It is now our intention to attempt a brief sketch of the history of symbolism, confining ourselves to its rise, progress, and decline in England. For of its earlier development we have already had occasion to speak, both in the first and in the eighth chapter, when we referred to its use among the primitive Christians, and to such particulars of information as could be gained concerning it from the later fathers, and from mediaeval authors. Among all nations the facts of Christianity have been received before its doctrines. The inhabitants of a heathen country are first called on to believe, as matter of history, that our Blessed Lord was conceived by the Holy Ghost, born of the Virgin Mary, suffered under Pontius Pilate, was crucified, dead, and buried, before any attempt is made to set before them the doctrine of the Atonement, the mystery of the Trinity, or the compatibility of God's foreknowledge with man's free action. And it is in the infancy of individuals, as in that of nations. We may therefore, from all analogy, conclude, that the things set forth in the earlier development of church art would be facts rather than doctrines. {cxx} Now, if we look to Norman buildings, we shall find this to be the case. Excepting the doctrine of the Holy Trinity (which, after all, perhaps rather ranks, through all the stages of Christian art, under the head of essential, than under that of intended symbolism), we shall find an almost exclusive reference to history, in arrangements and details. That God was the Creator of heaven and earth, is set forth in door mouldings, and capitals, sometimes by the heavenly constellations or signs of the zodiac, sometimes by the animals brought to Adam to be named, sometimes by the references to agriculture, which, as we have before seen, often occur. The Incarnation of our Saviour is set forth, as it has been already hinted, by representations so physical and earthly, as to be to our eyes almost profane. The Fall of Man, which appears on the sides of fonts, well reminds us of that stain which must be washed away in Holy Baptism. A great many of the events of our Lord's life are sculptured in various positions: above all, of course, His Passion. Again, duties are symbolically represented, so in the chancel arch of Egleton, Rutland, we have the figure of a deacon ringing a bell; doubtless to remind the worshippers of the duty of attending God's house. And a still more practical method of representing the evil consequences attending the breach of duty, and one which speaks much of the rudeness of the age, is where some local event well-known at the time of the erection of the church, finds a commemoration in it. Thus (though at a later epoch) among the capitals of the south transept of Wells cathedral, the architect has represented a theft, which doubtless, at the time, had made a considerable noise in that place. In the first group, a man is seen stealing apples; then follows the