o. The third division has reference to art-creation. An art-work prcsup])oses a material as well as an idea. Each is to be examined by itself, as well as in its com- bination in the production of a work of art. On the one side is such a moulding of the material as to breathe into it a living soul, and create in it a spiritual presence. 'I'liis leads to the discussion of the laws of Technics. On the other hand, there is the projection of the idea into form— its embodiment in the material. This gives rise to (lucstions of art composition. This latter in- volves the laws of the grouping in space of art repre- sentations. The first ((uestion pertains to the concep- tion of the idea in space, to the successive stages of the transition from spiritual life to corporeity; or, accord- ing to the language of art, through what means, and by wliat law, art expresses thought and feeling. If we ex- amine painting and sculpture, we find this occurs in part direct/y througli historic composition ; in part, indi- rectl;/ through si/tnboiic composition. In symbolic rep- resentation, the entire visible world is laid under contri- bution to aid in this transition to the unseen. When this method is practiced, as in delineations within the sphere of the Churcl), such means are jierfectly legiti- mate. Hence arise tlie doctrines of Christian art sym- bolism, that occupies so wide a field, and, theologically considered, is of such vast significance.
Here is also naturally comiected a department to which no certain and well-defined position has hitherto been assigned (since notice has only been taken of it in
connection with the art archa?olog3' of classical antiq- uity) ; we refer to Christian areha?ological criticism and hermeneutics. This is the very reverse of art compo- sition : the latter treating of the transition from the thought and the person of the artist to the execution of his work ; the former leading from the art-work back to the thought, purpose, and cliaracter of the artist, and to the discovery of the circumstances under which the work was produced.
(II.) The second chief division of the subject — the history of art — treats of the different kinds of art. It remains an open question whether the subject of monu- ments shoidd be connected directly with this division of the subject or receive an independent treatment. Authorities are divided. To both, however, must there be a preliminary section that shall describe art as a whole in its chronolor/ical development. With this also is naturally connected an account oi the geographical dis- tribution of monuments. This would include a descrip- tion of those in situ, as well as of those that have been artificially distributed or gathered into art collections, both public and private.
(III.) The third division, that treats of art ideas, cor- responds in some extent to that which is embraced in the archieology of classical art, imdcr the head " Sub- jects of Formative Arts." For theological purposes this is the chief diflficulty, and to illustrate this all the other portions are preliminary and subordinate. Architect- ure, from its very nature, furnishes to this department but a meagre contribution, since here symbolism lias not a wide range or application. Much more co|)ious in materials are jiaintiiig and sculpture, inasmuch as since the l(5th century the liistory of images has been a sub- ject of theological literature.
For a methodical treatment of this subject we must carefidly observe the distinction between the histoiical course that the representation of images has generally taken (in which connection woidd be discussed the ques- tions what, by what means, and in what spirit such representation has taken place), and the content of such representation (in which latter case the whole range of image representation is to be canvassed and carefully estimated). This subject, being Christian in its nature, has reference partly to the sacred historj' in its entire extension with Church history, and partly to the super- sensuous subjects of faith, as well as the phenomena ' and motives of moral life. Hence would arise two fur- ther divisions, viz. 1, the monumental history of the kingdom of (uid; 2, monumental dogmatics and ethics. For the illustration of these two departments the whole wealth of momnnents that have been preserved would be useful, and their connection as well with the course of historj' as of dogma would be shown.
At this point would arise yet two other themes of discussion: (1.) The return from this range of Biblical representations to the text of the Holy Scriptures them- selves. Since the subjects of the Bible, in whole or in part, are found in numerous Avorks of art in all periods of the liistory of tlie Church, we are thereby fnrnislied a kind of translation and commentary of the same. Tliis ])ictorial representation frciiuently proves more impres- I sive than an oral or written exegesis, since the speaker or writer can pass by what is difficult in the Scri|iture3 or let it remain undetermined, while tlie artist cannot, but must bring whatever topic he treats distinctly before the perception of himself and others. As. therefore, the artist has to practice a most searching exegelical avo- cation, monuments of art are exceedingly rich original sources of information for the interpretation of the Word of God, and also for the related (piestions of Biblical in- troduction, viz. the doctrines of the canon and of linguis- tic usage. Here rests the claim of '•^lonumcntal Exe- gesis,"