DOI Page / Citation link:
https://doi.org/10.11588/diglit.47496#0147
SCULPTURE.
127
CHRISTIAN iconography in Great Britain
and Ireland has yet to be treated in a
systematic manner, and Mr. Anderson, in his
work on early Christian Art in Scotland, has
pointed out the true method of investigating
the subject. We have yet to trace the sources
and origins of Christian symbols on the Con-
tinent before we can read those carved
on our own stones. In Ireland we
seem to see two currents meeting, one
Byzantine, the other Latin. The
iconographical scheme of the Byzan-
tine ‘ painters is laid down in the
“Painters’ Guide” already mentioned;
that os Latin or of Western Art, in
the “ Biblia Pauperum,” “Speculum
Humanae Salvationis,’” “ Speculum
Sancte Maria Virginis,” as well as such
minor works as the middle age Bestiaries. In these
works the events recorded in the Bible were treated
not only as historic, but as prophetic of Christ when selected
from the Old Testament, and as symbolic when taken from the
New. The events recorded were turned to symbols. A system
of such symbols was developed expressive of the salient points
in religion. A hieratic cycle of subjects came into use, not
necessarily for doctrinal purposes, but as expressive of religious
faith. By adhering to the plan laid down in such works as
those we speak of, the walls and cupolas as well as pavements of
the churches, were intended to picture forth the Divine plan
for man’s salvation, to be the mirror of God’s work in Creation.
A very fragmentary impression indeed could be formed of
these manuals (which give us the plot of the Christian drama,
or the framework of the Christian Epos), if we were only to
study the iconography of these islands, yet such study is of para-
mount interest as bearing evidence to the gradual entrance
127
CHRISTIAN iconography in Great Britain
and Ireland has yet to be treated in a
systematic manner, and Mr. Anderson, in his
work on early Christian Art in Scotland, has
pointed out the true method of investigating
the subject. We have yet to trace the sources
and origins of Christian symbols on the Con-
tinent before we can read those carved
on our own stones. In Ireland we
seem to see two currents meeting, one
Byzantine, the other Latin. The
iconographical scheme of the Byzan-
tine ‘ painters is laid down in the
“Painters’ Guide” already mentioned;
that os Latin or of Western Art, in
the “ Biblia Pauperum,” “Speculum
Humanae Salvationis,’” “ Speculum
Sancte Maria Virginis,” as well as such
minor works as the middle age Bestiaries. In these
works the events recorded in the Bible were treated
not only as historic, but as prophetic of Christ when selected
from the Old Testament, and as symbolic when taken from the
New. The events recorded were turned to symbols. A system
of such symbols was developed expressive of the salient points
in religion. A hieratic cycle of subjects came into use, not
necessarily for doctrinal purposes, but as expressive of religious
faith. By adhering to the plan laid down in such works as
those we speak of, the walls and cupolas as well as pavements of
the churches, were intended to picture forth the Divine plan
for man’s salvation, to be the mirror of God’s work in Creation.
A very fragmentary impression indeed could be formed of
these manuals (which give us the plot of the Christian drama,
or the framework of the Christian Epos), if we were only to
study the iconography of these islands, yet such study is of para-
mount interest as bearing evidence to the gradual entrance