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The floral symbolism of the great masters

Chapter 39: Transcriber’s Notes
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About This Book

The volume surveys the use of flowers and plants as Christian iconography in Western art, tracing how emblems evolved from early pictorial symbols to the richer visual language of later painters and mosaicists. Individual chapters analyze associations attached to specific blooms and fruits—lilies, roses, irises, carnations, palms, pomegranates, vines, strawberries, gourds and others—and show how botanical motifs signify virtues, divine mysteries, martyrdom, and salvation. Illustrated examples and gallery attributions accompany concise notes aimed at readers interested in theological meaning rather than formal criticism.

Transcriber’s Notes

Punctuation, hyphenation, and spelling were made consistent when a predominant preference was found in the original book; otherwise they were not changed. In particular, spelling variations in quotations of archaic text and poetry were not changed.

Simple typographical errors were corrected; unbalanced quotation marks were remedied when the change was obvious, and otherwise left unbalanced.

Illustrations in this eBook have been positioned between paragraphs and outside quotations. In versions of this eBook that support hyperlinks, the page references in the List of Illustrations lead to the corresponding illustrations.

The phrase “to face page” have been removed from the List of Illustrations and the caption area of the illustrations, as the illustrations are positioned within or adjacent to the pages referenced in the List of Illustrations.

The index was not checked for proper alphabetization or correct page references.

Footnotes, originally at the bottoms of pages, have been collected, renumbered, and placed after the Index.

A painter’s name is spelled “van Eyck” in most of this book, but as “van Eyke” on pages 279-281. Both variants have been retained here.