Publisher's Synopsis
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1917 edition. Excerpt: ... chapter xx The Annunciation It may at first seem hardly likely that a representation of the Trinity was intended in pictures of The Annunciation. Insomuch as God the Son was conceived by the Holy Ghost, it is somewhat difficult to localize God the Son, when God the Father is shown above, with the Dove proceeding from him to the Virgin. Mediaeval artists were, however, equal to this difficulty, and represented both God the Son and God the Holy Ghost, on the rays of light extending from the Father to the Virgin. In these pictures, God the Son is usually a diminutive figure bearing a cross, either preceding or following the Dove. Examples of this curious representation of the Trinity are to be found in the following pictures: (3) Domenico Panetti; (5) Px; (9) Ferrara, Gal. del 'Ateneo; (10) sc 204. (5) Ho; (9) Lilienfeld; (10) va v. (1) High Altar; (8) 1415-1425; (9) Liibeck, Marienkirche; (10) ka 201, 25. (1) Biblia Pauperum, Edition of P. Heitz. Strasburg, 1903. (1) Bomisch, Vesperale et Matutinale; (5) Mv; (8) End 14 C. or beg. 15C; (9) Zittau, City Library, Ms. A. i. Bl. 1; ms Kunstbeilage 244; (11) Ibid. 246. In most examples of the Annunciation however, God the Son is not represented. It is a question whether in some pictures God the Son is represented or not, by the Word, which is spread before Mary. This may seem a refinement of interpretation, but in all probability we shall not outdo the mediaeval artists and theologians in what they thought and tried to represent. A noteworthy example of the representation of the Annunciation, in enamel, is to be found in an exquisite triptych of the Metropolitan Museum, New York. Here the Book outspread before the kneeling Virgin, is all but in the vertical axis of the picture, with the Dove and...
