^ 



NOTES AND QUERIES. 



[No. 117* 



says, " should your readers turn to the canons of 

 that council, they would be disappointed at find- 

 ing nothing about the cross;" whence he infers, 

 that I have been "led into a singular mistake." 

 But the mistake, I apprehend, is on the part of 

 W. Dn. himself, who evidently has not read the 

 council in question, else he would have found, so 

 far from its canons containing " nothing about the 

 cross," one, the 73rd, is devoted exclusively to the 

 cross, whilst the 82nd is given to the crucifix. 

 The 73rd canon of the Council inTruUo directs all 

 veneration to be paid to the cross, and prohibits 

 its being any longer depicted in the teSserse of 

 the floors where this " trophy of our victory," as 

 it is called in the canon, was exposed to desecra- 

 tion from the feet of the congregation. The 82nd 

 canon, in like manner, has direct reference to the 

 crucifix, and its style of design. It alludes to the 

 practice which had theretofore prevailed, of re- 



S resenting Christ as the lamTj, pointed to by St. 

 ohn, which was to take away the sins of the world 

 (John, i. 29.) ; but as that great work has been 

 accomplished, the council declares that the Church 

 BOW prefers the grace and truth of him who had 

 fulfilled the law, to those ancient forms and 

 shadows which had been handed down as types 

 and symbols only ; and it continues : 



"In order, therefore,, that what has come to pass 

 should be exhibited before the sight of all by the skill 

 of the artist in colours, we direct that the repre- 

 sentation of Christ the Lamb of God, which taketh 

 away the sins of the world, shall henceforth be elevated 

 m his human character ; and no longer under the Old 

 form of a lamb." 



The words are these ; 



•'«y tv ovv rh Te\eiov k&v rati xp'of^'^'rovpyiais iv 

 Tats aTrdirrwv io\f/f(ny viroypd(t>r]Tai, rhv toD atpovros rijy 

 anaprlav rod Kofffiov a/ivov Xpicrrov rod Qeov TifJ-uv, /cari 

 rhv audpoSmvov xapo/cr^po koI iv rais elKScriy awo rov vvv 



avTl rod ira\aiov afivov avaffTtiKovtrdai opl^ofjLfu." 



Concilium Quinisextum, Can. Ixxxii. Concil.Collectio, 

 J. B. Mansi, vol. xi. p. 978. : Floren, 1765. 



W. Dn. has quoted this canon, not from the 

 original Greek of the council, which I copy above, 

 but from the Latin version given in Labbe, and 

 which is much less close and literal than that of 

 Carranza; and the words "-erigi et depingi" 

 which it employs, are a very incorrect rendering 

 of the Greek auaa-rriXodaeai, a term peculiarly 

 appropriate to the elevation of a crucifix. 



But that the whole canon has immediate refer- 

 ence to the literal delineation of the mode and 

 manner of Christ's passion, will be apparent from 

 the concluding sentences, which expressly set out 

 that the object of the change which it enjoins 

 IS to bring more vividly before our minds the in- 

 carnation, suffering, and death of the Saviour, by 

 the full contemplation of the depth of humiliation 

 attendant on it : 



" At' avrov rh rris raweivdffews Srf/os rod Qeov \6yov 

 KaravoovvTfS, Koi trphs ^^/mji> rrjs iv ffapxl iroMreias rov 

 re iradovs avrov Koi rov ffarrrtpiov ^avdrov ■xeipaytay^^'' 

 fifvoi, Kal rrjs ivrtvOfy yfvofi4t>T]s rep k6(Tij^ airoKvrpU' 

 aem, k. r. A,." — lb. Mansi, v. xi. p. 979. 



How this impression of the '■^humiliation'''' and' 

 '■^suffering" of Christ's death could be conveyed; 

 otherwise than by a literal delineation of its inci- 

 dents, 1 cannot well see. And, indeed, of many^ 

 authorities who have recorded their opinion on 

 the effect of this canon of the Quini-sextile coun- 

 cil, W. Dn. is the only one who expresses a doubt; 

 as to its direct reference to the cross and the 

 crucifix. Both the historians of the church, and. 

 those who have treated of the history of the, 

 Arts in the Middle Ages, are concurrent in their- 

 testimony, that it was not till immediately after 

 the promulgation of the canons of the Council in, 

 Trullo that the use of the crucifix became com- 

 mon in the early churches. This fact is recorded, 

 with some particularity by Gieseler, in hia 

 Compendium of Ecelesiastical History, sect. 99.; 

 note 51.; and Emeric-David, the most laborious 

 and successful explorer of historical art of our 

 time, in describing the effect upon the Fine Arts 

 produced by the edict of the councU, adverts tO; 

 the 82nd canon more than once, as directing the 

 delineation of the Saviour on the cross : 



" La fin du 7""^ siecle et le commencement du 8"*" 

 presentent deux evenements de la plus haute impor-; 

 tance dans I'histoire de la peinture. Le premier est la 

 revolution oper^e par le decret du concile de Constan- 

 tinople appele le concile quinisexte ou in Trullo, et 

 celebre en 692 a.d., qui ordonna de preferer la pein- 

 ture historique aux emblemes, et notamment d'aban- 

 donner I'allegorie dans la representation du crucifieraent 

 de Jesus Christ . . . Ce fut apres ce concile que les 

 images de Jesus Christ sur la croix commencerent a 

 se multiplier." (Hisfoire de la Peinture au Moyen Age, 

 par T. B. Emeric-David, Paris, 1842, p. 59.) " Lors- 

 que le concile quinisexte ordonna de preferer la rea- 

 lite aux images, et de montrer le Christ sur la croix,' 

 I'csprit d'all6gorie, malgr^ ce decret, ne s'aneantit pas 

 entierement." {lb, p. 32.) 



J. Emebson Tbnnem. 



London. 



YANKEE DOODLE. 



(Vol.'iv., p. 344.) 



The subjoined song is copied from a Collection 

 of English Songs in the British Museum (G. 310 — 

 163.). The Catalogue gives the conjectural date of 

 1775. In the History of the American Revolution 

 (published by the Society for Diffusion of Useful 

 Knowledge), p. 22., is an anecdote referring to 

 Lord Percy having, in 1775, caused his band to 

 play " Yankee Doodle " in derision of the Ameri- 

 cans : but I infer, from the Earl of Carlisle's Lec- 

 ture on his Travels in America, that it is now used 

 by the Americans as their national tune. 



