rion,' the epigonation,' and the crozier' for the bishop. The mitre is not used by the Greeks. The vestments in the Latin church are the amict or humeral, the alb (white cope or surplice), the cincture, the maniple,' the orarium or stole for the priest; the chasuble,' the dalmatic," the pectoral," and the mitre" for the bishop; the pallium for the archbishop. To these are to be added the episcopal ring and staff or crozier. These clerical vestments almost all appear to have been more or less in use before the seventh century, though only in public worship; it is impossible exactly to determine the age of each. The use of priestly vestments itself originated in fact 1 'Qμopópiov, corresponding to the Latin pallium (and so translated by Goar) but broader, and fastened about the neck with a button. • 'Emıyováriov, also úwoyovátiov, a quadrangular shield, reaching from the ( to the knee, and signifying, according to Simeon Metaphrastes, the victory over death and the devil. ''Páßdos, sceptrum. • The linen cloth which the priest, before celebrating, threw about his neck and shoulders, with the prayer: “Impone, Domine, capiti meo galeam salutis ad expugnandos diabolicos excursus." It is nowhere mentioned before the eighth century. It answers to the Jewish ephod. 'Alba vestis, tunica, camisia, the white linen robe which hangs from the neck to the feet. From the alb arose, by shortening, the surplice (superpelliceum, rochet tum; French: surplis; German: Chorrock), which is the ordinary official dress of the lower clergy. • Cingulum, balteus, zona, a linen girdle for gathering up the alb. Manipulus, sudarium, fano, mappula, originally a napkin, hung upon the left arm of deacons and priests, afterward only of bishops, after the Confiteor. • The stola is a linen vestment hanging from both shoulders. The pope wears the stole always; the priest, only when officiating. The council of Laodicea after 847 prohibited the wearing of it by subdeacons and the lower clergy. • Casula, planeta, the mass-vestment, covering the whole body, but without sleeves, with a cross behind and before embroidered in gold or fine silk. From the casula arose the pluviale, a festive mantle with a hood (casula cucullata), used in processions and on other state occasions. 30 So called from the place of its origin. It is an overgarment of costly material, similar to the casula, and worn under it. "The pectorale, crux pectoralis, is the breast-cross of bishops and archbishops, and answers probably to the breastplate of the Jewish high-priest. "The mitra, tiara, infula, birretum, is the episcopal head dress, after the type of the Jewish 2 (LXX.: Kidapis, Vulgate: tiara, mitra), originally single, after the eleventh century with two points, supposed to denote the two Testaments. in the Old Testament, and undoubtedly passed into the church through the medium of the Jewish Christianity, but of course with many modifications. Constantine the Great presented the bishop Macarius of Jerusalem a splendid stole wrought with gold for use at baptism. The Catholic ritualists of course give to the various massvestments a symbolical interpretation, which is in part derived from the undeniable meaning of the Jewish priestly garments,' but in part is arbitrary, and hence variable. The amict, fox example, denotes the collecting of the mind from distraction; the alb, the righteousness and holiness of the priests; the maniple, the fruits of good works; the stole, the official power of the priest; the mitre, the clerical chieftainship; the ring, the marriage of the bishop with the church; the staff his oversight of the flock. The color of the liturgical garments was for several centu ries white; as in the Jewish sacerdotal vesture the white color, the symbol of light and salvation, prevailed. But gradually five ecclesiastical colors established themselves. The material varied, except that for the amict and the alb linen (as in the Old Testament) was prescribed. According to the present Roman custom the sacred vestments, like other sacred utensils and the holy water, must be blessed by the bishop or a clergy man appointed for the purpose. The Greeks bless them ever before each use of them. The Roman Missal, and other liturgical books, give particular directions in the rubrics for the use of the mass vestments. In everyday life, for the first five or six centuries, the clergy universally wore the ordinary citizens' dress; then gradually, after the precedent of the Jewish priests' and Christian monks, exchanged it for a suitable official costume, to make manifest their elevation above the laity. So late as the year 428, the Roman bishop Celestine censured some Gallic priests for having, ■ On the Jewish sacerdotal vesture and its symbolical meaning, comp. BRAUN: Vestitus sacerdotum Hebræorum, Amstel. 1698; LUNDIUS: Die jüdischen Heilig thümer, pp. 418-445; BæнR: Symbolik des mosaischen Cultus, vol. ii. pp. 61–165. • The prevailing color of the ordinary Jewish priestly costume was white; that of the Christian clerical costume, on the contrary, is black. through misinterpretation of Luke xii. 35, exchanged the uni versally used under-garment (tunica) and over-garment (toga) for the Oriental monastic dress, and rightly reminded them that the clergy should distinguish themselves from other people not so much by outward costume, as by purity of doctrine and of life. Later popes and councils, however, enacted various laws and penalties respecting these externals, and the council of Trent prescribed an official dress befitting the dignity of the priesthood." 1 "Discernendi a cæteris sumus doctrina, non veste, conversatione, non habitu, mentis puritate, non cultu." Comp. Thomassin, Vetus ac nova ecclesiæ disciplina, P. i. lib. ii. cap. 48. Sess. xiv. cap. 6 de reform.: "Oportet clericos vestes proprio congruentes cr dini semper deferre, ut per decentiam habitus extrinseci morum honestatem intrinse cam ostendant." CHAPTER VIIL CHRISTIAN ART. $102. Religion and Art. MAN is a being intellectual, or thinking and knowing, moral, or willing and acting, and aesthetic, or feeling and enjoying. To these three cardinal faculties corresponds the old trilogy of the true, the good, and the beautiful, and the three provinces of science, or knowledge of the truth, virtue, or practice of the good, and art, or the representation of the beautiful, the harmony of the ideal and the real. These three elements are of equally divine origin and destiny. Religion is not so much a separate province besides these three, as the elevation and sanctification of all to the glory of God. It represents the idea of holiness, or of union with God, who is the original of all that is true, good, and beautiful. Christianity, as perfect religion, is also perfect humanity. It hates only sin; and this belongs not originally to human nature, but has invaded it from without. It is a leaven which pervades the whole lump. It aims at a harmonious unfolding of all the gifts and powers of the soul. It would redeem and regenerate the whole man, and bring him into blessed fellowship with God. It enlightens the understanding, sanctifies the will, gives peace to the heart, and consecrates even the body a temple of the Holy Ghost. The ancient word: "Homo sum, nihil humani a me alienum puto," is fully true only of the Christian. "All things are yours," says the Apostle. All things are of God, and for God. Of these truths we must never lose sight, notwithstanding the manifold abuses or imperfect and prema. ture applications of them. Hence there is a Christian art, as well as a Christian science, a spiritual eloquence, a Christian virtue. Feeling and imagina tion are as much in need of redemption, and capable of sancti fication, as reason and will. The proper and highest mission of art lies in the worship of God. We are to worship God "in the beauty of holiness." All science culminates in theology and theosophy, all art be comes perfect in cultus. Holy Scripture gives it this position, and brings it into the closest connection with religion, from the first chapter of Genesis to the last chapter of the Revela tion, from the paradise of innocence to the new glorified earth. This is especially true of the two most spiritual and noble arts, of poetry and music, which proclaim the praise of God-in all the great epochs of the history of his kingdom from the begin ning to the consummation. A considerable part of the Bible: the Psalms, the book of Job, the song of Solomon, the parables, the Revelation, and many portions of the historical, prophetical, and didactic books, are poetical, and that in the purest and highest sense of the word. Christianity was introduced into the world with the song of the heavenly host, and the con summation of the church will be also the consummation of poetry and song in the service of the heavenly sanctuary. Art has always, and in all civilized nations, stood in intimate connection with worship. Among the heathen it ministered to idolatry. Hence the aversion or suspicion of the early Christians towards it. But the same is true of the philosophy of the Greeks, and the law of the Romans; yet philosophy and law are not in themselves objectionable. All depends on the spirit which animates these gifts, and the purpose which they are made to serve. The great revolution in the outward condition of the church under Constantine dissipated the prejudices against art and the hindrances to its employment in the service of the church. There now arose a Christian art which has beautified and enriched the worship of God, and created immortal moniments of architecture, painting, poetry, and melody, for the edifica |