MONUMENTAL THEOLOGY designates the scientific study of theological opinion and feeling as unconsciously expressed in works of art. While, in written language, thought is presented by the discursive faculty in elements which are gradually appre hended, a work of art, as a completed object existing in space, may produce at once its grand impression on the mind. But as the Christian church took its rise in the midst of Judaism nail of heathen worship, and as its first members had been trained under the influ ence of one or both of these conflicting systems, Christian monuments as well as early church doctrine and practice often present a mixed character. In the progress of the church it was also frequently attacked by errors within and hostile influences without, the effect of which would be exhibited in its works of art. A complete consideration of monumental theology, would, therefore, require careful attention to these modifying agen cies as they show themselves in works of art. The principles of Christianity, from its origin to the present day, have influenced human art as well as thought and life. While this influence has sometimes been disastrously exerted, it has generally been in some degree beneficial. After the revival of classical learning and the infusion of new elements into modern life, art was indeed partly liberated from that subjection to the church which in the middle ages had been complete. Yet it must always find its noblest inspiration in Christian themes. Consequently its monuments may be expected to exhibit much of the Christian thought and feeling of each successive age. Hence recent writers on theologi cal encyclopmclia continue the study of Christian monuments to the present time. Piper.
he.chief advocate of this method of collateral theological study, presents the following classification of its themes: 1. Of the essential nature of Christian art-1. Of the art faculty. 2. The artist. 3. Works of art. II. History of Christian art and art-works 1. Chronology and geography of art. 2. The various species of art. 3. Art monuments. 1II. Christian art ideas-1. In architecture. 2. In the graphic arts. For theological Purposes this last is the principal division, and to illustrate it the others are chiefly pre lhninary. Architecture furnishes to this department much less than painting and sculp ture. Biblical subjects are found represented in works of art through all periods of church history. The Biblia Pauperunt, Bible of the poor, for example, consisted of 40 or 50 pictures giving the events of the life of Christ and some of the Old Testament times; each picture bad a Latin text or sentence. A larger work with the text in thyme was called the Mirror of Salvation. Before the reformation these were the chief text-books in use, espeCially by the monks in their preaching, and were practically all the Bible which the laity and even many of the clergy knew. The pictures were copied in sculptures, iu paintings on walls and on glass, and in altar-pieces. And after the invention of print ing the Biblia Pauperum was perhaps the first book printed in Germany and Holland, first with wooden blocks and then with types. While monumental theology is an inter esting and to some extent useful collateral study, its claim to an independent scientific treatment is denied by many eminent authors, and must be regarded, at best, unde termined.