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Plymouth Congregational Church, Chicago, 1882-87. He joined his son and daughter in missionary service in Japan, 1887-90. He published in Tamil, Liturgy of the Reformed Protestant Dutch Church (Madras, 1862); The Bazaar Book (1865); Sweet Savors of Divine Truth (1868); and Spiritual Teaching (1870; Eng. transl., 1870).

SCUDDER, JOHN: Missionary of the Reformed (Dutch) Church; b. at Freehold, N. J., Sept. 13, 1793; d. at Wynberg (7 m. s.e. of Capetown), Southern Africa, Jan. 13, 1855. He was graduated at the College of New Jersey, 1811; and at the College of Physicians and Surgeons, New York, 1815; and practised medicine until 1819. While in professional attendance upon a lady, he took up a tract entitled The Conversion of the World and his religious sense of duty was so impressed that he gave his life to missionary labor. After being licensed by the New York classis, he proceeded, under the American Board, to Ceylon, where he arrived 1820; was ordained there, 1821; established a hospital at Jaffnapatam; was foremost in organizing a college there, 1822; had an extensive revival 1824; and in 1836 with Miron Winslow was transferred to Madras, in order that he might print Scriptures and tracts in Tamil. In the first year they printed six million pages. Scudder fixed his residence at Chintadrepettah, near Madras, and thus, under his attention, there grew up the Arcot mission, which was received under the care of the American Board in 1852, and of the Reformed (Dutch) Church the next year. He was in America, 1842-16, in the interest of foreign missions. In 1849 he was in the Madura mission, and with this exception all his energies were given to the Arcot mission. His health gave way in 1854, and he went to the Cape of Good Hope, where, upon the point of returning to India, he was stricken by apoplexy. He was incessant in his heroic labors, given much to Evangelistic itinerancy. It is remarkable that his eight sons, two grandsons, and two granddaughters have been members of the Arcot Mission. He published Letters from the East (Boston, 1833); Letters to Pious Young Men (1846); and Provision for Passing over Jordan. (New York, 1852).

BuHLzooRAPHY: J. B. Waterbury, Memoir of Rev. John Scudder . . . Thirty-six Years Missionary in India, New York, 1870; W. B. Sprague. Annals of the American Pul pit, vol. ix., ib. 1873; E. T. Corwin, Manual of the Reformed Church in America, pp. 716-720, 4th ed., ib. 1902.

SCULLARD, scvl'ard, HERBERT HAYES: Congregationalist; b. at Belper (7 m. n. of Derby), England, July 4, 1862. He received his education at Pembroke House School, Lytham, Lancashire, Lancashire Independent and Owen's Colleges, Manchester, St. John's College, Cambridge (B.A., 1888; M.A., 1891); and London University (B.A., 1883; M.A., 1885; B.D., 1904; D.D., 1907); was minister of York St. Congregational Church, Dublin, 18901896; and of Howard Congregational Church, Bedford, 1897-1907. Since 1907 he has been professor of church history, history of Christian ethics, and of religions in New and Hackney Colleges, London University. In theology he is an Evangelical. He has written: St. Martin of Tours (Manchester, 1891) ; John Howard (London, 1899); Early Christian

Ethics in the West (1908); and contributed an essay to Christ and Civilization, issued by the National Free Church Council (1910).

In the artistic life of the Church and of Christianity Painting and Architecture (qq.v.) took precedence of sculpture.* In the Middle Ages the plastic arts were an adjunct of architecture; in the preceding epochs under the influence of the antique their position was freer but less independent. The Renaissance first set forth new views of art and gave to the other branches their equal rights. In the primitive Church and even in the Middle Ages the development of sculpture, especially in statuary, was hindered by its old association with idolatry. So in the early period, where the plastic art appears, it is limited to relief forms.

I. The Early Christian Period: Christian work of this sort in the early period worked most upon sarcophagus relief and ivory. The peculiar history of the sarcophagus began with the fourth century, when new forms of burial were sought. In the churches and the cemeteries above ground, then becoming more numerous, the stone coffin found its use, and numerous exemplars come from the central points of Rome, Ravenna, and Arles. On the front of the sarcophagus, seldom on the other sides, in high relief are portrayed Biblical events, generally in historical sequence, though sometimes freely arranged. Usually the series is arranged without pillars, trees, and the like separating the different scenes. Often, after the ancient fashion, the portrait of the deceased was worked into the fabric of the relief. Western art showed inclination for human figures, the Hellenist-oriental preferred animal and plant forms. While there was a general uniformity, individual tendencies showed themselves locally. Recent discovery has made clear in Hellenistoriental work a commingling of Syrian and Egyptian elements in varying proportions; this field far surpasses in artistic worth the western-Latin sculpture on the sarcophagi. The leading position of Byzantine art appears particularly in ivory carving, emanating from Byzantium, Antioch, and Alexandria as the principal centers; facility in execution best shows itself in copies of work from the fourth to the sixth centuries. There is an inner connection with the antique; in conception, execution, and content, the graceful naturalness of Hellenistic art lived on in ornament. The variety of objects is large, these being found as diptychs, chests for sacramental or secular use, medallions for the adornment of episcopal chairs, figurines, and the like. For work in wood the relief on the door of the St.

* .. Scare .. and " plastic art " as used in this article include carving as well as works which ordinarily go under those terms.