The twelfth century was clearly much given to symbolism and allegory, as shown in apocalyptic commentaries and similar works. A very remarkable "Apocalypse" is that in the library of the Marquis d'Astorga. The latter is remarkably rich in pictures, which have been described by M.A. Bachelin of Paris. The drawing in these pictures reminds one of the bas-reliefs of the campaigns of Hadrian and Trajan and other work of the early Roman centuries. One hundred and ten miniatures of uncommon interest constitute the illustrations, many of which are perfect curiosities of symbolism, depicting not only the four figures of the evangelists, but the mysteries of the seals and vials, serpents, beasts, etc., on yellow, red, green, blue, and brown backgrounds. The draperies in some of the miniatures show Byzantine teaching, but with the grandiose style of the early Roman times. The MS. it might be compared with of the twelfth century is the "Hortus Deliciarum" of the Abbess Herrade. This latter MS., which unfortunately was burnt with many other treasures during the siege of Strassburg by the Germans in 1870, was a veritable treasury of mediæval customs, furniture, and costumes, illustrating a medley of encyclopædic information for the use of the nuns and secular students of the Abbey of Hohenburg in Alsace. The good abbess called her book a "Garden of Delights."
It is known that it dated from 1159, as that date and also the date of 1175 occurred in its pages. We do not know whether the authoress was also the illuminatrix, but at any rate she directed the illumination. Their style is of the same type as that of the Apocalypse just spoken of, somewhat monumental as figures of the Liberal Arts, allegorical figures of the virtues and vices, and the syrens as symbols of sensual temptation. There was a figure of the Church riding upon a beast with the four heads of the evangel-symbols--the sun and moon in chariots as in the classical mythology, and scenes of warfare, marriage festivities, banquets, everything indeed depicting the life of contemporary persons.[28] The drawing and treatment generally is of no very skilful kind--the colouring bright and in body-colour. Draperies as usual much folded and fluttering, and the heads generally of the calm expression of the later French school, but the action sometimes very spirited.