of the work translated from M. Didron's text may be recognised by the insertion of the initial D. at the top of every page, and by brackets at the beginning and end of every interpolated paragraph. I have to own myself responsible for all the text following on page 145, although the matter is mainly founded on the writings of M. Didron, in whose footsteps, as a conscientious investigator of the iconographical systems of the great French cathedrals, I have humbly endeavoured to follow. CARRIG BRAEC, HOWTH, M. S. [D.] ICONOGRAPHY OF ANGELS. THE iconography of the Angels or Messengers of God naturally follows on that of the Deity Himself, since they beni Elohim, sons of God-may be described as emanations from God and as powers fulfilling His will. While uniformly held to have been created beings, yet many and various have been the theories as to the period of creation at which they sprang to life. The generally accepted idea was, that as the incorporeal existed before the material, so angels were created before the world. Others have held that it was on the second day, and after the creation of the firmament, that angels came to life, and this view seems to have been adopted by the sculptor of the Creation ̧ of Angels in Chartres Cathedral, where their forms are seen emerging from the heavens. A third view is that God must have made the angels at the close of the sixth day, when the creation of all material things had been accomplished. Thus, according to this last theory, that principle of progress is maintained which is observable from the first to the sixth day in creation, rising from dead substances to living forms till Man is reached, and after him the still more perfect being, the Angel, is called into existence. The creation of angels is a subject very rarely to be met with in art, still we may indicate three different methods of treating it. The first is in a manuscript of the close of the thirteenth century, where the Creator may be seen, in the form of God the Son, seated on a rainbow. Rays proceed from His mouth like a divine breath, from which nine groups of angels are born and over whom His left hand is raised in benediction. These rays are, as it were, the embodiment of the Word proceeding from God, the special "fiat" at the utterance of which the angels were brought |