[84] See the epitaph from his tomb in S. Maria sopra Minerva in Rome, given by Savigny, Geschichte des Römischen Rechts, v. 571 sqq., who also gives a sketch of his life. With the work of Durandus, the Gemma animae of Honorius of Autun (Books I. II. III.; Migne 172, col. 541 sqq.) should be compared, as marking a somewhat earlier stage in the interpretation of the Liturgy. It also gives the symbolism of the church and its parts, its ministers, and services.
[85] Every article worn or borne by the bishop (or celebrating priest) has symbolic significance.
[86] All this (which is taken from Book IV. of the Rationale) is but the first part of the Mass. The maze of symbolism increases in vastness and intricacy as the office proceeds.
[87] Neh. iv.
[88] Matt. xix. 17.
[89] Many parts of the church have more than one significance. The windows were said before to represent hospitality and pity.
[90] Post, Chapter XXXV., I.
[91] The application of Vincent’s work to the sculpture and painting of a Gothic cathedral is due to Didron, Iconographie chrétienne, histoire de Dieu, Introduction (1843). Other writers have followed him, like Émile Male in his L’Art religieux du XIIIe siècle en France (2nd ed., Paris, 1902), to which the present writer is much indebted. It goes without saying, that the sources from which Vincent drew (e.g. the works of Albertus Magnus) likewise form a commentary upon the subjects of Gothic glass and sculpture, and may even have suggested the manner of their presentation.
[92] The opening verses of John’s Gospel account for this. Christ, or God in the person of Christ, is shown in Old Testament scenes as early as the fourth century upon sarcophagi in the Lateran at Rome.
[93] These subjects illustrated the series of events celebrated in the calendar of church services.