SUBJECT XXIV. This, the concluding subject, is derived from the twenty-first chapter,' and is thus depicted in accordance with the canons of Greek art:-A city-the new Jerusalem-of a square form, with walls of gold, enriched with precious stones of different colours, with three gates on each of its sides, and an angel standing at every gate, holding in his right hand a golden rod, and in his left the seal of the Living God. Above the city is Jesus Christ, seated on a throne, robed in white, invested with the divine nimbus, and holding in His hands the emblems of sovereignty. Round the throne, and encircling it in a glory, are ranged the nine choirs of angels and the four and twenty elders. From the throne a bright light descends and illuminates the city. St. John is depicted on a mountain at one side, gazing down on the city, while an angel in a cloud near him points to it, and holds a scroll, with the words, "Behold the tabernacle of God." Another angel is depicted in the act of measuring the walls of the city.

There is a remarkably interesting representation of this subject in the stained glass of the church of Saint-Martin-ès-Vignes, and we cannot resist giving a graphic description of it, as written by M. Didron :

"Dans Saint-Martin-ès-Vignes, à Troyes, est peinte sur verre une Jérusalem céleste assez remarquable: elle est au rond-point, à gauche, et porte la date de 1606. Au fond, à l'horizon, s'étend la mer et montent des rochers. Un ange, debout sur une montagne, montre à saint Jean, qui écrit, la ville mystérieuse. La Jérusalem céleste est carrée, défendue par des murailles qui-sont percées de douze portes, trois sur chaque face et en regard des points cardinaux. Chacune des portes est gardée par un ange aux ailes étendues, comme ceux qui dominent les contre-forts de la cathédrale de Reims, et qui assimilent cet édifice à la Jérusalem divine bâtie sur terre. La grande cité est coupée en quatre, en forme de croix, et partagée par une quadruple

1 TEXT. And I saw a new heaven and a new earth: for the first heaven and the first

earth were passed away; and there was no more sea. And I John saw the holy city, new Jerusalem, coming down from God out of heaven. And he that sat upon the throne said, Behold, I make all things new. It is done. I am Alpha and Omega, the beginning and the end. And there came unto me one of the seven angels which had the seven vials full of the seven last plagues, and he carried me away in the spirit to a great and high mountain, and showed me that great city, the holy Jerusalem, descending out of heaven from God, having the glory of God: and her light was like unto a stone most precious, even like a jasper stone, clear as crystal; and had a wall great and high, and had twelve gates, and at the gates twelve angels, and names written thereon, which are the names of the twelve tribes of the children of Israel on the east three gates; on the north three gates; on the south three gates; and on the west three gates. And the wall of the city had twelve foundations, and in them the names of the twelve apostles of the Lamb. And he that talked with me had a golden reed to measure the city, and the gates thereof, and the wall thereof. And the city lieth foursquare, and the length is as large as the breadth and he measured the city with the reed. And the building of the wall of it was of jasper: and the city was pure gold, like unto clear glass. And the foundations of the wall of the city were garnished with all manner of precious stones. The first foundation was jasper; the second, sapphire; the third, a chalcedony; the fourth, an emerald; the fifth, sardonyx; the sixth, sardius; the seventh, chrysolyte; the eighth, beryl ; the ninth, a topaz; the tenth, a chrysoprasus; the eleventh, a jacinth; the twelfth, an amethyst. And the twelve gates were twelve pearls; and the street of the city was pure gold. And I saw no temple therein. And the city had no need of the sun, neither of the moon, to shine in it for the glory of God did lighten it. Rev. xxi. 1-23.

avenue d'arbres et de verdure, venant aboutir à un carrefour, à une grande place circulaire. Au milieu de ce carrefour se dresse une verte montagne, sur le plateau de laquelle est l'agneau de Dieu, nimbé et portant sa croix de résurrection. Au-dessus plane le Saint-Esprit, illuminant la ville entière. Plus haut encore, domine le Père éternel, vieillard habillé en pape. Dans les quatre carrés, formés par les quatre avenues, sont assises quatre villes du moyen âge, avec maisons à pignons obtus, églises à flèches aiguës, rues, places et fontaines. Rien n'est plus brillant que ce tableau; c'est tout un monde, dont la Trinité est le soleil vivant."

APODYTERIUM. (Lat.) The room in an ancient Roman bath in which the bathers undressed, and left their garments, in the charge of the capsarii, or slaves, whose duty it was to see them safely kept in the presses or lockers with which the room was furnished. The apodyterium gave direct access to the frigidarium, and also communicated with the unctorium, or alipterium, in which the bathers were anointed with oil after the bath. (See Bath.)

APOLLO. (See Phœbus Apollo.)

APONSA. The late Latin term employed in medieval writings to designate a lean-to roof of simple construction, such as that which would be used for a shed or an out-house.

APOPHORETA. A term met with in medieval writings, where it is used to designate a reliquary, or shrine containing relics of the saints.

APOPHYGE. In architecture, the term given to the hollow or curved portion at the bottom of the shaft of a column, which serves to gracefully connect the ascending lines of the shaft with the mouldings of the base (A A A, Figs. 1, 2, and 3). The apophyge is separated from the

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1

2

3

upper member of the base by a narrow fillet, a feature introduced to give the necessary strength to its edge, and of great artistic value, serving to separate and impart individuality to the outward and inward curves of the torus and the apophyge.

The apophyge assumes different proportions in ancient examples, as may

be seen by the accompanying drawings. Fig. 1 is from the temple of Apollo at Bassæ; Fig. 2 is from a tripod column near the Choragic monument of Thrasyllus; and Fig. 3 is from the arch of Hadrian.

The term is also applied, though not so generally, to the curved portion at the top of a shaft, underneath the astragal. Vitruvius apparently gives sanction to this practice. In Gwilt's translation is the following passage :— "The height of the capital must be divided into three parts, of which one is assigned to the plinth or abacus, another to the echinus, the third to the hypotrachelium, with its apophyge." (Book iv., chapter 7.) There is a difference of opinion with reference to the signification of the original word here used, "apophysis; "* and it has not been decided whether the commentators on Vitruvius are correct in reading the word to signify the same as apophyge, certain authorities rather inclining to read apophysis as signifying the fillet in combination with the hollow, and not the hollow portion alone. In modern nomenclature the term apophysis is never used; and the term apophyge is invariably confined to the hollow or curved portion as distinct from the fillet. In the Glossary of Architecture, APOPHYGE, APOTHESIS, and APOPHYSIS are given as synonymous terms, and described as "the small curvature given to the top and bottom of the shaft of a column, where it expands to meet the edge of the fillet or cincture above the torus of the base, and beneath the astragal under the capital." As a general rule, architects apply the term apophyge to the curvature at the bottom only, but as that at the top is in all essentials similar, though rather less in size, there does not appear any good reason against its being also called an apophyge. For sake of distinction, therefore, it would be only necessary to adopt the terms superior and inferior apophyge, greater and lesser apophyge, or lower and upper apophyge. The lower apophyge has also been termed the SHOOT, ESCAPE, or SPRING of the shaft.. The French term is Congé.

APOSTLES. Throughout all the departments of Christian art, and in the works of every period, representations of the followers of our Lord, the chosen twelve sent by Him to preach the kingdom of heaven to all nations, are of very frequent occurrence. Indeed, it is almost impossible to examine the great masterpieces of early and mediæval art, which have been spared to us in anything like their original condition, without finding representations or emblems of the twelve apostles, in one form or another, in sculpture, mosaic, painting, or stained glass.

In the earliest works of Christian art, the apostles appear to have been invariably represented by certain simple emblems, the most common of

APOPHYSIS. A term used by Vitruvius, according to the best editions, in places where his commentators use the word APOPHYGIS. The explanation of either word is accompanied with difficulty, inasmuch as the word occurs in Vit. iv., 7, in reference to the hypotrachelion of the Tuscan column: which passage may mean either the fillet and hollow, or the hollow alone; but when speaking of the Tuscan base, it is admitted that he means by apophysis, the fillet without the hollow.-Dic. of Arch., Arch. Pub. Soc., Lond.

which were twelve sheep, probably suggested by our Lord's saying, "I send you forth as sheep in the midst of wolves." In the works still preserved, which prove this early practice, the sheep are usually placed in groups of six on each side of a central figure of Christ, represented as the Good Shepherd, or on each side of His early symbol, the lamb. In the latter instances, which are much more common than the former, the twelve sheep are arranged in two rows of six each, placed on either side of and looking towards the holy lamb, usually represented standing on a small mount, from which four streams are flowing, and invested with the triradiated or inscribed nimbus. (See Agnus Dei and Lamb.) The twelve sheep are never invested with nimbi. At the extremities of these compositions, which occupy long narrow spaces, towers and gates are represented, from which the sheep are supposed to have issued in procession towards the lamb.* These towers are intended to represent Bethlehem and Jerusalem, the places of our Lord's birth and passion, the places which witnessed the first and last scenes of His life on earth; that life during which the apostles were chosen and instructed to be His witnesses and the first teachers of the Christian faith throughout all lands. Examples of these symbolical compositions are to be found in the sculptures of sarcophagi and in the decorations of the old churches of Rome, as in St. Clemente, St. Cecilia, St. Prassede, &c.

The apostles have also been figured under the form of twelve doves, t but this mode of representation does not appear to have gained the same favour with the early artists as that we have just described. As in the case of the generality of early symbols and emblems, the adoption of the doves has the sanction of Scripture; the passage in which they are mentioned with relation to the apostles being a portion of that text which authorised artists to represent the Twelve as sheep :--" Behold, I send you forth as sheep in the midst of wolves: be ye therefore wise as serpents, and harmless as doves." In the apse of the church of St. Clemente, at Rome, is a large crucifix (thirteenth century), upon which are represented twelve

*There is an exception to this prevailing mode of treatment in the church of St. Maria Maggiore, at Rome, where the twelve sheep are delineated entering or approaching the gates in the flanking towers.

"Paulinus, bishop of Nola," (in his epistle to Severus, bishop of Milevis, in Africa) . . . "speaks of a mosaic picture on the roof of the apse of his church, on which was represented, inter alia, a Cross surrounded with a Corona,' a circle of light, to use his own words, and round about this Corona the figures of twelve doves, emblematic of the twelve Apostles. Beneath this picture was the following inscription, descriptive of its meaning:

'Pleno coruscat Trinitas mysterio :

Stat Christus agno; vox Patris caelo tonat;

Et per columbam Spiritus Sanctus fluit,

Crucem corona lucido cingit globo,

Cui coronae sunt corona Apostoli,

Quorum figura est in columbarum choro.'

A representation of the Twelve, nearly answering to this description, forms the frieze of an early sarcophagus preserved in the Museum at Marseilles."-Rev. W. B. Marriott, in Dict. of Christ. Antiq.

Matt. x. 16.

doves, generally accepted as signifying the twelve apostles-the twelve chosen witnesses of the Cross. The student of Christian symbolism must, however, bear in mind that the dove has been employed as the symbol of the Holy Ghost, and that a group of doves has been frequently introduced by middle-age artists as indicative of the gifts of the Holy Spirit. Seven doves were usually employed for the latter purpose, but a lesser number is occasionally met with, as in a nave window of the thirteenth century in Chartres cathedral, where six doves in aureoles surround a centre aureole containing a figure of our Lord, and held by the Virgin; and in the north transept rose window of the same cathedral, four doves are introduced along with the figure of Christ. From these facts it will be gathered that unless twelve doves are represented together it will be unwise to accept them as the emblems of the apostles. (See Dove.)

Letters have also been used by the primitive artists as emblems of the apostles, probably with the desire to avoid a too obvious allusion to the Faith. One remarkable example of this practice has been found on the walls of the Callixtine catacomb; it consists of an inscription, in the centre of which are two forms, one semicircular and the other angular (▲), most probably a rude rendering of a monogram formed of the alpha (A) and omega (), which, in this instance, is intended as a symbol of Christ. On each side of the monogram are arranged in a row six alphas, representing the twelve apostles, the alpha being the initial of 'Amoroλos.

On the early sculptured sarcophagi we find the primitive mode of representing the apostles in the human form; they appear as twelve men, accompanied by the emblematic sheep, but presenting no distinctive characters to individualise them one from another, and arranged on either side of a central figure representing our Lord. In works of rather later date they are depicted as aged men, standing in a line or seated on thrones on either side of the figure of Christ, and each carrying in his hands a volumen or scroll, a codex or folding book, or a corona or wreath of leaves, the crown of Victory in the Faith. Sometimes they are individualised by having their respective names inscribed near them.

At what exact period artists abandoned monotony in the representation of the Twelve, and sought to impart individuality to each apostle by essaying portraiture based on traditional description it is difficult to decide. The Greek artists, however, appear to have been before those of the Latin Church in such essays, for about the end of the eighth century the art of the Greek Church had reached its culminating point; and the modes of representing the apostles, as well as every other personage belonging to its iconography, were fully defined, and have not, in any essential feature, been altered up to the present day. It is this latter fact which imparts so much importance to the work on Greek painting which we have so frequently referred to and quoted in the preparation of our Dictionary. This work is a manuscript written by a monk of Mount Athos, named Penselinos, in the eleventh century, and entitled Ερμηνεία τῆς ζωγραφικής, or Guide to Painting. Its contents have been made available to western artists