The copy of it seen by Didron was one belonging to a
monk of Sphigmenou named Joasaph, who was himself a painter. It was
"loaded with notes added by himself and his master, which in course of
time would be incorporated, according to immemorial custom, in the
text." In this way, indeed, the Manual has grown to what it is at
present. A transcript of it may probably be found in every monastery
belonging to the Greek Church. Another monk named Macarios, also a
painter, had a fine copy of it laid open in his atelier, and his pupils
read from it in turn, whilst the rest painted according to its
directions. For the scheme itself we must refer the reader to the second
volume of Didron's _Christian Iconography_, p. 193. Unfortunately the
transcriber did not think it of sufficient importance or relevancy to
copy the first part, as being purely technical and dealing merely with
the art of painting. The scheme, therefore, only contains the part
relating expressly to iconography. It is to be regretted, too, that this
part also has been in some places considerably abridged, as dealing with
Greek art and martyrology more copiously than, it was thought by the
translator, would be interesting to English readers. There are numerous
good and reliable introductory works dealing with early Christian art,
besides the greater treatises to which the student who wants to pursue
this line of research shall be directed later on.
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