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.)

The subjoined song is copied from a Collection of English Songs in the British Museum (G. 310-163.). The Catalogue gives the conjectural date of 1775. In the History of the American Revolution (published by the Society for Diffusion of Useful Knowledge), p. 22., is an anecdote referring to Lord Percy having, in 1775, caused his band to play "Yankee Doodle" in derision of the Americans: but I infer, from the Earl of Carlisle's Lecture on his Travels in America, that it is now used by the Americans as their national tune.

YANKEE DOODLE; OR, THE NEGROE'S FAREWELL TO AMERICA.

The Words and Music by T. L.

1.

"Now farewell, my Massa, my Missey, adieu!