. The history of Our Lord as exemplified in works of art : with that of His types ; St. John the Baptist ; and other persons of the Old and New Testament. h called par excellence the Italian Trinity, this formabounds in the miniatures of every school, and especially in allforms of Art in the school of Nuremberg. There its most importantillustration is seen in the Adoration of the Trinity, by AlbertDiirer, now in the Vienna Gallery. There have been other attempts to embody the triune doctrine—such as the three Persons seen with one body and three heads—orone head and three faces—or under a comb
. The history of Our Lord as exemplified in works of art : with that of His types ; St. John the Baptist ; and other persons of the Old and New Testament. h called par excellence the Italian Trinity, this formabounds in the miniatures of every school, and especially in allforms of Art in the school of Nuremberg. There its most importantillustration is seen in the Adoration of the Trinity, by AlbertDiirer, now in the Vienna Gallery. There have been other attempts to embody the triune doctrine—such as the three Persons seen with one body and three heads—orone head and three faces—or under a combination of three interlacedcircles—or as an aged figure within a circle holding an equilateraltriangle, &c. The first mentioned, especially, are monstrosities ofa frightful character, and all alike are unfit to be considered in thedomain of Art. There are occasions on which the First and Second Persons of theTrinity are seated together on a throne without the Third. Thisis usually found connected with the Psalm: The Lord said untomy Lord, Sit Thou at my right hand, until I make Thine enemiesThy footstool (Ps. ex. 1). (Woodcut, No. 261.). 261 First and Second Person. (Belgian MS. Mr. Holford. CHRIST SEATED IN A GLORY. 353 Christ seated in a Glory, which is sometimes borne by Angels. Ital. Una Maesta. There are certain representations of our Lord seen on high withina glory, and seated upon the rainbow, or upon a throne, which areknown under the general term of Christ in Glory, and approvethemselves to our feelings by their solemnity and grandeur, withoutour precisely defining their meaning. These date, in the form ofminiatures, from the 10th century, and seem, when compared withthe classic Christian Art of preceding ages, to initiate a new epochof feeling as well as forms. The Christ of the early bas-reliefs ofthe Catacombs is a beautiful and angelic being, ever young andwinning; flowers, we feel, rise up beneath His tread, and perpetualspring invests His path. But He ins
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