File:Monuments of the early church (1901) (14780400391).jpg

Identifier: monumentsofearly00lowr (find matches)
Title: Monuments of the early church
Year: 1901 (1900s)
Authors: Lowrie, Walter, 1868-1959
Subjects: Christian antiquities Christian art and symbolism Church architecture Church history -- Primitive and early church, ca. 30-600
Publisher: New York, The Macmillan Company London, MacMillan & Co.
Contributing Library: New York Public Library
Digitizing Sponsor: MSN

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ompaniment of the narrative and reflect its most minute incidents. The roll contains twenty-three illustrations; one cannot say separate illustrations, for they are not framed apart, but are so closely continuous that they constitute, as it were, a moving picture. For example, in Fig. 145 we have the story of Joshuas dealings with the men of Gibeon (Josh. ix. 3-27). Above at the left are the fraudulent ambassadors starting out with their old sacks and rent wine-skins and battered raiment, as though they had journeyed from a far country (vv. 3-5). Below they are presenting themselves to Joshua and the men of Israel (vv. 5-15); the city of Gibeon is personified above by the reclining figure with the horn of plenty. Between this and the next scenethere is an interval of three days; Joshua and the host have already reached the city of Gibeon (which appears on the right), and discovered the fraud of the ambassadors; he calls them before him and decrees the perpetual servitude of the
Text Appearing After Image:
The diverse fortune of Pharaohs butler and baker.
Fig. 145. — Miniatures from the Vienna Genesis. Fourth or fifth century.
Gibeonites to the Children of Israel (vv. 16-27). Figure 146 represents the return of Joshuas messengers from Ai (Josh. vii. 3). The illustration of a codex was manifestly more convenient; the miniatures might occupy a whole page, or be placed below the text, but in any case they constituted each of them a distinct and separate subject, and the artist was at liberty to select from the narrative such themes as pleased his fancy or suited his talent. The mosaics illustrating Genesis and Joshua in S. Maria Maggiore remind one of the Joshua Roll, but they are distinguished from it by the fact that they are framed in separate panels and each scene developed for itself. They follow the incidents of the narrative as closely and as undiscriminatingly as the Joshua Roll, but they could only have been copied fromthe miniatures of a codex. The Vienna Genesis is an example of an illustrated codex

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