But that the whole canon has immediate reference to the literal delineation of the mode and manner of Christ's passion, will be apparent from the concluding sentences, which expressly set out that the object of the change which it enjoins is to bring more vividly before our minds the incarnation, suffering, and _death_ of the Saviour, by the full contemplation of the depth of _humiliation_ attendant on it: "Δι' αὐτοῦ τὸ τῆς ταπεινώσεως ὕψος τοῦ Θεοῦ λόγου κατανοοῦντες, καὶ πρὸς μνήμην τῆς ἐν σαρκὶ πολιτείας τοῦ τε πάθος αὐτοῦ καὶ τοῦ σωτηρίου θανάτου χειραγωγούμενοι, καὶ τῆς ἐντεῦθεν γενομένης τῷ κόσμῳ ἀπολυτρώσεως, κ. τ. λ."--_Ib._ MANSI, v. xi. p. 979. How this impression of the "_humiliation_" and "_suffering_" of Christ's _death_ could be conveyed otherwise than by a literal delineation of its incidents, I cannot well see. And, indeed, of many authorities who have recorded their opinion on the effect of this canon of the Quini-sextile council, W. DN. is the only one who expresses a doubt as to its direct reference to the cross and the crucifix. Both the historians of the church, and those who have treated of the history of the Arts in the Middle Ages, are concurrent in their testimony, that it was not till immediately after the promulgation of the canons of the Council in Trullo that the use of the crucifix became common in the early churches. This fact is recorded with some particularity by Gieseler, in his _Compendium of Ecclesiastical History_, sect. 99. note 51.; and Emeric-David, the most laborious and successful explorer of historical art of our time, in describing the effect upon the Fine Arts produced by the edict of the council, adverts to the 82nd canon more than once, as directing the delineation of the Saviour _on the cross_: "La fin du 7me siècle et le commencement du 8me présentent deux événements de la plus haute importance dans l'histoire de la peinture. Le premier est la révolution opérée par le décret du concile de Constantinople appelé le concile _quinisexte_ ou _in Trullo_, et célébré en 692 A.D., qui ordonna de préférer la peinture historique aux emblèmes, et notamment d'abandonner l'allégorie dans la représentation du crucifiement de Jésus Christ.... Ce fut après ce concile que les images de Jésus Christ sur la croix commencèrent à se multiplier." (_Histoire de la Peinture au Moyen Age_, par T. B. Emeric-David, Paris, 1842, p. 59.) "Lorsque le concile quinisexte ordonna de préférer la réalité aux images, et de montrer le Christ sur la croix, l'esprit d'allégorie, malgré ce décret, ne s'anéantit pas entièrement." (_Ib._ p. 32.) J. EMERSON TENNENT. London. YANKEE DOODLE. (Vol. iv., p. 344.)