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Published online by Cambridge University Press: 22 October 2024
Parents are often heard to lament the lack of books capable of explaining the Bible to their children. There is a very obvious lack in this matter among Catholic books, but the deficiency is not restricted to Catholics. There are, of course, a certain number of picture books illustrating the life of Christ or episodes in the Bible, but they are generally prepared on the false assumption that the only sense of Scripture a child can grasp is the literal sense. Herein lies a serious fallacy, for the child’s mind is instinctively symbolic and metaphorical; the poet exists in the young mind long-before the philosopher is born in him, long before he can analyse the meaning of his signs and make-believe. But when an artist tries to give only the literal sense to the child he begins by painting Jews and Arab sheiks as they are said to have been at the time of Christ. He then goes on to apply certain aspects of the universal appeal of Christ to every individual with an almost complete univocity in which our Lord appears not only as a baby but also as a sailor boy and fighter pilot. And since Christ in this respect has to appear as the lowest common denominator among all these types of humanity he has to be robbed pictorially of any definite character. The ‘baby-Jesus’ style of art turns the Word Incarnate into a simpering doll, meant to represent the neighbours’ little Sally aged eighteen months without excluding cousin Tom who is two years older. The holy Child must be no more than an outline of round cheeks and chubby limbs in order to fit into it any child character one chooses.
1 The Bloomsbury Publishing Co. is not restrictcd to this form of publication. ‘The Story of Margaret Hallahan’ (1s.6d.) is a very readable little life of that holy foundress with a few quite attractive illustrations designed to interest some what older children than those for whom the ‘picture apostolate’ reaches. But in ‘Our Lady in England’ by Giles Black, O.P. (1s.6d.) the various English Madonnas of pilgrimage fame have also been robbed of much of their character in the illustrations. Browne and Nolan of Dublin have produced a Rosary in pictures, each mystery being represented by a separate, detached picture card. The introduction to these pictures (by J. F. Forde; 2s.6d.) states categorically that they are ‘degigned to stimulate imagination in the children of primary schools; and yet, the principle of the design is precisely this same literalism which will in fact stifle the imagination by the time the child leaves school.
2 The volumes are published by Casterman of Tournai and Paris under the general title of Le Bonne Nouvelle and are appearing also in Dutch and eventually in English.