Ar01100

The most inelegant shape met with is that of a perfecfc square , while the oblong , or oblong square , as some will have it , is , in my estimation , but little better . Fig . 6 represents who is

Gregory IV , offering to God the ' church of St . Mark , whicli he built A . D . 828 . 1 have purposely omitted every thing but the head , as I have no time

i . Pla ' m double triangle nimbus . to make drawings of the whole area H ( io . figures that are attached to these

examples . There is also another example of an oblong nimbus , iu which Pope Pascal is represented . This is of the ninth century , and is in mosaic , in the church of St . Ceciliaat Borne . Pope Libertas

, was also represented in the thirteenth century with a square nimbus . The rectangular nimbus iu found

. -,. itar nimbus ajopotnts . on val . ' lms f vescoeB 0 lt l enamels ,

ancient mosaics , & c , in Italy—in fact , it is peculiar to fche papal states , ancl has never beenfound in Greece , Germany , Spain , or England . It is employed in Italy in various ways , sometimes a thickness being given to ifc as though it

were solid ; at other times divided into leaves , as though it were the top of a table . The square was held inferior to fche circle by Pythagoras , ancl the

neo-Platoe . square nimbus . Ninth lusts . According to them the square Century . was a gCometrieal , symbolic figure , employed to designate the earth ; the circle was the symbol of heaven . The circle , a square perfected ; the square , a broken circle . The square nimbus always implies the person fco be living

when the drawing was made . It was always kept to men celebrated for sanctit y , and was of this shape in order to preserve the hi gh position due to departed saints . The quadrature of the nimbus thus gives us a clue to the date of manuscripts and monuments of art , all which must have been executed during the lifetime , of the person so represented .

The square nimbus has nevertheless been sometimes given to God , a matter very difficult to explain , for why should the Creator in any circumstance have an attribute which belongs solely to the living mortal , and this living mortal being held as inferior to a dead saint ! In some of the few cases that may be met with , however , there is a slight , though a very slight distinction , inasmuch as the sides of the square are

made concave , as in Jig . 7 , which is taken from an illuminated Italian manuscript of the fourteenth century , and representing the first of the three Persons of the Trinity . There is also another peculiarity which in some little measure distinguishes this from the ordinary square nimbus , aud that is that it is placed at an ansle instead of

¦ 7 . Snuareuimims with concave sides , upon a base line , thereby somewhat resembling a nimbus formed entirely of rays of light , which will be noticed presently . In a mosaic of the thirteenth century , in the church of San Giovanni in Laterano , is a perfectly square nimbus round the head of God the Father ; but this is placed angularl y also . Raphael also , in the Vatican , has represented God in a square nimbus , with concave as well as straight sides . In Pvonie a mosaic still exists , in

which the square nimbus is enclosed in a circular one , as

shown in Ji g . 8 . This union can be readily understood—the circle being emblematical of " eternity , " aud the square signifying "life ;" the result of the combination must | therefore necessarily be that God is

eternal , ever living , signify ing the past as well as the present ancl the future— " . Ego sum , c [ ui esl , el qui cral , el qui venlurits est . The hexagon nimbus is peculiar

s . square nimbus with conciwc also to the Italians , and is chiefly side within a ring . applied to the personification of the theological ancl cardinal virtues . The signification of this is purely allegorical , and it is employed to convey a mystical meaning . Among the figures distinguished by this form , may be mentioned those in the vaulting over the altar of the church of Assisithe paintings in the choir of San Francesco

, at Pisa , and in the gates of the Baptistery at Florence . In Italy , where Christian monuments are so abundant , there were a great variety of forms given to this feature ; but in the west alone did they keep to the circular form .

A very unusual nimbus is found in a Latin manuscrip t of the ninth century , attached to a bishop . It is that of a roll of j ^ archment partly unfolded . This is peculiar to Italy ; indeed , like the square nimbus , no example has yet been

illustrated from any other country . The whole of the examples of the nimbus above given ( with the exception of the triangle and stars , which have

o . Square nimbus in shape vf rays springing from behind ) , are devoid a roil of parchment . of raya 0 f light ; but there are others which are peculiarly distinguished by these rays in fact , formed , solely by them . They form in consequence a distinct species , and sometimes take the circular triangular , square , or cross shape . In a thirteenth century miniature , we find an example of a circular nimbus , the field of which is ornamented by three rays of light , each ray consisting of three lines , aud all projecting beyond the circumference of the circle , the centre line

being the most elongated . This figure ( fig . 10 ) may be deemed a transitional one , being that in which the first attempt at radiation is made ; and this with the

_ evidentinteution of forming a cross , the emblem of the secondperson in the Trinity , These rays diverge from the centre , are contracted at the base , and become broad

in . Transitional nimbus . ancl open at t ] ie extremities . In some examples the rays stop short of the circle , and thus lead to a different form of nimbus , which partakes more nearly the character of a Greek cross .

Daisies.

DAISIES .

" These flow'res Avhite ancl red , Such that , men callen Daisies in our town ; To them have I so great affection , As I said erst , when coinen is tlie May , That in my bed there claweth me no clay That I n ' am up and walking iu the mead To this flow ' agahrt the

see r sunne spread , ' When it upriseth early by the morrow ; That blissful sight softeneth all my sorrow ; So glad am I when that I have presence Of it , to doen it all ' reverence . CHAUCER .