studied its symbolism during the 12th century; whereupon M. de Barthelemy presented some drawings of Christ and of the Byzantine doorway at Bourg-Argental. The sitting then terminated by a report from the administrative council of the 3rd of September, and the appointment of the following gentlemen as divisional inspectors of monuments, viz., M. V. Simon for Metz; M. Commarmond for Lyons; M. V. Baille of Besançon for the Jura; and M. Hubert of Charleville for the Ardennes.
On the 7th of September the Society went down the Rhone to visit Vienne, M. de Lorme the conservator of the museum conducting them to the several subjects of peculiar archæological interest there. Of these however, not noticing those described in guide-books, we have only space to mention—a chapel of Greek-cross form; a circular Byzantine building with a dome on a circular series of columns; a singular mosaic-like insertion of bricks into the stone-work of its early churches; a window-arch (bearing the date 1152) springing from columns based on couchant lions; and a flying buttress of the twelfth century; the symbolic statuary of the cathedral with its ancient tombs and mural inscriptions, and marble lining set in red cement; besides the many Roman remains yet existing in this capital of the Allobroges.
On the 9th of September the Society inspected the cathedral of Lyons under the guidance of his excellency the cardinal, who pointed out as especially worth notice, its several symbolic bas-reliefs, the red cement we have seen at Vienne, and a beautiful marble primatial chair of the twelfth century.
At the meeting of the 13th of September, which took place in the townhall, (many members of the 'Congres Scientifique' having joined the Society,) M. de Caumont with the purpose of comparing the phases of Christian art in the province where they were then assembled, and of shewing also to its inhabitants its state in other provinces of France, exhibited a large collection of architectural prints and drawings. He then, after having alluded to symbolism generally, drew attention to the mermaids on the tympanum of the churches at Puy and Autun, and others, and to the mode of representing the seven deadly sins. On which M. Branche cited many sculptured capitals in Auvergne, and one especially at Mirat, from which it appeared that these sins were indicated by attaching to that part of the body in which the peccant humour was presumed to reside, the toads and snakes represented as devouring it; that thus by surrounding the head, for instance, with such reptiles, the sin of pride was designated; while if about the heart, envy and malice; if about the hands, avarice; and if about the feet, idleness &c. M. de Caumont then drew attention to the figures of the Sagittarius and Capricorn which are of such frequent occurrence; Samson conquering a lion; and other symbols, yet more inexplicable.
M. de Caumont then remarked, as to the various modes of representing Christ, that His nimbus is always of crucial form, whereas that of the saints is not. He stated also that about the middle of the thirteenth century the apocalyptic animals were replaced on the tympanums of churches by angels.
