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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..9f57f44 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,13 @@ +* text=auto +*.txt text +*.md text +*.htm text +*.html text +*.png binary +*.jpg binary +*.svg text +*.pdf binary +*.bmp binary +*.zip binary +*.midi binary +*.mp3 binary diff --git a/78921-0.txt b/78921-0.txt new file mode 100644 index 0000000..584104e --- /dev/null +++ b/78921-0.txt @@ -0,0 +1,9072 @@ +*** START OF THE PROJECT GUTENBERG EBOOK 78921 *** + + + + + Transcriber’s Note + Italic text displayed as: _italic_ + Bold text displayed as: =bold= + + + + +[Illustration: + + Photo. Alinari + + THE MADONNA DEL CARDELLINO.—RAPHAEL + (Uffizi, Florence.) +] + + + + + SACRED SYMBOLS + IN ART + + BY + ELIZABETH E. GOLDSMITH + + _With Fifty-three Illustrations_ + + _SECOND EDITION, REVISED AND ENLARGED + FOURTH IMPRESSION_ + + G. P. PUTNAM’S SONS + NEW YORK AND LONDON + The Knickerbocker Press + + + + + COPYRIGHT, 1911 + BY + ELIZABETH E. GOLDSMITH + + COPYRIGHT, 1912 + BY + ELIZABETH E. GOLDSMITH + (For Second Edition) + + [Illustration] + + Made in the United States of America + + + + +“Let him [the traveller] not trust to his impressions from his general +reading; there is nothing so treacherous; he may have general reading +enough to sink a ship, but unless he has a cargo taken newly on board +he will find himself tossing without ballast on those billowy slopes of +the Palatine, where he will vainly try for definite anchorage.” + +W. D. HOWELLS’s _Roman Holidays and Others_. + + + + +PREFACE TO THE SECOND EDITION + + +In preparing the first edition the author was strongly influenced by +the belief _qui trop embrasse, mal étreint_. She had in mind primarily +the traveller, who wants his information in a nutshell, is bored by +an explanation of something that explains itself, and bewildered and +confused by long and learned dissertations for which he has not the +time. Thus with a subject so overwhelmingly broad, and a book that to +be useful must necessarily be small, it seemed best to keep rigorously +to that which, in the writer’s opinion, would add the most essentially +to the intelligent enjoyment and appreciation of the more famous works +of Christian art—excluding the too obvious as well as the too remote. + +The book has been so cordially received by students and those other +than the traveller, that in this second edition a little additional +matter of more general interest has been added in an appendix, whereby +it is hoped that its value and usefulness will be increased. Certain +suggestions courteously and helpfully extended by some of the reviewers +have been included in this, and to them for their interest, the author +wishes to express her warmest appreciation and thanks. + + E. E. G. + + NEW YORK, February, 1912. + + + + +PREFACE + + +The visitor who frequents the art galleries and churches of Europe soon +learns to distinguish certain saints in a picture by certain symbols; +but unless he has a knowledge also of the meaning or story that is +conveyed by these symbols, the real beauty and significance of the +early works of art are lost. To arrive at this knowledge, however, +it is necessary to consult so many books that these become a serious +encumbrance to one, going from place to place. It is hoped, therefore, +that this handbook, designed for the use of the student and the +traveller, may supply a genuine need. + +A closer study into the meaning of the early works of Christian art +is only another outcome of the keen revival of interest in biblical +history that is everywhere manifesting itself to-day; and indeed one +cannot view those pictured stories of the past, those naïve and lovely +examples of an earlier faith, without a broadening sympathy that +finally deepens into tender reverence the more one comprehends. + +Believing that a clearer idea of the whole religious series of pictures +will be obtained, the subjects here considered are treated generically +rather than alphabetically. Thus, the symbols of the Godhead are given +first; then the symbols of the Archangels, the symbols and legends of +the Madonna, of John the Baptist, the Four Evangelists, the Apostles, +and the Four Latin Fathers, and after that follow the legends of +certain saints. + +The general symbols and what they expressed in religious art are given; +also when symbols were used as _emblems_, and when they were merely +_attributes_, and what characteristics or incidents in the life of a +saint they expressed. + +A considerable portion of the book is devoted to the symbols and +legends of the Madonna and what these were supposed to express in the +Church and in the life of Christ. The subjects of the historical and +devotional pictures in which she appears, with or without her divine +Son, are given as they come in their natural order. + +The book includes a brief description of the significance of colours as +employed in the early religious pictures, as well as an account of the +general plan of dress and arrangement that was followed, more or less +arbitrarily, by the artists of a given period. The monastic orders are +given and the habits worn by the members of the different orders are +described, who thus (by their dress) may be readily distinguished in +pictures. + +For use and reference in the galleries, an alphabetical list of symbols +is placed in the fore part of the book, followed by an alphabetical +list of all but the more obscure saints, with their distinguishing +emblems. Only the legends of the best known saints, who are constantly +found in art, have been touched upon, the aim being to bring together +in compact form only those facts and legends pertinent to Christian +art. No attempt has been made to locate or describe any of the famous +works of art, except as they are indicated under the illustrations, as +this has been well and ably done in the guide books of Baedeker, Hare, +and Grant Allen. + +In preparing this book the works of Mrs. Jameson, Didron’s _Christian +Iconography_, Lord Lindsay’s _Sketches of Christian Art_, and the +_Golden Legend_ in French and English have been largely drawn upon. + + E. E. G. + + NEW YORK, January, 1911. + + + + +CONTENTS + + + PAGE + + I + + SYMBOLS OF THE SAINTS 1 + + + II + + SAINTS AND SYMBOLS 30 + + + III + + HISTORICAL AND DEVOTIONAL SUBJECTS 64 + + How these may be distinguished in art. + + + IV + + GENERAL SYMBOLS 67 + + + V + + COLOURS AS EMBLEMS 76 + + What colours signified in early art, and how they were + associated with certain personages. + + + VI + + SYMBOLS OF GOD THE FATHER, THE SON, THE + HOLY GHOST, THE TRINITY 78 + + + VII + + THE SEVEN ARCHANGELS. THE THREE ARCHANGELS: + ST. MICHAEL, ST. GABRIEL, AND + ST. RAPHAEL 81 + + + VIII + + SYMBOLS AND ATTRIBUTES OF THE VIRGIN 86 + + Also the Seven Joys and the Seven Sorrows of the + Virgin, and the Fifteen Mysteries of the Rosary. + + + IX + + LEGENDS OF THE MADONNA AS REPRESENTED + IN THE HISTORICAL SERIES 91 + + These follow in regular sequence, beginning with the + Legend of Joachim and Anna; then the Nativity, + the Presentation, and the Marriage of the Virgin; + the Annunciation; the Visitation; the Sibyl Prophesying + to Augustus Cæsar the Coming of Christ; + the Nativity of Christ; the Adoration of the Shepherds; + the Adoration of the Magi; the Purification + of the Virgin; the Presentation and the Circumcision + of Christ; the Flight into Egypt; the Repose + of the Holy Family; the Dispute in the Temple; + the Death of Joseph; the Marriage at Cana; + the Procession to Calvary; the Crucifixion; the + Descent from the Cross; the Deposition; the Entombment; + the Apparition of Christ to His Mother + and to Mary Magdalene; the Ascension; the Descent + of the Holy Ghost; the Death and Assumption + of the Virgin; the Coronation of the Virgin. (How + the Coronation may be distinguished from the + Incoronata.) + + + X + + DEVOTIONAL REPRESENTATIONS OF THE VIRGIN + MARY 122 + + In these she appears as the Enthroned Virgin without + the child, as type of heavenly wisdom; L’Incoronata, + the type of the Church Triumphant; the Virgin of + Mercy, as represented in the Last Judgment; the + Mater Dolorosa, the Stabat Mater, La Pietà; the + Lady of the Immaculate Conception; the Virgin, + and Child Enthroned; the Mater Amabilis. + + + XI + + ST. JOHN BAPTIST 134 + + + XII + + THE FOUR EVANGELISTS 137 + + Giving their legends and attributes from the earliest + times. ST. MATTHEW, ST. MARK, ST. LUKE, ST. + JOHN. + + + XIII + + THE TWELVE APOSTLES 146 + + Their legends and attributes. ST. PETER and ST. + PAUL, ST. ANDREW, ST. JAMES MAJOR, ST. PHILIP, + ST. BARTHOLOMEW, ST. THOMAS, ST. JAMES MINOR, + ST. SIMON ZELOTES, ST. JUDE (THADDEUS or LEBBEUS), + ST. MATTHIAS, JUDAS ISCARIOT, ST. BARNABAS. + + + XIV + + ST. MARY MAGDALENE 169 + + + XV + + THE LAST SUPPER 175 + + + XVI + + THE FOUR LATIN FATHERS 177 + + Their legends and attributes. ST. JEROME, ST. AMBROSE, + ST. AUGUSTINE, ST. GREGORY. + + + XVII + + THE PATRON SAINTS OF CHRISTENDOM 191 + + Their legends and attributes. ST. GEORGE, ST. SEBASTIAN, + ST. CHRISTOPHER, SS. COSMO and DAMIAN, + ST. ROCH, ST. NICHOLAS OF MYRA, ST. CATHERINE, + ST. BARBARA, ST. URSULA, ST. MARGARET. + + + XVIII + + THE FOUR GREAT VIRGINS OF THE LATIN + CHURCH 223 + + Their legends and attributes. ST. CECILIA, ST. AGNES, + ST. AGATHA, ST. LUCY. + + + XIX + + LEGENDS OF THE SAINTS MOST FREQUENTLY + FOUND IN ART 234 + + ST. STEPHEN PROTOMARTYR, ST. LAURENCE, ST. + VINCENT, ST. ANTHONY HERMIT, ST. BENEDICT, + ST. BERNARD OF CLAIRVAUX, ST. FRANCIS OF + ASSISI, ST. CLARA, ST. ANTHONY OF PADUA, ST. + BONAVENTURA, ST. LOUIS OF FRANCE, ST. LOUIS + OF TOULOUSE, ST. BERNARDINO OF SIENA, ST. DOMINICK, + ST. PETER MARTYR, ST. THOMAS AQUINAS, + ST. CATHERINE OF SIENA. + + + XX + + THE MONASTIC ORDERS, AND THE HABITS BY + WHICH THEY MAY BE DISTINGUISHED 275 + + APPENDIX 281 + + INDEX 293 + + + + +ILLUSTRATIONS + + + PAGE + + The Madonna del Cardellino (Raphael). _Uffizi, + Florence_ _Frontispiece_ + + The Baptism of Christ by St. John (Verrocchio). _Academy, + Florence_ 79 + + The Three Archangels and Tobias (Botticelli). _Academy, + Florence_ 82 + + The Presentation of the Virgin in the Temple (Titian). + _Academy, Venice_ 93 + + The Annunciation (Botticelli). _Uffizi, Florence_ 97 + + The Visitation (Albertinelli). _Uffizi, Florence_ 99 + + Sibyl Prophesying to Augustus Cæsar the Coming of + Christ (B. Peruzzi). _Church of the Fontegiusta, Siena_ 101 + + The Adoration of the Shepherds (Ghirlandajo). _Academy, + Florence_ 104 + + The Adoration of the Magi (Botticelli). _Uffizi, Florence_ 106 + + Repose of the Holy Family—“Madonna del Sacco” + (Andrea del Sarto). _Church of the Annunziata, + Florence_ 111 + + The Crucifixion (Perugino). _Convent of Santa Maria + Maddalena dei Pazzi, Florence_ 115 + + The Saviour Appears to Mary Magdalene—“Noli me + tangere” (Lorenzo di Credi). _Uffizi, Florence_ 117 + + Coronation of the Virgin (Fra Filippo Lippi). _Academy, + Florence_ 123 + + The Madonna Crowned (Botticelli). _Uffizi, Florence_ 124 + + The Madonna Enthroned (Filippino Lippi). _Uffizi, + Florence_ 127 + + The Virgin and Child (Fra Filippo Lippi). _Pitti, Florence_ 129 + + The Madonna del Granduca (Raphael). _Pitti, Florence_ 131 + + The Adoration of the Child (Perugino). _Pitti, Florence_ 133 + + John the Baptist in the Desert (Titian). _Academy, + Venice_ 135 + + Christ and the Four Evangelists (Fra Bartolommeo). + _Pitti, Florence_ 139 + + Madonna of the Harpies with St. Francis and St. John, + Evangelist (Andrea del Sarto). _Uffizi, Florence_ 143 + + St. Peter Baptising (Masaccio). _Brancacci Chapel, Santa + Maria del Carmine, Florence_ 149 + + St. James Major (Titian). _Church of S. Lio, Venice_ 155 + + La Disputa della Trinità (Andrea del Sarto). _Pitti, + Florence_ 171 + + The Last Supper (Ghirlandajo). _Ognissanti, Florence_ 175 + + St. Augustine and St. Jerome (Crivelli). _Academy, Venice_ 179 + + St. Ambrose (Borgognone). _Certosa, Pavia_ 181 + + St. Augustine at School (Benozzo Gozzoli). _Church of San + Agostino, San Gimignano_ 185 + + Miracle of the Brandeum (Andrea Sacchi). _Vatican, + Rome_ 189 + + St. George (Donatello). _The Bargello, Florence_ 192 + + St. Sebastian (Sodoma). _Uffizi, Florence_ 195 + + St. Christopher (Giovanni Bellini). _Church of SS. Giovanni + e Paolo, Venice_ 197 + + An Episode in the Life of St. Cosmo and St. Damian (Fra + Angelico). _Academy, Florence_ 201 + + Four Saints.—St. Roch, St. Sebastian, St. Augustine (?), + St. Bernardino of Siena (Carlo Crivelli). _Academy, + Venice_ 202-203 + + St. Nicholas (Titian). _Church of San Sebastiano, Venice_ 207 + + St. Catherine (Lucas Cranach). _Dresden Gallery_ 209 + + St. Barbara (Lucas Cranach). _Dresden Gallery_ 212 + + Detail from the Martyrdom of St. Ursula (V. Carpaccio). + _Academy, Venice_ 215 + + St. Margaret (School of Correggio). _Dresden Gallery_ 221 + + St. Cecilia (Carlo Dolci). _Dresden Gallery_ 224 + + St. Agnes (Spagnoletto). _Dresden Gallery_ 227 + + Santa Lucia (Carlo Dolci). _Uffizi, Florence_ 231 + + St. Anthony with the Fire (Palma Vecchio). _Church of + S. Maria Formosa, Venice_ 239 + + St. Benedict (Hans Memling.) _Uffizi, Florence_ 245 + + The Madonna Appearing to St. Bernard (Filippino Lippi). + _Church of the Badia, Florence_ 249 + + St. Francis (Simone Martini). _Church of S. Francesco, + Assisi_ 251 + + St. Clara (Simone Martini). _Church of S. Francesco, + Assisi_ 255 + + St. Anthony (School of Giotto). _Basilica of S. Antonio, + Padua_ 257 + + St. Bonaventura (A. Bronzino). _Academy, Florence_ 261 + + St. Dominick. Detail from the Crucifixion (Fra Angelico), + _San Marco, Florence_ 267 + + St. Peter Martyr (Fra Angelico). _San Marco, Florence_ 269 + + St. Thomas Aquinas (Fra Angelico). _San Marco, Florence_ 271 + + St. Catherine of Siena (Vanni). _Church of San Domenico, + Siena_ 273 + + A Vallombrosan Monk (Perugino). _Academy, Florence_ 276 + + + + +SACRED SYMBOLS IN ART + + + + +Sacred Symbols in Art + + + + +I.—SYMBOLS OF THE SAINTS + + + ANCHOR in his hand, or at his St. Clement, Martyr, A. D. + side, or suspended around 100. Third Bishop of + his neck. Pope’s or Bishop’s Rome. + robes. + + ANCHOR. Three balls, or three St. Nicholas of Myra, A. D. + purses. Three children in a 326. Patron saint of Russia, + tub. Bishop’s robes. Ship. Venice, and Freiberg, of + children, sailors, travellers, + etc. + + ANGEL or man. Purse, or bag St. Matthew, Apostle and + of money. Book. Pen and Evangelist, Martyr. + ink-horn. + + ANGEL. Organ. Musical instruments. St. Cecilia, Virgin Martyr, + Crown of red A. D. 280. Patron saint of + and white roses. Palm. music and musicians. + Scroll of music. + + ANGEL holding a book. Benedictine St. Francesca Romana, A. D. + habit. 1440. + + ANGEL holding basket with St. Dorothea of Cappadocia, + apples and roses. Crown. Virgin Martyr, A. D. 303. + Palm. Sometimes roses in + her hand or crowned with + roses. + + ANGEL with flame-tipped arrow. St. Theresa, A. D. 1582. Patron + Dove. Carmelite saint of Spain. Founder + habit. Heart with I. H. S. of the Scalzi, reformed + Lily. Crucifix. Carmelites. + + ANGEL with two captives. St. John de Matha, A. D. + Fetters in his hand, or at 1213. Founder of the + his feet. White habit. Trinitarian Order for the + Blue and red cross upon redemption of captives. + his breast. + + ANGEL with pyx. Franciscan St. Bonaventura, A. D. 1274. + habit. Cardinal’s hat at + his feet, or on a tree. + + ANGEL holding a shield on St. Clotilda of Burgundy, + which are three fleur-de-lys. A. D. 534. + + ANGEL ploughing in the St. Isidore the ploughman, + background. Spade. Found in A. D. 1170. + Spanish art. + + ANGELS crowning her with St. Rosalia of Palermo, + roses. Crucifix. A. D. 1160. + + ANVIL in hands, or at feet. St. Adrian, Martyr, A. D. 290. + Sometimes lion, sometimes Patron saint of Flanders + sword or axe lying beside and Germany, of soldiers, + anvil. and against the plague. + + ANVIL. Blacksmith’s tools. St. Eloy, Lo, or Sant’ Eligio, + Blacksmith’s or Bishop’s A. D. 659. Patron saint of + dress. Crozier. Book. Bologna, blacksmiths, + goldsmiths, and of horses. + + ARROW. Crown. Banner with St. Ursula, Virgin Martyr, + a red cross. Dove. Mantle 237 or 383 or 451. Patron + sheltering virgins. saint of young girls, and + teachers. + + ARROW, hind pierced by, in St. Giles, Hermit, A. D. 725. + his arms or at his feet. Old. Patron saint of Edinburgh, + Benedictine habit. of woods, cripples, beggars, + and lepers. + + ARROW in his hand. Royal St. Edmund, King and Martyr, + robes. Wolf. A. D. 870. Patron + saint of Bury St. Edmunds. + + ARROWS, pierced by. Bound St. Sebastian, Martyr, A. D. + to a column. Angel with 288. Patron saint against + crown and palm. pestilence. + + ARROWS. Palm. Crown. St. Christina, Virgin Martyr, + Millstone. A. D. 295. Patron saint of + Bolsena, and Venice. + + AWL or shoemaker’s knife. St. Crispin and St. Crispianus, + Palms. Two saints together. Martyrs, A. D. 300. Patron + saints of Soissons. + + AXE, lictor’s. Two-pronged St. Martina, Virgin Martyr, + fork. Young. A. D. 230. + + AXE in his hand. Sometimes St. Proculus, Martyr, A. D. + an angel holds the axe. 303. Patron saint of + Sword. Carrying a head in Bologna. + both hands. + + BALLS (three). Bishop’s St. Nicholas of Myra, A. D. + robes. Sometimes three 326. Patron saint of Russia, + purses, or three children in Venice, Freiberg, of children, + a tub. Sometimes ship in school-boys, sailors, + the background. travellers, merchants, + and against thieves. + + BANNER, with red cross. St. Ursula, Virgin Martyr. + Crown. Dove. Arrow. Dates uncertain, 237, 383, + Mantle sheltering virgins, or 451. Patron saint of + or surrounded by virgins. young girls, and women + teachers. + + BANNER with black Imperial St. Wenceslaus of Bohemia, + eagle. Palm. Royal robes. Martyr, A. D. 938. + + BANNER. Young. Richly St. Julian of Cilicia, Martyr. + dressed. Sword. Palm. Patron saint of Rimini. + + BANNER, white with a red St. Torpé, Martyr, A. D. 70. + cross. Roman armour. Patron saint of Pisa. + Found only in churches of + Pisa. + + BANNER, white with a red St. Reparata, Virgin Martyr, + cross. Crown. Palm. third century. Formerly + Sometimes wears a red patron saint of Florence. + and white mantle. + + BEASTS, surrounded by. St. Thecla, Virgin Martyr, + Young. Dark brown or first century. Patron saint + grey mantle. Palm. of Tarragona. + + BEEHIVE at his feet. Books. St. Ambrose, A. D. 397. One + Knotted scourge with three of the Four Latin Fathers + thongs. Two human bones. of the Church. Patron + Bishop’s robes. Mitre. saint of Milan. + Crozier. + + BEEHIVE. Demon bound. St. Bernard of Clairvaux, A. D. + Three mitres on a book or 1153. Founder of the + at his feet. Pen, papers, Cistercian Order of Reformed + ink-horn. White habit. Benedictines. + + BEGGAR, kneeling at his feet. St. Juan de Dios, A. D. 1550. + In his hands a pomegranate Founder of the Hospitallers, + surmounted by a cross. or Brothers of Charity. + Long beard. Capuchin + habit. + + BEGGAR at feet, or dividing St. Martin of Tours, A. D. + his cloak with a beggar. 397. Patron saint of + Goose. Bishop’s robes, or Tours, Lucca, and penitent + as a soldier. drunkards. + + BEGGAR, or cripple, at her feet. St. Elizabeth of Hungary, + Sometimes three crowns. A A. D. 1231. + lapful of roses. Robes of royalty, + or Franciscan habit. + + BEGGAR’S dish. Pilgrim’s St. Alexis, A. D. 400. Patron + habit, worn and ragged. saint of beggars and pilgrims. + Palm. Cross. + + BEGGARS, giving alms to. St. Elizabeth of Portugal, + Widow’s veil. Crown. A. D. 1336. + Old. Franciscan habit. + + BELL. Sometimes cruse and St. Pol-de-Léon, A. D. 573. + loaf. Driving dragon into + the sea. + + BELL. Crutch. Asperges. St. Anthony, Hermit, A. D. 357. + Hog. Skull. Crucifix. + Flames of fire. Monk’s habit. + + BLACKSMITH with anvil, hammer, St. Eloy, Lo, or Sant’ Eligio, + tongs and bellows. A. D. 659. Patron saint + Sometimes Bishop’s robes of Bologna, of goldsmiths, + and blacksmith’s tools. locksmiths, blacksmiths, + and horses. + + BLOOD flowing from his head. St. Thomas à Becket, A. D. 1170. + Benedictine habit or Bishop’s robes. + + BLOOD trickling from his head. St. Peter Martyr, A. D. 1252. + Sometimes with sword or + axe in his head. Palm. + Dominican habit. + + BONES, two human. Beehive. St. Ambrose, A. D. 397. One + Knotted scourge. Books. of the Four Latin Fathers. + Bishop’s robes. Mitre. Crozier. Patron saint of Milan. + + BOOK stained with blood, or St. Boniface, A. D. 755. + transfixed by a sword. Bishop’s Archbishop of Mayence, and + robes over the Benedictine habit. Apostle of Germany. + + BOOKS at his feet. Infant by St. Augustine, A. D. 430. One + seashore. Heart flaming or of the Four Latin Fathers of + transfixed by an arrow. the Church. + Bishop’s robes. Mitre. Crozier. + + BOOKS, his magical, trampling St. Cyprian of Antioch, Martyr, + under his feet. Sword. A. D. 304. + Palm. Bishop’s robes + (without the mitre). + + BOTTLE on the end of a staff. St. James the Great, Apostle + Cloak. Wallet. Scallop-shell. and Martyr. Patron saint + of Spain. + + BOTTLES or Flasks. Loose St. Omobuono. Patron saint + tunic and cap, trimmed with of Cremona, and of tailors. + fur. Giving alms to the (Sometimes difficult to + poor. distinguish from St. Roch.) + + BOX or vase of alabaster. St. Mary Magdalene, A. D. + Long fair hair. Skull. 68. Patron saint of + Crucifix. Marseilles, Provence, and of + frail, and penitent women. + + BOX of ointment. Surgical St. Cosmo and St. Damian, + instruments. Two men Martyrs, A. D. 301. Patron + together in red robes. saints of medicine, + and of the Medici family. + + BRANCH of olive in his hand. St. Bernard of Tolomei, A. D. + White habit. 1319. Founder of the + Order of Olivetani, reformed + Benedictines. + + BRANCH, encircling his loins. St. Onofrio, Hermit of Thebes, + Old, wasted, half-naked, fourth or fifth century. + long hair and beard. + + BUILDINGS in his hand. Bishop’s St. Petronius, A. D. 430. + robes. Patron saint of Bologna. + + CALDRON of oil. Cock. Lion. St. Vitus, Martyr, A. D. 303. + Wolf. Palm. Young and Patron saint of Sicily, + beautiful. Bohemia, Saxony, of actors + and dancers, and against + nervous diseases and late + rising. + + CANDLE, lighted. Demon St. Geneviève, A. D. 509. + trying to extinguish it with Patron saint of Paris. + bellows. Book. Basket + of provisions and holding + loaf of bread. Sheep. + Distaff. Spindle. + + CANDLE on his head, or in St. Erasmus, or Elmo, Martyr, + his hand. Small wheel. A. D. 296. + Old. Bishop’s robes. + + CAPTIVE kneeling at her feet. St. Radegunda, A. D. 587. + Broken fetters in her hands. Protectress of the Order of + Royal crown. Long veil. Trinitarians for the + redemption of captives. + + CARDINAL’S HAT, near him St. Jerome, A. D. 420. One + or at his feet. Cardinal’s of the Four Latin Fathers. + robes, or old, ragged, long Founder of Monachism in + beard. Skull. Books. the West. Patron saint of + Lion. Church in his hand. learning, theology, + scholars. + + CARDINAL’S HAT on the bough St. Bonaventura, A. D. 1274. + of a tree or at his feet. + Franciscan habit. Pyx. + + CARDINAL’S robes (only found St. Bernard degli Uberti, Abbot + with other Vallombrosan of Vallombrosa. + saints). + + CARPENTER’S or builder’s St. Thomas, Apostle and Martyr. + square. Patron saint of architects + and builders. + + CENSER. Book. Benedictine St. Maurus, A. D. 584. + habit or dressed as a deacon. + Usually with St. Benedict + and St. Placidus. + + CHALICE or sacramental cup. St. Thomas Aquinas, + Sun on his breast. Books. A. D. 1274. + Pen. Dove. Dominican habit. + + CHECKERED HABIT, Cord of St. Margaret of Cortona, + St. Francis. Dog at her feet. A. D. 297. + + CHILD in his arms or at his St. Vincent de Paule, A. D. + feet. Franciscan habit. 1660. Founder of the + Nun kneeling at feet. Sisters of Charity. + + CHILD on his shoulders, walking St. Christopher, A. D. 364. + through water. Huge + staff. Monk in background. + + CHILD-CHRIST in his arms St. Anthony of Padua, + or on a book. Book. Lily. A. D. 1231. + Crucifix. Flame in his + hand or on his breast. + Mule kneeling. + + CHILDREN, three, in a tub. St. Nicholas of Myra, A. D. + Three balls, or three purses. 326. Patron saint of Russia, + Anchor. Bishop’s robes. Venice, Freiberg, school-boys, + Sometimes ship in the background. sailors, travellers, + merchants, and against + thieves. + + CHURCH in her hand. Royal St. Cunegunda of Bavaria, + robes. Walking over A. D. 1040. + ploughshares. + + CHURCH in his hand. In St. Henry of Bavaria, + armour. Crown. Sword. A. D. 1024. + Orb of sovereignty. + + CHURCH with two towers in St. Sebald, A. D. 770. + his hand. Pilgrim’s dress. + Staff. Wallet. Shell. + + CLOAK, dividing with a beggar. St. Martin of Tours, A. D. + Beggar at his feet. Goose. 397. Patron saint of + Bishop’s robes, or as a soldier. Tours, Lucca, and of + penitent drunkards. + + CLUB. St. James Minor, Apostle and + Martyr. + + COMB, iron, Bishop’s robes. St. Blaise, Martyr, A. D. 289. + Patron saint of + wool-combers, wild animals, + and against diseases of the + throat. + + CROSS, transversed, shaped St. Andrew, Apostle and Martyr. + thus—❌. Gospel. White Patron saint of Scotland + hair and beard. and Russia. + + CROSS. Crutch. Beardless. St. John Gualberto, A. D. + Light grey habit. 1073. Founder of the + Vallombrosan Order of + Reformed Benedictines. + + CROSS at the end of a staff or St. Philip, Apostle and Martyr. + crozier, or small cross in his + hand or T-shaped. + + CROSS, blue and red, on his St. John de Matha, A. D. + breast. White habit. 1213. Founder of the Order + Angel leading captives. of Trinitarians. + + CROSS. Lily. Javelins. Palm. St. Miniato, Martyr, A. D. 254. + Crown. Cross T-shaped. Scarlet robe. + + CROSS. Pyx. Lily. Franciscan St. Clara, A. D. 1253. Founder + habit. Black veil. of the Order of Poor + Clares, Franciscan nuns. + + CROSS. Dragon under her feet. St. Margaret, Virgin Martyr, + Crown. Palm. A. D. 306. + + CROSS, red, on his breast. In St. Maurice, Martyr, A. D. + armour. Sometimes as a 286. Patron saint of Austria, + Moor, or with eagle on Savoy, and Mantua, + banner or shield. and of foot soldiers. + + CROSS, large. Robes of royalty. St. Oswald, A. D. 642. + + + CROSS, large. Royal robes. St. Helena, A. D. 328. Mother + of Constantine the Great. + + CROWN and sceptre at his St. Procopius, A. D. 1053. + feet. Doe by his side. + Hermit’s garb. + + CROWN and sceptre at his feet. St. Louis of Toulouse, + Young. Beardless. Fleur-de-lys A. D. 1297. + embroidered on + Bishop’s robes. Mitre. + Sometimes Franciscan habit. + + CROWN and sceptre at his St. Casimir of Poland, + feet, or by his side. Lily. A. D. 1483. + Royal robes. Young. + + CROWN. Palm. In the Benedictine St. Flavia, Martyr, A. D. 540. + groups. + + CROWN OF THORNS. Stigmata. St. Catherine of Siena, + Lily. Dominican habit. A. D. 1380. + + CROWN OF THORNS in his St. Louis IX., King of France, + hand. Sword. Sceptre. A. D. 1270. + Crown. Franciscan habit + or royal robes. + + CROWNS, three, embroidered St. Charlemagne, A. D. 814. + on his robe. Globe. Cross. + In armour. Ermine mantle. + + CRUCIFIX wreathed with a St. Nicholas of Tolentino, + lily. Star on his breast. A. D. 1309. + Gospel. Augustine habit. + + CRUCIFIX. Sometimes wings. St. Vincent Ferraris, + Dominican habit. A. D. 1419. + + CRUCIFIX. Lily. Surplice St. Francis Xavier, A. D. 1552. + over black habit. Patron saint of India. + + CRUCIFIX. Pyx. Dominican habit. St. Hyacinth, A. D. 1257. + + + CRUTCH, sometimes with a St. Anthony, Hermit, A. D. 357. + bell suspended from it. + Hog. Asperges. Flames + of fire in the background. + Skull. Crucifix. Monk’s + habit. + + CRUTCH. Long white beard. St. Romualdo, A. D. 1027. + White habit. Founder of the Order of + Camaldolesi, reformed + Benedictines. + + CUP, with serpent. Eagle. St. John, Apostle and + Pen. Book. Evangelist. + + CUP, or pitcher broken. Thorn St. Benedict, A. D. 543. + bush. Broken sieve. Raven Founder of the Benedictine + with a loaf in its beak. Order. + Asperges. Mitre. Staff. + Black habit. + + CUP, broken. Palm. St. Donato of Arezzo, Martyr. + + CUP, and sponge with drops St. Pudentiana, A. D. 148. + of blood. + + CUP and wafer. Tower with St. Barbara, Virgin Martyr, + three windows. Book. A. D. 303. Patron saint + Sword. Palm. Feather. of Ferrara, and Mantua, + armourers, fortifications, + and against thunder and + lightning. + + DATES, cluster of, on palm. St. Ansano, Martyr. Patron + Cross. Young. Richly saint of Siena. + dressed. + + DEMON, bound. Beehive. St. Bernard of Clairvaux, A. D. + Pen, papers, ink-horn. 1153. Founder of the + White habit. Three mitres Cistercian Order of Reformed + on a book, or at his feet. Benedictines. + + DEMON trying to blow out a St. Gudula, A. D. 712. Patron + lantern. saint of Brussels. + + DEMON, holding bellows, and St. Geneviève, A. D. 509. + trying to blow out lighted Patron saint of Paris. + taper. Distaff. Sheep. + Spindle. Book. Sometimes + basket of provisions. + + DISH. Pilgrim’s habit, old St. Alexis, A. D. 400. Patron + and worn. Cross. Palm. saint of pilgrims and beggars. + + DISH, eyes on. Lamp. Awl. St. Lucy, Virgin Martyr, + Sword or wound in her A. D. 303. Patron saint of + neck from which stream Syracuse and against + rays of light. Palm. diseases of the eye. + + DOG, with a torch in its St. Dominick, A. D. 1221. + mouth. Lily. Book. Founder of the Dominican + Star on his forehead. Rosary. Order. + Dominican habit. + + DOG. Pilgrim’s habit. Staff. St. Roch, A. D. 1327. Patron + Wallet and cockle-shell. saint of prisoners, and those + Pointing to wound in his stricken with plague. + leg. + + DOG at her feet. Checkered habit. St. Margaret of Cortona, + A. D. 1297. + + DOVE. Lily. Benedictine habit. St. Scholastica, sister of St. + Benedict, A. D. 543. + + DOVE on his shoulder or St. Gregory, A. D. 604. One + close to his ear. Pope’s of the Four Latin Fathers + robes. Tiara. Crozier of the Church. + with double cross. Book. + + DRAGON at his feet. In armour. St. George, Martyr, A. D. 303. + Standard. Lance. Palm. Patron saint of England, + Germany, Venice, + soldiers and armourers. + + DRAGON, small, its mouth St. Sylvester, Pope, A. D. 335. + bound with threads. Bull. + Holding or pointing to the + portraits of St. Peter and + St. Paul. Pope’s robes. + Mitre. Sometimes triple + tiara. + + DRAGON under his feet. In St. Theodore, Martyr, + armour. A. D. 319. Patron saint of + Venice. + + DRAGON at his feet. Bishop’s St. Mercuriale, second century. + robes. Bishop of Forli. + + DRAGON under her feet. St. Margaret, Virgin Martyr, + Crown. Cross. Palm. A. D. 306. + + DRAGON, bound at her feet. St. Martha of Bethany, + Asperges. Pot of holy A. D. 84. Patron saint of + water. Bunch of keys. cooks and housewives. + Skimmer or ladle. + + DRAGON, driving into the sea. St. Pol-de-Léon, A. D. 573. + Bell. Sometimes loaf and + cruse. + + EAGLE by her side. Lion. St. Prisca, Virgin Martyr, + Palm. A. D. 275. + + EAGLE. Sometimes cup with St. John the Evangelist. + serpent. Pen. Book. + + EYES, on a dish. Sword or St. Lucy, Virgin Martyr, + wound in her neck. Lamp. A. D. 303. Patron saint of + Palm. Syracuse, and against + diseases of the eye. + + EYES, two, on a book. Crozier, St. Ottilia, Martyr, A. D. 720. + or palm. Benedictine habit. Patron saint of Alsace, and + Strasburg, and against + diseases of the eye. + + FACE of Christ on a napkin. St. Veronica, Martyr. + + FALCON. In armour, or as a St. Bavon, A. D. 657. Patron + hermit praying in a hollow saint of Ghent, and Haarlem. + tree. Huge stone. + + FETTERS and chains. Crozier. St. Leonard, A. D. 559. Patron + Book. Deacon’s dress, or saint of prisoners, and + Benedictine habit. captives. + + FETTERS and chains in her St. Balbina, A. D. 130. She + hand. Found only in Rome. was the daughter of the + Prefect Quirinus, and + discovered the lost chains + of St. Peter. + + FINGER on his lip. Sometimes St. John Nepomuck, A. D. 1393. + with mouth padlocked. Patron saint of + Five stars over his head. bridges, and running water, + of silence, and against + slander. + + FIRE near him or in the background. St. Anthony, Hermit, A. D. 357. + Crutch with bell. + Hog. Asperges. Skull. + Crucifix. Monk’s habit. + + FIRE, throwing water on a St. Florian, Martyr. Patron + burning house. Millstone. saint of Austria. + + FISH. Keys. Cross. Cock. St. Peter, Apostle and Martyr. + + FISH with a key in its mouth. St. Benno, A. D. 1100. + Bishop’s robes. + + FISH. Bishop’s robes. St. Ulrich, A. D. 973. Patron + saint of Augsburg. + + FISH suspended from his crozier. St. Zeno, A. D. 380. Patron + Bishop’s robes. saint of Verona. + + FISH at his feet. Bishop’s robes. St. Corentin of Brittany, + A. D. 495. + + FLAME OF FIRE in his hand St. Anthony of Padua, + or on his breast. Infant A. D. 1231. + Christ in his arms or on + his book. Lily. Crucifix. + Mule kneeling. Franciscan + habit. + + FLEUR-DE-LYS embroidered St. Louis of Toulouse, + on Bishop’s robes. Mitre. A. D. 1297. + Crown and sceptre at his + feet. Young and beardless. + Sometimes Franciscan habit. + + FLEUR-DE-LYS embroidered on St. Louis IX., King of France, + royal robes. Crown and A. D. 1270. + sceptre at his feet. Holding + crown of thorns. Sometimes + Franciscan habit. + + FLOWERS, three. Swan. Carthusian St. Hugh of Lincoln, + habit. A. D. 1126. + + FORK, two-pronged. Lictor’s St. Martina, Virgin Martyr, + axe. A. D. 230. + + FOUNTAIN. Sometimes head St. Alban, A. D. 305. + in his hand. Sword. England’s protomartyr. + + GLOBE and cross. Three St. Charlemagne, A. D. 814. + crowns embroidered on his + robe. In armour. Ermine mantle. + + GOOSE. Dividing his cloak St. Martin of Tours, + with a beggar. Beggar at A. D. 397. Patron saint of + his feet. Sometimes as Tours, and Lucca, and of + soldier, or in Bishop’s robes. penitent drunkards. + + GRIDIRON. Deacon’s robes. St. Laurence, A. D. 258. + Sometimes gridiron embroidered Patron saint of Nuremberg, + on his robe. Palm. and Genoa. + + HAIR and beard long. Half-naked. St. Paul, the Hermit of + Very old. Sometimes Thebes, A. D. 344. + a raven near. + + HALBERD (in Germany). St. Jude or Thaddeus, Apostle + and Martyr. + + HARROW. Bishop’s robes. St. Frediano of Lucca, + A. D. 560. + + HAT, Cardinal’s, near. Sometimes St. Jerome, A. D. 420. One + Cardinal’s robes. of the Four Latin Fathers + Old. Wasted. Long beard. of the Church. + Books. Skull. Crucifix. + Lion. Church in his hand. + + HAT, Cardinal’s, hanging on St. Bonaventura, A. D. 1274. + a tree or at his feet. Angel + with pyx. Book. Cardinal’s + robes, or Franciscan habit. + + HAWK. Shield with nine balls. St. Quirinus the Tribune, + A. D. 130. + + HEAD, blood flowing from, St. Peter Martyr, A. D. 1252. + or pierced by an axe or + sword. Palm. Crucifix. + Dominican habit. + + HEAD, blood flowing from, or St. Thomas à Becket, + pierced by a sword. Benedictine A. D. 1170. + habit or Bishop’s robes. + + HEAD of a man under her St. Catherine of Alexandria, + feet. Wheel. Crown. Virgin Martyr, A. D. 307. + Palm. Book. Receiving Patron saint of Venice, + ring from the Christ-Child. philosophy, science, + students, and against + diseases of the tongue. + + HEAD, carrying his own. St. Clair, Martyr, third + Found only in Rouen. century. + + HEAD, carrying in both hands, St. Proculus, Martyr, + or axe in his hand, or angel A. D. 303. Patron saint of + holding an axe. In armour. Bologna. + Sword. + + HEAD in his hand. Sword. St. Alban, A. D. 305. England’s + Fountain. protomartyr. + + HEAD, carrying his own. Bishop’s St. Denis, Martyr, + robes. first century. + + HEAD, carrying her own. Palm. St. Valerie, Martyr. + + HEAD, carrying St. Alexander’s, St. Grata, A. D. 300. + accompanied by St. Adelaide + as Queen with a veil, + St. Lupo with crown, and + St. Alexander in armour. Palm. + + HEART, flaming or transfixed St. Augustine, A. D. 430. One + by an arrow. Infant by the of the Four Latin Fathers of + seashore. Book in his hand the Church. + or at his feet. Bishop’s + robes. Mitre. Crozier. + + HEART with I. H. S. Angel St. Theresa, A. D. 1582. + with flame-tipped arrow. Patron saint of Spain. + Dove. Lily. Crucifix. Founder of the Scalzi, + Carmelite habit. reformed Carmelites. + + HEART, crowned by thorns. St. Ignatius Loyola, A. D. + I. H. S. in the skies, or on 1556. Founder of the + a tablet borne by angels. Jesuit Order. + + HERMIT praying in a hollow St. Bavon, A. D. 657. Patron + tree, or as a prince in saint of Ghent and Haarlem. + armour, with falcon in his + hand. Huge stone. + + HIND, pierced by an arrow, St. Giles, Hermit, A. D. 725. + in his arms or at his feet. Patron saint of Edinburgh, + Old. Benedictine habit. of woods, cripples, beggars, + lepers. + + HOG. Bell and crutch. Asperges. St. Anthony, Hermit, A. D. 357. + Flames of fire in Patron saint against + the background. Skull. fire, here and hereafter. + Crucifix. Monk’s habit. + + HORSES, tied to wild. Bunch St. Hippolytus, Martyr, + of keys. Sometimes iron A. D. 258. The jailer of + comb. In armour. St. Laurence. + + I. H. S. on a tablet surrounded St. Bernardino of Siena, + by rays. Sometimes three A. D. 1444. Founder of the + mitres, or three mounds Order of Observants, + surmounted by a standard reformed Franciscans. + or cross. Franciscan habit. + + I. H. S. on heart. Angel with St. Theresa, A. D. 1582. + flame-tipped arrow. Dove. Patron saint of Spain. + Lily. Crucifix. Carmelite Founder of the Scalzi, + habit. reformed Carmelites. + + I. H. S. in the sky, or on a St. Ignatius Loyola, + tablet borne by angels. A. D. 1556. Founder of the + Heart crowned by thorns. Jesuits. + + INSTRUMENTS, surgical. Box St. Cosmo and St. Damian, + of ointment. Two men in Martyrs, A. D. 301. Patron + red robes. Palms. saints of medicine, and the + Medici family. + + JAVELIN, with the point reversed. St. Filomena, Martyr, + Lily. Palm. A. D. 303. + + JAVELIN or lance at his feet. St. Lambert, Martyr, + Palm. Bishop’s robes. A. D. 709. + + JAVELINS. Lily. Crown. St. Miniato, Martyr, + T-shaped cross. Palm. A. D. 254. + Scarlet robe. + + JUDGE or Doctor of Laws. St. Ives of Bretagne, + Sometimes surrounded by A. D. 1303. Patron saint of + widows and orphans. Sometimes lawyers. + wears the Franciscan + cord around his furred robe. + + KEYS. Fish. Cross. Cock. St. Peter, Apostle and Martyr. + + KEYS at her girdle. Dragon St. Martha of Bethany, + bound at her feet. Pot of A. D. 84. Patron saint of + holy water. Asperges. cooks and housewives. + Skimmer or ladle. + + KNIFE. Sometimes carrying St. Bartholomew, Apostle and + his own skin. Martyr. + + KNIFE, shoemaker’s, or awl. St. Crispin and St. Crispianus, + Palm. Two saints together. Martyrs, A. D. 300. Patron + saints of Soissons. + + LABARUM or Standard of the St. Constantine, A. D. 335. + Cross. As Roman Emperor + or warrior. + + LAMB. Reed cross. Scroll. St. John the Baptist. Patron + Camel’s hair garment. saint of Florence, and all + who are baptised. + + LAMB. Hair as a cloak. St. Agnes, Virgin Martyr, + Olive branch. Crown. Palm. A. D. 304. + + LAMB. Stigmata. Lily. St. Francis of Assisi, + Skull. Crucifix. Franciscan habit. A. D. 1226. Founder of the + Franciscan Order. + + LAMP. Eyes on a dish. Sword St. Lucy, Virgin Martyr, + or wound in her neck. Palm. A. D. 303. Patron saint of + Syracuse, and against + diseases of the eye. + + LILY. Crutch or stick. St. Joseph, husband of the + Blessed Virgin. + + LILY. Lamb. Stigmata. St. Francis of Assisi, + Skull. Crucifix. Franciscan habit. A. D. 1226. Founder of the + Franciscan Order. + + LILY. Flame of fire in his St. Anthony of Padua, + hand or on his breast. A. D. 1231. + Infant Christ in his arms + or on his book. Mule kneeling. + Crucifix. Franciscan + habit. + + LILY. Star on his forehead. St. Dominick, A. D. 1221. + Dog with torch in its mouth. Founder of the Dominican + Rosary. Book. Dominican habit. Order. + + LILY. Crown and sceptre St. Casimir of Poland, + at his feet. Royal robes. Young. A. D. 1483. + + LILY. Crucifix. Surplice over St. Francis Xavier, + black habit. A. D. 1552. Patron saint of + India. + + LILY. Pyx. Cross. Franciscan St. Clara, A. D. 1253. Founder + habit. Black veil. of the Order of Poor Clares, + Franciscan nuns. + + LILY. Crown of thorns. St. Catherine of Siena, + Stigmata. Dominican habit. A. D. 1380. + + LILY. Sword. Palm. Lion St. Euphemia, Virgin Martyr, + at her side. A. D. 307. + + LION, generally winged. St. Mark, Evangelist and + Bishop’s robes. Book. Martyr. + + LION. Old, ragged, wasted. St. Jerome, A. D. 420. One + Long beard. Skull. Crucifix. of the Four Latin Fathers + Book, or Cardinal’s of the Church. Founder of + robes. Church in his hand. Monachism in the West. + Cardinal’s hat near. Patron saint of scholars. + + MILLSTONE. In armour. St. Victor of Marseilles, + Martyr, A. D. 303. + + MILLSTONE. Throwing water St. Florian. A patron saint + on a burning house. of Austria. + + MILLSTONE. Crown. Arrows. Palm. St. Christina, Martyr, + A. D. 295. Patron saint of + Bolsena and Venice. + + MITRES, three, on a book St. Bernard of Clairvaux, + or at his feet. Beehive. A. D. 1153. Founder of the + Ink-horn, pen, and papers. Cistercians, reformed + Demon bound. White habit. Benedictines. + + MITRES, three. I. H. S. on St. Bernardino of Siena, + a tablet surrounded by A. D. 1444. Founder of the + rays. Three mounds surmounted Order of Observants, + by the Standard reformed Franciscans. + or Cross. Franciscan habit. + + MOOR, in armour, or with St. Maurice, Martyr, A. D. 286. + eagle on banner and shield. Patron saint of + Large red cross on his breast. Austria, Mantua, Savoy, + and of foot-soldiers. + + MOOR, in armour. St. Victor of Milan, Martyr, + A. D. 303. + + MULE KNEELING. Flame in his St. Anthony of Padua, + hand or on his breast. A. D. 1231. + Infant Christ in his arms + or on his book. Crucifix. + Lily. Franciscan habit. + + MUSICAL INSTRUMENTS. Crown St. Cecilia, Virgin Martyr, + of red and white roses. A. D. 280. Patron saint + Angel. Palm. Scroll of music. of music and musicians. + + NUN. Crozier. Pilgrim’s St. Bridget of Sweden, A. D. + staff. Dove. Black and 1373. Founder of the + white habit. White veil Order of Brigittines. + with red band across the + forehead. + + OTTER by his side. Bishop’s St. Cuthbert of Durham, + robes. Crowned head of A. D. 687. + King Oswald in his arms. + + OX (winged). Book. Portrait St. Luke, Evangelist, Martyr. + of the Virgin. + + OX at his feet. Small dragon St. Sylvester, Pope, + in his hand. Sometimes A. D. 335. + portraits of St. Peter and + St. Paul. Pope’s or Bishop’s + robes. + + PINCERS, holding a tooth. St. Apollonia of Alexandria, + Palm. Virgin Martyr, A. D. 250. + Patron saint against + toothache. + + PINCERS, holding tongue in. St. Lieven, Martyr, A. D. 656. + Bishop’s robes. + + PLOUGHSHARES, walking over. St. Cunegunda of Bavaria, + Church in her hand. Royal A. D. 1040. + robes. + + POTS, earthenware. Sometimes St. Justa and St. Rufina, + the Giralda (tower) Martyrs, A. D. 304. + of Seville between them. + Two young girls with + palms. + + PRIESTS, two. Palms. St. Peter Exorcista and St. + Marcellinus, Martyrs, + A. D. 304. + + PYX. Cross. Lily. Franciscan St. Clara, A. D. 1253. Founder + habit. Black veil. of the Poor Clares, + Franciscan nuns. + + RAVEN with a loaf in its beak. St. Benedict, A. D. 543. + Broken pitcher or cup. Founder of the Benedictine + Broken sieve. Thorn bush. Order. + Asperges. Mitre and staff. + Black habit, sometimes white. + + RAVEN. Very old. Half St. Paul the Hermit of Thebes, + naked. Long hair and beard. A. D. 344. + + RAVEN or crow sometimes on St. Vincent, Martyr, A. D. 304. + a millstone. Palm. Young. Patron saint of + Deacon’s dress. Valencia, Saragossa, Lisbon, + Milan, and Chalons. + + RING. Royal robes. Sceptre St. Edward the Confessor, + surmounted by a dove. A. D. 1066. + + ROPE around his neck. Barefooted. St. Charles Borromeo, + Cardinal’s robes. A. D. 1584. Archbishop of + Milan. + + ROSES, red and white, in her St. Elizabeth of Hungary, + lap. Cripple or beggar at A. D. 1231. + her feet. Sometimes three + crowns. Royal robes or + Franciscan habit. + + ROSES, crown of red and white. St. Cecilia, Virgin Martyr, + Angel. Palm. Musical A. D. 280. Patron saint + instruments. Organ. of music and musicians. + + ROSES, crown of, or in her St. Dorothea of Cappadocia, + hand. Angel holding basket Virgin Martyr, A. D. 303. + with three apples and three + roses. Palm. + + ROSES falling from his mouth. St. Angelus the Carmelite, + White over brown habit. A. D. 1220. + + ROSES, chaplet of. Franciscan habit. St. Rosa di Viterbo, + A. D. 1261. + + RULE, builder’s or carpenter’s. St. Thomas, Apostle and Martyr. + Patron saint of builders + and architects. + + SAW. St. Simon Zelotes, Apostle., + Martyr. + + SCOURGE with three knotted St. Ambrose, A. D. 397. One + thongs. Beehive. Two of the Four Latin Fathers + human bones. Books. of the Church. Patron + Bishop’s robes. Mitre. Crozier. saint of Milan. + + SEA, walking over, or in the St. Raymond of Peñaforte, + background. Dominican habit. A. D. 1275. + + SERPENTS at her side or St. Verdiana, A. D. 242. + feeding from a basket. + + SEVEN youths surrounding St. Felicitas and her seven + her. Palm. Veil. sons, Martyrs, A. D. 173. + Patron saint of male heirs. + + SHEARS. Dish with female St. Agatha, Virgin Martyr, + breast. Palm. Veil. A. D. 251. Patron saint + of Malta and Catania, and + against fire and diseases of + the breast. + + SKIN, carrying his own. Knife. St. Bartholomew, Apostle. + Martyr. + + SKULL. Stigmata. Lily. St. Francis of Assisi, + Crucifix. Lamb. Franciscan habit. A. D. 1226. Founder of the + Franciscan Order. + + SPADE. Old. St. Phocas of Sinope, Martyr, + A. D. 303. Patron saint + of gardens and gardeners. + + SPEAR or lance. Roman soldier. St. Longinus, A. D. 45. The + centurion at the crucifixion. + Patron saint of Mantua. + + SPIDER over a cup. Sometimes St. Norbert, A. D. 1134. + demon bound. White Founder of the Order of + over black habit. Premonstratensians. + + STAG. Hunting horn. Richly St. Julian Hospitator, + attired. River and boat A. D. 313. Patron saint of + in the background. boatmen, travellers, and + wandering minstrels. + + STAG with crucifix between St. Eustace, Martyr, A. D. 118. + its horns. In armour. + + STAG with crucifix between St. Hubert, A. D. 727. Bishop + its horns. Hunting horn. of Liège. Patron saint of + Book. Huntsman’s dress, the chase and of dogs. + or Bishop’s robes. (Seldom + found in Italy.) + + STAR on his forehead. Dog St. Dominick, A. D. 1221. + with torch in its mouth. Founder of the Dominican + Lily. Rosary. Book. Order. + Dominican habit. + + STAR. Five around his head. St. John Nepomuck, A. D. 1393. + Finger or padlock on his lip. Patron saint of bridges + and running water, of + silence, and against slander. + + STAR on his breast. Crucifix St. Nicholas of Tolentino, + wreathed with a lily. Gospel. A. D. 1309. + Augustine habit. + + STIGMATA. Lily. Lamb. St. Francis of Assisi, + Crucifix. Franciscan habit. A. D. 1226. Founder of the + Franciscan Order. + + STONES. Palm. Deacon’s St. Stephen, Protomartyr. + robes. + + STONES, chasuble full of. St. Alphege, Archbishop of + Canterbury. + + SUN on his breast. Books. St. Thomas Aquinas, A. D. 1274. + Sacramental cup. Dove. + + SWORD, sometimes two swords. St. Paul, Apostle, Martyr. + Book. Scroll. + + SWORD. Shield. Spear. St. Michael the Archangel. + Scales. Winged. In armour. + Dragon under his foot. + + SWORD at his feet. Palm or St. Pantaleon of Nicomedia, + olive. As martyr bound or Martyr, fourth century. + hands nailed over his head Patron saint of physicians. + to a tree. Young. Beardless. + + SWORD or axe in his head, or St. Peter, Martyr, A. D. 1252. + gash in his head, blood + trickling from it. Palm. + Dominican habit. + + SWORD. Tower with three St. Barbara, Virgin Martyr, + windows. Feather. Cup A. D. 303. Patron saint of + and wafer. Crown. Palm. Mantua and Ferrara, arms, + armourers, and + fortifications, and against + thunder and lightning. + + SWORD through her breast. St. Justina of Padua, Virgin + Crown. Palm. Martyr, A. D. 303. Patron + saint of Padua and Venice. + + T, blue, on his shoulder. St. Anthony the Hermit, + Crutch and bell. Asperges. A. D. 357. + Hog. Flames of fire. Skull. + Crucifix. Monk’s habit. + + TOWER with three windows. St. Barbara, Virgin Martyr, + Crown. Sword. Feather. A. D. 303. Patron saint + Cup and wafer. Palm. of Mantua and Ferrara, + armourers, and + fortifications, and against + thunder and lightning. + + TREE coming into leaf. Bishop’s robes. St. Zenobio of Florence, + A. D. 417. + + TWO men in red robes and St. Cosmo and St. Damian, + caps. Surgical instruments. Martyrs, A. D. 301. Patron + Box of ointment. saints of medicine, and the + Medici family. + + TWO men, one old, the other St. Nazarius and St. Celsus, + young. Sword. Palm. Martyrs, A. D. 69. Patron + saints of Milan. + + TWO men in armour. Palms. St. John and St. Paul, brothers + (SS. Giovanni e Paolo), + Martyrs. A. D. 362. + + UNICORN at her feet. Palm. St. Justina of Antioch, Virgin + (See St. Cyprian.) Martyr, A. D. 304. + + VASE or box of ointment. St. Mary Magdalene, A. D. 68. + Long fair hair. Skull. Patron saint of Marseilles, + Crucifix. Provence, and of + frail and penitent women. + + WHEEL. Crown. Palm. St. Catherine of Alexandria, + Sometimes trampling on Virgin Martyr, A. D. 307. + a pagan. Book. Sword. Patron saint of Venice, + Receiving ring from the colleges, philosophy, + Christ-Child. science, eloquence, and + against diseases of the + tongue. + + WHEEL, small. Candle in his St. Erasmus or Elmo, A. D. 296. + hands or on his head. + Bishop’s robes. + + WINGS. Crucifix. Dominican habit. St. Vincent Ferraris, + A. D. 1419. + + WOLF. A boy with a palm. St. Vitus, Martyr, A. D. 303. + Sometimes a lion, or caldron Patron saint of Saxony, + of oil. Cock. Bohemia, and Sicily, of + actors and dancers, against + nervous diseases, and late + rising. + + WOUND, pointing to, in his leg. St. Roch, A. D. 1327. Patron + Dog. Pilgrim’s habit. saint of prisoners and the + Wallet. Cockleshell. Staff. sick, especially the + plague-stricken. + + WOUND in her neck, rays St. Lucy, Virgin Martyr, + streaming from it. Lamp. A. D. 303. Patron saint of + Sword. Palm. Sometimes Syracuse, and against + eyes on a dish. diseases of the eye. + + + + +II.—SAINTS AND SYMBOLS + + + ST. ADRIAN, A. D. 290. Sept. Armed. Anvil in hands or + 8. Patron saint of Germany at feet. Sometimes lion, + and Flanders, of soldiers, emblem of fortitude, sometimes + and against the plague, also sword or axe lying + patron of Flemish brewers. beside anvil. + + ST. AGATHA, A. D. 251. Feb. Palm. Salver with female + 5. Patron saint of Malta breast. Shears. Veil. + and Catania and against fire + and diseases of the breast. + + ST. AGNES, Virgin and Martyr, Hair as cloak. Lamb. Palm. + A. D. 304. Jan. 21. Olive branch. Crown. + + ST. ALBAN, A. D. 305. June Fountain. Sword. Sometimes + 22. England’s protomartyr. head in his hand. + + ST. ALBERT the Carmelite, Episcopal robes. Palm. + A. D. 1214. April 8. + Founder of the Carmelite + Order, Bishop of Vercelli, + Patriarch of Jerusalem. + + ST. ALEXIS, A. D. 400. July Pilgrim’s habit, ragged and + 17. Patron saint of pilgrims worn. Beggar’s dish. + and beggars. Palm. Cross. + + ST. ALPHEGE, A. D. 1012. Stones, chasuble full of. + April 19. Archbishop of + Canterbury. + + ST. AMBROSE, A. D. 397. Mitre. Crozier. Beehive. + April 4. Patron saint of Two human bones. Scourge + Milan and one of the Four with three knotted thongs. + Latin Fathers. Books. Bishop’s robes. + + ST. ANDREA CORSINI, A. D. Bishop’s robes. + 1373. Feb. 4. Bishop of Fiesole. + + ST. ANDREW the Apostle, White hair and beard. Gospel. + A. D. 70. Nov. 30. Patron Transverse cross shaped + saint of Scotland and thus—❌. + Russia. Order of the + Golden Fleece. + + ST. ANGELUS the Carmelite, Red and white roses falling + A. D. 1220. May 5. from his mouth, symbols of + eloquence. White over + brown habit. + + ST. ANIANUS, A. D. 86. April + 5. A shoemaker of Alexandria + converted by St. Mark, + later he became Bishop of + Alexandria. + + ST. ANNE. July 26. Mother Elderly woman. Veil. + of the Blessed Virgin. Patron + saint of mothers. + + ST. ANSANO of Siena. Was Young. Richly dressed. + persecuted and beheaded Palm, sometimes with a + at the time of Diocletian. cluster of dates depending + He was the great patron from it. Cross. + saint of Siena until the + end of the thirteenth century. + + ST. ANTHONY the Hermit, Monk’s habit. Crutch. Bell. + A. D. 357. Jan. 17. Patron Asperges. Hog. Flames of + saint against fire, here and fire. Skull. Crucifix. + hereafter. + + ST. ANTHONY of Padua, A. D. Habit grey or dark brown with + 1231. June 13. Belonged hood and cord. Flame of + to the Franciscan Order. fire in his hand or on + his breast. Book. Lily. + Crucifix. Infant Christ in + his arms or on his book. + Mule kneeling. + + ST. ANTONINO, A. D. 1459. Episcopal robes. + May 10. Archbishop of Florence. + + ST. APOLLINARIS, A. D. 79. Habit of a Greek bishop, + July 23. Was the first white and without mitre. + Bishop of Ravenna, where Cross, black, embroidered + his fame is chiefly confined. on white robe. + Martyred in the reign of + Vespasian, the basilica of + St. Apollinaris-in-Classe + was built some five hundred + years later on the site of + his martyrdom, three miles + from Ravenna. + + ST. APOLLONIA, Virgin and Palm. Pincers holding tooth + Martyr, A. D. 250. Feb. in allusion to the torture + 9. Patron saint against inflicted upon her. + toothache. + + ST. ATHANASIUS, A. D. 373. Unpopular in art. + May 2. One of the Four + Greek Fathers of the Church, + from whom the Athanasian + Creed is named. + + ST. AUGUSTINE, A. D. 430. Bishop’s robes. Mitre. + Aug. 28. One of the Four Crozier. Book at his feet or + Latin Fathers of the Church. in his hands. Heart flaming + or transfixed with an arrow. + Infant by seashore. + + ST. AUGUSTINE or AUSTIN of Benedictine habit. Staff. + Canterbury, A. D. 604. Gospel in his hand. Cope, + May 26. Was sent to pallium and mitre as Bishop + England by Pope Gregory of Canterbury. + the Great, where he introduced + the Benedictine Order. + + ST. BARBARA, A. D. 303. Tower with three windows. + Dec. 4. Patron saint of Palm. Book. Sword. + Ferrara and Mantua, armourers, Crown. Cup and wafer. + fortifications, firearms, Feather. + and against thunder + and lightning. + + ST. BARNABAS the Apostle. Rarely appears except in + June 11. Venetian pictures. Holds in + his hand the Gospel of St. + Matthew. + + ST. BARTHOLOMEW the Apostle. Knife. Carrying his own + Aug. 24. skin. + + ST. BASIL the Great, A. D. The Greek Fathers have no + 380. June 14. One of the distinguishing attributes. + Four Greek Fathers. + + ST. BAVON, A. D. 657. Oct. 1. Sometimes represented as a + Patron saint of Ghent hermit seated and praying + and Haarlem. in a hollow tree, or as a + prince in armour with a + falcon in his hand. A huge + stone which he carried as a + penance is sometimes + introduced. + + ST. BENEDICT, A. D. 543. Black habit, sometimes white. + Mar. 2. Founder of the Raven with loaf in its beak. + Benedictine Order. Mitre and staff. Asperges. + Pitcher. Thorn bush. + Broken sieve. + + ST. BENNO, A. D. 1100. Bishop’s robes. Fish with key + June 16. Bishop of Meissen, in its mouth. + Saxony. + + ST. BERNARD of Clairvaux, White habit. Ink-horn, pen, + A. D. 1153. Aug. 20. and papers. Beehive. + Demon bound. Three mitres + on a book or at his feet. + + ST. BERNARD of Menthon, + A. D. 1008. June 15. Was + a Savoyard of noble birth, + who became Archdeacon of + Aosta and founded the two + hospitals of the Great and + Little St. Bernard, where the + monks with the assistance of + dogs rescue travellers who + are lost in the snow. + + ST. BERNARD DEI TOLOMEI, White habit. Olive branch + A. D. 1319. Founder of the in his hand. + Olivetani. + + ST. BERNARD DEGLI UBERTI. Represented in Cardinal’s + Cardinal and Abbot of robes in pictures with other + Vallombrosa. Vallombrosan saints. + + ST. BERNARDINO of Siena, Franciscan habit. I. H. S. on + A. D. 1444. May 20. a tablet surrounded by rays. + Founder of the Order of Sometimes three mitres, or + Observants. three mounds surmounted + by a cross or standard. + + ST. BLAISE, A. D. 289. Feb. 3. Bishop’s robes. Mitre. + Popular in France and England. Crozier. Old, with white + Patron saint of wool-combers, beard. Iron comb, instrument + of wild animals, and of his torture. Not + against diseases of the throat. often represented in art. + + ST. BONAVENTURA, A. D. Franciscan habit. Cardinal’s + 1274. July 14. hat at his feet or hanging + on a tree. Cardinal’s + robes. Book. Pyx. + + ST. BONIFACE, A. D. 755. Bishop’s robes over the black + June 5. Archbishop of Benedictine habit. Holding + Mayence and first apostle book stained with blood + of Germany. or transfixed by a sword. + Crozier. + + ST. BRIDGET or BRIGIDA of + Ireland, A. D. 500. Feb. + 1. Baptised by St. Patrick. + + ST. BRIDGET of Sweden, A. D. Of mature age. Nun with + 1373. Oct. 8. Founder of white veil, which has red + the Order of the Brigittines. band. Crozier as first + abbess of the order. Sometimes + pilgrim’s staff and + wallet. Sometimes dove, + denoting inspiration. + + ST. BRUNO, A. D. 1100. July White habit. Shaven head. + 18. Founder of the Carthusian + Order of Reformed + Benedictines. + + ST. CASIMIR of Poland, A. D. Young. Royal robes. Lily. + 1483. Patron saint of Crown and sceptre at feet. + Poland. Sometimes he holds his + hymn to the Virgin, and the + lily and crown are on a + table beside him. + + ST. CATHERINE of Alexandria, Wheel. Palm. Book. Sword. + A. D. 307. Nov. 25. Patron Crown. Trampling on + saint of Venice, philosophy, pagan. Receiving ring from + science, colleges, students, the Christ-Child. + and against diseases of the + tongue. + + ST. CATHERINE of Bologna, Franciscan habit, veiled. + A. D. 1463. Mar. 9. + Called also _Santa Caterina + de’ Vigri_, a maid of honour + to Margaret d’Este, who + joined the Poor Clares and + became an abbess. + + ST. CATHERINE of Siena, A. D. Dominican habit. Stigmata. + 1380. April 30. Lily. Crown of thorns. + + ST. CECILIA, A. D. 280. Nov. Crown of red and white roses. + 22. Patron saint of music Organ. Musical instruments. + and musicians. Angel. Palm. + Scroll of music. + + ST. CHARLEMAGNE, A. D. 814. Globe and cross. Three + Jan. 28. crowns embroidered on his + robe. In armour. Ermine + mantle. + + ST. CHARLES BORROMEO, A. D. Cardinal’s robes. Barefooted. + 1584. Nov. 4. Cardinal Rope around his neck. + and Archbishop of Milan. + + ST. CHRISTINA, A. D. 295. Millstone. Arrows. Palm. + July 24. Patron saint of Crown. It is difficult to + Bolsena and Venice. distinguish this saint from + St. Ursula when she bears + the arrow only. + + ST. CHRISTOPHER, A. D. 364. Huge staff. Christ-Child on + July 25. Patron saint his shoulders. Ankle deep + against fire, earthquake, in water. Lantern. Monk + tempests, floods, and accidents. in background. + + ST. CLARA, A. D. 1253. Aug. Lily. Cross. Pyx. Franciscan + 12. Founder of the Poor habit and black veil. + Clares, Franciscan nuns. + + ST. CLEMENT, A. D. 100. Pope’s or Bishop’s robes. Anchor + Nov. 23. Third Bishop of in hand or suspended + Rome. around his neck. + + ST. CLOTILDA, A. D. 534. Royal robes, long white veil + June 3. Princess of Burgundy and jewelled crown. Angel + and wife of Clovis, holding shield bearing three + King of France. In a vision _fleur-de-lys_. + an angel brought her three + lilies, and from this the arms + of France were changed from + three toads (_crapauds_) to the + _fleur-de-lys_. She is said to + have christianised France. + + ST. CLOUD, A. D. 560. Sept. Benedictine habit. Crown at + 7. Grandson of St. Clotilda. feet. + + ST. CONSTANTINE, Emperor, Dressed as Roman emperor + A. D. 335. or warrior, holding _labarum_ + or standard of the cross. + + SS. COSMO and DAMIAN, A. D. Two men in red robes. Box + 301. Sept. 27. Patron saints of ointment. Surgical + of the Medici, and the medical instruments. + profession. + + ST. COSTANZO, second century. He is found with SANT’ ERCOLANO + Bishop of Perugia, in pictures of the + suffered martyrdom under Umbrian school. + Marcus Aurelius. + + SS. CRISPIN and CRISPIANUS, Awl, or shoemaker’s knife. + A. D. 300. Oct. 25. Patron Palm. Two saints together. + saints of Soissons. Shoemakers + who made shoes + for the poor without reward, + angels supplying them with + leather. They went from + Rome with St. Denis to + preach the Gospel in France. + + ST. CUNEGUNDA, A. D. 1040. Walking over ploughshares. + Mar. 3. Wife of St. Henry Church in her hand. Royal + of Bavaria, her story is robes. + popular in German poetry + and art. + + ST. CUTHBERT, A. D. 687. Bishop’s robes. Otter. + March 20. Crowned head of King + Oswald in his arms. + + ST. CYPRIAN, A. D. 258. Palm. Mitre at his feet. + Sept. 16. Bishop of Carthage. + Suffered martyrdom + under Valerian. + + ST. CYPRIAN and ST. JUSTINA When represented together he + of Antioch, A. D. 304. wears the habit of a Greek + Sept. 26. St. Cyprian, a bishop (without mitre). + great magician, became Palm. Sword. Trampling + converted through his love his magical books under + for St. Justina and they his feet. She holds the + suffered martyrdom together palm, and the unicorn, symbol + in the reign of of chastity, crouches at + Diocletian. her feet. + + ST. CYRIL of Alexandria, A. D. The only Greek bishop + 444. Jan. 28. Patriarch of represented with his head + Alexandria and sometimes covered. + a fifth in pictures of the + Four Greek Fathers. His + name has been connected + with the murder of Hypatia, + which was committed by + his followers in a church. + + ST. DENIS of France (ST. Bishop’s robes. Carrying his + DIONYSIUS the Areopagite). head in his hand. + Bishop of Paris in the third + century and patron saint + of France. The legends + confuse this saint with + Dionysius, the convert of St. + Paul, and he is thus universally + represented in art. St. + Denis was beheaded in + Paris, and taking his head + in his hand, he walked + two miles with it to a + place now called Montmartre. + + ST. DOMINICK, A. D. 1221. Dominican habit. Dog with + Aug. 4. Founder of the torch in its mouth. Lily. + Order of Dominicans, or Star on forehead. Book. + Preaching Friars. Rosary. + + ST. DOROTHEA of Cappadocia, Roses in her hand or crowned + A. D. 303. Feb. 6. Was with roses. Angel with + noted for her beauty and basket containing three apples + piety. At the time of the and three roses. Palm. + persecution she refused to Sometimes crown as martyr. + sacrifice to idols and was + imprisoned and condemned + to be beheaded. As she + went to execution, a young + man named Theophilus, + mocking her, asked for + flowers and fruit from the + garden to which she was + going. After her death, + a heavenly messenger appeared + to Theophilus bearing + three roses and three + apples, and telling him Dorothea + awaited him in the + garden. Theophilus then + was converted, and also + suffered martyrdom. + + ST. DUNSTAN, A. D. 988. + May 19. A monk of Glastonbury + who became a favourite + of King Athelstan and was + made Archbishop of Canterbury + in the reign of Edgar. + + ST. EDMUND, King and Martyr, Royal robes. Wolf. Arrow + A. D. 870. Nov. 20. in his hand. + King of East Anglia and + patron saint of Bury St. + Edmunds. + + ST. EDWARD the Confessor, Royal robes. Ring. Sceptre + A. D. 1066. Jan. 5. surmounted by a dove. + + ST. ELIZABETH, mother of St. + John the Baptist. + + ST. ELIZABETH of Hungary, A lapful of red and white + A. D. 1231. Nov. 19. roses, symbols of love and + Famed for her beauty, sweetness, purity. Royal attire or + and charity. Franciscan habit. Cripple + or beggar at her feet. + Sometimes three crowns. + + ST. ELOY (_Ital._ SANT’ ALÒ, Bishop’s robes. Crozier. + or LÒ, SANT’ ELIGIO), A. D. Book. Blacksmith’s tools. + 659. Dec. 1. Patron saint Blacksmith with anvil, + of Bologna and Noyon; of hammer, tongs, and bellows. + goldsmiths, locksmiths, + blacksmiths, and all workers + in metals; of horses and + farriers. + + ST. ERASMUS or ELMO, A. D. Aged. Bishop’s robes. Small + 296. June 3. Invoked by wheel in his hand. Candle + the sailors of the Mediterranean on his head or in his hand. + against storms and + tempests. Suffered martyrdom + under Diocletian. + + ST. ERCOLANA, A. D. 546. Found with St. Costanzo in + Bishop of Perugia. He was Umbrian pictures. + beheaded by the Goths. + + ST. ETHELDREDA, A. D. 679. + June 23. Founded the + Cathedral and Monastery + of Ely. + + ST. EUPHEMIA, A. D. 307. Lily. Sword. Palm. Lion + Sept. 16. One of the early at her side. + Greek martyrs. + + ST. EUSTACE, A. D. 118. In armour. Stag with crucifix + Sept. 20. An officer under between its horns. + the Emperor Trajan to + whom Christ appeared in + the form of a white stag. + + SAN FAUSTINO and SAN GIOVITA Pictures of these two saints + (Faustinus et Jovita), with St. Apollonius represent + A. D. 119. Feb. 15. Two the latter in bishop’s + brothers who were converts robes, the two brothers + of St. Apollonius and were dressed as deacons. + beheaded at Brescia. + + ST. FELICITAS, A. D. 173. Palm. Veiled. Accompanied + Nov. 23. A Roman matron by her seven sons. + of great wealth, who with + her seven sons suffered + martyrdom in the reign of + Marcus Aurelius. + + ST. FELIX DE CANTALICIO, Dark brown habit, peaked + A. D. 1587. May 8. The hood and girdle. Beggar’s + first saint of the Order of wallet with two ends like + the Capuccini. He spent a purse slung over his + forty-five years in begging shoulder. + for his convent. + + ST. FERDINAND of Castile, In complete armour. Crown. + A. D. 1152. May 30. Sword. Sometimes holding + the orb of sovereignty. + + ST. FILOMENA, A. D. 303. Lily. Javelin with the point + Aug. 10. reversed. Palm. + + ST. FINA, A. D. 1253. Mar. + 12. Patron saint of San + Gimignano. + + ST. FLORIAN, May 4. One of Rarely seen in Italian art, + the eight tutelar saints of but is frequently found in + Austria. old German prints and + pictures. In armour. Sometimes + painted on the outside + of houses in Bohemia + throwing water from a + pitcher or bucket on a house + in flames. Millstone. + + ST. FRANCESCA ROMANA, A. D. Benedictine habit. Angel + 1440. Mar. 9. The great holding book. + female saint of the Order + of the Olivetani. + + ST. FRANCIS OF ASSISI, A. D. Franciscan habit. Stigmata. + 1226. Oct. 4. Lamb. Lily. Skull. + Crucifix. + + ST. FRANCIS BORGIA, A. D. + 1572. Oct. 11. Third great + saint of the Jesuit Order. + + ST. FRANCIS DE PAULE, A. D. Old, grey beard. Staff. + 1508. April 2. Founder Franciscan habit, with short + of the Minimes, a reformed scapulary. + order of Franciscans. + + ST. FRANCIS DE SALES, A. D. Episcopal cope. Bareheaded. + 1622. Jan. 29. Joint A heart pierced. + founder with St. Jeanne de + Chantal of the Order of + Visitation of St. Mary. + + ST. FRANCIS XAVIER, A. D. Surplice over black habit. + 1552. Dec. 3. Patron Crucifix. Lily. + saint and apostle of India. + Friend and associate of + Ignatius Loyola. + + ST. FREDIANO of Lucca, A. D. Bishop’s robes. Harrow. + 560. Patron saint of Lucca. + + ST. GABRIEL. The second of Lily. Sceptre. Scroll. + the archangels. + + ST. GAUDENZIO, A. D. 359. + Oct. 14. Bishop and patron + saint of Rimini. He was + scourged, then stoned to + death by the Arians. + + ST. GEMINIANUS, A. D. 450. Bishop’s robes. Model of + Bishop and patron saint of city or cathedral in his + Modena. hand. + + ST. GENEVIÈVE of Paris, A. D. Veiled. Lighted taper. Demon + 509. Jan. 3. holding pair of bellows. + Sheep. Distaff. Spindle. + Book. Basket of provisions + or holding loaf of bread. + + ST. GEORGE, A. D. 303. April In armour. Dragon at his + 23. Patron saint of England, feet. Lance. Standard. + Germany, Venice, soldiers Palm. + and armourers. + + ST. GERVASIUS and ST. PROTASIUS, + A. D. 69. June 19. + (_See St. Ambrose._) + + ST. GILES (_Lat._ Sanctus Egidius, Old. Benedictine habit. + _Ital._ Sant’ Egidio, Fr. Hind pierced by an arrow + St. Gilles or Gil), A. D. in his arms or at his feet. + 725. Sept. 1. Patron saint + of Edinburgh, of woods, + lepers, beggars, and cripples. + A hermit who lived in a + cave near Nismes. A hind, + that had fled to his cave + from the hunters and their + dogs, was pierced by an + arrow in his arms. + + ST. GRATA, A. D. 300. These saints are constantly + Sept. 4. Daughter of St. represented in pictures + Lupo, Duke of Bergamo, painted by the Bergamo + and St. Adelaide his wife, artists, ST. ALEXANDER as + both of whom she converted. a Roman soldier bearing + When St. Alexander, one the palm, ST. GRATA carrying + of the Theban Legion, was the head of St. Alexander, + beheaded, she wrapped the ST. LUPO wearing a + head in fine linen and crown, ST. ADELAIDE a + reverently buried his remains. crown and long veil. + + ST. GREGORY the Great, A. D. Dove on his shoulder or close + 604. March 12. One of to his ear. Papal tiara. + the Four Latin Fathers. Crozier with double cross. + Book. + ST. GREGORY NANZIANZEN, + A. D. 390. May 9. One + of the Four Greek Fathers + of the Church. + + ST. GUDULA, A. D. 712. Jan. Demon trying to blow out a + 8. Patron saint of Brussels. lantern. Often confounded + with St. Geneviève of Paris. + + ST. HELENA, A. D. 328. Aug. Royal robes. Crowned. Very + 18. Is generally admitted large cross. + to have been a British + princess, who married Constantius + Chlorus and became + the mother of Constantine + the Great. It was she who + discovered the true cross. + + ST. HENRY of Bavaria, A. D. In armour. Crowned. Sword. + 1024. July 14. Emperor Orb of sovereignty. Holding + of Germany and husband in hand Cathedral of + of St. Cunegunda. Bamberg. + + ST. HILARY (_Ital._ Sant’ Bishop’s robes. Reading the + Ilario), A. D. 363. Jan. Gospel. + 13. Patron saint of Parma. + + ST. HILDA, A. D. 680. Nov. + 17. Abbess of Whitby. + + ST. HIPPOLYTUS, A. D. 258. Often represented as jailer of + Aug. 13. Patron saint of St. Laurence, with bunch + horses. He was the jailer of keys. In armour. Sometimes + of St. Laurence, who became iron comb, or bound + converted and suffered martyrdom to horses. + by being tied to the + tails of wild horses and + dashed to pieces. + + ST. HUBERT of Liège, A. D. Stag with crucifix between + 727. Nov. 3. Patron saint its horns. Bishop’s robes. + of the chase and of dogs. Hunting horn. Book. + Sometimes in hunter’s + dress. + + ST. HUGH of Grenoble, A. D. + 1132. April 1. Bishop of + Grenoble. He gave to + St. Bruno the land on which + was built the “Grande + Chartreuse.” + + ST. HUMILITY or UMILTÀ, + A. D. 1310. Founder of the + Order of Vallombrosan nuns. + + ST. HYACINTH, A. D. 1257. Dominican habit. Crucifix. + Aug. 15. Pyx. + + ST. IGNATIUS of Antioch, A. D. + 107. Feb. 1. Thought to + have been the little child + whom Jesus “set in the + midst” and said “of such is + the Kingdom of Heaven.” + He and his friend St. + Polycarp were disciples of + St. John the Evangelist. + + ST. IGNATIUS LOYOLA, A. D. I. H. S. in the skies. Sometimes + 1556. July 31. Founder on a tablet borne by + of the Order of Jesuits. angels. Heart crowned + with thorns. + + ST. ILDEFONSO or ALPHONSO, Famous in Spanish art. Kneeling + A. D. 667. Jan. 23. A before the Virgin, while + Benedictine monk who two angels arrange the + became Archbishop of Toledo. sacred vestment. + He wrote a book + defending the perpetual + virginity of the Blessed + Virgin, and the Virgin appeared + to him in a vision + and with two angels invested + him in a wonderful chasuble. + + ST. ISABELLA of France, A. D. Franciscan habit. Distributing + 1270. Aug. 31. Sister of alms or food to the poor. + St. Louis and founder of + the great convent of Longchamps, + a community of + Poor Clares. + + ST. ISIDORE the Ploughman, Labourer’s dress. Spade. + A. D. 1170. May 10. Patron Angel ploughing in background. + saint of Madrid and of + agriculture. + + ST. IVES or YVO of Bretagne Judge. Franciscan cord. + (_Ital._ Sant’ IVO), A. D. 1303. Furred robe. Sometimes + May 19. Patron saint of all surrounded by widows and + lawyers in Europe. orphans. + + ST. JAMES the Great. Apostle Cloak. Pilgrim’s staff. + and Martyr, A. D. 44. Wallet and shell. + July 25. Patron saint of + Spain. + + ST. JAMES MINOR. Apostle Fuller’s club. + and Martyr. May 1. + + ST. JANUARIUS, A. D. 303. Bishop’s robes. Palm. Mt. + Sept. 19. Patron saint of Vesuvius in background. + Naples. Protector against + eruptions of Mt. Vesuvius. + + ST. JEROME, A. D. 420. Lion. Cardinal’s hat. Books. + Sept. 30. One of the Four Skull. Church in hand. + Latin Fathers, patron saint + of scholars and theologians. + + ST. JOACHIM. March 20. + Husband of St. Anne and + father of the Virgin Mary. + + ST. JOHN the Baptist. June Reed cross. Scroll. Lamb. + 24. Patron saint of Florence Camel’s hair garment. + and all who are baptised. + + ST. JOHN the Evangelist, A. D. Eagle. Pen. Book. Cup + 99. Dec. 27. with serpent. + + ST. JOHN CAPISTRANO, A. D. Turk under his feet. In one + 1465. Oct. 23. A Franciscan hand a standard, in the other + monk sent by the pope to a cross. + preach a crusade against + the Turks. Canonised in + 1690 to commemorate + Vienna’s deliverance from + the Turks. + + ST. JOHN CHRYSOSTOM (of the Habit of Greek bishop. + golden mouth), A. D. 407. Sacramental cup. Gospel. + Jan. 27. One of the Four Dove hovering near. + Greek Fathers of the + Church. + + ST. JOHN GUALBERTO, A. D. Crucifix. Sometimes crutch. + 1073. July 12. Founder of Light grey habit. Beardless. + the Vallombrosan Order of Cross. + Reformed Benedictines. + + ST. JOHN DE MATHA, A. D. White habit. Blue and red + 1213. Feb. 8. Founder cross on breast. Fetters + of the Trinitarian Order for in his hand or at his feet. + the redemption of captives. Angel with two captives in + background. + + ST. JOHN NEPOMUCK, A. D. Augustine habit. Cross. Five + 1393. May 16. Canon stars about his head. + Regular of St. Augustine. Sometimes finger on his lip + Protector of the Order of or mouth padlocked. + Jesuits. In Bohemia and + Austria the patron saint + of bridges and running + water, of silence and against + slander. + + ST. JOSEPH. March 19. Husband Crutch or stick. Lily. + of the Blessed Virgin. + + ST. JUAN DE LA CRUZ, A. D. Represented with St. Theresa + 1591. First barefooted kneeling before the throne + Carmelite. Friend and of the Virgin. + coadjutor of St. Theresa. + + ST. JUAN DE DIOS, A. D. 1550. Capuchin habit. Long beard. + March 8. Founder of the Holding a pomegranate + Hospitallers or Brothers of surmounted by a cross. Beggar + Charity. kneeling at his feet. + + ST. JUDE. See ST. SIMON. + + ST. JULIA and ST. AFRA. Frequently represented in + Virgin Martyrs and patron pictures of the Brescian + saints of Brescia. school with San Faustino, San + Giovita, and St. Apollonius. + + ST. JULIAN of Cilicia. March Young. Flowing hair. Secular + 16. Patron saint of Rimini. dress. Palm. Standard + of victory. Sword. + + ST. JULIAN HOSPITATOR, A. D. Young. Courtier’s dress. + 313. Jan. 9. Patron saint Hunting horn. Stag. + of travellers, boatmen, River and boat sometimes + ferrymen, and wandering seen in background. + minstrels. + + SS. JUSTA and RUFINA, A. D. Palm. Earthenware pots. + 304. July 19. Patron Sometimes the _Giralda_ + saints of Seville. (tower) of Seville between + them, which they are supposed + to have saved by a + miracle in a thunder-storm + in 1504. + + ST. JUSTINA of Antioch. _See_ + ST. CYPRIAN. + + ST. JUSTINA of Padua (_Ital._ Richly dressed as princess. + Santa Giustina di Padova), Crowned. Palm. Sword + A. D. 303. Oct. 7. Patron through her breast, emblem + saint of Padua and Venice. of her martyrdom. Sometimes + given the unicorn + which properly belongs to + St. Justina of Antioch. + + ST. LAMBERT, A. D. 709. Sept. Bishop’s robes. Palm. Lance + 17. Bishop of Maestricht. or javelin at his feet. + + ST. LAURENCE, A. D. 258. Deacon’s dress. Palm. Gridiron. + Aug. 10. Patron saint of + Nuremberg, Genoa, and the + Escurial. + + ST. LAZARUS, Sept. 2. Brother Bishop’s robes. Bier in + of Martha and Mary and background. Usually grouped + patron saint of Marseilles. with Mary, Martha, and + sometimes St. Marcella. + + SS. LEANDER and ISIDORE, In pictures by Murillo they + sixth century. Two brothers are represented enthroned, + who were successively robed in white, wearing + Bishops of Seville and patron their mitres. + saints of the city. + + ST. LEONARD, A. D. 559. Deacon’s dress, or Benedictine + Nov. 6. Patron saint of habit. Crozier. Book. + prisoners and slaves. Fetters. + + ST. LONGINUS, A. D. 45. Roman soldier. Lance or + March 15. Patron saint of spear. + Mantua. Was the centurion + who pierced the side + of Christ at the crucifixion. + He became a Christian and + suffered martyrdom. + + ST. LORENZO GIUSTINIANI, + A. D. 1455. Sept. 5. Bishop + of Castello and Patriarch + of Venice. + + ST. LOUIS BELTRAN, A. D. + 1581. Oct. 9. A celebrated + Dominican preacher and + friend of St. Theresa. + + ST. LOUIS, King of France, Crown of thorns. Sword. + A. D. 1270. Aug. 25. Sceptre. Royal crown. + + ST. LOUIS of Toulouse (_Ital._ Young. Beardless. _Fleur-de-lys_ + San Ludovico), A. D. 1297. embroidered on + Aug. 19. bishop’s robes. Sometimes + Franciscan habit. Mitre. + Crown and sceptre at his + feet. + + ST. LUCY, A. D. 303. Dec. Lamp. Eyes on salver. + 13. Patron saint of Syracuse Sword in her neck or wound + and against diseases in neck from which stream + of the eye. rays of light. Palm. Awl. + + ST. LUKE, Evangelist. Oct. 18. Ox (winged). Book. Portrait + Patron saint of painters. of the Virgin. + + ST. MARCELLA or MARTILLA, + A. D. 68. The handmaid + of Mary and Martha. + + ST. MARCELLINUS and ST. Represented together in art, + PETER EXORCISTA, A. D. bearing their palms. + 304. June 2. Two priests + who were persecuted and + suffered martyrdom together. + + ST. MARGARET of Antioch, Dragon under her feet. Cross. + A. D. 306. July 20. Crown. Palm. + + ST. MARGARET of Cortona, Checkered habit. Cord as + A. D. 1297. girdle. Dog at her feet. + + ST. MARK the Evangelist, Lion, generally winged. Bishop’s + A. D. 68. April 25. Patron robes. Book. + saint of Venice. + + ST. MARTHA of Bethany, A. D. Pot of holy water. Asperges. + 84. July 29. Patron saint Dragon bound at her feet. + of cooks and housewives. Bunch of keys. Skimmer + or ladle in her hand. When + with the Magdalene plainly + dressed in blue, dark brown, + or grey. + + ST. MARTIN of Tours, A. D. Bishop’s robes. Beggar at + 397. Nov. 11. Patron feet or as soldier dividing + saint of Tours, Lucca, and his cloak with beggar. + penitent drunkards. Goose at his side. (This + attribute alludes to the + season of his festival, called + Martinmastide, when geese + are killed and eaten.) + + ST. MARY of Egypt, A. D. Old, wasted, with long hair, + 433. April 2. grey or black. Three small + loaves. + + ST. MARY MAGDALENE, A. D. Long, fair hair. Box of + 68. July 22. Patron saint ointment. Skull. Crucifix. + of Provence, Marseilles, and + of penitent women. + + ST. MATTHEW, Apostle and Angel or man. Book or pen. + Evangelist, A. D. 90. Sept. Purse or money-bag. + 21. + + ST. MATTHIAS, Apostle. Feb. Lance or axe. + 24. + + ST. MAURICE (_Ital._ San St. Maurice is represented in + Maurizio), A. D. 286. armour, palm in one hand, + Sept. 22. Patron saint of the standard in the other. + Savoy, Mantua, and Austria. Sometimes as a Moor, his + This saint was commander name signifying “a Moor.” + of the Theban Legion of the In Italian art he bears a + Roman Army, numbering large red cross—badge of the + 6666 soldiers, all Christians. Sardinian Order of St. + These were slain to a man Maurice—on his breast. St. + by order of Emperor Maximin Gereon is in armour, and + for refusing to enter bears the standard and palm. + into battle against other Sometimes the Emperor + Christians. The place Maximin is portrayed prostrate + where the martyrdom occurred under his foot, expressing + has since been called spiritual victory + St. Maurice. St. Gereon over tyranny. + was another of the Theban + Legion, who, with his comrades, + suffered martyrdom + in Cologne. St. Gereon + and St. Maurice are most + honoured in Germany. + + ST. MAURUS, A. D. 584. + Jan. 15. _See_ ST. BENEDICT. + + ST. MICHAEL the Archangel. Winged. In armour. Sword. + Sept. 29. Spear. Shield. Dragon + under his foot. As Lord of + souls, holding the balance. + + ST. MINIATO, A. D. 254. Scarlet robe. Crown. Palm. + Javelins. T-shaped cross. + + ST. MONICA, A. D. 387. May + 4. Mother of St. Augustine. + + ST. NATALIA, wife of ST. + ADRIAN and one of the great + martyrs of the Greek Church. + + ST. NAZARIUS and ST. CELSUS, Always represented together, + A. D. 69. July 28. Two St. Nazarius old, St. Celsus + martyrs of Milan. young. Each bears the + palm and sword. + + ST. NICHOLAS of Myra or Bishop’s robes. Three balls. + Bari, A. D. 326. Dec. 6. Anchor. Three children in + Patron saint of Russia, a tub. Ship. + Freiberg, Venice, of children, + sailors, merchants, and + against robbers. + + ST. NICHOLAS of Tolentino, Augustine habit. Star on his + A. D. 1309. Sept. 10. breast. Gospel. Crucifix + wreathed with a lily. + + ST. NORBERT, A. D. 1134. Bishop’s robes. Sacramental + May 6. Founder of the Order cup with spider over it. + of Premonstratensians. Sometimes demon bound. + + ST. OMOBUONO. Patron saint Loose tunic trimmed with + of Cremona, of tailors, and fur. Fur cap. Is seen + all good citizens. Noted distributing food and alms + for his charity. to the poor. Sometimes + wine flasks stand near him + in allusion to the legend + that after giving his own + provisions to some starving + pilgrims, he filled the empty + wine flasks with water which + poured out wine, and angels + filled his wallet with bread. + + ST. ONOFRIO, fourth or fifth Old, wasted, long grey hair + century. June 12. A and beard. A leafy branch + hermit of Thebes who dwelt encircles his loins. Stick + alone in a cave for sixty in his hand. + years and never spoke except + to pray. + + ST. OTTILIA, A. D. 720. Dec. Abbess of the Benedictine + 13. Patron saint of Alsace Order. Crozier or Palm. + and Strasburg and against Book upon which rest two + diseases of the eye. She eyes. + was the blind daughter of the + Duke of Alsace and built the + convent of Hohenburg. + + ST. PANTALEON, fourth century. Young. Beardless. Wears + July 27. Patron loose robe. Palm. Olive. + saint of physicians. Was As martyr bound to an olive + the favourite physician of tree. Sword at his feet. + Emperor Galerius Maximian. + Martyred for his faith. + + ST. PATRICK, A. D. 464. + March 17. Apostle and + patron saint of Ireland. + + ST. PAUL the Apostle, A. D. Sword. Sometimes two swords. + 65. June 29. Book. Scroll. Next to + Virgin or Saviour enthroned. + + ST. PAUL the Hermit of Thebes, Very old, half naked. Long + A. D. 344. hair and beard. Raven. + + ST. PETER the Apostle, A. D. Keys. Fish. Cross. Cock. + 65. June 29. + + ST. PETER of Alcantara, A. D. Often represented thus, or + 1562. A Franciscan monk with dove hovering over his + who through faith was able head. + to walk on the water. + + ST. PETER EXORCISTA. _See_ + ST. MARCELLINUS. + + ST. PETER MARTYR, A. D. Dominican habit. Gash in + 1252. April 28. his head or blood flowing + from it. Sometimes sword + or axe. Palm. + + ST. PETER NOLASCO, A. D. Old. White habit; on his + 1258. Jan. 13. Founder of breast the arms of King + the Order of Our Lady of James of Aragon, the badge + Mercy, for the redemption of the Order. + of captives. + + ST. PETRONILLA, first century. + May 31. The daughter of + St. Peter. + + ST. PETRONIUS, A. D. 430. Bishop’s robes. City of Bologna + Oct. 4. Bishop and patron in his hand. + saint of Bologna. + + ST. PHILIP, Apostle. May 1. Staff or crozier surmounted + Patron saint of Luxembourg by a cross, or small cross + and Brabant. in his hand. + + ST. PHILIP BENOZZI, A. D. + 1285. Aug. 23. Chief + saint of the Order of the + Servi. + + ST. PHILIP NERI, A. D. 1595. + May 26. Founder of the + Order of the Oratorians. + + ST. PHOCAS of Sinope. Martyr. Found in Byzantine art. As + Greek patron saint of gardens gardener. Spade. + and gardeners. + + ST. PLACIDUS, A. D. 584. Jan. + 15. _See_ ST. BENEDICT. + + ST. POL or PAUL DE LÉON, Bell. Sometimes loaf and + A. D. 573. March 12. First cruse. Driving dragon into + Bishop and patron saint of the sea. + Léon and founder of the + cathedral at St. Pol-de-Léon, + Brittany. + + SS. PRAXEDES and PUDENTIANA, + A. D. 148. July 21 + and May 19. The daughters + of a Roman patrician named + Pudens, with whom St. + Peter lodged. They were + Christians, and during the + first persecution they ministered + to the tortured ones, + sheltering them in their + own home. They themselves + escaped martyrdom. + + ST. PRISCA, A. D. 275. Jan. Lion. Palm. Eagle. + 18. A Roman virgin who + was denounced as a Christian + when but thirteen and + thrown to the lions. These, + instead of attacking her, + humbly licked her feet. She + was then taken and beheaded. + An eagle guarded + her body until it was buried. + + ST. PROCOPIUS, A. D. 1053. + July 4. A King of Bohemia + who gave up his crown and + became a hermit. His story + is similar to St. Giles’s. + + ST. PROCULUS, A. D. 303. Soldier, axe in his hand. + Military patron saint of Sometimes an angel holds + Bologna. One of the warrior the axe. Sword. Carrying + saints who slew with a head in both hands. + an axe an officer sent to + enforce the imperial edict + against the Christians and + was then himself immediately + beheaded. + + ST. RANIERI, A. D. 1161. + July 17. Patron saint of + Pisa. + + ST. RAPHAEL the Archangel. Winged. Wallet. Staff. + Guardian angel of travellers. Sword. Casket (with fishy + charm). Pilgrim’s garb. + + ST. RAYMOND DE PEÑAFORTE, Dominican habit. Gliding + A. D. 1275. Jan. 23. A over the sea on his mantle. + Spanish nobleman who entered + the Order of St. + Dominick. He is said to + have safely crossed the sea + on his mantle, setting his + staff in the middle with the + corner of the cloak for a sail. + + ST. REPARATA, third century. Crown. Palm. Sometimes a + Patron saint of Florence banner with red cross on a + before 1298. white ground. Difficult + to distinguish from St. Ursula + unless latter has arrow. + + ST. ROCH, A. D. 1327. Aug. Pilgrim’s habit. Wallet. + 16. Patron saint of prisoners Cockleshell. Staff. Dog. + and the sick, especially Often pointing to wound + the plague-stricken. in his leg. + + ST. ROMAIN, A. D. 639. Oct. + 23. Bishop of Rouen under + Clovis I. Considered the + Apostle of Normandy. The + dragon legend is related of + him also. + + ST. ROMUALDO, A. D. 1027. White habit. Long white + Feb. 7. Founder of the beard. Crutch. + Order of the Camaldolesi, + reformed Benedictines. + + ST. ROMULO, first century. + July 23. Convert of St. + Peter and first Bishop of + Fiesole. Martyred under + Nero. + + ST. ROSA DI VITERBO, A. D. Franciscan habit. Chaplet of + 1261. May 8. roses. + + ST. ROSALIA of Palermo, A. D. Brown tunic. Hair loose. + 1160. Crucifix. Angels crowning + her with roses. + + ST. SABINA, second century. Palm. Crown. Richly + Aug. 29. A Roman matron dressed. + martyred in the time of the + Emperor Hadrian. + + ST. SCHOLASTICA. _See_ ST. + BENEDICT. + + ST. SEBALD or SIWARD, A. D. Pilgrim’s dress. Shell in his + 770. One of the early hat. Rosary. Staff. + German saints, especially Wallet. In one hand his + venerated in Nuremberg. church with its two towers. + + ST. SEBASTIAN, A. D. 288. Pierced by arrows. Bound + Jan. 20. Patron saint against to a tree or column. Angel + plague and pestilence. with palm and crown. + + ST. SIMON and JUDE or St. Simon the saw. Thaddeus + THADDEUS. Oct. 28. the halberd. + + ST. STEPHEN. Protomartyr. Stones. Deacon’s robes. + Dec. 26. Palm. + + ST. SWITHIN, A. D. 862. July + 2. Bishop of Winchester + and preceptor of Alfred the + Great. He desired to be + buried among the poor outside + the church. When his + clergy, however, on July + 15th, wishing to do him + honour, attempted to remove + his body to a magnificent + tomb inside the church, the + rain fell in such torrents + they were unable to proceed. + The storm continued forty + days. Then, the clergy + saw it was a sign, and left + the saint’s body undisturbed. + + ST. SYLVESTER, A. D. 335. Pontifical robes. Mitre. + Dec. 31. Bishop and Patriarch Sometimes triple tiara. + of Rome. Always Small dragon, its mouth + associated with the conversion bound with threads. Bull + of Constantine. crouching at his feet. + Sometimes holding or pointing + at the portraits of St. Peter + and St. Paul. + + ST. THECLA, first century. Young. Palm. Wild beasts. + Sept. 23. Patron saint of + Tarragona. A Greek virgin + and martyr who was a convert + of St. Paul. + + ST. THEODORE, A. D. 306. In armour. Dragon under + Nov. 9. Formerly patron his feet. + saint of Venice. + + ST. THERESA, A. D. 1582. Corpulent. Infirm. Flame-tipped + Oct. 17. Patron saint of arrow in her breast. + Spain and founder of the Dove. Angel. + Scalzi, a reformed order of + the Carmelites. + + ST. THOMAS, Apostle. Dec. Builder’s rule or square. + 21. Patron saint of Parma Lance. + and Portugal, and of + builders and architects. + + ST. THOMAS AQUINAS, A. D. Dominican habit. Books. + 1274. March 7. Pen. Sacramental cup. + Sun on his breast within + which is sometimes a human + eye. Dove. + + ST. THOMAS À BECKET of Blood flowing from his head. + Canterbury, A. D. 1170. Bishop’s robes or Benedictine + Dec. 29. habit. + + ST. THOMAS of Villaneuva, At his canonisation it was + A. D. 1555. Sept. 17. ordained that he should be + Archbishop of Valencia, represented with an open + called the Almoner because purse in his hand instead + of his charities. of a crozier. + + ST. TORPÈ or TROPÈS, A. D. Roman soldier. White banner + 70. May 17. with a red cross. + + ST. URSULA, A. D. 237 or Crown. Arrow. Pilgrim’s + 383, or 451. Oct. 21. Patron staff surmounted by a white + saint of teachers and banner with the red cross. + young girls. Dove. Mantle sheltering + virgins. + + ST. VERONICA. There is an Always represented in art + old tradition that when displaying the sacred napkin. + Jesus was on his way to + Calvary, staggering under + the weight of his cross, + he met a woman who, + filled with compassion, + wiped the drops of agony + from his face with a napkin, + or as some say with her + veil. And the face of Christ + was miraculously printed on + the cloth. The name of + _Vera Icon_, the true image, + was given to this, and the + cloth was called the _Sudarium_ + (_Fr._ Le Sainte Sudaire; + _Ital._ Il Sudario). + In time the name of the + cloth was given to the + woman of whom the legend + is related. The festival of + St. Veronica occurs on + Shrove Tuesday. + + ST. VICTOR of Marseilles, A. D. In armour. Millstone. + 303. July 21. A Roman + soldier who suffered martyrdom + under Diocletian, being + crushed by a millstone and + then beheaded. + + ST. VINCENT. Deacon and Young. Deacon’s dress + Martyr, A. D. 304. Jan. Palm. His peculiar attributes + 22. Patron saint of Lisbon, a crow or raven + Valencia, Saragossa, Milan, sometimes perched upon a + and Chalons. millstone. Difficult to + distinguish from St. Laurence + and St. Stephen. + + ST. VINCENT FERRARIS, A. D. Dominican habit. Crucifix. + 1419. April 5. Sometimes represented with + wings, symbolising + inspiration. + + ST. VINCENT DE PAULE, A. D. Franciscan habit. Infant in + 1660. July 19. Founder his arms. Sister of Charity + of hospitals for deserted kneeling at his feet. + children and of the Order + of Sisters of Charity. + + ST. VITUS, A. D. 303. June Palm. Lion. Cock. Wolf. + 15. Patron saint of Bohemia, Caldron of oil. Young + Saxony, and Sicily, and beautiful. + of dancers and actors, + against nervous diseases and + late rising (hence the _cock_ + as an attribute). + + ST. WALBURGA, A. D. 728. Benedictine habit. Crozier + May 1. Niece of St. Boniface as abbess. Vial or flask + and accompanied him to in her hand. + Germany and became abbess + of a Benedictine convent + at Heidenheim. The night + of her festival is the famous + _Walpurgisnacht_ referred to + in _Faust_. + + ST. ZENO, A. D. 380. April Bishop’s robes. Fish suspended + 12. Patron saint of Verona. from his crozier. + + ST. ZENOBIO, A. D. 417. May Scenes from his life are + 25. Bishop of Florence. frequently represented in + Florentine art. He has no + particular attribute. + + + + +III.—HISTORICAL AND DEVOTIONAL SUBJECTS + + +The sacred subjects as represented in art become _historical_ +when they record any event or story of the Bible, or express the +actions, miracles, or martyrdoms of saints. Yet a story may become a +_symbol_—thus the Last Supper may be treated as an event, or it may +express the symbol of our redemption. + +Devotional pictures are those in which no action or event takes place, +and where the sainted personages are represented solely in their sacred +character, whether standing singly or grouped with others. Such a group +is called in Italian a _sacra conversazione_—meaning a society in which +there is communion. The most important of these devotional subjects are +those in which the whole celestial hierarchy are represented, such as +the _Paradiso_ so often met with in ecclesiastical decoration, where +Christ sits enthroned in glory; the Coronation of the Virgin, the old +and accepted symbol of the triumph of the Church; the Last Judgment, +from the Apocalypse, and the Adoration of the Lamb. The order of +arrangement in these pictures was fixed and absolute, having been early +decided by the Church authorities. The Virgin Mary and John the Baptist +come first after the Trinity; then in their order the evangelists, +patriarchs, prophets, the apostles, the fathers, the bishops, martyrs, +monks, and nuns. + +This order might sometimes be varied in order to exalt a favourite +saint, as when sometimes St. Augustine is enthroned, with St. Peter +and St. Paul on each side; or St. Barbara is represented enthroned, +attended by Mary Magdalene and St. Catherine. Frequently the patron +saint of the votary or the locality is represented enthroned, and other +saints (of a superior rank under other circumstances) are here placed +on each side or lower down in the picture, and become accessories. In +these pictures the donor is frequently introduced kneeling before his +patron saint, sometimes accompanied by his wife and family. And to show +his lowliness and self-abasement, he is often so small as to be out of +all proportion with the other figures in the picture. + +A bishop kneeling among a group of saints is usually the donor of +the picture. When he stands with other saints, he is one of the +bishop-martyrs or patrons. There are some hundreds of these, and they +are the most difficult to distinguish of all the pictured saints. + +The _anachronisms_ found in many of the devotional pictures where those +saints and sacred personages who lived at widely different times are +found grouped together, is explained by the spiritual conception that +there is no such thing as time in heaven. So that that which at first +seems so incongruous, as to excite derision and pity for the mistakes +and ignorances of an earlier age, was instead in the highest degree +significant of the immortal life and eternal youth of those blessed +ones, who “belong no more to our earth, but to heaven and eternity.” + +In the sacred subjects that come under the head of _historical_, some +are scriptural, portraying scenes from the Old or New Testament, while +others are purely legendary in character. + +The historical subjects from the lives of the saints represent usually +some miracle they have performed or some scene from their martyrdom. + +The martyrdoms found everywhere in all countries are those of St. Peter +and St. Paul, St. Stephen Protomartyr, St. Laurence, St. Catherine, and +St. Sebastian. + + + + +IV.—GENERAL SYMBOLS + + +“A symbol is an exterior formula, the representation of some dogma +or belief. The _lamb_ is the symbol of Christ, for the sacred texts +relating to the Divine lamb oblige us to receive it as the necessary +and dogmatical representation of Christ. A _figure_, on the other hand, +is an arbitrary representation of any idea. The figure is not imposed +by sacred dogma, but results simply from the free use of the human +mind.... We are required to receive a symbol, but may be persuaded to +admit a figure; the first demands our faith, the second fascinates +the mind. The _lion_, _cross_, and _lamb_ are the sole symbols of +Christ, but he has been figured by the pelican and the fish.”—Didron’s +_Christian Iconography_. + +The =Nimbus=, =Aureole=, or =Glory= that is used in Christian art +to distinguish holy personages was used by the pagans, who not only +employed it as an attribute of divinity, but often gave it to the +Emperors of Rome and the Kings of Eastern Europe and Asia. It expressed +the radiance believed to emanate from the Divine Essence. + +The glory around the head is the nimbus or aureole. The _oblong +glory_ surrounding the whole person (called in Italian the +_Mandorla_—almond—from its form) is used only in connection with +figures of Christ and the Virgin, or with saints as they are seen +ascending into heaven. + +When used to represent one of the three divine persons of the Trinity, +the glory is often cruciform or triangular. A _cruciform nimbus_ is a +nimbus stamped with a cross, and although appropriate to the Deity, +belongs peculiarly to Christ. + +The =Triangle=, the emblem of the Divine Trinity, denotes three of the +inseparable attributes of the Deity: to be; to think; to speak. + +The =Square= was a geometrical symbolic figure used to indicate the +earth; the circle was the symbol of heaven. Thus eternity was shown by +a circle, life by a square, and the eternity of life by a square within +a circle. + +The _Square Nimbus_ indicates that the person was living at the time +the picture was painted. + +From the fifth to the twelfth century the nimbus was shaped like a disc +or plate over the head. During the thirteenth and fourteenth centuries +it was a broad golden band behind the head, consisting of circle within +circle, frequently ornamented with jewels. The custom prevailed at this +time (especially in Germany) of inscribing the saint’s name within the +edge of the nimbus above his head. From the fifteenth century, the +nimbus became a bright fillet over the head, and its use was abandoned +in the seventeenth century. + +In pictures, the nimbus or aureole is always golden, the colour of +light. + +The =Fish=[1] (usually a dolphin, which had also a sacred significance +among the pagans,) was the earliest of the Christian emblems. It was +used, partly because the Greek word for fish forms the anagram of the +name of Jesus Christ; and as a symbol of water and the rite of baptism; +also in reference to the passage in the Gospel: “Follow me, and I will +make you fishers of men.” When given to St. Peter the fish signifies +his occupation as a fisherman, his conversion to Christianity, and +his vocation as an apostle—a fisher of men. It is also given as an +attribute to bishops who were celebrated for the number of their +conversions and baptisms. + +[Illustration: _a_ _b_ _c_ _d_] + +The =Cross=. About the tenth century the fish was superseded by the +cross, which became the universal symbol of the Christian faith. +The Latin cross (_a_), that upon which Christ was believed to have +suffered, is the form usually given to a saint. But other crosses are +used, having the same signification; as the Greek cross (_b_), in which +the arms are all the same length; the transverse cross (_c_), on which +St. Andrew is supposed to have died; the Egyptian cross (_d_), often +given to St. Philip the Apostle, was the form also of the crutch of St. +Anthony and was embroidered on his cope or robe, hence it is called St. +Anthony’s cross. + +The double cross on the top of a staff instead of a crozier belongs +only to a pope. The staff with a single cross is borne by the Greek +bishops. Often the cross was made of gold or silver, the five wounds of +Christ being indicated by a ruby or carbuncle at each end and in the +centre. Not until the sixth century did the cross become a crucifix, +no longer a symbol, but an image. + +The =Lamb= has been the peculiar symbol of the Saviour, as the +“sacrifice without blemish,” from the earliest times. The lamb is also +the general symbol of modesty, innocence, and meekness, and is thus +given to St. Agnes. + +The =Pelican=, who tears open her breast to feed her young with her +own blood, was one of the early symbols of our redemption through the +sufferings of Christ. + +The =Dragon= is the symbol of Satan and of sin. The scriptural phrase, +“the jaws of hell,” was rendered literally in early art by depicting +the dragon’s jaws as open, emitting flames. The =Serpent= also typified +sin and is sometimes placed under the feet of the Madonna with an apple +in its mouth, or winding around a globe, signifying the power of sin +over the whole world. + +The =Lion=[2] is an ancient Christian symbol that frequently occurs, +especially in architectural decoration. Antiquaries differ as to the +exact meaning of the mystical lions placed in the porches of so many +old Lombard churches; sometimes with an animal, sometimes with a man +in their paws. The lion was an ancient symbol of the Redeemer, “the +lion of the tribe of Judah,” also of the resurrection of the Redeemer, +because according to an Oriental tradition the lion’s cub is born dead, +and in three days its sire licks it into life. The lion, as a creature +of the wilderness, is also an emblem of solitude, and is given to St. +Jerome and other saints who did penance, or lived as hermits in the +desert. The lion as an attribute indicated death in the amphitheatre, +and thus is given to St. Ignatius and St. Euphemia. As the type of +fortitude and resolution, the lion is placed at the feet of those +martyrs of unfaltering courage, as St. Adrian and St. Natalia. + +The =Hart= or =Hind= is an emblem of solitude and purity of life, and +also of religious aspiration. “Like as the hart panteth after the +water-brooks, so panteth my soul for Thee, O God!” When the original +meaning of the lion, the hart, and other emblems had faded from the +popular mind, legends were invented to explain them and _that which +had been a symbol_ became an _incident_ or an _historical attribute_; +as the legend of the lion healed by St. Jerome, or two lions digging +the grave of St. Paul, the stag that appeared to St. Eustace and St. +Hubert, and the hind that spoke to St. Julian. + +The =Peacock=, the bird of Juno, was an old pagan symbol signifying +the apotheosis of an empress. The early Christians, with this +interpretation in mind, used it as a general symbol of immortality. +It was not until modern times that the peacock became the emblem of +earthly pride. + +The =Crown= in Christian art is either an emblem or an attribute. In +all ages it has been the emblem of victory and reward due to surpassing +power or virtue. “Henceforth there is laid up for me a crown of +righteousness”; and in this sense the crown became the especial symbol +of the glory of martyrdom. Among the Jews, the crown was worn by a +bride, and usually only the female martyrs wear the symbolical crown +of glory, signifying in a double sense the bride of Christ, and the +martyr. Martyrs of the other sex hold the crown in their hands or it +is borne by an angel. The crown is also the symbol of sovereignty. +The Virgin wears it as Queen of Heaven and _Regina Angelorum_. It is +important to distinguish between the _symbol_ and the _attribute_. When +the crown is given to St. Cecilia and St. Barbara it is the emblem of +their glorious martyrdom. When given to St. Catherine and St. Ursula +it is not only the _symbol_ of martyrdom but the _attribute_ of their +royal rank as princesses. + +As an attribute it is frequently worn by a saint or placed at his feet, +indicating that he was of royal birth, as in pictures of Louis of +France, St. Helena, and many others. + +The =Sword= is also a symbol or an attribute. In general it signifies +martyrdom by a violent death and thus is given to many saints who did +not perish by the sword. As an attribute, it shows that the martyr was +beheaded. Thus it is given to St. Paul, St. Catherine, and many others. +It is also given to the warrior martyrs typifying their military +profession. + +Other symbols of martyrdom are: + +The =Lance=, the =Axe=, the =Club=. + +The =Arrow=, the attribute of St. Ursula, St. Christian, and St. +Sebastian. + +The =Anvil= is an attribute of St. Adrian only, signifying his +martyrdom. + +The =Poniard=, of St. Lucia. + +The =Caldron=, given to St. Cecilia and St. John the Evangelist. + +The =Pincers= and =Shears=, St. Apollonia and St. Agatha. + +The =Wheels=, St. Catherine. + +=Fire= and =Flames= sometimes indicate martyrdom, sometimes religious +fervour. + +The =Palm= is the universal symbol of martyrdom, for which the +Christians found scriptural authority in Rev. vii., 9, 14: “And after +this I beheld, and lo, a great multitude ... stood before the throne +... clothed with white robes, and with palms in their hands.” ... “And +he said to me, These are they which came out of great tribulation.” +Thus in pictures of martyrdoms an angel is introduced with the palm. + +The =Standard= or =Banner= is the symbol of victory. It is carried by +our Saviour after His resurrection, and is given to St. George, St. +Maurice, and other military saints; to some victorious martyrs, as St. +Julian and St. Ansano, also to St. Ursula and St. Reparata, the only +female saints. + +The =Ship=. The Ark of Noah was in early times a symbol of the Church +of Christ. Later the Ark became a Ship. + +The =Anchor= symbolises immovable firmness, patience, and hope. + +The =Lamp=, =Lantern=, or =Taper= is the emblem of piety: “Let your +light so shine before men,” etc. Thus it is given to St. Gudula, St. +Geneviève of Paris, and St. Bridget. It also signifies wisdom, and when +given to St. Lucia typifies celestial light or wisdom. + +A =Church= in the hands of a saint shows that he was the founder of +some particular church. But in the hands of St. Jerome it signifies the +whole Catholic Church, and to make the symbol more impressive rays of +light stream out from the portal. + +The =Chalice=, or Sacramental Cup with the Host, signifies faith, and +is thus given to St. Barbara. + +The =Scourge= in the hand of a saint or at his feet indicates the +penance he inflicted upon himself; in the hand of St. Ambrose, however, +it shows the punishment he inflicted upon others. + +The =Olive=, emblem of peace and reconciliation, is found on the tombs +of the early martyrs; sometimes with, and again without, the dove. It +is carried as the attribute of peace by the Angel Gabriel, sometimes +also by the angels in a Nativity who announce “peace on earth.” + +The =Dove= in sacred art is the symbol of the Holy Ghost, and is given +to certain saints who are considered to have been divinely inspired, +as St. Gregory, St. Thomas Aquinas, St. Hilarius, and others. It is +also introduced into various subjects from the New Testament, as the +Annunciation, the Baptism, and the Pentecost. It also symbolises +simplicity and purity of heart, and is the emblem of the soul, and in +this sense is seen coming forth from the lips of dying martyrs. + +The =Lily= is another emblem of purity and appears in pictures of the +Virgin, particularly those of the Annunciation. It belongs also to St. +Joseph, the husband of the Virgin Mary, whose staff, according to the +legend, put forth lilies. It is given as an emblem only to St. Francis, +St. Anthony of Padua, St. Dominick, and St. Catherine of Siena, to +emphasise the great purity of their lives. + +The =Unicorn= is another “ancient symbol of purity, in allusion to the +fable that it could never be captured except by a virgin stainless in +mind and life.” It is the emblem of female chastity, and is given only +to the Virgin Mary and St. Justina. + +The =Flaming Heart= symbolises fervent piety and love. + +The =Book=, in the hands of the evangelists and the apostles, +represents the Gospel, and is an attribute. In the hand of St. Stephen +it is the Old Testament; with any other saint it may be the Gospel, but +it may also be a symbol signifying that the saint was famous for his +learning. It is thus given to St. Catherine, the Doctors of the Church, +St. Thomas Aquinas, and St. Bonaventura. + +=Flowers= and =Fruit= may be simply ornamental in ecclesiastical works +of art, but in many instances they have a definite meaning. Roses are +symbolical in pictures of the Madonna, who is the “Rose of Sharon.” + +The =Apple= was the accepted emblem of the fall of man and original +sin. In pictures of the Madonna and Child, in the hand of the Infant +Christ, or presented by an angel, it symbolised redemption. + +The =Pomegranate= bursting open, showing the seeds, was a symbol of the +future and hope of immortality. + +An _Apple_, _Pear_, or _Pomegranate_ placed in the hand of St. +Catherine as the mystical bride of Christ, alludes to the scriptural +text, “The fruit of the Spirit is love, joy, peace.” + +A =Bell= was supposed to exorcise demons, and thus it is given to the +haunted St. Anthony. + +The =Shell= signifies pilgrimage. + +The =Skull=, penance. + + +FOOTNOTES: + +[1] See Appendix. + +[2] See Appendix. + + + + +V.—COLOURS AS EMBLEMS + + +In early art colours were always used symbolically, and until the old +traditions were cast aside by later painters, certain colours were +always associated with certain subjects and certain personages. In all +the old stained glass these rules were scrupulously followed. + +=White= was the symbol of light, faith, joy, life, and of religious +purity, virginity, and innocence. It signified honour and integrity in +the judge, humility in the rich man, and chastity in a woman. Christ +appears in white after His resurrection and the Virgin wears it in +pictures of the assumption. + +=Red=, the ruby, denoted fire, divine love, the Holy Spirit; royalty, +creative power, and heat. Red and white roses are symbols of love and +innocence, or love and wisdom. Thus the angel crowns St. Cecilia. +Used in the bad sense, red typified blood, hatred, war. Red and white +together were the colours of the devil and of purgatory. + +=Blue=, that of the sapphire, signified heaven, fidelity, constancy, +truth. Christ and the Virgin wear the blue mantle typifying heavenly +love and heavenly truth. St. John the Evangelist was given the _blue +tunic_ and the red mantle. + +=Yellow= or =Gold= was the symbol of the sun, of the goodness of +God, of marriage and fruitfulness. St. Joseph wears yellow, and St. +Peter, in pictures of the apostles, wears a yellow mantle over a blue +tunic. Used in the reverse sense, yellow denoted jealousy, deceit, and +inconstancy. The traitor Judas wears a dirty, dingy yellow. + +=Green=, the emerald, the colour of spring, symbolised victory and +hope—particularly hope of immortality. + +=Violet=, the amethyst, signified passion and suffering, or love and +truth. It is the colour worn by the martyrs, by the Virgin after the +crucifixion, by Mary Magdalene as the penitent, and sometimes by Christ +after the resurrection. + +=Grey= is the colour of humility, mourning, penance, and accused +innocence. + +=Black= indicated darkness, wickedness, death, and mourning, and was +given to Satan. Black and white signified humiliation or mourning, and +purity of life, and for this reason was adopted by the Dominicans and +Carmelites. + + + + +VI.—THE TRINITY + + +=Symbols of God the Father.= Until the twelfth century the only symbol +used to indicate God the Father was a hand issuing from the clouds. +It was generally represented in the act of benediction, sometimes +encircled by a cruciform nimbus, sometimes entirely open with rays +proceeding from each finger. It was then supposed to be in the act of +bestowing. This symbol was followed by a face in the clouds, then a +bust, and by the end of the fourteenth century the entire figure was +represented. Then a sentiment grew into being that, as no mortal had +seen nor could see him, any attempt to represent him in human form was +profane; and since the sixteenth century the Supreme Being has been +symbolised by a triangle, the geometrical emblem of the Divine Trinity, +or by a radiating circle, itself the symbol of eternity. + +=Symbols of God the Son.=[3] The symbols of Christ are the glory, +aureole, or nimbus, the cross, lamb, and lion. However, from the +beginning of Christian art, Christ has been represented by portraits +rather than symbols, and these portraits are always unmistakable. + +[Illustration: + + Photo. Alinari + +THE BAPTISM OF CHRIST BY ST. JOHN.—VERROCCHIO + +(Academy, Florence.)] + +=Symbols of the Holy Ghost.= From the sixth century the dove has +been the universal symbol of the Holy Ghost. The representation of +the Saviour surrounded by seven doves is highly symbolical. They +are emblems of the seven gifts of the spirit with which He was +endowed—wisdom, understanding, counsel, strength, knowledge, piety, and +fear (Is. xi). During the Middle Ages seven was considered a mystic +number. There were seven gifts of the Holy Ghost; seven planets; seven +days of the week; seven branches on the candlestick of Moses; seven +sacraments; seven stars; seven liberal arts; seven symbolic trumpets; +seven churches of Asia; seven mysterious seals; seven heads of the +Dragon; seven penitential psalms; seven joys and seven sorrows of the +Virgin; seven deadly sins; seven canonical hours. + +=Symbols of the Trinity.= In early art the Divine Three in One was +symbolised by the combination of three triangles, three circles, three +fishes, and in later art by three human figures, each with its peculiar +attribute. In the thirteenth and fourteenth centuries the dove was +often represented hovering between the first and second persons of the +Trinity with the tips of the wings touching the lips of each. + + +FOOTNOTES: + +[3] See Appendix. + + + + +VII.—ARCHANGELS[4] + + +The seven archangels who stood in the presence of God are frequently +referred to in Scripture. These are: _Michael_, _Gabriel_, _Raphael_, +_Uriel_, _Chamuel_, _Jophiel_, _Zadkiel_. + +From the standpoint of art, however, it is necessary to consider only +the characteristics of the first three, who are venerated as saints +in the Catholic Church. These, by their majestic and gracious beauty, +and their accredited mission as counsellor, messenger, and healer to +mankind, have inspired some of the most poetical and beautiful works of +art. + +=St. Michael.= _Lat._ Sanctus Michael Angelus. _Ital._ San Michele, +Sanmichele. _Fr._ Monseigneur Saint Michel. + +Poetry and art have united in giving St. Michael pre-eminence over +all created spirits. All the glory of princedoms, powers, virtues, +dominations, and thrones radiate from him, and God manifested His glory +in him when He made him victor over the power of sin and over the +“great dragon that deceived the world.” + +The worship of St. Michael became general in France from the ninth +century, and he was made the patron saint of France, and of the +military order instituted in his honour by Louis XI., in 1469. This +worship extended to England after the Norman Conquest, and churches +dedicated to St. Michael are found in all the towns and cities along +the southern and eastern shores. + +St. Michael is also the angel of good counsel. + +[Illustration: + + Photo. Alinari + +THE THREE ARCHANGELS.—BOTTICELLI + +(Academy, Florence.)] + +He is represented in three characters in art: as patron saint and +prince of the Church Militant; as captain of the hosts of heaven and +conqueror of the powers below; as lord of souls,—the conductor and +guardian angel of the spirits of the departed. + +In all representations of St. Michael in art the leading _motif_ is +the same. He is young and beautiful, with a severe, imperious beauty. +In early art he is represented in white, with large many-coloured +wings, and carries only the sceptre, or the lance surmounted by a +cross, as one who conquered sin by spiritual power alone. In later +representations—those imbued with the spirit of chivalry, he becomes +the idealised expression of knighthood, and is attired in a magnificent +coat of mail, with shield and spear and sword. Sometimes he wears a +helmet; more often his long, fair hair is confined by a jewelled tiara, +or floats loose upon his shoulders, the only angelic attribute being +the wings that spring resplendent from his shoulders. + +In devotional pictures of St. Michael, he is represented as captain of +the heavenly host and conqueror of the Evil One. He is armed and stands +with his foot on the half-human, half-dragon form of Lucifer, whom he +is about to pierce with his lance or to hurl down into the infernal +regions. This representation is the universal symbol of the ultimate +victory of good over evil. + +When St. Michael is portrayed as lord of souls he is unarmed. He holds +a balance and upon each scale sits a little naked figure representing +two human souls. The _beato_—the blessed one—has his hands joined in +gratitude, while the other, the rejected one, is in an attitude of +hopeless misery. Frequently a demon is seen grasping the descending +scale with his talons or a long two-pronged hook. + +Whether with or without the balance, St. Michael appears as lord of +souls in the death and assumption of the Virgin. The legends assert +that he received her spirit and guarded it during the interim of her +death and assumption. + +=St. Gabriel.= _Ital._ San Gabriele, San Gabriello, L’Angelo +Annunziatore. + +Where the Angel Gabriel’s name occurs in Scripture it is in the +character of a messenger only. It is he who is sent to Daniel to +interpret the vision which shows the destinies of mighty nations, and +to announce the return of the Jews from captivity. In the New Testament +he foretells the birth of John the Baptist to the high-priest Zacharias +and six months later he is sent to the Virgin to proclaim the coming of +the Redeemer of the world. In the Apocryphal New Testament he foretells +to Joachim the birth of the Virgin and is thought to have foretold the +birth of Samson. He is more important in the New Testament than Michael +and as the angel who announced the birth of Christ he is reverenced as +the angel who presides over childbirth. + +In devotional pictures he is represented as the second of the three +archangels. In his character of _l’angelo annunziatore_, he usually +carries a lily or a sceptre in one hand and in the other a scroll +inscribed “Ave Maria, Gratia Plena!” + +=St. Raphael.= _Ital._ San Raffaello. _Ger._ Der Heilige Rafael. + +Raphael is the prince of guardian spirits, the guardian angel of all +humanity and thus, according to the early traditions, he appeared to +the shepherds by night, “with good tidings of great joy, which shall +be for all people.” + +Raphael in his character of guardian angel is generally represented +leading the youthful Tobias. When in order to show the difference +between the heavenly and the mortal being, Tobit is made to look like a +child, and the angel appears with wings and is not disguised, it is no +longer historical, but devotional, and Tobias with his fish represents +the Christian protected and guided by his guardian spirit. + +All the pictured subjects of Raphael belong to the history of Tobit, +and incidents from this beautiful apocryphal legend have been favourite +subjects of art. Tobias dragging the fish ashore and the angel standing +by has been often painted. In such pictures the angel should be without +wings and disguised as the friendly traveller; the dog, which should +not appear in the devotional pictures, is here an attribute and belongs +to the story. + +Devotional pictures represent him attired as a pilgrim or traveller, +with sandalled feet and hair confined by a fillet or diadem. He has +the pilgrim’s staff and a wallet or panetière suspended from his belt. +Often as guardian spirit he has a sword; usually, however, he bears a +small vase or casket containing the “fishy charm” against evil spirits +(Tobit, vi., 6-7). + + +FOOTNOTES: + +[4] See Appendix. + + + + +VIII.—SYMBOLS AND ATTRIBUTES OF THE VIRGIN + + +The =Star= often embroidered on the right shoulder of the Virgin’s +mantle or in front of her veil refers to the most expressive of her +many titles, _Stella Maris_, “Star of the Sea,” an interpretation of +her Jewish name Miriam. Several pictures are called _La Madonna della +Stella_. She is also _Stella Matutina_, the “Morning Star”; _Stella non +Erratica_, the “Fixed Star”; and _Stella Jacobi_, the “Star of Jacob.” + +The =Sun= and the =Moon=. “Who is she that looketh forth as the +morning, fair as the morn, clear as the sun” (Solomon’s Song, vi., 10). +This text is applied to the Virgin and she is also the woman of the +Apocalypse, “_A woman clothed with the sun, having the moon under her +feet_, and on her head a crown of twelve stars.” Hence she is portrayed +with the glory of the sun about her, and the crescent moon beneath her +feet. + +The =Enclosed Garden= is a symbol borrowed from the Song of Solomon +(Cant. iv., 12) as well as a =Fountain Sealed=, a =Well of Living +Waters=, the =Tower of David=, the =Temple of Solomon=, and the =City +of David=. + +The =Porta Clausa= or Closed Gate is taken from Ezekiel (xliv., 2). + +The =Lily=, the =Rose=. “I am the rose of Sharon, and the lily of the +valleys” (Cant. ii., 1). + +The =Palm=, the =Cypress=, and the =Olive= are all emblems of the +Virgin. The first signifies victory, the second points to heaven, and +the third denotes peace, abundance, and hope. + +The =Cedar of Lebanon= (“exalted as a cedar in Lebanon”), because of +its imperishable nature, its perfume, its healing qualities, and its +great height, denotes also the virtue, greatness, and beauty of the +Virgin. + +The =Sealed Book=, as a symbol in the hands of the Virgin, refers to +the text: “In that book were all my members written”; also to the “book +that is sealed which men deliver to one that is learned, saying, Read +this, I pray thee: and he saith, I cannot, for it is sealed: And the +book is delivered to him that is not learned, saying, Read this, I pray +thee: and he saith, I am not learned” (Is. xxix., 11-12). + +Besides these symbols, which are mystical and sacred and belong only to +the Virgin, there are others of a more general nature that appear in +pictures of the Madonna and Child. + +The =Globe=, as the symbol of sovereignty, was early placed in the +hands of the divine Infant. When it is under the feet of the Madonna +with a serpent twining about it, it is the symbol of redemption. + +The =Apple=, in the hands of the Infant Christ, symbolises the fall of +man; in the hands of the Virgin it indicates that she is the second Eve. + +The =Serpent= is the general emblem of Satan and sin, but it is used +in reference to the prophecy, “She shall bruise thy head,” when placed +under the feet of the Madonna. + +The =Pomegranate=, the ancient symbol of hope, is often placed in the +hands of the Child, who is seen presenting it to His mother. + +The =Book=, when the Madonna holds it open, or has a finger between +the leaves, or when the Child is turning the pages, is the Book of +Wisdom, and is supposed to be open at the seventh chapter. When clasped +or sealed, as before explained, it is a mystical emblem of the Virgin +herself. + +=Birds= represent the soul. The =Dove= is the Holy Spirit hovering +about the Virgin. The =Seven Doves=, typifying the gifts of the Spirit, +when they surround the Virgin, characterise her as _Mater Sapientiæ_, +“Mother of Wisdom.” Doves near her when she is working or reading in +the Temple express the meekness and tenderness of her nature. + + * * * * * + +Certain women of the Old Testament are regarded as especial types of +the Virgin, viz.: =Eve=, =Rachel=, =Ruth=, =Abishag=, =Bathsheba=, +=Judith=, and =Esther=, and it is because of this that these Jewish +heroines so often appear in religious pictures. + +The correct and traditional dress of the Virgin is a blue robe or +mantle worn over a close red tunic with long sleeves. In early pictures +her head is veiled and the colours are pale and delicate. The enthroned +Madonna unveiled was introduced about the end of the fifteenth century. + +In the historical pictures she is simply dressed, but in the devotional +pictures wherein she is portrayed as the Queen of Heaven, she wears a +magnificent crown wrought with jewels interwoven with roses and lilies; +her blue robe is richly embroidered with gold and gems, and lined with +ermine or stuff of gorgeous colours, carrying out the text: “The king’s +daughter is all glorious within; her clothing is of wrought gold. She +shall be brought unto the king in raiment of needlework” (Ps. xlv., +13-14). + +In the Immaculate Conception and the Assumption, the Virgin wears a +white tunic, or white strewn with gold stars. In all subjects that +relate to the passion and those that follow the crucifixion she should +wear violet or grey. This rule is not always followed, however. + + The =Seven Joys= and the =Seven Sorrows of the Virgin= are often + painted as a series. + + The =Seven Joys= are: the Annunciation, the Visitation, the Nativity, + the Adoration of the Magi, the Presentation in the Temple, Christ + found by His mother, the Assumption and the Coronation. + + The =Seven Sorrows= are: the Prophecy of Simeon, the Flight into + Egypt, Christ lost by His mother, the Betrayal of Christ, the + Crucifixion (with St. John and the Virgin only present), the + Deposition from the Cross, and the Ascension when the Virgin is left + without her Son. + +The fifteen Mysteries of the Rosary are also given as a series. + + The =Five Joyful Mysteries= are: the Annunciation, the Visitation, + the Nativity, the Purification, and Christ found in the Temple. + + The =Five Sorrowful Mysteries= are: Christ in the Garden of Olives, + the Flagellation, Christ Crowned with Thorns, the Procession to + Calvary, and the Crucifixion. + + The =Five Glorious Mysteries= are: the Resurrection, the Ascension, + the Descent of the Holy Ghost, the Assumption, and the Coronation. + + These series are treated mystically rather than in the limited + historical sense, the object being to induce devout religious + contemplation. + + + + +IX.—LEGENDS OF THE MADONNA + + +Anna, the mother of the Virgin, was early venerated as a saint in the +East, but the parents of the Virgin were never represented in early +art except in a series of the life of the Virgin. It was not until the +beginning of the sixteenth century that the increased reverence for +the Virgin Mary gave to her parents Joachim and Anna a more prominent +position as patron saints, and from that time on they were frequent +subjects in sacred groups. + +A complete series of the history of the Blessed Virgin, as imaged forth +by the early artists, always begins with the =Legend of Joachim and +Anna= as it is related in the Apocryphal New Testament. + +Joachim, a man of Nazareth, was of the royal race of David, and had for +his wife Anna whose family were of Bethlehem. “Their lives were plain +and right in the sight of the Lord and pious and faultless before men.” +Thus they lived for twenty years without children. Now at a certain +great feast of the Lord, when Joachim was about to offer his gifts, the +high-priest opposed him saying, “It is not lawful seeing thou hast not +begot issue in Israel.” Joachim, much concerned, found upon inquiry, +that all the righteous except himself had raised up seed in Israel. He +remembered Abraham, how that God in the end of his life had given him +his son Isaac, and he would not be seen of his wife but retired into +the wilderness where he fasted forty days and nights and vowed neither +to eat nor drink until the Lord should look down upon him. And his +wife Anna was sore distressed and mourned for her widowhood and her +barrenness. + +Then an angel of the Lord appeared to her saying, “Behold Joachim thy +husband is coming with his shepherds; an angel of the Lord hath also +told him that his prayer is heard.” And Anna stood by the golden gate +and saw Joachim coming with the shepherds, and she ran to him and +hanging about his neck, said: “Now I know that the Lord hath greatly +blessed me.” And they returned home together. And when her time was +come, Anna brought forth a daughter, and she said: “The Lord hath this +day magnified my soul,” and she called the child Mary. + +The =Nativity of the Blessed Virgin=. _Ital._ La Nascità della B. +Vergine. _Fr._ La Naissance de la S. Vierge. _Ger._ Die Geburt Mariä. +(Sept. 8.) + +This is the next historical picture, and as Joachim and Anna were +“exceedingly rich,” the scene is usually a chamber richly decorated. A +glory sometimes surrounds the head of the child. Neighbours and friends +are sometimes introduced who have come to tender their congratulations. + +The =Presentation of the Virgin=. _Ital._ La Presentazione ove nostra +Signora piccioletta sale i gradi del Tempio. _Ger._ Joachim und Anna +weihen ihre Tochter Maria im Tempel; Die Vorstellung der Jungfrau im +Tempel. (Nov. 21.) + +“And when the child was three years old, Joachim said: ‘Let us invite +the daughters of the Hebrews, who are undefiled, and let them take +each a lamp, and let them be lighted, that the child may not turn back +again, and her mind be set against the temple of the Lord.’ + +“And they did thus till they ascended into the temple of the Lord. And +the high-priest received her, and blessed her, and said, ‘Mary, the +Lord God hath magnified thy name to all generations, and to the very +end of time by thee will the Lord shew His redemption to the children +of Israel.’” + +[Illustration: + + Photo. Alinari + +THE PRESENTATION OF THE VIRGIN IN THE TEMPLE.—TITIAN + +(Academy, Venice.)] + +“And he placed her upon the third step of the altar, and the Lord gave +unto her grace, and she danced with her feet, and all the house of +Israel loved her.” (_Protevangelion_, vii., 3-5.) + +The theme does not vary. Mary, who should be portrayed as an infant +of three years, is often represented as a child of ten or twelve. +Sometimes she wears a blue, but more generally a white garment; her +hair is long and golden, and she is seen ascending the steps which lead +to the porch of the temple. These steps are always fifteen in number. +In the account given in the Gospel of the Birth of Mary it says, “And +there were about the temple, according to the fifteen Psalms of degrees +[those Psalms are, from the 120th to the 134th, including both], +fifteen stairs to ascend. For the temple being built in a mountain, the +altar of burnt-offering, which was without, could not be come near but +by stairs.” (Chap. iv., 32.) + +The life of Mary in the temple is represented in various ways. She is +seen instructing her companions, sometimes spinning or embroidering on +tapestry. Often she is attended by angels, and it was believed that +angels supplied her with celestial food. It has also been asserted that +she had the privilege which was granted to no other woman, of going +into the Holy of Holies to pray before the Ark of the Covenant. + +The =Marriage of the Virgin=. _Ital._ Il sposalizio. _Fr._ Le Mariage +de la Vierge. _Ger._ Die Trauung Mariä. (January 23.) + +The legend of the Marriage of Joseph and Mary is founded upon the +account given in the _Protevangelion_, which relates that “when Mary +was twelve years of age the priests met in council to know what should +be done with her, and the high-priest Zacharias entered into the Holy +of Holies, and taking away with him the breastplate of judgment made +prayers concerning her. And behold the angel of the Lord came to him +and commanded him to go forth and call together all the widowers among +the people, and let every one of them bring his rod, and he by whom +the Lord should shew a sign should be the husband of Mary. And the +criers went out through all Judæa, and the trumpet of the Lord sounded, +and all the people ran and met together. Joseph also, throwing away +his hatchet, went out to meet them; and when they were met they went +to the high-priest taking every man his rod. The high-priest received +their rods and went into the temple to pray. When he came forth and +distributed them, there was no miracle until the last rod was taken by +Joseph, and behold a dove proceeded out of the rod and flew upon the +head of Joseph. And the high-priest said to him, ‘Thou art the person +chosen to take the Virgin of the Lord to keep her for him.’ But Joseph +at first refused, saying, ‘I am an old man’; then, fearing the wrath of +the high-priest and the displeasure of the Lord, he took her unto his +house, and said unto her, ‘Behold, I have taken thee from the Temple of +the Lord, and now I will leave thee in my house; I must go to mind my +trade of building. The Lord be with thee!’” + +The painters have used for their text an old legend which relates +that the suitors for the hand of Mary, among whom was the son of +the high-priest, deposited their wands overnight in the temple, and +the next morning the rod of Joseph was found to have budded forth +in flower. The disappointed suitors broke their wands in a frenzy +of wrath, and one of them, whose name was Agabus (a youth of noble +family), fled to Mount Carmel and became an anchorite. + +Marriage among the Jews being a civil contract instead of a religious +rite, nearly all the early painters represent the ceremony as taking +place in the open air in a garden or landscape, or in front of the +Temple. Mary, a beautiful maiden attended by a train of virgins, stands +on the right, and Joseph is on the left; behind him are gathered the +disappointed suitors. This is the traditional treatment from Giotto +down to Raphael. + +In ancient art Joseph has been sometimes represented as very old, and +again as not more than thirty. But in the best pictures of the Italian +and Spanish schools he is middle-aged, with brown hair and short, curly +beard, his face expressing infinite mildness and kindliness. The crutch +or stick became his conventional attribute from earlier times, when he +was depicted as very old, leaning upon a crutch. + +The =Annunciation=. _Ital._ L’Annunciazione. _Fr._ L’Annonciation, La +Salutation Angélique. _Ger._ Die Verkündigung, Der englische Gruss. +(March 25.) + +From the thirteenth century onward, the Annunciation became the +expression of a theological dogma, and formed part of every +altar-piece, whatever its subject,—whether a Nativity or Coronation, or +the Last Supper—appearing in the predella below or the spandrils of the +arches above; and was frequently painted or carved on the doors of a +triptychon or tabernacle. + +It is related in the _Protevangelion_ (chap. ix., 7) that “Mary went +out to draw water and heard a voice saying unto her ‘Hail thou who art +full of grace, the Lord is with thee; thou art blessed among women.’ +And she looked round to the right and to the left to see whence that +voice came, and then trembling went into her house, and laying down +the water-pot, she took the purple and sat down in her seat to work it. +And behold the angel of the Lord stood by her, and said, ‘Fear not, +Mary, for thou hast found favour in the sight of God.’” + +[Illustration: + + Photo. Alinari + +THE ANNUNCIATION.—BOTTICELLI + +(Uffizi, Florence.)] + +St. Bernard gives the following version of the legend. Mary was +studying the book of Isaiah and as she came to the verse, “Behold, a +virgin shall conceive, and bear a son” she thought within herself, +“How blessed the woman of whom these words are written! Would I might +be but her handmaid to serve her, and allowed to kiss her feet!” And at +that moment the angel appeared and revealed to her that the prophecy +was fulfilled in herself. + +In early art the annunciation is treated as a religious mystery. The +scene is usually a porch or portico with arcades. The Virgin stands, or +if she is seated, it is on a sort of raised throne; the angel stands +before her at a little distance; sometimes she is within the portico +and he is without. Gabriel is the commanding figure, while the Virgin’s +attitude—she is usually represented shrinking back with drooping eyes +and hands folded on her breast—is always expressive of the utmost +submission and humility. Gabriel is usually represented clothed in +white, with large many-coloured wings, his flowing hair bound by a +jewelled tiara. He holds the sceptre in his left hand, while the right +is extended in benediction as well as salutation, “Hail! thou that art +highly favoured! Blessed art thou among women!” + +Sometimes the two figures were not in the same picture, but were placed +each side of the altar, that of the Virgin being usually placed to the +right. In some of the old pictures the figure of the angel is seen +flying down from heaven. + +From the beginning of the fourteenth century the increased reverence +paid to the Virgin demanded that she be represented as the superior +being, the _Regina angelorum_, and the angel is depicted bowing before +her or kneeling as to a queen. + +[Illustration: + + Photo. Alinari + +THE VISITATION.—ALBERTINELLI + +(Uffizi, Florence.)] + +When the annunciation is an event given in the series of the Life of +the Virgin, the place is usually in the house. The fountain is rarely +introduced. Gabriel either bears the lily or it is in some other +part of the picture. Sometimes he has the olive, typical of peace, +or a sceptre with a scroll inscribed _Ave Maria! Gratia plena!_ The +work basket, expressing the industry of Mary, is rarely omitted, and +to typify her temperance a dish of fruit and a pitcher of water are +frequently introduced. + +The lily in the hand of the angel is not merely the emblem of purity +but the symbol of the Virgin—“I am the rose of Sharon, and the lily of +the valley.” A lily is often introduced in a vase near the Virgin or in +the foreground of the picture. Sometimes the dove as the Holy Spirit +hovers over the head of the Virgin or enters by the open window. + +The =Visitation=. _Ital._ La Visitazione di Maria. _Fr._ La Visitation +de la Vierge. _Ger._ Die Heimsuchung Mariä. (July 2.) + +After the annunciation of the angel, we are told that “Mary arose and +went up into the hill country with haste, to the house of her cousin +Elizabeth, and saluted her.” This meeting of the two kinswomen is +usually styled in art, the _Visitation_ and, sometimes, the _Salutation +of Elizabeth_. It is important in its religious significance as being +the first recognition of the character of the Messiah. “Whence is this +to me,” exclaims Elizabeth, “that the mother of my Lord should come to +me?” (Luke i., 43.) + +[Illustration: + + Photo. Alinari + +SIBYL PROPHESYING TO AUGUSTUS CÆSAR THE COMING OF CHRIST.—B. PERUZZI + +(Church of the Fontegiusta, Siena.)] + +In the representations of this scene the number of the figures, the +locality and circumstance vary greatly. Sometimes only the two women +are represented, without accessories of any kind. The scene is often +a garden or open porch in front of a house, and this garden is noted +in the traditions of the East. The legends relate that the Virgin, as +she walked in the garden of Zacharias during her stay with her cousin +Elizabeth, meditating deeply and reverently upon the holy destiny that +was hers, happened to touch a certain flower that bloomed there with +her most blessed hand—which, from being without odour before, became +from that moment of a delicious fragrance. + +The =Nativity=. _Ital._ Il Presepio, Il Nascimento del Nostro Signore. +_Fr._ La Nativité. _Ger._ Die Geburt Christi. (Dec. 25.) + +In the early Christian traditions this great event is preceded and +accompanied by several circumstances which have often been rendered in +art. + +According to an old legend, the Emperor Augustus Cæsar betook himself +to the sibyl Tiburtina, to ask whether he should accept the divine +honours the Senate had decreed to him. The sibyl, after meditating +some days, took the emperor aside and showed him an altar; and above +the altar, in the opening heavens, he saw a beautiful Virgin holding +an infant in her arms, and at the same time a voice was heard saying, +“This is the altar of the Son of the living God.” Then Augustus caused +an altar to be erected on the Capitoline Hill, with this inscription, +“Ara primogeniti Dei”; and in later times the church called the +Ara-Cœli, with its flight of one hundred and twenty-four marble steps, +was built on this spot. + +The sibylline prophecy is believed to have occurred a short time +before the Nativity, about the time that there went forth from the +Emperor Augustus a decree that all the Jews should be taxed who were of +Bethlehem in Judæa. + +It is related that Joseph therefore saddled his ass and took his +wife to Bethlehem, the city from whence he came. As they were near +there (within three miles), Joseph, turning about, saw that Mary was +sorrowful, but when he looked again she smiled. And before they were +come there Mary said: “Take me down, for I suffer.” + +The Nativity, when treated historically, is represented in a stable +or cavern, at midnight and in winter. The earlier pictures give Mary +the appearance of suffering, but from the fourteenth century, this +treatment was abandoned. “To her alone,” said St. Bernard, “did not the +punishment of Eve extend.” + +The attendants and Mary are represented in the “posture and guise +of worshippers,” kneeling or bending over the Child, or pointing to +the manger in which he lies. The Virgin is bathed in the light which +surrounds the Child like a glory. Joseph is sitting or stands leaning +on his staff and often holds a taper or light to show that it is night. + +The angels who sing the _Gloria in excelsis_ are never omitted. At +first these were three in number, but in later pictures the mystic +three became a band of angels. + +The ox and the ass are always introduced as accessories,—according +to the prophecy: “The ox knoweth his owner, and the ass his master’s +crib” (Is. i., 3). The ox typified the Jews and the ass the Gentiles. +The Jews were likened unto the ox because they bore the yoke of the +law, whereas the ass represented the Gentiles because it bore Christ +willingly, when He rode into Jerusalem. + +[Illustration: + + Photo. Alinari + +THE ADORATION OF THE SHEPHERDS.—D. GHIRLANDAJO + +(Academy, Florence.)] + +The shepherds are frequently in the background. + +When other figures are introduced, they are saints or votaries for whom +the picture was painted. + +The =Adoration of the Shepherds=. _Ital._ L’Adorazione dei Pastori. +_Fr._ L’Adoration des Bergers. _Ger._ Die Anbetung der Hirten. + +“And it came to pass, as the angels were gone away from them into +heaven, the shepherds said one to another, Let us now go even unto +Bethlehem, and see this thing which has come to pass, which the Lord +has made known unto us. And they came with haste, and found Mary, and +Joseph, and the babe lying in a manger.” (St. Luke ii., 15-16.) + +Being come, they tender their offerings of fruits, lambs, or doves, and +with heads uncovered they acknowledge and worship the divine Child. In +some pictures their women, sheep, and even their dogs accompany them. +There is an old legend that Simon and Jude, afterwards apostles, were +with the shepherds. + +Sometimes the Infant sleeps and Joseph or Mary raises the veil from His +face to show Him to the shepherds. + +The flowers sometimes scattered by angels are supposed to have been +gathered in heaven. + +The =Adoration of the Magi=.[5] _Ital._ L’Adorazione de’ Magi, +L’Epifania. _Fr._ L’Adoration des Rois Mages. _Ger._ Die Anbetung der +Weisen aus dem Morgenland, Die heiligen drei Könige. (Jan. 6.) + +This subject, the most extraordinary incident in the early life of our +Saviour, has been set before us in every style and form of art, from +the third century to the present time. + +Magi, in the Persian tongue, signifies “wise men”; and they were in +their own country kings or princes, from what country is not said. The +prophecy of Balaam had been held in remembrance by their people. “I +shall see him, but not now; I shall behold him, but not nigh; there +shall come a star out of Jacob, and a sceptre shall rise out of Israel.” + +When the Eastern sages beheld this wondrous and long-expected star, +they rejoiced greatly; and taking leave of their relations and friends +set forth on their long and perilous journey, the star going before +them, until it stood over the place where the young Child was—He who +was born King of Kings. + +[Illustration: + + Photo. Alinari + +THE ADORATION OF THE MAGI.—BOTTICELLI + +(Uffizi, Florence.)] + +The artists made good use of the picturesque possibilities of the +story, and in their hands it grew from a symbol to a scene of dramatic +splendour. It is the oldest subject in Christian art, and taken in the +early religious sense, it signified the calling of the Gentiles. + +In the earlier representations the Virgin-mother is seated and holds +the Child upright on her knee. The Wise Men, always three in number and +all alike, approach in attitudes of adoration, and behind them are seen +their camels’ heads, showing the land whence they came—the land of the +East. + +But in the fourteenth century legends the Three Wise Men or Kings +became distinct characters, each with a name, and in the pictures they +represent the three ages of man. Jasper or Caspar is very old, Melchior +in the prime of life, and Balthazar young. Sometimes the latter or his +servant is black, to indicate that Christ came to save all races of +men. These pictures of the Magi reflect all the pomp and circumstance +that was the custom of the times in which the artists lived, and the +details vary with the nationality of the artist. + +It is related that when they returned to the East they abandoned all +their possessions and went about preaching the new gospel; that they +were baptised by Thomas and put to death by the heathen. Their remains +were discovered and removed to Constantinople by the Empress Helena, +and after being carried to Milan during the first crusade were finally +placed in the cathedral at Cologne by the Emperor Barbarossa, and +repose there in a magnificent shrine. Wherever one sees the sign _Drei +Könige_, or _Trois Rois_, in front of Continental hotels, or _Three +Kings_ above the doors of English inns, it refers to the Magi. + +The =Purification of the Virgin=, the =Presentation=, and the +=Circumcision of Christ=. _Ital._ La Purificazione della B. Vergine. +_Ger._ Die Darbringung im Tempel, Die Beschneidung Christi. + +The Virgin, after the birth of her Son, complied with all the +requirements of the Mosaic law. The circumcision and the naming of +Christ have often been painted to express the first of the sorrows of +the Virgin. But the Presentation in the Temple has been selected with +better taste for the same purpose, and the prophecy of Simeon, “Yea, a +sword shall pierce through thy own soul also,” becomes the first of the +Seven Sorrows. + +It is related that, about 260 years before Christ, Ptolemy +Philadelphus, desiring to have the Hebrew Scriptures translated into +Greek for his famous library, asked the high-priest of the Jews to +send him scribes and interpreters. In response to his demand, six of +the most learned rabbis of the twelve tribes of Israel, seventy-two +persons in all, were sent into Egypt, among them Simeon, a man full of +learning. To him fell the book of Isaiah to translate. When he came +to the verse, “Behold, a virgin shall conceive, and bear a son,” he +doubted in his own mind how such a thing could be, and, fearing to give +offence to the Greeks, he used the Greek word “a young woman” for the +Hebrew word “virgin.” He had no sooner written it, however, than an +angel leaned over the page and blotted it out, setting down the right +word in its place. Completely dumfounded Simeon essayed again and +again to substitute the word “young woman,” as seemed to him fitting +and proper, and each time the angel effaced the word substituting the +Greek word for “virgin” in its place. + +Then it was disclosed to Simeon that the miracle that he had dared to +doubt was not only possible, but that he “should not see death until he +had seen the Lord’s Christ.” So for nearly three centuries he remained +on earth, until all had come to pass. He was brought to the Temple on +the very day that Mary came there to present her Son, and taking the +Child in his arms, he exclaimed, “Lord, now lettest thou thy servant +depart in peace, according to thy word.” + +Anna, the prophetess, is often introduced. She also testifies unto +Christ, but does not take Him in her arms as did Simeon, hence she was +considered to typify the Synagogue, which prophesied the Messiah, but +did not embrace Him when he came. + +When represented in Greek art, this picture is often called the _Nunc +Dimittis_. + +The =Flight into Egypt=. _Ital._ La Fuga in Egitto. _Fr._ La Fuite de +la Sainte Famille en Egypte. _Ger._ Die Flucht nach Aegypten. + +There are many legends in connection with this journey that have been +illustrated by the artists. One is that when it became known that the +Holy Family had fled from Bethlehem, Herod sent his officers in pursuit +of them. The Holy Family, knowing they were pursued, after travelling +some distance, came to a field where a man was sowing wheat. And the +Virgin said to the husbandman: “If any shall ask you whether we have +passed this way, ye shall answer, ‘Such persons passed this way when +I was sowing this wheat.’” And lo! in the space of a single night the +seed had grown ready for the harvest! And next morning the officers of +Herod came by, and inquired of the husbandman, saying, “Have you seen +an old man with a woman and child travelling this way?” And the man, +who was reaping his wheat in great wonder and joy, replied: “Yes.” And +they asked him again, “How long is it since?” And he answered: “When I +was sowing this wheat.” And at this the officers of Herod turned back. + +Another very old tradition, taken from the First Gospel of Infancy +(chap. viii.), relates that on their way they met two robbers who +protected them from their confederates, and that they were the two +thieves who were later crucified with Christ. + +Another tradition is that both the ox and the ass went with the Holy +Family into Egypt, and they are occasionally introduced in some +pictures of this event, but generally the group is confined to Joseph, +Mary, and the Child. + +The =Repose of the Holy Family=. _Ital._ Il Riposo. _Fr._ Le Repos de +la Sainte Famille. _Ger._ Die Ruhe in Aegypten. + +This subject has been considered one of the most graceful and +attractive in the whole range of sacred art. + +The _Riposo_, so called is either the rest on the journey, or at +the close of the journey, called the Flight into Egypt. Some of the +features stamp the intention at once; as, the ass grazing in the +distance; a wallet and pilgrim’s staff near Joseph; the date tree; the +fallen idols; the Virgin taking water from a fountain—the fountain +refers to a tradition that when the Holy Family came to Matarea they +rested in a grove of sycamores, and here a fountain miraculously gushed +forth for their refreshment. + +In pictures of the _Riposo_ angels often minister to the comfort of +the Holy Family, and there is a legend that each night angels pitched +a tent for their protection and shelter, and watched over and guarded +them until morning. + +[Illustration: + + Photo. Alinari + +REPOSE OF THE HOLY FAMILY—“MADONNA DEL SACCO”—ANDREA DEL SARTO + +(Church of the Annunziata, Florence.)] + +When other figures than the Holy Family and attendant angels are +introduced, it is not a _Riposo_, but merely a Holy Family. + +When the Holy Family are seen as on a journey and the Saviour is +represented as a child, walking, it is the return from Egypt that is +pictured. + +The =Holy Family=. _Ital._ La Sacra Famiglia, La Sacra Conversazione. +_Fr._ La Sainte Famille. + +After the return to Nazareth, until Jesus is twelve years old no event +is recorded of the life of the Virgin or her Son. But under the title +of Holy Family there are an endless variety of pictures representing +the imaginary life of these exalted ones. + +The simplest form is that of two figures, the Virgin and Child; +frequently she is nursing the babe, sometimes she fondles him, pressing +his cheek to hers, or they sport with a rose, an apple, or a bird, +these mystic symbols being lightly used as mere playthings by the +artists. Sometimes one or more attendant angels appear or the Infant +slumbers on His mother’s knee. Sometimes Mary is represented watching +over him, “pondering in her heart” the great destiny of her Child. + +Where there are three figures, the third is generally St. John, +although sometimes it is St. Joseph. Sometimes St. John and his mother, +St. Elizabeth—the two mothers and the two sons—are represented. More +rarely, four figures include St. Joseph and St. John. Five figures +include all who have been named, and sometimes Zacharias makes the +sixth. + +Many of these pictures bear such names as _La Vierge aux Cerises_, _La +Vierge à la Diadème_, _La Vierge à l’Oreiller Verd_, _Le Ménage du +Menuisier_, _Le Raboteur_, etc. + +The introduction of persons who could not have been contemporary, such +as St. Francis or St. Catherine, makes the group ideal and devotional. + +The =Dispute in the Temple=. _Ital._ La Disputa del Tempio. _Fr._ Jésus +au milieu des Docteurs. + +This subject is a scene of great importance in the life of the +Redeemer, but it is quite as often made one of the series from the life +of the Virgin. + +The =Death of Joseph=. _Ital._ La Morte di San Giuseppe. _Fr._ La Mort +de St. Joseph. _Ger._ Josefs Tod. + +Some chronologers place the death of Joseph in the eighteenth year of +the life of our Saviour, and others in his twenty-seventh year, when, +as they assert, Joseph was one hundred and eleven years old. + +Joseph’s popularity as a patron saint of power dates from the fifteenth +century. A custom had come about of invoking him as mediator to obtain +a blessed and peaceful end, and he became in a certain way the patron +saint of death-beds. + +Late in the sixteenth century the death of St. Joseph is represented as +a separate subject in art, and became a popular subject in the churches +and convents of Augustine canons and Carmelite friars whose patron +saint he was, and also in family chapels consecrated to the memory of +the dead. + +The =Marriage at Cana, in Galilee=. _Ital._ La Nozze di Cana. _Fr._ Les +Noces de Cana. _Ger._ Die Hochzeit zu Cana. + +There is an old Greek tradition that the Marriage at Cana, which has +often been represented in art, was that of John the Evangelist and +Mary Magdalene, and that immediately after the wedding feast St. John +and Mary separated and devoted themselves to an austere and chaste +religious life, spent solely in the service of Christ. + +In the =Passion of our Lord=, certain women who attended upon Christ +during His ministry are represented as always near the Virgin, and +sustaining her with their tenderness and sympathy. The Gospels mention +three by name: Mary Magdalene; Mary, the wife of Cleophas; and Mary, +the mother of James and John. Martha, the sister of Mary Magdalene, is +also included. These women, with the Virgin, form the group of five +female figures that is usually introduced in the scriptural scenes from +the Life of Christ. + +The =Procession to Calvary= (_Ital. Il Portamento della Croce_), and +the =Crucifixion= are included in the Rosary as two of the mystical +Sorrows. It was in the Via Dolorosa near the summit of the hill that +the Virgin-mother and her women companions are said to have placed +themselves, and where Mary in her anguish, seeing her divine Son, +bleeding from the scourge, and sinking under His cross, fell fainting +to the earth. This incident is called in French _Notre Dame du Spasme_, +or _du Pâmoison_; in Italian _La Madonna dello Spasimo_, or _Il Pianto +di Maria_ and becomes one of the mournful festivals of Passion Week. + +In the many celebrated representations of this scene, she is sometimes +portrayed sinking to the earth, upheld by the women or St. John; +sometimes she stands with clasped hands in dumb and motionless agony; +sometimes she stretches out her arms to her Son who goes on His +sorrowful way. + +In the =Crucifixion= treated as a _mystery_ Mary stands alone on +the right of the Cross and St. John on the left. She looks up with +an expression of mingled sorrow and faith or bows her head in sad +submissiveness. + +When the Crucifixion is treated as an _historical event_ the Virgin +is represented in a fainting attitude, sustained in the arms of the +two Marys, assisted sometimes but not always by St. John; while Mary +Magdalene is seen kneeling at the foot of the cross or with arms +clasped around it. + +[Illustration: + + Photo. Alinari + +THE CRUCIFIXION.—PERUGINO + +(Convent of Santa Maria Maddalena dei Pazzi, Florence.)] + +The =Descent from the Cross= and the =Deposition= are two separate +subjects in art. In the first the Virgin should stand. In the old +legend it is said, that when Joseph of Arimathea and Nicodemus drew out +the nails that fastened the hands of our Saviour to the cross, St. John +concealed them from His mother. Then Nicodemus took out those which +fastened His feet, and Joseph of Arimathea supported the body, and the +head and arms of our Lord hung over his shoulder. The sorrowing mother +took the bleeding hands in hers and kissed them tenderly, and then, +borne down by the weight of her woe, she sank to the ground, mourning +her Son. + +The =Deposition= is that moment which succeeds the Descent from the +Cross, when the dead form of Christ is deposed or laid upon the ground, +resting on the lap of His mother, and lamented by St. John, Mary +Magdalene, and others. + +The =Entombment= follows and when treated historically the +Virgin-mother is always introduced, although less conspicuously; +either she faints, or stands by with streaming eyes and clasped hands, +while the beloved Son is laid in the tomb. Then in fulfilment of the +last command of his dying Master, John the Evangelist brought to his +own house the Mother to whom he was in future to be as a son. This +beautiful subject appears first in art in the seventeenth century. + +The =Apparition of Christ to His Mother=. There is a very ancient +tradition (mentioned by St. Ambrose in the fourth century, as being +then generally accepted by Christians) that Christ, after His return +from Hades, visited His mother before appearing to Mary Magdalene in +the garden. + +[Illustration: + + Photo. Alinari + +THE SAVIOUR APPEARS TO MARY MAGDALENE—“NOLI ME TANGERE.”—LORENZO DI +CREDI + +(Uffizi, Florence.)] + +The story is thus related in Mrs. Jameson’s _Legends of the Madonna_: +“Mary, when all was ‘finished,’ retired to her chamber, and remained +alone with her grief—not wailing, not repining, not hopeless, but +waiting for the fulfilment of the promise. Open before her lay the +volume of the prophecies; and she prayed earnestly, and she said, ‘Thou +didst promise, O my most dear Son! that thou wouldst rise again on the +third day. Before yesterday was the day of darkness and bitterness, +and, behold, this is the third day. Return then to me thy Mother: O +my Son, tarry not, but come!’ And while thus she prayed, lo! a bright +company of angels, who entered waving their palms and radiant with joy; +and they surrounded her, kneeling and singing the triumphant Easter +hymn, _Regina Cœli lætare, Alleluia_. And then came Christ, partly +clothed in a white garment, having in His left hand the standard with +the cross, as one just returned from the nether world, and victorious +over the powers of sin and death. And with Him came the patriarchs and +prophets, whose long-imprisoned spirits He had released from Hades. All +these knelt before the Virgin, and saluted her, and blessed her, and +thanked her, because through her had come their deliverance. But, for +all this, the Mother was not comforted till she had heard the voice of +her Son. Then He, raising His hand in benediction, spoke, and said, ‘I +salute thee, O my Mother!’ and she, weeping tears of joy, responded, +‘Is it thou indeed, my most dear Son?’ and she fell upon His neck, and +He embraced her tenderly, and showed her the wounds He had received +for sinful men. Then He bid her be comforted and weep no more, for the +pain of death had passed away, and the gates of hell had not prevailed +against Him. And she thanked Him meekly on her knees, for that He had +been pleased to bring redemption to man, and to make her the humble +instrument of His great mercy. And they sat and talked together, until +He took leave of her to return to the garden, and to show Himself to +Mary Magdalene, who, next to His glorious Mother, had most need of +consolation!” + +This beautiful myth of the early ages has only been pictured as a +matter-of-fact scene in art. The Virgin kneels; the Saviour, with His +standard, stands before her; and generally Adam and Eve, the authors +of the fall, or Abraham and David, the progenitors of Christ and the +Virgin, are introduced, as the delivered patriarchs. + +The =Ascension=, though one of the “Glorious Mysteries,” was also the +seventh and last of the sorrows of the Virgin, who was then left alone +on earth. All the old legends record her being present at this time +and saying, as she followed with uplifted eyes the soaring figure of +Christ, “My son, remember me when Thou comest to Thy kingdom! leave me +not long after Thee, my Son!” + +The =Descent of the Holy Ghost= is a strictly scriptural subject. It +has been said that Mary, in her character of the divine Mother of +Wisdom, did not need any accession of intellectual light, but that the +Holy Spirit was sent to her as the Comforter. + +When Mary is present she is usually placed either in front or in +the centre on a raised seat and often holds a book (as the _Mater +Sapientiæ_). + +The =Death and Assumption of the Virgin=. _Lat._ Dormitio, Pausatio, +Transitus, Assumptio, B. Virginis. _Ital._ L’Assunzione, Il sonno della +Beata Vergine, Il transito di Maria. _Fr._ L’Assomption, La Mort de la +Vierge. _Ger._ Das Absterben der Mariä, Mariä Himmelfahrt. + +No subject has been more popular, nor more frequently represented in +art than the Death and Assumption of the Virgin. The assumption was +indeed the manifest expression of a dogma of faith—the glorification of +the Virgin in the body as well as in the spirit, and as such it appears +in all the edifices dedicated to her. + +The two subjects are often combined. The death scene is portrayed below +(_Il transito di Maria_), and the taking up into heaven of the body and +soul of the Virgin Mary—the assumption—is given above. + +It is related in the legend that when the time came for Mary to die, +the apostles (who were scattered in various parts of the world) were +all assembled by a miraculous power and brought to the door of Mary’s +dwelling. When Mary saw them she blessed them and thanked the Lord, +then kneeling down they prayed together, and after that she laid +herself down in her bed prepared to die. About the third hour of the +night a great sound smote on their ears, the chamber became filled with +a heavenly fragrance, and Christ Himself appeared, followed by angels, +patriarchs, and prophets, who surrounded the bed of the Virgin singing +hymns of joy. And Jesus said to His mother, “Arise, my beloved, mine +elect! come with me from Lebanon, mine espoused! receive the crown that +is destined for thee!” And Mary replying, said: “My heart is ready; for +it was written of me that I should do Thy will.” Then all the angels +and blessed spirits who were with Jesus began to sing and rejoice. And +the soul of Mary departed from her body and in the arms of her Son +together they arose into heaven. The apostles gazing after her, said: +“O most prudent Virgin, remember us when thou comest to thy glory,” and +the angels who received her into heaven sang, “Who is this that cometh +up from the wilderness leaning upon her Beloved? She is fairer than all +the daughters of Jerusalem.” + +There was but one absent among the apostles and when he came in haste +soon after, he could not believe in the resurrection of the Virgin. It +was this same Thomas who had doubted the resurrection of Christ. At +his desire the tomb was opened before him and in it he saw lilies and +roses. Then looking up in astonishment to heaven, he beheld the body of +the Virgin, radiant in a glory of light ascending slowly towards the +celestial regions. + +It is related that in pity for his lack of faith she flung down to him +her girdle—the same _sacratissima cintola_ which is still preserved in +the Cathedral of Prato. + +The “angel of death,” usually supposed to be Gabriel, but more +correctly Michael, sometimes offers her a taper—it being customary to +place a taper in the hands of one who is dying. + +The mystic =Incoronata= or =Coronation=, which represents the triumph +of the Church, is distinguished by the presence not only of angels +and patriarchs, but by fathers and doctors of the Church and martyrs +and saints. It is a dramatic and historical event when it comes last +in a series of the Life of the Virgin, where her death-bed or tomb is +portrayed or the apostles and sorrowing women are introduced. + + +FOOTNOTES: + +[5] See Appendix. + + + + +X.—DEVOTIONAL REPRESENTATIONS OF THE VIRGIN MARY + + +In the most ancient examples, the maternity—the motherhood of the +Virgin is not the paramount idea. She is represented without symbols, +and veiled, occupying an inferior position on one side of her divine +Son, with St. John the Baptist or St. Peter on the other. + +Later, when the worship of the Virgin spread from the East and she +was represented alone, without her Son, the apostles and saints who +surrounded her taking secondary positions, she symbolised not only the +divine Mother of Christ, but the second Eve, the mother of all the +world, the Virgin of Virgins. + +When she wears a crown over her veil or holds a sceptre in her hand she +is the Queen of Heaven (_Regina Cœli_). + +Attended by adoring angels, she is the Queen of Angels (_Regina +Angelorum_). + +Weeping or holding the crown of thorns she is Our Lady of Sorrow +(_Mater Dolorosa_). + +When she is merely veiled, with folded hands and a face of glorious +beauty and sweetness, she is the Madonna, the Blessed Virgin, the +_Santa Maria Vergine_. + +It was in the days of chivalry that the title of Our Lady—_Notre Dame, +La Madonna, Unsere Liebe Frau_—was first given to the Virgin. + +[Illustration: + + Photo. Alinari + +CORONATION OF THE VIRGIN.—FILIPPO LIPPI + +(Academy, Florence.)] + +The =Coronation of the Virgin=. (_Lat._ Coronatio Beatæ Mariæ Virginis. +_Ital._ L’Incoronata, Maria Coronata dal divin suo Figlio. _Fr._ +La Couronnement de la Sainte Vierge. _Ger._ Die Krönung Maria). In +the earliest examples, Christ, with His mother seated on the same +throne, and on His right hand, places the crown upon her head. Only +the two figures are shown. Sometimes the Father looks down, and the +Holy Ghost (as a dove) hovers between them. Later examples place the +Virgin between the Father and Son, both in human form; each holds the +crown in one hand, and places it on her head, while the Holy Spirit +hovers above. Again, the Virgin is portrayed kneeling at the feet of +Christ, who places the crown on her head; rejoicing angels are seen +and paradise is disclosed beyond. Sometimes the whole army of blessed +spirits, patriarchs, and martyrs are witnesses to this solemn and +glorious ceremony. + +[Illustration: + + Photo. Alinari + +THE MADONNA CROWNED—BOTTICELLI + +(Uffizi, Florence.)] + +When not more than five or six saints are introduced, they are usually +the patron saints of the locality or community. + +Those pictures where the Madonna is holding her Child, while angels +place a crown upon her head, are not Coronations in the accepted sense, +but an acknowledgment of and tribute to the Virgin-mother of Christ, +and Queen of Heaven (_Mater Christi_, _Regina Cœli_). + +The =Virgin of Mercy=.[6] Our Lady of Succour. _Ital._ La Madonna di +Misericordia. _Fr._ Notre Dame de Miséricorde. _Ger._ Mariä Mutter des +Erbarmens. + +Here she appears as intercessor, and in old pictures of the Day of +Judgment she is seated by the side of Christ, or sometimes a little +lower, but always on His right hand. She is usually seated, while the +Baptist, who is generally placed opposite to her on the left of Christ, +always stands or kneels. + +As the Madonna of Mercy she rarely appears without the Child in her +arms, her motherhood typifying her sympathy with all suffering humanity. + +The =Mater Dolorosa=. _Ital._ La Madre di Dolore, L’Addolorata. _Fr._ +Notre Dame de Pitié, La Vierge de Douleur. _Ger._ Die Schmerzhafte +Mutter. + +There are three distinct representations of the Madonna in this +character. As =Mater Dolorosa= she is represented alone, either seated +or standing, and sometimes only the head or a half-length figure of her +is given. She is overcome with sorrow, her features are stricken with +grief, and tears gush from her mournful eyes. Often a sword pierces her +bosom—sometimes _seven_ swords, in allusion to the _seven sorrows_. + +In the =Stabat Mater= the position of the Virgin is invariably on the +right of the crucifix—that of St. John on the left, the crucifix here +being the mystical emblem of our belief in a crucified Christ. In this +subject the Virgin is a wholly ideal figure, personifying the Church +as well as the mother of Christ. Her head is bowed in resignation, +her figure is shrouded in a violet or dark blue mantle. Sometimes she +stands with outstretched arms and upward gaze, her faith struggling +with her anguish. + +=La Pietà= is the third, and consists only of the Virgin with her dead +Son in her arms or at her feet; sometimes sorrowing angels are about, +but otherwise the Mother is alone with her dead. + +Another version, less poetically touching, represents the dead form +half-emerging from the tomb, held in the arms of the sorrowing Mother, +with St. John the Evangelist on the other side. + +=Our Lady of the Immaculate Conception.= _Lat._ Regina sine labe +originale concepta. _Ital._ La Madonna Purissima. _Fr._ La Conception +de la Vierge Marie. _Ger._ Der Geheimniss der Unbefleckten Empfängniss +Mariä. + +This picture is not found in the early schools of art, but became one +of the most popular subjects in the seventeenth century, after Paul +V. had instituted the office for the commemoration of the Immaculate +Conception in 1615 and in 1617 forbade any one teaching or preaching +the opposite belief. + +[Illustration: + + Photo. Alinari + +THE MADONNA ENTHRONED.—FILIPPINO LIPPI + +(Uffizi, Florence.)] + +This doctrine had been gaining ground from the eleventh century and had +been agitated for several centuries before that, but there was always +strong opposition to making it an article of belief. Even St. Bernard, +in spite of his devotion to the Virgin, disapproved of incorporating +it as a church office. It was a question of theological dispute for +hundreds of years. In Spain it was the “darling dogma of the Spanish +Church,” and forms the subject of some of the most beautiful pictures +of the Spanish artists. + +It was not until 1854 that the Immaculate Conception of the Mother of +God was made an article of faith in the Catholic Church by Pope Pius IX. + +In pictures of the Immaculate Conception, the Virgin is usually +represented as the woman in the Apocalypse, “clothed with the sun, +having the moon under her feet,” and on her head a crown of twelve +stars. She is a maiden of twelve or thirteen years, with eyes reverent +and sweet; her hair is golden, and her features beautiful. The sun is +a glory of light around her, the moon with the horns pointing downward +lies under her feet, and the twelve stars form a crown over her head. +Her robe is of spotless white and her mantle blue. Around her are +cherubim bearing roses, lilies, and palms, and below at her feet is the +head of the bruised and defeated dragon. + +Murillo, who achieved his greatest fame as painter of the Conception, +sometimes makes the crescent moon a full moon, or, when a crescent, the +horns point upward. He usually omits the starry crown, but is careful +to follow the rules laid down as to the colours of the drapery. + +=The Virgin and Child Enthroned.= _Lat._ Sancta Dei Genitrix, Virgo +Deipara. _Ital._ La Santissima Vergine, Madre di Dio. _Fr._ La Sainte +Vierge, Mère de Dieu. _Ger._ Die Heilige Mutter Gottes. + +The many and beautiful pictures of this subject are purely devotional +in character and in them Mary is exalted as the Mother of God. +When she is represented with a book in her hand she is the _Virgo +Sapientissima_, the Most Wise Virgin, or the _Mater Sapientiæ_, the +Mother of Wisdom, and the book is the Book of Wisdom. + +[Illustration: + + Photo. Alinari + +THE VIRGIN AND CHILD.—FILIPPO LIPPI + +(Pitti Palace, Florence.)] + +The artists hardly ever varied from the established rule as to the +colours in which the Virgin-mother should be arrayed, and she nearly +always has the red tunic with the blue mantle—as said before, red the +colour of love and religious fervour, blue the colour of constancy and +truth. In pictures of the Venetian and German schools she is often +represented magnificently attired, her robe thickly broidered with gold +and pearls, and her crown studded with jewels. + +In the early pictures the divine Child is always clothed, and not until +the beginning of the fifteenth century is he represented partially, +then wholly, undraped. + +The _Madonna Enthroned_ is often attended by various saints, and +the grouping of these saints has always some especial religious +significance, as: _St. Peter_ and _St. Paul_ appear with the Virgin +as chiefs of the apostles and founders of the Church; when _St. John +the Baptist_ and _St. John the Evangelist_ attend the Virgin Enthroned +the first expresses regeneration by the rite of baptism, the second +regeneration by faith. + +_The Fathers of the Church_ appear as interpreters and defenders of the +mystery of the Incarnation; _St. Jerome_ and _St. Catherine_ as patron +saints of theological learning; _St. Catherine_ and _St. Barbara_ +signify active and contemplative life; _St. Nicholas_ and _St. George_ +with _St. Catherine_ are prominent in the Venetian pictures, and all +three were venerated as especial protectors of Venice. + +_St. George_ and _St. Christopher_ stand by the throne of the Virgin of +Succour as protectors and deliverers in danger. + +[Illustration: + + Photo. Alinari + +THE MADONNA DEL GRAN-DUCA.—RAPHAEL + +(Pitti Palace, Florence.)] + +Many of these Madonna pictures were votive offerings for public or +private mercies, and frequently bear the name of those who offered +them: as Raphael’s _Madonna di Foligno_ presented by Sigismund Conti +of Foligno. + +Wherever the Virgin and Child appear attended by _St. Sebastian_ and +_St. Roch_ the picture has been a votive offering against the plague. + +=Mater Amabilis.= _Ital._ La Madonna col Bambino, La Madonna col +celeste suo Figlio. _Fr._ La Vierge et l’Enfant Jésus. _Ger._ Maria mit +dem Kind. + +This treatment of the Virgin and Child makes the strongest appeal to +the sympathies, for in it she is represented as the _Mother_ only. As +Mrs. Jameson expresses it: “Here Raphael shone supreme: the simplicity; +the tenderness, the halo of purity and virginal dignity which he threw +around the _Mater Amabilis_, have never been surpassed—in his best +pictures never equalled. The _Madonna del Gran-Duca_ [Pitti, Florence] +and the _Madonna Tempi_ [Munich] are perhaps the most remarkable for +simplicity.” + +A charming version of the _Mater Amabilis_ is the _Madre Pia_ where the +Mother adores her Child. He lies extended upon her knee and she looks +down upon Him with hands folded in prayer. Sometimes the Child looks up +in His Mother’s face with His finger on His lip, expressing the _Verbum +sum_—“I am the word.” One must distinguish this from a Nativity where +the Mother adores her Child, but the presence of Joseph, the ruined +shed or manger, the ox and ass, express the _event_. In the _Madre Pia_ +the locality and accessories are purely fanciful and ideal. + +The constant introduction of St. Joseph, St. Elizabeth, and other +relations of the Virgin (always omitted in a Madonna _in trono_) would +be called a Holy Family, except for the presence of other sainted +personages whose existence and history belong to an entirely different +period, such as St. Catherine, St. George, St. Francis, or St. +Dominick. When this occurs it removes the picture from the historical, +and puts it at once with the imaginary and devotional subjects. Such a +group is not a _Sacra Famiglia_, but a _Sacra Conversazione_. + +[Illustration: + + Photo. Alinari + +THE ADORATION OF THE CHILD.—PERUGINO + +(Pitti Palace, Florence.)] + + +FOOTNOTES: + +[6] See Appendix. + + + + +XI.—ST. JOHN THE BAPTIST + + +=St. John the Baptist.= _Ital._ San Giovanni Battista. _Fr._ St. Jean +Baptiste. _Ger._ Johann der Täufer. (June 24.) St. John shares with +Christ and His mother the distinction of having his natural birthday +kept by the Church. + +The history of this saint is given in St. Luke, and with the artists +his life has frequently been the subject of a series including the +_Angel Appearing to Zacharias_, _St. John Preaching_, _His Baptism of +Christ_, _Reproval of Herod_, _Daughter of Herodias Asks for St. John’s +Head_, _Beheading of St. John_, _Daughter of Herodias Carries St. +John’s Head to her Mother_, etc. + +According to the legends, the Blessed Virgin remained with Elizabeth +until the birth of John, and in the historical pictures Mary is seen +with a glory around her head presenting the child to Zacharias. The +Greek legends say that St. John’s death took place two years before +that of Christ, and that he descended into Hades and brought unto the +departed spirits the tidings of their approaching redemption, and +remained there until released by the Saviour’s death. + +[Illustration: + + Photo. Alinari + +JOHN THE BAPTIST IN THE DESERT.—TITIAN + +(Academy, Venice.)] + +St. John forms a link between the Old Testament and the Gospel. In art +he is usually represented as the Herald, the Forerunner of Christ, and +as leaving his home while still very young to begin his life in the +desert. In early art he is gaunt and wasted, with unshaven beard +and hair, but often in later pictures he is smooth-faced, young, and +beautiful, and wears a rich mantle over the garment of camel’s hair. + +As Messenger, he wears “his raiment of camel’s hair, and a leathern +girdle about his loins,” and bears a reed cross and scroll with the +inscription _Ecce Agnus Dei_, or _Vox clementis in deserto!_ The lamb +is sometimes given, sometimes omitted. + +He is introduced into pictures of the Holy Family as a witness to the +divine nature of Christ and as such is represented at all ages from +infancy to manhood. He is patron saint of all who are baptised and is +usually represented in sculpture in baptisteries. + + + + +XII.—THE FOUR EVANGELISTS + + +The earliest symbol used to typify the Four Evangelists was four +scrolls placed in the four angles of a Greek cross, or four books, +representing the Gospels. Next came the four rivers whose source was in +paradise. + +Their conventional symbols, the angel or man for St. Matthew, the lion, +winged, for St. Mark, the ox for St. Luke and the eagle for St. John +are derived from the Apocalypse (Rev. iv., 7). The Four Beasts are also +found in the prophecy of Ezekiel (chap. i., 10). How early these “four +mysterious creatures” were adopted as symbols of the Four Evangelists +is not known. They are found in the fifth century, and in the seventh +century were universally recognised as fixed attributes. + +It was thought that the _cherub_ or _man_ was given to St. Matthew +because he dwelt more upon the human side of Christ; the _lion_ to St. +Mark because he was called the “Historian of the Resurrection,” and the +revival of the lion’s cub symbolised the resurrection, also because he +begins his Gospel with the mission of the Baptist—“the voice of one +crying in the wilderness”—the lion typifying the wilderness; the _ox_ +to St. Luke because it was the emblem of sacrifice, and Luke in his +Gospel dwelt more especially upon the priesthood of Christ; to St. John +the _eagle_ because it was the emblem of the highest inspiration. + +“Rupertus considers the Four Beasts as typical of the Incarnation, +the Passion, the Resurrection, and the Ascension; an idea previously +dwelt upon by Durandus, who adds that the man and the lion are placed +on the right because the incarnation and the resurrection are the joy +of the whole earth; whilst the ox is on the left, because Christ’s +sacrifice was a trouble to the apostles; and the eagle is above the ox +as suggestive of our Lord’s upward flight into heaven. According to +others, the proper order in the ascending scale is thus: at the lowest +point on the left, the ox; to the right, the lion; above the ox, the +eagle; and above all, the angel. So in Raphael’s Vision of Ezekiel +[Pitti, Florence] the angel gazes into the face of the Holy One, the +others form His throne” (Mrs. Jameson). + +Many ideas are conveyed in these apparently fanciful symbols. Sometimes +in church decoration the Four Evangelists are grouped with the Four +Greater Prophets, thus expressing the old and the new law. Sometimes, +particularly in stained glass, they are represented with the Four +Doctors, the evangelists appearing as witnesses and the doctors as +interpreters of the faith. A curious painting of the Four Doctors is +seen in the Louvre, in which the doctors are given not only their own +symbols, but also the symbols of the Four Evangelists. + +=St. Matthew.= _Lat._ S. Mattheus. _Ital._ San Matteo. _Fr._ St. +Mathieu. _Ger._ St. Matthäus. + +[Illustration: + + Photo. Alinari + +CHRIST AND THE FOUR EVANGELISTS.—FRA BARTOLOMMEO + +(Pitti Palace, Florence.)] + +St. Matthew ranks seventh or eighth among the apostles, but is first +as evangelist, because his Gospel was supposed to be the first that was +written. Scarcely anything is known of his history, except that he was +a Hebrew who served the Romans as a publican or tax-gatherer and that +his original name was Levi. + +After the ascension he is said to have gone to Egypt and Ethiopia, +preaching the Gospel, and to have remained there twenty-three years. +While there he overcame two terrible magicians, raised the son of the +King of Egypt from the dead, and healed his daughter of leprosy. He +is believed to have perished in the reign of Domitian, A. D. 90, but +the manner of his death is in doubt. By some it is believed that he +suffered martyrdom by the sword or spear, but, according to the Greek +legends, his end came peacefully. + +St. Matthew is not a favourite in art and is seldom represented alone +or in devotional pictures. As evangelist he holds a book or a pen, +and the angel, his proper symbol, stands by dictating or pointing +up to heaven. As apostle he frequently holds a purse, or money bag, +signifying his former occupation. + +=St. Mark.= _Lat._ S. Marcus. _Fr._ St. Marc. _Ital._ San Marco +Evangelista. _Ger._ Der Heilige Marcus. + +According to the traditions accepted in the Roman Church, St. Mark was +not one of the twelve apostles, but was a convert of St. Peter’s and +became his favourite disciple. While in Rome he wrote his Gospel for +the use of the Roman converts—some say from the dictation of St. Peter. +He founded the Church of Alexandria, the most renowned of all the early +Christian churches, but the wrath of the heathen became so great, +because of his miracles, that they seized him while he was worshipping +one day and, binding him, dragged him up and down the streets and +highways, and over the most stony and rocky places, until the breath +left his suffering body. The legends relate that, as his soul departed, +a terrific tempest of hail and lightning descended suddenly from the +skies, by which his murderers were instantly scattered and destroyed. + +The Christians of Alexandria buried his mangled remains, and his tomb +there was held in reverence for several centuries. But about 815 A. +D. some Venetian merchants carried off the relics and brought them to +Venice, and the magnificent Church of St. Mark was built over them. +Since that time St. Mark has been honoured as the patron saint of +Venice, and his legendary history has supplied the Venetian painters +with many beautiful and picturesque subjects. + +When represented as one of the Four Evangelists, alone or grouped with +others, his symbol is almost invariably the lion—winged or unwinged, +but usually _winged_—distinguishing him from St. Jerome, who also has +the lion as a symbol, but always unwinged. In devotional pictures +St. Mark often wears the habit of bishop, as the first Bishop of +Alexandria, holding his Gospel in his hand. + +=St. Luke.= _Lat._ Sanctus Luca. _Fr._ Saint Luc. _Ital._ San Luca. + +Little is known of the real history of St. Luke. He was not an apostle, +and like St. Mark, is supposed to have been converted after the +ascension. He was a beloved disciple of St. Paul, and accompanied him +to Rome and remained with him until the last. After the martyrdom +of St. Peter and St. Paul he preached the Gospel in Greece and +Egypt, but whether he suffered martyrdom or died a natural death is +merely conjecture. There is some occasion for the belief that Luke +was a physician, and there is a legend that makes him a painter and +represents him as painting the portrait of the Virgin Mary, but this is +not confirmed by any of the earlier traditions. Because of this legend, +however, he was made the patron saint of painters. + +St. Luke is usually represented with his Gospel, and his attendant ox, +winged or unwinged; but in Greek art and the art which came under the +Byzantine influence, he is represented as evangelist, young and without +beard, holding the portrait of the Virgin as his symbol in one hand, +and his Gospel in the other. + +=St. John.= _Lat._ Sanctus Johannes. _Ital._ San Giovanni Evangelista. +_Fr._ Saint Jean, Messire Saint Jehan. _Ger._ Der Heilige Johann. + +St. John was the son of the fisherman Zebedee, and with his brother +James was among the first followers of Christ. + +In the legends of St. John, after the death of the Blessed Virgin he +went into Judæa preaching the Gospel, and then into Asia Minor, where +he founded the Seven Churches. During the persecution under Domitian, +he was sent in fetters to Rome and was cast into a caldron of boiling +oil, but he came out of it unharmed. He had other miraculous escapes, +and being accused of magic was exiled to the island of Patmos, where +he wrote his Revelation. He was released after Domitian’s death and +returned to his church at Ephesus. He died there a few years later, +being nearly a century old. + +[Illustration: + + Photo. Alinari + +MADONNA OF THE HARPIES WITH ST. FRANCIS AND ST. JOHN, +EVANGELIST.—ANDREA DEL SARTO + +(Uffizi, Florence.)] + +A legend that is often represented in art is, that when he returned to +Ephesus he met a funeral procession and was told that it was that of +Drusiana, at whose house he had formerly dwelt. Bidding them set down +the bier, he prayed that she might be restored to life, and she arose +and walked to her house, the apostle going with her. + +He is popular as a patron saint, and pictures of him are more +numerous than of any of the other evangelists. These represent him—as +evangelist, apostle, or prophet. + +In early art St. John is an aged man with white hair and long white +beard, but with the later painters St. John as evangelist, although +nearly a century old, is represented as beardless, with light curling +hair, and has all the attributes of the youthful apostle. He is +sometimes seated, with his pen and his book,—sometimes standing; the +attendant eagle is always near him and frequently holds the pen or +ink-horn in its beak. + +In his second character, or as one of the series of apostles, St. John +is represented in Western art as young and beardless, with pale brown +or golden flowing hair, and a face full of sweetness, candour, and +gentleness. His mantle is red in colour and the tunic blue or sometimes +green. He holds in his hand the sacramental cup from which a serpent is +seen to appear. St. Isidore relates that at Rome an attempt was made to +poison St. John in the cup of the sacrament; he drank of the same and +administered it to the communicants without injury, the poison having +by a miracle vanished from the chalice in the form of a serpent, but +the hired assassin fell down at his feet dead. According to another +account, the poisoned cup was given to him by order of the Emperor +Domitian. Another legend relates that Aristodemus, the high-priest of +Diana at Ephesus, dared him as a test of the truth of his mission to +drink of the poisoned chalice. St. John drank unharmed, but the priest +dropped dead. Yet another interpretation is that the cup in the hand +of St. John alludes to Christ’s reply when the mother of James and +John demanded for her sons that they be given a place of honour in +heaven,—“Ye shall indeed drink of my cup.” + +In his third character of prophet and writer of the Revelation St. +John is generally represented in art as very old with a white, flowing +beard, seated in a rocky desert; the sea in the distance or around him, +representing the island of Patmos; he has the eagle at his side. + + + + +XIII.—THE TWELVE APOSTLES + + +The earliest representations of the Twelve Apostles seem to have been, +like those of the Four Evangelists, purely symbolical. They were +represented as twelve sheep, and Christ, bearing a lamb in His arms, +stood in their midst as the Good Shepherd; or Christ the Lamb of God +was placed on an eminence and crowned with a cruciform nimbus, and the +apostles were arranged on each side as sheep. + +A little later the apostles were represented as twelve men, all alike, +each with a sheep, and Christ stood in the middle, also with a sheep, +which was often larger than theirs. + +=The Apostles’ Creed.= “It is affirmed by Ambrose, ‘that the twelve +Apostles, as skilful artificers, assembled together, and made a key +by their common advice, that is, the Creed; by which the darkness of +the devil is disclosed, that the light of Christ may appear.’ Others +fable that every Apostle inserted an article, by which the Creed is +divided into twelve articles; and a sermon, fathered upon St. Austin, +and quoted by the Lord Chancellor King, fabricates that each particular +article was thus inserted by each particular Apostle. + +Peter (1). I believe in God the Father Almighty; + +John (2). Maker of heaven and earth; + +James (3). And in Jesus Christ his only Son our Lord; + +Andrew (4). Who was conceived by the Holy Ghost, born of the Virgin +Mary; + +Philip (5). Suffered under Pontius Pilate, was crucified, dead, and +buried; + +Thomas (6). He descended into hell, the third day he rose again from +the dead; + +Bartholomew (7). He ascended into heaven, sitteth at the right hand of +God the Father Almighty; + +Matthew (8). From thence he shall come to judge the quick and the dead; + +James, the son of Alpheus (9). I believe in the Holy Ghost, the holy +Catholic Church; + +Simon Zelotes (10). The communion of saints, the forgiveness of sins; + +Jude, the brother of James (11). The resurrection of the body; + +Matthias (12). Life everlasting. Amen.” (_Apocryphal New Testament._) + +From the sixth century every one of the apostles had his especial +attribute, which was taken from some circumstance of his life or death. +According to the canon of the mass, they follow in order, thus: + +St. Peter, the keys or a fish. + +St. Paul, the sword; sometimes two swords. + +St. Andrew, the transverse cross. + +St. James Major, the pilgrim’s staff. + +St. John, the sacramental cup with the serpent; sometimes the eagle +(the latter belongs to him only in his character of evangelist). + +St. Thomas, a builder’s rule, sometimes a spear. + +St. James Minor, a club. + +St. Philip, the staff or crozier, surmounted by a cross, or a small +cross in his hand. + +St. Bartholomew, a large knife. + +St. Matthew, a purse. + +St. Simon, a saw. + +St. Thaddeus (or Jude), a halberd or lance. + +St. Matthias, a lance. + +Although in sacred art the apostles are always twelve in number, they +are not always the same. St. Paul is often substituted for St. Jude and +frequently the evangelists St. Mark and St. Luke appear instead of St. +Simon and St. Matthias. + +=St. Peter and St. Paul.= _Lat._ SS. Petrus et Paulus. _Ital._ San +Pietro or Piero, San Paolo. _Fr._ S. Pierre, S. Paul. _Spa._ San Pedro, +San Pablo. + +Even during their lifetime, the power and the influence of St. Peter +and St. Paul as apostles and preachers of the Gospel were recognised; +and they were acknowledged then as now to be the heads and founders of +the Christian Church. + +The precedence given to St. Peter, prince of the apostles and founder +of the Church of Rome, has never been questioned, but still they are +held to be “equal in faith, in merit, and in sanctity.” + +In works of art they are seldom separated. They are found on _each_ +side of the Saviour or of the Virgin enthroned; or on each side of the +altar; or on each side of the arch over the choir. Wherever they are +together, not only as apostles but founders, their rank is next after +the evangelists and the prophets. + +[Illustration: + + Photo. Alinari + +ST. PETER BAPTISING.—MASACCIO + +(Brancacci Chapel, Santa Maria del Carmine, Florence.)] + +Many legends are related of St. Peter. Among them that of Simon Magus +is the most important, and it has been frequently illustrated in art +(Acts viii., 9, 24). + +Simon Magus was a famous magician among the Jews, who performed +marvellous feats of sorcery and claimed to be a god. Privately he tried +to buy from the apostles the secret of their power to work miracles, +but was rejected by them with scorn. + +The apostles vanquished him at every turn, and drove him out of +Jerusalem; and he fled to Rome, where he became a favourite of the +Emperor Claudius and afterwards of Nero. Simon claimed that he had the +power to raise the dead, and when Peter and Paul came to Rome they +challenged him to restore the life of a youth in the presence of the +emperor. The magician failed utterly to make good his boast, but when +Peter and Paul spoke to the boy he at once rose from the dead. Then the +magician announced that he would fly to heaven, and jumping from a high +tower he floated in the air for a time, sustained there by demons. At +this, Peter fell on his knees and begged that the demons might loose +their hold, which they did, and the magician, falling to the ground, +was dashed to pieces. + +When the first persecution under Nero broke out, the Christians finally +succeeded in persuading St. Peter to flee from Rome and thereby save a +life that was so precious to the Church. + +As Peter was fleeing along the Appian Way, he suddenly encountered our +Lord Himself going towards Rome, and bearing His cross. In wonder at +such a vision, Peter exclaimed, “Lord, whither goest Thou?” (_Domine, +quo vadis?_) and Jesus, bending His eyes sadly upon him, answered, “I +go to Rome to be crucified again.” And thus saying, He vanished from +sight. Peter felt this to be a sign that he was forsaking his duty +and turned back at once to the city, where he continued to preach and +baptise until he was taken with St. Paul and thrown into the Mamertine +prison. + +Here they converted the two centurions, Processus and Martinian, who +guarded them, also many other prisoners. There was no water with which +to baptise them, but at the prayer of St. Peter that water might be +forthcoming, a spring broke through the stone floor and remains a +fountain there to this day. + +Tradition declares that St. Peter was crucified with his head downward +at his own request, feeling himself unworthy to suffer the same death +as his Lord. + +When in devotional pictures St. Peter is accompanied by another apostle +with no distinctive attributes, it may be supposed that it is St. Mark, +who was his companion, amanuensis, and interpreter at Rome. + +“St. Peter was generally represented blessing, St. Paul preaching,—the +former with white hair and beard, the hair sometimes plaited in three +distinct partitions; the latter with a lofty and partially bald brow, +and long high nose,—as characteristic of the man of genius and the +thorough gentleman, as the former is of the warm-hearted, frank, +impetuous fisherman. The likenesses may be correct,—they were current, +at least, in the days of Eusebius” (Lord Lindsay’s _Sketches of +Christian Art_). + +The dress of St. Peter in the mosaics and Greek pictures is a blue +tunic with a white mantle, but in later pictures he wears a blue or +green tunic with yellow drapery. In the earliest representations, he +bears a scroll or book, later a cross in one hand and book in the +other. It is not until about the eighth century that the keys become +his peculiar symbol. Sometimes he has one great key, but usually he +carries two keys, one of gold and one of silver—to absolve and to +bind—or according to another interpretation one is of gold for the +gates of heaven, the other of iron for the gates of hell. The legend +that makes St. Peter the keeper of the gate of Paradise, having power +to grant or refuse admission, found its origin in the delivery of the +keys to St. Peter. + +Although =St. Paul= was called to be an apostle after the ascension +of Christ, yet he takes rank next to St. Peter as one of the “chief +witnesses of the Christian faith.” The history of the “great apostle +of the Gentiles” is given fully in the Acts, and the Epistles and the +legends have not added much to it. It is related that he suffered +martyrdom outside the Ostian Gate of Rome by being beheaded on the +same day that St. Peter was crucified within the city. It is also +said that a certain Roman matron, named Plautilla, a convert of St. +Peter’s, wishing to see St. Paul for the last time, placed herself on +the road where he passed to his martyrdom. As she beheld him, she wept +and implored his blessing. The apostle gave it and then asked for her +veil, that he might bind his eyes before being beheaded. He promised +to return it to her after his death. Plautilla gave it readily, thus +showing her faith, although her attendants refrained not from mocking +at so ridiculous a promise. After his martyrdom, however, her veil, +stained with his blood, was restored to her in person by St. Paul. The +spot where he was beheaded is still venerated as the _Tre Fontane_, +tradition saying that the severed head made three bounds on the ground, +and at each place that it touched a fountain gushed forth. + +In art the dress of St. Paul is, like St. Peter’s, a blue tunic and +white mantle. He has a book or scroll in one hand, occasionally _twelve +rolls_, representing his Epistles. His peculiar symbol is the sword—his +attribute in a double sense—first signifying the manner of his +martyrdom, and second typifying the “good fight fought by the faithful +Christian.” When St. Paul is leaning on his sword it then expresses his +martyrdom. When he holds it aloft it proclaims his warfare in the cause +of Christ; when _two swords_ are given to him, one is the attribute, +the other the symbol. + +=St. Andrew= (_Lat._ S. Andreas. _Ital._ Sant’Andrea. _Fr._ St. André) +was the brother of Simon Peter, and he was the first who was called to +be an apostle. Nothing further is told of him in the New Testament. +Tradition relates that after the ascension of Christ, St. Andrew +travelled into Scythia, Cappadocia, and Bithynia, converting multitudes +to the faith. He returned to Jerusalem, and thence travelled into +Greece and came at last to a city of Achaia, called Patras. Here, among +many others, he converted Maximilia, wife of the proconsul Ægeus. +He induced her to make a public profession of Christianity, and this +so enraged the proconsul that he ordered St. Andrew to be seized and +scourged and then crucified. There are many opinions as to the form of +the cross upon which he suffered, but it is generally believed to have +been a transverse cross, since called St. Andrew’s Cross, and it is +said he was fastened with cords rather than with nails—a circumstance +always adhered to in the representations of his death. Before suffering +crucifixion, the legend relates that he saluted and adored the cross +on his knees as something that had been consecrated by the sufferings +of his Redeemer.[7] Some of his relics were brought from Patras to +Scotland in the fourth century, and since then St. Andrew has been the +patron saint of Scotland and of its chief order of Knighthood. He is +also patron saint of the famous Burgundian Order, the Golden Fleece, +and of Russia and its chief order, the Cross of St. Andrew. + +[Illustration: + + Photo. Alinari + +ST. JAMES MAJOR.—TITIAN + +(Church of S. Lio, Venice.)] + +St. Andrew is recognised in art by the transverse cross, and the +devotional pictures represent him as a very old man with a certain +brotherly resemblance to St. Peter. He has long, white, flowing hair +and beard, the beard usually being divided. He is generally represented +leaning upon the cross, holding the Gospel in his right hand. + +=St. James the Great.= _Lat._ Sanctus Jacobus Major. _Ital._ San +Giacomo, or Jacopo, Maggiore. _Fr._ St. Jacques Majeur. _Spa._ San +Jago, or Santiago. + +St. James Major (the Great or the Elder) was a kinsman of Christ’s, +and, with his brother John the Evangelist and Peter, went everywhere +with the Lord and was present at most of the events related in the +Gospels. He was one of the three who were permitted to witness the +transfiguration of Christ, and one of those who slept during the agony +in the garden. No mention is made of him after the ascension, except +the fact that Herod slew him with the sword. + +The legends of the middle ages, however, have amply made up for this +deficiency, and as military patron of Spain, he became one of the most +famous saints in Christendom and a most popular subject in art. + +In the Spanish legend, although James (their Santiago) is still the +son of Zebedee and a native of Galilee, this Zebedee, instead of +being a poor fisherman, becomes through the florid imagination of the +Spanish chroniclers a very rich nobleman, whose son, always pure and +heavenly-minded, is converted by Jesus, and follows Him and shares His +labours until the end. + +It is related that after the ascension James went first into Judæa, +preaching, and then came at last to Spain. + +One day as he stood on the banks of the Ebro, he saw in a vision the +Blessed Virgin, who appeared to him surrounded by angels and seated on +a pillar of jasper. She commanded him to build on that spot a church +in her honour and told him that belief in her and in her glorious Son +would in time drive paganism out of the land. St. James rose up from +the ground where he had prostrated himself before her, and with faith +strengthened by these words of the Holy Virgin, began forthwith to +erect the famous church in her honour, which has been known ever since +as the Church of Our Lady of the Pillar (_Nuestra Señora del Pilar_). + +Many other curious legends are related of him—his encounter with the +sorcerer Hermogenes, who sent his scholar Philetus to compete with him. +James converted him, which so enraged Hermogenes that he bound Philetus +by evil spells, so that he could not move hand or foot. Philetus sent +his servant to St. James, praying for aid. The apostle sent his cloak +by the servant, and no sooner had Philetus touched it, than he became +free and hastened to his deliverer. Hermogenes sent his demons to take +both the saint and his disciple; angels, however, intervened, and the +sorcerer, now utterly vanquished by the power of the apostle, cast +his magical books into the sea and declared himself also converted. +Hermogenes having prayed for aid against the power of his own demons, +St. James gave him his own staff to protect him, and thus armed, +Hermogenes set forth to preach the Gospel, and became a faithful and +worthy disciple from that time. + +Soon after this the Jews, being roused to anger by the miracles and +good works of St. James, beheaded the saint, and his disciples, fearing +to bury his body, placed it in a ship—some say of marble—and angels +guided it to the coast of Spain. Here the disciples took out the body +and laid it on a great stone, and the stone yielded to his form like +wax and softly closed around it. Then they knew that they had found its +chosen resting-place. + +But that country was governed at the time by a wicked queen named +Lupa, who hated Christians, and who harnessed wild bulls to the stone, +thinking they would dash it in pieces; but instead the bulls became as +gentle as lambs (_aussitot doux comme des moutons_) and drew it slowly +into the court of Lupa’s palace and there rested. At this marvel, she +became converted and built a magnificent church to receive the body of +James. + +In after years the body was lost until the year A. D. 800, when its +place of concealment was revealed to a friar. His relics were then +removed to Compostella, and so many miracles were wrought at his shrine +that thousands upon thousands of pilgrims visited it from all parts of +Europe, and the military Order of Saint Jago, enrolled by Don Alphonso +for their protection, became one of the greatest and richest orders in +Spain. + +The wonderful deeds enacted by Santiago in behalf of his chosen people +would fill a volume. The Spanish historians chronicle thirty-eight +instances in which Saint Jago descended from heaven and in person +led their armies against the Moors. The first and most famous was +in 939, when he visited the King of Castile in a dream the night +before, assuring him of victory. As the army engaged in battle the +next morning, the soldiers were thrilled by the sight of St. James at +their head, mounted on a snow-white steed, and waving a white standard +on high. Thus he led them on to victory, and from that day to this, +“Santiago” has been the Spanish war-cry. + +St. James’s place among the apostles is fourth in the series, but third +after St. Peter and St. Paul. Often in art he is represented bearing a +family resemblance to Christ, his kinsman. He has the same thin beard +and the hair parted, flowing down on each side. + +From the thirteenth century, he has been represented in the dress of +a pilgrim of Compostella; he carries the peculiar long staff, from +which is suspended a wallet or gourd of water; wears a cloak with a +long cape; and has the scallop-shell on his shoulder or on his flapped +hat. When the cape, hat, and scallop-shell are omitted, the staff +remains his constant attribute, designating him as the first apostle +who departed to spread the Gospel into other lands. He can always be +recognised by the staff in Madonna pictures and when grouped with other +saints. + +St. John, who is fifth in the series of the apostles, is found under +the head of the Four Evangelists. + +=St. Philip.= _Ital._ San Filippo Apostolo. _Fr._ Saint Philippe. + +Little is related of St. Philip in the Gospels. After the ascension, he +preached in Scythia for twenty years, and then travelled to Hieropolis +in Phrygia, where he found the people worshipping a great serpent or +dragon, whom they believed to personify the god Mars. + +St. Philip, filled with compassion for their ignorance, went into the +temple, and holding up his cross commanded the serpent to disappear. +Immediately it glided from beneath the altar, and as it moved it sent +forth so dreadful an odour that many died, among them the son of the +king; but Philip restored him and the others to life, and again, by +the power of the cross which he always bore, he commanded the dragon +to depart and from that time it was seen no more. This so infuriated +the priests of the serpent that they crucified Philip, and when he was +fastened to the cross they stoned him to death. + +The Scriptures state that Philip had four daughters, who were +prophetesses (Acts i., 9). In the Greek calendar his sister, St. +Mariamne, and St. Hermione, his daughter, are commemorated as martyrs. + +St. Philip, when he is represented alone or in the series of apostles, +is a man of middle-age and kindly face, with scarcely any beard. His +attribute, a cross, varies in form; sometimes it is small, and he +carries it in his hand; again it is a high cross in the form of a “T” +or a tall staff with a small Latin cross at the top of it. The cross of +St. Philip has a threefold meaning: it may allude to his martyrdom; or +to his conquest over the idols through the power of the cross; or when +placed on top of the pilgrim’s staff it may refer to his sojourn among +the barbarians, preaching the cross of salvation. + +=St. Bartholomew.= _Lat._ S. Bartholomeus. _Ital._ San Bartolomeo. +_Fr._ St. Barthélemi. + +The origin of this saint is in doubt. According to some accounts, he +was the son of a husbandman,—others say he was the son of a prince, +Ptolomeus. He went into India after the ascension, carrying with him +the Gospel of St. Matthew, and preached also in Armenia and Cilicia. He +suffered a horrible death in Albanopolis, being first flayed alive and +then crucified. + +In devotional pictures and single figures, St. Bartholomew sometimes +bears in one hand a book, the Gospel of St. Matthew, but his peculiar +attribute is a large knife, the instrument of his martyrdom, and he is +sometimes represented with his own skin hanging over his arm, as in +Michael Angelo’s _Last Judgment_ (Sistine Chapel, Rome). + +=St. Thomas.= _Ital._ San Tommaso. _Spa._ San Tomé. + +St. Thomas, called _Didymus_ (the twin), is seventh among the apostles. +He was a fisherman of Galilee, and he is recorded in the Gospel on two +occasions. As Jesus was going up to Bethany, being then in danger from +the Jews, Thomas said, “Let us also go, that we may die with Him” (John +xi., 16). And after the resurrection, it was Thomas who doubted the +reappearance of the crucified Saviour (John xx., 24-29). + +After the ascension, St. Thomas travelled into the East, preaching the +Gospel. A tradition has been accepted in the Church that he went as far +as India; where he met the Three Wise Men of the East, and baptised +them. He founded a church in India, and it was there that he suffered +martyrdom. + +After the thirteenth century, St. Thomas bears as his attribute the +builder’s rule, shaped thus: + +[Illustration] + +As he was neither a carpenter nor a mason, the reason of this attribute +is found in one of the legends. + +“When St. Thomas was at Cæsarea, our Lord appeared to him and said, +‘The King of the Indies, Gondoforus, hath sent his provost Abanes to +seek for workmen well versed in the science of architecture, who shall +build for him a palace finer than that of the Emperor of Rome. Behold, +now I will send thee to him.’ And Thomas went, and Gondoforus commanded +him to build for him a magnificent palace, and gave him much gold and +silver for the purpose. The King went into a distant country and was +absent for two years, and St. Thomas meanwhile, instead of building a +palace, distributed all the treasures intrusted to him among the poor +and sick; and when the King returned he was full of wrath and commanded +that St. Thomas should be seized and cast into prison, and he meditated +for him a horrible death. Meantime the brother of the King died; and +the King resolved to erect for him a most magnificent tomb; but the +dead man, after that he had been dead four days, suddenly arose and +sat upright and said to the King, ‘The man that thou wouldst torture +is a servant of God; behold I have been in Paradise, and the angels +showed to me a wondrous palace of gold and silver and precious stones, +and they said, “This is the palace that Thomas, the architect, hath +built for thy brother King Gondoforus.”’ And when the King heard those +words he ran to the prison and delivered the apostle; and Thomas said +to him, ‘Knowest thou not that those who would possess heavenly things +have little care for the things of this earth? There are in heaven rich +palaces without number, which were prepared from the beginning of the +world for those who purchase the possessions through faith and charity. +Thy riches, O King, may prepare the way for thee to such a palace, but +they cannot follow thee thither’” (_Vos richesses pourront bien aller +devant vous à ce palais, mais elles ne pourront vous y suivre_). + +The builder’s rule in the hand of St. Thomas represents him as the +spiritual architect of King Gondoforus, and thus he has been chosen as +patron saint of architects and builders. + +“The Incredulity of St. Thomas” appears in all the early series in the +life of Christ, and it is of frequent occurrence in the later schools +of Italy and in the Flemish schools. Either St. Thomas is seen placing +his hand, with an expression of doubt and fear, on the wounds of the +crucified Christ, or his doubts having vanished, his eyes are cast +heavenward in joy and thankfulness. + +The legendary subject styled _La Madonna della Cintola_, where St. +Thomas doubts the apotheosis of the Virgin, has been described in the +Assumption of the Virgin. + +St. Matthew the Evangelist comes eighth in the order of the apostles. + +=St. James Minor.= _Lat._ S. Jacobus Frater Domini. _Ital._ San Jacopo +or Giacomo Minore. _Gr._ Adelphotheos. _Fr._ St. Jacques Mineur. + +St. James Minor, or the Less, also called the Just, is ninth in the +series. He was nearly related to Christ, being the son of Mary, the +wife of Cleophas, who was the sister of the Virgin Mary; and although +only a cousin he was often spoken of as the “Lord’s brother.” He became +first Christian Bishop of Jerusalem, and was reverenced for his piety, +and wisdom, and charity. The Scribes and Pharisees, however, became so +enraged by his teachings that they flung him down from a parapet of the +Temple to the infuriated mob below, where his brains were beaten out +with a _fuller’s club_. + +St. James is generally represented leaning on this club, the instrument +of his martyrdom. According to an early tradition, he so nearly +resembled our Lord “in person, in features, and deportment,” that it +was difficult to distinguish them, and this rendered necessary the kiss +of Judas. + +=St. Simon Zelotes= (or _The Zealot_). =St. Jude= (_Thaddeus_, or +_Lebbeus_). _Ital._ San Simone; San Taddeo. _Fr._ St. Simon; le Zelé; +St. Thaddée. _Ger._ Judas Thaddäus. + +Very little is known of these saints. According to one tradition they +were the same mentioned by Matthew as our Lord’s brethren or kinsmen. +According to another tradition they were two brothers among the +shepherds, who visited Christ at His birth. The painters who adhered to +the first tradition represent Simon and Jude as young. Those who follow +the latter represent them as very old. It seems generally agreed +that they preached the Gospel together in Syria and Mesopotamia, and +together suffered martyrdom in Persia. Tradition says that St. Simon +was sawn asunder, and St. Thaddeus killed with a halberd. + +In a series of apostles, St. Simon bears the saw and St. Thaddeus +the halberd. Greek art represents Jude and Thaddeus as two distinct +persons, Jude being young and Thaddeus old; and St. Simon is extremely +old, with a bald head, and long white beard. + +=St. Matthias.= _Ital._ San Mattia. _Fr._ St. Mathias. + +St. Matthias, who was chosen by lot to fill the place of the traitor +Judas, is the last of the apostles (Acts i.). He preached the Gospel +in Judæa, and was martyred there by the Jews, either by the lance or +by the axe. In the Italian series of the apostles his attribute is the +lance; in the German sets he usually has an axe. + +=Judas Iscariot.= _Ital._ Giuda Scariota. _Fr._ Judas Iscariote. + +The Gospels do not speak of the life of Judas before he became an +apostle, but the legends of the middle ages fill up the omissions of +Scripture after their own fancy. As recounted by Mrs. Jameson, they +picture Judas as a “wretch foredoomed, and prepared by a long course of +vice and crime for that crowning guilt which filled the measure full. +According to this legend, he was of the tribe of Reuben. Before his +mother brought him forth, she dreamed that the son who lay in her womb +would be accursed, that he would murder his father, commit incest with +his mother, and sell his God. Terrified at her dream, she took counsel +with her husband and they agreed to avert the threatened calamity by +exposing the child. As in the story of Œdipus, from which indeed this +legend seems partly borrowed, the means taken to avoid the threatened +curse caused its fulfilment. Judas, at his birth, is enclosed in a +chest, and flung into the sea; the sea casts him up, and being found +on the shore, he is fostered by a certain king and queen as their own +son; they have another son, whom Judas, malignant from his birth, beats +and oppresses, and at length kills in a quarrel over a game of chess. +He then flies to Judæa, where he enters the service of Pontius Pilate +as page. In due time he commits the other monstrous crimes to which he +was predestined; and when he learns from his mother the secret of his +birth, he is filled with a sudden contrition and terror; he hears of +the prophet who has power on earth to forgive sins; and seeking Christ +throws himself at His feet. Our Saviour, not deceived, but seeing in +him the destined betrayer, and that all things may be accomplished, +accepts him as His apostle; he becomes the seneschal or steward of +Christ, bears the purse and provides for the common wants. In this +position, avarice, the only vice to which he was not yet addicted, +takes possession of his soul and makes the corruption complete. Through +avarice, he grudges every penny given to the poor, and when Mary +Magdalene anoints the feet of our Lord, he is full of wrath at what he +considers the waste of the precious perfume: ‘Why was not this ointment +sold for three hundred pence, and given to the poor?’ This he said +not that he cared for the poor, but because he was a thief. Through +avarice, he yields to the bribe offered by the Jews. Then follow the +scenes of the betrayal of Christ, and the late repentance and terrible +suicide of the traitor, as recorded in Scripture.” + +Separate representations of Judas Iscariot would have been regarded +as “profane, ominous—worse than the evil-eye,” and the early artists, +in the scenes from the Scriptures where Judas appears, give him a +countenance as expressive of all the evil passions as their brushes +were capable of. The legend says, however, that Judas was of comely +appearance, and was recommended to the service of Pontius Pilate by his +beauty of person. + +In art Judas always wears a dirty, dingy yellow, a colour that in Spain +is so associated in the mind with pictures of Judas, that it is held in +abhorrence. In Spain and in Italy malefactors and criminals are garbed +in yellow. Formerly the Venetians made all Jews wear yellow hats. + +=St. Barnabas.= _Ital._ San Barnaba. _Fr._ Saint Barnabé. + +He is usually called the _Apostle_ Barnabas, because he was associated +with the apostles in their calling, and is to be “considered as +_Apostolical_, and next to them in sanctity.” St. Barnabas was +a Levite, born in the island of Cyprus and a cousin of Mark the +Evangelist. His life and character as recorded in the Acts are full of +interest. After the conversion of Paul, he was the first to believe +in his sincerity, and to present him to the other apostles, “who were +afraid of him, and would not believe that he was a disciple.” Barnabas +afterwards went with St. Paul to Antioch. There, however, they fell +into a dispute concerning Mark and separated. Barnabas preached the +Gospel in Asia Minor, Greece, and Italy, and it is said he was the +first Bishop of Milan. It is related that “everywhere he carried the +Gospel of St. Matthew, written by the hand of the evangelist, and when +any were sick or possessed, he laid the sacred writing upon their bosom +and they were healed.” + +As he was preaching in a synagogue of Judæa against the Jews, they +seized him and put him to death. Mark and the other Christians buried +him in much sorrow. + +In art he is represented as of lofty presence, holding in his hand the +Gospel of St. Matthew, and he frequently appears in subjects taken from +the Acts and the life of St. Paul. + + +FOOTNOTES: + +[7] “Salut, Croix, qui as été consacrée par le corps de Jésus Christ, +et que ses membres ont ornée de tant de perles. Avant que le Seigneur +eût été lié sur toi, tu étais un objet de terreur; maintenant, ceux qui +sont enflammés de l’amour celeste t’appellent de tous leurs vœux. Je +viens donc à toi, plein de sécurité et de joie, afin que tu reçoives +le disciple de celui qui est mort sur toi; je t’ai toujours chérie, +et j’ai constamment desire t’embrasser. O bonne croix! longtemps +désirée, et que les membres du Seigneur out revêtue de tout de beauté +et d’éclat, toi que j’ai recherchée sans cesse reçois-moi du milieu des +hommes, et rends-moi a mon maître, afin que celui qui m’a racheté par +toi me voie arriver à lui par toi.”—_Legende Dorée._ + + + + +XIV.—MARY MAGDALENE + + +=St. Mary Magdalene.= _Lat._ Sancta Maria Magdalena. _Ital._ Santa +Maria Maddalena. _Fr._ La Madeleine. + +It has always been a question in dispute among the theologians and +expounders of the Gospels whether Mary Magdalene, “out of whom Jesus +cast seven devils,” Mary of Bethany, and the “woman who was a sinner” +are three distinct persons, or one and the same under different +appellations. In Western art they are represented as identical. + +The legends relate that Mary Magdalene was rich and of noble race, and +lived with her sister and brother, Martha and Lazarus, in their castle +Magdalon on the Sea of Galilee. Lazarus became a soldier, Martha was a +model of virtue and propriety, but Mary abandoned herself to pleasure +and became so dissolute that she was known as “The Sinner.” Her +sister, grieving, frequently rebuked her, and finally persuaded her to +listen to Jesus, and hearing him her heart was touched, and she became +converted. + +The legends follow closely the Gospel stories of the supper at the +house of Simon the Pharisee, Christ’s entertainment at the house of +Martha, Mary’s devotion to the Saviour, and those final scenes at His +death and resurrection in which she takes so prominent a part. In all +these she appears again and again in art. + +According to an old Provençal legend, after the ascension of Christ, +Lazarus and his sisters, with their handmaid Marcella, Maximin, who had +baptised them, and the blind man Cedron, to whom Jesus had given sight, +were put in a boat by the heathen—a boat that was without rudder or +sails or oars,—and set adrift. The winds and waves carried them safely +to Marseilles, where the people at first refused to give them food +or shelter. But Mary began to tell them of Christ, and both sisters +performed such marvellous miracles, that many became converted and +were baptised. Lazarus, after the death of Maximin, was made the first +Bishop of Marseilles. + +Of the many miracles attributed to Mary Magdalene in the old legends, +is that relating to a certain Provençal prince, who became partially +converted by the preaching of Mary Magdalene, and wishing a proof, told +her of his desire and his wife’s, to have a son, and asked if she could +obtain this grace for them by prayers to her God. And Mary answered, +“If thy prayer be granted, wilt thou believe?” The prince promised, but +shortly after, still but half-convinced, he decided to visit St. Peter +in Jerusalem and see if his preaching accorded with the words of Mary. + +[Illustration: + + Photo. Alinari + + LA DISPUTA DELLA TRINITÀ. ST. AUGUSTINE, ST. LAURENCE, ST. + PETER MARTYR, ST. FRANCIS; ST. SEBASTIAN, AND MARY MAGDALENE, + KNEELING.—ANDREA DEL SARTO + +(Pitti Palace, Florence.) ] + +So he and his wife departed in a vessel bound for Jerusalem. A fearful +storm arose on the way, and his wife, who was with child, gave birth +to a son, and then died. The sailors, in their superstition, wished to +throw the dead body into the sea, believing the tempest would not cease +as long as they had it on board, but the prince restrained them until +they came to a barren, rocky island, where he laid his wife with the +living child on her bosom, praying to Mary Magdalene to have pity on +his grief and if her prayers availed, to save at least the life of his +child. + +When the prince and his attendants reached Jerusalem, he found St. +Peter, who instructed him and showed him where Christ performed His +miracles, so that he became an ardent believer in the faith of the +Christians. After two years, he set sail again for his own country, and +passing the island where he had left his wife he landed there to pray. +What was his joy to find that not only the prayers of the Magdalene had +kept his son alive, but as he approached the body of his dead wife, she +awoke as from a deep sleep and was miraculously restored to him. Then +they returned joyfully to Marseilles, and falling at the feet of Mary +Magdalene blessed her, and became baptised. + +After some years of active good works Mary retired to a barren +wilderness not far from Marseilles, and here she lived in solitude for +thirty years, fasting and doing penance and mourning for her past sins. +If it had not been for angels, and the comfort bestowed upon her by +celestial visions, she must have perished. A hermit who lived not far +off in the desert once beheld angels bearing her in their arms towards +heaven, and hurried to the city to tell of his vision. Some legends +assert that St. Mary died in a church after receiving the sacrament +from St. Maximin, but the more popular versions represent her as dying +in her solitude, watched over to the last by angels. + +Devotional pictures represent her as patron saint and as the penitent. +The historical pictures are those scenes from the Gospel in which she +is conspicuous, and the scenes from her legendary life. In all these +subjects the accompanying attribute is the alabaster box of ointment +which has a twofold meaning; it may be the precious ointment which +she poured over the feet of Christ, or the balm and spices that were +brought to anoint his body. Sometimes she carries it in her hand, or +it stands at her feet or near her; frequently, in later pictures, it +is borne by an attendant angel. It may be a small vase, or a casket; a +cup with a cover, or a box; the form varying according to the artist’s +fancy—but it is always there, the symbol of her conversion and her +love, and so unmistakable that there can be no doubt of her identity. + +In the ancient pictures she is usually represented in red, to express +the fervour of her love. In modern pictures, and where she appears as +the penitent, she wears blue or violet,—violet, the colour of mourning +and penitence; blue, the colour of constancy. Where both love and +sorrow are expressed, she wears a violet-coloured tunic and a red +mantle. Her long, luxuriant hair is light or golden in colour. + +As patron saint she became idealised into a noble, imposing woman, +retaining no trace of sin or sorrow on her beautiful face. If it were +not for the nimbus she might be mistaken for Pandora. As in scenes +before her conversion, she is richly attired. + +The Magdalene doing penance in the desert became a favourite subject +with the artists in the sixteenth century. She was represented in two +aspects; first as bemoaning her sins, where she appears lying prostrate +upon the ground, or standing or kneeling at the entrance to her cave; +her long yellow hair flows over her shoulders, her hands are clasped +or raised towards heaven, and her eyes are streaming with tears. The +crucifix, skull, and sometimes the scourge are seen symbolising faith, +mortality, and penance. In the second she has made her atonement and +is seen reading and meditating with a serene and uplifted countenance. +Angels scatter flowers or present the palm; a book rests beside the +skull, and the skies are bright with a vision of glory. In every +instance the alabaster box appears. + +The _Noli me tangere_ is the subject of many pictures; the arrangement +is arbitrary and fixed by tradition and only admits of the two figures +of Christ and the Magdalene. + +Before leaving the subject of those who were intimately connected with +our Lord in His lifetime, a few words upon the Last Supper in art may +perhaps find a fitting place here. + + + + +XV.—THE LAST SUPPER + + +=The Last Supper.= _Ital._ Il Cenacolo, La Cena. _Fr._ La Cène. _Ger._ +Das Abendmahl Christi. + +[Illustration: + + Photo. Alinari + +THE LAST SUPPER.—D. GHIRLANDAJO + +(Convent of the Ognissanti, Florence.)] + +This event in the life of Christ has, next to the crucifixion, a +most important place in art, where the subject has been treated +dramatically, historically, and mystically. When the picture is painted +for an altar or chapel of the Holy Sacrament, it is _mystical_ or +_devotional_, and represents the institution of the Eucharist. In +such representations Judas is either absent, or is seen stealing from +the room. The subject has been a favourite one for the decoration +of refectories of convents and hospitals, and it is then treated in +the _historical_ sense—Christ’s celebration of the passover with His +disciples; or dramatically, at the moment when Christ says, “Verily I +say unto you that one of you shall betray me,” or when His disciples, +“exceeding sorrowful,” say unto Him, “Lord, is it I?” and He replies, +“He that dippeth his hand with me in the dish, the same shall betray +me.” In this scene the usual arrangement places Christ in the middle of +a long table with John leaning against Him and the apostles, seated or +starting up in dismay, on either side. Judas sits alone on the opposite +side of the table. + +These distinctions must be borne in mind in judging of the treatment of +the various artists. + + + + +XVI.—THE FOUR LATIN FATHERS + + +“The Evangelists and Apostles represented in Art the Spiritual Church, +and took their place among the heavenly influences. The great Fathers +or Doctors were the representatives of the Church Militant on earth: as +teachers and pastors, as logicians and advocates, they wrote, argued, +contended, suffered, and at length, after a long and fierce struggle +against opposing doctrines, they fixed the articles of faith thereafter +received in Christendom. For ages, and down to the present time, the +prevailing creed has been that which was founded on the interpretations +of these venerable personages. They have become, in consequence, +frequent and important subjects of Art, particularly from the tenth +century—the period when, in their personal character, they began to be +regarded not merely as gifted and venerable, but as divinely inspired; +their writings appealed to as infallible, their arguments accepted as +demonstration” (Jameson’s _Sacred and Legendary Art_). + +=St. Jerome.= _Lat._ Sanctus Hieronymus. _Ital._ San Geronimo, or +Girolamo. _Fr._ St. Jérome, Hiérome, or Géroisme. _Ger._ Der Heilige +Hieronimus. + +As a subject of painting, St. Jerome is by far the most popular of the +four Latin doctors, not only because of the interesting character of +the man and the varied and picturesque incidents of his life, but also +as founder of Monachism in the West and as the translator of the Old +and New Testaments into Latin. + +St. Jerome was born in 342 in Dalmatia, and was the son of a nobleman +named Eusebius. While still very young he was sent to Rome to complete +his studies. He became a finished scholar and was particularly fond +of the classics. There for a time he abandoned himself to a life of +pleasure, but his nature was so strong, and his love of learning so +great, that he soon tired of dissipation and taking up the study of law +he became famous for his eloquence. + +When over thirty he travelled into Gaul and visited the schools of +learning there. About this time he was baptised and took the vows of +celibacy. + +In the year 373 he travelled to the East to visit the scenes of the +life of Christ. Here he encountered hermits and ascetics, and becoming +enamoured of the idea of a life of solitude, he retired to a desert +and there spent four years in study and seclusion, leading a life of +penance and self-denial. As further penance he studied Hebrew, which he +detested, and made his great translation of the Bible into Latin, which +has ever since been celebrated as the “Vulgate.” + +After ten years in the East he returned to Rome, his fiery enthusiasm +still unsubdued by the years of solitude and penance. He preached the +doctrine of denial and abstinence, boldly attacking the self-indulgence +of the clergy. His influence was enormous, and particularly so over +the Roman women. His most celebrated convert was Paula, a noble Roman +matron, descended from the Scipios and the Gracchi. Marcella was +another, who founded a religious community and has been called the +first nun. + +[Illustration: + + Photo. Alinari + +ST. AUGUSTINE AND ST. JEROME—CRIVELLI + +(Academy, Venice.)] + +After three years in Rome he returned to Palestine and lived and died +in a monastery he had founded at Bethlehem. Feeling the approach of +death, he caused himself to be carried to the chapel, received the +sacrament for the last time from the priest, and then expired, dying in +420 A. D. + +In the legends of St. Jerome, as he sat within the gates of the +monastery at Bethlehem, a lion entered, limping. The brothers fled +in terror; but St. Jerome met him as if he were a guest. The lion +lifted to him his paw and St. Jerome, taking it, found a thorn, which +he extracted, and the grateful lion stayed with him ever after. The +saint employed him to guard an ass, who brought them firewood from the +forest. One day some merchants stole the ass from the pasture while the +lion slept, and the latter, after looking for him in vain returned to +his master much cast down and ashamed. Jerome, believing he had eaten +the ass, compelled the lion to carry the wood. One day, having finished +his task, the lion, who was always seeking his companion, saw a caravan +of merchants passing by, with a string of camels led on a cord by an +ass: recognising his old friend, he drove all the camels into the +convent, so terrifying the merchants that they came to St. Jerome and +confessed the theft, and were pardoned. + +The lion in pictures of St. Jerome is supposed to refer to this legend, +but in reality, from earliest times, the lion was given to the saint as +a symbol of his fiery nature, and to typify his life in the wilderness. +And in later times the legend was invented to explain the symbol. + +[Illustration: + + Photo. Alinari + +ST. AMBROSE.—BERGOGNONE + +(Certosa, Pavia.)] + +Devotional pictures represent him in one of his three great +characters,—first as patron saint and Doctor of the Church. He usually +stands full length, dressed in cardinal’s robes or with a cardinal’s +hat at his feet (although there is no historical authority for making +him cardinal, as cardinal-priests were not ordained until three +centuries later). When his head is uncovered, his forehead is very high +and bald, his beard long, reaching almost to his waist, his features +fine and sharp, and his nose aquiline. In his hand he holds a book or +scroll, frequently the emblematical church. + +In his second character of translator of the Scriptures, he is usually +seated in a cave, or cell. He has a loose robe over his wasted form +and his eyes are bent on his book or writing, or he glances up as if +seeking heavenly inspiration. An angel is sometimes dictating to him. + +The penitent St. Jerome is the recognised symbol in the Christian +Church of penitence, self-denial, and humiliation. The scene is usually +a rocky solitude, St. Jerome, half-naked and almost a skeleton, with +unkempt hair and beard, is kneeling before a crucifix, beating his +breast with a stone. The lion is nearly always introduced, sometimes +crouching at his feet. + +=St. Ambrose.= _Lat._ S. Ambrosius. _Ital._ Sant’ Ambrogio. _Fr._ St. +Ambroise. _Ger._ Der Heilige Ambrosius. + +Ambrose was the son of a prefect of Gaul, and was born at Trèves in the +year 340. The story that when still an infant a swarm of bees alighted +on his mouth without injuring him is related by all his chroniclers. +This was interpreted as a sign of future eloquence,[8] and for this +reason the beehive becomes the symbol of St. Ambrose. The same story +was related of Plato and Archilochus, and with the same interpretation. + +Ambrose studied at Rome, and after that was made prefect of Æmilia and +Liguria (Piedmont and Genoa), and dwelt at Milan. About this time the +Bishop of Milan died and a fierce dispute arose between the Catholics +and Arians as to who should succeed him. Ambrose appeared, as prefect, +to quell the disorder. He spoke so wisely, with an eloquence so +persuasive, that the tumult ceased, and suddenly out of the hush that +followed his speech a voice like a child’s was heard, saying, “Ambrose +shall be bishop!” The multitude took up the cry with enthusiasm. In +vain Ambrose pleaded that he was only a catechumen. The wishes of the +people, confirmed by the approbation of the emperor, finally prevailed. + +Ambrose was baptised, and in eight days he was consecrated Bishop +of Milan. He gave all his worldly goods to the poor, studied the +Scriptures earnestly, introduced from the East the manner of chanting +the service since called the _Ambrosian Chant_, and it was he who +invested the services of the Church with that magnificence and grandeur +of form that has ever since made its ceremonies so imposing. + +St. Ambrose advocated celibacy in both sexes, and held that +ecclesiastical power was above that of sovereign or civil power. The +most celebrated example of this was his humiliation of the Emperor +Theodosius. The latter, angered by a sedition in Thessalonica, had +ordered a general massacre. For this murderous act, by which seven +thousand lives were sacrificed, Ambrose forbade him to enter the +church. At length, after eight months of interdict, during which the +emperor had stormed and pleaded, Ambrose relented, upon the emperor’s +performing public penance for his sin. The emperor, completely cowed, +submitted, and clad in sackcloth, with dust and ashes upon his head, +prostrated himself before the altar of Christ. + +There are many legends of this saint. At the consecration of the +Cathedral at Milan, the relics of St. Gervasius and St. Protasius were +miraculously revealed to him in a dream. The remains were disinterred, +conveyed in solemn procession to the cathedral, and deposited beneath +the high altar. + +He performed many cures and had many visions, and died at Milan in the +year 397. + +St. Ambrose is usually represented in bishop’s robes, with mitre and +crozier; the beehive is sometimes placed at his feet, but his more +frequent attribute is a knotted scourge with three thongs, the scourge +symbolising the castigation of sin. In the hand of St. Ambrose it may +also signify the penance inflicted on the Emperor Theodosius, or the +expulsion of the Arians from Italy and the triumph of the Trinitarians. +It has this meaning when the scourge has three knots or three thongs. +When St. Ambrose holds two human bones in his hand, this attribute +alludes to the discovery of the relics of St. Gervasius and St. +Protasius. Devotional pictures of him alone are rare. + +=St. Augustine.= St. Austin. _Lat._ Sanctus Augustinus. _Ital._ Sant’ +Agostino. _Fr._ St. Augustin. + +St. Augustine, the third of the Doctors of the Church, was born at +Tagaste, in Numidia, in 354. His father was a heathen; his mother, +Monica, a Christian. With splendid talents, his youth was passed in +every form of vice and dissipation, to the great sorrow of his mother, +who never ceased praying for his conversion. She related her grief +to the Bishop of Carthage, who after listening to her, said, “Go in +peace; the son of so many tears will not perish!” + +St. Augustine practised law for a time in Rome. Here his eloquence +soon brought him distinction and wealth, but driven by some chance, +restless, unsettled and unhappy, Augustine went to Milan, and there, +after many struggles, he was converted by St. Ambrose, and was baptised +by him in the presence of his mother, Monica. + +[Illustration: + + Photo. Alinari + +ST. AUGUSTINE AT SCHOOL.—BENOZZO GOZZOLI + +(Church of San Agostino, San Gimignano.)] + +On this occasion was composed the _Te Deum_ still used in the Church, +St. Ambrose and St. Augustine reciting the verses alternately as they +advanced to the altar. + +St. Augustine, after devoting some time to study, was ordained a priest +and afterwards became the Bishop of Hippo, near Carthage, where he +died thirty-five years later, at the time the city was besieged by the +Vandals. His writings are very celebrated. + +St. Augustine is not often represented in art alone; and when grouped +with others in devotional pictures it is often difficult to distinguish +him from other bishops, for his proper attribute, the heart flaming +or transpierced, to express the ardour of his piety or the intensity +of his repentance, is rarely introduced. When a bishop stands with a +book or a pen in his hand, accompanied by St. Jerome, St. Augustine is +probably intended. + +His most frequent symbols are: books at his feet or in his hand; +a heart flaming or transfixed by an arrow; bishop’s robes, mitre, +crozier; infant by the seashore. + +The subject most often represented in art is the _Vision of St. +Augustine_. While meditating on his “Discourse on the Trinity,” he +strolled along the seashore, and saw a little child attempting to fill +a hole in the sand with water he was bringing from the sea. Augustine +inquired what he was doing, and the child replied he was going to +empty all the waters of the sea into that hole. “That is impossible!” +exclaimed St. Augustine. “Not more impossible,” returned the child, +“than for a finite mind to contain the Infinite”—and he vanished. +The version of the child’s reply more often given, is: “Not more +impossible than for thee, O Augustine! to explain the mystery on which +thou art now meditating.” + +=St. Gregory.= _Lat._ Sanctus Gregorius Magnus. _Ital._ San Gregorio +Magno, or Papa. _Fr._ St. Grégoire. _Ger._ Der Heilige Gregor. + +St. Gregory, known as Gregory the Great, was born in Rome in the year +540, and came of a patrician family. His mother had a vision when he +was an infant that he would be pope. He was a lawyer until his father’s +death, but after coming into his inheritance he gave all that he had +to charities, converted his home on the Celian hill into a monastery +and hospital, and dedicated it to St. Andrew. He lived there in a cell +and, adopting the habit of the Benedictine Order, devoted himself to +study. When a terrible plague broke out in Rome he gave himself up to +nursing the sick. Pope Pelagius was one of the victims, and the people +desired Gregory as his successor. Gregory believed himself unworthy and +entreated the emperor not to heed the wishes of the people, but the +emperor confirmed their choice. Then Gregory fled from Rome and hid +himself in a cave. But those who sought for him were directed to him by +a celestial light, and brought him back to Rome. + +As pope he showed himself in all respects worthy. Although exalting +his high office, he himself was the most humble of men and was the +first pope to call himself the “servant of the servants of God”—_Servus +servorum Dei_. He abolished slavery throughout Christendom and was +the first to send missionaries to England, his pity being excited by +seeing some British captives for sale in the market-place. It was he +who made the belief in purgatory an article of faith. He instituted +the celibacy of the clergy, reformed the services of the Church, +and introduced the style of chanting still called Gregorian. His +charities were boundless. He died in 604, in the fourteenth year of his +pontificate, and was the last pope who was canonised. + +His bed and the little scourge with which he was wont to keep the +choristers in order are still preserved in the Church of the Lateran, +Rome. + +Next to St. Jerome he was the most popular of the Four Fathers, and +single pictures of him abound, variously treated, but generally he +bears the tiara as pope, and the crozier with double cross. His +peculiar attribute is the dove which, in the old pictures, was placed +close to the ear. Frequently he is seated on a throne wearing the +pontifical robes and tiara, one hand raised in benediction, and the +other holding a book. The dove rests on his shoulder or hovers over his +head. + +Legends of St. Gregory have furnished many picturesque themes for art. +John the deacon, his secretary, declared that he beheld the Holy Ghost, +in the form of a dove perched upon his shoulder while he was writing +his famous homilies. This vision has been represented as a reality by +the early painters. + +[Illustration: + + Photo. Alinari + +MIRACLE OF THE BRANDEUM.—ANDREA SACCHI + +(Vatican, Rome.)] + +A favourite legend is that while a monk in the monastery of St. Andrew +a beggar asked for alms, and being helped, came again and again, +receiving aid until there was nothing left but a silver porringer +which his mother Sylvia had sent to St. Gregory. This, too, he gave +to the beggar. Now it happened that it was his custom, after he became +pope, to entertain every evening at supper twelve poor men, in memory +of our Lord’s apostles. But one evening he counted thirteen; and +calling his steward to him he asked how it was, but the latter, greatly +mystified, could only count twelve. After the meal was finished, +Gregory called forth the unbidden guest and asked him who he was. And +he replied, “I am the poor man whom thou didst formerly relieve, but my +name is ‘The Wonderful’ and through me thou shalt obtain whatever thou +shalt ask of God.” Then Gregory knew that he had entertained an angel, +or according to another version our Lord Himself. This legend has been +frequently painted under the title of _The Supper of St. Gregory_. + +In the legend of the Brandeum the Empress Constantia sent to St. +Gregory desiring some of the relics of St. Peter and St. Paul. He, not +daring to disturb their sacred remains, sent her part of a consecrated +cloth (_brandeum_) which had enfolded the body of St. John the +Evangelist. The empress rejected the gift with scorn. Then Gregory, to +show that miracles are not wrought so much by things as by the faith of +believers, laid the _brandeum_ on the altar and, after praying, cut it +with a knife and blood flowed from it as from a living body. This was +called the _Miracle dei Brandei_. + +It was Pope Gregory who sent St. Augustine of Canterbury to England. + + +FOOTNOTES: + +[8] “Son pere en fut epouvanté, et dit, Si cet enfant vit, il sera +réservé à de grandes destinées” (_La Legende Dorée_). + + + + +XVII.—THE PATRON SAINTS OF CHRISTENDOM + + +All saints may be considered patron saints either of some trade +or industry, or of some especial province or city. But there is a +vast difference between those whose fame is confined to a certain +locality—as St. Januarius, who is worshipped only in Naples, St. +Corentin, who is little known out of Brittany, or St. Denis, whose name +belongs almost exclusively to France—and those other _great saints_ who +are reverenced in all the countries of the world alike. + +These are St. George, St. Sebastian, St. Christopher, SS. Cosmo and +Damian, St. Roch and St. Nicholas, and the four virgin patronesses, +St. Catherine, St. Barbara, St. Margaret, and St. Ursula. Although +without the apostolic and scriptural sanction accorded to St. Peter +of Rome, and the other great apostles, these saints have been from +earliest times the object of universal faith and worship, and invested +with a pre-eminent dignity and authority that puts them in a class by +themselves. + +=St. George of Cappadocia.= _Lat._ Sanctus Georgius. _Ital._ San +Giorgio. _Fr._ St. Georges. _Ger._ Der Heilige Georgius, or Jorg or +Georg. + +St. George was born in Cappadocia of a noble family. His parents were +Christians and he was a tribune in the Roman army. One time as he was +on his way to join his legion, he came to a city in Libya called +Selene, whose inhabitants were in terror of a fearful dragon, who lived +in a marsh outside the walls, and devoured their flocks and herds. +These being gone, the people, fearing the dragon might enter the city, +sent out daily two sheep to appease his hunger, and when they had no +more sheep left they were forced to sacrifice each day two children who +were chosen by lot, and sent forth to be devoured. + +[Illustration: + + Photo. Alinari + +ST. GEORGE.—DONATELLO + +(Bargello, Florence.)] + +The king had one daughter, Cleodolinda, who was very beautiful, and +at last the lot fell to her. So she went forth to die for the people, +weeping sadly as she walked toward the dwelling of the monster. At this +moment St. George, who was riding by, saw her and wondered why so +fair a maiden should be in tears. He asked her her sorrow and when she +told him, he said: “Fear not, for I will deliver you.” She begged him +to fly lest he, too, perish, but St. George refused, saying, “I will +save thee through the power of Jesus Christ.” Just then the dragon came +forth from his lair and rushed toward them. St. George made the sign +of the cross, and calling on the name of our Saviour, spurred toward +the monster, and after a terrible battle pinned him to earth with his +lance. Then, binding him with the girdle of the princess, he told her +to lead the conquered brute back to the city, and she did, the dragon +following after them like a dog. Seeing this, the king and the people +believed, and were baptised—twenty thousand in one day. St. George +killed the dragon and cut off his head, and the king heaped treasures +upon the knight, but he gave all to the poor, and went on his way to +Palestine. + +Seeing there the edict of Diocletian against the Christians on the +gates of the temples and in the market-place, he tore it down and +trampled it under his feet. For this he was seized, and suffered most +cruel tortures for eight days and was finally beheaded. The veneration +paid him in England dates from the time of Richard I., who in the wars +of Palestine put himself and his army under the protection of St. +George. His feast was ordered to be kept as a holiday in England in +1222, and the Order of the Garter was instituted in 1330. + +In single devotional pictures St. George is young or in the prime +of life, dressed in armour. He bears in one hand the palm and in +the other the lance, from which sometimes depends a red banner. His +expression is uplifted and triumphant, the slain dragon is at his feet. +This representation is allegorical, showing the victory of faith over +the powers of evil. _St. George and the Dragon_ becomes _historical_ +when accessories are introduced, such as the princess, or the walls of +the city and the combat still undecided. The dragon of St. George never +has the human or satanic form, as in the legend of St. Michael. + +He is particularly honoured by the Greeks, who gave him the title of +_The Great Martyr_. + +=St. Sebastian.= _Lat._ Sanctus Sebastianus. _Ital._ San Sebastiano; or +San Bastiano. _Fr._ St. Sébastien. + +St. Sebastian was born at Narbonne in Gaul, of noble parents, and when +very young was made commander of a company of the Prætorian Guards +and was thus brought near the Emperor Diocletian, with whom he was a +favourite. Secretly a Christian, his position as a soldier enabled +him to protect many who were persecuted for Christ’s sake. He had two +friends among the soldiers, who had endured torture bravely for being +Christians; but upon being led forth to die, their families implored +them to recant, and as they were moved by their supplications and +about to weaken, St. Sebastian rushed forward and urged them to die +rather than renounce our Saviour. All present were so influenced by his +eloquence, that the families of the condemned, and even the judges, +became converted and baptised, and Marcus and Marcellinus met their +death gloriously. + +[Illustration: + + Photo. Alinari + +ST. SEBASTIAN.—SODOMA + +(Uffizi, Florence.)] + +Sebastian was then denounced as a Christian, and the emperor, who +loved him, reasoned with him privately, but Sebastian was firm, and +Diocletian ordered him bound to the stake and shot to death with +arrows, and that there should be inscribed on the stake that he was +without fault except that of being a Christian. The archers pierced +him with arrows and left him for dead, but Irene, widow of a martyred +friend, coming to take his body away, found him still living and +took him home and nursed him back to health. His friends urged him +to flee from Rome, but instead he presented himself to Diocletian +and reproached him for his intolerance and cruelty, and the emperor, +enraged, had him seized and put to death with clubs. + +In pictures St. Sebastian is always young and beautiful, undraped, +bound to a tree or column, and pierced by one or many arrows. Arrows +from the most ancient times were the emblem of pestilence, so they +_symbolise_ the shafts of pestilence, and are also the _attribute_ of +the martyrdom and power of the saint, who has been considered from +the earliest days of Christianity as patron saint against plague and +pestilence—there being, according to the legends, hardly a city in +Europe that has not been saved by his intercession. + +The pathos of his story, added to his courage, and youth, and +beauty, has made St. Sebastian the favourite saint of Italian women, +particularly the women of Rome. + +=St. Christopher.= _Lat._ St. Christophorus. _Ital._ San Cristofero, or +Cristofano. _Fr._ St. Christophe, or St. Christofle. _Ger._ Der Heilige +Christoph. + +[Illustration: + + Photo. Alinari + +ST. CHRISTOPHER.—GIOVANNI BELLINI + +(Church of SS. Giovanni e Paolo, Venice.)] + +There was a giant of the land of Canaan, whose name was originally +Offero. Being very proud of his size and strength, he was determined +to serve no other than the most powerful monarch in the world. So +he travelled to the court of a king whose fame was greater than all +others, and the king gladly accepted him as his servant. Before long +Offero noticed that when the name of Satan was mentioned the king +trembled, and he asked him, “Who is this Satan at the mention of whose +name thou crossest thyself?” The king answered, “He is as wicked as he +is mighty, and I fear lest he slay me.” Then Offero knew there was one +greater than the king, and he sought and entered into the service of +Satan. + +One day as they journeyed, they came to a cross by the wayside, and +when the devil saw it he turned back and went a long distance out of +his way to avoid it. Offero questioned him as to this, and the devil +replied: “’T was on this cross that Jesus died, and He it is whom I +fear.” Offero said: “Since thou fearest Him, He is greater than thou +and Him will I serve.” So he left Satan and went in search of Christ; +and he came to a hermit who taught him concerning Jesus, and desired +him to fast and pray. Offero would not fast and knew not how to pray, +saying, “Such service is for weak ones, not for me.” So the hermit +said: “If thou wouldst use thy strength, go to a certain river that is +swollen with the rains, and whose current is so swift that many perish, +and help all who struggle with the waves. This is a service for Christ +and He may accept thee.” Offero went joyfully, and built himself a hut +by the side of the river, and rooting up a palm tree, he used it for a +staff, and aided all who wished to cross the stream. + +One night he heard a child’s voice calling him. He arose and went out, +but could find no one. Again the voice called and again he searched in +vain. The third time that he heard it, he went forth with his lantern, +and found a little child sitting by the water’s edge, who begged to +be taken over, and Offero placed him upon his shoulders, took his +staff, and began to cross the stream; but a storm arose and the current +became swift as never before, and the weight of the child grew heavier +and heavier, and Offero feared that they both would be lost, but he +struggled on bravely until, exhausted, he reached the other shore, +and putting the child safely down, he cried, “Whom have I borne! Had +it been the whole world the burden had not been heavier!” The child +replied, “Thou hast borne not only the whole world but Him who made +it, upon thy shoulder. Thou wouldst serve Christ, and behold! I have +accepted thee.” Then Offero confessed and worshipped Christ. + +From there he went to Samos, where he was taken as a Christian before +the king, who said: “Who art thou?” and Offero replied: “My name was +Offero the Bearer, but now I serve Christ, whom I have borne on my +shoulders, and am called Christ Offero, the bearer of Christ.” St. +Christopher was scourged and beheaded, and as he was about to die +he prayed that all who beheld him, believing in our Saviour, should +not suffer from fire, earthquake, or tempest. The sight of his image +is thought to give strength to the weak, and prevent all evils from +accident. The following inscription often accompanies his pictures: + + “Christophori Sancti speciem quicumque tuetur, + Illo namque die nullo languore tenetur.” + + “Whoever shall behold the image of St. Christopher + On that day shall not faint or fail.” + +In pictures St. Christopher stands above his ankles in water, his +proportions those of a giant, the Infant Christ seated on his +shoulders, usually bearing in his hand the globe, but sometimes +the cross as the Redeemer. The saint looks up at the divine Child, +supporting his steps with the staff, which is often the entire palm +tree. When he is introduced near the Madonna the water is omitted, but +he is never without this staff. + +=St. Cosmo and St. Damian.= _Lat._ SS. Cosmas et Damianus. _Ital._ SS. +Cosimo e Damiano. _Fr._ SS. Côme et Damien. + +These brothers were Arabians, and lived in Ægae in Cilicia. They +studied medicine and became the greatest and most holy of physicians, +giving their services to the poor and suffering, without fee. They even +cared for sick animals, doing everything for charity and the love of +God. In the time of Diocletian, Lycias, proconsul of Arabia, seized +them as Christians and cast them into prison. First they were thrown +into the sea, but were saved by angels; then thrown into fire, but +the fire would not burn them. Then they were bound and stoned, but +the stones recoiled and fell on those who had sent them, and finally +they were beheaded, “a punishment which no saint but St. Denis ever +survives.” + +[Illustration: + + Photo. Alinari + +AN EPISODE IN THE LIFE OF ST. COSMO AND ST. DAMIAN.—FRA ANGELICO + +(Academy, Florence.)] + +In art they are always together, wearing loose dark red robes trimmed +with fur, and usually red caps. Thus Chaucer describes a physician’s +garb: “In scarlet gown, furred well.” They have a small box of ointment +in one hand and lancet or surgical instrument in the other, sometimes a +pestle and mortar. These saints appear frequently in the old Florentine +pictures, especially of the time of Cosimo de’ Medici. + +=St. Roch.= _Lat._ Sanctus Rochus. _Ital._ San Rocco. _Fr._ St. Roch or +Roque. + +[Illustration: + +FOUR SAINTS—ST. ROCH AND ST. SEBASTIAN; (Academy, Venice.)] + +St. Roch was born in Montpellier in Languedoc of wealthy and noble +parents. His parents dying before he was twenty, he gave all that he +had to the poor and the hospitals, and spent his life in healing and +caring for the sick. He went wherever he heard that the plague had +broken out, and nursed those who were most miserable and abandoned. + +[Illustration: + + Photo. Alinari + +ST. AUGUSTINE (?); ST. BERNARDINO, OF SIENA.—CARLO CRIVELLI] + +At last in Piacenza he himself became plague-stricken, and a fearful +ulcer broke out on his thigh. The pain was so terrible that, fearing +he might cry out and disturb those in the hospital, he crawled out to +the street, and not being allowed to remain, dragged himself to the +woods to die; but his faithful little dog, who had been his companion +everywhere, trotted to the city each day, returning with a loaf of +bread for his master, and an angel from heaven dressed his wound. + +When St. Roch had recovered he returned to his old home, but no one +knew him, so wasted and haggard was he, and he was cast into prison and +remained there five years. One morning, the jailer entered and found +his cell filled with a dazzling light, and the prisoner dead. By his +side there was writing telling his name, and these words: “All those +who are stricken by the plague and who pray for aid through the merits +and intercession of Roch, the servant of God, shall be healed.” + +In art St. Roch is represented in the prime of life, dressed as a +pilgrim with the cockle-shell in his hat; wallet by his side, in one +hand a staff, while with the other he lifts his robe to show the plague +spot, or points to it. He is usually accompanied by his dog. + +St. Sebastian and St. Roch figure in numerous works of art as joint +protectors against the plague. With St. Cosmo and St. Damian, the +medical saints, the first two are patrons of the sick, and the last two +patrons of those who heal the sick. + +An old French legend relates that when St. Roch died he wished to take +his little dog in with him through the gates of heaven. But St. Peter +refused, and St. Roch entered alone, feeling very sad. As he wandered +around, heaven did not seem like heaven to him without his little dog. +No one spoke to him. The saints and prophets were all assembled around +a great white throne, and had no eyes for St. Roch. Still lonely, he +went to the wall of heaven, to see if by looking over he might not +discover his little dog. There he was! looking wistfully at the gate +wherein had passed his master. St. Roch whistled softly, his dog caught +sight of his face, and leaping over the wall, sprang into his master’s +arms. Then St. Roch was happy in heaven. + +=St. Nicholas of Myra.= _Lat._ Sanctus Nicolaus. _Ital._ San Niccolò, +or Nicola di Bari. _Ger._ Der Heilige Nicolaus or Niklas. + +Of all the saints in Christendom St. Nicholas is perhaps the most +popular and the most universally beloved. While knighthood claims St. +George, St. Nicholas belongs to the children, and to the common people. +The mariner, the labourer, the poor, and the weak all implore the aid +of St. Nicholas. + +He was born in Panthera, a city of Lycia in Asia Minor. His parents +were Christians, wealthy, and of illustrious family. It is related that +on the day he was born St. Nicholas stood up in his bath and praised +God for having brought him into the world. His parents, impressed by +the many instances of his early piety, dedicated him to God, and he +became a priest and later Bishop of Myra. In 1084 his relics were +carried to Bari, and thus he is often known as _St. Nicholas di Bari_. + +The legends of this saint are almost without number. His proper +attribute, the three balls, is supposed to refer to the three bags of +gold which he threw into the poor man’s window. A certain nobleman +with three daughters, having lost all his money, had no resource except +he sacrifice them to infamous lives. St. Nicholas, hearing this, +considered how he could help them, and one night he threw in a bag of +gold through a window which he found open, and with this the father +portioned his eldest daughter. St. Nicholas did this a second time, and +the father married off his second daughter. Greatly wishing to know +his benefactor, the father watched, and when St. Nicholas came the +third time he flung himself at his feet giving thanks, but St. Nicholas +desired him to tell no man. + +Sometimes the attribute is three children in a tub, which refers to the +legend of the wicked man who, during a famine, stole little children, +whom he killed, and served their limbs as meat for his guests. St. +Nicholas visited his house when he was bishop, and having this dish put +before him divined the awful contents. He denounced his host and going +to the tub where the bodies of the children were salted down, he made +the sign of the cross and they rose up alive and whole. + +At Nice, St. Nicholas listened to the prayers of some mariners in +danger of perishing; his spirit guided their ship and the tempest +ceased. “And when they were come to his Church, they knew him without +any man to show him to them, and yet they had never seen him” (_Golden +Legend_). + +[Illustration: + + Photo. Alinari + +ST. NICHOLAS.—TITIAN + +(Church of San Sebastiano, Venice.)] + +While the province of Myra suffered a great famine, certain ships laden +with wheat arrived at the port, and Nicholas persuaded the mariners to +give him a certain portion, promising they would bring as much to +the emperor as had been measured to them in Alexandria, and this was +indeed so. Yet by this miracle, “the holy man distributed the wheat to +every man after that he had need, in such wise that it sufficed for two +years, not only for to sell, but also to sow.” + +In art St. Nicholas is dressed as a bishop with mitre, cope, and +crozier, his robes often gorgeously embroidered. Sometimes he is +beardless, but usually has a short grey beard. The three balls are +placed on his book, or at his feet, or sometimes in his lap. Some say +they represent the loaves of bread, in allusion to his feeding the poor +during the famine, but the more popular version is the three purses or +bags of gold. Sometimes, instead of three balls, three purses are given. + +=The Four Virgin Patronesses=: ST. CATHERINE, ST. BARBARA, ST. URSULA, +AND ST. MARGARET. + +Mrs. Jameson says, “We owe to these beautiful and glorious +impersonations of feminine intellect, heroism, purity, fortitude, and +faith, some of the most excelling works of art which have been handed +down to us. Other female martyrs were merely women glorified in heaven, +for virtues exercised on earth; but _these_ were absolutely, in all +but the name, Divinities.... Their wholly ideal character, the tacit +setting aside of all human testimony with reference to their real +or unreal existence, instead of weakening their influence, invested +them with a divine glory.... These allegories (which by simplicity +and ignorance were long accepted as facts) should ever hereafter be +received but as one form of poetry ... to which the world listened in +its dreamy childhood, and which, like the ballad or the fairy tale +which kept the sleep from our eyes and our breath suspended in infancy, +have still a charm for our latest years.” + +=St. Catherine of Alexandria.= _Lat._ Santa Catharina. _Ital._ Santa +Caterina. _Fr._ Madame Saincte Catherine. _Spa._ Santa Catalina. _Ger._ +Die Heilige Katharine von Alexandrien. + +St. Catherine represents the highest type of eloquence and intellect +that is found in woman. She is an example of courage and piety; and all +wisdom and good counsel are found in her. She is the Minerva of the +pagan, to whom has been added all the virtues of the Christian martyr. + +[Illustration: + + Photo. Alinari + +ST. CATHERINE.—LUCAS CRANACH + +(Dresden Gallery.)] + +St. Catherine was the daughter of Costis (half brother to Constantine +the Great) and Sabinella, Queen of Egypt. A glory of light played +around her head from the moment she came into the world, and from +earliest childhood she was remarkable for beauty of person and of mind. +Even while very young, Plato and Socrates were her favourite studies. +She had seven learned masters, but was so marvellously endowed that +she excelled each in his branch. At fourteen her father died, but as +queen she cared not for worldly things and devoted herself to study. +The nobles, discontented, wished her to marry, but she told them her +husband must be as noble, as great, as beautiful, and as rich as she, +and the nobles knew not what to say, for they realised well that no +such man could be found. + +Now a holy hermit came to St. Catherine with a message from the Virgin +Mary, telling her that the husband she desired was her Son, and he gave +her a picture of Christ and His mother. And so filled was her soul with +love, that she forgot her books and thought only of Him. One night she +dreamed that she was brought before the King of Glory, but He turned +away His head, saying, “She is not fair nor beautiful enough for me,” +and she awoke weeping. + +Then she asked the hermit what she must do to become worthy of her +celestial bridegroom, and he instructed her in the Christian faith +and baptised her. That night as she slept, the Virgin Mary appeared +with her divine Son and a heavenly host, and the Lord smiled upon her +and plighted His troth, putting a ring on her finger, and when she +awoke the ring was still there, and henceforth she considered herself +betrothed of Christ, and thought only of heavenly things. + +At this time the tyrant Maximin came to Alexandria and persecuted all +Christians, commanding them to worship heathen gods. St. Catherine +confronted him and argued for the truth of Christianity, and so +wonderful was she, that learned philosophers and scholars were +confounded by her eloquence, and confessed themselves converted. This +so infuriated the emperor, that he had them burned at the stake, +Catherine comforting them to the end. Then she was thrown into prison +and kept without food, but angels ministered unto her, and at the end +of twelve days, the empress visited her and found her cell filled with +fragrance and light; and she and two hundred attendants were instantly +converted and baptised. + +Maximin ordered them all to be put to death, and then, sending for St. +Catherine, because he was much inflamed with her beauty, he offered +to marry her if she would give up Christ. Upon her refusal, he had +her bound between four spiked wheels, which, turning in different +directions, would tear her body in pieces. But fire fell from heaven +and consumed the wheels, and three thousand persons were killed by the +flying pieces. Then St. Catherine was cruelly scourged and beheaded, +and angels carried her body to the top of Mt. Sinai. In the eighth +century a monastery was built over her remains, which are revered to +this day. + +As patron saint, St. Catherine has several attributes: the palm as +martyr; the sword showing the manner of her death; the crown as a +sovereign princess; the book, signifying her learning; or as trampling +on the pagan tyrant: but her peculiar attribute is the wheel. When +entire it is the _emblem_ of torture, when broken it is the _historical +attribute_ showing the torture meditated, and the miracle by which she +was saved. She is pictured leaning upon it, or it is at her feet or an +angel bears it over her head. She is usually richly dressed, with all +the attributes of royalty. + +[Illustration: + + Photo. Alinari + +ST. BARBARA—LUCAS CRANACH + +(Dresden Gallery.)] + +The _Marriage of St. Catherine_ is a devotional subject and does not +appear in Italian art until the middle of the fifteenth century. + +=St. Barbara.= _Ital._ Santa Barbara. _Fr._ Sainte Barbe. + +Dioscorus, who lived in Heliopolis, was noble and very rich, and he +had a daughter Barbara whom he loved so much that, fearing her beauty +(which was very great) would cause her to be desired in marriage and +thus he would lose her, kept her shut up in a high tower away from the +eyes of men. Here she gave herself up to the study of all things which +concern the universe, and grew to believe that the gods of her fathers +must be false gods. Hearing of the famous teacher Origen, she secretly +wrote him for instruction, and he sent her one of his disciples +disguised as a physician, who converted and baptised her. Some workmen +were engaged in putting in two windows in her tower, and she commanded +that they insert a third. When her father questioned her for doing this +thing, she answered, “Know, my father, that through three windows doth +the soul receive light—the Father, the Son, and the Holy Ghost; and the +Three are One.” + +Then her father knew she was a Christian, and drew his sword to kill +her, but she fled to the top of her tower, her father pursuing; there +angels came to her assistance and bore her to a distance. A shepherd, +however, told Dioscorus where she was concealed, and he dragged her +forth by the hair, and beat her, and shut her up; but as she would not +yield, he denounced her to the proconsul, who had her scourged and +tortured. Still she would not deny her faith, and her father carried +her up on a mountain and himself cut off her head. As he was descending +the mountain, a tempest arose, and fire fell on him from heaven and +consumed him utterly. + +In devotional pictures St. Barbara carries the sword and palm as +martyr, and when she wears the crown, it is as martyr, and not as +princess. She has also a book and is often reading, to show her life of +meditation. But her peculiar attribute is the tower, usually with three +windows in reference to the legend. + +St. Barbara as protectress against thunder and lightning, firearms +and gunpowder, is invoked against sudden death, and those who implore +her aid shall not die without receiving the holy sacraments. Thus she +carries the sacramental cup and wafer, and is the only female saint +with this attribute. She is pictured as dressed magnificently, usually +with red drapery, the tower in the background, or sometimes holding a +small tower in her hand. + +=St. Ursula.= _Lat._ S. Ursula. _Ital._ Santa Orsola. _Fr._ Sainte +Ursule. + +The Cologne version of the quaint and charming legend of St. Ursula is +the one usually followed by the artists. A portion of it follows. + +There reigned in Brittany a king named Theonotus, whose wife, +Daria, was a Sicilian princess. They were both Christians, and had +one daughter, whom they called Ursula, and whom they educated with +exceeding care. She was beautiful, gifted, and accomplished in all the +ways of wisdom and knowledge, so that many desired to marry her, but +she refused them all. + +[Illustration: + + Photo. Alinari + +DETAIL FROM THE MARTYRDOM OF ST. URSULA.—V. CARPACCIO + +(Academy, Venice.)] + +Now the King of England had an only son named Conon, as celebrated for +all manly qualities, as was Ursula for her beauty, piety, and wisdom. +He became one of her suitors, and not wishing to offend so powerful +a monarch, she sent answer that she would accept him if he would do +three things: First, he must give her as companions ten virgins of +the noblest blood in his kingdom, and to each of these a thousand +attendants, and to her also a thousand maids in waiting; secondly, he +must wait for her three years, while she and her companions visited the +holy shrines of the saints; and third, that the prince and his court +shall receive baptism, “for other than a perfect Christian I cannot +wed.” + +The wise Princess Ursula felt that Prince Conon must refuse these +demands, but if he did not, then eleven thousand virgins would be +dedicated to the service of God. + +Now the ambassadors brought back such reports of her beauty and wisdom, +that the king was willing to grant anything, and the prince only too +eager to do all she asked. So he was baptised, and the king his father +wrote to all the knights of his kingdom, asking that they send the +required number of maidens, spotless, beautiful, and of noble birth, to +attend on the Princess Ursula, who was to wed his son Prince Conon. And +from all parts they came, fair and beautiful and clad in rich garments, +and when they arrived in Brittany, Ursula received them with great +gladness, praising God that so many of her sex had been redeemed from +the world’s vanities. + +“Now when Ursula had collected all her virgins together on a fresh +and fair morning in the springtime, she desired them to meet in a +meadow near the city, which meadow was of the freshest green, all over +enamelled with the brightest flowers; and she ascended a throne which +was raised in the midst, and preached to all the assembled virgins +of things concerning the glory of God, and of His Son, our Lord and +Saviour, with wonderful eloquence; and of Christian charity and of a +pure and holy life dedicated to Heaven. And all these virgins, being +moved with a holy zeal, wept, and, lifting up their hands and their +voices, promised to follow her whithersoever she should lead. And she +blessed them and comforted them; and as there were many among them who +had never received baptism, she ordered that they should be baptised in +the clear stream which flowed through that flowery meadow.” + +Then they started on their pilgrimage, some say attended by the prince, +but others that he remained to comfort her father. They embarked on +ships, the virgins steering, but by some mistake they sailed to the +north instead of the south, and were driven by the winds into the mouth +of the Rhine as far as the port of Cologne. Here it was revealed to +St. Ursula that upon her return she and her companions should suffer +martyrdom on this spot. They continued their voyage, visited many +places, and finally came to Rome. + +Now it happened that the prince, by a miracle, who had gone out in +search of his bride, arrived in Rome that same day. Being happily +reunited, he knelt with Ursula at the feet of Cyriacus, Bishop of Rome, +and “he no longer aspired to the possession of Ursula, but fixed his +hope on sharing with her the crown of martyrdom on earth, looking to a +perpetual reunion in heaven, where neither sorrow nor separation should +touch them more. + +“After this blessed company had duly performed their devotions at the +shrine of St. Peter and St. Paul the good Cyriacus would fain have +detained them longer, but Ursula showed him that it was necessary they +should depart in order to receive the crown ‘already laid up for them +in heaven.’ When the bishop heard this, he resolved to accompany her. +In vain his clergy represented that it did not become a pope of Rome +and a man of venerable years to run after a company of maidens, however +immaculate they might be. Cyriacus had been counselled by an angel of +God, and he made ready to set forth and embark with them on the river +Rhine. + +“Now it happened that there were at Rome in those days two great Roman +captains, cruel heathens, who commanded all the imperial troops in +Germania. They, being astonished at this multitude of virgins, said +one to the other, ‘Shall we suffer this? If we allow these Christian +maidens to return to Germania, they will convert the whole nation; or +if they marry husbands, then they will have so many children—no doubt +all Christians—that our empire will cease; therefore, let us take +counsel what is best to be done.’ So these wicked pagans consulted +together, and wrote letters to a certain barbarian King of the Huns, +who was then besieging Cologne, and instructed him what he should do. + +“Meantime St. Ursula and her virgins, with her husband and his faithful +knights, prepared to embark; with them went Cyriacus, and in his +train Vincenzio and Giacomo, cardinals, and Solfino, archbishop of +Ravenna, and Folatino, bishop of Lucca, and the bishop of Faenza, and +the patriarch of Grado, and many other prelates; and after a long and +perilous journey they arrived in the port of Cologne. + +“There the pagans rushed upon their unresisting victims, and one of the +first to perish was the prince, who fell pierced through by an arrow at +the feet of his beloved princess. Then they drew swords and massacred +them all so that the plain ran in rivers of blood. But the barbarians, +awed by the majestic beauty of Ursula had no power to strike her, but +carried her before their prince, who wished to marry her and make her +the greatest queen in all Germany. But St. Ursula repelled him with +scorn. Then, seized with fury and bending his bow, which he held in his +hand, he, with three arrows, transfixed her pure breast, so that she +fell dead and her spirit ascended into heaven, with all the glorious +sisterhood of martyrs whom she had led to death, and with her betrothed +husband and his companions.” + +In devotional pictures of St. Ursula she has the crown as princess; the +arrow as martyr; and the pilgrim’s staff, surmounted by a white banner +with the red cross, the Christian standard of victory. Sometimes she +has a dove, because a dove revealed her burial place to St. Cunibert. + +As patron saint she appears alone; is crowned and richly dressed with +regal ornaments and wears a green or scarlet mantle lined with ermine; +she holds in one hand a book, in the other an arrow; or sometimes the +arrow in one hand, and in the other the banner with the red cross. + +As martyr she kneels or stands, her golden hair unbound. Sometimes she +is crowned, sometimes not; her hands are clasped, her bosom transfixed +by an arrow; on the ground about her, her maidens lie dead. + +Sometimes she is painted standing, holding open with both hands her +mantle, which shelters many maidens wearing crowns. She is here the +patroness of young maidens. The date of the martyrdom of St. Ursula and +her eleven thousand virgins has been variously given as A. D. 237, 383, +or 451. The legend can be traced to the year 600. + +=St. Margaret.= _Ital._ Santa Margarita. _Fr._ Sainte Marguerite. +_Ger._ Die Heilige Margaretha. + +St. Margaret was the daughter of a pagan priest of Antioch named +Theodosius, and being a frail child, was sent to a nurse in the +country, who was a Christian and who brought her up in the faith. Here +she was seen by Olybrius, governor of Antioch, who was so enamoured of +her beauty that he ordered her to be brought to his palace and, if she +was free-born, he would marry her. St. Margaret refused his offers, +and declared herself a Christian, to the horror of her father and +relatives, who fled, leaving her in the power of the governor. Olybrius +then sought to subdue her by torments so great that even he was forced +to cover his face from the sight. + +[Illustration: + + Photo. Alinari + +ST. MARGARET.—SCHOOL OF CORREGGIO + +(Dresden Gallery.)] + +She endured all without flinching. Then she was thrust into a dungeon, +and there Satan in the form of a frightful dragon endeavoured to +terrify her into subjection; but St. Margaret held up the cross of +the Redeemer and he fled before it. A more popular version is, that +he swallowed her alive and immediately burst asunder, and she came +forth unhurt. Satan then came to her in the form of a man to tempt +her, but she overcame him, and placing her foot on his head, she made +him confess his vileness. Again she was brought before the tyrant, +and refusing to deny her faith, was again tortured. Such constancy in +one so young and beautiful induced many to be converted, so that five +thousand were baptised in one day and wished to die with her. Alarmed +at this, the governor ordered her to be beheaded forthwith. + +In art St. Margaret is usually represented trampling a dragon, her +peculiar attribute, under her feet, holding the cross in her hand. +Sometimes the dragon is bound with a cord, or his jaws are open as if +to swallow her; or he is seen rent or burst, St. Margaret standing upon +him unharmed. + +As martyr she bears the palm and crown. In some pictures she has a +garland of pearls in allusion to her name. She is always the type of +maiden innocence and the only one of the four great patronesses who is +not represented as very learned. + + + + +XVIII.—THE FOUR GREAT VIRGINS OF THE LATIN CHURCH + +ST. CECILIA, ST. AGNES, ST. AGATHA, AND ST. LUCY + + +=St. Cecilia.= _Fr._ Sainte Cécile. The name is the same in Italian, +German, and Spanish. + +St. Cecilia was of a noble Roman family, and brought up in the +Christian faith. She early took a vow of chastity, shunning the +pleasures of the world. She excelled in music and sang with such +heavenly sweetness that angels came to listen to her. She played on all +instruments, but as none sufficed to express the harmony which filled +her soul, she invented the organ and consecrated it to the service of +God. + +When about sixteen her parents desired her to marry Valerian, a young +Roman, rich and of noble birth. Cecilia accepted him, but beneath her +bridal robe she wore a coarse garment of penance and renewed her vow +of chastity; and by her eloquence persuaded her husband Valerian not +only to respect her vow, but also converted him to the true faith, and +he was baptised by the aged St. Urban who, being persecuted by the +heathen, had sought refuge in the catacombs. + +[Illustration: + + Photo. Alinari + +ST. CECILIA.—CARLO DOLCI + +(Dresden Gallery.)] + +Cecilia had told Valerian that she had a guardian angel, and upon +returning to her chamber, he heard the most enchanting music and beheld +the angel standing near her, with two crowns of roses gathered in +paradise; with these the angel crowned them as they knelt before him, +and told Valerian that whatever he asked for should be granted him. +And Valerian replied: “I have a brother named Tiburtius whom I love +as my own soul; grant that his eyes also may be opened to the truth.” +And the angel answered with a heavenly smile, “Thy request, O Valerian, +is pleasing to God, and ye shall both ascend to His presence bearing +the palm of martyrdom,” and the angel vanished. Soon after, Tiburtius +entered the chamber and perceiving the fragrance of the celestial +roses, Cecilia explained all to him and he, too, was converted, and +went straightway to St. Urban and was baptised. And all three went +about doing good. + +Soon after, they were denounced to the prefect as Christians, and +the two brothers were cast into prison. They converted their jailer +Maximus, who suffered martyrdom with them, and Cecilia buried them +together in the cemetery of Calixtus. The prefect, coveting the wealth +of St. Cecilia, commanded her to sacrifice to the gods, and when she +refused, put her to many tortures; finally ordering her to be thrown +into her own bath filled with boiling water. But she came out unharmed, +as though “she had bathed in a fresh spring.” Then he ordered her to be +beheaded, but the hand of the executioner trembled so that he inflicted +three wounds in her neck, and fled. She lived three days, praying +and distributing all she had to the poor, and died “singing with her +sweet voice praises and hymns to the last moments.” She was buried by +the side of her husband, and, according to her wish, her house was +consecrated as a church. In the ninth century it was revealed to Pope +Paschal where she lay buried, and he had her remains, also the remains +of Valerian, Tiburtius, and Maximus, deposited in her church, now St. +Cecilia in Trastevere. The little room containing her bath is now a +chapel. + +Until the beginning of the fifteenth century St. Cecilia is seldom +represented with her musical instruments. She has the palm, and the +crown of red and white roses, and occasionally an attendant angel. It +is thus sometimes difficult to distinguish her from St. Dorothea, who +has also the palm, the crown of roses, and the angel. But Dorothea +usually carries a book, while St. Cecilia when she has anything besides +the palm, carries a scroll of music. Then St. Dorothea, besides roses +on her head, frequently has them in her hand, or in a basket. The angel +with St. Dorothea carries fruit and flowers in a basket. The angel with +St. Cecilia bears a garland, or some musical instrument. + +When accompanied by musical attributes, St. Cecilia is readily +distinguished. She is richly dressed, wearing jewels, with musical +instruments near her or sometimes playing the organ. + +=St. Agnes.= _Lat._ Sancta Agnes. _Ital._ Sant’ Agnese. _Spa._ Santa +Inez. _Fr._ Sainte Agnes. + +“The blessed virgin S. Agnes was much wise and well taught, as S. +Ambrose witnesseth, and wrote her passion. She was fair of visage, but +much fairer in the christian faith, she was young of age, and aged in +wit, for in the thirteenth year of her age she lost the death that the +world giveth, and found life in Jesus Christ” (_The Golden Legend_). + +[Illustration: + + Photo. Alinari + +ST. AGNES.—SPAGNOLETTO + +(Dresden Gallery.)] + +The legend of St. Agnes is one of the oldest and most authentic in the +Christian Church, and except for the evangelists and apostles there +is no saint who is earlier depicted in art. + +St. Agnes lived in Rome, and it happened that the son of the prefect +Sempronius fell violently in love with her and desired to marry her, +but Agnes refused. He then brought her rich presents and promised her +all the delights of the world if she would consent to be his wife. But +again she rejected him, saying she was betrothed to One greater than +any earthly suitor. On hearing these words the prefect’s son fell ill +with jealousy and disappointment. + +Now the prefect loved his son, and went weeping to Agnes and to her +parents and besought them to accept him. But Agnes made to him the +same answer. Then the prefect found that she was a Christian, and +enraged against her, subjected her to the most cruel tortures, but she +remained firm. Then he ordered the soldiers to drag her to a place +of infamy and “they stripped her of her garments; and when she saw +herself thus exposed, she bent down her head in meek shame and prayed; +and immediately her hair, which was long and abundant, became like +a veil, covering her whole person from head to foot, and those who +looked upon her were seized with awe and fear as of something sacred, +and dared not lift their eyes. So they shut her up in a chamber, and +she prayed that the limbs that had been consecrated to Jesus Christ +should not be dishonoured. And suddenly she saw before her a white and +shining garment, with which she clothed herself joyfully. And the whole +place was filled with miraculous light.” Her lover entered, and as he +approached her, was struck with blindness and fell lifeless. Agnes, +melted to compassion, prayed that he might be restored to health, and +her prayer was granted. + +Then Sempronius, moved to gratitude, would have saved her, but the +people clamoured for her death as a sorceress. So fagots were heaped +up and set on fire and St. Agnes thrown in their midst, but the flames +were miraculously extinguished and she stood unharmed, while the +executioners around her were slain by the fire. She was at length put +to death by the sword, and thus, looking steadfastly up to heaven, she +yielded up her pure spirit and fell bathed in her own blood. + +Her parents carried her body to a cemetery outside the city, and +Christians assembled there day and night to pray. One day as her +parents and others were praying by her sepulchre, “St. Agnes appeared +before them all radiant of aspect; by her side was a lamb whiter than +the driven snow.” She assured them of her perfect happiness and begged +them to rejoice for her, and then vanished. Then the Christians ceased +mourning for her and felt joy and thanksgiving instead. + +Her pictures abound in every form and every school of art. As martyr +she is seated, partly veiled, holding her palm in the right hand, with +the other embracing her lamb. The lamb in later times is her invariable +attribute, as the patroness of maidens, and maidenly modesty. + +=St. Agatha.= _Ital._ Santa Agata. _Ger._ Die Heilige Agathe. _Fr._ +Sainte Agathe. + +A certain Christian maiden whose name was Agatha lived in the city +of Catania, in Sicily. The Emperor Decius, who had strangled his +predecessor Philip, reigned at that time, and sent his creatures +throughout the empire to oppress and persecute the Christians. To +Sicily he sent his emissary Quintianus, and made him king over the +whole island. + +Quintianus had not reigned long in Sicily when he heard of the great +beauty of the maiden Agatha, and sent to have her brought before him; +and tried to tempt her with presents, and flatteries; but she rejected +him with disdain. Then Quintianus sent for a courtesan named Frondisia, +who had nine daughters more wicked and abandoned than herself, and he +delivered Agatha into their hands, saying, “Subdue this damsel to my +will, and I will give ye great riches.” + +Failing in this, because Agatha’s heart was fixed as firm as a rock in +the faith of Jesus Christ, Quintianus sent for her again, and upon her +refusal to abjure Christ, he ordered her to be most cruelly tortured, +and then she was thrown into a dungeon and here St. Peter himself +ministered unto her. + +She was again brought before Quintianus, and after suffering many +further tortures, her prayers were heard, and her pure spirit ascended +to heaven. + +When represented as patron saint either alone or grouped with others, +St. Agatha bears in one hand the palm and in the other a dish or salver +on which is a human breast, in allusion to the tortures inflicted upon +her. The shears, as instrument of her martyrdom, are sometimes in her +hand or beside her. When she wears the crown it is as the bride and +martyr of Christ. + +=St. Lucy.= _Ital._ St. Lucia. _Fr._ Sainte Luce, or Lucie. + +[Illustration: + + Photo. Alinari + +SANTA LUCIA.—CARLO DOLCI + +(Uffizi, Florence.)] + +Lucia was born in Syracuse, and dwelt there in the time of the wicked +Diocletian, who sent one of his creatures, Pascasius, to be governor +of Sicily. She was a Christian and had made a secret vow of chastity, +but was betrothed at fourteen, against her will, to a pagan youth of +great wealth. Her mother, being afflicted with a grievous malady, was +induced by Lucia to go on a pilgrimage to the shrine of St. Agatha, +which accordingly they did, and while praying beside the tomb, Lucia +beheld a vision of St. Agatha, who appeared to her surrounded by +angels, and said: “Well art thou called Lucia, who art indeed a light +and mirror to the faithful,” and assured her that her prayers were +heard and her mother healed. + +Then Lucia persuaded her mother to permit her to remain unwed, and to +give her dowry to the poor. When her lover heard this, in his rage he +denounced her as a Christian. The governor ordered her to sacrifice to +the gods, but she refused, and he then commanded that she be dragged +to a place of shame, but when they tried to seize her she became +immovable, and neither men, nor oxen with ropes, nor magicians could +stir her from the spot. + +Then a great fire was kindled around her, but she prayed and it did not +harm her. Then one of the servants of Pascasius, to do him pleasure, +pierced her throat with a sword or poniard. + +The method employed by some of the early painters to express her name +Lucia, _light_, by the emblem of an eye or eyes placed near her, seems +to have occasioned the legend of the loss of her eyes, another instance +of a symbol being converted into a fact, and a story invented to +explain it. + +The later legend relates that one of her suitors protested that he +pursued her because of her beautiful eyes, and Santa Lucia, recalling +the words, “If thine eye offend thee, pluck it out,” cut out her eyes +and sent them to her lover on a dish, and the youth, full of remorse, +became a Christian and her eyes were miraculously restored to her. + +Devotional pictures of St. Lucia bearing her eyes on a dish are often +met with. As her eyes were bored out with an awl, she often carries +an awl in her hand. When she stands with her lamp, she is the type +of celestial light and wisdom, the character given to her by Dante. +Sometimes she has a sword or poniard in her neck—or a wound in her neck +from which rays of _light_ proceed, in allusion to her name. + + + + +XIX.—LEGENDS OF THE SAINTS MOST FREQUENTLY FOUND IN ART + + +=St. Stephen.= Protomartyr. _Lat._ St. Stephanus. _Ital._ San Stefano. +_Ger._ Der Heilige Stefan. _Fr._ St. Étienne. + +“And St. Stephen shone in beauty of body, in flower of age, in fair +speech of reason, wisdom of holy thought, in works of divinity.” + +Little has been added to the brief account of St. Stephen given in the +sixth and seventh chapters of the Acts of the Apostles. His name is +held in the highest honour as the first one who died for his faith in +Christ. He was made a deacon during the ministry of Peter and before +the conversion of Paul. He was accused of speaking blasphemously of the +Temple and the Jewish law, and for this was condemned to death, and +stoned by a mob outside the city gates. + +In devotional pictures, the figure of St. Stephen occurs repeatedly. He +is represented young, and of a mild and beautiful countenance wearing +the rich dress of a deacon; the dalmatica, usually crimson in colour, +and covered with embroidery. He bears the palm as protomartyr. His +_peculiar_ attribute, the stones, are in his hand or in his drapery, or +on his head and shoulders, or lying at his feet; or sometimes on the +Scriptures, signifying that he suffered for the Gospel. + +=St. Laurence.= _Lat._ S. Laurentius. _Ital._ San Lorenzo. _Fr._ St. +Laurent. _Ger._ Der Heilige Laurentius or Lorenz. + +Nothing authentic is known of the early life of this saint, who is +honoured in Rome next to St. Peter and St. Paul. He was a Spaniard +of Huesca, Aragon, and came to Rome while very young. “He walked so +meekly and so blamelessly before God,” that Sixtus II., Bishop of Rome, +made him his archdeacon, and put him in charge of the treasures of +the Church. When Sixtus was denounced as a Christian and led away to +death, Laurence wished to die with him, but the holy bishop told him +that in three days he would follow him, and that his battle would be +harder, his torments longer and more severe than his; and he bade him +distribute all the treasures of the Church to the poor, that they might +not fall into the hands of the tyrant. Thus comforted, St. Laurence +sought the poor and the sick, the naked and the hungry, and he washed +the feet of the Christians and gave them alms. “In this manner he went +from one dwelling to another, consoling the persecuted, and dispensing +alms, and performing works of charity and humility. Thus he prepared +himself for his impending martyrdom.” + +The prefect, hearing that the treasures of the Church were in his care, +demanded them, and St. Laurence brought all the poor and the sick whom +he had helped, before the prefect, and said, “Behold the treasures of +Christ’s Church!” The prefect, in fury, thinking that he mocked him, +ordered him tortured and cast into a dungeon, in charge of Hippolytus, +whom, with his whole family, he converted and who afterwards suffered +martyrdom. When the prefect found he could not subdue him, “he ordered +a torture more strange and cruel than ever entered into the heart of a +tyrant to conceive.” He had him stretched on a sort of iron bed formed +of iron bars in the manner of a gridiron, and a fire lighted beneath, +and he was roasted alive. And all wondered at a cruelty that would +“condemn to such torments a youth of such fair person, and courteous +and gentle bearing, and all for lust of gold.” In the midst of these +torments St. Laurence said to the tyrant, “Seest thou not that I am +already roasted on one side and if thou wouldst have me well cooked it +is time to turn me on the other?” + +Hippolytus buried his remains in the Via Tiburtina and Constantine +built the church known as _San Lorenzo fuori le Mura_ on the spot. The +common people of Rome gave him the title of _Il cortese Spagnolo_—“the +courteous Spaniard”—because when they opened his sarcophagus two +hundred years after his death and lowered into it the body of St. +Stephen, St. Laurence moved on one side, giving the place of honour on +the right to St. Stephen. + +St. Laurence is constantly represented in devotional pictures, and like +St. Stephen and St. Vincent he wears the rich dress of the deacon and +has the palm as martyr. He is unmistakable, when he bears his peculiar +attribute, the gridiron (_la graticola_), which varies in form. When +it is the common kitchen utensil, it is no longer an attribute, but +simply an emblem of the death he suffered. Sometimes a small gridiron +is suspended around his neck, or he holds it in his hand, or it is +embroidered on his robe. Occasionally it is omitted and he carries a +dish full of gold and silver, representing the treasures of the Church, +or he swings a censer, or carries a cross. He is always pictured young. + +=St. Vincent.= _Lat._ S. Vincentius Levita. _Ital._ San Vincenzio +Diacono, San Vincenzino. + +St. Vincent was born in Saragossa in the kingdom of Aragon. During +the persecution under Diocletian, the proconsul Dacian caused all +the Christians of Saragossa to be massacred. At this time lived St. +Vincent. He had been early taught in the Christian faith, and although +barely more than twenty, he was already a deacon. The dangers and +sufferings of the Christians only aroused his sympathy and zeal; and he +encouraged and sustained many of his brethren in the torments inflicted +upon them. When he and his aged bishop were brought before the tribunal +to answer the charge of being Christians, the latter spoke in so feeble +a voice that St. Vincent took the words from his lips, proclaiming his +faith loudly and defying his persecutors. + +Upon him, for this, were inflicted the most inhuman and barbarous +tortures that cruelty could invent. The young saint endured them +unflinchingly. His body was lacerated with iron forks, and when left +torn and bleeding angels came to comfort him. The proconsul, after St. +Vincent’s death, ordered his body to be thrown to the wild beasts, +but God sent a raven to guard his sacred remains, and when a wolf +approached to devour them the raven obliged it to retire. + +Furious at this, Dacian commanded his minions to sew up in an +ox-hide——as was done to parricides——the body of the holy martyr, and +to throw it into the sea. Placing it thus in a bark, they rowed far +out to sea, and flung it, attached to a millstone, overboard. But, to +their astonishment, upon returning immediately to land, they found that +the body of St. Vincent had preceded them and was lying on the sand. +They fled terrified, and the waves of the sea, by the command of God, +hollowed a tomb for him in the sands, where he lay protected from all +harm, hidden from all human knowledge, until after many years the spot +was miraculously revealed to certain Christians, who brought his body +to Valencia and buried it there. + +The Christians of Valencia, obliged to flee from the Moors in the +eighth century, carried with them the remains of St. Vincent. Their +vessel was driven by the winds onto a promontory, ever since called +the Cape of St. Vincent. The body of St. Vincent remained there—again +guarded by ravens—until it was removed to Lisbon by Alonzo I., about +1147. On this journey two ravens piloted the ship, one at the prow +and the other at the stern. “Thus after many wanderings the blessed +St. Vincent rested in the Cathedral of Lisbon; and the crows which +accompanied him, having multiplied greatly, rents were assigned to the +chapter for their support.” + +This renowned saint is very popular in Spain, the scene of his legend, +and has been since the sixth century one of the most venerated saints +in France. + +[Illustration: + + Photo. Alinari + +ST. ANTHONY.—PALMA VECCHIO + +(Church of S. Maria Formosa, Venice.)] + +In art, it is sometimes hard to distinguish St. Vincent from St. +Stephen and St. Laurence. He, too, is young and beautiful, wears the +deacon’s robes, and carries the palm. His peculiar attribute, however, +is a crow or raven, sometimes perched upon a millstone. Occasionally +the iron fork—instrument of his martyrdom—is introduced. In Italian +pictures he rarely has any attribute except the palm, while St. +Laurence and St. Stephen are rarely without their respective symbols, +the gridiron and the stones. + +St. Vincent is often pictured in art with St. Laurence. + +=St. Anthony=, Hermit. _Ital._ Sant’ Antonio Abbate, or l’Erémita. +_Fr._ St. Antoine l’Abbé. _Ger._ Der Heilige Anton, or Antonius. + +Anthony was born in Alexandria, Egypt. His parents died when he was +eighteen and left him a noble name, great riches, and an only sister. +He was imperfectly educated, knowing no language but his native +Egyptian, and was a constant attendant on Christian worship. He had +been of a melancholy disposition from childhood, and feared the +temptations of the world and the responsibilities of his possessions. +One day he heard the sentence, “Go, sell all thou hast, and give to +the poor ... and come and follow me.” He took this as a message from +heaven, and divided his wealth with his sister, gave his share to the +poor, and withdrew to the desert, where dwelt a company of hermits. + +Here he lived a life of such sanctity and self-denial that he was the +admiration and wonder of all; and Satan, displeased at such amazing +virtue, sent his demons to tempt him.[9] They whispered to him of all +that he had sacrificed for this weary life of perpetual rigour and +self-denial, but the saint prayed till the demon ceased. + +Then Satan had recourse to stronger weapons, and clothed his demons in +human forms: they plied him with delicious food, and hovered around +him as beautiful women trying to allure him to sin. But St. Anthony +resisted these temptations, and in anguish fled to a cave farther in +the desert, where he lived alone and fasted more rigorously than ever. + +But Satan followed him even here and now tortured him with pain, and +tried to “affright him with all the terrors that can overwhelm the soul +of man,” but in the midst of all these appalling shapes and sounds, +suddenly there shone from heaven a great light which fell upon Anthony, +and all these terrors vanished at once, and he arose unharmed and +strong to endure. And he said, looking up, “O Lord Jesus Christ, where +wert thou in those moments of anguish?” And Christ answered, “Anthony, +I was here beside thee, and rejoiced to see thee contend and overcome. +Be of good heart; for I will make thy name famous through all the +world.” + +When Anthony had lived in the desert seventy-five years, “his heart +was lifted up by the thought that no one had lived so long in solitude +and self-denial as he had done.” But in a vision a voice said to him, +that there was one holier than he, for Paul the hermit had served God +in solitude and penance for ninety years. Anthony resolved to seek +Paul, and on the third day he came to a cavern overhung with rocks, +with a palm tree, and a fountain flowing near, and there he found Paul. +And while they talked there came a raven carrying in his beak a small +loaf, which he let fall between them, and Paul blessed the goodness of +God, and said: “For sixty years, every day hath this raven brought me +half a loaf; but because thou art come, my brother, lo! the portion is +doubled, and we are fed as Elijah was fed in the wilderness.” + +Then Paul told St. Anthony that God had sent him to receive his last +breath, and to bury him; and bade him return to his dwelling for +the cloak given him by the holy Bishop Athanasius, and to wrap him +in it and to lay him in the earth. Weeping, St. Anthony went to his +monastery, took down the cloak, and returned as fast as his aged limbs +would permit, and found Paul dead in his cave. Wrapping him in the +cloak, he thought how he might bury him, for he had no strength to dig +a grave and behold, two lions came, and by their roaring expressed +their sympathy, and began to dig in the sand with their paws, and in a +short time had dug the grave in which Anthony reverently laid the body +of Paul. After this, Anthony lived fourteen years, and died aged one +hundred and five. + +Figures of St. Anthony occur frequently, and are easily recognised. He +wears the monk’s habit and cowl, usually black or brown, and in Greek +pictures the letter T, always blue, is on the left shoulder or on the +cope. Anthony and his monks bear the T from the Greek word _Theos_, +God, signifying, “These are they which follow the Lamb whithersoever he +goeth. These were redeemed from among men, and in their mouth was found +no guile, for they are without fault before the throne of God.” + +The crutch given St. Anthony indicates his age and feebleness. The bell +is given him because he had the power to exorcise evil spirits. The +devil, according to Durandus, cannot endure the sound of a consecrated +bell. The asperges—the rod for sprinkling holy water—as an instrument +of exorcism, was also given St. Anthony. The hog represents the demon +of sensuality and gluttony which St. Anthony overcame. Flames of fire +placed near him, or a city or house burning in the background, signify +his spiritual aid as patron saint against fire in this world and in +the next. He is found with one or more of these attributes alone or in +Madonna pictures. + +In historical pictures the _Temptation of St. Anthony_ is the most +common subject. + +The legend of St. Paul the hermit is interwoven with that of St. +Anthony. He is represented in devotional pictures as extremely old +and wasted; his legs and arms bare; beard and hair white and very +long; garbed only in a mat of palm leaves. When a raven is introduced, +bringing him food, it is only by his dress of plaited leaves and his +attenuated and aged appearance that St. Paul can be distinguished from +Elijah in the wilderness. He does not often appear in Madonna pictures +or grouped with other saints, but is usually alone, seated upon a rock, +in deep meditation. + +=St. Benedict.= _Ital._ San Benedetto. _Fr._ Saint Benoit. _Spa._ San +Benito. + +St. Benedict was born about 480 in Norcia, a small town in the duchy +of Spoleto. He came of noble family and was sent to Rome to study. But +even as a boy, he became disgusted with the profligacy of the times, +and this, added to the religious enthusiasm of the age, drove him into +a hermitage at fifteen. His nurse, who had been with him from infancy, +followed him, and insisted upon waiting upon him and cooking for him. +Feeling that his penance was not severe enough while thus looked after, +St. Benedict secretly fled from his nurse and took refuge in a cave in +Subiaco, a wilderness about forty miles from Rome, where he lived three +years, supplied with bread and water by a hermit named Romano. + +Here he experienced many temptations. Memories of a beautiful Roman +woman haunted his imagination, and the desire to rush from his solitude +and seek her was well nigh irresistible. But, believing that these +thoughts came from Satan to try him, he flung himself naked into a +thicket of briars and nettles, which so lacerated and stung the flesh +that the temptation vanished, never to return. + +[Illustration: + + Photo. Alinari + +ST. BENEDICT.—HANS MEMLING + +(Uffizi, Florence.)] + +His fame spread, and people came from all over and begged for his +prayers and brought their sick to be healed. He yielded to persuasion +and became head of a monastery near by, but the strictness of his life +filled the monks, who had grown lax, with dismay, and one tried to +poison him in a cup of wine. But St. Benedict blessed it as usual and +made the sign of the cross, and the cup fell broken, with its contents +spilled. He then left them and returned to his cave in Subiaco. +There crowds gathered in huts and cells, attracted by the fame of his +sanctity and miracles. At length he had built twelve monasteries, in +each of which he placed twelve disciples with a superior over them. + +Two Roman senators brought him their sons, Maurus and Placidus, to +be educated. St. Benedict devoted himself to their care and they +became his most famous disciples. (St. Maurus founded a monastery in +France, and St. Placidus was sent to Sicily, where he and his young +sister Flavia were martyred.) His community became celebrated for +brotherly love and charity, until jealousy crept in and one priest, +named Florentius, tried to blacken the name of St. Benedict. He also +tried to corrupt the monks by introducing seven young women into one +of the monasteries. He then attempted to kill St. Benedict by means of +a poisoned loaf, but Benedict suspected treachery and gave the loaf to +a tame raven, who carried it away. Then St. Benedict left Subiaco, but +had scarcely gone when a messenger came to him with word that his enemy +had been crushed to death by the falling of a gallery in his house. + +Hearing of a temple on Monte Cassino, not far from Rome, where the +people performed pagan rites to Apollo, Benedict repaired thither, and +by his preaching converted the people and persuaded them to break the +statue and throw down the altar. He built two chapels here, and higher +up on the mountain established the first monastery of the Benedictine +Order. He here gave the famous Rule that became the general law for +monks in Western Europe, and consisted of the three vows of poverty, +chastity, and obedience, to which St. Benedict added that of manual +labour for seven hours a day, and vows perpetual after a novitiate of +one year. + +His sister, St. Scholastica, followed her brother to Mt. Cassino with +a small company of pious women, and he was wont to visit her once a +year. On his last visit, refusing to listen to his sister’s pleadings +that he remain longer with her, she prayed that heaven might interfere, +and immediately there came a furious storm, which delayed his departure +several hours. St. Scholastica died two days later, and as St. Benedict +was praying in his cell, he beheld the soul of his sister ascending +to heaven in the form of a dove. This scene is often represented in +pictures for the Benedictine nuns. + +St. Benedict died March 21, 543, and it would take volumes to relate +all the miracles attributed to him. + +He is difficult to distinguish in art, because he is often represented +wearing the _white_ habit, whereas the habit of the order was _black_. +In white it is easy to confuse him with St. Bernard, St. Bruno, or St. +Romualdo, and in black, for St. Anthony, so one must look for more +characteristic attributes. + +In pictures for Benedictine churches, which depend on Mt. Cassino and +Subiaco, and in single devotional pictures, he wears the black habit +with hood: as patriarch of the Reformed Benedictines of Clairvaux, +Citeaux, Camaldoli, or Vallombrosa, the _white_ habit. Sometimes +beardless, more often long white beard. As Abbot of Mt. Cassino he +sometimes carries the staff and mitre; frequently holds an open +book. Like other saints who have resisted temptation, he carries the +asperges—the rod for sprinkling holy water—here an emblem of purity or +holiness by which he conquered. The thorn bush is an attribute, showing +the means whereby he conquered. A pitcher of wine or broken cup on a +book expresses the attempt to poison him, also the raven with loaf +of bread with serpent creeping from it. When a nun in black habit is +introduced with St. Benedict, or stands alone with a lily in her hand +and a dove at her feet or pressed to her bosom, it is St. Scholastica. +When grouped with his two disciples, Maurus and Placidus, they all wear +the black habit, or St. Benedict appears as abbot and the others as +deacons, wearing the dalmatica over the black tunic. St. Maurus holds a +book or a censer, and St. Placidus carries the palm as martyr. + +=St. Bernard of Clairvaux.= _Lat._ Sanctus Bernardus. _Ital._ San +Bernardo di Chiaravalle, Abbate. _Ger._ Der Heilige Bernhard. + +Bernard was born at Fontaines, near Dijon, in 1091. Both parents were +of noble family, and his mother, a highly gifted woman, superintended +his early education. His personal beauty was very great, but his health +was always delicate and he practised extreme self-denial from an early +age. His thirst for knowledge was amazing, and after studying at the +University of Paris, he entered the Reformed Benedictine monastery of +Citeaux. The Abbot of Citeaux saw qualities in Bernard which convinced +him that he would be the proper head of a new foundation, and in the +year 1115 he sent him forth with twelve other monks to found another +Cistercian monastery. Bernard led them to a wilderness called the +“Valley of Wormwood,” and there built the famous abbey of Clairvaux. + +[Illustration: + + Photo. Alinari + +THE MADONNA APPEARING TO ST. BERNARD.—FILIPPINO LIPPI + +(Church of the Badia, Florence.)] + +Bernard became known throughout the Christian world, and was appealed +to by feudal lords and ecclesiastics alike. He was an authority on +all subjects, and his decisions were received with perfect submission. +He was commissioned by Eugenius III. to preach a second crusade. Only +a remnant returned from the ill-starred expedition, and the people +turned on Bernard with sudden hatred. But he defended himself with such +eloquence that their rage vanished. He affirmed boldly that they had +been punished for their sins, and bade them go home and repent, which +they did. + +His bitter religious controversies with Abelard will be recalled. + +He died in his sixty-third year at Clairvaux, where he had been abbot +thirty-eight years, and was canonised twenty years later by Pope +Alexander III. No man of his age had greater renown nor fills a larger +place in the history of that age. His reputation rests on the integrity +of his character, his eloquence as a preacher, his remarkable executive +ability, and his skill as a writer. + +In devotional pictures St. Bernard is represented as a monk in the +white habit of the Cistercian Order, with shaven crown, little or no +beard, carrying a large book under his arm, or presenting books to +the Madonna, or with writing implements before him. Other attributes +are the demon—signifying heresy—fettered behind him; sometimes three +mitres on his book or at his feet signifying the three bishoprics he +refused—those of Chartres, Spires, and Milan; also the beehive as +symbol of eloquence in common with Chrysostom and Ambrose. + +[Illustration: + + Photo. Alinari + +ST. FRANCIS OF ASSISI.—SIMONE MARTINI + +(Church of S. Francesco, Assisi.)] + +_The Vision of St. Bernard_ has been charmingly rendered in art. +The subject is mystical and devotional. St. Bernard’s most celebrated +writings were devoted to the honour and glory of the Blessed Virgin +who, in consequence, regarded him with peculiar favour, and it is +related that once when he was writing his homilies he was so ill +he could hardly hold his pen, and behold! she appeared to him and +comforted and restored him by her gracious presence. + +=St. Francis of Assisi.= _Lat._ Sanctus Franciscus, Pater Seraphicus. +_Fr._ Saint François d’Assise. _Ital._ San Francesco di Assisi. + +St. Francis was the founder of the Franciscans, one of the three +Mendicant Orders of Friars. He was born in Assisi in 1182. His father, +Pietro Bernardone, was a wealthy merchant. The son was taught French, +and spoke it with such ease that his companions changed his baptismal +name of Giovanni to _Francesco_—the Frenchman—by which he was ever +afterwards known. In his youth he was remarkable for his extravagance +and excessive love of pleasure. But he was kind and generous, and +beloved by all. In a quarrel between the inhabitants of Perugia and +Assisi he was taken a prisoner, and detained for a year in the fortress +of Perugia. + +After his return home, he was ill for many months, and his thoughts +constantly turned from this world to God. Upon his recovery, he met a +beggar in filthy rags, who asked him for alms. St. Francis recognised +him as a former noble, who had commanded the expedition against +Perugia, and exchanged his own rich apparel with him who was now a +mendicant, putting on the other’s tattered garments. Going into a +church that was falling into ruin, to pray, he heard in his soul a +voice saying, “Francis, repair my church, which falleth into ruin.” +Taking these words literally, he sold merchandise of his father’s, +and brought the money to the priests of the church. This put his +father in a rage, and thinking him mad, he first locked him up in his +chamber, but as he still persisted in his ideas, he took him before +the bishop. Here Francis tore off his garments and flung them to his +father, saying, “Henceforth I recognise no father but him who is in +heaven.” The bishop, touched and weeping with admiration, took a coarse +cloak from a beggar who stood by and gave it to him. Francis received +it gladly, as the first fruit of that poverty to which he had given +himself. He was now twenty-five years old, and from this time forth he +went about preaching charity, humility, and self-abnegation, existing +only on alms. + +It was a period in the history of the world of great mental and moral +excitement. St. Francis was the living expression of an awakening +emotion in the minds and hearts of the people, and his example was +imitated with passionate enthusiasm by an immense number of followers. +He made the first condition of their joining him absolute poverty. +Hence the allusion to his marriage with the Lady Poverty. + +He went to Rome to obtain the pope’s sanction for his order, and was +at first repulsed as a visionary enthusiast. But the pope in a dream +that night beheld the walls of the Lateran tottering and about to fall, +then he saw the weight of the whole Church borne and sustained on +the shoulders of him who had approached him in the morning. Greatly +impressed by this, he sent for Francis, confirmed the rule of his +order, and gave him power to preach. Returning then to his cell called +the _Porzioncula_, Francis gathered his followers about him, gave to +his order the name of _Frati Minori_, and established his Rule with its +three vows of Poverty, Chastity, and Obedience. + +Previous to this, at mass one day he heard the text from St. Luke (ix., +3): “Take nothing for your journey, neither staves nor scrip, neither +bread, neither money, neither have two coats apiece”; and looking upon +this as an ordinance it became the rule of his life. He was already +barefoot and wretchedly clad, begging his food wherever he happened to +be. There was nothing he could do without, except his leathern girdle. +This he threw away, substituting one of hempen cord, which was adopted +by his followers. These have thence been called the _Cordeliers_. + +St. Francis’s life was one of continual prayer and self-inflicted +penance. So gentle and tender and compassionate was he that “when he +found worms or insects in his road he was careful not to tread upon +them.” He loved all animals and was accustomed to call all living +things his brothers and sisters. He interpreted literally the text “Go +ye into all the world, and preach the gospel to every creature,” and +Giotto has painted St. Francis preaching to the birds. + +[Illustration: + + Photo. Alinari + +ST. CLARA.—SIMONE MARTINI + +(Church of S. Francesco, Assisi.)] + +We are told that he suffered from sickness, pain, and weakness and wept +so much that he nearly became blind. It is also related that, having +fasted in his cell on Mt. Alverna for forty days, passing the time in +prayer and ecstatic contemplation, he beheld in a vision a seraph +with six shining wings, and between his wings he bore the form of a man +crucified. When the vision disappeared and he awoke, St. Francis found +that he had received the _stigmata_, and ever after it was seen that he +carried in his hands, his feet, and his side the wounds of our Saviour. +He died in 1226 and was canonised by Pope Gregory IX. in 1228. + +St. Francis is more frequently represented in art than any other saint, +and is nearly always unmistakable. He may be distinguished by his +habit, which is grey or dark brown, girded by a hempen cord. He bears +the stigmata in his hands and feet and is often portrayed in the act +of opening his tunic to display the wound in his side. The stigmata +distinguishes him from all other saints wearing the same habit. +Sometimes he has the crucifix and the skull. The lamb and the lily are +also given him as symbols of meekness and purity. When St. Francis and +St. Dominick are pictured together the crucifix is given to the former +and the lily to St. Dominick. + +=St. Clara.= _Ital._ Santa Chiara. _Fr._ Sainte Claire. + +St. Clara was born in Assisi of noble parents, who desired her to +marry; but, inspired by the example of St. Francis, she fled to him +for counsel, and he advised her to renounce the world. She took refuge +in the convent of San Paolo, whither her kinsmen pursued her, and in +vain tried to drag her away. Soon after, her younger sister, Agnes, and +other ladies of high rank joined her, and finally her mother, and thus +was formed the Order of “Poor Clares,” Franciscan nuns, who followed +the Rule of St. Francis, in all its austerity. A lifelong friendship +existed between St. Clara and St. Francis, and he invariably turned to +her for consolation in those periods of despondency which afflicted his +soul. + +[Illustration: + + Photo. Alinari + +ST. ANTHONY OF PADUA.—SCHOOL OF GIOTTO + +(Basilica of S. Antonio, Padua.)] + +At one time, when the Saracens attacked the convent of San Damiano, and +the nuns were filled with terror and despair, St. Clara, who had been +bed-ridden, arose, took from the altar the pyx containing the Host, +placed it on the threshold, and kneeling began to sing, “Thou hast +rebuked the heathen,” etc., whereupon the barbarians, panic-stricken, +fled. The fame of this miracle spread, so that people came from far and +wide to obtain the prayers and intercession of Clara. The pope himself +visited her, and solemnly confirmed the Rule of her order. At the age +of sixty, she expired in a kind of trance in which she heard angels’ +voices calling her. She was canonised in 1256. + +When she carries the palm it is not as martyr, but is the palm of +victory over suffering. She bears the lily, and is distinguished from +other saints with the same emblem by her grey habit and the cord of St. +Francis. In devotional pictures she is young and beautiful. She wears +the habit of her order—the grey tunic, the knotted girdle, and the +black veil. Her peculiar attribute is the pyx, containing the Host, in +allusion to the miraculous deliverance from the Saracens. + +=St. Anthony of Padua.= _Lat._ Sanctus Antonius Thaumaturgus. _Spa._ +San Antonio de Padua. _Ital._ Sant’ Antonio di Padova, Il Santo. + +St. Anthony was completely imbued with the spirit of St. Francis, and +his popularity in religious art is nearly as great. He was a Portuguese +by birth, and having entered the Franciscan Order, went to Morocco as +a missionary, but became very ill there, and was obliged to return to +Europe. Contrary winds drove him to the coast of Italy, and he came to +Assisi when St. Francis was holding the first General Chapter of his +Order. + +St. Anthony’s learning and ability made him of great value to St. +Francis as a coadjutor, and for some time he taught divinity in the +universities of Paris, Toulouse, Bologna, and Padua, but finally gave +up teaching altogether to become a preacher to the people. Owing to his +persuasive eloquence and skill in argument, crowds came to hear him +wherever he went, and his followers have ascribed many miracles to him, +before and after his death. He died in his thirty-sixth year, and the +next year was canonised by Pope Gregory IX., and the magnificent church +at Padua was begun in his honour. + +In art he is a young man with a mild, melancholy countenance, without +beard, and wearing the habit and cord of St. Francis. His usual +attributes are the lily and the crucifix—the lily sometimes twined +around the crucifix. In pictures of the Siena school he holds in his +hand a flame of fire, symbol of his ardent piety. He is often pictured +as caressing the Infant Christ, who is seen standing on his book, or +he holds Him in his arms. It is related that at one time as he was +explaining to his hearers the mystery of the Incarnation the form of +the Infant Christ descended and stood upon his book. This is called the +“Vision of St. Anthony of Padua,” and is often represented in art. + +The legend of the mule is one of the most popular miracles of St. +Anthony and is a frequent subject for pictures painted for the +Franciscan churches. Bovadilla, a heretic, doubting the real presence +in the sacrament, demanded of St. Anthony a miracle in proof of this +favourite dogma of the Church. St. Anthony saw Bovadilla’s mule, and +commanded it to fall on its knees as he carried the Host in procession. +The mule obeyed instantly, and in spite of its master’s efforts to +tempt it aside by a sieve full of oats, remained kneeling until the +Sacred Host had passed. + +=St. Bonaventura=, called the _Seraphic Doctor_, is regarded as one +of the greatest lights of the Roman Catholic Church. He was born in +Tuscany, and was so ill when an infant that his life was despaired +of. His mother took him to St. Francis and begged him to intercede +with his prayers for the life of her child. When St. Francis saw him +he exclaimed, _O buona ventura!_ and the mother, in gratitude for his +recovery, dedicated him to God by the name of Bonaventura. + +He entered the Franciscan Order and completed his theological studies +in Paris. There he was greatly honoured by Louis IX. (Saint Louis) and +in a few years became known as one of the greatest writers and teachers +in the Church. He faithfully practised all the precepts of his order +and his humility was such that he hardly dared present himself to +receive the sacrament, feeling himself unworthy; so, in the legends, +angels are represented bringing it to him. + +[Illustration: + + Photo. Alinari + +ST. BONAVENTURA.—A. BRONZINO + +(Academy, Florence.)] + +In 1256 he was made General of the Franciscan Order and restored the +harmony which had previously been threatened by factional dissensions. +He declined the archbishopric of York, but later Gregory X. made +him Cardinal and Bishop of Albano. When the two nuncios of the pope +brought him the cardinal’s hat they found him in the garden of a little +Franciscan convent near Florence, washing the plate from which he had +just dined. He told them to hang the hat on the bough of a tree until +he could take it in his hands. Hence in pictures of this saint the +cardinal’s hat is often seen hanging on a branch of a tree. He died at +the age of fifty-three and was buried in the Franciscan Church at +Lyons, and was canonised by Sixtus IV. in 1462. During the wars of the +League, the Huguenots broke into his shrine and threw his ashes into +the river Saône. + +According to a Spanish legend, having left his _Life of St. Francis_ +unfinished when he died, he returned to earth for three days and +completed it. + +In devotional pictures, sometimes he wears the cope over the grey habit +of his order, with the mitre on his head, as Bishop of Albano, and the +cardinal’s hat at his feet, or on the branch of a tree. Sometimes he +wears only the Franciscan habit, and carries the sacramental cup in +his hand, or it is borne by an angel. Occasionally he is attired in +the crimson robes and hat of a cardinal, with a book in his hand, the +symbol of his great learning. + +=St. Louis of France.= _Lat._ Sanctus Ludovicus Rex. _Ital._ San Luigi, +Rè di Francia. + +Louis IX. was born at Poissy in 1215. He was the son of Louis VIII. and +Blanche of Castile—the Louis and Blanche who figure in Shakespeare’s +_King John_. Gibbon says of St. Louis that he united the virtues of a +king, a hero, and a man. Voltaire said of him, _Il n’est guère donné +a l’homme de pousser la vertu plus loin._ He had the most intense +veneration for relics, and when Baldwin II. approached him for aid, +he at once granted him “succors in men and money” in exchange for the +“holy crown of thorns.” Louis, barefoot and bareheaded, brought this +precious relic himself from Sens to Paris; and having obtained also a +small piece of the true cross, he built for these treasures the chapel +since called _La Sainte Chapelle_ (Paris). + +In 1247, after a dangerous illness, he sent for the Archbishop of Paris +and asked for the cross of a crusader, and, in spite of the grief and +remonstrances of friends, as soon as his health permitted he sailed +for Egypt with an army of fifty thousand men, including the flower of +the French nobility. Most of his followers perished, and Louis was +taken prisoner. His belief in the goodness of his cause never wavered, +however. When ransomed he spent three years in Palestine, and then +returned to France, where he reigned sixteen years and then, never +having laid aside the cross, he started on a second crusade, landing +in Africa. His troops, affected by the climate, perished miserably; +and Louis died in his tent, lying upon ashes, and wearing the garb of +a penitent. He was canonised by Boniface VIII. in 1297, twenty-seven +years after his death. Part of his body was carried by Charles of Anjou +to Palermo, and placed in the church of Monreale; the rest was placed +in a shrine at St. Denis, which was destroyed in the first French +revolution. + +Pictures of St. Louis are found in Franciscan churches, the Franciscans +claiming that he put on the habit of the “Third Order of Penitence” +before starting on his first crusade, and that he died in the habit and +cord of St. Francis. + +The proper attribute of St. Louis is the crown of thorns, which he +holds in one hand, his sword in the other, and the royal crown and +sceptre at his feet. When painted in the grey habit and cord of the +Franciscans, he wears the crown of royalty. + +=St. Louis of Toulouse.= _Ital._ San Ludovico Vescovo. + +Louis of Anjou was the nephew of St. Louis, King of France, and son of +Charles of Anjou, King of Naples and Sicily. When Louis was fourteen, +his father was taken prisoner by the King of Aragon, and was obliged +to deliver up his three sons as hostages. Louis spent several years in +captivity, and the hardships he endured broke his gentle spirit, and, +on regaining his freedom in 1294, he resigned all his rights to the +kingdom of Naples to his brother Robert, and entered the Order of St. +Francis. Soon afterwards he was made Bishop of Toulouse and set out for +his new office barefooted, and dressed as a friar. Although his life +there was short, he endeared himself to his people by his gentleness +and charity. Two years later he died, in his twenty-fourth year, in +his father’s castle in Provence, where he had gone on a charitable +mission. He was canonised in 1317 by Pope John XXII., and his remains +are enshrined at Valencia. + +In art he is represented as young, beardless, and of gentle face, +wearing the episcopal robes over the Franciscan habit. The fleur-de-lys +is embroidered on his cope, or on some part of his dress. The crown he +resigned is at his feet. He wears the mitre as bishop, or carries it in +his hand, or it is borne by an angel. + +=St. Bernardino of Siena.= This saint was born of a noble Sienese +family, and from his youth upward was distinguished for his personal +beauty and grace, united to such intelligence and purity of character, +that his presence alone sufficed to restrain and hush the most vulgar +of tongue. At seventeen, he entered a confraternity that cared for the +poor and the sick, and when a pestilence broke out in Siena, he and +twelve other young men took entire charge of the plague hospital for +four months. He escaped the contagion, but his health was never strong +afterwards. + +He entered the Franciscan Order at twenty-three, and became one of +their most celebrated preachers. His influence for good was unbounded, +and his hearers, even the hardest sinners, were melted to tears. +Thieves made restitution; gamblers threw away their cards; enemies +became reconciled, and women cast their jewels at his feet. Wherever +he went he preached peace, and when preaching he held in his hand a +tablet on which was the name of Jesus in a circle of golden rays.[10] A +manufacturer of cards and dice complained to Bernardino that since his +preaching his business had been ruined. The saint advised him to make +these tablets instead, and sell them to the people; which he did, and +the desire for them became so general that he realised a fortune. St. +Bernardino is said to have founded the _Monte-di-Pietà_, for lending +money on small pledges to the very poor. These institutions are still +called in France _Monts-de-Piété_. He was founder of a reformed Order +of Franciscans, called in Italy _Osservanti_ because they _observed_ +the Rule of St. Francis, went barefoot, and professed absolute poverty. +He refused three bishoprics, and died at Aquila in the Abruzzi, where +his remains are enshrined in the church of San Francesco. He was +canonised by Pope Nicholas V. in 1450, and is venerated throughout all +of Italy. + +In devotional figures his peculiar attribute is the tablet, with I. H. +S. encircled with rays, which he holds in his hand. Another attribute +is the _Monte-di-Pietà_, a little green hill of three mounds, and +on the top a cross or standard, on which is the figure of the dead +Saviour—usually called in Italy a _Pietà_. Sometimes three mitres, in +allusion to the three bishoprics, he refused. + +=St. Dominick.= _Lat._ Sanctus Dominicus. _Ital._ San Domenico. _Spa._ +San Domingo. _Fr._ Saint Dominique. + +This saint was the founder of the Order of Dominicans or Preaching +Friars, and was a Castilian of an illustrious family. Before he was +born his mother dreamed that she had given birth to a black and white +dog holding a lighted torch in its mouth. At his baptism a star +descended from heaven and settled on his brow. These were interpreted +as signs that he would be a light to the world and he early showed his +ascetic and saintly nature. + +He studied theology at Valencia and became a canon of St. Augustine +while still very young. When about thirty, he went to France on a +political mission with the Bishop of Osma, and passed through the land +of the Albigenses. Their heresies were so shocking to Dominick that he +felt that his vocation lay in forming an order of preachers for the +conversion of heretics. He went to Rome in 1207 and obtained permission +from the pope to preach in the Vaudois to the Albigenses. Here miracles +aided him. A writing of Dominick’s, defending the Catholic faith, +thrice cast into the fire, is said to have thrice leaped out uninjured, +while a writing of the heretics was instantly consumed. This converted +many. + +[Illustration: + + Photo. Alinari + +ST. DOMINICK. DETAIL FROM THE CRUCIFIXION.—FRA ANGELICO + +(San Marco, Florence.)] + +A fierce religious war broke out about this time against the +Albigenses. How far Dominick took part in this is hotly disputed. For +several centuries public opinion considered him the founder of the +Inquisition, and it was believed that he directed the persecutions from +the beginning. His defenders, however, assert that he was filled with +horror at the barbarities committed in the name of Christ. St. Dominick +instituted the rosary, which was received with enthusiasm and made +more converts than all his orthodoxy. He founded many convents in the +principal cities of Europe, preaching wherever he went. Bologna became +the chief Dominican centre, and here St. Dominick died in 1221, worn +out by his labours. He was canonised in 1233 by Gregory IX. + +The devotional figures of St. Dominick represent him in his habit—the +white tunic, white scapulary, and long black cloak with a hood. In +one hand a book, in the other a lily. A star is on his forehead, or +just above his head. The dog with a flaming torch in its mouth is his +peculiar attribute, but in pictures is often omitted. + +=St. Peter Martyr.= St. Peter the Dominican. _Fr._ Saint Pierre le +Dominican, Martyr. _Ital._ San Pietro or San Pier Martire. + +He was born at Verona in 1205. His parents belonged to the heretical +sect of the _Cathari_, but sent Peter to a Catholic school, and +St. Dominick persuaded him to take the Dominican habit at the age +of fifteen. He became an eminent preacher and was noted for his +intolerance and cruelty to the heretics with whom he had formerly been +associated. Pope Honorius III. made him Inquisitor General. He was +not loved in his lifetime even by his own brotherhood, and his harsh +persecutions made him universally detested. Finally two noblemen, who +had suffered at his hands, hired assassins to waylay him in a wood +through which he and a lay brother must pass on their way from Como to +Milan. Peter was struck down by a blow from an axe. Then the ruffians +pursued his attendant, and stabbed him. Returning, they found that +Peter had risen to his knees and was reciting the Apostles’ Creed; or, +as others say, was writing it on the ground with his blood. He had just +finished the word _Credo_ when they rushed on him, and pierced him +through with a sword. He was canonised in 1253 and is one of the most +popular saints in Italy. + +[Illustration: + + Photo. Alinari + +ST. PETER MARTYR.—FRA ANGELICO + +(San Marco, Florence.)] + +In devotional art, he wears the Dominican habit, carries the crucifix +as preacher, and the palm as martyr, which, if not in his hand, is at +his feet. His peculiar attribute is the gash in his head, with blood +trickling from it, or the axe or sabre stuck into his head. + +=St. Thomas Aquinas.= _Ital._ San Tomaso di Aquino, Dottore Angelico. + +St. Thomas Aquinas, called the “Angelic Doctor,” ranks with the +Four Great Doctors of the Western Church. He was born at Belcastro +in 1226. He was of noble lineage, his father being Count of Aquino, +and connected both by descent and marriage with several of the royal +families of Europe. Thomas was sent to the Benedictines at Mt. Cassino, +where he showed himself so precocious that when ten years of age his +masters declared they could teach him no more. The splendour of his +father’s home filled him with humility, rather than pride. He was +gentle, thoughtful, and silent, and from childhood was remarkable for +the sweetness of his temper. + +After a few years, he was sent to the new University of Naples, where +he was noted for his devotion to study and the singular purity of his +life. At seventeen he received the habit of the Dominican Order. His +relatives were violently opposed to this, and seized and imprisoned +him in a tower of his father’s castle, allowing no one to see him but +his two sisters. After many months, aided by one of his sisters, whom +he had converted, he made his escape and returned to the convent, +where he took his final vows. The modesty with which he concealed his +profound learning gave him the nickname of _Bos_, the ox. Later he +studied in Cologne and his master exclaimed one day, when his brilliant +answers had astonished them all, “This dumb ox shall give such a bellow +in learning as all the world shall hear.” His reputation steadily +increased until he was acknowledged the greatest theological writer and +teacher of his age. His works are still held as authority and of great +value. He died in his fiftieth year and was canonised in 1323. + +[Illustration: + + Photo. Alinari + +ST. THOMAS AQUINAS.—FRA ANGELICO + +(San Marco, Florence.)] + +He is represented in the Dominican habit, often writing, with the +dove, emblem of inspiration, hovering about him. His attributes are a +book, or books; the pen, or ink-horn; the sacramental cup, on account +of his having composed the Office of the Sacrament, still in use; on +his breast a sun, and sometimes a human eye within it to express his +far-seeing wisdom. + +=St. Catherine of Siena.= _Lat._ Sancta Catherina Senese. _Ital._ Santa +Caterina di Siena. + +Volumes have been filled in chronicling the deeds and visions of this +remarkable saint, known at Siena as “la Santa.” She was born in Siena +in 1347. Her father, Giovanni Benincasa, was a dyer by trade. Catherine +was the youngest and most beloved of all the children and was fair and +gay and graceful, but (unlike other children), visionary, solitary, and +strange. She had heard of Catherine of Alexandria and prayed that she +also might become the bride of Christ, and at eight years of age she +took secret vows of perpetual chastity. + +[Illustration: + + Photo. Alinari + +ST. CATHERINE OF SIENA.—VANNI + +(Church of San Domenico, Siena.)] + +As she grew up her vigils and penances and love of solitude seemed +nonsensical to her parents, who desired her to marry. Angered by her +refusal, they treated her harshly, putting all sorts of menial duties +upon her, until her father, entering her chamber one day, found her +kneeling in prayer, and resting on her head was a snow-white dove. He +now saw that she was protected by the Holy Spirit, and believing in +her vocation he allowed her to go her own way. She was received in the +convent of St. Dominick as a penitent of the Third Order, but never +became a professed nun. She vowed herself to silence for three years, +practised all sorts of self-denials, going to the convent church every +day, where she had wonderful visions. Her charity to the poor was +boundless. She nursed the sick, no matter how repulsive the disease, +and converted by her eloquence so many wicked persons and unbelievers +that her fame spread through all of Italy. + +When the Florentines were excommunicated by Pope Gregory VI. they +chose Catherine of Siena for their ambassador and mediator. She went +to Avignon, where the pope then resided, and displayed such discretion +and wisdom that the pope left it to her to decide the terms of peace. +It was by her influence and persuasions that the pope was induced +to return to Rome, and once more make the seat of government in the +Lateran. After the death of Gregory, in the Great Schism that followed, +she took the part of Urban VI., who appointed her his ambassador to +the court of Joanna II. of Naples. But in the midst of this her health +failed, and she died at thirty-three, worn out with fasting, labour, +and suffering. + +It is related that while praying before a crucifix at Pisa she fell +into a trance and received the stigmata, which miracle she tried to +conceal, but it was known by many. Others assert it was not impressed +visibly on her body, but on her soul. + +She would often pray for a new heart, and once, it is related, our +Saviour appeared to her in a vision, took her heart from her bosom and +replaced it with His own, and there remained a wound or scar on her +left side from that time. Her letters and writings are principally upon +devotional subjects, written in very pure Italian. + +In art St. Catherine is distinguished by the Dominican habit and the +stigmata. She usually bears the lily. A book in her hand alludes to her +writings. + + +FOOTNOTES: + +[9] “Dæmonology in all its multiplied forms was now an established part +of the Christian creed.” Milman’s _History of Christianity_, vol. iii., +p. 299. + +[10] See Appendix. + + + + +XX.—THE MONASTIC ORDERS + + +Mrs. Jameson says: “There is a Latin distich which well expressed the +different localities and sites affected by the chief Monastic Orders: + + Bernardus valles, colles Benedictus, amabat, + Oppida Franciscus, magnas Ignatius urbes; + + (Bernard loved valleys, Benedict the hills, + Francis, towns; Ignatius, great cities); + +and we shall find almost uniformly the chief foundations of the +Benedictines on hills or mountains, those of the Cistercians in fertile +valleys by running streams, those of the Franciscans in provincial +towns, and those of the Jesuits in capital cities” (_Legends of the +Monastic Orders_). + +The =Benedictines=, founded by St. Benedict and distinguished by a +habit entirely black. This order embraces the following branches of +reformed Benedictines: + +The _Camaldolesi_, founded by St. Romualdo; habit, black. + +The _Vallombrosans_, founded by St. John Gualberto; habit, pale ash +colour, or light grey. + +The _Carthusians_, founded by St. Bruno; habit, white, sandalled feet, +and shaven heads. + +The _Cistercians_, white habit, a long loose robe with very wide +sleeves, and a hood or cowl. + +[Illustration: + + Photo. Alinari + +A VALLOMBROSAN MONK.—PERUGINO + +(Academy, Florence.)] + +The _Olivetani_, founded by St. Bernard dei Tolomei; habit, white. + +The _Oratorians_, founded by St. Philip Neri; habit, black. + +The word Abbey (_Ital._ Badia, Abbazia, _Fr._ Abbaye) belongs +especially to the foundations of this order. + +In pictures painted for the Benedictine Orders, the saints most +frequently represented are St. Benedict and his sister St. Scholastica, +and his disciples St. Maurus, St. Placidus, and St. Flavia, who all +wear the black habit; except, when St. Benedict appears as patriarch of +any of the Reformed orders which adopted the white habit, he then wears +white. The black habit is also given to: + + St. Boniface, the Apostle of Germany. + St. Bennet, Bishop of Durham. + St. Benedict of Anian. + St. Bavon of Ghent. + St. Ildefonso of Toledo. + St. Giles of Languedoc. + St. Dunstan of Canterbury. + St. Walpurgis of Eichstadt. + +St. Bernard is prominent in all the Cistercian abbeys and churches. +St. John Gualberto figures principally in Florentine art, or pictures +painted for the Vallombrosans. + +The =Augustines= claim St. Augustine, one of the Four Latin Fathers, as +their founder, and wear the black habit. This order embraces: + +The _Premonstratensians_, founded by St. Norbert; habit, brown or +black, with a white cloak. + +The _Servi_, founded by St. Philip Benozzi; habit, black. + +The _Trinitarians_,[11] founded by St. John de Matha; habit, white with +a blue and red cross on the breast. + +The _Brigittines_, founded by St. Bridget of Sweden; habit, black. + +The _Order of Mercy_, founded by St. Peter Nolasco; habit, white, and +the badge of the arms of the King of Aragon on the breast. + +In the churches of the Augustines, one finds St. Augustine and his +mother Monica; St. Joseph, the husband of the Virgin Mary, whom the +Augustines reverence as their patriarch and patron saint; Joachim and +Anna; the apostles and saints of the earliest ages, and the hermits St. +Anthony and St. Paul; but next to St. Augustine their great saint is +St. Nicholas of Tolentino. + +The =Mendicant Orders=: the =Franciscans=, the =Dominicans=, the +=Carmelites=. These monks were not called _Padri_, fathers, but +_Frati_, brothers of men, and so great was the humility of St. Francis +that he called his community _Frati Minori_, lesser brothers. + +The =Franciscan Order=, founded by St. Francis of Assisi; the habit, +originally grey, was changed after the first two centuries to a dark +brown. The knotted cord around the waist was used symbolically by +St. Francis to represent the halter or bridle of a subdued beast, or +the body in subjection to the spirit. The reformed branches of the +Franciscans are: + +The _Capuchins_, habit dark brown with a long, pointed hood. + +The _Poor Clares_, Franciscan nuns, founded by St. Clara; grey or brown +habit and cord, and black veil. + +The _Observants_, founded by St. Bernardino of Siena; grey habit and +cord. + +The _Cordeliers_, brown habit. + +The _Minimes_, founded by St. Francis de Paula; brown habit, short +scapulary with rounded ends, and the cord of St. Francis. + +In pictures painted for any of the Franciscan churches or convents are +found, singly or in groups, their eight great saints, called in Italian +_I Cardini dell’Ordine Serafico_,” “The Chiefs of the Seraphic Order.” + +_St. Francis, Padre Serafico_, patriarch and founder. + +_St. Clara, Madre Serafica._ + +_St. Bonaventura, il Dottore Serafico_, the great prelate of the order. + +_St. Anthony of Padua_, second only to St. Francis as a worker of +miracles. + +_St. Bernardino of Siena_, their great reformer and preacher, and the +three royal saints, _St. Louis of France_; _St. Louis of Toulouse_; and +_St. Elizabeth of Hungary_ (wearing her crown, and with her lap full of +roses). + +The =Dominican Order=: founded by St. Dominick; distinguished by a +white habit under a long black cloak with a hood. The Dominicans are +always shod. The Franciscans are generally barefoot or wear a wooden +sandal. + +The four celebrated saints who figure in Dominican pictures are: + +_St. Dominick_, founder and patriarch. + +_St. Peter Martyr_, distinguished by the wound in his head. + +_St. Thomas Aquinas_, who represents the learning of the order. + +_St. Catherine of Siena_, the great female saint of the Dominican Order. + +The =Carmelites= claim the prophet Elijah as patriarch and founder, +with the Virgin Mary as protectress. They were first formed into an +order by St. Albert of Vercelli. The habit is a dark brown, with a long +scapulary and a white mantle. The reformed branch, the _Scalzi_, or +barefooted Carmelites, was founded by St. Theresa. + +The =Jeronymites= claim St. Jerome as founder. + +The =Jesuits=, founded by St. Ignatius Loyola; habit, a straight black +cassock and square black cap. + +The =Order of the Visitation of St. Mary= was founded by St. Francis de +Sales and Ste. Jeanne Françoise de Chantal (grandmother of Madame de +Sévigné). + + +FOOTNOTES: + +[11] See Appendix. + + + + +APPENDIX + + +=Angels.= The Jewish belief in good and bad angels was probably +borrowed from Zoroastrianism during their exile. St. Paul speaks of +Thrones, or Dominions, or Principalities, or Powers (Col. i., 16), +and from this and a few other scriptural texts the imagination of the +early theologians arranged the angelic host into nine choirs—or three +hierarchies of three choirs each. To each of these were given fanciful +and mystical powers. The first hierarchy are the Councillors; to this +belong the Seraphim, Cherubim, and Thrones. The Seraphim—love—stand +nearest the throne of God, next come the Cherubim—knowledge,—and then +the Thrones who support the seat of the Most High. These receive their +glory direct from God and transmit it to the second who in turn shed +the radiance of divine light upon the third and lowest hierarchy. + +The second hierarchy are governors, who reign over and control the +stars and the elements. + +The third are the only ones that have concern with the earth. They are +the messengers of God, and the protectors and guardians of the children +of men. + +A fourth century Byzantine manual gives the following directions to +painters according to the order laid down by Dionysius the Areopagite: + + { =Seraphim.= } Six wings covered with eyes. + { } + { =Cherubim.= } Head only, two wings. + 1st { } + { =Thrones.= } Fiery wheels surrounded by wings + { } filled with eyes. The whole + { } symbolising a royal throne. + + { =Dominations.= } These wear albs to feet, golden + { =Virtues.= } girdles, and green stoles. Hold + 2d { =Powers.= } a golden staff in right hand and + { } seal of God in left. + + { =Principalities.= } In soldier’s garb, golden girdles, + 3d { =Archangels.= } and holding lance-headed javelins + { =Angels.= } in their hands. + +The early artists followed the description of the Seraphim given in +Isa. vi., 2: “Each one had six wings; with twain he covered his face, +and with twain he covered his feet, and with twain he did fly.” + +In very old pictures and illuminated manuscripts, the hierarchies of +angels are represented by circles. The innermost circles, the Seraphim +and Cherubim, are commonly depicted with heads only, and with two, +four, or six wings. The Seraphim are the colour of red—fire, meaning +love. The Cherubim blue, the colour of the firmament or light, that +is, knowledge. In these representations of the celestial hierarchy the +Seraphim have the highest rank of all, and angels the lowest. Then +follow apostles, martyrs, confessors, and virgins. + +Didron says that “the hierarchy thus figured in rose windows and +sculptured on vaulted roofs of cathedrals, exhibits in a palpable form +... the system of ethics and cosmogony embodied in the Hindu doctrine +of emanation.” + +The angels in the architectural decoration of old Christian churches +have for their authority the Cherubim that adorned the temple of +Solomon (1 Kings vi., 23-29). + +Angels are sometimes placed on winged and fiery wheels, to typify +extreme swiftness and buoyancy. + +“The seven angels which stood before God” (Rev. viii., 2) are +occasionally represented in pictures of the Last Judgment and of +heaven, and can be recognised by their seven trumpets. These seven +archangels are thus defined: + +1. =Michael= (“like unto God”), captain of the host of heaven and +protector of the Hebrews. + +2. =Gabriel= (“whose strength is in God”), guardian of the heavenly +treasury, and Joseph the patriarch’s preceptor. + +3. =Raphael= (the healing of God), chief guardian angel, and the leader +of Tobias. + +4. =Uriel= (the light of God), who taught Esdras, explaining the +prophecies. + +5. =Chamuel= (the wrath of God), who wrestled with Jacob. + +6. =Jophiel= (the beauty of God), guardian of the tree of knowledge and +the same who drove Adam and Eve out of Paradise, and the preceptor of +the sons of Noah. + +7. =Zadkiel= (the righteousness of God), who stayed the hand of Abraham +when about to sacrifice Isaac. + +Only the names of the first four are given in the Bible, and these +four are seldom represented together except in architectural decoration. + +=Badge of Trinitarians.= “His Holiness [Pope Innocent, III.] did +forthwith ratify the Order, and, by his command, they assumed the +white habit, having on the breast a Greek cross of red and blue; the +three colours signifying the Three Persons of the Most Holy Trinity; +the white, the Father Eternal; the blue, which was the traverse of +the cross, the Son as Redeemer, and the red, the charity of the Holy +Spirit.” + +=Basket.= Liberality to the poor. + +=Bear.= Solitary life and self-restraint. + +=Bee.= Originally a pagan symbol, the bee was adopted by the early +monks as a symbol of chastity and industry. Peter of Capua alludes +to the risen Saviour as _apis ætherea_. (In this connection it is +interesting to note that Vishnu incarnate as Krishna is represented +with a blue bee hovering about his head symbolising the ether.) +Chrysostom, Isidore of Seville, Ambrose, and Bernard of Clairvaux were +said to have lips flowing with honey (_mellifluus_) typifying their +eloquence. The virgin queen of the hive became a favourite type of the +Virgin Queen of Heaven. The bee is rarely found in art, however, but +is occasionally seen carved on tombs in the catacombs as a symbol of +immortality. + +=Beehive.= Eloquence. + +=St. Bernardino of Siena.= “So much was he affected by the mysteries of +the incarnation and sufferings of the Son of God that he could never +pronounce his sacred name without appearing in transports of love and +adoration. Often at the end of his sermon he showed to the people +the sacred name of Jesus curiously cut on a board with gold letters, +inviting them to adore Christ with him on their knees, reciting a pious +doxology.”[12] + +=Christ= in early art was typified by Orpheus seated among beasts and +birds playing on a lyre. + +=Fish=, the eucharistic significance of. As the water turned into wine +at the marriage of Cana was accepted by the early Church as symbolical +of the Eucharist, so the fish as a symbol of Christ had also a +eucharistic significance in commemoration of the miracle of the loaves +and fishes. An early symbol of the Eucharist found in the catacombs is +a cup containing three small loaves upon which are traced the cross. +Speaking of the multitude who were fed with five loaves and two fishes, +Paulinus of Nola says of Christ that “he himself is the true bread +and the fish of living water”—_panis ipse verus et aquæ vivæ piscis +Christus_. Eternal life and the Eucharist are inseparable ideas in the +Church. “He that eateth my flesh and drinketh my blood hath eternal +life and I will raise him up at the last day.” Prosper of Aquitane +speaks of Christ as “giving himself as food to the disciples by the +seashore and offering himself to the whole world as _Ichthus_.” + +=Font.= According to Durandus the baptismal font in Christian churches +was made octagonal because creation was complete in seven days; thus +eight figured regeneration—the beginning anew. + +=Hands, two.= In some paintings by the early Italian artists of the +Baptism of Christ _two_ hands are seen emerging from the clouds with +the dove proceeding from them (see illustration, page 79). Thus when +two hands crossed at the wrists are seen on certain houses and convents +in Italy it should typify the blessing and protection of the Eternal +Father. + +=Horns=, symbol of strength, intelligence, and power. See Moses. + +The =Lion= placed at the doors of churches as guardian of the sanctuary +was symbolical of spiritual vigilance, as the lion was believed never +to close its eyes in sleep. The lion, however, not only typified +Christ triumphing over death and hell (Rev. v., 5), but was used also +to typify the devil which “as a roaring lion walketh about, seeking +whom he may devour” (1 Peter v., 8). Thus the lions used to support +pulpits in churches, as in Siena, Pisa, Lucca, and elsewhere in Italy, +represent Satan vanquished and subdued by the might of Christianity. +The same idea of triumphing over the powers of evil was intended to be +conveyed in the sculptured figures of deceased persons reclining on +tombs with their feet resting on a dragon, a lion, or a dog—the dog +being regarded by the Jew as the incarnation of the evil principle. +The Hebrew misconception of the character of the dog is a very curious +one and persists throughout the Bible, where he is rarely referred to +except in terms of contempt. The substitution of the Aryan for the +Semitic point of view, however, reversed the meaning of the symbolism +at a later period, when a lion at the feet of a man typified courage +and manly strength, and the dog at the feet of a woman indicated +fidelity and undying love. + +The =Lizard= according to the _Physiologus_ when blind in old age +creeps into the crevice of a wall facing east and stretches out its +head to the rising sun whose beams restore its sight. Thus the lizard +represented in ecclesiastical architecture is a symbol of the healing +and illuminating effect of the gospel. + +The =Magi=. “In the early art of the catacombs the three children of +Babylon refusing to worship the image of Nebuchadnezzar were often +associated with the three Magi who refused to obey Herod. It is not +improbable that the number of the Magi became fixed by this association +rather than by the gifts they bore of gold, frankincense, and myrrh. +Previous to the fourth century they were represented as two, four, and +in one case six. After that time they were invariably represented as +three.”[13] + +=Majesty.= A term denoting pictures of Christ seated upon a throne and +surrounded by angels with the symbols of the four Evangelists and the +Greek letters Α and Ω, alpha and omega, signifying that Christ is the +beginning and the end of all things. + +=Oran=, or =Orant=, designates the figures seen in the catacombs with +hands uplifted in prayer. + +The =Ox= symbolises toil and patient renunciation. + +The =Phœnix= in Egyptian religion was the embodiment of Ra the Sun +God. It was fabled to come out of Arabia every five hundred years to +Heliopolis, where it burned itself on the high altar in the Temple of +the Sun and rose again from its own ashes young and beautiful. This +pagan emblem of the resurrection and of immortality was adopted by the +Christians and is frequently found on early mosaics and sarcophagi and +carved on church stalls, where it is often associated with the pelican. + +The =Sibyls=. There are numerous Sibyls but the Cumæan Sibyl of whom +Ovid and Virgil wrote is the most famous. According to a Roman legend +this Sibyl appeared to one of the Tarquins and offered him nine books +for sale. The king refused to buy them. She burned three and returned +with six, demanding the same price. Upon his second refusal she burned +three more and returning to the king again demanded the same price for +the three remaining. Puzzled, and curious at last, the king paid the +price and found them to contain the destinies of the Roman state. These +Sibylline books were for centuries the oracles of Rome. + +=Tetramorph=, a figure which combines the four heads with wings and +fiery wheels described by Ezekiel (chap. x.). The same figure with six +wings denotes extreme swiftness, the wheels also winged. + +=Three=, the number. According to Pythagoras three was the primal +perfect number and symbol of completeness. The cube of three being nine +was regarded by him as the extent to which numbers would go, all others +being comprehended by and revolving within it. The decade ten was +called by him “Heaven” as being the boundary of nine and forming as it +were a monad with which recommences a fresh series capable of infinite +expansion. The number three among Greeks and Romans had a mystic import +and later when the meaning was lost it was considered exceptionally +lucky, as were all uneven numbers. + +=Tobias.= See Tobit, Apocrypha. + +=Virgin of Pity.= The Madonna as “dispenser of mercy on earth” is +sometimes represented crowned, standing with outstretched arms from +which depends her mantle, the corners of which are upheld by angels, +while underneath its shelter kneel worshipping votaries of all ranks +and conditions—the rich, the poor, the lame and halt. + + +FOOTNOTES: + +[12] Butler’s _Lives of the Saints_, vol. v., p. 369. + +[13] _Christian Art and Archæology_, by Walter Lowrie. + + + + +SYMBOLS OF CERTAIN OLD TESTAMENT CHARACTERS + + +THE PROPHETS + +AMOS. A shepherd’s crook. + +DANIEL. A lion. A ram with four horns. Sometimes naked with hands +outstretched and a lion on each side. + +EZEKIEL. A turreted gateway, in his hand a plan of the New Jerusalem. + +ISAIAH. A saw. Clothed in a sack. St. Matthew on shoulder. + +JEREMIAH. A wand in his hand. + +JOEL. Lions around him. + +OBADIAH. Pitcher of water and loaves. + +ZECHARIAH. A temple building. A stone covered with eyes. + + +THE PATRIARCHS + +ABRAHAM. A knife and brazier of fire. + +ADAM. A spade. + +DAVID. Harp. Sling of stones. Head of Goliath. + +ELIJAH. Scroll and red robes. Fiery chariot. Sword. + +ELISHA. Two-headed eagle on shoulder. + +GIDEON. Fleece of wool. + +JOSEPH. Purse. + +MELCHIZEDEK. Priest and king. + +MOSES. Tablets of the Law. A rod. Horns of light. Burning bush. A rock. +Some modern writers claim that the horns given to Moses by artists +and sculptors grew out of an error in the translation of the ancient +Hebrew, the early translators describing Moses in his descent from +Sinai as _facies cornuta_ (“his face was horned”) instead of “his face +shone.” Other writers, however, assert that among all peoples, horns +have symbolised power; that the Israelites, fresh from the land of +bondage, familiar with horns upon the heads of Egyptian gods, would +readily believe that Moses had miraculously received the mark of +divinity and kingly power. That he really descended with solid horns +upon his head was devoutly believed down to the middle ages. + +NOAH. Ark. Dove with olive branch. An oar. + +SAMSON. Gates of city. Jaw bone of an ass. + +SETH. Three seeds of the tree of life. A thread bound thrice around +thumb. + + + + +INDEX + + + Abbey, 277. + + Abraham, 290. + + Adam, 290. + + Adoration of Magi, 105. + + Adoration of Shepherds, 104. + + Agatha, St., her legend, 229. + + Agnes, St., her legend, 226. + + Ambrose, St., 182. + + Amos, 290. + + Anachronisms, 65. + + Anchor, 73. + + Andrew, St., Apostle, 153. + + Angels, 281. + + Anna, St., Legend of Joachim and Anna, 91. + + Anna, prophetess, 109. + + Anthony, St., Hermit, 240. + + Anthony, St., of Padua, 258. + + Apostles, the twelve, 146. + + Apparition of Christ to His mother, 116. + + Apple, symbol of, 75. + + Archangels, 81. + + Arrow, 72. + + Ascension, 119. + + Ass and Ox, Symbol of, 103. + + Assumption of the Virgin, 119. + + Augustine, St., 184. + + Augustines, The, 277. + + Aureole, 67. + + + Banner, or Standard, 73. + + Barbara, St., 212. + + Barnabas, St., 167. + + Bartholomew, St., 161. + + Basket, 284. + + Bear, 284. + + Bee, 284. + + Beehive, 284. + + Bell, 75. + + Benedict, St., 244. + + Benedictines, The, 275. + + Bernard, St., of Clairvaux, 248. + + Bernardino, St., of Siena, 264, 284. + + Birds, as symbols, 88. + + Bonaventura, St., 260. + + Book, symbol of, 75, 87. + + Brandeum, Legend of, 190. + + Brigittines, 278. + + + Camaldolesi, 275. + + Cana, Marriage at, 113. + + Capuchins, 278. + + Carmelites, 280. + + Carthusians, 275. + + Catherine, St., of Alexandria, 209. + + Catherine, St., of Siena, 272. + + Cecilia, St., 223. + + Chalice, as emblem, 74. + + Chamuel, 283. + + Christ, Symbols of, 78, 285. + + Christopher, St., 196. + + Cistercians, 276. + + Clara, St., 256. + + Colours, Significance of, 76. + + Cordeliers, 278. + + Coronation of the Virgin, 121, 123. + + Cosmo and Damian, Sts., 200. + + Creed, Apostles’, 146. + + Cross, Different forms of, 69. + + Crown, as symbol, 71. + + Crucifix, 76, 125-126. + + Crucifixion, 114. + + + Daniel, 290. + + David, 290. + + Deposition, 116. + + Descent from Cross, 115. + + Devotional representations of the Virgin, 122. + + Dispute in Temple, 111. + + Doctors, Four, of the Church, 177. + + Dominicans, 279. + + Dominick, St., 266. + + Dove, as emblem, 74, 88. + + Dragon, symbol of, 70. + + Dress, of Virgin, 76, 89. + + + Elijah, 290. + + Elisha, 290. + + Elizabeth, St., 100. + + Entombment, 116. + + Evangelists, Four, 137. + + Ezekiel, 290. + + + Fathers, Four Latin, 177. + + Fire and flames, 73. + + Fish, emblem of Christ, 68, 285. + + Flaming heart, 75. + + Flight into Egypt, 109. + + Flowers and fruit, 75. + + Font, 285. + + Francis, St., of Assisi, 252. + + Franciscans, 278. + + + Gabriel, St., the Archangel, 84. + + George, St., of Cappadocia, 191. + + Gideon, 290. + + Globe, 87. + + Glory, 67. + + God, the Father, Symbols of, 78. + + Gregory, St., the Great, Legends of, 187. + + + Hands, two, 285. + + Hart, 71. + + Hind, 71. + + Historical and devotional subjects, 64. + + Holy Family, 112. + + Holy Ghost, Symbols of, 78. + + Horns, 286. + + + Immaculate Conception, 126. + + Isaiah, 290. + + + James, St., the Great, 156. + + James Minor, St., 163. + + Jeremiah, 290. + + Jerome, St., 177. + + Jeronymites, 280. + + Jesuits, 280. + + Joachim, St., Legend of, 91. + + Joel, 290. + + John the Baptist, St., 134. + + John the Evangelist, St., 142. + + Jophiel, 283. + + Joseph, 291. + + Joseph, St., Marriage of, 94; + Death of, 113. + + Judas Iscariot, 165. + + Jude, St., 164. + + + Lamb, 70. + + Lamp, 73. + + Lance, 72. + + Lantern, 73. + + Last Supper, 175. + + Latin Fathers, Four, 177. + + Laurence, St., 235. + + Lily, symbol of, 74. + + Lion, as emblem, 70, 286. + + Lizard, 287. + + Louis, St., of France, 262. + + Louis, St., of Toulouse, 263. + + Lucy, St., 231. + + Luke, St., the Evangelist, 141. + + + Madonna, Legends of, 91-121; + Symbols of, 86-88. + + Magi, Adoration of, 105, 287. + + Majesty, 287. + + Margaret, St., 220. + + Mark, St., the Evangelist, 140. + + Marriage of Virgin, 94. + + Mary Magdalene, St., 169. + + Mater Amabilis, 132. + + Mater Dolorosa, 125. + + Matthew, St., 138. + + Matthias, St., 165. + + Melchizedek, 291. + + Mendicant Orders, 278. + + Michael, St., the Archangel, 81. + + Minimes, 279. + + Monastic Orders, 275. + + Moses, 291. + + Mysteries, Fifteen, of the rosary, 89. + + + Nativity, of the Virgin, 92; + of Christ, 102. + + Nicholas, St., of Myra, 205. + + Nimbus, 67. + + Noah, 291. + + + Obadiah, 290. + + Observants, 278. + + Olive, as symbol, 74. + + Olivetani, 276. + + Oran or Orant, 287. + + Oratorians, 276. + + Order of Mercy, 278. + + Orders, religious, 275. + + Ox. _See_ Ass, symbol of, 287. + + + Palm, as emblem, 73. + + Passion of our Lord, 114. + + Paul, St., Apostle, 152. + + Paul, St., Hermit, 241. + + Peacock, 71. + + Pelican, 70. + + Peter, St., 148. + + Peter Martyr, St., 268. + + Philip, St., 159. + + Phœnix, 287. + + Pietà, 126. + + Pomegranate, as emblem, 75, 88. + + Poor Clares, 278. + + Preaching Friars. _See_ Dominicans. + + Precious stones, symbols of, in sacred art, 76. + + Premonstratensians, 277. + + Presentation of the Virgin, 92. + + Procession to Calvary, 114. + + Purification of the Virgin, 108. + + + Raphael, St., the Archangel, 84. + + Repose of Holy Family, 110. + + Roch, St., 202. + + Rosary, Institution of. _See_ St. Dominick, 268. + + Rosary. _See_ Mysteries. + + Rose, symbol of Virgin, 87. + + + Saints frequently found in art, Legends of, 234. + + Saints and Symbols, 30-63. + + Samson, 291. + + Scourge, as symbol, 74. + + Sebastian, St., 194. + + Serpent, 70, 88. + + Servi, 277. + + Seth, 291. + + Seven joys. _See_ Sorrows. + + Shell, 75. + + Ship, emblem of, 73. + + Sibyl, Tiburtina, Prophecy of, 102. + + Sibyls, 288. + + Simeon, Prophecy of, 108. + + Simon Zelotes, St., 164. + + Skull, 75. + + Sorrows, Seven, of the Virgin, 89. + + Spasimo, lo, 114. + + Sposalizio, 94. + + Square, 68. + + Star, symbol of Virgin, 86. + + Stephen, St., 234. + + Sudarium, 62. + + Sun, 86. + + Sword, as emblem, 72. + + Symbols, general, 67-75; + of saints, 1-29; + of the Virgin, 86-88. + + + Tetramorph, 288. + + Thomas, St., 161. + + Thomas Aquinas, St., 270. + + Three, 288. + + Triangle, emblem of, 68. + + Trinitarians, 277; + badge of, 284. + + Trinity, Holy, Symbols of, 80. + + + Unicorn, 75. + + Uriel, 283. + + Ursula, St., 214. + + + Vallombrosans, 275. + + Vincent, St., 237. + + Virgin Martyrs, Four, of the Latin Church, 223. + + Virgin Mary, Legends of, 91-121; + Symbols of, 86-88. + + Virgin Patronesses, 208. + + Visitation, 100. + + Visitation of St. Mary, Order of, 280. + + Votive Pictures, 65, 130. + + + Zacharias, 134. + + Zadkiel, 283. + + Zechariah, 290. + +*** END OF THE PROJECT GUTENBERG EBOOK 78921 *** diff --git a/78921-h/78921-h.htm b/78921-h/78921-h.htm new file mode 100644 index 0000000..009004f --- /dev/null +++ b/78921-h/78921-h.htm @@ -0,0 +1,29285 @@ +<!DOCTYPE html> +<html lang="en"> +<head> + <meta charset="UTF-8"> + <title> + Sacred Symbols in Art | Project Gutenberg + </title> + <link rel="icon" href="images/cover.jpg" type="image/x-cover"> + <style> + +body { + margin-left: 10%; 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+} + +.figleft { + float: left; + clear: left; + margin-left: 0; + margin-bottom: 1em; + margin-top: 1em; + margin-right: 1em; + padding: 0; + text-align: center; + page-break-inside: avoid; + max-width: 100%; +} +/* comment out next line and uncomment the following one for floating figleft on ebookmaker output */ +/* .x-ebookmaker .figleft {float: none; text-align: center; margin-right: 0;} */ +.x-ebookmaker .figleft {float: left;} + +.figright { + float: right; + clear: right; + margin-left: 1em; + margin-bottom: 1em; + margin-top: 1em; + margin-right: 0; + padding: 0; + text-align: center; + page-break-inside: avoid; + max-width: 100%; +} +/* comment out next line and uncomment the following one for floating figright on ebookmaker output */ +/*.x-ebookmaker .figright {float: none; text-align: center; margin-left: 0;} */ + .x-ebookmaker .figright {float: right;} + +/* Footnotes */ +.footnotes {border: 1px dashed;} + +.footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + +.footnote .label {position: absolute; right: 84%; text-align: right;} + +.fnanchor { + vertical-align: super; + font-size: .8em; + text-decoration: + none; +} + +/* Poetry */ +/* uncomment the next line for centered poetry */ +.poetry-container {display: flex; justify-content: center;} +.poetry-container {text-align: center;} +.poetry {text-align: left; margin-left: 5%; margin-right: 5%;} +.poetry .stanza {margin: 1em auto;} +.poetry .verse {text-indent: -3em; padding-left: 3em;} + +.fs80 {font-size: 80%} +.fs90 {font-size: 90%} +.fs120 {font-size: 120%} +.fs150 {font-size: 150%} + +.no-indent {text-indent: 0em;} +.bold {font-weight: bold;} +.wsp {word-spacing: 0.3em;} +.lh {line-height: 1.5em;} + +h2 {font-size: 130%; font-weight: normal; line-height: 1.6em; word-spacing: .3em;} +h3 {font-size: 100%; font-weight: normal; line-height: 1.6em; word-spacing: .3em;} + +.pageborder {width: 400px; border: 4px double; padding: 10px; margin: auto;} + +/* Poetry indents */ +.poetry .indent0 {text-indent: -3.0em;} +.poetry .indent1 {text-indent: -2.5em;} + + +/* Illustration classes */ +.illowp100 {width: 100%;} +.illowp85 {width: 85%;} +.illowp15 {width: 15%;} +.illowp45 {width: 45%;} +.illowp35 {width: 35%;} + </style> +</head> + +<body> +<div style='text-align:center'>*** START OF THE PROJECT GUTENBERG EBOOK 78921 ***</div> + + +<div class="figcenter" style="width: 85%"> +<img src="images/cover.jpg" alt="" data-role="presentation"> +</div> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> +<figure class="figcenter illowp85" id="i_frontispiece" style="max-width: 44.6875em;"> + <img class="w100" src="images/i_frontispiece.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + THE MADONNA DEL CARDELLINO.—RAPHAEL<br> + (Uffizi, Florence.) + </figcaption> +</figure> +</div> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter pageborder"> +<h1> +SACRED SYMBOLS<br> +IN ART +</h1> + +<p class="center no-indent wsp lh"> + BY<br> + <span class="fs120">ELIZABETH E. GOLDSMITH</span><br> + <br> + <br> + <em>With Fifty-three Illustrations</em><br> + <br> + <br> + <em><span class="fs90">SECOND EDITION, REVISED AND ENLARGED</span></em><br> + <em><span class="fs90">FOURTH IMPRESSION</span></em><br> + <br> + <br> + <span class="fs120">G. P. PUTNAM’S SONS</span><br> + NEW YORK AND LONDON<br> + <span class="bold">The Knickerbocker Press</span> +</p> +</div> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> +<p class="center no-indent wsp"> + <span class="smcap fs90">Copyright, 1911</span><br> + <span class="smcap fs80">by</span><br> + ELIZABETH E. GOLDSMITH</p> + +<hr class="r5"> + +<p class="center no-indent wsp"> + <span class="smcap fs90">Copyright, 1912</span><br> + <span class="smcap fs80">by</span><br> + ELIZABETH E. GOLDSMITH<br> + <span class="fs90">(For Second Edition)</span></p> + <br> + <br> + +<figure class="figcenter illowp15" id="i_colophon" style="max-width: 24.5em;"> + <img class="w100" src="images/i_colophon.jpg" alt=""> +</figure> + +<p class="center no-indent wsp fs80"> + Made in the United States of America +</p> +</div> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + <p> + “Let him [the traveller] not trust to his impressions + from his general reading; there is nothing so treacherous; + he may have general reading enough to sink a + ship, but unless he has a cargo taken newly on board + he will find himself tossing without ballast on those + billowy slopes of the Palatine, where he will vainly + try for definite anchorage.”</p> + <p> + <span class="smcap">W. D. Howells</span>’s <em>Roman Holidays and Others</em>. + + </p> +</div> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> +<p><span class="pagenum" id="Page_v">[Pg v]</span></p> + <h2 class="nobreak" id="PREFACE_TO_THE_SECOND_EDITION"> + PREFACE TO THE SECOND EDITION + </h2> +</div> + + +<p><span class="smcap">In</span> preparing the first edition the author was strongly +influenced by the belief <i lang="fr" xml:lang="fr">qui trop embrasse, mal +étreint</i>. She had in mind primarily the traveller, who +wants his information in a nutshell, is bored by an +explanation of something that explains itself, and +bewildered and confused by long and learned dissertations +for which he has not the time. Thus with a +subject so overwhelmingly broad, and a book that to +be useful must necessarily be small, it seemed best to +keep rigorously to that which, in the writer’s opinion, +would add the most essentially to the intelligent enjoyment +and appreciation of the more famous works +of Christian art—excluding the too obvious as well +as the too remote.</p> + +<p>The book has been so cordially received by students +and those other than the traveller, that in this second +edition a little additional matter of more general +interest has been added in an appendix, whereby it is +hoped that its value and usefulness will be increased. +Certain suggestions courteously and helpfully extended +by some of the reviewers have been included in +this, and to them for their interest, the author wishes +to express her warmest appreciation and thanks.</p> + +<p class="right"> + E. E. G.</p> + <p> + <span class="smcap">New York</span>, February, 1912. +</p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum"><a id="Page_vi"></a><a id="Page_vii"></a>[Pg vii]</span></p> + + + <h2 class="nobreak" id="PREFACE"> + PREFACE + </h2> +</div> + + +<p><span class="smcap">The</span> visitor who frequents the art galleries and +churches of Europe soon learns to distinguish certain +saints in a picture by certain symbols; but unless +he has a knowledge also of the meaning or story +that is conveyed by these symbols, the real beauty +and significance of the early works of art are lost. +To arrive at this knowledge, however, it is necessary +to consult so many books that these become a serious +encumbrance to one, going from place to place. It +is hoped, therefore, that this handbook, designed for +the use of the student and the traveller, may supply +a genuine need.</p> + +<p>A closer study into the meaning of the early works +of Christian art is only another outcome of the +keen revival of interest in biblical history that is +everywhere manifesting itself to-day; and indeed one +cannot view those pictured stories of the past, those +naïve and lovely examples of an earlier faith, without +a broadening sympathy that finally deepens into +tender reverence the more one comprehends.</p> + +<p>Believing that a clearer idea of the whole religious +series of pictures will be obtained, the subjects here +considered are treated generically rather than alphabetically. +Thus, the symbols of the Godhead are +given first; then the symbols of the Archangels, +the symbols and legends of the Madonna, of John +<span class="pagenum" id="Page_viii">[Pg viii]</span>the Baptist, the Four Evangelists, the Apostles, and +the Four Latin Fathers, and after that follow the +legends of certain saints.</p> + +<p>The general symbols and what they expressed +in religious art are given; also when symbols were +used as <em>emblems</em>, and when they were merely <em>attributes</em>, +and what characteristics or incidents in the +life of a saint they expressed.</p> + +<p>A considerable portion of the book is devoted to +the symbols and legends of the Madonna and what +these were supposed to express in the Church and in +the life of Christ. The subjects of the historical +and devotional pictures in which she appears, with +or without her divine Son, are given as they come +in their natural order.</p> + +<p>The book includes a brief description of the significance +of colours as employed in the early religious +pictures, as well as an account of the general plan +of dress and arrangement that was followed, more +or less arbitrarily, by the artists of a given period. +The monastic orders are given and the habits worn +by the members of the different orders are described, +who thus (by their dress) may be readily distinguished +in pictures.</p> + +<p>For use and reference in the galleries, an alphabetical +list of symbols is placed in the fore part of the +book, followed by an alphabetical list of all but +the more obscure saints, with their distinguishing emblems. +Only the legends of the best known saints, +who are constantly found in art, have been touched +upon, the aim being to bring together in compact form +only those facts and legends pertinent to Christian art. +<span class="pagenum" id="Page_ix">[Pg ix]</span>No attempt has been made to locate or describe +any of the famous works of art, except as they are +indicated under the illustrations, as this has been +well and ably done in the guide books of Baedeker, +Hare, and Grant Allen.</p> + +<p>In preparing this book the works of Mrs. Jameson, +Didron’s <cite>Christian Iconography</cite>, Lord Lindsay’s +<cite>Sketches of Christian Art</cite>, and the <cite>Golden Legend</cite> in +French and English have been largely drawn upon.</p> + +<p class="right"> + E. E. G. +</p> + +<p class="fs90"><span class="smcap">New York</span>, January, 1911.</p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum"><a id="Page_x"></a><a id="Page_xi"></a>[Pg xi]</span></p> + + <h2 class="nobreak" id="CONTENTS"> + CONTENTS + </h2> +</div> + + + +<table class="autotable"> +<tr> +<td class="tdl"> +</td> +<td class="tdr fs80"> +PAGE +</td> +</tr> +<tr> +<td class="tdl"> +</td> +<td class="tdr"> +</td> +</tr> +<tr> +<td class="tdc" colspan="2"> +I +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Symbols of the Saints</span> +</td> +<td class="tdr"> +<a href="#Page_1">1</a> +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdr"> + +</td> +</tr> +<tr> +<td class="tdc" colspan="2"> +II +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Saints and Symbols</span> +</td> +<td class="tdr"> +<a href="#Page_30">30</a> +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdr"> + +</td> +</tr> +<tr> +<td class="tdc" colspan="2"> +III +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Historical and Devotional Subjects</span> +</td> +<td class="tdr"> +<a href="#Page_64">64</a> +</td> +</tr> +<tr> +<td class="tdl"> +<p style="margin-left: 2em; text-indent: -1em;">How these may be distinguished in art.</p> +</td> +<td class="tdr"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdr"> + +</td> +</tr> +<tr> +<td class="tdc" colspan="2"> +IV +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">General Symbols</span> +</td> +<td class="tdr"> +<a href="#Page_67">67</a> +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdr"> + +</td> +</tr> +<tr> +<td class="tdc" colspan="2"> +V +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Colours as Emblems</span> +</td> +<td class="tdr"> +<a href="#Page_76">76</a> +</td> +</tr> +<tr> +<td class="tdl"> +<p style="margin-left: 2em; text-indent: -1em;">What colours signified in early art, and how they were +associated with certain personages.</p> +</td> +<td class="tdr"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdr"> + +</td> +</tr> +<tr> +<td class="tdc" colspan="2"> +VI +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Symbols of God the Father, the Son, the Holy Ghost, the Trinity</span> +</td> +<td class="tdr"> +<a href="#Page_78">78</a> +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdr"> + +</td> +</tr> +<tr> +<td class="tdc" colspan="2"> +VII +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">The Seven Archangels. The Three Archangels: St. Michael, St. Gabriel, and St. Raphael</span> +</td> +<td class="tdr"> +<a href="#Page_81">81</a> +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdr"> + +</td> +</tr> +<tr> +<td class="tdc" colspan="2"> +VIII<span class="pagenum" id="Page_xii">[Pg xii]</span> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Symbols and Attributes of the Virgin</span> +</td> +<td class="tdr"> +<a href="#Page_86">86</a> +</td> +</tr> +<tr> +<td class="tdl"> +<p style="margin-left: 2em; text-indent: -1em;">Also the Seven Joys and the Seven Sorrows of the +Virgin, and the Fifteen Mysteries of the Rosary.</p> +</td> +<td class="tdr"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdr"> + +</td> +</tr> +<tr> +<td class="tdc" colspan="2"> +IX +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Legends of the Madonna as Represented in the Historical Series</span> +</td> +<td class="tdr"> +<a href="#Page_91">91</a> +</td> +</tr> +<tr> +<td class="tdl"> +<p style="margin-left: 2em; text-indent: -1em;">These follow in regular sequence, beginning with the +Legend of Joachim and Anna; then the Nativity, +the Presentation, and the Marriage of the Virgin; +the Annunciation; the Visitation; the Sibyl Prophesying +to Augustus Cæsar the Coming of Christ; +the Nativity of Christ; the Adoration of the Shepherds; +the Adoration of the Magi; the Purification +of the Virgin; the Presentation and the Circumcision +of Christ; the Flight into Egypt; the Repose +of the Holy Family; the Dispute in the Temple; +the Death of Joseph; the Marriage at Cana; +the Procession to Calvary; the Crucifixion; the +Descent from the Cross; the Deposition; the Entombment; +the Apparition of Christ to His Mother +and to Mary Magdalene; the Ascension; the Descent +of the Holy Ghost; the Death and Assumption +of the Virgin; the Coronation of the Virgin. (How +the Coronation may be distinguished from the +Incoronata.)</p> +</td> +<td class="tdr"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdr"> + +</td> +</tr> +<tr> +<td class="tdc" colspan="2"> +X +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Devotional Representations of the Virgin Mary</span> +</td> +<td class="tdr"> +<a href="#Page_122">122</a> +</td> +</tr> +<tr> +<td class="tdl"> +<p style="margin-left: 2em; text-indent: -1em;">In these she appears as the Enthroned Virgin without +the child, as type of heavenly wisdom; L’Incoronata, +the type of the Church Triumphant; the Virgin of +Mercy, as represented in the Last Judgment; the<span class="pagenum" id="Page_xiii">[Pg xiii]</span> +Mater Dolorosa, the Stabat Mater, La Pietà; the +Lady of the Immaculate Conception; the Virgin, +and Child Enthroned; the Mater Amabilis.</p> +</td> +<td class="tdr"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdr"> + +</td> +</tr> +<tr> +<td class="tdc" colspan="2"> +XI +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. John Baptist</span> +</td> +<td class="tdr"> +<a href="#Page_134">134</a> +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdr"> + +</td> +</tr> +<tr> +<td class="tdc" colspan="2"> +XII +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">The Four Evangelists</span> +</td> +<td class="tdr"> +<a href="#Page_137">137</a> +</td> +</tr> +<tr> +<td class="tdl"> +<p style="margin-left: 2em; text-indent: -1em;">Giving their legends and attributes from the earliest +times. <span class="smcap">St. Matthew</span>, <span class="smcap">St. Mark</span>, <span class="smcap">St. Luke</span>, <span class="smcap">St.</span> +<span class="smcap">John</span>.</p> +</td> +<td class="tdr"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdr"> + +</td> +</tr> +<tr> +<td class="tdc" colspan="2"> +XIII +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">The Twelve Apostles</span> +</td> +<td class="tdr"> +<a href="#Page_146">146</a> +</td> +</tr> +<tr> +<td class="tdl"> +<p style="margin-left: 2em; text-indent: -1em;">Their legends and attributes. <span class="smcap">St. Peter</span> and <span class="smcap">St.</span> +<span class="smcap">Paul</span>, <span class="smcap">St. Andrew</span>, <span class="smcap">St. James Major</span>, <span class="smcap">St. Philip</span>, +<span class="smcap">St. Bartholomew</span>, <span class="smcap">St. Thomas</span>, <span class="smcap">St. James Minor</span>, +<span class="smcap">St. Simon Zelotes</span>, <span class="smcap">St. Jude</span> (<span class="smcap">Thaddeus</span> or <span class="smcap">Lebbeus</span>), +<span class="smcap">St. Matthias</span>, <span class="smcap">Judas Iscariot</span>, <span class="smcap">St. Barnabas</span>.</p> +</td> +<td class="tdr"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdr"> + +</td> +</tr> +<tr> +<td class="tdc" colspan="2"> +XIV +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Mary Magdalene</span> +</td> +<td class="tdr"> +<a href="#Page_169">169</a> +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdr"> + +</td> +</tr> +<tr> +<td class="tdc" colspan="2"> +XV +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">The Last Supper</span> +</td> +<td class="tdr"> +<a href="#Page_175">175</a> +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdr"> + +</td> +</tr> +<tr> +<td class="tdc" colspan="2"> +XVI +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">The Four Latin Fathers</span> +</td> +<td class="tdr"> +<a href="#Page_177">177</a> +</td> +</tr> +<tr> +<td class="tdl"> +<p style="margin-left: 2em; text-indent: -1em;">Their legends and attributes. <span class="smcap">St. Jerome</span>, <span class="smcap">St. Ambrose</span>, +<span class="smcap">St. Augustine</span>, <span class="smcap">St. Gregory</span>.</p> +</td> +<td class="tdr"> + +</td> +</tr> +<tr> +<td class="tdl"> +<span class="pagenum" id="Page_xiv">[Pg xiv]</span> +</td> +<td class="tdr"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdr"> + +</td> +</tr> +<tr> +<td class="tdc" colspan="2"> +XVII +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">The Patron Saints of Christendom</span> +</td> +<td class="tdr"> +<a href="#Page_191">191</a> +</td> +</tr> +<tr> +<td class="tdl"> +<p style="margin-left: 2em; text-indent: -1em;">Their legends and attributes. <span class="smcap">St. George</span>, <span class="smcap">St. Sebastian</span>, +<span class="smcap">St. Christopher</span>, <span class="smcap">SS. Cosmo</span> and <span class="smcap">Damian</span>, +<span class="smcap">St. Roch</span>, <span class="smcap">St. Nicholas of Myra</span>, <span class="smcap">St. Catherine</span>, +<span class="smcap">St. Barbara</span>, <span class="smcap">St. Ursula</span>, <span class="smcap">St. Margaret</span>.</p> +</td> +<td class="tdr"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdr"> + +</td> +</tr> +<tr> +<td class="tdc" colspan="2"> +XVIII +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">The Four Great Virgins of the Latin Church</span> +</td> +<td class="tdr"> +<a href="#Page_223">223</a> +</td> +</tr> +<tr> +<td class="tdl"> +<p style="margin-left: 2em; text-indent: -1em;">Their legends and attributes. <span class="smcap">St. Cecilia</span>, <span class="smcap">St. Agnes</span>, +<span class="smcap">St. Agatha</span>, <span class="smcap">St. Lucy</span>.</p> +</td> +<td class="tdr"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdr"> + +</td> +</tr> +<tr> +<td class="tdc" colspan="2"> +XIX +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Legends of the Saints Most Frequently Found in Art</span> +</td> +<td class="tdr"> +<a href="#Page_234">234</a> +</td> +</tr> +<tr> +<td class="tdl"> +<p style="margin-left: 2em; text-indent: -1em;"><span class="smcap">St. Stephen Protomartyr</span>, <span class="smcap">St. Laurence</span>, <span class="smcap">St.</span> +<span class="smcap">Vincent</span>, <span class="smcap">St. Anthony Hermit</span>, <span class="smcap">St. Benedict</span>, +<span class="smcap">St. Bernard of Clairvaux</span>, <span class="smcap">St. Francis of</span> +<span class="smcap">Assisi</span>, <span class="smcap">St. Clara</span>, <span class="smcap">St. Anthony of Padua</span>, <span class="smcap">St.</span> +<span class="smcap">Bonaventura</span>, <span class="smcap">St. Louis of France</span>, <span class="smcap">St. Louis</span> +<span class="smcap">of Toulouse</span>, <span class="smcap">St. Bernardino of Siena</span>, <span class="smcap">St. Dominick</span>, +<span class="smcap">St. Peter Martyr</span>, <span class="smcap">St. Thomas Aquinas</span>, +<span class="smcap">St. Catherine of Siena</span>.</p> +</td> +<td class="tdr"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdr"> + +</td> +</tr> +<tr> +<td class="tdc" colspan="2"> +XX +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">The Monastic Orders, and the Habits by which they may be Distinguished</span> +</td> +<td class="tdr"> +<a href="#Page_275">275</a> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Appendix</span> +</td> +<td class="tdr"> +<a href="#Page_281">281</a> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Index</span> +</td> +<td class="tdr"> +<a href="#Page_294">293</a> +</td> +</tr> +</table> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_xv">[Pg xv]</span></p> + + + <h2 class="nobreak" id="ILLUSTRATIONS"> + ILLUSTRATIONS + </h2> +</div> + +<table class="autotable lh"> +<tr> +<td class="tdl"> + +</td> +<td class="tdr fs80"> +PAGE +</td> +</tr> +<tr> +<td class="tdl"> +The Madonna del Cardellino (Raphael). <em>Uffizi, Florence</em> +</td> +<td class="tdr"> +<em><a href="#i_frontispiece">Frontispiece</a></em> +</td> +</tr> +<tr> +<td class="tdl"> +The Baptism of Christ by St. John (Verrocchio). <em>Academy, Florence</em> +</td> +<td class="tdr"> +<a href="#i_079">79</a> +</td> +</tr> +<tr> +<td class="tdl"> +The Three Archangels and Tobias (Botticelli). <em>Academy, Florence</em> +</td> +<td class="tdr"> +<a href="#i_082">82</a> +</td> +</tr> +<tr> +<td class="tdl"> +The Presentation of the Virgin in the Temple (Titian). <em>Academy, Venice</em> +</td> +<td class="tdr"> +<a href="#i_093">93</a> +</td> +</tr> +<tr> +<td class="tdl"> +The Annunciation (Botticelli). <em>Uffizi, Florence</em> +</td> +<td class="tdr"> +<a href="#i_097">97</a> +</td> +</tr> +<tr> +<td class="tdl"> +The Visitation (Albertinelli). <em>Uffizi, Florence</em> +</td> +<td class="tdr"> +<a href="#i_099">99</a> +</td> +</tr> +<tr> +<td class="tdl"> +Sibyl Prophesying to Augustus Cæsar the Coming of Christ (B. Peruzzi). <em>Church of the Fontegiusta, Siena</em> +</td> +<td class="tdr"> +<a href="#i_101">101</a> +</td> +</tr> +<tr> +<td class="tdl"> +The Adoration of the Shepherds (Ghirlandajo). <em>Academy, Florence</em> +</td> +<td class="tdr"> +<a href="#i_104">104</a> +</td> +</tr> +<tr> +<td class="tdl"> +The Adoration of the Magi (Botticelli). <em>Uffizi, Florence</em> +</td> +<td class="tdr"> +<a href="#i_106">106</a> +</td> +</tr> +<tr> +<td class="tdl"> +Repose of the Holy Family—“Madonna del Sacco” (Andrea del Sarto). <em>Church of the Annunziata, Florence</em> +</td> +<td class="tdr"> +<a href="#i_111">111</a> +</td> +</tr> +<tr> +<td class="tdl"> +The Crucifixion (Perugino). <em>Convent of Santa Maria Maddalena dei Pazzi, Florence</em> +</td> +<td class="tdr"> +<a href="#i_115">115</a> +</td> +</tr> +<tr> +<td class="tdl"> +The Saviour Appears to Mary Magdalene—“Noli me tangere” (Lorenzo di Credi). <em>Uffizi, Florence</em> +</td> +<td class="tdr"> +<a href="#i_117">117</a> +</td> +</tr> +<tr> +<td class="tdl"> +Coronation of the Virgin (Fra Filippo Lippi). <em>Academy, Florence</em> +</td> +<td class="tdr"> +<a href="#i_123">123</a> +</td> +</tr> +<tr> +<td class="tdl"> +The Madonna Crowned (Botticelli). <em>Uffizi, Florence</em> +</td> +<td class="tdr"> +<a href="#i_124">124</a><span class="pagenum" id="Page_xvi">[Pg xvi]</span> +</td> +</tr> +<tr> +<td class="tdl"> +The Madonna Enthroned (Filippino Lippi). <em>Uffizi, Florence</em> +</td> +<td class="tdr"> +<a href="#i_127">127</a> +</td> +</tr> +<tr> +<td class="tdl"> +The Virgin and Child (Fra Filippo Lippi). <em>Pitti, Florence</em> +</td> +<td class="tdr"> +<a href="#i_129">129</a> +</td> +</tr> +<tr> +<td class="tdl"> +The Madonna del Granduca (Raphael). <em>Pitti, Florence</em> +</td> +<td class="tdr"> +<a href="#i_131">131</a> +</td> +</tr> +<tr> +<td class="tdl"> +The Adoration of the Child (Perugino). <em>Pitti, Florence</em> +</td> +<td class="tdr"> +<a href="#i_133">133</a> +</td> +</tr> +<tr> +<td class="tdl"> +John the Baptist in the Desert (Titian). <em>Academy, Venice</em> +</td> +<td class="tdr"> +<a href="#i_135">135</a> +</td> +</tr> +<tr> +<td class="tdl"> +Christ and the Four Evangelists (Fra Bartolommeo). <em>Pitti, Florence</em> +</td> +<td class="tdr"> +<a href="#i_139">139</a> +</td> +</tr> +<tr> +<td class="tdl"> +Madonna of the Harpies with St. Francis and St. John, Evangelist (Andrea del Sarto). <em>Uffizi, Florence</em> +</td> +<td class="tdr"> +<a href="#i_143">143</a> +</td> +</tr> +<tr> +<td class="tdl"> +St. Peter Baptising (Masaccio). <em>Brancacci Chapel, Santa Maria del Carmine, Florence</em> +</td> +<td class="tdr"> +<a href="#i_149">149</a> +</td> +</tr> +<tr> +<td class="tdl"> +St. James Major (Titian). <em>Church of S. Lio, Venice</em> +</td> +<td class="tdr"> +<a href="#i_155">155</a> +</td> +</tr> +<tr> +<td class="tdl"> +La Disputa della Trinità (Andrea del Sarto). <em>Pitti, Florence</em> +</td> +<td class="tdr"> +<a href="#i_171">171</a> +</td> +</tr> +<tr> +<td class="tdl"> +The Last Supper (Ghirlandajo). <em>Ognissanti, Florence</em> +</td> +<td class="tdr"> +<a href="#i_175">175</a> +</td> +</tr> +<tr> +<td class="tdl"> +St. Augustine and St. Jerome (Crivelli). <em>Academy, Venice</em> +</td> +<td class="tdr"> +<a href="#i_179">179</a> +</td> +</tr> +<tr> +<td class="tdl"> +St. Ambrose (Borgognone). <em>Certosa, Pavia</em> +</td> +<td class="tdr"> +<a href="#i_181">181</a> +</td> +</tr> +<tr> +<td class="tdl"> +St. Augustine at School (Benozzo Gozzoli). <em>Church of San Agostino, San Gimignano</em> +</td> +<td class="tdr"> +<a href="#i_185">185</a> +</td> +</tr> +<tr> +<td class="tdl"> +Miracle of the Brandeum (Andrea Sacchi). <em>Vatican, Rome</em> +</td> +<td class="tdr"> +<a href="#i_189">189</a> +</td> +</tr> +<tr> +<td class="tdl"> +St. George (Donatello). <em>The Bargello, Florence</em> +</td> +<td class="tdr"> +<a href="#i_192">192</a> +</td> +</tr> +<tr> +<td class="tdl"> +St. Sebastian (Sodoma). <em>Uffizi, Florence</em> +</td> +<td class="tdr"> +<a href="#i_195">195</a> +</td> +</tr> +<tr> +<td class="tdl"> +St. Christopher (Giovanni Bellini). <em>Church of SS. Giovanni e Paolo, Venice</em> +</td> +<td class="tdr"> +<a href="#i_197">197</a><span class="pagenum" id="Page_xvii">[Pg xvii]</span> +</td> +</tr> +<tr> +<td class="tdl"> +An Episode in the Life of St. Cosmo and St. Damian (Fra Angelico). <em>Academy, Florence</em> +</td> +<td class="tdr"> +<a href="#i_201">201</a> +</td> +</tr> +<tr> +<td class="tdl"> +Four Saints.—St. Roch, St. Sebastian, St. Augustine (?), St. Bernardino of Siena (Carlo Crivelli). <em>Academy, Venice</em> +</td> +<td class="tdr"> +<a href="#i_202">202</a>-<a href="#i_203">203</a> +</td> +</tr> +<tr> +<td class="tdl"> +St. Nicholas (Titian). <em>Church of San Sebastiano, Venice</em> +</td> +<td class="tdr"> +<a href="#i_207">207</a> +</td> +</tr> +<tr> +<td class="tdl"> +St. Catherine (Lucas Cranach). <em>Dresden Gallery</em> +</td> +<td class="tdr"> +<a href="#i_209">209</a> +</td> +</tr> +<tr> +<td class="tdl"> +St. Barbara (Lucas Cranach). <em>Dresden Gallery</em> +</td> +<td class="tdr"> +<a href="#i_212">212</a> +</td> +</tr> +<tr> +<td class="tdl"> +Detail from the Martyrdom of St. Ursula (V. Carpaccio). <em>Academy, Venice</em> +</td> +<td class="tdr"> +<a href="#i_215">215</a> +</td> +</tr> +<tr> +<td class="tdl"> +St. Margaret (School of Correggio). <em>Dresden Gallery</em> +</td> +<td class="tdr"> +<a href="#i_221">221</a> +</td> +</tr> +<tr> +<td class="tdl"> +St. Cecilia (Carlo Dolci). <em>Dresden Gallery</em> +</td> +<td class="tdr"> +<a href="#i_224">224</a> +</td> +</tr> +<tr> +<td class="tdl"> +St. Agnes (Spagnoletto). <em>Dresden Gallery</em> +</td> +<td class="tdr"> +<a href="#i_227">227</a> +</td> +</tr> +<tr> +<td class="tdl"> +Santa Lucia (Carlo Dolci). <em>Uffizi, Florence</em> +</td> +<td class="tdr"> +<a href="#i_231">231</a> +</td> +</tr> +<tr> +<td class="tdl"> +St. Anthony with the Fire (Palma Vecchio). <em>Church of S. Maria Formosa, Venice</em> +</td> +<td class="tdr"> +<a href="#i_239">239</a> +</td> +</tr> +<tr> +<td class="tdl"> +St. Benedict (Hans Memling.) <em>Uffizi, Florence</em> +</td> +<td class="tdr"> +<a href="#i_245">245</a> +</td> +</tr> +<tr> +<td class="tdl"> +The Madonna Appearing to St. Bernard (Filippino Lippi). <em>Church of the Badia, Florence</em> +</td> +<td class="tdr"> +<a href="#i_249">249</a> +</td> +</tr> +<tr> +<td class="tdl"> +St. Francis (Simone Martini). <em>Church of S. Francesco, Assisi</em> +</td> +<td class="tdr"> +<a href="#i_251">251</a> +</td> +</tr> +<tr> +<td class="tdl"> +St. Clara (Simone Martini). <em>Church of S. Francesco, Assisi</em> +</td> +<td class="tdr"> +<a href="#i_255">255</a> +</td> +</tr> +<tr> +<td class="tdl"> +St. Anthony (School of Giotto). <em>Basilica of S. Antonio, Padua</em> +</td> +<td class="tdr"> +<a href="#i_257">257</a> +</td> +</tr> +<tr> +<td class="tdl"> +St. Bonaventura (A. Bronzino). <em>Academy, Florence</em> +</td> +<td class="tdr"> +<a href="#i_261">261</a> +</td> +</tr> +<tr> +<td class="tdl"> +St. Dominick. Detail from the Crucifixion (Fra Angelico), <em>San Marco, Florence</em> +</td> +<td class="tdr"> +<a href="#i_267">267</a> +</td> +</tr> +<tr> +<td class="tdl"> +St. Peter Martyr (Fra Angelico). <em>San Marco, Florence</em> +</td> +<td class="tdr"> +<a href="#i_269">269</a> +</td> +</tr> +<tr> +<td class="tdl"> +St. Thomas Aquinas (Fra Angelico). <em>San Marco, Florence</em> +</td> +<td class="tdr"> +<a href="#i_271">271</a> +</td> +</tr> +<tr> +<td class="tdl"> +St. Catherine of Siena (Vanni). <em>Church of San Domenico, Siena</em> +</td> +<td class="tdr"> +<a href="#i_273">273</a> +</td> +</tr> +<tr> +<td class="tdl"> +A Vallombrosan Monk (Perugino). <em>Academy, Florence</em> +</td> +<td class="tdr"> +<a href="#i_276">276</a> +</td> +</tr> +</table> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + <p class="center no-indent bold fs150 wsp"> + SACRED SYMBOLS IN ART + </p> +</div> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + <p class="center no-indent bold fs150 wsp"> + Sacred Symbols in Art<span class="pagenum" id="Page_1">[Pg 1]</span> + </p> +</div> + +<hr class="r5"> + +<h2 class="nobreak" id="I-SYMBOLS_OF_THE_SAINTS"> + I.—SYMBOLS OF THE SAINTS +</h2> + +<table class="autotable"> +<tr> +<td class="tdl"> +<span class="smcap">Anchor</span> in his hand, or at his +</td> +<td class="tdl"> +St. Clement, Martyr, A. D. +</td> +</tr> +<tr> +<td class="tdl"> +side, or suspended around +</td> +<td class="tdl"> +100. Third Bishop of +</td> +</tr> +<tr> +<td class="tdl"> +his neck. Pope’s or Bishop’s +</td> +<td class="tdl"> +Rome. +</td> +</tr> +<tr> +<td class="tdl"> +robes. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +<br> +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Anchor.</span> Three balls, or three +</td> +<td class="tdl"> +St. Nicholas of Myra, A. D. +</td> +</tr> +<tr> +<td class="tdl"> +purses. Three children in a +</td> +<td class="tdl"> +326. Patron saint of Russia, +</td> +</tr> +<tr> +<td class="tdl"> +tub. Bishop’s robes. Ship. +</td> +<td class="tdl"> +Venice, and Freiberg, of +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +children, sailors, travellers, +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +etc. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Angel</span> or man. Purse, or bag +</td> +<td class="tdl"> +St. Matthew, Apostle and +</td> +</tr> +<tr> +<td class="tdl"> +of money. Book. Pen and +</td> +<td class="tdl"> +Evangelist, Martyr. +</td> +</tr> +<tr> +<td class="tdl"> +ink-horn. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Angel.</span> Organ. Musical instruments. +</td> +<td class="tdl"> +St. Cecilia, Virgin Martyr, +</td> +</tr> +<tr> +<td class="tdl"> +Crown of red +</td> +<td class="tdl"> +A. D. 280. Patron saint of +</td> +</tr> +<tr> +<td class="tdl"> +and white roses. Palm. +</td> +<td class="tdl"> +music and musicians. +</td> +</tr> +<tr> +<td class="tdl"> +Scroll of music. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Angel</span> holding a book. Benedictine +</td> +<td class="tdl"> +St. Francesca Romana, A. D. +</td> +</tr> +<tr> +<td class="tdl"> +habit. +</td> +<td class="tdl"> +1440. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Angel</span> holding basket with +</td> +<td class="tdl"> +St. Dorothea of Cappadocia, +</td> +</tr> +<tr> +<td class="tdl"> +apples and roses. Crown. +</td> +<td class="tdl"> +Virgin Martyr, A. D. 303. +</td> +</tr> +<tr> +<td class="tdl"> +Palm. Sometimes roses in +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +her hand or crowned with +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +roses. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Angel</span><span class="pagenum" id="Page_2">[Pg 2]</span> with flame-tipped arrow. +</td> +<td class="tdl"> +St. Theresa, A. D. 1582. Patron +</td> +</tr> +<tr> +<td class="tdl"> +Dove. Carmelite +</td> +<td class="tdl"> +saint of Spain. Founder +</td> +</tr> +<tr> +<td class="tdl"> +habit. Heart with I. H. S. +</td> +<td class="tdl"> +of the Scalzi, reformed +</td> +</tr> +<tr> +<td class="tdl"> +Lily. Crucifix. +</td> +<td class="tdl"> +Carmelites. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Angel</span> with two captives. +</td> +<td class="tdl"> +St. John de Matha, A. D. +</td> +</tr> +<tr> +<td class="tdl"> +Fetters in his hand, or at +</td> +<td class="tdl"> +1213. Founder of the +</td> +</tr> +<tr> +<td class="tdl"> +his feet. White habit. +</td> +<td class="tdl"> +Trinitarian Order for the +</td> +</tr> +<tr> +<td class="tdl"> +Blue and red cross upon +</td> +<td class="tdl"> +redemption of captives. +</td> +</tr> +<tr> +<td class="tdl"> +his breast. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Angel</span> with pyx. Franciscan +</td> +<td class="tdl"> +St. Bonaventura, A. D. 1274. +</td> +</tr> +<tr> +<td class="tdl"> +habit. Cardinal’s hat at +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +his feet, or on a tree. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Angel</span> holding a shield on +</td> +<td class="tdl"> +St. Clotilda of Burgundy, +</td> +</tr> +<tr> +<td class="tdl"> +which are three fleur-de-lys. +</td> +<td class="tdl"> +A. D. 534. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Angel</span> ploughing in the +</td> +<td class="tdl"> +St. Isidore the ploughman, +</td> +</tr> +<tr> +<td class="tdl"> +background. Spade. Found in +</td> +<td class="tdl"> +A. D. 1170. +</td> +</tr> +<tr> +<td class="tdl"> +Spanish art. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Angels</span> crowning her with +</td> +<td class="tdl"> +St. Rosalia of Palermo, A. D. +</td> +</tr> +<tr> +<td class="tdl"> +roses. Crucifix. +</td> +<td class="tdl"> +1160. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Anvil</span> in hands, or at feet. +</td> +<td class="tdl"> +St. Adrian, Martyr, A. D. 290. +</td> +</tr> +<tr> +<td class="tdl"> +Sometimes lion, sometimes +</td> +<td class="tdl"> +Patron saint of Flanders +</td> +</tr> +<tr> +<td class="tdl"> +sword or axe lying beside +</td> +<td class="tdl"> +and Germany, of soldiers, +</td> +</tr> +<tr> +<td class="tdl"> +anvil. +</td> +<td class="tdl"> +and against the plague. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Anvil.</span> Blacksmith’s tools. +</td> +<td class="tdl"> +St. Eloy, Lo, or Sant’ Eligio, +</td> +</tr> +<tr> +<td class="tdl"> +Blacksmith’s or Bishop’s +</td> +<td class="tdl"> +A. D. 659. Patron saint of +</td> +</tr> +<tr> +<td class="tdl"> +dress. Crozier. Book. +</td> +<td class="tdl"> +Bologna, blacksmiths, goldsmiths, +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +and of horses. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Arrow.</span> Crown. Banner with +</td> +<td class="tdl"> +St. Ursula, Virgin Martyr, +</td> +</tr> +<tr> +<td class="tdl"> +a red cross. Dove. Mantle +</td> +<td class="tdl"> +237 or 383 or 451. Patron +</td> +</tr> +<tr> +<td class="tdl"> +sheltering virgins. +</td> +<td class="tdl"> +saint of young girls, and +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +teachers. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Arrow</span><span class="pagenum" id="Page_3">[Pg 3]</span>, hind pierced by, in +</td> +<td class="tdl"> +St. Giles, Hermit, A. D. 725. +</td> +</tr> +<tr> +<td class="tdl"> +his arms or at his feet. Old. +</td> +<td class="tdl"> +Patron saint of Edinburgh, +</td> +</tr> +<tr> +<td class="tdl"> +Benedictine habit. +</td> +<td class="tdl"> +of woods, cripples, beggars, +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +and lepers. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Arrow</span> in his hand. Royal +</td> +<td class="tdl"> +St. Edmund, King and Martyr, +</td> +</tr> +<tr> +<td class="tdl"> +robes. Wolf. +</td> +<td class="tdl"> +A. D. 870. Patron +</td> +</tr> +<tr> +<td class="tdl"> +</td> +<td class="tdl"> +saint of Bury St. Edmunds. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Arrows,</span> pierced by. Bound +</td> +<td class="tdl"> +St. Sebastian, Martyr, A. D. +</td> +</tr> +<tr> +<td class="tdl"> +to a column. Angel with +</td> +<td class="tdl"> +288. Patron saint against +</td> +</tr> +<tr> +<td class="tdl"> +crown and palm. +</td> +<td class="tdl"> +pestilence. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Arrows.</span> Palm. Crown. +</td> +<td class="tdl"> +St. Christina, Virgin Martyr, +</td> +</tr> +<tr> +<td class="tdl"> +Millstone. +</td> +<td class="tdl"> +A. D. 295. Patron saint of +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Bolsena, and Venice. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Awl</span> or shoemaker’s knife. +</td> +<td class="tdl"> +St. Crispin and St. Crispianus, +</td> +</tr> +<tr> +<td class="tdl"> +Palms. Two saints together. +</td> +<td class="tdl"> +Martyrs, A. D. 300. Patron +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +saints of Soissons. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Axe,</span> lictor’s. Two-pronged +</td> +<td class="tdl"> +St. Martina, Virgin Martyr, +</td> +</tr> +<tr> +<td class="tdl"> +fork. Young. +</td> +<td class="tdl"> +A. D. 230. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Axe</span> in his hand. Sometimes +</td> +<td class="tdl"> +St. Proculus, Martyr, A. D. +</td> +</tr> +<tr> +<td class="tdl"> +an angel holds the axe. +</td> +<td class="tdl"> +303. Patron saint of +</td> +</tr> +<tr> +<td class="tdl"> +Sword. Carrying a head in +</td> +<td class="tdl"> +Bologna. +</td> +</tr> +<tr> +<td class="tdl"> +both hands. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Balls</span> (three). Bishop’s +</td> +<td class="tdl"> +St. Nicholas of Myra, A. D. +</td> +</tr> +<tr> +<td class="tdl"> +robes. Sometimes three +</td> +<td class="tdl"> +326. Patron saint of Russia, +</td> +</tr> +<tr> +<td class="tdl"> +purses, or three children in +</td> +<td class="tdl"> +Venice, Freiberg, of children, +</td> +</tr> +<tr> +<td class="tdl"> +a tub. Sometimes ship in +</td> +<td class="tdl"> +school-boys, sailors, travellers, +</td> +</tr> +<tr> +<td class="tdl"> +the background. +</td> +<td class="tdl"> +merchants, and against +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +thieves. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Banner,</span> with red cross. +</td> +<td class="tdl"> +St. Ursula, Virgin Martyr. +</td> +</tr> +<tr> +<td class="tdl"> +Crown. Dove. Arrow. +</td> +<td class="tdl"> +Dates uncertain, 237, 383, +</td> +</tr> +<tr> +<td class="tdl"> +Mantle sheltering virgins, +</td> +<td class="tdl"> +or 451. Patron saint of +</td> +</tr> +<tr> +<td class="tdl"> +or surrounded by virgins. +</td> +<td class="tdl"> +young girls, and women +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +teachers. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Banner</span><span class="pagenum" id="Page_4">[Pg 4]</span> with black Imperial +</td> +<td class="tdl"> +St. Wenceslaus of Bohemia, +</td> +</tr> +<tr> +<td class="tdl"> +eagle. Palm. Royal robes. +</td> +<td class="tdl"> +Martyr, A. D. 938. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Banner.</span> Young. Richly +</td> +<td class="tdl"> +St. Julian of Cilicia, Martyr. +</td> +</tr> +<tr> +<td class="tdl"> +dressed. Sword. Palm. +</td> +<td class="tdl"> +Patron saint of Rimini. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Banner,</span> white with a red +</td> +<td class="tdl"> +St. Torpé, Martyr, A. D. 70. +</td> +</tr> +<tr> +<td class="tdl"> +cross. Roman armour. +</td> +<td class="tdl"> +Patron saint of Pisa. +</td> +</tr> +<tr> +<td class="tdl"> +Found only in churches of +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Pisa. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Banner,</span> white with a red +</td> +<td class="tdl"> +St. Reparata, Virgin Martyr, +</td> +</tr> +<tr> +<td class="tdl"> +cross. Crown. Palm. +</td> +<td class="tdl"> +third century. Formerly +</td> +</tr> +<tr> +<td class="tdl"> +Sometimes wears a red +</td> +<td class="tdl"> +patron saint of Florence. +</td> +</tr> +<tr> +<td class="tdl"> +and white mantle. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Beasts,</span> surrounded by. +</td> +<td class="tdl"> +St. Thecla, Virgin Martyr, +</td> +</tr> +<tr> +<td class="tdl"> +Young. Dark brown or +</td> +<td class="tdl"> +first century. Patron saint +</td> +</tr> +<tr> +<td class="tdl"> +grey mantle. Palm. +</td> +<td class="tdl"> +of Tarragona. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Beehive</span> at his feet. Books. +</td> +<td class="tdl"> +St. Ambrose, A. D. 397. One +</td> +</tr> +<tr> +<td class="tdl"> +Knotted scourge with three +</td> +<td class="tdl"> +of the Four Latin Fathers +</td> +</tr> +<tr> +<td class="tdl"> +thongs. Two human bones. +</td> +<td class="tdl"> +of the Church. Patron +</td> +</tr> +<tr> +<td class="tdl"> +Bishop’s robes. Mitre. +</td> +<td class="tdl"> +saint of Milan. +</td> +</tr> +<tr> +<td class="tdl"> +Crozier. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Beehive.</span> Demon bound. +</td> +<td class="tdl"> +St. Bernard of Clairvaux, A. D. +</td> +</tr> +<tr> +<td class="tdl"> +Three mitres on a book or +</td> +<td class="tdl"> +1153. Founder of the +</td> +</tr> +<tr> +<td class="tdl"> +at his feet. Pen, papers, +</td> +<td class="tdl"> +Cistercian Order of Reformed +</td> +</tr> +<tr> +<td class="tdl"> +ink-horn. White habit. +</td> +<td class="tdl"> +Benedictines. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Beggar,</span> kneeling at his feet. +</td> +<td class="tdl"> +St. Juan de Dios, A. D. 1550. +</td> +</tr> +<tr> +<td class="tdl"> +In his hands a pomegranate +</td> +<td class="tdl"> +Founder of the Hospitallers, +</td> +</tr> +<tr> +<td class="tdl"> +surmounted by a cross. +</td> +<td class="tdl"> +or Brothers of Charity. +</td> +</tr> +<tr> +<td class="tdl"> +Long beard. Capuchin +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +habit. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Beggar</span> at feet, or dividing +</td> +<td class="tdl"> +St. Martin of Tours, A. D. +</td> +</tr> +<tr> +<td class="tdl"> +his cloak with a beggar. +</td> +<td class="tdl"> +397. Patron saint of +</td> +</tr> +<tr> +<td class="tdl"> +Goose. Bishop’s robes, or +</td> +<td class="tdl"> +Tours, Lucca, and penitent +</td> +</tr> +<tr> +<td class="tdl"> +as a soldier. +</td> +<td class="tdl"> +drunkards. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Beggar</span><span class="pagenum" id="Page_5">[Pg 5]</span>, or cripple, at her feet. +</td> +<td class="tdl"> +St. Elizabeth of Hungary, +</td> +</tr> +<tr> +<td class="tdl"> +Sometimes three crowns. A +</td> +<td class="tdl"> +A. D. 1231. +</td> +</tr> +<tr> +<td class="tdl"> +lapful of roses. Robes of royalty, +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +or Franciscan habit. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Beggar’s</span> dish. Pilgrim’s +</td> +<td class="tdl"> +St. Alexis, A. D. 400. Patron +</td> +</tr> +<tr> +<td class="tdl"> +habit, worn and ragged. +</td> +<td class="tdl"> +saint of beggars and pilgrims. +</td> +</tr> +<tr> +<td class="tdl"> +Palm. Cross. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Beggars,</span> giving alms to. +</td> +<td class="tdl"> +St. Elizabeth of Portugal, +</td> +</tr> +<tr> +<td class="tdl"> +Widow’s veil. Crown. +</td> +<td class="tdl"> +A. D. 1336. +</td> +</tr> +<tr> +<td class="tdl"> +Old. Franciscan habit. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Bell.</span> Sometimes cruse and +</td> +<td class="tdl"> +St. Pol-de-Léon, A. D. 573. +</td> +</tr> +<tr> +<td class="tdl"> +loaf. Driving dragon into +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +the sea. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Bell.</span> Crutch. Asperges. +</td> +<td class="tdl"> +St. Anthony, Hermit, A. D. 357. +</td> +</tr> +<tr> +<td class="tdl"> +Hog. Skull. Crucifix. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Flames of fire. Monk’s habit. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Blacksmith</span> with anvil, hammer, +</td> +<td class="tdl"> +St. Eloy, Lo, or Sant’ Eligio, +</td> +</tr> +<tr> +<td class="tdl"> +tongs and bellows. +</td> +<td class="tdl"> +A. D. 659. Patron saint +</td> +</tr> +<tr> +<td class="tdl"> +Sometimes Bishop’s robes +</td> +<td class="tdl"> +of Bologna, of goldsmiths, +</td> +</tr> +<tr> +<td class="tdl"> +and blacksmith’s tools. +</td> +<td class="tdl"> +locksmiths, blacksmiths, and horses. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Blood</span> flowing from his head. +</td> +<td class="tdl"> +St. Thomas à Becket, A. D. 1170. +</td> +</tr> +<tr> +<td class="tdl"> +Benedictine habit or Bishop’s robes. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Blood</span> trickling from his head. +</td> +<td class="tdl"> +St. Peter Martyr, A. D. 1252. +</td> +</tr> +<tr> +<td class="tdl"> +Sometimes with sword or +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +axe in his head. Palm. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Dominican habit. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Bones,</span> two human. Beehive. +</td> +<td class="tdl"> +St. Ambrose, A. D. 397. One +</td> +</tr> +<tr> +<td class="tdl"> +Knotted scourge. Books. +</td> +<td class="tdl"> +of the Four Latin Fathers. +</td> +</tr> +<tr> +<td class="tdl"> +Bishop’s robes. Mitre. Crozier. +</td> +<td class="tdl"> +Patron saint of Milan. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Book</span><span class="pagenum" id="Page_6">[Pg 6]</span> stained with blood, or +</td> +<td class="tdl"> +St. Boniface, A. D. 755. +</td> +</tr> +<tr> +<td class="tdl"> +transfixed by a sword. Bishop’s +</td> +<td class="tdl"> +Archbishop of Mayence, and +</td> +</tr> +<tr> +<td class="tdl"> +robes over the Benedictine habit. +</td> +<td class="tdl"> +Apostle of Germany. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Books</span> at his feet. Infant by +</td> +<td class="tdl"> +St. Augustine, A. D. 430. One +</td> +</tr> +<tr> +<td class="tdl"> +seashore. Heart flaming or +</td> +<td class="tdl"> +of the Four Latin Fathers of +</td> +</tr> +<tr> +<td class="tdl"> +transfixed by an arrow. +</td> +<td class="tdl"> +the Church. +</td> +</tr> +<tr> +<td class="tdl"> +Bishop’s robes. Mitre. Crozier. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Books,</span> his magical, trampling +</td> +<td class="tdl"> +St. Cyprian of Antioch, Martyr, +</td> +</tr> +<tr> +<td class="tdl"> +under his feet. Sword. +</td> +<td class="tdl"> +A. D. 304. +</td> +</tr> +<tr> +<td class="tdl"> +Palm. Bishop’s robes +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +(without the mitre). +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Bottle</span> on the end of a staff. +</td> +<td class="tdl"> +St. James the Great, Apostle +</td> +</tr> +<tr> +<td class="tdl"> +Cloak. Wallet. Scallop-shell. +</td> +<td class="tdl"> +and Martyr. Patron saint of Spain. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Bottles</span> or Flasks. Loose +</td> +<td class="tdl"> +St. Omobuono. Patron saint +</td> +</tr> +<tr> +<td class="tdl"> +tunic and cap, trimmed with +</td> +<td class="tdl"> +of Cremona, and of tailors. +</td> +</tr> +<tr> +<td class="tdl"> +fur. Giving alms to the +</td> +<td class="tdl"> +(Sometimes difficult to distinguish +</td> +</tr> +<tr> +<td class="tdl"> +poor. +</td> +<td class="tdl"> +from St. Roch.) +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Box</span> or vase of alabaster. +</td> +<td class="tdl"> +St. Mary Magdalene, A. D. +</td> +</tr> +<tr> +<td class="tdl"> +Long fair hair. Skull. +</td> +<td class="tdl"> +68. Patron saint of Marseilles, +</td> +</tr> +<tr> +<td class="tdl"> +Crucifix. +</td> +<td class="tdl"> +Provence, and of +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +frail, and penitent women. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Box</span> of ointment. Surgical +</td> +<td class="tdl"> +St. Cosmo and St. Damian, +</td> +</tr> +<tr> +<td class="tdl"> +instruments. Two men +</td> +<td class="tdl"> +Martyrs, A. D. 301. Patron +</td> +</tr> +<tr> +<td class="tdl"> +together in red robes. +</td> +<td class="tdl"> +saints of medicine, +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +and of the Medici family. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Branch</span> of olive in his hand. +</td> +<td class="tdl"> +St. Bernard of Tolomei, A. D. +</td> +</tr> +<tr> +<td class="tdl"> +White habit. +</td> +<td class="tdl"> +1319. Founder of the +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Order of Olivetani, reformed +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Benedictines. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Branch</span><span class="pagenum" id="Page_7">[Pg 7]</span>, encircling his loins. +</td> +<td class="tdl"> +St. Onofrio, Hermit of Thebes, +</td> +</tr> +<tr> +<td class="tdl"> +Old, wasted, half-naked, +</td> +<td class="tdl"> +fourth or fifth century. +</td> +</tr> +<tr> +<td class="tdl"> +long hair and beard. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Buildings</span> in his hand. Bishop’s +</td> +<td class="tdl"> +St. Petronius, A. D. 430. +</td> +</tr> +<tr> +<td class="tdl"> +robes. +</td> +<td class="tdl"> +Patron saint of Bologna. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Caldron</span> of oil. Cock. Lion. +</td> +<td class="tdl"> +St. Vitus, Martyr, A. D. 303. +</td> +</tr> +<tr> +<td class="tdl"> +Wolf. Palm. Young and +</td> +<td class="tdl"> +Patron saint of Sicily, Bohemia, +</td> +</tr> +<tr> +<td class="tdl"> +beautiful. +</td> +<td class="tdl"> +Saxony, of actors +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +and dancers, and against +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +nervous diseases and late rising. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Candle,</span> lighted. Demon +</td> +<td class="tdl"> +St. Geneviève, A. D. 509. +</td> +</tr> +<tr> +<td class="tdl"> +trying to extinguish it with +</td> +<td class="tdl"> +Patron saint of Paris. +</td> +</tr> +<tr> +<td class="tdl"> +bellows. Book. Basket +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +of provisions and holding +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +loaf of bread. Sheep. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Distaff. Spindle. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Candle</span> on his head, or in +</td> +<td class="tdl"> +St. Erasmus, or Elmo, Martyr, +</td> +</tr> +<tr> +<td class="tdl"> +his hand. Small wheel. +</td> +<td class="tdl"> +A. D. 296. +</td> +</tr> +<tr> +<td class="tdl"> +Old. Bishop’s robes. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Captive</span> kneeling at her feet. +</td> +<td class="tdl"> +St. Radegunda, A. D. 587. +</td> +</tr> +<tr> +<td class="tdl"> +Broken fetters in her hands. +</td> +<td class="tdl"> +Protectress of the Order of +</td> +</tr> +<tr> +<td class="tdl"> +Royal crown. Long veil. +</td> +<td class="tdl"> +Trinitarians for the redemption +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +of captives. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Cardinal’s</span> Hat, near him +</td> +<td class="tdl"> +St. Jerome, A. D. 420. One +</td> +</tr> +<tr> +<td class="tdl"> +or at his feet. Cardinal’s +</td> +<td class="tdl"> +of the Four Latin Fathers. +</td> +</tr> +<tr> +<td class="tdl"> +robes, or old, ragged, long +</td> +<td class="tdl"> +Founder of Monachism in +</td> +</tr> +<tr> +<td class="tdl"> +beard. Skull. Books. +</td> +<td class="tdl"> +the West. Patron saint of +</td> +</tr> +<tr> +<td class="tdl"> +Lion. Church in his hand. +</td> +<td class="tdl"> +learning, theology, scholars. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Cardinal’s</span> Hat on the bough +</td> +<td class="tdl"> +St. Bonaventura, A. D. 1274. +</td> +</tr> +<tr> +<td class="tdl"> +of a tree or at his feet. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Franciscan habit. Pyx. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Cardinal’s</span><span class="pagenum" id="Page_8">[Pg 8]</span> robes (only found +</td> +<td class="tdl"> +St. Bernard degli Uberti, Abbot +</td> +</tr> +<tr> +<td class="tdl"> +with other Vallombrosan +</td> +<td class="tdl"> +of Vallombrosa. +</td> +</tr> +<tr> +<td class="tdl"> +saints). +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Carpenter’s</span> or builder’s +</td> +<td class="tdl"> +St. Thomas, Apostle and Martyr. +</td> +</tr> +<tr> +<td class="tdl"> +square. +</td> +<td class="tdl"> +Patron saint of architects +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +and builders. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Censer.</span> Book. Benedictine +</td> +<td class="tdl"> +St. Maurus, A. D. 584. +</td> +</tr> +<tr> +<td class="tdl"> +habit or dressed as a deacon. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Usually with St. Benedict +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +and St. Placidus. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Chalice</span> or sacramental cup. +</td> +<td class="tdl"> +St. Thomas Aquinas, A. D. 1274. +</td> +</tr> +<tr> +<td class="tdl"> +Sun on his breast. Books. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Pen. Dove. Dominican habit. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Checkered</span> Habit, Cord of +</td> +<td class="tdl"> +St. Margaret of Cortona, A. D. 297. +</td> +</tr> +<tr> +<td class="tdl"> +St. Francis. Dog at her feet. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Child</span> in his arms or at his +</td> +<td class="tdl"> +St. Vincent de Paule, A. D. +</td> +</tr> +<tr> +<td class="tdl"> +feet. Franciscan habit. +</td> +<td class="tdl"> +1660. Founder of the +</td> +</tr> +<tr> +<td class="tdl"> +Nun kneeling at feet. +</td> +<td class="tdl"> +Sisters of Charity. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Child</span> on his shoulders, walking +</td> +<td class="tdl"> +St. Christopher, A. D. 364. +</td> +</tr> +<tr> +<td class="tdl"> +through water. Huge +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +staff. Monk in background. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Child-Christ</span> in his arms +</td> +<td class="tdl"> +St. Anthony of Padua, A. D. 1231. +</td> +</tr> +<tr> +<td class="tdl"> +or on a book. Book. Lily. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Crucifix. Flame in his +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +hand or on his breast. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Mule kneeling. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Children,</span> three, in a tub. +</td> +<td class="tdl"> +St. Nicholas of Myra, A. D. +</td> +</tr> +<tr> +<td class="tdl"> +Three balls, or three purses. +</td> +<td class="tdl"> +326. Patron saint of Russia, +</td> +</tr> +<tr> +<td class="tdl"> +Anchor. Bishop’s robes. +</td> +<td class="tdl"> +Venice, Freiberg, school-boys, +</td> +</tr> +<tr> +<td class="tdl"> +Sometimes ship in the background. +</td> +<td class="tdl"> +sailors, travellers, +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +merchants, and against thieves. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Church</span><span class="pagenum" id="Page_9">[Pg 9]</span> in her hand. Royal +</td> +<td class="tdl"> +St. Cunegunda of Bavaria, +</td> +</tr> +<tr> +<td class="tdl"> +robes. Walking over +</td> +<td class="tdl"> +A. D. 1040. +</td> +</tr> +<tr> +<td class="tdl"> +ploughshares. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Church</span> in his hand. In +</td> +<td class="tdl"> +St. Henry of Bavaria, A. D. 1024. +</td> +</tr> +<tr> +<td class="tdl"> +armour. Crown. Sword. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Orb of sovereignty. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Church</span> with two towers in +</td> +<td class="tdl"> +St. Sebald, A. D. 770. +</td> +</tr> +<tr> +<td class="tdl"> +his hand. Pilgrim’s dress. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Staff. Wallet. Shell. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Cloak,</span> dividing with a beggar. +</td> +<td class="tdl"> +St. Martin of Tours, A. D. +</td> +</tr> +<tr> +<td class="tdl"> +Beggar at his feet. Goose. +</td> +<td class="tdl"> +397. Patron saint of +</td> +</tr> +<tr> +<td class="tdl"> +Bishop’s robes, or as a soldier. +</td> +<td class="tdl"> +Tours, Lucca, and of penitent drunkards. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Club.</span> +</td> +<td class="tdl"> +St. James Minor, Apostle and Martyr. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Comb,</span> iron, Bishop’s robes. +</td> +<td class="tdl"> +St. Blaise, Martyr, A. D. 289. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Patron saint of wool-combers, +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +wild animals, and +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +against diseases of the throat. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Cross,</span> transversed, shaped +</td> +<td class="tdl"> +St. Andrew, Apostle and Martyr. +</td> +</tr> +<tr> +<td class="tdl"> +thus—❌. Gospel. White +</td> +<td class="tdl"> +Patron saint of Scotland +</td> +</tr> +<tr> +<td class="tdl"> +hair and beard. +</td> +<td class="tdl"> +and Russia. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Cross.</span> Crutch. Beardless. +</td> +<td class="tdl"> +St. John Gualberto, A. D. +</td> +</tr> +<tr> +<td class="tdl"> +Light grey habit. +</td> +<td class="tdl"> +1073. Founder of the +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Vallombrosan Order of Reformed Benedictines. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Cross</span> at the end of a staff or +</td> +<td class="tdl"> +St. Philip, Apostle and Martyr. +</td> +</tr> +<tr> +<td class="tdl"> +crozier, or small cross in his +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +hand or T-shaped. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Cross</span><span class="pagenum" id="Page_10">[Pg 10]</span>, blue and red, on his +</td> +<td class="tdl"> +St. John de Matha, A. D. +</td> +</tr> +<tr> +<td class="tdl"> +breast. White habit. +</td> +<td class="tdl"> +1213. Founder of the Order +</td> +</tr> +<tr> +<td class="tdl"> +Angel leading captives. +</td> +<td class="tdl"> +of Trinitarians. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Cross.</span> Lily. Javelins. Palm. +</td> +<td class="tdl"> +St. Miniato, Martyr, A. D. 254. +</td> +</tr> +<tr> +<td class="tdl"> +Crown. Cross T-shaped. Scarlet robe. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Cross.</span> Pyx. Lily. Franciscan +</td> +<td class="tdl"> +St. Clara, A. D. 1253. Founder +</td> +</tr> +<tr> +<td class="tdl"> +habit. Black veil. +</td> +<td class="tdl"> +of the Order of Poor +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Clares, Franciscan nuns. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Cross.</span> Dragon under her feet. +</td> +<td class="tdl"> +St. Margaret, Virgin Martyr, +</td> +</tr> +<tr> +<td class="tdl"> +Crown. Palm. +</td> +<td class="tdl"> +A. D. 306. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Cross,</span> red, on his breast. In +</td> +<td class="tdl"> +St. Maurice, Martyr, A. D. +</td> +</tr> +<tr> +<td class="tdl"> +armour. Sometimes as a +</td> +<td class="tdl"> +286. Patron saint of Austria, +</td> +</tr> +<tr> +<td class="tdl"> +Moor, or with eagle on +</td> +<td class="tdl"> +Savoy, and Mantua, +</td> +</tr> +<tr> +<td class="tdl"> +banner or shield. +</td> +<td class="tdl"> +and of foot soldiers. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Cross,</span> large. Robes of royalty. +</td> +<td class="tdl"> +St. Oswald, A. D. 642. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Cross,</span> large. Royal robes. +</td> +<td class="tdl"> +St. Helena, A. D. 328. Mother +</td> +</tr> +<tr> +<td class="tdl"> +of Constantine the Great. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Crown</span> and sceptre at his +</td> +<td class="tdl"> +St. Procopius, A. D. 1053. +</td> +</tr> +<tr> +<td class="tdl"> +feet. Doe by his side. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Hermit’s garb. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Crown</span> and sceptre at his feet. +</td> +<td class="tdl"> +St. Louis of Toulouse, A. D. 1297. +</td> +</tr> +<tr> +<td class="tdl"> +Young. Beardless. Fleur-de-lys +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +embroidered on +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Bishop’s robes. Mitre. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Sometimes Franciscan habit. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Crown</span> and sceptre at his +</td> +<td class="tdl"> +St. Casimir of Poland, A. D. 1483. +</td> +</tr> +<tr> +<td class="tdl"> +feet, or by his side. Lily. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Royal robes. Young. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Crown.</span> Palm. In the Benedictine +</td> +<td class="tdl"> +St. Flavia, Martyr, A. D. 540. +</td> +</tr> +<tr> +<td class="tdl"> +groups. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Crown</span> of Thorns.<span class="pagenum" id="Page_11">[Pg 11]</span> Stigmata. +</td> +<td class="tdl"> +St. Catherine of Siena, A. D. 1380. +</td> +</tr> +<tr> +<td class="tdl"> +Lily. Dominican habit. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Crown</span> of Thorns in his +</td> +<td class="tdl"> +St. Louis IX., King of France, +</td> +</tr> +<tr> +<td class="tdl"> +hand. Sword. Sceptre. +</td> +<td class="tdl"> +A. D. 1270. +</td> +</tr> +<tr> +<td class="tdl"> +Crown. Franciscan habit +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +or royal robes. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Crowns,</span> three, embroidered +</td> +<td class="tdl"> +St. Charlemagne, A. D. 814. +</td> +</tr> +<tr> +<td class="tdl"> +on his robe. Globe. Cross. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +In armour. Ermine mantle. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Crucifix</span> wreathed with a +</td> +<td class="tdl"> +St. Nicholas of Tolentino, +</td> +</tr> +<tr> +<td class="tdl"> +lily. Star on his breast. +</td> +<td class="tdl"> +A. D. 1309. +</td> +</tr> +<tr> +<td class="tdl"> +Gospel. Augustine habit. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Crucifix.</span> Sometimes wings. +</td> +<td class="tdl"> +St. Vincent Ferraris, A. D. 1419. +</td> +</tr> +<tr> +<td class="tdl"> +Dominican habit. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Crucifix.</span> Lily. Surplice +</td> +<td class="tdl"> +St. Francis Xavier, A. D. 1552. +</td> +</tr> +<tr> +<td class="tdl"> +over black habit. +</td> +<td class="tdl"> +Patron saint of India. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Crucifix.</span> Pyx. Dominican habit. +</td> +<td class="tdl"> +St. Hyacinth, A. D. 1257. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Crutch,</span> sometimes with a +</td> +<td class="tdl"> +St. Anthony, Hermit, A. D. 357. +</td> +</tr> +<tr> +<td class="tdl"> +bell suspended from it. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Hog. Asperges. Flames +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +of fire in the background. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Skull. Crucifix. Monk’s +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +habit. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Crutch.</span> Long white beard. +</td> +<td class="tdl"> +St. Romualdo, A. D. 1027. +</td> +</tr> +<tr> +<td class="tdl"> +White habit. +</td> +<td class="tdl"> +Founder of the Order of +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Camaldolesi, reformed +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Benedictines. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Cup,</span> with serpent. Eagle. +</td> +<td class="tdl"> +St. John, Apostle and Evangelist. +</td> +</tr> +<tr> +<td class="tdl"> +Pen. Book. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Cup</span><span class="pagenum" id="Page_12">[Pg 12]</span>, or pitcher broken. Thorn +</td> +<td class="tdl"> +St. Benedict, A. D. 543. +</td> +</tr> +<tr> +<td class="tdl"> +bush. Broken sieve. Raven +</td> +<td class="tdl"> +Founder of the Benedictine +</td> +</tr> +<tr> +<td class="tdl"> +with a loaf in its beak. +</td> +<td class="tdl"> +Order. +</td> +</tr> +<tr> +<td class="tdl"> +Asperges. Mitre. Staff. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Black habit. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Cup,</span> broken. Palm. +</td> +<td class="tdl"> +St. Donato of Arezzo, Martyr. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Cup,</span> and sponge with drops +</td> +<td class="tdl"> +St. Pudentiana, A. D. 148. +</td> +</tr> +<tr> +<td class="tdl"> +of blood. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Cup</span> and wafer. Tower with +</td> +<td class="tdl"> +St. Barbara, Virgin Martyr, +</td> +</tr> +<tr> +<td class="tdl"> +three windows. Book. +</td> +<td class="tdl"> +A. D. 303. Patron saint +</td> +</tr> +<tr> +<td class="tdl"> +Sword. Palm. Feather. +</td> +<td class="tdl"> +of Ferrara, and Mantua, +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +armourers, fortifications, +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +and against thunder and +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +lightning. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Dates,</span> cluster of, on palm. +</td> +<td class="tdl"> +St. Ansano, Martyr. Patron +</td> +</tr> +<tr> +<td class="tdl"> +Cross. Young. Richly +</td> +<td class="tdl"> +saint of Siena. +</td> +</tr> +<tr> +<td class="tdl"> +dressed. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Demon,</span> bound. Beehive. +</td> +<td class="tdl"> +St. Bernard of Clairvaux, A. D. +</td> +</tr> +<tr> +<td class="tdl"> +Pen, papers, ink-horn. +</td> +<td class="tdl"> +1153. Founder of the +</td> +</tr> +<tr> +<td class="tdl"> +White habit. Three mitres +</td> +<td class="tdl"> +Cistercian Order of Reformed +</td> +</tr> +<tr> +<td class="tdl"> +on a book, or at his feet. +</td> +<td class="tdl"> +Benedictines. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Demon</span> trying to blow out a +</td> +<td class="tdl"> +St. Gudula, A. D. 712. Patron +</td> +</tr> +<tr> +<td class="tdl"> +lantern. +</td> +<td class="tdl"> +saint of Brussels. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Demon,</span> holding bellows, and +</td> +<td class="tdl"> +St. Geneviève, A. D. 509. +</td> +</tr> +<tr> +<td class="tdl"> +trying to blow out lighted +</td> +<td class="tdl"> +Patron saint of Paris. +</td> +</tr> +<tr> +<td class="tdl"> +taper. Distaff. Sheep. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Spindle. Book. Sometimes +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +basket of provisions. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Dish.</span> Pilgrim’s habit, old +</td> +<td class="tdl"> +St. Alexis, A. D. 400. Patron +</td> +</tr> +<tr> +<td class="tdl"> +and worn. Cross. Palm. +</td> +<td class="tdl"> +saint of pilgrims and beggars. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Dish</span><span class="pagenum" id="Page_13">[Pg 13]</span>, eyes on. Lamp. Awl. +</td> +<td class="tdl"> +St. Lucy, Virgin Martyr, A. D. 303. +</td> +</tr> +<tr> +<td class="tdl"> +Sword or wound in her +</td> +<td class="tdl"> +Patron saint of Syracuse +</td> +</tr> +<tr> +<td class="tdl"> +neck from which stream +</td> +<td class="tdl"> +and against diseases +</td> +</tr> +<tr> +<td class="tdl"> +rays of light. Palm. +</td> +<td class="tdl"> +of the eye. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Dog,</span> with a torch in its +</td> +<td class="tdl"> +St. Dominick, A. D. 1221. +</td> +</tr> +<tr> +<td class="tdl"> +mouth. Lily. Book. +</td> +<td class="tdl"> +Founder of the Dominican Order. +</td> +</tr> +<tr> +<td class="tdl"> +Star on his forehead. Rosary. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Dominican habit. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Dog.</span> Pilgrim’s habit. Staff. +</td> +<td class="tdl"> +St. Roch, A. D. 1327. Patron +</td> +</tr> +<tr> +<td class="tdl"> +Wallet and cockle-shell. +</td> +<td class="tdl"> +saint of prisoners, and those +</td> +</tr> +<tr> +<td class="tdl"> +Pointing to wound in his +</td> +<td class="tdl"> +stricken with plague. +</td> +</tr> +<tr> +<td class="tdl"> +leg. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Dog</span> at her feet. Checkered habit. +</td> +<td class="tdl"> +St. Margaret of Cortona, A. D. 1297. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Dove.</span> Lily. Benedictine habit. +</td> +<td class="tdl"> +St. Scholastica, sister of St. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Benedict, A. D. 543. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Dove</span> on his shoulder or +</td> +<td class="tdl"> +St. Gregory, A. D. 604. One +</td> +</tr> +<tr> +<td class="tdl"> +close to his ear. Pope’s +</td> +<td class="tdl"> +of the Four Latin Fathers +</td> +</tr> +<tr> +<td class="tdl"> +robes. Tiara. Crozier +</td> +<td class="tdl"> +of the Church. +</td> +</tr> +<tr> +<td class="tdl"> +with double cross. Book. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Dragon</span> at his feet. In armour. +</td> +<td class="tdl"> +St. George, Martyr, A. D. 303. +</td> +</tr> +<tr> +<td class="tdl"> +Standard. Lance. Palm. +</td> +<td class="tdl"> +Patron saint of England, +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Germany, Venice, +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +soldiers and armourers. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Dragon,</span> small, its mouth +</td> +<td class="tdl"> +St. Sylvester, Pope, A. D. 335. +</td> +</tr> +<tr> +<td class="tdl"> +bound with threads. Bull. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Holding or pointing to the +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +portraits of St. Peter and +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +St. Paul. Pope’s robes. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Mitre. Sometimes triple +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +tiara. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Dragon</span> under his feet. In +</td> +<td class="tdl"> +St. Theodore, Martyr, A. D. 319. +</td> +</tr> +<tr> +<td class="tdl"> +armour. +</td> +<td class="tdl"> +Patron saint of Venice. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Dragon</span><span class="pagenum" id="Page_14">[Pg 14]</span> at his feet. Bishop’s +</td> +<td class="tdl"> +St. Mercuriale, second century. +</td> +</tr> +<tr> +<td class="tdl"> +robes. +</td> +<td class="tdl"> +Bishop of Forli. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Dragon</span> under her feet. +</td> +<td class="tdl"> +St. Margaret, Virgin Martyr, +</td> +</tr> +<tr> +<td class="tdl"> +Crown. Cross. Palm. +</td> +<td class="tdl"> +A. D. 306. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Dragon,</span> bound at her feet. +</td> +<td class="tdl"> +St. Martha of Bethany, A. D. 84. +</td> +</tr> +<tr> +<td class="tdl"> +Asperges. Pot of holy +</td> +<td class="tdl"> +Patron saint of cooks +</td> +</tr> +<tr> +<td class="tdl"> +water. Bunch of keys. +</td> +<td class="tdl"> +and housewives. +</td> +</tr> +<tr> +<td class="tdl"> +Skimmer or ladle. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Dragon,</span> driving into the sea. +</td> +<td class="tdl"> +St. Pol-de-Léon, A. D. 573. +</td> +</tr> +<tr> +<td class="tdl"> +Bell. Sometimes loaf and +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +cruse. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Eagle</span> by her side. Lion. +</td> +<td class="tdl"> +St. Prisca, Virgin Martyr, +</td> +</tr> +<tr> +<td class="tdl"> +Palm. +</td> +<td class="tdl"> +A. D. 275. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Eagle.</span> Sometimes cup with +</td> +<td class="tdl"> +St. John the Evangelist. +</td> +</tr> +<tr> +<td class="tdl"> +serpent. Pen. Book. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Eyes,</span> on a dish. Sword or +</td> +<td class="tdl"> +St. Lucy, Virgin Martyr, A. D. 303. +</td> +</tr> +<tr> +<td class="tdl"> +wound in her neck. Lamp. +</td> +<td class="tdl"> +Patron saint of Syracuse, +</td> +</tr> +<tr> +<td class="tdl"> +Palm. +</td> +<td class="tdl"> +and against diseases +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +of the eye. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Eyes,</span> two, on a book. Crozier, +</td> +<td class="tdl"> +St. Ottilia, Martyr, A. D. 720. +</td> +</tr> +<tr> +<td class="tdl"> +or palm. Benedictine habit. +</td> +<td class="tdl"> +Patron saint of Alsace, and +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Strasburg, and against diseases +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +of the eye. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Face</span> of Christ on a napkin. +</td> +<td class="tdl"> +St. Veronica, Martyr. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Falcon.</span> In armour, or as a +</td> +<td class="tdl"> +St. Bavon, A. D. 657. Patron +</td> +</tr> +<tr> +<td class="tdl"> +hermit praying in a hollow +</td> +<td class="tdl"> +saint of Ghent, and Haarlem. +</td> +</tr> +<tr> +<td class="tdl"> +tree. Huge stone. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Fetters</span> and chains. Crozier. +</td> +<td class="tdl"> +St. Leonard, A. D. 559. Patron +</td> +</tr> +<tr> +<td class="tdl"> +Book. Deacon’s dress, or +</td> +<td class="tdl"> +saint of prisoners, and +</td> +</tr> +<tr> +<td class="tdl"> +Benedictine habit. +</td> +<td class="tdl"> +captives. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Fetters</span><span class="pagenum" id="Page_15">[Pg 15]</span> and chains in her +</td> +<td class="tdl"> +St. Balbina, A. D. 130. She +</td> +</tr> +<tr> +<td class="tdl"> +hand. Found only in Rome. +</td> +<td class="tdl"> +was the daughter of the +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Prefect Quirinus, and discovered +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +the lost chains of +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +St. Peter. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Finger</span> on his lip. Sometimes +</td> +<td class="tdl"> +St. John Nepomuck, A. D. 1393. +</td> +</tr> +<tr> +<td class="tdl"> +with mouth padlocked. +</td> +<td class="tdl"> +Patron saint of +</td> +</tr> +<tr> +<td class="tdl"> +Five stars over his head. +</td> +<td class="tdl"> +bridges, and running water, +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +of silence, and against +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +slander. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Fire</span> near him or in the background. +</td> +<td class="tdl"> +St. Anthony, Hermit, A. D. 357. +</td> +</tr> +<tr> +<td class="tdl"> +Crutch with bell. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Hog. Asperges. Skull. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Crucifix. Monk’s habit. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Fire,</span> throwing water on a +</td> +<td class="tdl"> +St. Florian, Martyr. Patron +</td> +</tr> +<tr> +<td class="tdl"> +burning house. Millstone. +</td> +<td class="tdl"> +saint of Austria. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Fish.</span> Keys. Cross. Cock. +</td> +<td class="tdl"> +St. Peter, Apostle and Martyr. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Fish</span> with a key in its mouth. +</td> +<td class="tdl"> +St. Benno, A. D. 1100. +</td> +</tr> +<tr> +<td class="tdl"> +Bishop’s robes. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Fish.</span> Bishop’s robes. +</td> +<td class="tdl"> +St. Ulrich, A. D. 973. Patron +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +saint of Augsburg. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Fish</span> suspended from his crozier. +</td> +<td class="tdl"> +St. Zeno, A. D. 380. Patron +</td> +</tr> +<tr> +<td class="tdl"> +Bishop’s robes. +</td> +<td class="tdl"> +saint of Verona. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Fish</span> at his feet. Bishop’s robes. +</td> +<td class="tdl"> +St. Corentin of Brittany, A. D. 495. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Flame</span> of Fire in his hand +</td> +<td class="tdl"> +St. Anthony of Padua, A. D. 1231. +</td> +</tr> +<tr> +<td class="tdl"> +or on his breast. Infant +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Christ in his arms or on +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +his book. Lily. Crucifix. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Mule kneeling. Franciscan +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +habit. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Fleur-de-Lys</span><span class="pagenum" id="Page_16">[Pg 16]</span> embroidered +</td> +<td class="tdl"> +St. Louis of Toulouse, A. D. 1297. +</td> +</tr> +<tr> +<td class="tdl"> +on Bishop’s robes. Mitre. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Crown and sceptre at his +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +feet. Young and beardless. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Sometimes Franciscan habit. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Fleur-de-Lys</span> embroidered on +</td> +<td class="tdl"> +St. Louis IX., King of France, +</td> +</tr> +<tr> +<td class="tdl"> +royal robes. Crown and +</td> +<td class="tdl"> +A. D. 1270. +</td> +</tr> +<tr> +<td class="tdl"> +sceptre at his feet. Holding +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +crown of thorns. Sometimes +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Franciscan habit. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Flowers,</span> three. Swan. Carthusian +</td> +<td class="tdl"> +St. Hugh of Lincoln, A. D. 1126. +</td> +</tr> +<tr> +<td class="tdl"> +habit. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Fork,</span> two-pronged. Lictor’s +</td> +<td class="tdl"> +St. Martina, Virgin Martyr, +</td> +</tr> +<tr> +<td class="tdl"> +axe. +</td> +<td class="tdl"> +A. D. 230. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Fountain.</span> Sometimes head +</td> +<td class="tdl"> +St. Alban, A. D. 305. England’s +</td> +</tr> +<tr> +<td class="tdl"> +in his hand. Sword. +</td> +<td class="tdl"> +protomartyr. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Globe</span> and cross. Three +</td> +<td class="tdl"> +St. Charlemagne, A. D. 814. +</td> +</tr> +<tr> +<td class="tdl"> +crowns embroidered on his +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +robe. In armour. Ermine mantle. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Goose.</span> Dividing his cloak +</td> +<td class="tdl"> +St. Martin of Tours, A. D. 397. +</td> +</tr> +<tr> +<td class="tdl"> +with a beggar. Beggar at +</td> +<td class="tdl"> +Patron saint of Tours, +</td> +</tr> +<tr> +<td class="tdl"> +his feet. Sometimes as +</td> +<td class="tdl"> +and Lucca, and of penitent +</td> +</tr> +<tr> +<td class="tdl"> +soldier, or in Bishop’s robes. +</td> +<td class="tdl"> +drunkards. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Gridiron.</span> Deacon’s robes. +</td> +<td class="tdl"> +St. Laurence, A. D. 258. Patron +</td> +</tr> +<tr> +<td class="tdl"> +Sometimes gridiron embroidered +</td> +<td class="tdl"> +saint of Nuremberg, +</td> +</tr> +<tr> +<td class="tdl"> +on his robe. Palm. +</td> +<td class="tdl"> +and Genoa. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Hair</span> and beard long. Half-naked. +</td> +<td class="tdl"> +St. Paul, the Hermit of +</td> +</tr> +<tr> +<td class="tdl"> +Very old. Sometimes +</td> +<td class="tdl"> +Thebes, A. D. 344. +</td> +</tr> +<tr> +<td class="tdl"> +a raven near. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Halberd</span> (in Germany). +</td> +<td class="tdl"> +St. Jude or Thaddeus, Apostle +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +and Martyr. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Harrow.</span><span class="pagenum" id="Page_17">[Pg 17]</span> Bishop’s robes. +</td> +<td class="tdl"> +St. Frediano of Lucca, A. D. 560. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Hat,</span> Cardinal’s, near. Sometimes +</td> +<td class="tdl"> +St. Jerome, A. D. 420. One +</td> +</tr> +<tr> +<td class="tdl"> +Cardinal’s robes. +</td> +<td class="tdl"> +of the Four Latin Fathers +</td> +</tr> +<tr> +<td class="tdl"> +Old. Wasted. Long beard. +</td> +<td class="tdl"> +of the Church. +</td> +</tr> +<tr> +<td class="tdl"> +Books. Skull. Crucifix. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Lion. Church in his hand. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Hat,</span> Cardinal’s, hanging on +</td> +<td class="tdl"> +St. Bonaventura, A. D. 1274. +</td> +</tr> +<tr> +<td class="tdl"> +a tree or at his feet. Angel +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +with pyx. Book. Cardinal’s +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +robes, or Franciscan habit. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Hawk.</span> Shield with nine balls. +</td> +<td class="tdl"> +St. Quirinus the Tribune, +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +A. D. 130. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Head,</span> blood flowing from, +</td> +<td class="tdl"> +St. Peter Martyr, A. D. 1252. +</td> +</tr> +<tr> +<td class="tdl"> +or pierced by an axe or +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +sword. Palm. Crucifix. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Dominican habit. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Head,</span> blood flowing from, or +</td> +<td class="tdl"> +St. Thomas à Becket, A. D. 1170. +</td> +</tr> +<tr> +<td class="tdl"> +pierced by a sword. Benedictine +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +habit or Bishop’s robes. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Head</span> of a man under her +</td> +<td class="tdl"> +St. Catherine of Alexandria, +</td> +</tr> +<tr> +<td class="tdl"> +feet. Wheel. Crown. +</td> +<td class="tdl"> +Virgin Martyr, A. D. 307. +</td> +</tr> +<tr> +<td class="tdl"> +Palm. Book. Receiving +</td> +<td class="tdl"> +Patron saint of Venice, +</td> +</tr> +<tr> +<td class="tdl"> +ring from the Christ-Child. +</td> +<td class="tdl"> +philosophy, science, students, +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +and against diseases +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +of the tongue. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Head,</span> carrying his own. +</td> +<td class="tdl"> +St. Clair, Martyr, third century. +</td> +</tr> +<tr> +<td class="tdl"> +Found only in Rouen. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Head,</span> carrying in both hands, +</td> +<td class="tdl"> +St. Proculus, Martyr, A. D. 303. +</td> +</tr> +<tr> +<td class="tdl"> +or axe in his hand, or angel +</td> +<td class="tdl"> +Patron saint of Bologna. +</td> +</tr> +<tr> +<td class="tdl"> +holding an axe. In armour. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Sword. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Head</span><span class="pagenum" id="Page_18">[Pg 18]</span> in his hand. Sword. +</td> +<td class="tdl"> +St. Alban, A. D. 305. England’s +</td> +</tr> +<tr> +<td class="tdl"> +Fountain. +</td> +<td class="tdl"> +protomartyr. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Head,</span> carrying his own. Bishop’s +</td> +<td class="tdl"> +St. Denis, Martyr, first century. +</td> +</tr> +<tr> +<td class="tdl"> +robes. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Head,</span> carrying her own. Palm. +</td> +<td class="tdl"> +St. Valerie, Martyr. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Head,</span> carrying St. Alexander’s, +</td> +<td class="tdl"> +St. Grata, A. D. 300. +</td> +</tr> +<tr> +<td class="tdl"> +accompanied by St. Adelaide +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +as Queen with a veil, +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +St. Lupo with crown, and +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +St. Alexander in armour. Palm. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Heart,</span> flaming or transfixed +</td> +<td class="tdl"> +St. Augustine, A. D. 430. One +</td> +</tr> +<tr> +<td class="tdl"> +by an arrow. Infant by the +</td> +<td class="tdl"> +of the Four Latin Fathers of +</td> +</tr> +<tr> +<td class="tdl"> +seashore. Book in his hand +</td> +<td class="tdl"> +the Church. +</td> +</tr> +<tr> +<td class="tdl"> +or at his feet. Bishop’s +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +robes. Mitre. Crozier. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Heart</span> with I. H. S. Angel +</td> +<td class="tdl"> +St. Theresa, A. D. 1582. +</td> +</tr> +<tr> +<td class="tdl"> +with flame-tipped arrow. +</td> +<td class="tdl"> +Patron saint of Spain. +</td> +</tr> +<tr> +<td class="tdl"> +Dove. Lily. Crucifix. +</td> +<td class="tdl"> +Founder of the Scalzi, +</td> +</tr> +<tr> +<td class="tdl"> +Carmelite habit. +</td> +<td class="tdl"> +reformed Carmelites. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Heart,</span> crowned by thorns. +</td> +<td class="tdl"> +St. Ignatius Loyola, A. D. +</td> +</tr> +<tr> +<td class="tdl"> +I. H. S. in the skies, or on +</td> +<td class="tdl"> +1556. Founder of the +</td> +</tr> +<tr> +<td class="tdl"> +a tablet borne by angels. +</td> +<td class="tdl"> +Jesuit Order. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Hermit</span> praying in a hollow +</td> +<td class="tdl"> +St. Bavon, A. D. 657. Patron +</td> +</tr> +<tr> +<td class="tdl"> +tree, or as a prince in +</td> +<td class="tdl"> +saint of Ghent and Haarlem. +</td> +</tr> +<tr> +<td class="tdl"> +armour, with falcon in his +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +hand. Huge stone. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Hind,</span> pierced by an arrow, +</td> +<td class="tdl"> +St. Giles, Hermit, A. D. 725. +</td> +</tr> +<tr> +<td class="tdl"> +in his arms or at his feet. +</td> +<td class="tdl"> +Patron saint of Edinburgh, +</td> +</tr> +<tr> +<td class="tdl"> +Old. Benedictine habit. +</td> +<td class="tdl"> +of woods, cripples, beggars, +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +lepers. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Hog.</span><span class="pagenum" id="Page_19">[Pg 19]</span> Bell and crutch. Asperges. +</td> +<td class="tdl"> +St. Anthony, Hermit, A. D. 357. +</td> +</tr> +<tr> +<td class="tdl"> +Flames of fire in +</td> +<td class="tdl"> +Patron saint against +</td> +</tr> +<tr> +<td class="tdl"> +the background. Skull. +</td> +<td class="tdl"> +fire, here and hereafter. +</td> +</tr> +<tr> +<td class="tdl"> +Crucifix. Monk’s habit. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Horses,</span> tied to wild. Bunch +</td> +<td class="tdl"> +St. Hippolytus, Martyr, A. D. 258. +</td> +</tr> +<tr> +<td class="tdl"> +of keys. Sometimes iron +</td> +<td class="tdl"> +The jailer of St. Laurence. +</td> +</tr> +<tr> +<td class="tdl"> +comb. In armour. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="allsmcap">I. H. S.</span> on a tablet surrounded +</td> +<td class="tdl"> +St. Bernardino of Siena, A. D. 1444. +</td> +</tr> +<tr> +<td class="tdl"> +by rays. Sometimes three +</td> +<td class="tdl"> +Founder of the Order of +</td> +</tr> +<tr> +<td class="tdl"> +mitres, or three mounds +</td> +<td class="tdl"> +Observants, reformed Franciscans. +</td> +</tr> +<tr> +<td class="tdl"> +surmounted by a standard +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +or cross. Franciscan habit. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="allsmcap">I. H. S.</span> on heart. Angel with +</td> +<td class="tdl"> +St. Theresa, A. D. 1582. +</td> +</tr> +<tr> +<td class="tdl"> +flame-tipped arrow. Dove. +</td> +<td class="tdl"> +Patron saint of Spain. +</td> +</tr> +<tr> +<td class="tdl"> +Lily. Crucifix. Carmelite +</td> +<td class="tdl"> +Founder of the Scalzi, +</td> +</tr> +<tr> +<td class="tdl"> +habit. +</td> +<td class="tdl"> +reformed Carmelites. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="allsmcap">I. H. S.</span> in the sky, or on a +</td> +<td class="tdl"> +St. Ignatius Loyola, A. D. 1556. +</td> +</tr> +<tr> +<td class="tdl"> +tablet borne by angels. +</td> +<td class="tdl"> +Founder of the Jesuits. +</td> +</tr> +<tr> +<td class="tdl"> +Heart crowned by thorns. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Instruments,</span> surgical. Box +</td> +<td class="tdl"> +St. Cosmo and St. Damian, +</td> +</tr> +<tr> +<td class="tdl"> +of ointment. Two men in +</td> +<td class="tdl"> +Martyrs, A. D. 301. Patron +</td> +</tr> +<tr> +<td class="tdl"> +red robes. Palms. +</td> +<td class="tdl"> +saints of medicine, and the +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Medici family. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Javelin,</span> with the point reversed. +</td> +<td class="tdl"> +St. Filomena, Martyr, A. D. 303. +</td> +</tr> +<tr> +<td class="tdl"> +Lily. Palm. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Javelin</span> or lance at his feet. +</td> +<td class="tdl"> +St. Lambert, Martyr, A. D. 709. +</td> +</tr> +<tr> +<td class="tdl"> +Palm. Bishop’s robes. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Javelins.</span> Lily. Crown. +</td> +<td class="tdl"> +St. Miniato, Martyr, A. D. 254. +</td> +</tr> +<tr> +<td class="tdl"> +T-shaped cross. Palm. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Scarlet robe. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Judge</span><span class="pagenum" id="Page_20">[Pg 20]</span> or Doctor of Laws. +</td> +<td class="tdl"> +St. Ives of Bretagne, A. D. 1303. +</td> +</tr> +<tr> +<td class="tdl"> +Sometimes surrounded by +</td> +<td class="tdl"> +Patron saint of lawyers. +</td> +</tr> +<tr> +<td class="tdl"> +widows and orphans. Sometimes +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +wears the Franciscan +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +cord around his furred robe. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Keys.</span> Fish. Cross. Cock. +</td> +<td class="tdl"> +St. Peter, Apostle and Martyr. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Keys</span> at her girdle. Dragon +</td> +<td class="tdl"> +St. Martha of Bethany, A. D. 84. +</td> +</tr> +<tr> +<td class="tdl"> +bound at her feet. Pot of +</td> +<td class="tdl"> +Patron saint of cooks +</td> +</tr> +<tr> +<td class="tdl"> +holy water. Asperges. +</td> +<td class="tdl"> +and housewives. +</td> +</tr> +<tr> +<td class="tdl"> +Skimmer or ladle. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Knife.</span> Sometimes carrying +</td> +<td class="tdl"> +St. Bartholomew, Apostle and +</td> +</tr> +<tr> +<td class="tdl"> +his own skin. +</td> +<td class="tdl"> +Martyr. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Knife,</span> shoemaker’s, or awl. +</td> +<td class="tdl"> +St. Crispin and St. Crispianus, +</td> +</tr> +<tr> +<td class="tdl"> +Palm. Two saints together. +</td> +<td class="tdl"> +Martyrs, A. D. 300. Patron +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +saints of Soissons. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Labarum</span> or Standard of the +</td> +<td class="tdl"> +St. Constantine, A. D. 335. +</td> +</tr> +<tr> +<td class="tdl"> +Cross. As Roman Emperor +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +or warrior. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Lamb.</span> Reed cross. Scroll. +</td> +<td class="tdl"> +St. John the Baptist. Patron +</td> +</tr> +<tr> +<td class="tdl"> +Camel’s hair garment. +</td> +<td class="tdl"> +saint of Florence, and all +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +who are baptised. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Lamb.</span> Hair as a cloak. +</td> +<td class="tdl"> +St. Agnes, Virgin Martyr, +</td> +</tr> +<tr> +<td class="tdl"> +Olive branch. Crown. Palm. +</td> +<td class="tdl"> +A. D. 304. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Lamb.</span> Stigmata. Lily. +</td> +<td class="tdl"> +St. Francis of Assisi, A. D. 1226. +</td> +</tr> +<tr> +<td class="tdl"> +Skull. Crucifix. Franciscan habit. +</td> +<td class="tdl"> +Founder of the Franciscan Order. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Lamp.</span> Eyes on a dish. Sword +</td> +<td class="tdl"> +St. Lucy, Virgin Martyr, A. D. 303. +</td> +</tr> +<tr> +<td class="tdl"> +or wound in her neck. Palm. +</td> +<td class="tdl"> +Patron saint of Syracuse, and against +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +diseases of the eye. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Lily.</span> Crutch or stick. +</td> +<td class="tdl"> +St. Joseph, husband of the +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Blessed Virgin. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Lily.</span><span class="pagenum" id="Page_21">[Pg 21]</span> Lamb. Stigmata. +</td> +<td class="tdl"> +St. Francis of Assisi, A. D. 1226. +</td> +</tr> +<tr> +<td class="tdl"> +Skull. Crucifix. Franciscan habit. +</td> +<td class="tdl"> +Founder of the Franciscan Order. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Lily.</span> Flame of fire in his +</td> +<td class="tdl"> +St. Anthony of Padua, A. D. 1231. +</td> +</tr> +<tr> +<td class="tdl"> +hand or on his breast. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Infant Christ in his arms +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +or on his book. Mule kneeling. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Crucifix. Franciscan +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +habit. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Lily.</span> Star on his forehead. +</td> +<td class="tdl"> +St. Dominick, A. D. 1221. +</td> +</tr> +<tr> +<td class="tdl"> +Dog with torch in its mouth. +</td> +<td class="tdl"> +Founder of the Dominican Order. +</td> +</tr> +<tr> +<td class="tdl"> +Rosary. Book. Dominican habit. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Lily.</span> Crown and sceptre +</td> +<td class="tdl"> +St. Casimir of Poland, A. D. 1483. +</td> +</tr> +<tr> +<td class="tdl"> +at his feet. Royal robes. Young. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Lily.</span> Crucifix. Surplice over +</td> +<td class="tdl"> +St. Francis Xavier, A. D. 1552. +</td> +</tr> +<tr> +<td class="tdl"> +black habit. +</td> +<td class="tdl"> +Patron saint of India. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Lily.</span> Pyx. Cross. Franciscan +</td> +<td class="tdl"> +St. Clara, A. D. 1253. Founder +</td> +</tr> +<tr> +<td class="tdl"> +habit. Black veil. +</td> +<td class="tdl"> +of the Order of Poor Clares, +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Franciscan nuns. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Lily.</span> Crown of thorns. +</td> +<td class="tdl"> +St. Catherine of Siena, A. D. 1380. +</td> +</tr> +<tr> +<td class="tdl"> +Stigmata. Dominican habit. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Lily.</span> Sword. Palm. Lion +</td> +<td class="tdl"> +St. Euphemia, Virgin Martyr, +</td> +</tr> +<tr> +<td class="tdl"> +at her side. +</td> +<td class="tdl"> +A. D. 307. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Lion,</span> generally winged. +</td> +<td class="tdl"> +St. Mark, Evangelist and Martyr. +</td> +</tr> +<tr> +<td class="tdl"> +Bishop’s robes. Book. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Lion.</span> Old, ragged, wasted. +</td> +<td class="tdl"> +St. Jerome, A. D. 420. One +</td> +</tr> +<tr> +<td class="tdl"> +Long beard. Skull. Crucifix. +</td> +<td class="tdl"> +of the Four Latin Fathers +</td> +</tr> +<tr> +<td class="tdl"> +Book, or Cardinal’s +</td> +<td class="tdl"> +of the Church. Founder of +</td> +</tr> +<tr> +<td class="tdl"> +robes. Church in his hand. +</td> +<td class="tdl"> +Monachism in the West. +</td> +</tr> +<tr> +<td class="tdl"> +Cardinal’s hat near. +</td> +<td class="tdl"> +Patron saint of scholars. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Millstone.</span><span class="pagenum" id="Page_22">[Pg 22]</span> In armour. +</td> +<td class="tdl"> +St. Victor of Marseilles, Martyr, +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +A. D. 303. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Millstone.</span> Throwing water +</td> +<td class="tdl"> +St. Florian. A patron saint +</td> +</tr> +<tr> +<td class="tdl"> +on a burning house. +</td> +<td class="tdl"> +of Austria. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Millstone.</span> Crown. Arrows. Palm. +</td> +<td class="tdl"> +St. Christina, Martyr, A. D. 295. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Patron saint of Bolsena and Venice. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Mitres,</span> three, on a book +</td> +<td class="tdl"> +St. Bernard of Clairvaux, A. D. 1153. +</td> +</tr> +<tr> +<td class="tdl"> +or at his feet. Beehive. +</td> +<td class="tdl"> +Founder of the +</td> +</tr> +<tr> +<td class="tdl"> +Ink-horn, pen, and papers. +</td> +<td class="tdl"> +Cistercians, reformed Benedictines. +</td> +</tr> +<tr> +<td class="tdl"> +Demon bound. White habit. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Mitres,</span> three. I. H. S. on +</td> +<td class="tdl"> +St. Bernardino of Siena, A. D. 1444. +</td> +</tr> +<tr> +<td class="tdl"> +a tablet surrounded by +</td> +<td class="tdl"> +Founder of the +</td> +</tr> +<tr> +<td class="tdl"> +rays. Three mounds surmounted +</td> +<td class="tdl"> +Order of Observants, reformed +</td> +</tr> +<tr> +<td class="tdl"> +by the Standard +</td> +<td class="tdl"> +Franciscans. +</td> +</tr> +<tr> +<td class="tdl"> +or Cross. Franciscan habit. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Moor,</span> in armour, or with +</td> +<td class="tdl"> +St. Maurice, Martyr, A. D. 286. +</td> +</tr> +<tr> +<td class="tdl"> +eagle on banner and shield. +</td> +<td class="tdl"> +Patron saint of +</td> +</tr> +<tr> +<td class="tdl"> +Large red cross on his breast. +</td> +<td class="tdl"> +Austria, Mantua, Savoy, +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +and of foot-soldiers. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Moor,</span> in armour. +</td> +<td class="tdl"> +St. Victor of Milan, Martyr, +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +A. D. 303. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Mule</span> kneeling. Flame in his +</td> +<td class="tdl"> +St. Anthony of Padua, A. D. 1231. +</td> +</tr> +<tr> +<td class="tdl"> +hand or on his breast. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Infant Christ in his arms +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +or on his book. Crucifix. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Lily. Franciscan habit. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Musical</span> instruments. Crown +</td> +<td class="tdl"> +St. Cecilia, Virgin Martyr, +</td> +</tr> +<tr> +<td class="tdl"> +of red and white roses. +</td> +<td class="tdl"> +A. D. 280. Patron saint +</td> +</tr> +<tr> +<td class="tdl"> +Angel. Palm. Scroll of music. +</td> +<td class="tdl"> +of music and musicians. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Nun.</span><span class="pagenum" id="Page_23">[Pg 23]</span> Crozier. Pilgrim’s +</td> +<td class="tdl"> +St. Bridget of Sweden, A. D. +</td> +</tr> +<tr> +<td class="tdl"> +staff. Dove. Black and +</td> +<td class="tdl"> +1373. Founder of the +</td> +</tr> +<tr> +<td class="tdl"> +white habit. White veil +</td> +<td class="tdl"> +Order of Brigittines. +</td> +</tr> +<tr> +<td class="tdl"> +with red band across the +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +forehead. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Otter</span> by his side. Bishop’s +</td> +<td class="tdl"> +St. Cuthbert of Durham, A. D. 687. +</td> +</tr> +<tr> +<td class="tdl"> +robes. Crowned head of +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +King Oswald in his arms. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Ox</span> (winged). Book. Portrait +</td> +<td class="tdl"> +St. Luke, Evangelist, Martyr. +</td> +</tr> +<tr> +<td class="tdl"> +of the Virgin. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Ox</span> at his feet. Small dragon +</td> +<td class="tdl"> +St. Sylvester, Pope, A. D. 335. +</td> +</tr> +<tr> +<td class="tdl"> +in his hand. Sometimes +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +portraits of St. Peter and +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +St. Paul. Pope’s or Bishop’s +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +robes. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Pincers,</span> holding a tooth. +</td> +<td class="tdl"> +St. Apollonia of Alexandria, +</td> +</tr> +<tr> +<td class="tdl"> +Palm. +</td> +<td class="tdl"> +Virgin Martyr, A. D. 250. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Patron saint against toothache. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Pincers,</span> holding tongue in. +</td> +<td class="tdl"> +St. Lieven, Martyr, A. D. 656. +</td> +</tr> +<tr> +<td class="tdl"> +Bishop’s robes. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Ploughshares,</span> walking over. +</td> +<td class="tdl"> +St. Cunegunda of Bavaria, +</td> +</tr> +<tr> +<td class="tdl"> +Church in her hand. Royal +</td> +<td class="tdl"> +A. D. 1040. +</td> +</tr> +<tr> +<td class="tdl"> +robes. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Pots,</span> earthenware. Sometimes +</td> +<td class="tdl"> +St. Justa and St. Rufina, Martyrs, +</td> +</tr> +<tr> +<td class="tdl"> +the Giralda (tower) +</td> +<td class="tdl"> +A. D. 304. +</td> +</tr> +<tr> +<td class="tdl"> +of Seville between them. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Two young girls with +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +palms. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Priests,</span> two. Palms. +</td> +<td class="tdl"> +St. Peter Exorcista and St. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Marcellinus, Martyrs, A. D. 304. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Pyx.</span><span class="pagenum" id="Page_24">[Pg 24]</span> Cross. Lily. Franciscan +</td> +<td class="tdl"> +St. Clara, A. D. 1253. Founder +</td> +</tr> +<tr> +<td class="tdl"> +habit. Black veil. +</td> +<td class="tdl"> +of the Poor Clares, Franciscan nuns. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Raven</span> with a loaf in its beak. +</td> +<td class="tdl"> +St. Benedict, A. D. 543. +</td> +</tr> +<tr> +<td class="tdl"> +Broken pitcher or cup. +</td> +<td class="tdl"> +Founder of the Benedictine +</td> +</tr> +<tr> +<td class="tdl"> +Broken sieve. Thorn bush. +</td> +<td class="tdl"> +Order. +</td> +</tr> +<tr> +<td class="tdl"> +Asperges. Mitre and staff. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Black habit, sometimes white. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Raven.</span> Very old. Half +</td> +<td class="tdl"> +St. Paul the Hermit of Thebes, +</td> +</tr> +<tr> +<td class="tdl"> +naked. Long hair and beard. +</td> +<td class="tdl"> +A. D. 344. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Raven</span> or crow sometimes on +</td> +<td class="tdl"> +St. Vincent, Martyr, A. D. 304. +</td> +</tr> +<tr> +<td class="tdl"> +a millstone. Palm. Young. +</td> +<td class="tdl"> +Patron saint of +</td> +</tr> +<tr> +<td class="tdl"> +Deacon’s dress. +</td> +<td class="tdl"> +Valencia, Saragossa, Lisbon, +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Milan, and Chalons. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Ring.</span> Royal robes. Sceptre +</td> +<td class="tdl"> +St. Edward the Confessor, +</td> +</tr> +<tr> +<td class="tdl"> +surmounted by a dove. +</td> +<td class="tdl"> +A. D. 1066. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Rope</span> around his neck. Barefooted. +</td> +<td class="tdl"> +St. Charles Borromeo, A. D. 1584. +</td> +</tr> +<tr> +<td class="tdl"> +Cardinal’s robes. +</td> +<td class="tdl"> +Archbishop of Milan. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Roses,</span> red and white, in her +</td> +<td class="tdl"> +St. Elizabeth of Hungary, A. D. 1231. +</td> +</tr> +<tr> +<td class="tdl"> +lap. Cripple or beggar at +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +her feet. Sometimes three +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +crowns. Royal robes or +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Franciscan habit. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Roses,</span> crown of red and white. +</td> +<td class="tdl"> +St. Cecilia, Virgin Martyr, +</td> +</tr> +<tr> +<td class="tdl"> +Angel. Palm. Musical +</td> +<td class="tdl"> +A. D. 280. Patron saint +</td> +</tr> +<tr> +<td class="tdl"> +instruments. Organ. +</td> +<td class="tdl"> +of music and musicians. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Roses,</span> crown of, or in her +</td> +<td class="tdl"> +St. Dorothea of Cappadocia, +</td> +</tr> +<tr> +<td class="tdl"> +hand. Angel holding basket +</td> +<td class="tdl"> +Virgin Martyr, A. D. 303. +</td> +</tr> +<tr> +<td class="tdl"> +with three apples and three +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +roses. Palm. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Roses</span> falling from his mouth. +</td> +<td class="tdl"> +St. Angelus the Carmelite, +</td> +</tr> +<tr> +<td class="tdl"> +White over brown habit. +</td> +<td class="tdl"> +A. D. 1220. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Roses</span><span class="pagenum" id="Page_25">[Pg 25]</span>, chaplet of. Franciscan habit. +</td> +<td class="tdl"> +St. Rosa di Viterbo, A. D. 1261. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Rule,</span> builder’s or carpenter’s. +</td> +<td class="tdl"> +St. Thomas, Apostle and Martyr. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Patron saint of builders +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +and architects. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Saw.</span> +</td> +<td class="tdl"> +St. Simon Zelotes, Apostle., Martyr. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Scourge</span> with three knotted +</td> +<td class="tdl"> +St. Ambrose, A. D. 397. One +</td> +</tr> +<tr> +<td class="tdl"> +thongs. Beehive. Two +</td> +<td class="tdl"> +of the Four Latin Fathers +</td> +</tr> +<tr> +<td class="tdl"> +human bones. Books. +</td> +<td class="tdl"> +of the Church. Patron +</td> +</tr> +<tr> +<td class="tdl"> +Bishop’s robes. Mitre. Crozier. +</td> +<td class="tdl"> +saint of Milan. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Sea,</span> walking over, or in the +</td> +<td class="tdl"> +St. Raymond of Peñaforte, +</td> +</tr> +<tr> +<td class="tdl"> +background. Dominican habit. +</td> +<td class="tdl"> +A. D. 1275. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Serpents</span> at her side or +</td> +<td class="tdl"> +St. Verdiana, A. D. 242. +</td> +</tr> +<tr> +<td class="tdl"> +feeding from a basket. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Seven</span> youths surrounding +</td> +<td class="tdl"> +St. Felicitas and her seven +</td> +</tr> +<tr> +<td class="tdl"> +her. Palm. Veil. +</td> +<td class="tdl"> +sons, Martyrs, A. D. 173. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Patron saint of male heirs. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Shears.</span> Dish with female +</td> +<td class="tdl"> +St. Agatha, Virgin Martyr, +</td> +</tr> +<tr> +<td class="tdl"> +breast. Palm. Veil. +</td> +<td class="tdl"> +A. D. 251. Patron saint +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +of Malta and Catania, and +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +against fire and diseases of +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +the breast. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Skin,</span> carrying his own. Knife. +</td> +<td class="tdl"> +St. Bartholomew, Apostle. Martyr. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Skull.</span> Stigmata. Lily. +</td> +<td class="tdl"> +St. Francis of Assisi, A. D. 1226. +</td> +</tr> +<tr> +<td class="tdl"> +Crucifix. Lamb. Franciscan habit. +</td> +<td class="tdl"> +Founder of the Franciscan Order. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Spade.</span><span class="pagenum" id="Page_26">[Pg 26]</span> Old. +</td> +<td class="tdl"> +St. Phocas of Sinope, Martyr, +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +A. D. 303. Patron saint +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +of gardens and gardeners. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Spear</span> or lance. Roman soldier. +</td> +<td class="tdl"> +St. Longinus, A. D. 45. The +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +centurion at the crucifixion. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Patron saint of Mantua. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Spider</span> over a cup. Sometimes +</td> +<td class="tdl"> +St. Norbert, A. D. 1134. +</td> +</tr> +<tr> +<td class="tdl"> +demon bound. White +</td> +<td class="tdl"> +Founder of the Order of +</td> +</tr> +<tr> +<td class="tdl"> +over black habit. +</td> +<td class="tdl"> +Premonstratensians. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Stag.</span> Hunting horn. Richly +</td> +<td class="tdl"> +St. Julian Hospitator, A. D. 313. +</td> +</tr> +<tr> +<td class="tdl"> +attired. River and boat +</td> +<td class="tdl"> +Patron saint of boatmen, +</td> +</tr> +<tr> +<td class="tdl"> +in the background. +</td> +<td class="tdl"> +travellers, and wandering minstrels. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Stag</span> with crucifix between +</td> +<td class="tdl"> +St. Eustace, Martyr, A. D. 118. +</td> +</tr> +<tr> +<td class="tdl"> +its horns. In armour. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Stag</span> with crucifix between +</td> +<td class="tdl"> +St. Hubert, A. D. 727. Bishop +</td> +</tr> +<tr> +<td class="tdl"> +its horns. Hunting horn. +</td> +<td class="tdl"> +of Liège. Patron saint of +</td> +</tr> +<tr> +<td class="tdl"> +Book. Huntsman’s dress, +</td> +<td class="tdl"> +the chase and of dogs. +</td> +</tr> +<tr> +<td class="tdl"> +or Bishop’s robes. (Seldom +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +found in Italy.) +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Star</span> on his forehead. Dog +</td> +<td class="tdl"> +St. Dominick, A. D. 1221. +</td> +</tr> +<tr> +<td class="tdl"> +with torch in its mouth. +</td> +<td class="tdl"> +Founder of the Dominican Order. +</td> +</tr> +<tr> +<td class="tdl"> +Lily. Rosary. Book. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Dominican habit. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Star.</span> Five around his head. +</td> +<td class="tdl"> +St. John Nepomuck, A. D. 1393. +</td> +</tr> +<tr> +<td class="tdl"> +Finger or padlock on his lip. +</td> +<td class="tdl"> +Patron saint of +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +bridges and running water, +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +of silence, and against slander. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Star</span> on his breast. Crucifix +</td> +<td class="tdl"> +St. Nicholas of Tolentino, +</td> +</tr> +<tr> +<td class="tdl"> +wreathed with a lily. Gospel. +</td> +<td class="tdl"> +A. D. 1309. +</td> +</tr> +<tr> +<td class="tdl"> +Augustine habit. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Stigmata.</span><span class="pagenum" id="Page_27">[Pg 27]</span> Lily. Lamb. +</td> +<td class="tdl"> +St. Francis of Assisi, A. D. 1226. +</td> +</tr> +<tr> +<td class="tdl"> +Crucifix. Franciscan habit. +</td> +<td class="tdl"> +Founder of the Franciscan Order. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Stones.</span> Palm. Deacon’s +</td> +<td class="tdl"> +St. Stephen, Protomartyr. +</td> +</tr> +<tr> +<td class="tdl"> +robes. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Stones,</span> chasuble full of. +</td> +<td class="tdl"> +St. Alphege, Archbishop of Canterbury. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Sun</span> on his breast. Books. +</td> +<td class="tdl"> +St. Thomas Aquinas, A. D. 1274. +</td> +</tr> +<tr> +<td class="tdl"> +Sacramental cup. Dove. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Sword,</span> sometimes two swords. +</td> +<td class="tdl"> +St. Paul, Apostle, Martyr. +</td> +</tr> +<tr> +<td class="tdl"> +Book. Scroll. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Sword.</span> Shield. Spear. +</td> +<td class="tdl"> +St. Michael the Archangel. +</td> +</tr> +<tr> +<td class="tdl"> +Scales. Winged. In armour. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Dragon under his foot. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Sword</span> at his feet. Palm or +</td> +<td class="tdl"> +St. Pantaleon of Nicomedia, +</td> +</tr> +<tr> +<td class="tdl"> +olive. As martyr bound or +</td> +<td class="tdl"> +Martyr, fourth century. +</td> +</tr> +<tr> +<td class="tdl"> +hands nailed over his head +</td> +<td class="tdl"> +Patron saint of physicians. +</td> +</tr> +<tr> +<td class="tdl"> +to a tree. Young. Beardless. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Sword</span> or axe in his head, or +</td> +<td class="tdl"> +St. Peter, Martyr, A. D. 1252. +</td> +</tr> +<tr> +<td class="tdl"> +gash in his head, blood +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +trickling from it. Palm. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Dominican habit. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Sword.</span> Tower with three +</td> +<td class="tdl"> +St. Barbara, Virgin Martyr, +</td> +</tr> +<tr> +<td class="tdl"> +windows. Feather. Cup +</td> +<td class="tdl"> +A. D. 303. Patron saint of +</td> +</tr> +<tr> +<td class="tdl"> +and wafer. Crown. Palm. +</td> +<td class="tdl"> +Mantua and Ferrara, arms, +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +armourers, and fortifications, +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +and against thunder +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +and lightning. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Sword</span> through her breast. +</td> +<td class="tdl"> +St. Justina of Padua, Virgin +</td> +</tr> +<tr> +<td class="tdl"> +Crown. Palm. +</td> +<td class="tdl"> +Martyr, A. D. 303. Patron +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +saint of Padua and Venice. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +T, blue, on his shoulder. +</td> +<td class="tdl"> +St. Anthony the Hermit, A. D. 357. +</td> +</tr> +<tr> +<td class="tdl"> +Crutch and bell. Asperges. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Hog. Flames of fire. Skull. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Crucifix. Monk’s habit. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Tower</span><span class="pagenum" id="Page_28">[Pg 28]</span> with three windows. +</td> +<td class="tdl"> +St. Barbara, Virgin Martyr, +</td> +</tr> +<tr> +<td class="tdl"> +Crown. Sword. Feather. +</td> +<td class="tdl"> +A. D. 303. Patron saint +</td> +</tr> +<tr> +<td class="tdl"> +Cup and wafer. Palm. +</td> +<td class="tdl"> +of Mantua and Ferrara, +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +armourers, and fortifications, +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +and against thunder +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +and lightning. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Tree</span> coming into leaf. Bishop’s robes. +</td> +<td class="tdl"> +St. Zenobio of Florence, A. D. 417. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Two</span> men in red robes and +</td> +<td class="tdl"> +St. Cosmo and St. Damian, +</td> +</tr> +<tr> +<td class="tdl"> +caps. Surgical instruments. +</td> +<td class="tdl"> +Martyrs, A. D. 301. Patron +</td> +</tr> +<tr> +<td class="tdl"> +Box of ointment. +</td> +<td class="tdl"> +saints of medicine, and the +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Medici family. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Two</span> men, one old, the other +</td> +<td class="tdl"> +St. Nazarius and St. Celsus, +</td> +</tr> +<tr> +<td class="tdl"> +young. Sword. Palm. +</td> +<td class="tdl"> +Martyrs, A. D. 69. Patron +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +saints of Milan. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Two</span> men in armour. Palms. +</td> +<td class="tdl"> +St. John and St. Paul, brothers +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +(SS. Giovanni e Paolo), +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Martyrs. A. D. 362. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Unicorn</span> at her feet. Palm. +</td> +<td class="tdl"> +St. Justina of Antioch, Virgin +</td> +</tr> +<tr> +<td class="tdl"> +(See St. Cyprian.) +</td> +<td class="tdl"> +Martyr, A. D. 304. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Vase</span> or box of ointment. +</td> +<td class="tdl"> +St. Mary Magdalene, A. D. 68. +</td> +</tr> +<tr> +<td class="tdl"> +Long fair hair. Skull. +</td> +<td class="tdl"> +Patron saint of Marseilles, +</td> +</tr> +<tr> +<td class="tdl"> +Crucifix. +</td> +<td class="tdl"> +Provence, and of +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +frail and penitent women. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Wheel.</span> Crown. Palm. +</td> +<td class="tdl"> +St. Catherine of Alexandria, +</td> +</tr> +<tr> +<td class="tdl"> +Sometimes trampling on +</td> +<td class="tdl"> +Virgin Martyr, A. D. 307. +</td> +</tr> +<tr> +<td class="tdl"> +a pagan. Book. Sword. +</td> +<td class="tdl"> +Patron saint of Venice, colleges, +</td> +</tr> +<tr> +<td class="tdl"> +Receiving ring from the +</td> +<td class="tdl"> +philosophy, science, +</td> +</tr> +<tr> +<td class="tdl"> +Christ-Child. +</td> +<td class="tdl"> +eloquence, and against diseases +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +of the tongue. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Wheel</span><span class="pagenum" id="Page_29">[Pg 29]</span>, small. Candle in his +</td> +<td class="tdl"> +St. Erasmus or Elmo, A. D. 296. +</td> +</tr> +<tr> +<td class="tdl"> +hands or on his head. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Bishop’s robes. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Wings.</span> Crucifix. Dominican habit. +</td> +<td class="tdl"> +St. Vincent Ferraris, A. D. 1419. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Wolf.</span> A boy with a palm. +</td> +<td class="tdl"> +St. Vitus, Martyr, A. D. 303. +</td> +</tr> +<tr> +<td class="tdl"> +Sometimes a lion, or caldron +</td> +<td class="tdl"> +Patron saint of Saxony, +</td> +</tr> +<tr> +<td class="tdl"> +of oil. Cock. +</td> +<td class="tdl"> +Bohemia, and Sicily, of +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +actors and dancers, against +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +nervous diseases, and late rising. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Wound,</span> pointing to, in his leg. +</td> +<td class="tdl"> +St. Roch, A. D. 1327. Patron +</td> +</tr> +<tr> +<td class="tdl"> +Dog. Pilgrim’s habit. +</td> +<td class="tdl"> +saint of prisoners and the +</td> +</tr> +<tr> +<td class="tdl"> +Wallet. Cockleshell. Staff. +</td> +<td class="tdl"> +sick, especially the plague-stricken. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Wound</span> in her neck, rays +</td> +<td class="tdl"> +St. Lucy, Virgin Martyr, A. D. 303. +</td> +</tr> +<tr> +<td class="tdl"> +streaming from it. Lamp. +</td> +<td class="tdl"> +Patron saint of Syracuse, +</td> +</tr> +<tr> +<td class="tdl"> +Sword. Palm. Sometimes +</td> +<td class="tdl"> +and against diseases +</td> +</tr> +<tr> +<td class="tdl"> +eyes on a dish. +</td> +<td class="tdl"> +of the eye. +</td> +</tr> +</table> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_30">[Pg 30]</span></p> + +<h2 class="nobreak" id="II-SAINTS_AND_SYMBOLS"> + II.—SAINTS AND SYMBOLS +</h2> +</div> + +<table class="autotable"> +<tr> +<td class="tdl"> +<span class="smcap">St. Adrian,</span> A. D. 290. Sept. +</td> +<td class="tdl"> +Armed. Anvil in hands or +</td> +</tr> +<tr> +<td class="tdl"> +8. Patron saint of Germany +</td> +<td class="tdl"> +at feet. Sometimes lion, +</td> +</tr> +<tr> +<td class="tdl"> +and Flanders, of soldiers, +</td> +<td class="tdl"> +emblem of fortitude, sometimes +</td> +</tr> +<tr> +<td class="tdl"> +and against the plague, also +</td> +<td class="tdl"> +sword or axe lying +</td> +</tr> +<tr> +<td class="tdl"> +patron of Flemish brewers. +</td> +<td class="tdl"> +beside anvil. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Agatha,</span> A. D. 251. Feb. +</td> +<td class="tdl"> +Palm. Salver with female +</td> +</tr> +<tr> +<td class="tdl"> +5. Patron saint of Malta +</td> +<td class="tdl"> +breast. Shears. Veil. +</td> +</tr> +<tr> +<td class="tdl"> +and Catania and against fire +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +and diseases of the breast. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Agnes,</span> Virgin and Martyr, +</td> +<td class="tdl"> +Hair as cloak. Lamb. Palm. +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 304. Jan. 21. +</td> +<td class="tdl"> +Olive branch. Crown. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Alban,</span> A. D. 305. June +</td> +<td class="tdl"> +Fountain. Sword. Sometimes +</td> +</tr> +<tr> +<td class="tdl"> +22. England’s protomartyr. +</td> +<td class="tdl"> +head in his hand. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Albert</span> the Carmelite, +</td> +<td class="tdl"> +Episcopal robes. Palm. +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 1214. April 8. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Founder of the Carmelite +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Order, Bishop of Vercelli, +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Patriarch of Jerusalem. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Alexis,</span> A. D. 400. July +</td> +<td class="tdl"> +Pilgrim’s habit, ragged and +</td> +</tr> +<tr> +<td class="tdl"> +17. Patron saint of pilgrims +</td> +<td class="tdl"> +worn. Beggar’s dish. +</td> +</tr> +<tr> +<td class="tdl"> +and beggars. +</td> +<td class="tdl"> +Palm. Cross. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Alphege,</span> A. D. 1012. +</td> +<td class="tdl"> +Stones, chasuble full of. +</td> +</tr> +<tr> +<td class="tdl"> +April 19. Archbishop of +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Canterbury. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Ambrose,</span> A. D. 397. +</td> +<td class="tdl"> +Mitre. Crozier. Beehive. +</td> +</tr> +<tr> +<td class="tdl"> +April 4. Patron saint of +</td> +<td class="tdl"> +Two human bones. Scourge +</td> +</tr> +<tr> +<td class="tdl"> +Milan and one of the Four +</td> +<td class="tdl"> +with three knotted thongs. +</td> +</tr> +<tr> +<td class="tdl"> +Latin Fathers. +</td> +<td class="tdl"> +Books. Bishop’s robes. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Andrea Corsini</span><span class="pagenum" id="Page_31">[Pg 31]</span>, A. D. +</td> +<td class="tdl"> +Bishop’s robes. +</td> +</tr> +<tr> +<td class="tdl"> +1373. Feb. 4. Bishop of Fiesole. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Andrew</span> the Apostle, +</td> +<td class="tdl"> +White hair and beard. Gospel. +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 70. Nov. 30. Patron +</td> +<td class="tdl"> +Transverse cross shaped +</td> +</tr> +<tr> +<td class="tdl"> +saint of Scotland and +</td> +<td class="tdl"> +thus—❌. +</td> +</tr> +<tr> +<td class="tdl"> +Russia. Order of the +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Golden Fleece. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Angelus</span> the Carmelite, +</td> +<td class="tdl"> +Red and white roses falling +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 1220. May 5. +</td> +<td class="tdl"> +from his mouth, symbols of +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +eloquence. White over +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +brown habit. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Anianus,</span> A. D. 86. April +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +5. A shoemaker of Alexandria +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +converted by St. Mark, +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +later he became Bishop of +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Alexandria. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Anne.</span> July 26. Mother +</td> +<td class="tdl"> +Elderly woman. Veil. +</td> +</tr> +<tr> +<td class="tdl"> +of the Blessed Virgin. Patron +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +saint of mothers. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Ansano</span> of Siena. Was +</td> +<td class="tdl"> +Young. Richly dressed. +</td> +</tr> +<tr> +<td class="tdl"> +persecuted and beheaded +</td> +<td class="tdl"> +Palm, sometimes with a +</td> +</tr> +<tr> +<td class="tdl"> +at the time of Diocletian. +</td> +<td class="tdl"> +cluster of dates depending +</td> +</tr> +<tr> +<td class="tdl"> +He was the great patron +</td> +<td class="tdl"> +from it. Cross. +</td> +</tr> +<tr> +<td class="tdl"> +saint of Siena until the +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +end of the thirteenth century. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Anthony</span> the Hermit, +</td> +<td class="tdl"> +Monk’s habit. Crutch. Bell. +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 357. Jan. 17. Patron +</td> +<td class="tdl"> +Asperges. Hog. Flames of +</td> +</tr> +<tr> +<td class="tdl"> +saint against fire, here and +</td> +<td class="tdl"> +fire. Skull. Crucifix. +</td> +</tr> +<tr> +<td class="tdl"> +hereafter. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Anthony</span><span class="pagenum" id="Page_32">[Pg 32]</span> of Padua, A. D. +</td> +<td class="tdl"> +Habit grey or dark brown with +</td> +</tr> +<tr> +<td class="tdl"> +1231. June 13. Belonged +</td> +<td class="tdl"> +hood and cord. Flame of +</td> +</tr> +<tr> +<td class="tdl"> +to the Franciscan Order. +</td> +<td class="tdl"> +fire in his hand or on +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +his breast. Book. Lily. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Crucifix. Infant Christ in +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +his arms or on his book. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Mule kneeling. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Antonino,</span> A. D. 1459. +</td> +<td class="tdl"> +Episcopal robes. +</td> +</tr> +<tr> +<td class="tdl"> +May 10. Archbishop of Florence. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Apollinaris,</span> A. D. 79. +</td> +<td class="tdl"> +Habit of a Greek bishop, +</td> +</tr> +<tr> +<td class="tdl"> +July 23. Was the first +</td> +<td class="tdl"> +white and without mitre. +</td> +</tr> +<tr> +<td class="tdl"> +Bishop of Ravenna, where +</td> +<td class="tdl"> +Cross, black, embroidered +</td> +</tr> +<tr> +<td class="tdl"> +his fame is chiefly confined. +</td> +<td class="tdl"> +on white robe. +</td> +</tr> +<tr> +<td class="tdl"> +Martyred in the reign of +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Vespasian, the basilica of +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +St. Apollinaris-in-Classe +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +was built some five hundred +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +years later on the site of +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +his martyrdom, three miles +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +from Ravenna. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Apollonia,</span> Virgin and +</td> +<td class="tdl"> +Palm. Pincers holding tooth +</td> +</tr> +<tr> +<td class="tdl"> +Martyr, A. D. 250. Feb. +</td> +<td class="tdl"> +in allusion to the torture +</td> +</tr> +<tr> +<td class="tdl"> +9. Patron saint against +</td> +<td class="tdl"> +inflicted upon her. +</td> +</tr> +<tr> +<td class="tdl"> +toothache. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Athanasius,</span> A. D. 373. +</td> +<td class="tdl"> +Unpopular in art. +</td> +</tr> +<tr> +<td class="tdl"> +May 2. One of the Four +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Greek Fathers of the Church, +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +from whom the Athanasian +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Creed is named. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Augustine,</span> A. D. 430. +</td> +<td class="tdl"> +Bishop’s robes. Mitre. +</td> +</tr> +<tr> +<td class="tdl"> +Aug. 28. One of the Four +</td> +<td class="tdl"> +Crozier. Book at his feet or +</td> +</tr> +<tr> +<td class="tdl"> +Latin Fathers of the Church. +</td> +<td class="tdl"> +in his hands. Heart flaming +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +or transfixed with an arrow. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Infant by seashore. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Augustine</span><span class="pagenum" id="Page_33">[Pg 33]</span> or <span class="smcap">Austin</span> of +</td> +<td class="tdl"> +Benedictine habit. Staff. +</td> +</tr> +<tr> +<td class="tdl"> +Canterbury, A. D. 604. +</td> +<td class="tdl"> +Gospel in his hand. Cope, +</td> +</tr> +<tr> +<td class="tdl"> +May 26. Was sent to +</td> +<td class="tdl"> +pallium and mitre as Bishop +</td> +</tr> +<tr> +<td class="tdl"> +England by Pope Gregory +</td> +<td class="tdl"> +of Canterbury. +</td> +</tr> +<tr> +<td class="tdl"> +the Great, where he introduced +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +the Benedictine Order. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Barbara,</span> A. D. 303. +</td> +<td class="tdl"> +Tower with three windows. +</td> +</tr> +<tr> +<td class="tdl"> +Dec. 4. Patron saint of +</td> +<td class="tdl"> +Palm. Book. Sword. +</td> +</tr> +<tr> +<td class="tdl"> +Ferrara and Mantua, armourers, +</td> +<td class="tdl"> +Crown. Cup and wafer. +</td> +</tr> +<tr> +<td class="tdl"> +fortifications, firearms, +</td> +<td class="tdl"> +Feather. +</td> +</tr> +<tr> +<td class="tdl"> +and against thunder +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +and lightning. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Barnabas</span> the Apostle. +</td> +<td class="tdl"> +Rarely appears except in Venetian +</td> +</tr> +<tr> +<td class="tdl"> +June 11. +</td> +<td class="tdl"> +pictures. Holds in his +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +hand the Gospel of St. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Matthew. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Bartholomew</span> the Apostle. +</td> +<td class="tdl"> +Knife. Carrying his own +</td> +</tr> +<tr> +<td class="tdl"> +Aug. 24. +</td> +<td class="tdl"> +skin. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Basil</span> the Great, A. D. +</td> +<td class="tdl"> +The Greek Fathers have no +</td> +</tr> +<tr> +<td class="tdl"> +380. June 14. One of the +</td> +<td class="tdl"> +distinguishing attributes. +</td> +</tr> +<tr> +<td class="tdl"> +Four Greek Fathers. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Bavon,</span> A. D. 657. Oct. 1. +</td> +<td class="tdl"> +Sometimes represented as a +</td> +</tr> +<tr> +<td class="tdl"> +Patron saint of Ghent +</td> +<td class="tdl"> +hermit seated and praying +</td> +</tr> +<tr> +<td class="tdl"> +and Haarlem. +</td> +<td class="tdl"> +in a hollow tree, or as a +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +prince in armour with a +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +falcon in his hand. A huge +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +stone which he carried as a +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +penance is sometimes introduced. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Benedict,</span> A. D. 543. +</td> +<td class="tdl"> +Black habit, sometimes white. +</td> +</tr> +<tr> +<td class="tdl"> +Mar. 2. Founder of the +</td> +<td class="tdl"> +Raven with loaf in its beak. +</td> +</tr> +<tr> +<td class="tdl"> +Benedictine Order. +</td> +<td class="tdl"> +Mitre and staff. Asperges. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Pitcher. Thorn bush. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Broken sieve. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Benno</span><span class="pagenum" id="Page_34">[Pg 34]</span>, A. D. 1100. +</td> +<td class="tdl"> +Bishop’s robes. Fish with key +</td> +</tr> +<tr> +<td class="tdl"> +June 16. Bishop of Meissen, +</td> +<td class="tdl"> +in its mouth. +</td> +</tr> +<tr> +<td class="tdl"> +Saxony. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Bernard</span> of Clairvaux, +</td> +<td class="tdl"> +White habit. Ink-horn, pen, +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 1153. Aug. 20. +</td> +<td class="tdl"> +and papers. Beehive. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Demon bound. Three mitres +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +on a book or at his feet. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Bernard</span> of Menthon, +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 1008. June 15. Was +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +a Savoyard of noble birth, +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +who became Archdeacon of +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Aosta and founded the two +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +hospitals of the Great and +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Little St. Bernard, where the +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +monks with the assistance of +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +dogs rescue travellers who +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +are lost in the snow. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Bernard dei Tolomei,</span> +</td> +<td class="tdl"> +White habit. Olive branch +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 1319. Founder of the +</td> +<td class="tdl"> +in his hand. +</td> +</tr> +<tr> +<td class="tdl"> +Olivetani. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Bernard Degli Uberti.</span> +</td> +<td class="tdl"> +Represented in Cardinal’s +</td> +</tr> +<tr> +<td class="tdl"> +Cardinal and Abbot of +</td> +<td class="tdl"> +robes in pictures with other +</td> +</tr> +<tr> +<td class="tdl"> +Vallombrosa. +</td> +<td class="tdl"> +Vallombrosan saints. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Bernardino</span> of Siena, +</td> +<td class="tdl"> +Franciscan habit. I. H. S. on +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 1444. May 20. +</td> +<td class="tdl"> +a tablet surrounded by rays. +</td> +</tr> +<tr> +<td class="tdl"> +Founder of the Order of +</td> +<td class="tdl"> +Sometimes three mitres, or +</td> +</tr> +<tr> +<td class="tdl"> +Observants. +</td> +<td class="tdl"> +three mounds surmounted +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +by a cross or standard. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Blaise,</span> A. D. 289. Feb. 3. +</td> +<td class="tdl"> +Bishop’s robes. Mitre. +</td> +</tr> +<tr> +<td class="tdl"> +Popular in France and England. +</td> +<td class="tdl"> +Crozier. Old, with white +</td> +</tr> +<tr> +<td class="tdl"> +Patron saint of wool-combers, +</td> +<td class="tdl"> +beard. Iron comb, instrument +</td> +</tr> +<tr> +<td class="tdl"> +of wild animals, and +</td> +<td class="tdl"> +of his torture. Not +</td> +</tr> +<tr> +<td class="tdl"> +against diseases of the throat. +</td> +<td class="tdl"> +often represented in art. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Bonaventura</span><span class="pagenum" id="Page_35">[Pg 35]</span>, A. D. +</td> +<td class="tdl"> +Franciscan habit. Cardinal’s +</td> +</tr> +<tr> +<td class="tdl"> +1274. July 14. +</td> +<td class="tdl"> +hat at his feet or hanging +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +on a tree. Cardinal’s +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +robes. Book. Pyx. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Boniface,</span> A. D. 755. +</td> +<td class="tdl"> +Bishop’s robes over the black +</td> +</tr> +<tr> +<td class="tdl"> +June 5. Archbishop of +</td> +<td class="tdl"> +Benedictine habit. Holding +</td> +</tr> +<tr> +<td class="tdl"> +Mayence and first apostle +</td> +<td class="tdl"> +book stained with blood +</td> +</tr> +<tr> +<td class="tdl"> +of Germany. +</td> +<td class="tdl"> +or transfixed by a sword. +</td> +</tr> +<tr> +<td class="tdl"> +Crozier. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Bridget</span> or <span class="smcap">Brigida</span> of +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Ireland, A. D. 500. Feb. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +1. Baptised by St. Patrick. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Bridget</span> of Sweden, A. D. +</td> +<td class="tdl"> +Of mature age. Nun with +</td> +</tr> +<tr> +<td class="tdl"> +1373. Oct. 8. Founder of +</td> +<td class="tdl"> +white veil, which has red +</td> +</tr> +<tr> +<td class="tdl"> +the Order of the Brigittines. +</td> +<td class="tdl"> +band. Crozier as first +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +abbess of the order. Sometimes +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +pilgrim’s staff and +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +wallet. Sometimes dove, +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +denoting inspiration. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Bruno,</span> A. D. 1100. July +</td> +<td class="tdl"> +White habit. Shaven head. +</td> +</tr> +<tr> +<td class="tdl"> +18. Founder of the Carthusian +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Order of Reformed +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Benedictines. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Casimir</span> of Poland, A. D. +</td> +<td class="tdl"> +Young. Royal robes. Lily. +</td> +</tr> +<tr> +<td class="tdl"> +1483. Patron saint of +</td> +<td class="tdl"> +Crown and sceptre at feet. +</td> +</tr> +<tr> +<td class="tdl"> +Poland. +</td> +<td class="tdl"> +Sometimes he holds his +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +hymn to the Virgin, and the +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +lily and crown are on a +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +table beside him. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Catherine</span> of Alexandria, +</td> +<td class="tdl"> +Wheel. Palm. Book. Sword. +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 307. Nov. 25. Patron +</td> +<td class="tdl"> +Crown. Trampling on +</td> +</tr> +<tr> +<td class="tdl"> +saint of Venice, philosophy, +</td> +<td class="tdl"> +pagan. Receiving ring from +</td> +</tr> +<tr> +<td class="tdl"> +science, colleges, students, +</td> +<td class="tdl"> +the Christ-Child. +</td> +</tr> +<tr> +<td class="tdl"> +and against diseases of the +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +tongue. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Catherine</span><span class="pagenum" id="Page_36">[Pg 36]</span> of Bologna, +</td> +<td class="tdl"> +Franciscan habit, veiled. +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 1463. Mar. 9. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Called also <em>Santa Caterina</em> +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +<em>de’ Vigri</em>, a maid of honour +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +to Margaret d’Este, who +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +joined the Poor Clares and +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +became an abbess. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Catherine of Siena,</span> A. D. +</td> +<td class="tdl"> +Dominican habit. Stigmata. +</td> +</tr> +<tr> +<td class="tdl"> +1380. April 30. +</td> +<td class="tdl"> +Lily. Crown of thorns. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Cecilia,</span> A. D. 280. Nov. +</td> +<td class="tdl"> +Crown of red and white roses. +</td> +</tr> +<tr> +<td class="tdl"> +22. Patron saint of music +</td> +<td class="tdl"> +Organ. Musical instruments. +</td> +</tr> +<tr> +<td class="tdl"> +and musicians. +</td> +<td class="tdl"> +Angel. Palm. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Scroll of music. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Charlemagne,</span> A. D. 814. +</td> +<td class="tdl"> +Globe and cross. Three +</td> +</tr> +<tr> +<td class="tdl"> +Jan. 28. +</td> +<td class="tdl"> +crowns embroidered on his +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +robe. In armour. Ermine +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +mantle. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Charles Borromeo,</span> A. D. +</td> +<td class="tdl"> +Cardinal’s robes. Barefooted. +</td> +</tr> +<tr> +<td class="tdl"> +1584. Nov. 4. Cardinal +</td> +<td class="tdl"> +Rope around his neck. +</td> +</tr> +<tr> +<td class="tdl"> +and Archbishop of Milan. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Christina,</span> A. D. 295. +</td> +<td class="tdl"> +Millstone. Arrows. Palm. +</td> +</tr> +<tr> +<td class="tdl"> +July 24. Patron saint of +</td> +<td class="tdl"> +Crown. It is difficult to +</td> +</tr> +<tr> +<td class="tdl"> +Bolsena and Venice. +</td> +<td class="tdl"> +distinguish this saint from +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +St. Ursula when she bears +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +the arrow only. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Christopher,</span> A. D. 364. +</td> +<td class="tdl"> +Huge staff. Christ-Child on +</td> +</tr> +<tr> +<td class="tdl"> +July 25. Patron saint +</td> +<td class="tdl"> +his shoulders. Ankle deep +</td> +</tr> +<tr> +<td class="tdl"> +against fire, earthquake, +</td> +<td class="tdl"> +in water. Lantern. Monk +</td> +</tr> +<tr> +<td class="tdl"> +tempests, floods, and accidents. +</td> +<td class="tdl"> +in background. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Clara,</span> A. D. 1253. Aug. +</td> +<td class="tdl"> +Lily. Cross. Pyx. Franciscan +</td> +</tr> +<tr> +<td class="tdl"> +12. Founder of the Poor +</td> +<td class="tdl"> +habit and black +</td> +</tr> +<tr> +<td class="tdl"> +Clares, Franciscan nuns. +</td> +<td class="tdl"> +veil. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Clement</span><span class="pagenum" id="Page_37">[Pg 37]</span>, A. D. 100. +</td> +<td class="tdl"> +Pope’s or Bishop’s robes. Anchor +</td> +</tr> +<tr> +<td class="tdl"> +Nov. 23. Third Bishop of +</td> +<td class="tdl"> +in hand or suspended +</td> +</tr> +<tr> +<td class="tdl"> +Rome. +</td> +<td class="tdl"> +around his neck. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Clotilda,</span> A. D. 534. +</td> +<td class="tdl"> +Royal robes, long white veil +</td> +</tr> +<tr> +<td class="tdl"> +June 3. Princess of Burgundy +</td> +<td class="tdl"> +and jewelled crown. Angel +</td> +</tr> +<tr> +<td class="tdl"> +and wife of Clovis, +</td> +<td class="tdl"> +holding shield bearing three +</td> +</tr> +<tr> +<td class="tdl"> +King of France. In a vision +</td> +<td class="tdl"> +<i lang="fr" xml:lang="fr">fleur-de-lys</i>. +</td> +</tr> +<tr> +<td class="tdl"> +an angel brought her three +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +lilies, and from this the arms +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +of France were changed from +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +three toads (<i lang="fr" xml:lang="fr">crapauds</i>) to the +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +<i lang="fr" xml:lang="fr">fleur-de-lys</i>. She is said to +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +have christianised France. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Cloud,</span> A. D. 560. Sept. +</td> +<td class="tdl"> +Benedictine habit. Crown at +</td> +</tr> +<tr> +<td class="tdl"> +7. Grandson of St. Clotilda. +</td> +<td class="tdl"> +feet. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Constantine,</span> Emperor, +</td> +<td class="tdl"> +Dressed as Roman emperor +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 335. +</td> +<td class="tdl"> +or warrior, holding <i lang="la" xml:lang="la">labarum</i> +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +or standard of the cross. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">SS. Cosmo</span> and <span class="smcap">Damian</span>, A. D. +</td> +<td class="tdl"> +Two men in red robes. Box +</td> +</tr> +<tr> +<td class="tdl"> +301. Sept. 27. Patron saints +</td> +<td class="tdl"> +of ointment. Surgical +</td> +</tr> +<tr> +<td class="tdl"> +of the Medici, and the medical +</td> +<td class="tdl"> +instruments. +</td> +</tr> +<tr> +<td class="tdl"> +profession. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Costanzo,</span> second century. +</td> +<td class="tdl"> +He is found with <span class="smcap">Sant’ Ercolano</span> +</td> +</tr> +<tr> +<td class="tdl"> +Bishop of Perugia, +</td> +<td class="tdl"> +in pictures of the +</td> +</tr> +<tr> +<td class="tdl"> +suffered martyrdom under +</td> +<td class="tdl"> +Umbrian school. +</td> +</tr> +<tr> +<td class="tdl"> +Marcus Aurelius. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">SS. Crispin</span> and <span class="smcap">Crispianus</span>, +</td> +<td class="tdl"> +Awl, or shoemaker’s knife. +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 300. Oct. 25. Patron +</td> +<td class="tdl"> +Palm. Two saints together. +</td> +</tr> +<tr> +<td class="tdl"> +saints of Soissons. Shoemakers +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +who made shoes +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +for the poor without reward, +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +angels supplying them with +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +leather. They went from +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Rome with St. Denis to +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +preach the Gospel in France. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Cunegunda</span><span class="pagenum" id="Page_38">[Pg 38]</span>, A. D. 1040. +</td> +<td class="tdl"> +Walking over ploughshares. +</td> +</tr> +<tr> +<td class="tdl"> +Mar. 3. Wife of St. Henry +</td> +<td class="tdl"> +Church in her hand. Royal +</td> +</tr> +<tr> +<td class="tdl"> +of Bavaria, her story is +</td> +<td class="tdl"> +robes. +</td> +</tr> +<tr> +<td class="tdl"> +popular in German poetry +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +and art. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Cuthbert,</span> A. D. 687. +</td> +<td class="tdl"> +Bishop’s robes. Otter. +</td> +</tr> +<tr> +<td class="tdl"> +March 20. +</td> +<td class="tdl"> +Crowned head of King +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Oswald in his arms. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Cyprian,</span> A. D. 258. +</td> +<td class="tdl"> +Palm. Mitre at his feet. +</td> +</tr> +<tr> +<td class="tdl"> +Sept. 16. Bishop of Carthage. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Suffered martyrdom +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +under Valerian. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Cyprian</span> and <span class="smcap">St. Justina</span> +</td> +<td class="tdl"> +When represented together he +</td> +</tr> +<tr> +<td class="tdl"> +of Antioch, A. D. 304. +</td> +<td class="tdl"> +wears the habit of a Greek +</td> +</tr> +<tr> +<td class="tdl"> +Sept. 26. St. Cyprian, a +</td> +<td class="tdl"> +bishop (without mitre). +</td> +</tr> +<tr> +<td class="tdl"> +great magician, became +</td> +<td class="tdl"> +Palm. Sword. Trampling +</td> +</tr> +<tr> +<td class="tdl"> +converted through his love +</td> +<td class="tdl"> +his magical books under +</td> +</tr> +<tr> +<td class="tdl"> +for St. Justina and they +</td> +<td class="tdl"> +his feet. She holds the +</td> +</tr> +<tr> +<td class="tdl"> +suffered martyrdom together +</td> +<td class="tdl"> +palm, and the unicorn, symbol +</td> +</tr> +<tr> +<td class="tdl"> +in the reign of +</td> +<td class="tdl"> +of chastity, crouches at +</td> +</tr> +<tr> +<td class="tdl"> +Diocletian. +</td> +<td class="tdl"> +her feet. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Cyril</span> of Alexandria, A. D. +</td> +<td class="tdl"> +The only Greek bishop represented +</td> +</tr> +<tr> +<td class="tdl"> +444. Jan. 28. Patriarch of +</td> +<td class="tdl"> +with his head covered. +</td> +</tr> +<tr> +<td class="tdl"> +Alexandria and sometimes +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +a fifth in pictures of the +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Four Greek Fathers. His +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +name has been connected +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +with the murder of Hypatia, +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +which was committed by +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +his followers in a church. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Denis</span> of France (<span class="smcap">St.</span> +</td> +<td class="tdl"> +<span class="smcap">Bishop’s</span> robes. Carrying his +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Dionysius</span> the Areopagite). +</td> +<td class="tdl"> +head in his hand. +</td> +</tr> +<tr> +<td class="tdl"> +Bishop of Paris in the third +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +century and patron saint +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +of France. The legends +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +confuse this saint with +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Dionysius, the convert of St. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Paul, and he is thus universally +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +represented in art. St. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Denis was beheaded in +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Paris, and taking his head +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +in his hand, he walked +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +two miles with it to a +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +place now called Montmartre. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Dominick</span><span class="pagenum" id="Page_39">[Pg 39]</span>, A. D. 1221. +</td> +<td class="tdl"> +Dominican habit. Dog with +</td> +</tr> +<tr> +<td class="tdl"> +Aug. 4. Founder of the +</td> +<td class="tdl"> +torch in its mouth. Lily. +</td> +</tr> +<tr> +<td class="tdl"> +Order of Dominicans, or +</td> +<td class="tdl"> +Star on forehead. Book. +</td> +</tr> +<tr> +<td class="tdl"> +Preaching Friars. +</td> +<td class="tdl"> +Rosary. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Dorothea</span> of Cappadocia, +</td> +<td class="tdl"> +Roses in her hand or crowned +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 303. Feb. 6. Was +</td> +<td class="tdl"> +with roses. Angel with +</td> +</tr> +<tr> +<td class="tdl"> +noted for her beauty and +</td> +<td class="tdl"> +basket containing three apples +</td> +</tr> +<tr> +<td class="tdl"> +piety. At the time of the +</td> +<td class="tdl"> +and three roses. Palm. +</td> +</tr> +<tr> +<td class="tdl"> +persecution she refused to +</td> +<td class="tdl"> +Sometimes crown as martyr. +</td> +</tr> +<tr> +<td class="tdl"> +sacrifice to idols and was +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +imprisoned and condemned +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +to be beheaded. As she +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +went to execution, a young +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +man named Theophilus, +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +mocking her, asked for +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +flowers and fruit from the +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +garden to which she was +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +going. After her death, +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +a heavenly messenger appeared +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +to Theophilus bearing +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +three roses and three +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +apples, and telling him Dorothea +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +awaited him in the +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +garden. Theophilus then +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +was converted, and also +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +suffered martyrdom. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Dunstan</span><span class="pagenum" id="Page_40">[Pg 40]</span>, A. D. 988. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +May 19. A monk of Glastonbury +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +who became a favourite +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +of King Athelstan and was +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +made Archbishop of Canterbury +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +in the reign of Edgar. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Edmund,</span> King and Martyr, +</td> +<td class="tdl"> +Royal robes. Wolf. Arrow +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 870. Nov. 20. +</td> +<td class="tdl"> +in his hand. +</td> +</tr> +<tr> +<td class="tdl"> +King of East Anglia and +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +patron saint of Bury St. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Edmunds. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Edward</span> the Confessor, +</td> +<td class="tdl"> +Royal robes. Ring. Sceptre +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 1066. Jan. 5. +</td> +<td class="tdl"> +surmounted by a dove. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Elizabeth,</span> mother of St. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +John the Baptist. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Elizabeth</span> of Hungary, +</td> +<td class="tdl"> +A lapful of red and white +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 1231. Nov. 19. +</td> +<td class="tdl"> +roses, symbols of love and +</td> +</tr> +<tr> +<td class="tdl"> +Famed for her beauty, sweetness, +</td> +<td class="tdl"> +purity. Royal attire or +</td> +</tr> +<tr> +<td class="tdl"> +and charity. +</td> +<td class="tdl"> +Franciscan habit. Cripple +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +or beggar at her feet. Sometimes +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +three crowns. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Eloy</span> (<em>Ital.</em> <span class="smcap">Sant’ Alò,</span> +</td> +<td class="tdl"> +Bishop’s robes. Crozier. +</td> +</tr> +<tr> +<td class="tdl"> +or <span class="smcap">Lò, Sant’ Eligio)</span>, A. D. +</td> +<td class="tdl"> +Book. Blacksmith’s tools. +</td> +</tr> +<tr> +<td class="tdl"> +659. Dec. 1. Patron saint +</td> +<td class="tdl"> +Blacksmith with anvil, hammer, +</td> +</tr> +<tr> +<td class="tdl"> +of Bologna and Noyon; of +</td> +<td class="tdl"> +tongs, and bellows. +</td> +</tr> +<tr> +<td class="tdl"> +goldsmiths, locksmiths, +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +blacksmiths, and all workers +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +in metals; of horses and +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +farriers. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Erasmus</span> or <span class="smcap">Elmo</span>, A. D. +</td> +<td class="tdl"> +Aged. Bishop’s robes. Small +</td> +</tr> +<tr> +<td class="tdl"> +296. June 3. Invoked by +</td> +<td class="tdl"> +wheel in his hand. Candle +</td> +</tr> +<tr> +<td class="tdl"> +the sailors of the Mediterranean +</td> +<td class="tdl"> +on his head or in his hand. +</td> +</tr> +<tr> +<td class="tdl"> +against storms and +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +tempests. Suffered martyrdom +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +under Diocletian. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Ercolana</span><span class="pagenum" id="Page_41">[Pg 41]</span>, A. D. 546. +</td> +<td class="tdl"> +Found with St. Costanzo in +</td> +</tr> +<tr> +<td class="tdl"> +Bishop of Perugia. He was +</td> +<td class="tdl"> +Umbrian pictures. +</td> +</tr> +<tr> +<td class="tdl"> +beheaded by the Goths. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Etheldreda,</span> A. D. 679. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +June 23. Founded the +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Cathedral and Monastery +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +of Ely. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Euphemia,</span> A. D. 307. +</td> +<td class="tdl"> +Lily. Sword. Palm. Lion +</td> +</tr> +<tr> +<td class="tdl"> +Sept. 16. One of the early +</td> +<td class="tdl"> +at her side. +</td> +</tr> +<tr> +<td class="tdl"> +Greek martyrs. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Eustace,</span> A. D. 118. +</td> +<td class="tdl"> +In armour. Stag with crucifix +</td> +</tr> +<tr> +<td class="tdl"> +Sept. 20. An officer under +</td> +<td class="tdl"> +between its horns. +</td> +</tr> +<tr> +<td class="tdl"> +the Emperor Trajan to +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +whom Christ appeared in +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +the form of a white stag. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">San Faustino</span> and <span class="smcap">San Giovita</span> +</td> +<td class="tdl"> +Pictures of these two saints +</td> +</tr> +<tr> +<td class="tdl"> +(Faustinus et Jovita), +</td> +<td class="tdl"> +with St. Apollonius represent +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 119. Feb. 15. Two +</td> +<td class="tdl"> +the latter in bishop’s +</td> +</tr> +<tr> +<td class="tdl"> +brothers who were converts +</td> +<td class="tdl"> +robes, the two brothers +</td> +</tr> +<tr> +<td class="tdl"> +of St. Apollonius and were +</td> +<td class="tdl"> +dressed as deacons. +</td> +</tr> +<tr> +<td class="tdl"> +beheaded at Brescia. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Felicitas,</span> A. D. 173. +</td> +<td class="tdl"> +Palm. Veiled. Accompanied +</td> +</tr> +<tr> +<td class="tdl"> +Nov. 23. A Roman matron +</td> +<td class="tdl"> +by her seven sons. +</td> +</tr> +<tr> +<td class="tdl"> +of great wealth, who with +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +her seven sons suffered +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +martyrdom in the reign of +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Marcus Aurelius. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Felix de Cantalicio,</span> +</td> +<td class="tdl"> +Dark brown habit, peaked +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 1587. May 8. The +</td> +<td class="tdl"> +hood and girdle. Beggar’s +</td> +</tr> +<tr> +<td class="tdl"> +first saint of the Order of +</td> +<td class="tdl"> +wallet with two ends like +</td> +</tr> +<tr> +<td class="tdl"> +the Capuccini. He spent +</td> +<td class="tdl"> +a purse slung over his +</td> +</tr> +<tr> +<td class="tdl"> +forty-five years in begging +</td> +<td class="tdl"> +shoulder. +</td> +</tr> +<tr> +<td class="tdl"> +for his convent. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Ferdinand</span><span class="pagenum" id="Page_42">[Pg 42]</span> of Castile, +</td> +<td class="tdl"> +In complete armour. Crown. +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 1152. May 30. +</td> +<td class="tdl"> +Sword. Sometimes holding +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +the orb of sovereignty. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Filomena,</span> A. D. 303. +</td> +<td class="tdl"> +Lily. Javelin with the point +</td> +</tr> +<tr> +<td class="tdl"> +Aug. 10. +</td> +<td class="tdl"> +reversed. Palm. +</td> +</tr> +<tr> +<td class="tdl"> +<br> +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Fina,</span> A. D. 1253. Mar. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +12. Patron saint of San +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Gimignano. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Florian,</span> May 4. One of +</td> +<td class="tdl"> +Rarely seen in Italian art, +</td> +</tr> +<tr> +<td class="tdl"> +the eight tutelar saints of +</td> +<td class="tdl"> +but is frequently found in +</td> +</tr> +<tr> +<td class="tdl"> +Austria. +</td> +<td class="tdl"> +old German prints and pictures. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +In armour. Sometimes +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +painted on the outside +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +of houses in Bohemia +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +throwing water from a +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +pitcher or bucket on a house +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +in flames. Millstone. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Francesca Romana,</span> A. D. +</td> +<td class="tdl"> +Benedictine habit. Angel +</td> +</tr> +<tr> +<td class="tdl"> +1440. Mar. 9. The great +</td> +<td class="tdl"> +holding book. +</td> +</tr> +<tr> +<td class="tdl"> +female saint of the Order +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +of the Olivetani. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Francis of Assisi,</span> A. D. +</td> +<td class="tdl"> +Franciscan habit. Stigmata. +</td> +</tr> +<tr> +<td class="tdl"> +1226. Oct. 4. +</td> +<td class="tdl"> +Lamb. Lily. Skull. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Crucifix. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Francis Borgia,</span> A. D. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +1572. Oct. 11. Third great +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +saint of the Jesuit Order. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Francis de Paule,</span> A. D. +</td> +<td class="tdl"> +Old, grey beard. Staff. +</td> +</tr> +<tr> +<td class="tdl"> +1508. April 2. Founder +</td> +<td class="tdl"> +Franciscan habit, with short +</td> +</tr> +<tr> +<td class="tdl"> +of the Minimes, a reformed +</td> +<td class="tdl"> +scapulary. +</td> +</tr> +<tr> +<td class="tdl"> +order of Franciscans. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Francis de Sales,</span> A. D. +</td> +<td class="tdl"> +Episcopal cope. Bareheaded. +</td> +</tr> +<tr> +<td class="tdl"> +1622. Jan. 29. Joint +</td> +<td class="tdl"> +A heart pierced. +</td> +</tr> +<tr> +<td class="tdl"> +founder with St. Jeanne de +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Chantal of the Order of +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Visitation of St. Mary. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Francis Xavier</span><span class="pagenum" id="Page_43">[Pg 43]</span>, A. D. +</td> +<td class="tdl"> +Surplice over black habit. +</td> +</tr> +<tr> +<td class="tdl"> +1552. Dec. 3. Patron +</td> +<td class="tdl"> +Crucifix. Lily. +</td> +</tr> +<tr> +<td class="tdl"> +saint and apostle of India. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Friend and associate of +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Ignatius Loyola. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Frediano of Lucca,</span> A. D. +</td> +<td class="tdl"> +Bishop’s robes. Harrow. +</td> +</tr> +<tr> +<td class="tdl"> +560. Patron saint of Lucca. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Gabriel.</span> The second of +</td> +<td class="tdl"> +Lily. Sceptre. Scroll. +</td> +</tr> +<tr> +<td class="tdl"> +the archangels. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Gaudenzio,</span> A. D. 359. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Oct. 14. Bishop and patron +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +saint of Rimini. He was +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +scourged, then stoned to +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +death by the Arians. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Geminianus,</span> A. D. 450. +</td> +<td class="tdl"> +Bishop’s robes. Model of +</td> +</tr> +<tr> +<td class="tdl"> +Bishop and patron saint of +</td> +<td class="tdl"> +city or cathedral in his +</td> +</tr> +<tr> +<td class="tdl"> +Modena. +</td> +<td class="tdl"> +hand. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Geneviève</span> of Paris, A. D. +</td> +<td class="tdl"> +Veiled. Lighted taper. Demon +</td> +</tr> +<tr> +<td class="tdl"> +509. Jan. 3. +</td> +<td class="tdl"> +holding pair of bellows. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Sheep. Distaff. Spindle. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Book. Basket of provisions +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +or holding loaf of bread. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. George,</span> A. D. 303. April +</td> +<td class="tdl"> +In armour. Dragon at his +</td> +</tr> +<tr> +<td class="tdl"> +23. Patron saint of England, +</td> +<td class="tdl"> +feet. Lance. Standard. +</td> +</tr> +<tr> +<td class="tdl"> +Germany, Venice, soldiers +</td> +<td class="tdl"> +Palm. +</td> +</tr> +<tr> +<td class="tdl"> +and armourers. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Gervasius</span> and <span class="smcap">St. Protasius,</span> +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 69. June 19. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +(<em>See St. Ambrose.</em>) +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Giles</span><span class="pagenum" id="Page_44">[Pg 44]</span> (<em>Lat.</em> Sanctus Egidius, +</td> +<td class="tdl"> +Old. Benedictine habit. +</td> +</tr> +<tr> +<td class="tdl"> +<em>Ital.</em> Sant’ Egidio, Fr. +</td> +<td class="tdl"> +Hind pierced by an arrow +</td> +</tr> +<tr> +<td class="tdl"> +St. Gilles or Gil), A. D. +</td> +<td class="tdl"> +in his arms or at his feet. +</td> +</tr> +<tr> +<td class="tdl"> +725. Sept. 1. Patron saint +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +of Edinburgh, of woods, +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +lepers, beggars, and cripples. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +A hermit who lived in a +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +cave near Nismes. A hind, +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +that had fled to his cave +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +from the hunters and their +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +dogs, was pierced by an +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +arrow in his arms. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Grata,</span> A. D. 300. +</td> +<td class="tdl"> +These saints are constantly +</td> +</tr> +<tr> +<td class="tdl"> +Sept. 4. Daughter of St. +</td> +<td class="tdl"> +represented in pictures +</td> +</tr> +<tr> +<td class="tdl"> +Lupo, Duke of Bergamo, +</td> +<td class="tdl"> +painted by the Bergamo +</td> +</tr> +<tr> +<td class="tdl"> +and St. Adelaide his wife, +</td> +<td class="tdl"> +artists, <span class="smcap">St. Alexander</span> as +</td> +</tr> +<tr> +<td class="tdl"> +both of whom she converted. +</td> +<td class="tdl"> +a Roman soldier bearing +</td> +</tr> +<tr> +<td class="tdl"> +When St. Alexander, one +</td> +<td class="tdl"> +the palm, <span class="smcap">St. Grata</span> carrying +</td> +</tr> +<tr> +<td class="tdl"> +of the Theban Legion, was +</td> +<td class="tdl"> +the head of St. Alexander, +</td> +</tr> +<tr> +<td class="tdl"> +beheaded, she wrapped the +</td> +<td class="tdl"> +<span class="smcap">St. Lupo</span> wearing a +</td> +</tr> +<tr> +<td class="tdl"> +head in fine linen and +</td> +<td class="tdl"> +crown, <span class="smcap">St. Adelaide</span> a +</td> +</tr> +<tr> +<td class="tdl"> +reverently buried his remains. +</td> +<td class="tdl"> +crown and long veil. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Gregory</span> the Great, A. D. +</td> +<td class="tdl"> +Dove on his shoulder or close +</td> +</tr> +<tr> +<td class="tdl"> +604. March 12. One of +</td> +<td class="tdl"> +to his ear. Papal tiara. +</td> +</tr> +<tr> +<td class="tdl"> +the Four Latin Fathers. +</td> +<td class="tdl"> +Crozier with double cross. Book. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Gregory Nanzianzen,</span> +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 390. May 9. One +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +of the Four Greek Fathers +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +of the Church. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Gudula,</span> A. D. 712. Jan. +</td> +<td class="tdl"> +Demon trying to blow out a +</td> +</tr> +<tr> +<td class="tdl"> +8. Patron saint of Brussels. +</td> +<td class="tdl"> +lantern. Often confounded +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +with St. Geneviève of Paris. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Helena</span><span class="pagenum" id="Page_45">[Pg 45]</span>, A. D. 328. Aug. +</td> +<td class="tdl"> +Royal robes. Crowned. Very +</td> +</tr> +<tr> +<td class="tdl"> +18. Is generally admitted +</td> +<td class="tdl"> +large cross. +</td> +</tr> +<tr> +<td class="tdl"> +to have been a British +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +princess, who married Constantius +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Chlorus and became +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +the mother of Constantine +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +the Great. It was she who +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +discovered the true cross. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Henry</span> of Bavaria, A. D. +</td> +<td class="tdl"> +In armour. Crowned. Sword. +</td> +</tr> +<tr> +<td class="tdl"> +1024. July 14. Emperor +</td> +<td class="tdl"> +Orb of sovereignty. Holding +</td> +</tr> +<tr> +<td class="tdl"> +of Germany and husband +</td> +<td class="tdl"> +in hand Cathedral of +</td> +</tr> +<tr> +<td class="tdl"> +of St. Cunegunda. +</td> +<td class="tdl"> +Bamberg. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Hilary</span> (<em>Ital.</em> Sant’ +</td> +<td class="tdl"> +Bishop’s robes. Reading the +</td> +</tr> +<tr> +<td class="tdl"> +Ilario), A. D. 363. Jan. +</td> +<td class="tdl"> +Gospel. +</td> +</tr> +<tr> +<td class="tdl"> +13. Patron saint of Parma. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Hilda,</span> A. D. 680. Nov. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +17. Abbess of Whitby. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Hippolytus,</span> A. D. 258. +</td> +<td class="tdl"> +Often represented as jailer of +</td> +</tr> +<tr> +<td class="tdl"> +Aug. 13. Patron saint of +</td> +<td class="tdl"> +St. Laurence, with bunch +</td> +</tr> +<tr> +<td class="tdl"> +horses. He was the jailer +</td> +<td class="tdl"> +of keys. In armour. Sometimes +</td> +</tr> +<tr> +<td class="tdl"> +of St. Laurence, who became +</td> +<td class="tdl"> +iron comb, or bound +</td> +</tr> +<tr> +<td class="tdl"> +converted and suffered martyrdom +</td> +<td class="tdl"> +to horses. +</td> +</tr> +<tr> +<td class="tdl"> +by being tied to the +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +tails of wild horses and +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +dashed to pieces. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Hubert</span> of Liège, A. D. +</td> +<td class="tdl"> +Stag with crucifix between +</td> +</tr> +<tr> +<td class="tdl"> +727. Nov. 3. Patron saint +</td> +<td class="tdl"> +its horns. Bishop’s robes. +</td> +</tr> +<tr> +<td class="tdl"> +of the chase and of dogs. +</td> +<td class="tdl"> +Hunting horn. Book. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Sometimes in hunter’s +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +dress. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Hugh</span><span class="pagenum" id="Page_46">[Pg 46]</span> of Grenoble, A. D. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +1132. April 1. Bishop of +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Grenoble. He gave to +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +St. Bruno the land on which +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +was built the “Grande +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Chartreuse.” +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Humility</span> or <span class="smcap">Umiltà,</span> +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 1310. Founder of the +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Order of Vallombrosan nuns. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Hyacinth,</span> A. D. 1257. +</td> +<td class="tdl"> +Dominican habit. Crucifix. +</td> +</tr> +<tr> +<td class="tdl"> +Aug. 15. +</td> +<td class="tdl"> +Pyx. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Ignatius</span> of Antioch, A. D. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +107. Feb. 1. Thought to +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +have been the little child +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +whom Jesus “set in the +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +midst” and said “of such is +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +the Kingdom of Heaven.” +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +He and his friend St. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Polycarp were disciples of +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +St. John the Evangelist. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Ignatius Loyola,</span> A. D. +</td> +<td class="tdl"> +I. H. S. in the skies. Sometimes +</td> +</tr> +<tr> +<td class="tdl"> +1556. July 31. Founder +</td> +<td class="tdl"> +on a tablet borne by +</td> +</tr> +<tr> +<td class="tdl"> +of the Order of Jesuits. +</td> +<td class="tdl"> +angels. Heart crowned +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +with thorns. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Ildefonso</span> or <span class="smcap">Alphonso</span>, +</td> +<td class="tdl"> +Famous in Spanish art. Kneeling +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 667. Jan. 23. A +</td> +<td class="tdl"> +before the Virgin, while +</td> +</tr> +<tr> +<td class="tdl"> +Benedictine monk who +</td> +<td class="tdl"> +two angels arrange the +</td> +</tr> +<tr> +<td class="tdl"> +became Archbishop of Toledo. +</td> +<td class="tdl"> +sacred vestment. +</td> +</tr> +<tr> +<td class="tdl"> +He wrote a book +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +defending the perpetual +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +virginity of the Blessed +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Virgin, and the Virgin appeared +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +to him in a vision +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +and with two angels invested +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +him in a wonderful chasuble. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Isabella</span><span class="pagenum" id="Page_47">[Pg 47]</span> of France, A. D. +</td> +<td class="tdl"> +Franciscan habit. Distributing +</td> +</tr> +<tr> +<td class="tdl"> +1270. Aug. 31. Sister of +</td> +<td class="tdl"> +alms or food to the poor. +</td> +</tr> +<tr> +<td class="tdl"> +St. Louis and founder of +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +the great convent of Longchamps, +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +a community of +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Poor Clares. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Isidore</span> the Ploughman, +</td> +<td class="tdl"> +Labourer’s dress. Spade. +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 1170. May 10. Patron +</td> +<td class="tdl"> +Angel ploughing in background. +</td> +</tr> +<tr> +<td class="tdl"> +saint of Madrid and of +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +agriculture. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Ives</span> or <span class="smcap">Yvo</span> of Bretagne +</td> +<td class="tdl"> +Judge. Franciscan cord. +</td> +</tr> +<tr> +<td class="tdl"> +(<em>Ital.</em> Sant’ <span class="smcap">Ivo</span>), A. D. 1303. +</td> +<td class="tdl"> +Furred robe. Sometimes +</td> +</tr> +<tr> +<td class="tdl"> +May 19. Patron saint of all +</td> +<td class="tdl"> +surrounded by widows and +</td> +</tr> +<tr> +<td class="tdl"> +lawyers in Europe. +</td> +<td class="tdl"> +orphans. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. James</span> the Great. Apostle +</td> +<td class="tdl"> +Cloak. Pilgrim’s staff. +</td> +</tr> +<tr> +<td class="tdl"> +and Martyr, A. D. 44. +</td> +<td class="tdl"> +Wallet and shell. +</td> +</tr> +<tr> +<td class="tdl"> +July 25. Patron saint of +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Spain. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. James Minor.</span> Apostle +</td> +<td class="tdl"> +Fuller’s club. +</td> +</tr> +<tr> +<td class="tdl"> +and Martyr. May 1. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Januarius,</span> A. D. 303. +</td> +<td class="tdl"> +Bishop’s robes. Palm. Mt. +</td> +</tr> +<tr> +<td class="tdl"> +Sept. 19. Patron saint of +</td> +<td class="tdl"> +Vesuvius in background. +</td> +</tr> +<tr> +<td class="tdl"> +Naples. Protector against +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +eruptions of Mt. Vesuvius. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Jerome,</span> A. D. 420. +</td> +<td class="tdl"> +Lion. Cardinal’s hat. Books. +</td> +</tr> +<tr> +<td class="tdl"> +Sept. 30. One of the Four +</td> +<td class="tdl"> +Skull. Church in hand. +</td> +</tr> +<tr> +<td class="tdl"> +Latin Fathers, patron saint +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +of scholars and theologians. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Joachim.</span> March 20. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Husband of St. Anne and +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +father of the Virgin Mary. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. John</span><span class="pagenum" id="Page_48">[Pg 48]</span> the Baptist. June +</td> +<td class="tdl"> +Reed cross. Scroll. Lamb. +</td> +</tr> +<tr> +<td class="tdl"> +24. Patron saint of Florence +</td> +<td class="tdl"> +Camel’s hair garment. +</td> +</tr> +<tr> +<td class="tdl"> +and all who are baptised. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. John the Evangelist,</span> A. D. +</td> +<td class="tdl"> +Eagle. Pen. Book. Cup +</td> +</tr> +<tr> +<td class="tdl"> +99. Dec. 27. +</td> +<td class="tdl"> +with serpent. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. John Capistrano,</span> A. D. +</td> +<td class="tdl"> +Turk under his feet. In one +</td> +</tr> +<tr> +<td class="tdl"> +1465. Oct. 23. A Franciscan +</td> +<td class="tdl"> +hand a standard, in the other +</td> +</tr> +<tr> +<td class="tdl"> +monk sent by the pope to +</td> +<td class="tdl"> +a cross. +</td> +</tr> +<tr> +<td class="tdl"> +preach a crusade against +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +the Turks. Canonised in +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +1690 to commemorate +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Vienna’s deliverance from +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +the Turks. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. John Chrysostom</span> (of the +</td> +<td class="tdl"> +Habit of Greek bishop. Sacramental +</td> +</tr> +<tr> +<td class="tdl"> +golden mouth), A. D. 407. +</td> +<td class="tdl"> +cup. Gospel. +</td> +</tr> +<tr> +<td class="tdl"> +Jan. 27. One of the Four +</td> +<td class="tdl"> +Dove hovering near. +</td> +</tr> +<tr> +<td class="tdl"> +Greek Fathers of the +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Church. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. John Gualberto,</span> A. D. +</td> +<td class="tdl"> +Crucifix. Sometimes crutch. +</td> +</tr> +<tr> +<td class="tdl"> +1073. July 12. Founder of +</td> +<td class="tdl"> +Light grey habit. Beardless. +</td> +</tr> +<tr> +<td class="tdl"> +the Vallombrosan Order of +</td> +<td class="tdl"> +Cross. +</td> +</tr> +<tr> +<td class="tdl"> +Reformed Benedictines. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. John de Matha,</span> A. D. +</td> +<td class="tdl"> +White habit. Blue and red +</td> +</tr> +<tr> +<td class="tdl"> +1213. Feb. 8. Founder +</td> +<td class="tdl"> +cross on breast. Fetters +</td> +</tr> +<tr> +<td class="tdl"> +of the Trinitarian Order for +</td> +<td class="tdl"> +in his hand or at his feet. +</td> +</tr> +<tr> +<td class="tdl"> +the redemption of captives. +</td> +<td class="tdl"> +Angel with two captives in +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +background. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. John Nepomuck,</span> A. D. +</td> +<td class="tdl"> +Augustine habit. Cross. Five +</td> +</tr> +<tr> +<td class="tdl"> +1393. May 16. Canon +</td> +<td class="tdl"> +stars about his head. Sometimes +</td> +</tr> +<tr> +<td class="tdl"> +Regular of St. Augustine. +</td> +<td class="tdl"> +finger on his lip or +</td> +</tr> +<tr> +<td class="tdl"> +Protector of the Order of +</td> +<td class="tdl"> +mouth padlocked. +</td> +</tr> +<tr> +<td class="tdl"> +Jesuits. In Bohemia and +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Austria the patron saint +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +of bridges and running +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +water, of silence and against +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +slander. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Joseph.</span><span class="pagenum" id="Page_49">[Pg 49]</span> March 19. Husband +</td> +<td class="tdl"> +Crutch or stick. Lily. +</td> +</tr> +<tr> +<td class="tdl"> +of the Blessed Virgin. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Juan de la Cruz,</span> A. D. +</td> +<td class="tdl"> +Represented with St. Theresa +</td> +</tr> +<tr> +<td class="tdl"> +1591. First barefooted +</td> +<td class="tdl"> +kneeling before the throne +</td> +</tr> +<tr> +<td class="tdl"> +Carmelite. Friend and +</td> +<td class="tdl"> +of the Virgin. +</td> +</tr> +<tr> +<td class="tdl"> +coadjutor of St. Theresa. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Juan de Dios,</span> A. D. 1550. +</td> +<td class="tdl"> +Capuchin habit. Long beard. +</td> +</tr> +<tr> +<td class="tdl"> +March 8. Founder of the +</td> +<td class="tdl"> +Holding a pomegranate surmounted +</td> +</tr> +<tr> +<td class="tdl"> +Hospitallers or Brothers of +</td> +<td class="tdl"> +by a cross. Beggar +</td> +</tr> +<tr> +<td class="tdl"> +Charity. +</td> +<td class="tdl"> +kneeling at his feet. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Jude.</span> See <span class="smcap">St. Simon.</span> +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Julia</span> and <span class="smcap">St. Afra. </span> +</td> +<td class="tdl"> +Frequently represented in pictures +</td> +</tr> +<tr> +<td class="tdl"> +Virgin Martyrs and patron +</td> +<td class="tdl"> +of the Brescian school +</td> +</tr> +<tr> +<td class="tdl"> +saints of Brescia. +</td> +<td class="tdl"> +with San Faustino, San +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Giovita, and St. Apollonius. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Julian</span> of Cilicia. March +</td> +<td class="tdl"> +Young. Flowing hair. Secular +</td> +</tr> +<tr> +<td class="tdl"> +16. Patron saint of Rimini. +</td> +<td class="tdl"> +dress. Palm. Standard +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +of victory. Sword. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Julian Hospitator, </span>A. D. +</td> +<td class="tdl"> +Young. Courtier’s dress. +</td> +</tr> +<tr> +<td class="tdl"> +313. Jan. 9. Patron saint +</td> +<td class="tdl"> +Hunting horn. Stag. +</td> +</tr> +<tr> +<td class="tdl"> +of travellers, boatmen, +</td> +<td class="tdl"> +River and boat sometimes +</td> +</tr> +<tr> +<td class="tdl"> +ferrymen, and wandering +</td> +<td class="tdl"> +seen in background. +</td> +</tr> +<tr> +<td class="tdl"> +minstrels. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +SS. <span class="smcap">Justa</span> and <span class="smcap">Rufina,</span> A. D. +</td> +<td class="tdl"> +Palm. Earthenware pots. +</td> +</tr> +<tr> +<td class="tdl"> +304. July 19. Patron +</td> +<td class="tdl"> +Sometimes the <em>Giralda</em> +</td> +</tr> +<tr> +<td class="tdl"> +saints of Seville. +</td> +<td class="tdl"> +(tower) of Seville between +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +them, which they are supposed +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +to have saved by a +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +miracle in a thunder-storm +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +in 1504. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Justina</span><span class="pagenum" id="Page_50">[Pg 50]</span> of Antioch. <em>See</em> +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Cyprian.</span> +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Justina</span> of Padua (<em>Ital.</em> +</td> +<td class="tdl"> +Richly dressed as princess. +</td> +</tr> +<tr> +<td class="tdl"> +Santa Giustina di Padova), +</td> +<td class="tdl"> +Crowned. Palm. Sword +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 303. Oct. 7. Patron +</td> +<td class="tdl"> +through her breast, emblem +</td> +</tr> +<tr> +<td class="tdl"> +saint of Padua and Venice. +</td> +<td class="tdl"> +of her martyrdom. Sometimes +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +given the unicorn +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +which properly belongs to +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +St. Justina of Antioch. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Lambert,</span> A. D. 709. Sept. +</td> +<td class="tdl"> +Bishop’s robes. Palm. Lance +</td> +</tr> +<tr> +<td class="tdl"> +17. Bishop of Maestricht. +</td> +<td class="tdl"> +or javelin at his feet. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Laurence,</span> A. D. 258. +</td> +<td class="tdl"> +Deacon’s dress. Palm. Gridiron. +</td> +</tr> +<tr> +<td class="tdl"> +Aug. 10. Patron saint of +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Nuremberg, Genoa, and the +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Escurial. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Lazarus,</span> Sept. 2. Brother +</td> +<td class="tdl"> +Bishop’s robes. Bier in background. +</td> +</tr> +<tr> +<td class="tdl"> +of Martha and Mary and +</td> +<td class="tdl"> +Usually grouped +</td> +</tr> +<tr> +<td class="tdl"> +patron saint of Marseilles. +</td> +<td class="tdl"> +with Mary, Martha, and +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +sometimes St. Marcella. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +SS. <span class="smcap">Leander</span> and <span class="smcap">Isidore, </span> +</td> +<td class="tdl"> +In pictures by Murillo they +</td> +</tr> +<tr> +<td class="tdl"> +sixth century. Two brothers +</td> +<td class="tdl"> +are represented enthroned, +</td> +</tr> +<tr> +<td class="tdl"> +who were successively +</td> +<td class="tdl"> +robed in white, wearing +</td> +</tr> +<tr> +<td class="tdl"> +Bishops of Seville and patron +</td> +<td class="tdl"> +their mitres. +</td> +</tr> +<tr> +<td class="tdl"> +saints of the city. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Leonard,</span> A. D. 559. +</td> +<td class="tdl"> +Deacon’s dress, or Benedictine +</td> +</tr> +<tr> +<td class="tdl"> +Nov. 6. Patron saint of +</td> +<td class="tdl"> +habit. Crozier. Book. +</td> +</tr> +<tr> +<td class="tdl"> +prisoners and slaves. +</td> +<td class="tdl"> +Fetters. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Longinus,</span> A. D. 45. +</td> +<td class="tdl"> +Roman soldier. Lance or +</td> +</tr> +<tr> +<td class="tdl"> +March 15. Patron saint of +</td> +<td class="tdl"> +spear. +</td> +</tr> +<tr> +<td class="tdl"> +Mantua. Was the centurion +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +who pierced the side +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +of Christ at the crucifixion. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +He became a Christian and +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +suffered martyrdom. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Lorenzo Giustiniani</span><span class="pagenum" id="Page_51">[Pg 51]</span>, +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 1455. Sept. 5. Bishop +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +of Castello and Patriarch +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +of Venice. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Louis Beltran,</span> A. D. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +1581. Oct. 9. A celebrated +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Dominican preacher and +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +friend of St. Theresa. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Louis, </span>King of France, +</td> +<td class="tdl"> +Crown of thorns. Sword. +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 1270. Aug. 25. +</td> +<td class="tdl"> +Sceptre. Royal crown. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Louis</span> of Toulouse (<em>Ital.</em> +</td> +<td class="tdl"> +Young. Beardless. <i lang="fr" xml:lang="fr">Fleur-de-lys</i> +</td> +</tr> +<tr> +<td class="tdl"> +San Ludovico), A. D. 1297. +</td> +<td class="tdl"> +embroidered on +</td> +</tr> +<tr> +<td class="tdl"> +Aug. 19. +</td> +<td class="tdl"> +bishop’s robes. Sometimes +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Franciscan habit. Mitre. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Crown and sceptre at his +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +feet. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Lucy,</span> A. D. 303. Dec. +</td> +<td class="tdl"> +Lamp. Eyes on salver. +</td> +</tr> +<tr> +<td class="tdl"> +13. Patron saint of Syracuse +</td> +<td class="tdl"> +Sword in her neck or wound +</td> +</tr> +<tr> +<td class="tdl"> +and against diseases +</td> +<td class="tdl"> +in neck from which stream +</td> +</tr> +<tr> +<td class="tdl"> +of the eye. +</td> +<td class="tdl"> +rays of light. Palm. Awl. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Luke,</span> Evangelist. Oct. 18. +</td> +<td class="tdl"> +Ox (winged). Book. Portrait +</td> +</tr> +<tr> +<td class="tdl"> +Patron saint of painters. +</td> +<td class="tdl"> +of the Virgin. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Marcella</span> or <span class="smcap">Martilla,</span> +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 68. The handmaid +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +of Mary and Martha. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Marcellinus</span> and <span class="smcap">St. </span> +</td> +<td class="tdl"> +Represented together in art, +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Peter Exorcista,</span> A. D. +</td> +<td class="tdl"> +bearing their palms. +</td> +</tr> +<tr> +<td class="tdl"> +304. June 2. Two priests +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +who were persecuted and +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +suffered martyrdom together. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Margaret</span> of Antioch, +</td> +<td class="tdl"> +Dragon under her feet. Cross. +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 306. July 20. +</td> +<td class="tdl"> +Crown. Palm. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Margaret</span><span class="pagenum" id="Page_52">[Pg 52]</span> of Cortona, +</td> +<td class="tdl"> +Checkered habit. Cord as +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 1297. +</td> +<td class="tdl"> +girdle. Dog at her feet. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Mark</span> the Evangelist, +</td> +<td class="tdl"> +Lion, generally winged. Bishop’s +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 68. April 25. Patron +</td> +<td class="tdl"> +robes. Book. +</td> +</tr> +<tr> +<td class="tdl"> +saint of Venice. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Martha</span> of Bethany, A. D. +</td> +<td class="tdl"> +Pot of holy water. Asperges. +</td> +</tr> +<tr> +<td class="tdl"> +84. July 29. Patron saint +</td> +<td class="tdl"> +Dragon bound at her feet. +</td> +</tr> +<tr> +<td class="tdl"> +of cooks and housewives. +</td> +<td class="tdl"> +Bunch of keys. Skimmer +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +or ladle in her hand. When +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +with the Magdalene plainly +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +dressed in blue, dark brown, +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +or grey. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Martin</span> of Tours, A. D. +</td> +<td class="tdl"> +Bishop’s robes. Beggar at +</td> +</tr> +<tr> +<td class="tdl"> +397. Nov. 11. Patron +</td> +<td class="tdl"> +feet or as soldier dividing +</td> +</tr> +<tr> +<td class="tdl"> +saint of Tours, Lucca, and +</td> +<td class="tdl"> +his cloak with beggar. +</td> +</tr> +<tr> +<td class="tdl"> +penitent drunkards. +</td> +<td class="tdl"> +Goose at his side. (This +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +attribute alludes to the +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +season of his festival, called +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Martinmastide, when geese +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +are killed and eaten.) +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Mary</span> of Egypt, A. D. +</td> +<td class="tdl"> +Old, wasted, with long hair, +</td> +</tr> +<tr> +<td class="tdl"> +433. April 2. +</td> +<td class="tdl"> +grey or black. Three small +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +loaves. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Mary Magdalene,</span> A. D. +</td> +<td class="tdl"> +Long, fair hair. Box of ointment. +</td> +</tr> +<tr> +<td class="tdl"> +68. July 22. Patron saint +</td> +<td class="tdl"> +Skull. Crucifix. +</td> +</tr> +<tr> +<td class="tdl"> +of Provence, Marseilles, and +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +of penitent women. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Matthew,</span> Apostle and +</td> +<td class="tdl"> +Angel or man. Book or pen. +</td> +</tr> +<tr> +<td class="tdl"> +Evangelist, A. D. 90. Sept. +</td> +<td class="tdl"> +Purse or money-bag. +</td> +</tr> +<tr> +<td class="tdl"> +21. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Matthias,</span> Apostle. Feb. +</td> +<td class="tdl"> +Lance or axe. +</td> +</tr> +<tr> +<td class="tdl"> +24. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Maurice</span><span class="pagenum" id="Page_53">[Pg 53]</span> (<em>Ital.</em> San +</td> +<td class="tdl"> +St. Maurice is represented in +</td> +</tr> +<tr> +<td class="tdl"> +Maurizio), A. D. 286. +</td> +<td class="tdl"> +armour, palm in one hand, +</td> +</tr> +<tr> +<td class="tdl"> +Sept. 22. Patron saint of +</td> +<td class="tdl"> +the standard in the other. +</td> +</tr> +<tr> +<td class="tdl"> +Savoy, Mantua, and Austria. +</td> +<td class="tdl"> +Sometimes as a Moor, his +</td> +</tr> +<tr> +<td class="tdl"> +This saint was commander +</td> +<td class="tdl"> +name signifying “a Moor.” +</td> +</tr> +<tr> +<td class="tdl"> +of the Theban Legion of the +</td> +<td class="tdl"> +In Italian art he bears a +</td> +</tr> +<tr> +<td class="tdl"> +Roman Army, numbering +</td> +<td class="tdl"> +large red cross—badge of the +</td> +</tr> +<tr> +<td class="tdl"> +6666 soldiers, all Christians. +</td> +<td class="tdl"> +Sardinian Order of St. Maurice—on +</td> +</tr> +<tr> +<td class="tdl"> +These were slain to a man +</td> +<td class="tdl"> +his breast. St. +</td> +</tr> +<tr> +<td class="tdl"> +by order of Emperor Maximin +</td> +<td class="tdl"> +Gereon is in armour, and +</td> +</tr> +<tr> +<td class="tdl"> +for refusing to enter +</td> +<td class="tdl"> +bears the standard and palm. +</td> +</tr> +<tr> +<td class="tdl"> +into battle against other +</td> +<td class="tdl"> +Sometimes the Emperor +</td> +</tr> +<tr> +<td class="tdl"> +Christians. The place +</td> +<td class="tdl"> +Maximin is portrayed prostrate +</td> +</tr> +<tr> +<td class="tdl"> +where the martyrdom occurred +</td> +<td class="tdl"> +under his foot, expressing +</td> +</tr> +<tr> +<td class="tdl"> +has since been called +</td> +<td class="tdl"> +spiritual victory +</td> +</tr> +<tr> +<td class="tdl"> +St. Maurice. St. Gereon +</td> +<td class="tdl"> +over tyranny. +</td> +</tr> +<tr> +<td class="tdl"> +was another of the Theban +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Legion, who, with his comrades, +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +suffered martyrdom +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +in Cologne. St. Gereon +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +and St. Maurice are most +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +honoured in Germany. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Maurus,</span> A. D. 584. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Jan. 15. <em>See</em> <span class="smcap">St. Benedict.</span> +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Michael</span> the Archangel. +</td> +<td class="tdl"> +Winged. In armour. Sword. +</td> +</tr> +<tr> +<td class="tdl"> +Sept. 29. +</td> +<td class="tdl"> +Spear. Shield. Dragon +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +under his foot. As Lord of +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +souls, holding the balance. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Miniato,</span> A. D. 254. +</td> +<td class="tdl"> +Scarlet robe. Crown. Palm. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Javelins. T-shaped cross. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Monica,</span> A. D. 387. May +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +4. Mother of St. Augustine. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Natalia,</span> wife of <span class="smcap">St. Adrian</span> +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +and one of the great +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +martyrs of the Greek Church. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Nazarius</span><span class="pagenum" id="Page_54">[Pg 54]</span> and <span class="smcap">St. Celsus</span>, +</td> +<td class="tdl"> +Always represented together, +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 69. July 28. Two +</td> +<td class="tdl"> +St. Nazarius old, St. Celsus +</td> +</tr> +<tr> +<td class="tdl"> +martyrs of Milan. +</td> +<td class="tdl"> +young. Each bears the +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +palm and sword. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Nicholas</span> of Myra or +</td> +<td class="tdl"> +Bishop’s robes. Three balls. +</td> +</tr> +<tr> +<td class="tdl"> +Bari, A. D. 326. Dec. 6. +</td> +<td class="tdl"> +Anchor. Three children in +</td> +</tr> +<tr> +<td class="tdl"> +Patron saint of Russia, +</td> +<td class="tdl"> +a tub. Ship. +</td> +</tr> +<tr> +<td class="tdl"> +Freiberg, Venice, of children, +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +sailors, merchants, and +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +against robbers. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Nicholas</span> of Tolentino, +</td> +<td class="tdl"> +Augustine habit. Star on his +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 1309. Sept. 10. +</td> +<td class="tdl"> +breast. Gospel. Crucifix +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +wreathed with a lily. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Norbert,</span> A. D. 1134. +</td> +<td class="tdl"> +Bishop’s robes. Sacramental +</td> +</tr> +<tr> +<td class="tdl"> +May 6. Founder of the Order +</td> +<td class="tdl"> +cup with spider over it. +</td> +</tr> +<tr> +<td class="tdl"> +of Premonstratensians. +</td> +<td class="tdl"> +Sometimes demon bound. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Omobuono.</span> Patron saint +</td> +<td class="tdl"> +Loose tunic trimmed with +</td> +</tr> +<tr> +<td class="tdl"> +of Cremona, of tailors, and +</td> +<td class="tdl"> +fur. Fur cap. Is seen distributing +</td> +</tr> +<tr> +<td class="tdl"> +all good citizens. Noted +</td> +<td class="tdl"> +food and alms +</td> +</tr> +<tr> +<td class="tdl"> +for his charity. +</td> +<td class="tdl"> +to the poor. Sometimes +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +wine flasks stand near him +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +in allusion to the legend +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +that after giving his own +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +provisions to some starving +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +pilgrims, he filled the empty +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +wine flasks with water which +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +poured out wine, and angels +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +filled his wallet with bread. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Onofrio,</span> fourth or fifth +</td> +<td class="tdl"> +Old, wasted, long grey hair +</td> +</tr> +<tr> +<td class="tdl"> +century. June 12. A +</td> +<td class="tdl"> +and beard. A leafy branch +</td> +</tr> +<tr> +<td class="tdl"> +hermit of Thebes who dwelt +</td> +<td class="tdl"> +encircles his loins. Stick +</td> +</tr> +<tr> +<td class="tdl"> +alone in a cave for sixty +</td> +<td class="tdl"> +in his hand. +</td> +</tr> +<tr> +<td class="tdl"> +years and never spoke except +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +to pray. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Ottilia</span><span class="pagenum" id="Page_55">[Pg 55]</span>, A. D. 720. Dec. +</td> +<td class="tdl"> +Abbess of the Benedictine +</td> +</tr> +<tr> +<td class="tdl"> +13. Patron saint of Alsace +</td> +<td class="tdl"> +Order. Crozier or Palm. +</td> +</tr> +<tr> +<td class="tdl"> +and Strasburg and against +</td> +<td class="tdl"> +Book upon which rest two +</td> +</tr> +<tr> +<td class="tdl"> +diseases of the eye. She +</td> +<td class="tdl"> +eyes. +</td> +</tr> +<tr> +<td class="tdl"> +was the blind daughter of the +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Duke of Alsace and built the +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +convent of Hohenburg. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Pantaleon,</span> fourth century. +</td> +<td class="tdl"> +Young. Beardless. Wears +</td> +</tr> +<tr> +<td class="tdl"> +July 27. Patron +</td> +<td class="tdl"> +loose robe. Palm. Olive. +</td> +</tr> +<tr> +<td class="tdl"> +saint of physicians. Was +</td> +<td class="tdl"> +As martyr bound to an olive +</td> +</tr> +<tr> +<td class="tdl"> +the favourite physician of +</td> +<td class="tdl"> +tree. Sword at his feet. +</td> +</tr> +<tr> +<td class="tdl"> +Emperor Galerius Maximian. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Martyred for his faith. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Patrick,</span> A. D. 464. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +March 17. Apostle and +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +patron saint of Ireland. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Paul</span> the Apostle, A. D. +</td> +<td class="tdl"> +Sword. Sometimes two swords. +</td> +</tr> +<tr> +<td class="tdl"> +65. June 29. +</td> +<td class="tdl"> +Book. Scroll. Next to +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Virgin or Saviour enthroned. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Paul</span> the Hermit of Thebes, +</td> +<td class="tdl"> +Very old, half naked. Long +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 344. +</td> +<td class="tdl"> +hair and beard. Raven. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Peter</span> the Apostle, A. D. +</td> +<td class="tdl"> +Keys. Fish. Cross. Cock. +</td> +</tr> +<tr> +<td class="tdl"> +65. June 29. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Peter</span> of Alcantara, A. D. +</td> +<td class="tdl"> +Often represented thus, or +</td> +</tr> +<tr> +<td class="tdl"> +1562. A Franciscan monk +</td> +<td class="tdl"> +with dove hovering over his +</td> +</tr> +<tr> +<td class="tdl"> +who through faith was able +</td> +<td class="tdl"> +head. +</td> +</tr> +<tr> +<td class="tdl"> +to walk on the water. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Peter Exorcista.</span> <em>See</em> +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Marcellinus.</span> +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Peter Martyr, </span>A. D. +</td> +<td class="tdl"> +Dominican habit. Gash in +</td> +</tr> +<tr> +<td class="tdl"> +1252. April 28. +</td> +<td class="tdl"> +his head or blood flowing +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +from it. Sometimes sword +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +or axe. Palm. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Peter Nolasco</span><span class="pagenum" id="Page_56">[Pg 56]</span>, A. D. +</td> +<td class="tdl"> +Old. White habit; on his +</td> +</tr> +<tr> +<td class="tdl"> +1258. Jan. 13. Founder of +</td> +<td class="tdl"> +breast the arms of King +</td> +</tr> +<tr> +<td class="tdl"> +the Order of Our Lady of +</td> +<td class="tdl"> +James of Aragon, the badge +</td> +</tr> +<tr> +<td class="tdl"> +Mercy, for the redemption +</td> +<td class="tdl"> +of the Order. +</td> +</tr> +<tr> +<td class="tdl"> +of captives. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Petronilla,</span> first century. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +May 31. The daughter of +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +St. Peter. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Petronius,</span> A. D. 430. +</td> +<td class="tdl"> +Bishop’s robes. City of Bologna +</td> +</tr> +<tr> +<td class="tdl"> +Oct. 4. Bishop and patron +</td> +<td class="tdl"> +in his hand. +</td> +</tr> +<tr> +<td class="tdl"> +saint of Bologna. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Philip,</span> Apostle. May 1. +</td> +<td class="tdl"> +Staff or crozier surmounted +</td> +</tr> +<tr> +<td class="tdl"> +Patron saint of Luxembourg +</td> +<td class="tdl"> +by a cross, or small cross +</td> +</tr> +<tr> +<td class="tdl"> +and Brabant. +</td> +<td class="tdl"> +in his hand. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Philip Benozzi,</span> A. D. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +1285. Aug. 23. Chief +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +saint of the Order of the +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Servi. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Philip Neri,</span> A. D. 1595. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +May 26. Founder of the +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Order of the Oratorians. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Phocas of Sinope.</span> Martyr. +</td> +<td class="tdl"> +Found in Byzantine art. As +</td> +</tr> +<tr> +<td class="tdl"> +Greek patron saint of gardens +</td> +<td class="tdl"> +gardener. Spade. +</td> +</tr> +<tr> +<td class="tdl"> +and gardeners. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Placidus,</span> A. D. 584. Jan. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +15. <em>See</em> <span class="smcap">St. Benedict.</span> +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Pol</span> or <span class="smcap">Paul de Léon,</span> +</td> +<td class="tdl"> +Bell. Sometimes loaf and +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 573. March 12. First +</td> +<td class="tdl"> +cruse. Driving dragon into +</td> +</tr> +<tr> +<td class="tdl"> +Bishop and patron saint of +</td> +<td class="tdl"> +the sea. +</td> +</tr> +<tr> +<td class="tdl"> +Léon and founder of the +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +cathedral at St. Pol-de-Léon, +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Brittany. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +SS. <span class="smcap">Praxedes</span><span class="pagenum" id="Page_57">[Pg 57]</span> and <span class="smcap">Pudentiana</span>, +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 148. July 21 +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +and May 19. The daughters +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +of a Roman patrician named +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Pudens, with whom St. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Peter lodged. They were +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Christians, and during the +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +first persecution they ministered +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +to the tortured ones, +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +sheltering them in their +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +own home. They themselves +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +escaped martyrdom. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Prisca,</span> A. D. 275. Jan. +</td> +<td class="tdl"> +Lion. Palm. Eagle. +</td> +</tr> +<tr> +<td class="tdl"> +18. A Roman virgin who +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +was denounced as a Christian +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +when but thirteen and +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +thrown to the lions. These, +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +instead of attacking her, +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +humbly licked her feet. She +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +was then taken and beheaded. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +An eagle guarded +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +her body until it was buried. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Procopius,</span> A. D. 1053. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +July 4. A King of Bohemia +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +who gave up his crown and +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +became a hermit. His story +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +is similar to St. Giles’s. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Proculus, </span>A. D. 303. +</td> +<td class="tdl"> +Soldier, axe in his hand. +</td> +</tr> +<tr> +<td class="tdl"> +Military patron saint of +</td> +<td class="tdl"> +Sometimes an angel holds +</td> +</tr> +<tr> +<td class="tdl"> +Bologna. One of the warrior +</td> +<td class="tdl"> +the axe. Sword. Carrying +</td> +</tr> +<tr> +<td class="tdl"> +saints who slew with +</td> +<td class="tdl"> +a head in both hands. +</td> +</tr> +<tr> +<td class="tdl"> +an axe an officer sent to +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +enforce the imperial edict +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +against the Christians and +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +was then himself immediately +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +beheaded. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Ranieri</span><span class="pagenum" id="Page_58">[Pg 58]</span>, A. D. 1161. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +July 17. Patron saint of +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Pisa. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Raphael</span> the Archangel. +</td> +<td class="tdl"> +Winged. Wallet. Staff. +</td> +</tr> +<tr> +<td class="tdl"> +Guardian angel of travellers. +</td> +<td class="tdl"> +Sword. Casket (with fishy +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +charm). Pilgrim’s garb. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Raymond de Peñaforte,</span> +</td> +<td class="tdl"> +Dominican habit. Gliding +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 1275. Jan. 23. A +</td> +<td class="tdl"> +over the sea on his mantle. +</td> +</tr> +<tr> +<td class="tdl"> +Spanish nobleman who entered +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +the Order of St. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Dominick. He is said to +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +have safely crossed the sea +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +on his mantle, setting his +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +staff in the middle with the +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +corner of the cloak for a sail. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Reparata,</span> third century. +</td> +<td class="tdl"> +Crown. Palm. Sometimes a +</td> +</tr> +<tr> +<td class="tdl"> +Patron saint of Florence +</td> +<td class="tdl"> +banner with red cross on a +</td> +</tr> +<tr> +<td class="tdl"> +before 1298. +</td> +<td class="tdl"> +white ground. Difficult +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +to distinguish from St. Ursula +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +unless latter has arrow. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Roch,</span> A. D. 1327. Aug. +</td> +<td class="tdl"> +Pilgrim’s habit. Wallet. +</td> +</tr> +<tr> +<td class="tdl"> +16. Patron saint of prisoners +</td> +<td class="tdl"> +Cockleshell. Staff. Dog. +</td> +</tr> +<tr> +<td class="tdl"> +and the sick, especially +</td> +<td class="tdl"> +Often pointing to wound +</td> +</tr> +<tr> +<td class="tdl"> +the plague-stricken. +</td> +<td class="tdl"> +in his leg. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Romain,</span> A. D. 639. Oct. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +23. Bishop of Rouen under +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Clovis I. Considered the +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Apostle of Normandy. The +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +dragon legend is related of +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +him also. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Romualdo,</span> A. D. 1027. +</td> +<td class="tdl"> +White habit. Long white +</td> +</tr> +<tr> +<td class="tdl"> +Feb. 7. Founder of the +</td> +<td class="tdl"> +beard. Crutch. +</td> +</tr> +<tr> +<td class="tdl"> +Order of the Camaldolesi, +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +reformed Benedictines. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Romulo</span><span class="pagenum" id="Page_59">[Pg 59]</span>, first century. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +July 23. Convert of St. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Peter and first Bishop of +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Fiesole. Martyred under +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Nero. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Rosa di Viterbo,</span> A. D. +</td> +<td class="tdl"> +Franciscan habit. Chaplet of +</td> +</tr> +<tr> +<td class="tdl"> +1261. May 8. +</td> +<td class="tdl"> +roses. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Rosalia of Palermo,</span> A. D. +</td> +<td class="tdl"> +Brown tunic. Hair loose. +</td> +</tr> +<tr> +<td class="tdl"> +1160. +</td> +<td class="tdl"> +Crucifix. Angels crowning +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +her with roses. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Sabina,</span> second century. +</td> +<td class="tdl"> +Palm. Crown. Richly +</td> +</tr> +<tr> +<td class="tdl"> +Aug. 29. A Roman matron +</td> +<td class="tdl"> +dressed. +</td> +</tr> +<tr> +<td class="tdl"> +martyred in the time of the +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Emperor Hadrian. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Scholastica.</span> <em>See</em> <span class="smcap">St.</span> +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Benedict.</span> +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Sebald</span> or <span class="smcap">Siward,</span> A. D. +</td> +<td class="tdl"> +Pilgrim’s dress. Shell in his +</td> +</tr> +<tr> +<td class="tdl"> +770. One of the early +</td> +<td class="tdl"> +hat. Rosary. Staff. +</td> +</tr> +<tr> +<td class="tdl"> +German saints, especially +</td> +<td class="tdl"> +Wallet. In one hand his +</td> +</tr> +<tr> +<td class="tdl"> +venerated in Nuremberg. +</td> +<td class="tdl"> +church with its two towers. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Sebastian,</span> A. D. 288. +</td> +<td class="tdl"> +Pierced by arrows. Bound +</td> +</tr> +<tr> +<td class="tdl"> +Jan. 20. Patron saint against +</td> +<td class="tdl"> +to a tree or column. Angel +</td> +</tr> +<tr> +<td class="tdl"> +plague and pestilence. +</td> +<td class="tdl"> +with palm and crown. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Simon</span> and <span class="smcap">Jude</span> or +</td> +<td class="tdl"> +St. Simon the saw. Thaddeus +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">Thaddeus.</span> Oct. 28. +</td> +<td class="tdl"> +the halberd. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Stephen.</span> Protomartyr. +</td> +<td class="tdl"> +Stones. Deacon’s robes. +</td> +</tr> +<tr> +<td class="tdl"> +Dec. 26. +</td> +<td class="tdl"> +Palm. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Swithin,</span> A. D. 862. July +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +2. Bishop of Winchester +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +and preceptor of Alfred the +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Great. He desired to be +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +buried among the poor outside +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +the church. When his +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +clergy, however, on July +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +15th, wishing to do him +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +honour, attempted to remove +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +his body to a magnificent +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +tomb inside the church, the +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +rain fell in such torrents +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +they were unable to proceed. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +The storm continued forty +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +days. Then, the clergy +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +saw it was a sign, and left +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +the saint’s body undisturbed. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Sylvester</span><span class="pagenum" id="Page_60">[Pg 60]</span>, A. D. 335. +</td> +<td class="tdl"> +Pontifical robes. Mitre. +</td> +</tr> +<tr> +<td class="tdl"> +Dec. 31. Bishop and Patriarch +</td> +<td class="tdl"> +Sometimes triple tiara. +</td> +</tr> +<tr> +<td class="tdl"> +of Rome. Always +</td> +<td class="tdl"> +Small dragon, its mouth +</td> +</tr> +<tr> +<td class="tdl"> +associated with the conversion +</td> +<td class="tdl"> +bound with threads. Bull +</td> +</tr> +<tr> +<td class="tdl"> +of Constantine. +</td> +<td class="tdl"> +crouching at his feet. Sometimes +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +holding or pointing +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +at the portraits of St. Peter +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +and St. Paul. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Thecla,</span> first century. +</td> +<td class="tdl"> +Young. Palm. Wild beasts. +</td> +</tr> +<tr> +<td class="tdl"> +Sept. 23. Patron saint of +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Tarragona. A Greek virgin +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +and martyr who was a convert +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +of St. Paul. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Theodore,</span> A. D. 306. +</td> +<td class="tdl"> +In armour. Dragon under +</td> +</tr> +<tr> +<td class="tdl"> +Nov. 9. Formerly patron +</td> +<td class="tdl"> +his feet. +</td> +</tr> +<tr> +<td class="tdl"> +saint of Venice. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Theresa,</span> A. D. 1582. +</td> +<td class="tdl"> +Corpulent. Infirm. Flame-tipped +</td> +</tr> +<tr> +<td class="tdl"> +Oct. 17. Patron saint of +</td> +<td class="tdl"> +arrow in her breast. +</td> +</tr> +<tr> +<td class="tdl"> +Spain and founder of the +</td> +<td class="tdl"> +Dove. Angel. +</td> +</tr> +<tr> +<td class="tdl"> +Scalzi, a reformed order of +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +the Carmelites. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Thomas</span><span class="pagenum" id="Page_61">[Pg 61]</span>, Apostle. Dec. +</td> +<td class="tdl"> +Builder’s rule or square. +</td> +</tr> +<tr> +<td class="tdl"> +21. Patron saint of Parma +</td> +<td class="tdl"> +Lance. +</td> +</tr> +<tr> +<td class="tdl"> +and Portugal, and of +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +builders and architects. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Thomas Aquinas, </span>A. D. +</td> +<td class="tdl"> +Dominican habit. Books. +</td> +</tr> +<tr> +<td class="tdl"> +1274. March 7. +</td> +<td class="tdl"> +Pen. Sacramental cup. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Sun on his breast within +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +which is sometimes a human +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +eye. Dove. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Thomas à Becket</span> of +</td> +<td class="tdl"> +Blood flowing from his head. +</td> +</tr> +<tr> +<td class="tdl"> +Canterbury, A. D. 1170. +</td> +<td class="tdl"> +Bishop’s robes or Benedictine +</td> +</tr> +<tr> +<td class="tdl"> +Dec. 29. +</td> +<td class="tdl"> +habit. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Thomas</span> of Villaneuva, +</td> +<td class="tdl"> +At his canonisation it was +</td> +</tr> +<tr> +<td class="tdl"> +A. D. 1555. Sept. 17. +</td> +<td class="tdl"> +ordained that he should be +</td> +</tr> +<tr> +<td class="tdl"> +Archbishop of Valencia, +</td> +<td class="tdl"> +represented with an open +</td> +</tr> +<tr> +<td class="tdl"> +called the Almoner because +</td> +<td class="tdl"> +purse in his hand instead +</td> +</tr> +<tr> +<td class="tdl"> +of his charities. +</td> +<td class="tdl"> +of a crozier. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Torpè </span>or <span class="smcap">Tropès,</span> A. D. +</td> +<td class="tdl"> +Roman soldier. White banner +</td> +</tr> +<tr> +<td class="tdl"> +70. May 17. +</td> +<td class="tdl"> +with a red cross. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Ursula,</span> A. D. 237 or +</td> +<td class="tdl"> +Crown. Arrow. Pilgrim’s +</td> +</tr> +<tr> +<td class="tdl"> +383, or 451. Oct. 21. Patron +</td> +<td class="tdl"> +staff surmounted by a white +</td> +</tr> +<tr> +<td class="tdl"> +saint of teachers and +</td> +<td class="tdl"> +banner with the red cross. +</td> +</tr> +<tr> +<td class="tdl"> +young girls. +</td> +<td class="tdl"> +Dove. Mantle sheltering +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +virgins. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Veronica.</span> There is an +</td> +<td class="tdl"> +Always represented in art +</td> +</tr> +<tr> +<td class="tdl"> +old tradition that when +</td> +<td class="tdl"> +displaying the sacred napkin. +</td> +</tr> +<tr> +<td class="tdl"> +Jesus was on his way to +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Calvary, staggering under +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +the weight of his cross, +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +he met a woman who, +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +filled with compassion, +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +wiped the drops of agony +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +from his face with a napkin, +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +or as some say with her +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +veil. And the face of Christ +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +was miraculously printed on +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +the cloth. The name of +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +<em>Vera Icon</em>, the true image, +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +was given to this, and the +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +cloth was called the <em>Sudarium</em> +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +(<em>Fr.</em> Le Sainte Sudaire; +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +<em>Ital.</em> Il Sudario). +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +In time the name of the +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +cloth was given to the +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +woman of whom the legend +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +is related. The festival of +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +St. Veronica occurs on +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +Shrove Tuesday. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Victor</span><span class="pagenum" id="Page_62">[Pg 62]</span> of Marseilles, A. D. +</td> +<td class="tdl"> +In armour. Millstone. +</td> +</tr> +<tr> +<td class="tdl"> +303. July 21. A Roman +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +soldier who suffered martyrdom +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +under Diocletian, being +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +crushed by a millstone and +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +then beheaded. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Vincent.</span> Deacon and +</td> +<td class="tdl"> +Young. Deacon’s dress +</td> +</tr> +<tr> +<td class="tdl"> +Martyr, A. D. 304. Jan. +</td> +<td class="tdl"> +Palm. His peculiar attributes +</td> +</tr> +<tr> +<td class="tdl"> +22. Patron saint of Lisbon, +</td> +<td class="tdl"> +a crow or raven +</td> +</tr> +<tr> +<td class="tdl"> +Valencia, Saragossa, Milan, +</td> +<td class="tdl"> +sometimes perched upon a +</td> +</tr> +<tr> +<td class="tdl"> +and Chalons. +</td> +<td class="tdl"> +millstone. Difficult to +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +distinguish from St. Laurence +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +and St. Stephen. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Vincent Ferraris,</span> A. D. +</td> +<td class="tdl"> +Dominican habit. Crucifix. +</td> +</tr> +<tr> +<td class="tdl"> +1419. April 5. +</td> +<td class="tdl"> +Sometimes represented with +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +wings, symbolising inspiration. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Vincent de Paule,</span> A. D. +</td> +<td class="tdl"> +Franciscan habit. Infant in +</td> +</tr> +<tr> +<td class="tdl"> +1660. July 19. Founder +</td> +<td class="tdl"> +his arms. Sister of Charity +</td> +</tr> +<tr> +<td class="tdl"> +of hospitals for deserted +</td> +<td class="tdl"> +kneeling at his feet. +</td> +</tr> +<tr> +<td class="tdl"> +children and of the Order +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +of Sisters of Charity. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Vitus</span><span class="pagenum" id="Page_63">[Pg 63]</span>, A. D. 303. June +</td> +<td class="tdl"> +Palm. Lion. Cock. Wolf. +</td> +</tr> +<tr> +<td class="tdl"> +15. Patron saint of Bohemia, +</td> +<td class="tdl"> +Caldron of oil. Young +</td> +</tr> +<tr> +<td class="tdl"> +Saxony, and Sicily, +</td> +<td class="tdl"> +and beautiful. +</td> +</tr> +<tr> +<td class="tdl"> +of dancers and actors, +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +against nervous diseases and +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +late rising (hence the <em>cock</em> +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +as an attribute). +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Walburga,</span> A. D. 728. +</td> +<td class="tdl"> +Benedictine habit. Crozier +</td> +</tr> +<tr> +<td class="tdl"> +May 1. Niece of St. Boniface +</td> +<td class="tdl"> +as abbess. Vial or flask +</td> +</tr> +<tr> +<td class="tdl"> +and accompanied him to +</td> +<td class="tdl"> +in her hand. +</td> +</tr> +<tr> +<td class="tdl"> +Germany and became abbess +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +of a Benedictine convent +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +at Heidenheim. The night +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +of her festival is the famous +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +<em>Walpurgisnacht</em> referred to +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> +in <em>Faust</em>. +</td> +<td class="tdl"> + +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Zeno,</span> A. D. 380. April +</td> +<td class="tdl"> +Bishop’s robes. Fish suspended +</td> +</tr> +<tr> +<td class="tdl"> +12. Patron saint of Verona. +</td> +<td class="tdl"> +from his crozier. +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> +<tr> +<td class="tdl"> +<span class="smcap">St. Zenobio,</span> A. D. 417. May +</td> +<td class="tdl"> +Scenes from his life are frequently +</td> +</tr> +<tr> +<td class="tdl"> +25. Bishop of Florence. +</td> +<td class="tdl"> +represented in +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +Florentine art. He has no +</td> +</tr> +<tr> +<td class="tdl"> + +</td> +<td class="tdl"> +particular attribute. +</td> +</tr> +</table> + + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_64">[Pg 64]</span></p> + + + <h2 class="nobreak" id="III-HISTORICAL_AND_DEVOTIONAL"> + III.—HISTORICAL AND DEVOTIONAL + SUBJECTS + </h2> +</div> + + +<p><span class="smcap">The</span> sacred subjects as represented in art become +<em>historical</em> when they record any event or story of the +Bible, or express the actions, miracles, or martyrdoms +of saints. Yet a story may become a <em>symbol</em>—thus +the Last Supper may be treated as an event, or it +may express the symbol of our redemption.</p> + +<p>Devotional pictures are those in which no action or +event takes place, and where the sainted personages +are represented solely in their sacred character, +whether standing singly or grouped with others. Such +a group is called in Italian a <i lang="it" xml:lang="it">sacra conversazione</i>—meaning +a society in which there is communion. The +most important of these devotional subjects are +those in which the whole celestial hierarchy are +represented, such as the <em>Paradiso</em> so often met with in +ecclesiastical decoration, where Christ sits enthroned +in glory; the Coronation of the Virgin, the old and +accepted symbol of the triumph of the Church; the +Last Judgment, from the Apocalypse, and the Adoration +of the Lamb. The order of arrangement in +these pictures was fixed and absolute, having been +early decided by the Church authorities. The +Virgin Mary and John the Baptist come first after +the Trinity; then in their order the evangelists, +<span class="pagenum" id="Page_65">[Pg 65]</span>patriarchs, prophets, the apostles, the fathers, the +bishops, martyrs, monks, and nuns.</p> + +<p>This order might sometimes be varied in order to +exalt a favourite saint, as when sometimes St. Augustine +is enthroned, with St. Peter and St. Paul on each +side; or St. Barbara is represented enthroned, attended +by Mary Magdalene and St. Catherine. +Frequently the patron saint of the votary or the locality +is represented enthroned, and other saints (of a +superior rank under other circumstances) are here +placed on each side or lower down in the picture, and +become accessories. In these pictures the donor is +frequently introduced kneeling before his patron +saint, sometimes accompanied by his wife and family. +And to show his lowliness and self-abasement, he is +often so small as to be out of all proportion with the +other figures in the picture.</p> + +<p>A bishop kneeling among a group of saints is +usually the donor of the picture. When he stands +with other saints, he is one of the bishop-martyrs or +patrons. There are some hundreds of these, and they +are the most difficult to distinguish of all the pictured +saints.</p> + +<p>The <em>anachronisms</em> found in many of the devotional +pictures where those saints and sacred personages +who lived at widely different times are found grouped +together, is explained by the spiritual conception that +there is no such thing as time in heaven. So that +that which at first seems so incongruous, as to excite +derision and pity for the mistakes and ignorances of +an earlier age, was instead in the highest degree significant +of the immortal life and eternal youth of those +<span class="pagenum" id="Page_66">[Pg 66]</span>blessed ones, who “belong no more to our earth, but +to heaven and eternity.”</p> + +<p>In the sacred subjects that come under the head of +<em>historical</em>, some are scriptural, portraying scenes from +the Old or New Testament, while others are purely +legendary in character.</p> + +<p>The historical subjects from the lives of the saints +represent usually some miracle they have performed +or some scene from their martyrdom.</p> + +<p>The martyrdoms found everywhere in all countries +are those of St. Peter and St. Paul, St. Stephen +Protomartyr, St. Laurence, St. Catherine, and St. +Sebastian.</p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_67">[Pg 67]</span></p> + + + <h2 class="nobreak" id="IV-GENERAL_SYMBOLS"> + IV.—GENERAL SYMBOLS + </h2> +</div> + + +<p>“<span class="smcap">A symbol</span> is an exterior formula, the representation +of some dogma or belief. The <em>lamb</em> is the symbol +of Christ, for the sacred texts relating to the Divine +lamb oblige us to receive it as the necessary and +dogmatical representation of Christ. A <em>figure</em>, on +the other hand, is an arbitrary representation of any +idea. The figure is not imposed by sacred dogma, +but results simply from the free use of the human +mind.... We are required to receive a symbol, +but may be persuaded to admit a figure; the first +demands our faith, the second fascinates the mind. +The <em>lion</em>, <em>cross</em>, and <em>lamb</em> are the sole symbols of +Christ, but he has been figured by the pelican and +the fish.”—Didron’s <cite>Christian Iconography</cite>.</p> + +<p>The <b>Nimbus</b>, <b>Aureole</b>, or <b>Glory</b> that is used in +Christian art to distinguish holy personages was used +by the pagans, who not only employed it as an attribute +of divinity, but often gave it to the Emperors of +Rome and the Kings of Eastern Europe and Asia. +It expressed the radiance believed to emanate from +the Divine Essence.</p> + +<p>The glory around the head is the nimbus or aureole. +The <em>oblong glory</em> surrounding the whole person (called +in Italian the <i lang="it" xml:lang="it">Mandorla</i>—almond—from its form) is +used only in connection with figures of Christ and the +<span class="pagenum" id="Page_68">[Pg 68]</span>Virgin, or with saints as they are seen ascending into +heaven.</p> + +<p>When used to represent one of the three divine +persons of the Trinity, the glory is often cruciform +or triangular. A <i lang="la" xml:lang="la">cruciform nimbus</i> is a nimbus +stamped with a cross, and although appropriate to +the Deity, belongs peculiarly to Christ.</p> + +<p>The <b>Triangle</b>, the emblem of the Divine Trinity, +denotes three of the inseparable attributes of the +Deity: to be; to think; to speak.</p> + +<p>The <b>Square</b> was a geometrical symbolic figure +used to indicate the earth; the circle was the symbol +of heaven. Thus eternity was shown by a circle, +life by a square, and the eternity of life by a square +within a circle.</p> + +<p>The <i lang="la" xml:lang="la">Square Nimbus</i> indicates that the person was +living at the time the picture was painted.</p> + +<p>From the fifth to the twelfth century the nimbus +was shaped like a disc or plate over the head. During +the thirteenth and fourteenth centuries it was a broad +golden band behind the head, consisting of circle +within circle, frequently ornamented with jewels. +The custom prevailed at this time (especially in +Germany) of inscribing the saint’s name within the +edge of the nimbus above his head. From the +fifteenth century, the nimbus became a bright fillet +over the head, and its use was abandoned in the +seventeenth century.</p> + +<p>In pictures, the nimbus or aureole is always golden, +the colour of light.</p> + +<p>The <b>Fish</b>⁠<a id="FNanchor_1_1" href="#Footnote_1_1" class="fnanchor">[1]</a> (usually a dolphin, which had also a +sacred significance among the pagans,) was the earliest +<span class="pagenum" id="Page_69">[Pg 69]</span>of the Christian emblems. It was used, partly because +the Greek word for fish forms the anagram of +the name of Jesus Christ; and as a symbol of water +and the rite of baptism; also in reference to the passage +in the Gospel: “Follow me, and I will make you +fishers of men.” When given to St. Peter the fish +signifies his occupation as a fisherman, his conversion +to Christianity, and his vocation as an apostle—a +fisher of men. It is also given as an attribute to +bishops who were celebrated for the number of their +conversions and baptisms.</p> + +<figure class="figright illowp45" id="i_069" style="max-width: 62.5em;"> + <img class="w100" src="images/i_069.jpg" alt=""> + <figcaption> + <em>a</em> + <em><span style="padding-left: 4em">b</span></em> + <em><span style="padding-left: 4em">c</span></em> + <em><span style="padding-left: 4em">d</span></em> + </figcaption> +</figure> + +<p>The <b>Cross</b>. About the tenth century the fish was +superseded by the cross, which became the universal +symbol of the Christian +faith. The Latin cross +(<em>a</em>), that upon which +Christ was believed to +have suffered, is the +form usually given to a saint. But other crosses are +used, having the same signification; as the Greek cross +(<em>b</em>), in which the arms are all the same length; the +transverse cross (<em>c</em>), on which St. Andrew is supposed +to have died; the Egyptian cross (<em>d</em>), often given to +St. Philip the Apostle, was the form also of the crutch +of St. Anthony and was embroidered on his cope or +robe, hence it is called St. Anthony’s cross.</p> + +<p>The double cross on the top of a staff instead of a +crozier belongs only to a pope. The staff with a +single cross is borne by the Greek bishops. Often the +cross was made of gold or silver, the five wounds of +Christ being indicated by a ruby or carbuncle at each +end and in the centre. Not until the sixth century +<span class="pagenum" id="Page_70">[Pg 70]</span>did the cross become a crucifix, no longer a symbol, +but an image.</p> + +<p>The <b>Lamb</b> has been the peculiar symbol of the +Saviour, as the “sacrifice without blemish,” from the +earliest times. The lamb is also the general symbol +of modesty, innocence, and meekness, and is thus +given to St. Agnes.</p> + +<p>The <b>Pelican</b>, who tears open her breast to feed her +young with her own blood, was one of the early +symbols of our redemption through the sufferings of +Christ.</p> + +<p>The <b>Dragon</b> is the symbol of Satan and of sin. +The scriptural phrase, “the jaws of hell,” was rendered +literally in early art by depicting the dragon’s +jaws as open, emitting flames. The <b>Serpent</b> also +typified sin and is sometimes placed under the feet +of the Madonna with an apple in its mouth, or winding +around a globe, signifying the power of sin over +the whole world.</p> + +<p>The <b>Lion</b>⁠<a id="FNanchor_2_2" href="#Footnote_2_2" class="fnanchor">[2]</a> is an ancient Christian symbol that frequently +occurs, especially in architectural decoration. +Antiquaries differ as to the exact meaning of the mystical +lions placed in the porches of so many old +Lombard churches; sometimes with an animal, sometimes +with a man in their paws. The lion was an +ancient symbol of the Redeemer, “the lion of the +tribe of Judah,” also of the resurrection of the Redeemer, +because according to an Oriental tradition +the lion’s cub is born dead, and in three days its sire +licks it into life. The lion, as a creature of the wilderness, +is also an emblem of solitude, and is given to +St. Jerome and other saints who did penance, or +<span class="pagenum" id="Page_71">[Pg 71]</span>lived as hermits in the desert. The lion as an attribute +indicated death in the amphitheatre, and thus +is given to St. Ignatius and St. Euphemia. As the +type of fortitude and resolution, the lion is placed at +the feet of those martyrs of unfaltering courage, as +St. Adrian and St. Natalia.</p> + +<p>The <b>Hart</b> or <b>Hind</b> is an emblem of solitude and +purity of life, and also of religious aspiration. “Like +as the hart panteth after the water-brooks, so panteth +my soul for Thee, O God!” When the original meaning +of the lion, the hart, and other emblems had faded +from the popular mind, legends were invented to explain +them and <em>that which had been a symbol</em> became +an <em>incident</em> or an <em>historical attribute</em>; as the legend of +the lion healed by St. Jerome, or two lions digging +the grave of St. Paul, the stag that appeared to St. +Eustace and St. Hubert, and the hind that spoke to +St. Julian.</p> + +<p>The <b>Peacock</b>, the bird of Juno, was an old pagan +symbol signifying the apotheosis of an empress. The +early Christians, with this interpretation in mind, +used it as a general symbol of immortality. It was +not until modern times that the peacock became the +emblem of earthly pride.</p> + +<p>The <b>Crown</b> in Christian art is either an emblem +or an attribute. In all ages it has been the emblem +of victory and reward due to surpassing power or +virtue. “Henceforth there is laid up for me a crown +of righteousness”; and in this sense the crown became +the especial symbol of the glory of martyrdom. +Among the Jews, the crown was worn by a +bride, and usually only the female martyrs wear the +<span class="pagenum" id="Page_72">[Pg 72]</span>symbolical crown of glory, signifying in a double sense +the bride of Christ, and the martyr. Martyrs of the +other sex hold the crown in their hands or it is borne +by an angel. The crown is also the symbol of sovereignty. +The Virgin wears it as Queen of Heaven and +<em>Regina Angelorum</em>. It is important to distinguish +between the <em>symbol</em> and the <em>attribute</em>. When the +crown is given to St. Cecilia and St. Barbara it is the +emblem of their glorious martyrdom. When given +to St. Catherine and St. Ursula it is not only the +<em>symbol</em> of martyrdom but the <em>attribute</em> of their royal +rank as princesses.</p> + +<p>As an attribute it is frequently worn by a saint +or placed at his feet, indicating that he was of royal +birth, as in pictures of Louis of France, St. Helena, +and many others.</p> + +<p>The <b>Sword</b> is also a symbol or an attribute. In +general it signifies martyrdom by a violent death and +thus is given to many saints who did not perish by +the sword. As an attribute, it shows that the martyr +was beheaded. Thus it is given to St. Paul, St. +Catherine, and many others. It is also given to the +warrior martyrs typifying their military profession.</p> + +<p>Other symbols of martyrdom are:</p> + +<p>The <b>Lance</b>, the <b>Axe</b>, the <b>Club</b>.</p> + +<p>The <b>Arrow</b>, the attribute of St. Ursula, St. Christian, +and St. Sebastian.</p> + +<p>The <b>Anvil</b> is an attribute of St. Adrian only, +signifying his martyrdom.</p> + +<p>The <b>Poniard</b>, of St. Lucia.</p> + +<p>The <b>Caldron</b>, given to St. Cecilia and St. John the +Evangelist.</p> + +<p><span class="pagenum" id="Page_73">[Pg 73]</span></p> + +<p>The <b>Pincers</b> and <b>Shears</b>, St. Apollonia and St. +Agatha.</p> + +<p>The <b>Wheels</b>, St. Catherine.</p> + +<p><b>Fire</b> and <b>Flames</b> sometimes indicate martyrdom, +sometimes religious fervour.</p> + +<p>The <b>Palm</b> is the universal symbol of martyrdom, +for which the Christians found scriptural authority in +Rev. vii., 9, 14: “And after this I beheld, and lo, a +great multitude ... stood before the throne ... +clothed with white robes, and with palms in their +hands.” ... “And he said to me, These are they which +came out of great tribulation.” Thus in pictures of +martyrdoms an angel is introduced with the palm.</p> + +<p>The <b>Standard</b> or <b>Banner</b> is the symbol of victory. +It is carried by our Saviour after His resurrection, +and is given to St. George, St. Maurice, and other +military saints; to some victorious martyrs, as St. +Julian and St. Ansano, also to St. Ursula and St. +Reparata, the only female saints.</p> + +<p>The <b>Ship</b>. The Ark of Noah was in early times +a symbol of the Church of Christ. Later the Ark +became a Ship.</p> + +<p>The <b>Anchor</b> symbolises immovable firmness, +patience, and hope.</p> + +<p>The <b>Lamp</b>, <b>Lantern</b>, or <b>Taper</b> is the emblem of +piety: “Let your light so shine before men,” etc. +Thus it is given to St. Gudula, St. Geneviève of Paris, +and St. Bridget. It also signifies wisdom, and when +given to St. Lucia typifies celestial light or wisdom.</p> + +<p>A <b>Church</b> in the hands of a saint shows that he was +the founder of some particular church. But in the +hands of St. Jerome it signifies the whole Catholic +<span class="pagenum" id="Page_74">[Pg 74]</span>Church, and to make the symbol more impressive +rays of light stream out from the portal.</p> + +<p>The <b>Chalice</b>, or Sacramental Cup with the Host, +signifies faith, and is thus given to St. Barbara.</p> + +<p>The <b>Scourge</b> in the hand of a saint or at his feet +indicates the penance he inflicted upon himself; in the +hand of St. Ambrose, however, it shows the punishment +he inflicted upon others.</p> + +<p>The <b>Olive</b>, emblem of peace and reconciliation, is +found on the tombs of the early martyrs; sometimes +with, and again without, the dove. It is carried as +the attribute of peace by the Angel Gabriel, sometimes +also by the angels in a Nativity who announce +“peace on earth.”</p> + +<p>The <b>Dove</b> in sacred art is the symbol of the Holy +Ghost, and is given to certain saints who are considered +to have been divinely inspired, as St. Gregory, +St. Thomas Aquinas, St. Hilarius, and others. It is +also introduced into various subjects from the New +Testament, as the Annunciation, the Baptism, and +the Pentecost. It also symbolises simplicity and +purity of heart, and is the emblem of the soul, and in +this sense is seen coming forth from the lips of dying +martyrs.</p> + +<p>The <b>Lily</b> is another emblem of purity and appears +in pictures of the Virgin, particularly those of the +Annunciation. It belongs also to St. Joseph, the +husband of the Virgin Mary, whose staff, according to +the legend, put forth lilies. It is given as an emblem +only to St. Francis, St. Anthony of Padua, St. Dominick, +and St. Catherine of Siena, to emphasise the +great purity of their lives.</p> + +<p><span class="pagenum" id="Page_75">[Pg 75]</span></p> + +<p>The <b>Unicorn</b> is another “ancient symbol of purity, +in allusion to the fable that it could never be captured +except by a virgin stainless in mind and life.” +It is the emblem of female chastity, and is given only +to the Virgin Mary and St. Justina.</p> + +<p>The <b>Flaming Heart</b> symbolises fervent piety and love.</p> + +<p>The <b>Book</b>, in the hands of the evangelists and the +apostles, represents the Gospel, and is an attribute. +In the hand of St. Stephen it is the Old Testament; +with any other saint it may be the Gospel, but it +may also be a symbol signifying that the saint was +famous for his learning. It is thus given to St. +Catherine, the Doctors of the Church, St. Thomas +Aquinas, and St. Bonaventura.</p> + +<p><b>Flowers</b> and <b>Fruit</b> may be simply ornamental in +ecclesiastical works of art, but in many instances they +have a definite meaning. Roses are symbolical in pictures +of the Madonna, who is the “Rose of Sharon.”</p> + +<p>The <b>Apple</b> was the accepted emblem of the fall of +man and original sin. In pictures of the Madonna +and Child, in the hand of the Infant Christ, or presented +by an angel, it symbolised redemption.</p> + +<p>The <b>Pomegranate</b> bursting open, showing the seeds, +was a symbol of the future and hope of immortality.</p> + +<p>An <em>Apple</em>, <em>Pear</em>, or <em>Pomegranate</em> placed in the hand +of St. Catherine as the mystical bride of Christ, +alludes to the scriptural text, “The fruit of the Spirit +is love, joy, peace.”</p> + +<p>A <b>Bell</b> was supposed to exorcise demons, and thus +it is given to the haunted St. Anthony.</p> + +<p>The <b>Shell</b> signifies pilgrimage.</p> + +<p>The <b>Skull</b>, penance.</p> + + +<div class="footnotes"> +<h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a id="Footnote_1_1" href="#FNanchor_1_1" class="label">[1]</a> See <a href="#APPENDIX">Appendix</a>.</p></div> + +<div class="footnote"><p><a id="Footnote_2_2" href="#FNanchor_2_2" class="label">[2]</a> See <a href="#APPENDIX">Appendix</a>.</p></div> +</div> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_76">[Pg 76]</span></p> + + + <h2 class="nobreak" id="V-COLOURS_AS_EMBLEMS"> + V.—COLOURS AS EMBLEMS + </h2> +</div> + + +<p><span class="smcap">In</span> early art colours were always used symbolically, +and until the old traditions were cast aside by later +painters, certain colours were always associated with +certain subjects and certain personages. In all +the old stained glass these rules were scrupulously +followed.</p> + +<p><b>White</b> was the symbol of light, faith, joy, life, and +of religious purity, virginity, and innocence. It signified +honour and integrity in the judge, humility +in the rich man, and chastity in a woman. Christ +appears in white after His resurrection and the Virgin +wears it in pictures of the assumption.</p> + +<p><b>Red</b>, the ruby, denoted fire, divine love, the Holy +Spirit; royalty, creative power, and heat. Red and +white roses are symbols of love and innocence, or love +and wisdom. Thus the angel crowns St. Cecilia. +Used in the bad sense, red typified blood, hatred, +war. Red and white together were the colours of +the devil and of purgatory.</p> + +<p><b>Blue</b>, that of the sapphire, signified heaven, fidelity, +constancy, truth. Christ and the Virgin wear the +blue mantle typifying heavenly love and heavenly +truth. St. John the Evangelist was given the <em>blue +tunic</em> and the red mantle.</p> + +<p><b>Yellow</b> or <b>Gold</b> was the symbol of the sun, of the +goodness of God, of marriage and fruitfulness. St. +<span class="pagenum" id="Page_77">[Pg 77]</span>Joseph wears yellow, and St. Peter, in pictures of the +apostles, wears a yellow mantle over a blue tunic. +Used in the reverse sense, yellow denoted jealousy, +deceit, and inconstancy. The traitor Judas wears a +dirty, dingy yellow.</p> + +<p><b>Green</b>, the emerald, the colour of spring, symbolised +victory and hope—particularly hope of immortality.</p> + +<p><b>Violet</b>, the amethyst, signified passion and suffering, +or love and truth. It is the colour worn by the +martyrs, by the Virgin after the crucifixion, by Mary +Magdalene as the penitent, and sometimes by Christ +after the resurrection.</p> + +<p><b>Grey</b> is the colour of humility, mourning, penance, +and accused innocence.</p> + +<p><b>Black</b> indicated darkness, wickedness, death, and +mourning, and was given to Satan. Black and white +signified humiliation or mourning, and purity of life, +and for this reason was adopted by the Dominicans +and Carmelites.</p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_78">[Pg 78]</span></p> + + + <h2 class="nobreak" id="VI-THE_TRINITY"> + VI.—THE TRINITY + </h2> +</div> + + +<p><b>Symbols of God the Father.</b> Until the twelfth +century the only symbol used to indicate God the +Father was a hand issuing from the clouds. It was +generally represented in the act of benediction, sometimes +encircled by a cruciform nimbus, sometimes +entirely open with rays proceeding from each finger. +It was then supposed to be in the act of bestowing. +This symbol was followed by a face in the clouds, then +a bust, and by the end of the fourteenth century the +entire figure was represented. Then a sentiment grew +into being that, as no mortal had seen nor could see +him, any attempt to represent him in human form +was profane; and since the sixteenth century the +Supreme Being has been symbolised by a triangle, +the geometrical emblem of the Divine Trinity, or by +a radiating circle, itself the symbol of eternity.</p> + +<p><b>Symbols of God the Son.</b>⁠<a id="FNanchor_3_3" href="#Footnote_3_3" class="fnanchor">[3]</a> The symbols of Christ +are the glory, aureole, or nimbus, the cross, lamb, and +lion. However, from the beginning of Christian art, +Christ has been represented by portraits rather than +symbols, and these portraits are always unmistakable.</p> +<br> + +<figure class="figcenter illowp85" id="i_079" style="max-width: 52.75em;"> + <img class="w100" src="images/i_079.jpg" alt=""> + <figcaption> + <p class="fs80 right">Photo. Alinari</p> + THE BAPTISM OF CHRIST BY ST. JOHN.—VERROCCHIO<br> + (Academy, Florence.) + </figcaption> +</figure> +<br> + +<p><b>Symbols of the Holy Ghost.</b> From the sixth century +the dove has been the universal symbol of the +Holy Ghost. The representation of the Saviour +surrounded by seven doves is highly symbolical. +<span class="pagenum" id="Page_79">[Pg 79]</span>They are emblems of the seven gifts of the spirit +with which He was endowed—wisdom, understanding, +counsel, strength, knowledge, piety, and fear (Is. xi). +During the Middle Ages seven was considered a +<span class="pagenum" id="Page_80">[Pg 80]</span>mystic number. There were seven gifts of the Holy +Ghost; seven planets; seven days of the week; seven +branches on the candlestick of Moses; seven sacraments; +seven stars; seven liberal arts; seven symbolic +trumpets; seven churches of Asia; seven mysterious +seals; seven heads of the Dragon; seven penitential +psalms; seven joys and seven sorrows of the Virgin; +seven deadly sins; seven canonical hours.</p> + +<p><b>Symbols of the Trinity.</b> In early art the Divine +Three in One was symbolised by the combination of +three triangles, three circles, three fishes, and in later +art by three human figures, each with its peculiar +attribute. In the thirteenth and fourteenth centuries +the dove was often represented hovering between the +first and second persons of the Trinity with the tips +of the wings touching the lips of each.</p> + + +<div class="footnotes"> +<h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a id="Footnote_3_3" href="#FNanchor_3_3" class="label">[3]</a> See <a href="#APPENDIX">Appendix</a>.</p></div> +</div> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_81">[Pg 81]</span></p> + + + <h2 class="nobreak" id="VII-ARCHANGELS4"> + VII.—ARCHANGELS⁠<a id="FNanchor_4_4" href="#Footnote_4_4" class="fnanchor">[4]</a> + </h2> +</div> + + +<p><span class="smcap">The</span> seven archangels who stood in the presence of +God are frequently referred to in Scripture. These +are: <em>Michael</em>, <em>Gabriel</em>, <em>Raphael</em>, <em>Uriel</em>, <em>Chamuel</em>, +<em>Jophiel</em>, <em>Zadkiel</em>.</p> + +<p>From the standpoint of art, however, it is necessary +to consider only the characteristics of the first three, +who are venerated as saints in the Catholic Church. +These, by their majestic and gracious beauty, and +their accredited mission as counsellor, messenger, and +healer to mankind, have inspired some of the most +poetical and beautiful works of art.</p> + +<p><b>St. Michael.</b> <em>Lat.</em> Sanctus Michael Angelus. <em>Ital.</em> +San Michele, Sanmichele. <em>Fr.</em> Monseigneur Saint +Michel.</p> + +<p>Poetry and art have united in giving St. Michael +pre-eminence over all created spirits. All the +glory of princedoms, powers, virtues, dominations, +and thrones radiate from him, and God manifested +His glory in him when He made him victor over +the power of sin and over the “great dragon that +deceived the world.”</p> + +<p>The worship of St. Michael became general in +France from the ninth century, and he was made +the patron saint of France, and of the military order +instituted in his honour by Louis XI., in 1469. +<span class="pagenum" id="Page_82">[Pg 82]</span>This worship extended to England after the Norman +Conquest, and churches dedicated to St. Michael +are found in all the towns and cities along the +southern and eastern shores.</p> + +<p>St. Michael is also the angel of good counsel.</p> +<br> + +<figure class="figcenter illowp85" id="i_082" style="max-width: 62.5em;"> + <img class="w100" src="images/i_082.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + THE THREE ARCHANGELS.—BOTTICELLI<br> + (Academy, Florence.) + </figcaption> +</figure> +<br> + +<p>He is represented in three characters in art: as +patron saint and prince of the Church Militant; +as captain of the hosts of heaven and conqueror +of the powers below; as lord of souls,—the conductor +and guardian angel of the spirits of the +departed.</p> + +<p><span class="pagenum" id="Page_83">[Pg 83]</span></p> + +<p>In all representations of St. Michael in art the +leading <em>motif</em> is the same. He is young and beautiful, +with a severe, imperious beauty. In early +art he is represented in white, with large many-coloured +wings, and carries only the sceptre, or +the lance surmounted by a cross, as one who conquered +sin by spiritual power alone. In later +representations—those imbued with the spirit of +chivalry, he becomes the idealised expression of +knighthood, and is attired in a magnificent coat +of mail, with shield and spear and sword. Sometimes +he wears a helmet; more often his long, fair +hair is confined by a jewelled tiara, or floats loose +upon his shoulders, the only angelic attribute being +the wings that spring resplendent from his shoulders.</p> + +<p>In devotional pictures of St. Michael, he is +represented as captain of the heavenly host and +conqueror of the Evil One. He is armed and +stands with his foot on the half-human, half-dragon +form of Lucifer, whom he is about to pierce +with his lance or to hurl down into the infernal +regions. This representation is the universal symbol +of the ultimate victory of good over evil.</p> + +<p>When St. Michael is portrayed as lord of souls he +is unarmed. He holds a balance and upon each +scale sits a little naked figure representing two +human souls. The <i lang="la" xml:lang="la">beato</i>—the blessed one—has +his hands joined in gratitude, while the other, the +rejected one, is in an attitude of hopeless misery. +Frequently a demon is seen grasping the descending +scale with his talons or a long two-pronged hook.</p> + +<p>Whether with or without the balance, St. Michael +<span class="pagenum" id="Page_84">[Pg 84]</span>appears as lord of souls in the death and assumption +of the Virgin. The legends assert that he received +her spirit and guarded it during the interim of her +death and assumption.</p> + +<p><b>St. Gabriel.</b> <em>Ital.</em> San Gabriele, San Gabriello, +L’Angelo Annunziatore.</p> + +<p>Where the Angel Gabriel’s name occurs in Scripture +it is in the character of a messenger only. It +is he who is sent to Daniel to interpret the vision +which shows the destinies of mighty nations, and to +announce the return of the Jews from captivity. +In the New Testament he foretells the birth of +John the Baptist to the high-priest Zacharias and +six months later he is sent to the Virgin to proclaim +the coming of the Redeemer of the world. In the +Apocryphal New Testament he foretells to Joachim +the birth of the Virgin and is thought to have +foretold the birth of Samson. He is more important +in the New Testament than Michael and as the +angel who announced the birth of Christ he is reverenced +as the angel who presides over childbirth.</p> + +<p>In devotional pictures he is represented as the +second of the three archangels. In his character +of <i lang="it" xml:lang="it">l’angelo annunziatore</i>, he usually carries a lily +or a sceptre in one hand and in the other a scroll +inscribed “Ave Maria, Gratia Plena!”</p> + +<p><b>St. Raphael.</b> <em>Ital.</em> San Raffaello. <em>Ger.</em> Der +Heilige Rafael.</p> + +<p>Raphael is the prince of guardian spirits, the +guardian angel of all humanity and thus, according +to the early traditions, he appeared to the shepherds +<span class="pagenum" id="Page_85">[Pg 85]</span>by night, “with good tidings of great joy, which +shall be for all people.”</p> + +<p>Raphael in his character of guardian angel is +generally represented leading the youthful Tobias. +When in order to show the difference between the +heavenly and the mortal being, Tobit is made to +look like a child, and the angel appears with wings +and is not disguised, it is no longer historical, but +devotional, and Tobias with his fish represents the +Christian protected and guided by his guardian +spirit.</p> + +<p>All the pictured subjects of Raphael belong to the +history of Tobit, and incidents from this beautiful +apocryphal legend have been favourite subjects +of art. Tobias dragging the fish ashore and the +angel standing by has been often painted. In such +pictures the angel should be without wings and +disguised as the friendly traveller; the dog, which +should not appear in the devotional pictures, is +here an attribute and belongs to the story.</p> + +<p>Devotional pictures represent him attired as a +pilgrim or traveller, with sandalled feet and hair +confined by a fillet or diadem. He has the pilgrim’s +staff and a wallet or panetière suspended +from his belt. Often as guardian spirit he has a +sword; usually, however, he bears a small vase or +casket containing the “fishy charm” against evil +spirits (Tobit, vi., 6-7).</p> + + +<div class="footnotes"> +<h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a id="Footnote_4_4" href="#FNanchor_4_4" class="label">[4]</a> See <a href="#APPENDIX">Appendix</a>.</p></div> +</div> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_86">[Pg 86]</span></p> + + + <h2 class="nobreak" id="VIII-SYMBOLS_AND_ATTRIBUTES_OF_THE"> + VIII.—SYMBOLS AND ATTRIBUTES OF THE + VIRGIN + </h2> +</div> + +<p><span class="smcap">The</span> <b>Star</b> often embroidered on the right shoulder +of the Virgin’s mantle or in front of her veil refers +to the most expressive of her many titles, <em>Stella +Maris</em>, “Star of the Sea,” an interpretation of her +Jewish name Miriam. Several pictures are called +<em>La Madonna della Stella</em>. She is also <em>Stella Matutina</em>, +the “Morning Star”; <em>Stella non Erratica</em>, the +“Fixed Star”; and <em>Stella Jacobi</em>, the “Star of +Jacob.”</p> + +<p>The <b>Sun</b> and the <b>Moon</b>. “Who is she that +looketh forth as the morning, fair as the morn, +clear as the sun” (Solomon’s Song, vi., 10). This +text is applied to the Virgin and she is also the +woman of the Apocalypse, “<em>A woman clothed with +the sun, having the moon under her feet</em>, and on her +head a crown of twelve stars.” Hence she is +portrayed with the glory of the sun about her, and +the crescent moon beneath her feet.</p> + +<p>The <b>Enclosed Garden</b> is a symbol borrowed from +the Song of Solomon (Cant. iv., 12) as well as a +<b>Fountain Sealed</b>, a <b>Well of Living Waters</b>, the +<b>Tower of David</b>, the <b>Temple of Solomon</b>, and the +<b>City of David</b>.</p> + +<p>The <b>Porta Clausa</b> or Closed Gate is taken from +Ezekiel (xliv., 2).</p> + +<p><span class="pagenum" id="Page_87">[Pg 87]</span></p> + +<p>The <b>Lily</b>, the <b>Rose</b>. “I am the rose of Sharon, +and the lily of the valleys” (Cant. ii., 1).</p> + +<p>The <b>Palm</b>, the <b>Cypress</b>, and the <b>Olive</b> are all +emblems of the Virgin. The first signifies victory, +the second points to heaven, and the third denotes +peace, abundance, and hope.</p> + +<p>The <b>Cedar of Lebanon</b> (“exalted as a cedar in +Lebanon”), because of its imperishable nature, +its perfume, its healing qualities, and its great +height, denotes also the virtue, greatness, and +beauty of the Virgin.</p> + +<p>The <b>Sealed Book</b>, as a symbol in the hands of the +Virgin, refers to the text: “In that book were all +my members written”; also to the “book that is +sealed which men deliver to one that is learned, +saying, Read this, I pray thee: and he saith, I cannot, +for it is sealed: And the book is delivered to him +that is not learned, saying, Read this, I pray thee: +and he saith, I am not learned” (Is. xxix., 11-12).</p> + +<p>Besides these symbols, which are mystical and +sacred and belong only to the Virgin, there are +others of a more general nature that appear in +pictures of the Madonna and Child.</p> + +<p>The <b>Globe</b>, as the symbol of sovereignty, was +early placed in the hands of the divine Infant. +When it is under the feet of the Madonna with +a serpent twining about it, it is the symbol of +redemption.</p> + +<p>The <b>Apple</b>, in the hands of the Infant Christ, +symbolises the fall of man; in the hands of the +Virgin it indicates that she is the second Eve.</p> + +<p>The <b>Serpent</b> is the general emblem of Satan and +<span class="pagenum" id="Page_88">[Pg 88]</span>sin, but it is used in reference to the prophecy, “She +shall bruise thy head,” when placed under the +feet of the Madonna.</p> + +<p>The <b>Pomegranate</b>, the ancient symbol of hope, +is often placed in the hands of the Child, who is +seen presenting it to His mother.</p> + +<p>The <b>Book</b>, when the Madonna holds it open, or +has a finger between the leaves, or when the Child +is turning the pages, is the Book of Wisdom, and is +supposed to be open at the seventh chapter. When +clasped or sealed, as before explained, it is a mystical +emblem of the Virgin herself.</p> + +<p><b>Birds</b> represent the soul. The <b>Dove</b> is the +Holy Spirit hovering about the Virgin. The +<b>Seven Doves</b>, typifying the gifts of the Spirit, +when they surround the Virgin, characterise her +as <i lang="la" xml:lang="la">Mater Sapientiæ</i>, “Mother of Wisdom.” Doves +near her when she is working or reading in the +Temple express the meekness and tenderness of +her nature.</p> + +<hr class="tb"> + +<p>Certain women of the Old Testament are regarded +as especial types of the Virgin, viz.: <b>Eve</b>, <b>Rachel</b>, +<b>Ruth</b>, <b>Abishag</b>, <b>Bathsheba</b>, <b>Judith</b>, and <b>Esther</b>, and +it is because of this that these Jewish heroines so +often appear in religious pictures.</p> + +<p>The correct and traditional dress of the Virgin is a +blue robe or mantle worn over a close red tunic with +long sleeves. In early pictures her head is veiled +and the colours are pale and delicate. The enthroned +Madonna unveiled was introduced about the end of the +fifteenth century.</p> + +<p><span class="pagenum" id="Page_89">[Pg 89]</span></p> + +<p>In the historical pictures she is simply dressed, but +in the devotional pictures wherein she is portrayed +as the Queen of Heaven, she wears a magnificent +crown wrought with jewels interwoven with roses and +lilies; her blue robe is richly embroidered with gold +and gems, and lined with ermine or stuff of gorgeous +colours, carrying out the text: “The king’s daughter +is all glorious within; her clothing is of wrought gold. +She shall be brought unto the king in raiment of +needlework” (Ps. xlv., 13-14).</p> + +<p>In the Immaculate Conception and the Assumption, +the Virgin wears a white tunic, or white strewn +with gold stars. In all subjects that relate to the +passion and those that follow the crucifixion she +should wear violet or grey. This rule is not always +followed, however.</p> + +<blockquote> +<p>The <b>Seven Joys</b> and the <b>Seven Sorrows of the +Virgin</b> are often painted as a series.</p> + +<p>The <b>Seven Joys</b> are: the Annunciation, the Visitation, +the Nativity, the Adoration of the Magi, the +Presentation in the Temple, Christ found by His +mother, the Assumption and the Coronation.</p> + +<p>The <b>Seven Sorrows</b> are: the Prophecy of Simeon, +the Flight into Egypt, Christ lost by His mother, +the Betrayal of Christ, the Crucifixion (with St. +John and the Virgin only present), the Deposition +from the Cross, and the Ascension when the Virgin +is left without her Son.</p> +</blockquote> + +<p>The fifteen Mysteries of the Rosary are also given +as a series.</p> + +<p><span class="pagenum" id="Page_90">[Pg 90]</span></p> + +<blockquote> +<p>The <b>Five Joyful Mysteries</b> are: the Annunciation, +the Visitation, the Nativity, the Purification, +and Christ found in the Temple.</p> + +<p>The <b>Five Sorrowful Mysteries</b> are: Christ in the +Garden of Olives, the Flagellation, Christ Crowned +with Thorns, the Procession to Calvary, and the +Crucifixion.</p> + +<p>The <b>Five Glorious Mysteries</b> are: the Resurrection, +the Ascension, the Descent of the Holy Ghost, +the Assumption, and the Coronation.</p> + +<p>These series are treated mystically rather than +in the limited historical sense, the object being to +induce devout religious contemplation.</p> +</blockquote> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_91">[Pg 91]</span></p> + + + <h2 class="nobreak" id="IX-LEGENDS_OF_THE_MADONNA"> + IX.—LEGENDS OF THE MADONNA + </h2> +</div> + + +<p><span class="smcap">Anna</span>, the mother of the Virgin, was early venerated +as a saint in the East, but the parents of the Virgin +were never represented in early art except in a series +of the life of the Virgin. It was not until the beginning +of the sixteenth century that the increased reverence +for the Virgin Mary gave to her parents Joachim +and Anna a more prominent position as patron saints, +and from that time on they were frequent subjects +in sacred groups.</p> + +<p>A complete series of the history of the Blessed +Virgin, as imaged forth by the early artists, always +begins with the <b>Legend of Joachim and Anna</b> as it is +related in the Apocryphal New Testament.</p> + +<p>Joachim, a man of Nazareth, was of the royal race +of David, and had for his wife Anna whose family +were of Bethlehem. “Their lives were plain and +right in the sight of the Lord and pious and faultless +before men.” Thus they lived for twenty years +without children. Now at a certain great feast of the +Lord, when Joachim was about to offer his gifts, +the high-priest opposed him saying, “It is not lawful +seeing thou hast not begot issue in Israel.” Joachim, +much concerned, found upon inquiry, that all +the righteous except himself had raised up seed in +Israel. He remembered Abraham, how that God in +the end of his life had given him his son Isaac, and +<span class="pagenum" id="Page_92">[Pg 92]</span>he would not be seen of his wife but retired into the +wilderness where he fasted forty days and nights and +vowed neither to eat nor drink until the Lord should +look down upon him. And his wife Anna was sore +distressed and mourned for her widowhood and her +barrenness.</p> + +<p>Then an angel of the Lord appeared to her saying, +“Behold Joachim thy husband is coming with his +shepherds; an angel of the Lord hath also told him +that his prayer is heard.” And Anna stood by the +golden gate and saw Joachim coming with the shepherds, +and she ran to him and hanging about his +neck, said: “Now I know that the Lord hath greatly +blessed me.” And they returned home together. +And when her time was come, Anna brought forth a +daughter, and she said: “The Lord hath this day +magnified my soul,” and she called the child Mary.</p> + +<p>The <b>Nativity of the Blessed Virgin</b>. <em>Ital.</em> La +Nascità della B. Vergine. <em>Fr.</em> La Naissance de la +S. Vierge. <em>Ger.</em> Die Geburt Mariä. (Sept. 8.)</p> + +<p>This is the next historical picture, and as Joachim +and Anna were “exceedingly rich,” the scene is +usually a chamber richly decorated. A glory sometimes +surrounds the head of the child. Neighbours +and friends are sometimes introduced who have +come to tender their congratulations.</p> + +<p>The <b>Presentation of the Virgin</b>. <em>Ital.</em> La Presentazione +ove nostra Signora piccioletta sale i gradi +del Tempio. <em>Ger.</em> Joachim und Anna weihen ihre +Tochter Maria im Tempel; Die Vorstellung der +Jungfrau im Tempel. (Nov. 21.)</p> + +<p>“And when the child was three years old, Joachim +<span class="pagenum" id="Page_93">[Pg 93]</span>said: ‘Let us invite the daughters of the Hebrews, +who are undefiled, and let them take each a lamp, and +let them be lighted, that the child may not turn back +again, and her mind be set against the temple of the +Lord.’</p> + +<p>“And they did thus till they ascended into the +temple of the Lord. And the high-priest received +her, and blessed her, and said, ‘Mary, the Lord God +hath magnified thy name to all generations, and to +the very end of time by thee will the Lord shew His +redemption to the children of Israel.’”</p> +<br> + +<figure class="figcenter illowp100" id="i_093" style="max-width: 62.5em;"> + <img class="w100" src="images/i_093.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + THE PRESENTATION OF THE VIRGIN IN THE TEMPLE.—TITIAN<br> + (Academy, Venice.) + </figcaption> +</figure> +<br> + +<p>“And he placed her upon the third step of the altar, +and the Lord gave unto her grace, and she danced +with her feet, and all the house of Israel loved her.” +(<cite>Protevangelion</cite>, vii., 3-5.)</p> + +<p>The theme does not vary. Mary, who should be +portrayed as an infant of three years, is often represented +as a child of ten or twelve. Sometimes she +wears a blue, but more generally a white garment; +<span class="pagenum" id="Page_94">[Pg 94]</span>her hair is long and golden, and she is seen ascending +the steps which lead to the porch of the temple. +These steps are always fifteen in number. In the +account given in the Gospel of the Birth of Mary it +says, “And there were about the temple, according +to the fifteen Psalms of degrees [those Psalms are, +from the 120th to the 134th, including both], fifteen +stairs to ascend. For the temple being built in a +mountain, the altar of burnt-offering, which was +without, could not be come near but by stairs.” +(Chap. iv., 32.)</p> + +<p>The life of Mary in the temple is represented in +various ways. She is seen instructing her companions, +sometimes spinning or embroidering on tapestry. +Often she is attended by angels, and it was believed +that angels supplied her with celestial food. It has +also been asserted that she had the privilege which +was granted to no other woman, of going into the +Holy of Holies to pray before the Ark of the Covenant.</p> + +<p>The <b>Marriage of the Virgin</b>. <em>Ital.</em> Il sposalizio. +<em>Fr.</em> Le Mariage de la Vierge. <em>Ger.</em> Die Trauung +Mariä. (January 23.)</p> + +<p>The legend of the Marriage of Joseph and Mary is +founded upon the account given in the <cite>Protevangelion</cite>, +which relates that “when Mary was twelve years of +age the priests met in council to know what should be +done with her, and the high-priest Zacharias entered +into the Holy of Holies, and taking away with him +the breastplate of judgment made prayers concerning +her. And behold the angel of the Lord came to him +and commanded him to go forth and call together +all the widowers among the people, and let every +<span class="pagenum" id="Page_95">[Pg 95]</span>one of them bring his rod, and he by whom the Lord +should shew a sign should be the husband of Mary. +And the criers went out through all Judæa, and the +trumpet of the Lord sounded, and all the people ran +and met together. Joseph also, throwing away his +hatchet, went out to meet them; and when they were +met they went to the high-priest taking every man +his rod. The high-priest received their rods and +went into the temple to pray. When he came forth +and distributed them, there was no miracle until the +last rod was taken by Joseph, and behold a dove +proceeded out of the rod and flew upon the head of +Joseph. And the high-priest said to him, ‘Thou +art the person chosen to take the Virgin of the Lord +to keep her for him.’ But Joseph at first refused, +saying, ‘I am an old man’; then, fearing the wrath +of the high-priest and the displeasure of the Lord, he +took her unto his house, and said unto her, ‘Behold, +I have taken thee from the Temple of the Lord, and +now I will leave thee in my house; I must go to mind +my trade of building. The Lord be with thee!’”</p> + +<p>The painters have used for their text an old legend +which relates that the suitors for the hand of Mary, +among whom was the son of the high-priest, deposited +their wands overnight in the temple, and the next +morning the rod of Joseph was found to have budded +forth in flower. The disappointed suitors broke +their wands in a frenzy of wrath, and one of them, +whose name was Agabus (a youth of noble family), +fled to Mount Carmel and became an anchorite.</p> + +<p>Marriage among the Jews being a civil contract +instead of a religious rite, nearly all the early painters +<span class="pagenum" id="Page_96">[Pg 96]</span>represent the ceremony as taking place in the open +air in a garden or landscape, or in front of the Temple. +Mary, a beautiful maiden attended by a train of +virgins, stands on the right, and Joseph is on the left; +behind him are gathered the disappointed suitors. +This is the traditional treatment from Giotto down to +Raphael.</p> + +<p>In ancient art Joseph has been sometimes represented +as very old, and again as not more than +thirty. But in the best pictures of the Italian and +Spanish schools he is middle-aged, with brown hair +and short, curly beard, his face expressing infinite +mildness and kindliness. The crutch or stick became +his conventional attribute from earlier times, when +he was depicted as very old, leaning upon a crutch.</p> + +<p>The <b>Annunciation</b>. <em>Ital.</em> L’Annunciazione. <em>Fr.</em> +L’Annonciation, La Salutation Angélique. <em>Ger.</em> +Die Verkündigung, Der englische Gruss. (March 25.)</p> + +<p>From the thirteenth century onward, the Annunciation +became the expression of a theological dogma, +and formed part of every altar-piece, whatever its +subject,—whether a Nativity or Coronation, or the +Last Supper—appearing in the predella below or the +spandrils of the arches above; and was frequently +painted or carved on the doors of a triptychon or +tabernacle.</p> + +<p>It is related in the <cite>Protevangelion</cite> (chap. ix., 7) that +“Mary went out to draw water and heard a voice +saying unto her ‘Hail thou who art full of grace, the +Lord is with thee; thou art blessed among women.’ +And she looked round to the right and to the left to +see whence that voice came, and then trembling went +<span class="pagenum" id="Page_97">[Pg 97]</span>into her house, and laying down the water-pot, she +took the purple and sat down in her seat to work it. +And behold the angel of the Lord stood by her, and +said, ‘Fear not, Mary, for thou hast found favour in +the sight of God.’”</p> +<br> + +<figure class="figcenter illowp85" id="i_097" style="max-width: 62.5em;"> + <img class="w100" src="images/i_097.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + THE ANNUNCIATION.—BOTTICELLI<br> + (Uffizi, Florence.) + </figcaption> +</figure> +<br> + +<p>St. Bernard gives the following version of the legend. +Mary was studying the book of Isaiah and as she came +to the verse, “Behold, a virgin shall conceive, and +<span class="pagenum" id="Page_98">[Pg 98]</span>bear a son” she thought within herself, “How blessed +the woman of whom these words are written! Would +I might be but her handmaid to serve her, and allowed +to kiss her feet!” And at that moment the +angel appeared and revealed to her that the prophecy +was fulfilled in herself.</p> + +<p>In early art the annunciation is treated as a religious +mystery. The scene is usually a porch or +portico with arcades. The Virgin stands, or if she is +seated, it is on a sort of raised throne; the angel stands +before her at a little distance; sometimes she is within +the portico and he is without. Gabriel is the commanding +figure, while the Virgin’s attitude—she is +usually represented shrinking back with drooping +eyes and hands folded on her breast—is always +expressive of the utmost submission and humility. +Gabriel is usually represented clothed in white, with +large many-coloured wings, his flowing hair bound +by a jewelled tiara. He holds the sceptre in his left +hand, while the right is extended in benediction +as well as salutation, “Hail! thou that art highly +favoured! Blessed art thou among women!”</p> + +<p>Sometimes the two figures were not in the same +picture, but were placed each side of the altar, that +of the Virgin being usually placed to the right. In +some of the old pictures the figure of the angel is +seen flying down from heaven.</p> + +<p>From the beginning of the fourteenth century the +increased reverence paid to the Virgin demanded that +she be represented as the superior being, the <i lang="la" xml:lang="la">Regina +angelorum</i>, and the angel is depicted bowing before +her or kneeling as to a queen.</p> + +<p><span class="pagenum" id="Page_99">[Pg 99]</span></p> +<br> + +<figure class="figcenter illowp85" id="i_099" style="max-width: 40.9375em;"> + <img class="w100" src="images/i_099.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + THE VISITATION.—ALBERTINELLI<br> + (Uffizi, Florence.) + </figcaption> +</figure> +<br> + +<p><span class="pagenum" id="Page_100">[Pg 100]</span></p> + +<p>When the annunciation is an event given in the +series of the Life of the Virgin, the place is usually +in the house. The fountain is rarely introduced. +Gabriel either bears the lily or it is in some other part +of the picture. Sometimes he has the olive, typical +of peace, or a sceptre with a scroll inscribed <i lang="la" xml:lang="la">Ave +Maria! Gratia plena!</i> The work basket, expressing +the industry of Mary, is rarely omitted, and to typify +her temperance a dish of fruit and a pitcher of water +are frequently introduced.</p> + +<p>The lily in the hand of the angel is not merely the +emblem of purity but the symbol of the Virgin—“I +am the rose of Sharon, and the lily of the valley.” +A lily is often introduced in a vase near the Virgin +or in the foreground of the picture. Sometimes the +dove as the Holy Spirit hovers over the head of the +Virgin or enters by the open window.</p> + +<p>The <b>Visitation</b>. <em>Ital.</em> La Visitazione di Maria. +<em>Fr.</em> La Visitation de la Vierge. <em>Ger.</em> Die Heimsuchung +Mariä. (July 2.)</p> + +<p>After the annunciation of the angel, we are told +that “Mary arose and went up into the hill country +with haste, to the house of her cousin Elizabeth, and +saluted her.” This meeting of the two kinswomen is +usually styled in art, the <em>Visitation</em> and, sometimes, +the <em>Salutation of Elizabeth</em>. It is important in its +religious significance as being the first recognition of +the character of the Messiah. “Whence is this to +me,” exclaims Elizabeth, “that the mother of my +Lord should come to me?” (Luke i., 43.)</p> +<br> + +<figure class="figcenter illowp85" id="i_101" style="max-width: 40.5em;"> + <img class="w100" src="images/i_101.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + SIBYL PROPHESYING TO AUGUSTUS CÆSAR THE COMING + OF CHRIST.—B. PERUZZI<br> + (Church of the Fontegiusta, Siena.) + </figcaption> +</figure> +<br> + +<p>In the representations of this scene the number +of the figures, the locality and circumstance vary +<span class="pagenum"><a id="Page_101"></a><a id="Page_102"></a>[Pg 102]</span>greatly. Sometimes only the two women are represented, +without accessories of any kind. The scene +is often a garden or open porch in front of a house, and +this garden is noted in the traditions of the East. The +legends relate that the Virgin, as she walked in the +garden of Zacharias during her stay with her cousin +Elizabeth, meditating deeply and reverently upon the +holy destiny that was hers, happened to touch a certain +flower that bloomed there with her most blessed +hand—which, from being without odour before, +became from that moment of a delicious fragrance.</p> + +<p>The <b>Nativity</b>. <em>Ital.</em> Il Presepio, Il Nascimento del +Nostro Signore. <em>Fr.</em> La Nativité. <em>Ger.</em> Die Geburt +Christi. (Dec. 25.)</p> + +<p>In the early Christian traditions this great event is +preceded and accompanied by several circumstances +which have often been rendered in art.</p> + +<p>According to an old legend, the Emperor Augustus +Cæsar betook himself to the sibyl Tiburtina, to ask +whether he should accept the divine honours the +Senate had decreed to him. The sibyl, after meditating +some days, took the emperor aside and showed +him an altar; and above the altar, in the opening +heavens, he saw a beautiful Virgin holding an infant in +her arms, and at the same time a voice was heard +saying, “This is the altar of the Son of the living +God.” Then Augustus caused an altar to be erected +on the Capitoline Hill, with this inscription, “Ara +primogeniti Dei”; and in later times the church called +the Ara-Cœli, with its flight of one hundred and +twenty-four marble steps, was built on this spot.</p> + +<p>The sibylline prophecy is believed to have occurred +<span class="pagenum" id="Page_103">[Pg 103]</span>a short time before the Nativity, about the time that +there went forth from the Emperor Augustus a +decree that all the Jews should be taxed who were of +Bethlehem in Judæa.</p> + +<p>It is related that Joseph therefore saddled his ass +and took his wife to Bethlehem, the city from whence +he came. As they were near there (within three +miles), Joseph, turning about, saw that Mary was +sorrowful, but when he looked again she smiled. +And before they were come there Mary said: “Take +me down, for I suffer.”</p> + +<p>The Nativity, when treated historically, is represented +in a stable or cavern, at midnight and in +winter. The earlier pictures give Mary the appearance +of suffering, but from the fourteenth century, +this treatment was abandoned. “To her alone,” said +St. Bernard, “did not the punishment of Eve extend.”</p> + +<p>The attendants and Mary are represented in the +“posture and guise of worshippers,” kneeling or +bending over the Child, or pointing to the manger in +which he lies. The Virgin is bathed in the light which +surrounds the Child like a glory. Joseph is sitting or +stands leaning on his staff and often holds a taper or +light to show that it is night.</p> + +<p>The angels who sing the <i lang="la" xml:lang="la">Gloria in excelsis</i> are never +omitted. At first these were three in number, but +in later pictures the mystic three became a band of +angels.</p> + +<p>The ox and the ass are always introduced as +accessories,—according to the prophecy: “The ox +knoweth his owner, and the ass his master’s crib” +(Is. i., 3). The ox typified the Jews and the ass the +<span class="pagenum" id="Page_104">[Pg 104]</span>Gentiles. The Jews were likened unto the ox because +they bore the yoke of the law, whereas the ass +represented the Gentiles because it bore Christ willingly, +when He rode into Jerusalem.</p> +<br> + +<figure class="figcenter illowp85" id="i_104" style="max-width: 62.5em;"> + <img class="w100" src="images/i_104.jpg" alt=""> + <figcaption> +<p class="right fs80">Photo. Alinari</p> + THE ADORATION OF THE SHEPHERDS.—D. GHIRLANDAJO<br> + (Academy, Florence.) + </figcaption> +</figure> +<br> + +<p>The shepherds are frequently in the background.</p> + +<p>When other figures are introduced, they are saints +or votaries for whom the picture was painted.</p> + +<p>The <b>Adoration of the Shepherds</b>. <em>Ital.</em> L’Adorazione +<span class="pagenum" id="Page_105">[Pg 105]</span>dei Pastori. <em>Fr.</em> L’Adoration des Bergers. <em>Ger.</em> +Die Anbetung der Hirten.</p> + +<p>“And it came to pass, as the angels were gone away +from them into heaven, the shepherds said one to +another, Let us now go even unto Bethlehem, and +see this thing which has come to pass, which the Lord +has made known unto us. And they came with haste, +and found Mary, and Joseph, and the babe lying in a +manger.” (St. Luke ii., 15-16.)</p> + +<p>Being come, they tender their offerings of fruits, +lambs, or doves, and with heads uncovered they acknowledge +and worship the divine Child. In some +pictures their women, sheep, and even their dogs accompany +them. There is an old legend that Simon and +Jude, afterwards apostles, were with the shepherds.</p> + +<p>Sometimes the Infant sleeps and Joseph or Mary +raises the veil from His face to show Him to the +shepherds.</p> + +<p>The flowers sometimes scattered by angels are +supposed to have been gathered in heaven.</p> + +<p>The <b>Adoration of the Magi</b>.⁠<a id="FNanchor_5_5" href="#Footnote_5_5" class="fnanchor">[5]</a> <em>Ital.</em> L’Adorazione +de’ Magi, L’Epifania. <em>Fr.</em> L’Adoration des Rois +Mages. <em>Ger.</em> Die Anbetung der Weisen aus dem +Morgenland, Die heiligen drei Könige. (Jan. 6.)</p> + +<p>This subject, the most extraordinary incident in +the early life of our Saviour, has been set before us in +every style and form of art, from the third century to +the present time.</p> + +<p>Magi, in the Persian tongue, signifies “wise men”; +and they were in their own country kings or princes, +from what country is not said. The prophecy of +Balaam had been held in remembrance by their +<span class="pagenum" id="Page_106">[Pg 106]</span>people. “I shall see him, but not now; I shall behold +him, but not nigh; there shall come a star out of +Jacob, and a sceptre shall rise out of Israel.”</p> + +<p>When the Eastern sages beheld this wondrous and +long-expected star, they rejoiced greatly; and taking +leave of their relations and friends set forth on their +long and perilous journey, the star going before them, +until it stood over the place where the young Child +was—He who was born King of Kings.</p> +<br> + +<figure class="figcenter illowp85" id="i_106" style="max-width: 62.5em;"> + <img class="w100" src="images/i_106.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + THE ADORATION OF THE MAGI.—BOTTICELLI<br> + (Uffizi, Florence.) + </figcaption> +</figure> +<br> + +<p>The artists made good use of the picturesque +possibilities of the story, and in their hands it grew +from a symbol to a scene of dramatic splendour. It +<span class="pagenum" id="Page_107">[Pg 107]</span>is the oldest subject in Christian art, and taken in +the early religious sense, it signified the calling of the +Gentiles.</p> + +<p>In the earlier representations the Virgin-mother is +seated and holds the Child upright on her knee. The +Wise Men, always three in number and all alike, +approach in attitudes of adoration, and behind them +are seen their camels’ heads, showing the land whence +they came—the land of the East.</p> + +<p>But in the fourteenth century legends the Three +Wise Men or Kings became distinct characters, each +with a name, and in the pictures they represent the +three ages of man. Jasper or Caspar is very old, +Melchior in the prime of life, and Balthazar young. +Sometimes the latter or his servant is black, to indicate +that Christ came to save all races of men. +These pictures of the Magi reflect all the pomp and +circumstance that was the custom of the times in +which the artists lived, and the details vary with the +nationality of the artist.</p> + +<p>It is related that when they returned to the East +they abandoned all their possessions and went about +preaching the new gospel; that they were baptised +by Thomas and put to death by the heathen. Their +remains were discovered and removed to Constantinople +by the Empress Helena, and after being carried +to Milan during the first crusade were finally placed in +the cathedral at Cologne by the Emperor Barbarossa, +and repose there in a magnificent shrine. Wherever +one sees the sign <em>Drei Könige</em>, or <em>Trois Rois</em>, in front +of Continental hotels, or <em>Three Kings</em> above the doors +of English inns, it refers to the Magi.</p> + +<p><span class="pagenum" id="Page_108">[Pg 108]</span></p> + +<p>The <b>Purification of the Virgin</b>, the <b>Presentation</b>, +and the <b>Circumcision of Christ</b>. <em>Ital.</em> La Purificazione +della B. Vergine. <em>Ger.</em> Die Darbringung im +Tempel, Die Beschneidung Christi.</p> + +<p>The Virgin, after the birth of her Son, complied +with all the requirements of the Mosaic law. The +circumcision and the naming of Christ have often +been painted to express the first of the sorrows of the +Virgin. But the Presentation in the Temple has +been selected with better taste for the same purpose, +and the prophecy of Simeon, “Yea, a sword shall +pierce through thy own soul also,” becomes the first +of the Seven Sorrows.</p> + +<p>It is related that, about 260 years before Christ, +Ptolemy Philadelphus, desiring to have the Hebrew +Scriptures translated into Greek for his famous library, +asked the high-priest of the Jews to send him scribes +and interpreters. In response to his demand, six +of the most learned rabbis of the twelve tribes of +Israel, seventy-two persons in all, were sent into +Egypt, among them Simeon, a man full of learning. +To him fell the book of Isaiah to translate. When he +came to the verse, “Behold, a virgin shall conceive, +and bear a son,” he doubted in his own mind how such +a thing could be, and, fearing to give offence to the +Greeks, he used the Greek word “a young woman” +for the Hebrew word “virgin.” He had no sooner +written it, however, than an angel leaned over the +page and blotted it out, setting down the right word +in its place. Completely dumfounded Simeon essayed +again and again to substitute the word “young +woman,” as seemed to him fitting and proper, and +<span class="pagenum" id="Page_109">[Pg 109]</span>each time the angel effaced the word substituting the +Greek word for “virgin” in its place.</p> + +<p>Then it was disclosed to Simeon that the miracle +that he had dared to doubt was not only possible, +but that he “should not see death until he had seen +the Lord’s Christ.” So for nearly three centuries he +remained on earth, until all had come to pass. He +was brought to the Temple on the very day that +Mary came there to present her Son, and taking the +Child in his arms, he exclaimed, “Lord, now lettest +thou thy servant depart in peace, according to thy +word.”</p> + +<p>Anna, the prophetess, is often introduced. She +also testifies unto Christ, but does not take Him in +her arms as did Simeon, hence she was considered to +typify the Synagogue, which prophesied the Messiah, +but did not embrace Him when he came.</p> + +<p>When represented in Greek art, this picture is +often called the <em>Nunc Dimittis</em>.</p> + +<p>The <b>Flight into Egypt</b>. <em>Ital.</em> La Fuga in Egitto. +<em>Fr.</em> La Fuite de la Sainte Famille en Egypte. +<em>Ger.</em> Die Flucht nach Aegypten.</p> + +<p>There are many legends in connection with this +journey that have been illustrated by the artists. +One is that when it became known that the Holy +Family had fled from Bethlehem, Herod sent his +officers in pursuit of them. The Holy Family, +knowing they were pursued, after travelling some +distance, came to a field where a man was sowing +wheat. And the Virgin said to the husbandman: +“If any shall ask you whether we have passed this +way, ye shall answer, ‘Such persons passed this way +<span class="pagenum" id="Page_110">[Pg 110]</span>when I was sowing this wheat.’” And lo! in the space +of a single night the seed had grown ready for the +harvest! And next morning the officers of Herod +came by, and inquired of the husbandman, saying, +“Have you seen an old man with a woman and child +travelling this way?” And the man, who was +reaping his wheat in great wonder and joy, replied: +“Yes.” And they asked him again, “How long is it +since?” And he answered: “When I was sowing this +wheat.” And at this the officers of Herod turned +back.</p> + +<p>Another very old tradition, taken from the First +Gospel of Infancy (chap. viii.), relates that on their +way they met two robbers who protected them from +their confederates, and that they were the two +thieves who were later crucified with Christ.</p> + +<p>Another tradition is that both the ox and the ass +went with the Holy Family into Egypt, and they are +occasionally introduced in some pictures of this event, +but generally the group is confined to Joseph, Mary, +and the Child.</p> + +<p>The <b>Repose of the Holy Family</b>. <em>Ital.</em> Il Riposo. +<em>Fr.</em> Le Repos de la Sainte Famille. <em>Ger.</em> Die Ruhe +in Aegypten.</p> + +<p>This subject has been considered one of the most +graceful and attractive in the whole range of sacred art.</p> + +<p>The <em>Riposo</em>, so called is either the rest on the +journey, or at the close of the journey, called the +Flight into Egypt. Some of the features stamp the +intention at once; as, the ass grazing in the distance; +a wallet and pilgrim’s staff near Joseph; the date tree; +the fallen idols; the Virgin taking water from a fountain—the +<span class="pagenum" id="Page_111">[Pg 111]</span>fountain refers to a tradition that when the +Holy Family came to Matarea they rested in a grove +of sycamores, and here a fountain miraculously +gushed forth for their refreshment.</p> + +<p>In pictures of the <em>Riposo</em> angels often minister to +the comfort of the Holy Family, and there is a legend +that each night angels pitched a tent for their protection +and shelter, and watched over and guarded +them until morning.</p> +<br> + +<figure class="figcenter illowp100" id="i_111" style="max-width: 62.5em;"> + <img class="w100" src="images/i_111.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + REPOSE OF THE HOLY FAMILY—“MADONNA DEL SACCO”—ANDREA + DEL SARTO<br> + (Church of the Annunziata, Florence.) + </figcaption> +</figure> +<br> + +<p>When other figures than the Holy Family and +attendant angels are introduced, it is not a <em>Riposo</em>, +but merely a Holy Family.</p> + +<p>When the Holy Family are seen as on a journey +and the Saviour is represented as a child, walking, +it is the return from Egypt that is pictured.</p> + +<p><span class="pagenum" id="Page_112">[Pg 112]</span></p> + +<p>The <b>Holy Family</b>. <em>Ital.</em> La Sacra Famiglia, La +Sacra Conversazione. <em>Fr.</em> La Sainte Famille.</p> + +<p>After the return to Nazareth, until Jesus is twelve +years old no event is recorded of the life of the Virgin +or her Son. But under the title of Holy Family there +are an endless variety of pictures representing the +imaginary life of these exalted ones.</p> + +<p>The simplest form is that of two figures, the Virgin +and Child; frequently she is nursing the babe, sometimes +she fondles him, pressing his cheek to hers, +or they sport with a rose, an apple, or a bird, these +mystic symbols being lightly used as mere playthings +by the artists. Sometimes one or more attendant +angels appear or the Infant slumbers on His mother’s +knee. Sometimes Mary is represented watching over +him, “pondering in her heart” the great destiny of +her Child.</p> + +<p>Where there are three figures, the third is generally +St. John, although sometimes it is St. Joseph. Sometimes +St. John and his mother, St. Elizabeth—the two +mothers and the two sons—are represented. More +rarely, four figures include St. Joseph and St. John. +Five figures include all who have been named, and +sometimes Zacharias makes the sixth.</p> + +<p>Many of these pictures bear such names as <em>La +Vierge aux Cerises</em>, <em>La Vierge à la Diadème</em>, <em>La +Vierge à l’Oreiller Verd</em>, <em>Le Ménage du Menuisier</em>, +<em>Le Raboteur</em>, etc.</p> + +<p>The introduction of persons who could not +have been contemporary, such as St. Francis +or St. Catherine, makes the group ideal and +devotional.</p> + +<p><span class="pagenum" id="Page_113">[Pg 113]</span></p> + +<p>The <b>Dispute in the Temple</b>. <em>Ital.</em> La Disputa +del Tempio. <em>Fr.</em> Jésus au milieu des Docteurs.</p> + +<p>This subject is a scene of great importance in the +life of the Redeemer, but it is quite as often made one +of the series from the life of the Virgin.</p> + +<p>The <b>Death of Joseph</b>. <em>Ital.</em> La Morte di San +Giuseppe. <em>Fr.</em> La Mort de St. Joseph. <em>Ger.</em> Josefs +Tod.</p> + +<p>Some chronologers place the death of Joseph in +the eighteenth year of the life of our Saviour, and +others in his twenty-seventh year, when, as they +assert, Joseph was one hundred and eleven years +old.</p> + +<p>Joseph’s popularity as a patron saint of power +dates from the fifteenth century. A custom had +come about of invoking him as mediator to obtain a +blessed and peaceful end, and he became in a certain +way the patron saint of death-beds.</p> + +<p>Late in the sixteenth century the death of St. +Joseph is represented as a separate subject in art, +and became a popular subject in the churches and +convents of Augustine canons and Carmelite friars +whose patron saint he was, and also in family chapels +consecrated to the memory of the dead.</p> + +<p>The <b>Marriage at Cana, in Galilee</b>. <em>Ital.</em> La Nozze +di Cana. <em>Fr.</em> Les Noces de Cana. <em>Ger.</em> Die Hochzeit +zu Cana.</p> + +<p>There is an old Greek tradition that the Marriage +at Cana, which has often been represented in art, +was that of John the Evangelist and Mary Magdalene, +and that immediately after the wedding feast St. +John and Mary separated and devoted themselves to +<span class="pagenum" id="Page_114">[Pg 114]</span>an austere and chaste religious life, spent solely in +the service of Christ.</p> + +<p>In the <b>Passion of our Lord</b>, certain women who +attended upon Christ during His ministry are represented +as always near the Virgin, and sustaining +her with their tenderness and sympathy. The +Gospels mention three by name: Mary Magdalene; +Mary, the wife of Cleophas; and Mary, the mother of +James and John. Martha, the sister of Mary Magdalene, +is also included. These women, with the +Virgin, form the group of five female figures that is +usually introduced in the scriptural scenes from the +Life of Christ.</p> + +<p>The <b>Procession to Calvary</b> (<em>Ital. Il Portamento della +Croce</em>), and the <b>Crucifixion</b> are included in the Rosary +as two of the mystical Sorrows. It was in the Via +Dolorosa near the summit of the hill that the Virgin-mother +and her women companions are said to have +placed themselves, and where Mary in her anguish, +seeing her divine Son, bleeding from the scourge, and +sinking under His cross, fell fainting to the earth. +This incident is called in French <em>Notre Dame du +Spasme</em>, or <em>du Pâmoison</em>; in Italian <em>La Madonna +dello Spasimo</em>, or <em>Il Pianto di Maria</em> and becomes +one of the mournful festivals of Passion Week.</p> + +<p>In the many celebrated representations of this +scene, she is sometimes portrayed sinking to the +earth, upheld by the women or St. John; sometimes +she stands with clasped hands in dumb and motionless +agony; sometimes she stretches out her arms to her +Son who goes on His sorrowful way.</p> + +<p>In the <b>Crucifixion</b> treated as a <em>mystery</em> Mary +<span class="pagenum" id="Page_115">[Pg 115]</span>stands alone on the right of the Cross and St. John +on the left. She looks up with an expression of +mingled sorrow and faith or bows her head in sad +submissiveness.</p> + +<p>When the Crucifixion is treated as an <em>historical +event</em> the Virgin is represented in a fainting attitude, +sustained in the arms of the two Marys, assisted +sometimes but not always by St. John; while Mary +Magdalene is seen kneeling at the foot of the cross +or with arms clasped around it.</p> +<br> + +<figure class="figcenter illowp100" id="i_115" style="max-width: 62.5em;"> + <img class="w100" src="images/i_115.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + THE CRUCIFIXION.—PERUGINO<br> + (Convent of Santa Maria Maddalena dei Pazzi, Florence.) + </figcaption> +</figure> +<br> + +<p>The <b>Descent from the Cross</b> and the <b>Deposition</b> +are two separate subjects in art. In the first the +Virgin should stand. In the old legend it is said, +that when Joseph of Arimathea and Nicodemus +drew out the nails that fastened the hands of our +Saviour to the cross, St. John concealed them from +His mother. Then Nicodemus took out those +<span class="pagenum" id="Page_116">[Pg 116]</span>which fastened His feet, and Joseph of Arimathea +supported the body, and the head and arms of our +Lord hung over his shoulder. The sorrowing mother +took the bleeding hands in hers and kissed them +tenderly, and then, borne down by the weight of her +woe, she sank to the ground, mourning her Son.</p> + +<p>The <b>Deposition</b> is that moment which succeeds the +Descent from the Cross, when the dead form of +Christ is deposed or laid upon the ground, resting on +the lap of His mother, and lamented by St. John, +Mary Magdalene, and others.</p> + +<p>The <b>Entombment</b> follows and when treated historically +the Virgin-mother is always introduced, +although less conspicuously; either she faints, or +stands by with streaming eyes and clasped hands, +while the beloved Son is laid in the tomb. Then in +fulfilment of the last command of his dying Master, +John the Evangelist brought to his own house the +Mother to whom he was in future to be as a son. +This beautiful subject appears first in art in the +seventeenth century.</p> + +<p>The <b>Apparition of Christ to His Mother</b>. There +is a very ancient tradition (mentioned by St. Ambrose +in the fourth century, as being then generally accepted +by Christians) that Christ, after His return +from Hades, visited His mother before appearing +to Mary Magdalene in the garden.</p> +<br> + +<figure class="figcenter illowp85" id="i_117" style="max-width: 39.9375em;"> + <img class="w100" src="images/i_117.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + THE SAVIOUR APPEARS TO MARY MAGDALENE—“NOLI ME + TANGERE.”—LORENZO DI CREDI<br> + (Uffizi, Florence.) + </figcaption> +</figure> +<br> + +<p>The story is thus related in Mrs. Jameson’s +<em>Legends of the Madonna</em>: “Mary, when all was ‘finished,’ +retired to her chamber, and remained alone +with her grief—not wailing, not repining, not hopeless, +but waiting for the fulfilment of the promise. Open +<span class="pagenum"><a id="Page_117"></a><a id="Page_118"></a>[Pg 118]</span>before her lay the volume of the prophecies; and she +prayed earnestly, and she said, ‘Thou didst promise, +O my most dear Son! that thou wouldst rise again +on the third day. Before yesterday was the day of +darkness and bitterness, and, behold, this is the +third day. Return then to me thy Mother: O my +Son, tarry not, but come!’ And while thus she prayed, +lo! a bright company of angels, who entered waving +their palms and radiant with joy; and they surrounded +her, kneeling and singing the triumphant Easter hymn, +<i lang="la" xml:lang="la">Regina Cœli lætare, Alleluia</i>. And then came Christ, +partly clothed in a white garment, having in His left +hand the standard with the cross, as one just returned +from the nether world, and victorious over +the powers of sin and death. And with Him came +the patriarchs and prophets, whose long-imprisoned +spirits He had released from Hades. All these knelt +before the Virgin, and saluted her, and blessed her, +and thanked her, because through her had come their +deliverance. But, for all this, the Mother was not +comforted till she had heard the voice of her Son. +Then He, raising His hand in benediction, spoke, and +said, ‘I salute thee, O my Mother!’ and she, weeping +tears of joy, responded, ‘Is it thou indeed, my most +dear Son?’ and she fell upon His neck, and He embraced +her tenderly, and showed her the wounds He had received +for sinful men. Then He bid her be comforted +and weep no more, for the pain of death had passed +away, and the gates of hell had not prevailed against +Him. And she thanked Him meekly on her knees, for +that He had been pleased to bring redemption to man, +and to make her the humble instrument of His great +<span class="pagenum" id="Page_119">[Pg 119]</span>mercy. And they sat and talked together, until He +took leave of her to return to the garden, and to show +Himself to Mary Magdalene, who, next to His glorious +Mother, had most need of consolation!”</p> + +<p>This beautiful myth of the early ages has only +been pictured as a matter-of-fact scene in art. The +Virgin kneels; the Saviour, with His standard, stands +before her; and generally Adam and Eve, the authors +of the fall, or Abraham and David, the progenitors +of Christ and the Virgin, are introduced, as the +delivered patriarchs.</p> + +<p>The <b>Ascension</b>, though one of the “Glorious Mysteries,” +was also the seventh and last of the sorrows +of the Virgin, who was then left alone on earth. All +the old legends record her being present at this time +and saying, as she followed with uplifted eyes the +soaring figure of Christ, “My son, remember me +when Thou comest to Thy kingdom! leave me not +long after Thee, my Son!”</p> + +<p>The <b>Descent of the Holy Ghost</b> is a strictly +scriptural subject. It has been said that Mary, +in her character of the divine Mother of Wisdom, +did not need any accession of intellectual light, +but that the Holy Spirit was sent to her as the +Comforter.</p> + +<p>When Mary is present she is usually placed either +in front or in the centre on a raised seat and often +holds a book (as the <i lang="la" xml:lang="la">Mater Sapientiæ</i>).</p> + +<p>The <b>Death and Assumption of the Virgin</b>. <em>Lat.</em> +Dormitio, Pausatio, Transitus, Assumptio, B. Virginis. +<em>Ital.</em> L’Assunzione, Il sonno della Beata Vergine, +Il transito di Maria. <em>Fr.</em> L’Assomption, La +<span class="pagenum" id="Page_120">[Pg 120]</span>Mort de la Vierge. <em>Ger.</em> Das Absterben der Mariä, +Mariä Himmelfahrt.</p> + +<p>No subject has been more popular, nor more frequently +represented in art than the Death and Assumption +of the Virgin. The assumption was indeed +the manifest expression of a dogma of faith—the glorification +of the Virgin in the body as well as in the +spirit, and as such it appears in all the edifices +dedicated to her.</p> + +<p>The two subjects are often combined. The death +scene is portrayed below (<i lang="la" xml:lang="la">Il transito di Maria</i>), and +the taking up into heaven of the body and soul of the +Virgin Mary—the assumption—is given above.</p> + +<p>It is related in the legend that when the time came +for Mary to die, the apostles (who were scattered in +various parts of the world) were all assembled by a +miraculous power and brought to the door of Mary’s +dwelling. When Mary saw them she blessed them +and thanked the Lord, then kneeling down they +prayed together, and after that she laid herself down +in her bed prepared to die. About the third hour of +the night a great sound smote on their ears, the chamber +became filled with a heavenly fragrance, and Christ +Himself appeared, followed by angels, patriarchs, +and prophets, who surrounded the bed of the Virgin +singing hymns of joy. And Jesus said to His mother, +“Arise, my beloved, mine elect! come with me from +Lebanon, mine espoused! receive the crown that is +destined for thee!” And Mary replying, said: “My +heart is ready; for it was written of me that I should +do Thy will.” Then all the angels and blessed spirits +who were with Jesus began to sing and rejoice. And +<span class="pagenum" id="Page_121">[Pg 121]</span>the soul of Mary departed from her body and in the +arms of her Son together they arose into heaven. +The apostles gazing after her, said: “O most prudent +Virgin, remember us when thou comest to thy glory,” +and the angels who received her into heaven sang, +“Who is this that cometh up from the wilderness +leaning upon her Beloved? She is fairer than all the +daughters of Jerusalem.”</p> + +<p>There was but one absent among the apostles and +when he came in haste soon after, he could not believe +in the resurrection of the Virgin. It was this same +Thomas who had doubted the resurrection of Christ. +At his desire the tomb was opened before him and +in it he saw lilies and roses. Then looking up in +astonishment to heaven, he beheld the body of the +Virgin, radiant in a glory of light ascending slowly +towards the celestial regions.</p> + +<p>It is related that in pity for his lack of faith she flung +down to him her girdle—the same <i lang="la" xml:lang="la">sacratissima cintola</i> +which is still preserved in the Cathedral of Prato.</p> + +<p>The “angel of death,” usually supposed to be +Gabriel, but more correctly Michael, sometimes offers +her a taper—it being customary to place a taper in the +hands of one who is dying.</p> + +<p>The mystic <b>Incoronata</b> or <b>Coronation</b>, which represents +the triumph of the Church, is distinguished by +the presence not only of angels and patriarchs, but +by fathers and doctors of the Church and martyrs and +saints. It is a dramatic and historical event when it +comes last in a series of the Life of the Virgin, where +her death-bed or tomb is portrayed or the apostles +and sorrowing women are introduced.</p> + + +<div class="footnotes"> +<h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a id="Footnote_5_5" href="#FNanchor_5_5" class="label">[5]</a> See <a href="#APPENDIX">Appendix</a>.</p></div> +</div> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_122">[Pg 122]</span></p> + + + <h2 class="nobreak" id="X-DEVOTIONAL_REPRESENTATIONS_OF"> + X.—DEVOTIONAL REPRESENTATIONS OF + THE VIRGIN MARY + </h2> +</div> + +<p><span class="smcap">In</span> the most ancient examples, the maternity—the +motherhood of the Virgin is not the paramount idea. +She is represented without symbols, and veiled, +occupying an inferior position on one side of her +divine Son, with St. John the Baptist or St. Peter +on the other.</p> + +<p>Later, when the worship of the Virgin spread from +the East and she was represented alone, without her +Son, the apostles and saints who surrounded her +taking secondary positions, she symbolised not only +the divine Mother of Christ, but the second Eve, the +mother of all the world, the Virgin of Virgins.</p> + +<p>When she wears a crown over her veil or holds +a sceptre in her hand she is the Queen of Heaven +(<i lang="la" xml:lang="la">Regina Cœli</i>).</p> + +<p>Attended by adoring angels, she is the Queen of +Angels (<i lang="la" xml:lang="la">Regina Angelorum</i>).</p> + +<p>Weeping or holding the crown of thorns she is Our +Lady of Sorrow (<i lang="la" xml:lang="la">Mater Dolorosa</i>).</p> + +<p>When she is merely veiled, with folded hands and +a face of glorious beauty and sweetness, she is the Madonna, +the Blessed Virgin, the <em>Santa Maria Vergine</em>.</p> + +<p>It was in the days of chivalry that the title of Our +Lady—<em>Notre Dame, La Madonna, Unsere Liebe Frau</em>—was +first given to the Virgin.</p> + +<p><span class="pagenum" id="Page_123">[Pg 123]</span></p> +<br> + +<figure class="figcenter illowp85" id="i_123" style="max-width: 62.5em;"> + <img class="w100" src="images/i_123.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + CORONATION OF THE VIRGIN.—FILIPPO LIPPI<br> + (Academy, Florence.) + </figcaption> +</figure> +<br> + +<p>The <b>Coronation of the Virgin</b>. (<em>Lat.</em> Coronatio +Beatæ Mariæ Virginis. <em>Ital.</em> L’Incoronata, Maria +Coronata dal divin suo Figlio. <em>Fr.</em> La Couronnement +de la Sainte Vierge. <em>Ger.</em> Die Krönung +Maria). In the earliest examples, Christ, with His +mother seated on the same throne, and on His right +hand, places the crown upon her head. Only the two +figures are shown. Sometimes the Father looks down, +and the Holy Ghost (as a dove) hovers between them. +Later examples place the Virgin between the Father +and Son, both in human form; each holds the crown +in one hand, and places it on her head, while the Holy +Spirit hovers above. Again, the Virgin is portrayed +kneeling at the feet of Christ, who places the crown +<span class="pagenum" id="Page_124">[Pg 124]</span>on her head; rejoicing angels are seen and paradise +is disclosed beyond. Sometimes the whole army of +blessed spirits, patriarchs, and martyrs are witnesses +to this solemn and glorious ceremony.</p> +<br> + +<figure class="figcenter illowp85" id="i_124" style="max-width: 61.8125em;"> + <img class="w100" src="images/i_124.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + THE MADONNA CROWNED—BOTTICELLI<br> + (Uffizi, Florence.) + </figcaption> +</figure> +<br> + +<p>When not more than five or six saints are introduced, +they are usually the patron saints of the +locality or community.</p> + +<p>Those pictures where the Madonna is holding her +<span class="pagenum" id="Page_125">[Pg 125]</span>Child, while angels place a crown upon her head, are +not Coronations in the accepted sense, but an acknowledgment +of and tribute to the Virgin-mother +of Christ, and Queen of Heaven (<em>Mater Christi</em>, +<em>Regina Cœli</em>).</p> + +<p>The <b>Virgin of Mercy</b>.⁠<a id="FNanchor_6_6" href="#Footnote_6_6" class="fnanchor">[6]</a> Our Lady of Succour. +<em>Ital.</em> La Madonna di Misericordia. <em>Fr.</em> Notre Dame +de Miséricorde. <em>Ger.</em> Mariä Mutter des Erbarmens.</p> + +<p>Here she appears as intercessor, and in old pictures +of the Day of Judgment she is seated by the side of +Christ, or sometimes a little lower, but always on +His right hand. She is usually seated, while the +Baptist, who is generally placed opposite to her on +the left of Christ, always stands or kneels.</p> + +<p>As the Madonna of Mercy she rarely appears without +the Child in her arms, her motherhood typifying +her sympathy with all suffering humanity.</p> + +<p>The <b>Mater Dolorosa</b>. <em>Ital.</em> La Madre di Dolore, +L’Addolorata. <em>Fr.</em> Notre Dame de Pitié, La Vierge +de Douleur. <em>Ger.</em> Die Schmerzhafte Mutter.</p> + +<p>There are three distinct representations of the +Madonna in this character. As <b>Mater Dolorosa</b> she +is represented alone, either seated or standing, and +sometimes only the head or a half-length figure of her +is given. She is overcome with sorrow, her features +are stricken with grief, and tears gush from her +mournful eyes. Often a sword pierces her bosom—sometimes +<em>seven</em> swords, in allusion to the <em>seven +sorrows</em>.</p> + +<p>In the <b>Stabat Mater</b> the position of the Virgin is +invariably on the right of the crucifix—that of St. +John on the left, the crucifix here being the mystical +<span class="pagenum" id="Page_126">[Pg 126]</span>emblem of our belief in a crucified Christ. In this +subject the Virgin is a wholly ideal figure, personifying +the Church as well as the mother of Christ. Her +head is bowed in resignation, her figure is shrouded +in a violet or dark blue mantle. Sometimes she +stands with outstretched arms and upward gaze, her +faith struggling with her anguish.</p> + +<p><b>La Pietà</b> is the third, and consists only of the Virgin +with her dead Son in her arms or at her feet; sometimes +sorrowing angels are about, but otherwise the +Mother is alone with her dead.</p> + +<p>Another version, less poetically touching, represents +the dead form half-emerging from the tomb, held +in the arms of the sorrowing Mother, with St. John +the Evangelist on the other side.</p> + +<p><b>Our Lady of the Immaculate Conception.</b> <em>Lat.</em> +Regina sine labe originale concepta. <em>Ital.</em> La +Madonna Purissima. <em>Fr.</em> La Conception de la +Vierge Marie. <em>Ger.</em> Der Geheimniss der Unbefleckten +Empfängniss Mariä.</p> + +<p>This picture is not found in the early schools of art, +but became one of the most popular subjects in the +seventeenth century, after Paul V. had instituted +the office for the commemoration of the Immaculate +Conception in 1615 and in 1617 forbade any one +teaching or preaching the opposite belief.</p> +<br> + +<figure class="figcenter illowp85" id="i_127" style="max-width: 42.25em;"> + <img class="w100" src="images/i_127.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + THE MADONNA ENTHRONED.—FILIPPINO LIPPI<br> + (Uffizi, Florence.) + </figcaption> +</figure> +<br> + +<p>This doctrine had been gaining ground from the +eleventh century and had been agitated for several +centuries before that, but there was always strong +opposition to making it an article of belief. Even St. +Bernard, in spite of his devotion to the Virgin, disapproved +of incorporating it as a church office. It +<span class="pagenum"><a id="Page_127"></a><a id="Page_128"></a>[Pg 128]</span>was a question of theological dispute for hundreds of +years. In Spain it was the “darling dogma of the +Spanish Church,” and forms the subject of some of +the most beautiful pictures of the Spanish artists.</p> + +<p>It was not until 1854 that the Immaculate Conception +of the Mother of God was made an article of +faith in the Catholic Church by Pope Pius IX.</p> + +<p>In pictures of the Immaculate Conception, the +Virgin is usually represented as the woman in the +Apocalypse, “clothed with the sun, having the moon +under her feet,” and on her head a crown of twelve +stars. She is a maiden of twelve or thirteen years, +with eyes reverent and sweet; her hair is golden, and +her features beautiful. The sun is a glory of light +around her, the moon with the horns pointing downward +lies under her feet, and the twelve stars form a +crown over her head. Her robe is of spotless white +and her mantle blue. Around her are cherubim +bearing roses, lilies, and palms, and below at her feet +is the head of the bruised and defeated dragon.</p> + +<p>Murillo, who achieved his greatest fame as painter +of the Conception, sometimes makes the crescent +moon a full moon, or, when a crescent, the horns point +upward. He usually omits the starry crown, but is +careful to follow the rules laid down as to the colours +of the drapery.</p> + +<p><b>The Virgin and Child Enthroned.</b> <em>Lat.</em> Sancta +Dei Genitrix, Virgo Deipara. <em>Ital.</em> La Santissima +Vergine, Madre di Dio. <em>Fr.</em> La Sainte Vierge, Mère +de Dieu. <em>Ger.</em> Die Heilige Mutter Gottes.</p> + +<p>The many and beautiful pictures of this subject +are purely devotional in character and in them Mary +<span class="pagenum" id="Page_129">[Pg 129]</span>is exalted as the Mother of God. When she is +represented with a book in her hand she is the <i lang="la" xml:lang="la">Virgo +Sapientissima</i>, the Most Wise Virgin, or the <i lang="la" xml:lang="la">Mater +Sapientiæ</i>, the Mother of Wisdom, and the book is +the Book of Wisdom.</p> +<br> + +<figure class="figcenter illowp85" id="i_129" style="max-width: 61.9375em;"> + <img class="w100" src="images/i_129.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + THE VIRGIN AND CHILD.—FILIPPO LIPPI<br> + (Pitti Palace, Florence.) + </figcaption> +</figure> +<br> + +<p>The artists hardly ever varied from the established +rule as to the colours in which the Virgin-mother +should be arrayed, and she nearly always has the red +<span class="pagenum" id="Page_130">[Pg 130]</span>tunic with the blue mantle—as said before, red the +colour of love and religious fervour, blue the colour +of constancy and truth. In pictures of the Venetian +and German schools she is often represented magnificently +attired, her robe thickly broidered with gold +and pearls, and her crown studded with jewels.</p> + +<p>In the early pictures the divine Child is always +clothed, and not until the beginning of the fifteenth +century is he represented partially, then wholly, +undraped.</p> + +<p>The <em>Madonna Enthroned</em> is often attended by +various saints, and the grouping of these saints has +always some especial religious significance, as: <em>St. +Peter</em> and <em>St. Paul</em> appear with the Virgin as chiefs of +the apostles and founders of the Church; when <em>St. +John the Baptist</em> and <em>St. John the Evangelist</em> attend the +Virgin Enthroned the first expresses regeneration by +the rite of baptism, the second regeneration by faith.</p> + +<p><em>The Fathers of the Church</em> appear as interpreters +and defenders of the mystery of the Incarnation; <em>St. +Jerome</em> and <em>St. Catherine</em> as patron saints of theological +learning; <em>St. Catherine</em> and <em>St. Barbara</em> signify active +and contemplative life; <em>St. Nicholas</em> and <em>St. George</em> +with <em>St. Catherine</em> are prominent in the Venetian +pictures, and all three were venerated as especial +protectors of Venice.</p> + +<p><em>St. George</em> and <em>St. Christopher</em> stand by the throne +of the Virgin of Succour as protectors and deliverers +in danger.</p> +<br> + +<figure class="figcenter illowp85" id="i_131" style="max-width: 41.1875em;"> + <img class="w100" src="images/i_131.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + THE MADONNA DEL GRAN-DUCA.—RAPHAEL<br> + (Pitti Palace, Florence.) + </figcaption> +</figure> +<br> + +<p>Many of these Madonna pictures were votive +offerings for public or private mercies, and frequently +bear the name of those who offered them: as +<span class="pagenum"><a id="Page_131"></a><a id="Page_132"></a>[Pg 132]</span>Raphael’s <i lang="it" xml:lang="it">Madonna di Foligno</i> presented by Sigismund +Conti of Foligno.</p> + +<p>Wherever the Virgin and Child appear attended by +<em>St. Sebastian</em> and <em>St. Roch</em> the picture has been a +votive offering against the plague.</p> + +<p><b>Mater Amabilis.</b> <em>Ital.</em> La Madonna col Bambino, +La Madonna col celeste suo Figlio. <em>Fr.</em> La Vierge +et l’Enfant Jésus. <em>Ger.</em> Maria mit dem Kind.</p> + +<p>This treatment of the Virgin and Child makes the +strongest appeal to the sympathies, for in it she is +represented as the <em>Mother</em> only. As Mrs. Jameson +expresses it: “Here Raphael shone supreme: the +simplicity; the tenderness, the halo of purity and +virginal dignity which he threw around the <i lang="la" xml:lang="la">Mater +Amabilis</i>, have never been surpassed—in his best pictures +never equalled. The <em>Madonna del Gran-Duca</em> +[Pitti, Florence] and the <em>Madonna Tempi</em> [Munich] +are perhaps the most remarkable for simplicity.”</p> + +<p>A charming version of the <em>Mater Amabilis</em> is the +<em>Madre Pia</em> where the Mother adores her Child. He +lies extended upon her knee and she looks down upon +Him with hands folded in prayer. Sometimes the +Child looks up in His Mother’s face with His finger on +His lip, expressing the <i lang="la" xml:lang="la">Verbum sum</i>—“I am the word.” +One must distinguish this from a Nativity where the +Mother adores her Child, but the presence of Joseph, +the ruined shed or manger, the ox and ass, express +the <em>event</em>. In the <em>Madre Pia</em> the locality and accessories +are purely fanciful and ideal.</p> + +<p>The constant introduction of St. Joseph, St. +Elizabeth, and other relations of the Virgin (always +omitted in a Madonna <i lang="it" xml:lang="it">in trono</i>) would be called a +<span class="pagenum" id="Page_133">[Pg 133]</span>Holy Family, except for the presence of other sainted +personages whose existence and history belong to an +entirely different period, such as St. Catherine, St. +George, St. Francis, or St. Dominick. When this +occurs it removes the picture from the historical, and +puts it at once with the imaginary and devotional +subjects. Such a group is not a <i lang="it" xml:lang="it">Sacra Famiglia</i>, but +a <i lang="it" xml:lang="it">Sacra Conversazione</i>.</p> +<br> + +<figure class="figcenter illowp85" id="i_133" style="max-width: 61.6875em;"> + <img class="w100" src="images/i_133.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + THE ADORATION OF THE CHILD.—PERUGINO<br> + (Pitti Palace, Florence.) + </figcaption> +</figure> +<br> + +<div class="footnotes"> +<h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a id="Footnote_6_6" href="#FNanchor_6_6" class="label">[6]</a> See <a href="#APPENDIX">Appendix</a>.</p></div> +</div> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_134">[Pg 134]</span></p> + + + <h2 class="nobreak" id="XI-ST_JOHN_THE_BAPTIST"> + XI.—ST. JOHN THE BAPTIST + </h2> +</div> + +<p><b>St. John the Baptist.</b> <em>Ital.</em> San Giovanni Battista. +<em>Fr.</em> St. Jean Baptiste. <em>Ger.</em> Johann der Täufer. (June +24.) St. John shares with Christ and His mother +the distinction of having his natural birthday kept +by the Church.</p> + +<p>The history of this saint is given in St. Luke, and +with the artists his life has frequently been the subject +of a series including the <em>Angel Appearing to Zacharias</em>, +<em>St. John Preaching</em>, <em>His Baptism of Christ</em>, <em>Reproval +of Herod</em>, <em>Daughter of Herodias Asks for St. John’s +Head</em>, <em>Beheading of St. John</em>, <em>Daughter of Herodias +Carries St. John’s Head to her Mother</em>, etc.</p> + +<p>According to the legends, the Blessed Virgin remained +with Elizabeth until the birth of John, and +in the historical pictures Mary is seen with a glory +around her head presenting the child to Zacharias. +The Greek legends say that St. John’s death took +place two years before that of Christ, and that he +descended into Hades and brought unto the departed +spirits the tidings of their approaching redemption, +and remained there until released by the Saviour’s +death.</p> +<br> + +<figure class="figcenter illowp85" id="i_135" style="max-width: 42.1875em;"> + <img class="w100" src="images/i_135.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + JOHN THE BAPTIST IN THE DESERT.—TITIAN<br> + (Academy, Venice.) + </figcaption> +</figure> +<br> + +<p>St. John forms a link between the Old Testament +and the Gospel. In art he is usually represented as +the Herald, the Forerunner of Christ, and as leaving +his home while still very young to begin his life in the +<span class="pagenum"><a id="Page_135"></a><a id="Page_136"></a>[Pg 136]</span>desert. In early art he is gaunt and wasted, with +unshaven beard and hair, but often in later pictures +he is smooth-faced, young, and beautiful, and wears +a rich mantle over the garment of camel’s hair.</p> + +<p>As Messenger, he wears “his raiment of camel’s +hair, and a leathern girdle about his loins,” and bears +a reed cross and scroll with the inscription <i lang="la" xml:lang="la">Ecce +Agnus Dei</i>, or <i lang="la" xml:lang="la">Vox clementis in deserto!</i> The lamb +is sometimes given, sometimes omitted.</p> + +<p>He is introduced into pictures of the Holy Family as +a witness to the divine nature of Christ and as such is +represented at all ages from infancy to manhood. +He is patron saint of all who are baptised and is +usually represented in sculpture in baptisteries.</p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_137">[Pg 137]</span></p> + + + <h2 class="nobreak" id="XII-THE_FOUR_EVANGELISTS"> + XII.—THE FOUR EVANGELISTS + </h2> +</div> + +<p><span class="smcap">The</span> earliest symbol used to typify the Four Evangelists +was four scrolls placed in the four angles of +a Greek cross, or four books, representing the Gospels. +Next came the four rivers whose source was +in paradise.</p> + +<p>Their conventional symbols, the angel or man for +St. Matthew, the lion, winged, for St. Mark, the ox +for St. Luke and the eagle for St. John are derived +from the Apocalypse (Rev. iv., 7). The Four Beasts +are also found in the prophecy of Ezekiel (chap. i., +10). How early these “four mysterious creatures” +were adopted as symbols of the Four Evangelists is +not known. They are found in the fifth century, and +in the seventh century were universally recognised +as fixed attributes.</p> + +<p>It was thought that the <em>cherub</em> or <em>man</em> was given to +St. Matthew because he dwelt more upon the human +side of Christ; the <em>lion</em> to St. Mark because he was +called the “Historian of the Resurrection,” and the +revival of the lion’s cub symbolised the resurrection, +also because he begins his Gospel with the +mission of the Baptist—“the voice of one crying in +the wilderness”—the lion typifying the wilderness; +the <em>ox</em> to St. Luke because it was the emblem of +sacrifice, and Luke in his Gospel dwelt more especially +upon the priesthood of Christ; to St. John +<span class="pagenum" id="Page_138">[Pg 138]</span>the <em>eagle</em> because it was the emblem of the highest +inspiration.</p> + +<p>“Rupertus considers the Four Beasts as typical +of the Incarnation, the Passion, the Resurrection, +and the Ascension; an idea previously dwelt upon +by Durandus, who adds that the man and the lion +are placed on the right because the incarnation and +the resurrection are the joy of the whole earth; whilst +the ox is on the left, because Christ’s sacrifice was a +trouble to the apostles; and the eagle is above the ox +as suggestive of our Lord’s upward flight into heaven. +According to others, the proper order in the ascending +scale is thus: at the lowest point on the left, the ox; +to the right, the lion; above the ox, the eagle; and +above all, the angel. So in Raphael’s Vision of +Ezekiel [Pitti, Florence] the angel gazes into the face +of the Holy One, the others form His throne” (Mrs. +Jameson).</p> + +<p>Many ideas are conveyed in these apparently +fanciful symbols. Sometimes in church decoration +the Four Evangelists are grouped with the Four +Greater Prophets, thus expressing the old and the +new law. Sometimes, particularly in stained glass, +they are represented with the Four Doctors, the +evangelists appearing as witnesses and the doctors +as interpreters of the faith. A curious painting +of the Four Doctors is seen in the Louvre, in which +the doctors are given not only their own symbols, +but also the symbols of the Four Evangelists.</p> + +<p><b>St. Matthew.</b> <em>Lat.</em> S. Mattheus. <em>Ital.</em> San Matteo. +<em>Fr.</em> St. Mathieu. <em>Ger.</em> St. Matthäus.</p> +<br> + +<figure class="figcenter illowp85" id="i_139" style="max-width: 43.4375em;"> + <img class="w100" src="images/i_139.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + CHRIST AND THE FOUR EVANGELISTS.—FRA BARTOLOMMEO<br> + (Pitti Palace, Florence.) + </figcaption> +</figure> +<br> + +<p>St. Matthew ranks seventh or eighth among the +<span class="pagenum"><a id="Page_139"></a><a id="Page_140"></a>[Pg 140]</span>apostles, but is first as evangelist, because his Gospel +was supposed to be the first that was written. Scarcely +anything is known of his history, except that he was +a Hebrew who served the Romans as a publican or +tax-gatherer and that his original name was Levi.</p> + +<p>After the ascension he is said to have gone to Egypt +and Ethiopia, preaching the Gospel, and to have +remained there twenty-three years. While there he +overcame two terrible magicians, raised the son of the +King of Egypt from the dead, and healed his daughter +of leprosy. He is believed to have perished in the +reign of Domitian, <span class="allsmcap">A. D.</span> 90, but the manner of his +death is in doubt. By some it is believed that he +suffered martyrdom by the sword or spear, but, according +to the Greek legends, his end came peacefully.</p> + +<p>St. Matthew is not a favourite in art and is seldom +represented alone or in devotional pictures. As +evangelist he holds a book or a pen, and the angel, +his proper symbol, stands by dictating or pointing up +to heaven. As apostle he frequently holds a purse, +or money bag, signifying his former occupation.</p> + +<p><b>St. Mark.</b> <em>Lat.</em> S. Marcus. <em>Fr.</em> St. Marc. <em>Ital.</em> +San Marco Evangelista. <em>Ger.</em> Der Heilige Marcus.</p> + +<p>According to the traditions accepted in the Roman +Church, St. Mark was not one of the twelve apostles, +but was a convert of St. Peter’s and became his +favourite disciple. While in Rome he wrote his +Gospel for the use of the Roman converts—some say +from the dictation of St. Peter. He founded the +Church of Alexandria, the most renowned of all the +early Christian churches, but the wrath of the heathen +became so great, because of his miracles, that they +<span class="pagenum" id="Page_141">[Pg 141]</span>seized him while he was worshipping one day and, +binding him, dragged him up and down the streets +and highways, and over the most stony and rocky +places, until the breath left his suffering body. The +legends relate that, as his soul departed, a terrific +tempest of hail and lightning descended suddenly +from the skies, by which his murderers were instantly +scattered and destroyed.</p> + +<p>The Christians of Alexandria buried his mangled +remains, and his tomb there was held in reverence for +several centuries. But about 815 <span class="allsmcap">A. D.</span> some Venetian +merchants carried off the relics and brought them to +Venice, and the magnificent Church of St. Mark was +built over them. Since that time St. Mark has been +honoured as the patron saint of Venice, and his +legendary history has supplied the Venetian painters +with many beautiful and picturesque subjects.</p> + +<p>When represented as one of the Four Evangelists, +alone or grouped with others, his symbol is almost +invariably the lion—winged or unwinged, but usually +<em>winged</em>—distinguishing him from St. Jerome, who +also has the lion as a symbol, but always unwinged. +In devotional pictures St. Mark often wears the habit +of bishop, as the first Bishop of Alexandria, holding +his Gospel in his hand.</p> + +<p><b>St. Luke.</b> <em>Lat.</em> Sanctus Luca. <em>Fr.</em> Saint Luc. <em>Ital.</em> +San Luca.</p> + +<p>Little is known of the real history of St. Luke. He +was not an apostle, and like St. Mark, is supposed +to have been converted after the ascension. He was a +beloved disciple of St. Paul, and accompanied him +to Rome and remained with him until the last. After +<span class="pagenum" id="Page_142">[Pg 142]</span>the martyrdom of St. Peter and St. Paul he preached +the Gospel in Greece and Egypt, but whether he +suffered martyrdom or died a natural death is merely +conjecture. There is some occasion for the belief +that Luke was a physician, and there is a legend that +makes him a painter and represents him as painting +the portrait of the Virgin Mary, but this is not confirmed +by any of the earlier traditions. Because of +this legend, however, he was made the patron saint +of painters.</p> + +<p>St. Luke is usually represented with his Gospel, and +his attendant ox, winged or unwinged; but in Greek +art and the art which came under the Byzantine +influence, he is represented as evangelist, young and +without beard, holding the portrait of the Virgin as +his symbol in one hand, and his Gospel in the other.</p> + +<p><b>St. John.</b> <em>Lat.</em> Sanctus Johannes. <em>Ital.</em> San +Giovanni Evangelista. <em>Fr.</em> Saint Jean, Messire +Saint Jehan. <em>Ger.</em> Der Heilige Johann.</p> + +<p>St. John was the son of the fisherman Zebedee, and +with his brother James was among the first followers +of Christ.</p> + +<p>In the legends of St. John, after the death of the +Blessed Virgin he went into Judæa preaching the +Gospel, and then into Asia Minor, where he founded +the Seven Churches. During the persecution under +Domitian, he was sent in fetters to Rome and was +cast into a caldron of boiling oil, but he came out +of it unharmed. He had other miraculous escapes, +and being accused of magic was exiled to the island +of Patmos, where he wrote his Revelation. He was +released after Domitian’s death and returned to his +<span class="pagenum" id="Page_143">[Pg 143]</span>church at Ephesus. He died there a few years later, +being nearly a century old.</p> +<br> + +<figure class="figcenter illowp85" id="i_143" style="max-width: 53.75em;"> + <img class="w100" src="images/i_143.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + MADONNA OF THE HARPIES WITH ST. FRANCIS AND + ST. JOHN, EVANGELIST.—ANDREA DEL SARTO<br> + (Uffizi, Florence.) + </figcaption> +</figure> +<br> + +<p>A legend that is often represented in art is, that +when he returned to Ephesus he met a funeral procession +<span class="pagenum" id="Page_144">[Pg 144]</span>and was told that it was that of Drusiana, +at whose house he had formerly dwelt. Bidding them +set down the bier, he prayed that she might be restored +to life, and she arose and walked to her house, +the apostle going with her.</p> + +<p>He is popular as a patron saint, and pictures of +him are more numerous than of any of the other +evangelists. These represent him—as evangelist, +apostle, or prophet.</p> + +<p>In early art St. John is an aged man with white +hair and long white beard, but with the later painters +St. John as evangelist, although nearly a century old, +is represented as beardless, with light curling hair, and +has all the attributes of the youthful apostle. He is +sometimes seated, with his pen and his book,—sometimes +standing; the attendant eagle is always near +him and frequently holds the pen or ink-horn in its +beak.</p> + +<p>In his second character, or as one of the series of +apostles, St. John is represented in Western art as +young and beardless, with pale brown or golden flowing +hair, and a face full of sweetness, candour, and +gentleness. His mantle is red in colour and the tunic +blue or sometimes green. He holds in his hand the +sacramental cup from which a serpent is seen to appear. +St. Isidore relates that at Rome an attempt +was made to poison St. John in the cup of the sacrament; +he drank of the same and administered it to +the communicants without injury, the poison having +by a miracle vanished from the chalice in the form +of a serpent, but the hired assassin fell down at +his feet dead. According to another account, the +<span class="pagenum" id="Page_145">[Pg 145]</span>poisoned cup was given to him by order of the Emperor +Domitian. Another legend relates that Aristodemus, +the high-priest of Diana at Ephesus, dared +him as a test of the truth of his mission to drink of the +poisoned chalice. St. John drank unharmed, but the +priest dropped dead. Yet another interpretation is +that the cup in the hand of St. John alludes to Christ’s +reply when the mother of James and John demanded +for her sons that they be given a place of honour in +heaven,—“Ye shall indeed drink of my cup.”</p> + +<p>In his third character of prophet and writer of the +Revelation St. John is generally represented in art +as very old with a white, flowing beard, seated in a +rocky desert; the sea in the distance or around him, +representing the island of Patmos; he has the eagle +at his side.</p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_146">[Pg 146]</span></p> + + + <h2 class="nobreak" id="XIII-THE_TWELVE_APOSTLES"> + XIII.—THE TWELVE APOSTLES + </h2> +</div> + +<p><span class="smcap">The</span> earliest representations of the Twelve Apostles +seem to have been, like those of the Four Evangelists, +purely symbolical. They were represented as twelve +sheep, and Christ, bearing a lamb in His arms, stood +in their midst as the Good Shepherd; or Christ the +Lamb of God was placed on an eminence and crowned +with a cruciform nimbus, and the apostles were +arranged on each side as sheep.</p> + +<p>A little later the apostles were represented as twelve +men, all alike, each with a sheep, and Christ stood in +the middle, also with a sheep, which was often larger +than theirs.</p> + +<p><b>The Apostles’ Creed.</b> “It is affirmed by Ambrose, +‘that the twelve Apostles, as skilful artificers, assembled +together, and made a key by their common +advice, that is, the Creed; by which the darkness of +the devil is disclosed, that the light of Christ may +appear.’ Others fable that every Apostle inserted +an article, by which the Creed is divided into twelve +articles; and a sermon, fathered upon St. Austin, and +quoted by the Lord Chancellor King, fabricates that +each particular article was thus inserted by each +particular Apostle.</p> + +<p>Peter (1). I believe in God the Father Almighty;</p> + +<p>John (2). Maker of heaven and earth;</p> + +<p><span class="pagenum" id="Page_147">[Pg 147]</span></p> + +<p>James (3). And in Jesus Christ his only Son our +Lord;</p> + +<p>Andrew (4). Who was conceived by the Holy +Ghost, born of the Virgin Mary;</p> + +<p>Philip (5). Suffered under Pontius Pilate, was +crucified, dead, and buried;</p> + +<p>Thomas (6). He descended into hell, the third day +he rose again from the dead;</p> + +<p>Bartholomew (7). He ascended into heaven, sitteth +at the right hand of God the Father Almighty;</p> + +<p>Matthew (8). From thence he shall come to judge +the quick and the dead;</p> + +<p>James, the son of Alpheus (9). I believe in the Holy +Ghost, the holy Catholic Church;</p> + +<p>Simon Zelotes (10). The communion of saints, the +forgiveness of sins;</p> + +<p>Jude, the brother of James (11). The resurrection +of the body;</p> + +<p>Matthias (12). Life everlasting. Amen.” (<em>Apocryphal +New Testament.</em>)</p> + +<p>From the sixth century every one of the apostles +had his especial attribute, which was taken from some +circumstance of his life or death. According to the +canon of the mass, they follow in order, thus:</p> + +<p>St. Peter, the keys or a fish.</p> + +<p>St. Paul, the sword; sometimes two swords.</p> + +<p>St. Andrew, the transverse cross.</p> + +<p>St. James Major, the pilgrim’s staff.</p> + +<p>St. John, the sacramental cup with the serpent; +sometimes the eagle (the latter belongs to him only +in his character of evangelist).</p> + +<p>St. Thomas, a builder’s rule, sometimes a spear.</p> + +<p><span class="pagenum" id="Page_148">[Pg 148]</span></p> + +<p>St. James Minor, a club.</p> + +<p>St. Philip, the staff or crozier, surmounted by a +cross, or a small cross in his hand.</p> + +<p>St. Bartholomew, a large knife.</p> + +<p>St. Matthew, a purse.</p> + +<p>St. Simon, a saw.</p> + +<p>St. Thaddeus (or Jude), a halberd or lance.</p> + +<p>St. Matthias, a lance.</p> + +<p>Although in sacred art the apostles are always +twelve in number, they are not always the same. St. +Paul is often substituted for St. Jude and frequently +the evangelists St. Mark and St. Luke appear instead +of St. Simon and St. Matthias.</p> + +<p><b>St. Peter and St. Paul.</b> <em>Lat.</em> SS. Petrus et Paulus. +<em>Ital.</em> San Pietro or Piero, San Paolo. <em>Fr.</em> S. Pierre, +S. Paul. <em>Spa.</em> San Pedro, San Pablo.</p> + +<p>Even during their lifetime, the power and the influence +of St. Peter and St. Paul as apostles and +preachers of the Gospel were recognised; and they +were acknowledged then as now to be the heads and +founders of the Christian Church.</p> + +<p>The precedence given to St. Peter, prince of the +apostles and founder of the Church of Rome, has +never been questioned, but still they are held to be +“equal in faith, in merit, and in sanctity.”</p> + +<p>In works of art they are seldom separated. They +are found on <em>each</em> side of the Saviour or of the Virgin +enthroned; or on each side of the altar; or on each +side of the arch over the choir. Wherever they are +together, not only as apostles but founders, their rank +is next after the evangelists and the prophets.</p> +<br> + +<figure class="figcenter illowp85" id="i_149" style="max-width: 46.6875em;"> + <img class="w100" src="images/i_149.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + ST. PETER BAPTISING.—MASACCIO<br> + (Brancacci Chapel, Santa Maria del Carmine, Florence.) + </figcaption> +</figure> +<br> + +<p>Many legends are related of St. Peter. Among +<span class="pagenum"><a id="Page_149"></a><a id="Page_150"></a>[Pg 150]</span>them that of Simon Magus is the most important, +and it has been frequently illustrated in art (Acts viii., +9, 24).</p> + +<p>Simon Magus was a famous magician among the +Jews, who performed marvellous feats of sorcery +and claimed to be a god. Privately he tried to buy +from the apostles the secret of their power to work +miracles, but was rejected by them with scorn.</p> + +<p>The apostles vanquished him at every turn, and +drove him out of Jerusalem; and he fled to Rome, +where he became a favourite of the Emperor Claudius +and afterwards of Nero. Simon claimed that he had +the power to raise the dead, and when Peter and Paul +came to Rome they challenged him to restore the life +of a youth in the presence of the emperor. The magician +failed utterly to make good his boast, but when +Peter and Paul spoke to the boy he at once rose from +the dead. Then the magician announced that he +would fly to heaven, and jumping from a high tower +he floated in the air for a time, sustained there by +demons. At this, Peter fell on his knees and begged +that the demons might loose their hold, which they +did, and the magician, falling to the ground, was +dashed to pieces.</p> + +<p>When the first persecution under Nero broke out, +the Christians finally succeeded in persuading St. +Peter to flee from Rome and thereby save a life that +was so precious to the Church.</p> + +<p>As Peter was fleeing along the Appian Way, he +suddenly encountered our Lord Himself going towards +Rome, and bearing His cross. In wonder at such a +vision, Peter exclaimed, “Lord, whither goest Thou?” +<span class="pagenum" id="Page_151">[Pg 151]</span>(<i lang="la" xml:lang="la">Domine, quo vadis?</i>) and Jesus, bending His eyes +sadly upon him, answered, “I go to Rome to be crucified +again.” And thus saying, He vanished from +sight. Peter felt this to be a sign that he was forsaking +his duty and turned back at once to the city, +where he continued to preach and baptise until he +was taken with St. Paul and thrown into the Mamertine +prison.</p> + +<p>Here they converted the two centurions, Processus +and Martinian, who guarded them, also many other +prisoners. There was no water with which to +baptise them, but at the prayer of St. Peter that +water might be forthcoming, a spring broke through +the stone floor and remains a fountain there to this +day.</p> + +<p>Tradition declares that St. Peter was crucified +with his head downward at his own request, feeling +himself unworthy to suffer the same death as his +Lord.</p> + +<p>When in devotional pictures St. Peter is accompanied +by another apostle with no distinctive attributes, +it may be supposed that it is St. Mark, who +was his companion, amanuensis, and interpreter at +Rome.</p> + +<p>“St. Peter was generally represented blessing, St. +Paul preaching,—the former with white hair and +beard, the hair sometimes plaited in three distinct +partitions; the latter with a lofty and partially bald +brow, and long high nose,—as characteristic of the +man of genius and the thorough gentleman, as the +former is of the warm-hearted, frank, impetuous +fisherman. The likenesses may be correct,—they +<span class="pagenum" id="Page_152">[Pg 152]</span>were current, at least, in the days of Eusebius” +(Lord Lindsay’s <cite>Sketches of Christian Art</cite>).</p> + +<p>The dress of St. Peter in the mosaics and Greek +pictures is a blue tunic with a white mantle, but in +later pictures he wears a blue or green tunic with +yellow drapery. In the earliest representations, he +bears a scroll or book, later a cross in one hand and +book in the other. It is not until about the eighth +century that the keys become his peculiar symbol. +Sometimes he has one great key, but usually he carries +two keys, one of gold and one of silver—to absolve +and to bind—or according to another interpretation +one is of gold for the gates of heaven, the other of +iron for the gates of hell. The legend that makes St. +Peter the keeper of the gate of Paradise, having power +to grant or refuse admission, found its origin in the +delivery of the keys to St. Peter.</p> + +<p>Although <b>St. Paul</b> was called to be an apostle after +the ascension of Christ, yet he takes rank next +to St. Peter as one of the “chief witnesses of the +Christian faith.” The history of the “great apostle +of the Gentiles” is given fully in the Acts, and +the Epistles and the legends have not added much +to it. It is related that he suffered martyrdom outside +the Ostian Gate of Rome by being beheaded on +the same day that St. Peter was crucified within the +city. It is also said that a certain Roman matron, +named Plautilla, a convert of St. Peter’s, wishing to see +St. Paul for the last time, placed herself on the road +where he passed to his martyrdom. As she beheld +him, she wept and implored his blessing. The apostle +gave it and then asked for her veil, that he might +<span class="pagenum" id="Page_153">[Pg 153]</span>bind his eyes before being beheaded. He promised +to return it to her after his death. Plautilla gave it +readily, thus showing her faith, although her attendants +refrained not from mocking at so ridiculous +a promise. After his martyrdom, however, her veil, +stained with his blood, was restored to her in person +by St. Paul. The spot where he was beheaded is +still venerated as the <i lang="it" xml:lang="it">Tre Fontane</i>, tradition saying +that the severed head made three bounds on the +ground, and at each place that it touched a fountain +gushed forth.</p> + +<p>In art the dress of St. Paul is, like St. Peter’s, a +blue tunic and white mantle. He has a book or +scroll in one hand, occasionally <em>twelve rolls</em>, representing +his Epistles. His peculiar symbol is the sword—his +attribute in a double sense—first signifying +the manner of his martyrdom, and second typifying +the “good fight fought by the faithful Christian.” +When St. Paul is leaning on his sword it then expresses +his martyrdom. When he holds it aloft it proclaims +his warfare in the cause of Christ; when <em>two swords</em> are +given to him, one is the attribute, the other the symbol.</p> + +<p><b>St. Andrew</b> (<em>Lat.</em> S. Andreas. <em>Ital.</em> Sant’Andrea. +<em>Fr.</em> St. André) was the brother of Simon +Peter, and he was the first who was called to be an +apostle. Nothing further is told of him in the New +Testament. Tradition relates that after the ascension +of Christ, St. Andrew travelled into Scythia, +Cappadocia, and Bithynia, converting multitudes to +the faith. He returned to Jerusalem, and thence +travelled into Greece and came at last to a city of +Achaia, called Patras. Here, among many others, +<span class="pagenum" id="Page_154">[Pg 154]</span>he converted Maximilia, wife of the proconsul +Ægeus. He induced her to make a public profession +of Christianity, and this so enraged the proconsul that +he ordered St. Andrew to be seized and scourged and +then crucified. There are many opinions as to the +form of the cross upon which he suffered, but it is +generally believed to have been a transverse cross, +since called St. Andrew’s Cross, and it is said he was +fastened with cords rather than with nails—a circumstance +always adhered to in the representations +of his death. Before suffering crucifixion, the legend +relates that he saluted and adored the cross on his +knees as something that had been consecrated by +the sufferings of his Redeemer.⁠<a id="FNanchor_7_7" href="#Footnote_7_7" class="fnanchor">[7]</a> Some of his relics +were brought from Patras to Scotland in the fourth +century, and since then St. Andrew has been the +patron saint of Scotland and of its chief order of +Knighthood. He is also patron saint of the famous +Burgundian Order, the Golden Fleece, and of Russia +and its chief order, the Cross of St. Andrew.</p> +<br> + +<figure class="figcenter illowp85" id="i_155" style="max-width: 39.5em;"> + <img class="w100" src="images/i_155.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + ST. JAMES MAJOR.—TITIAN<br> + (Church of S. Lio, Venice.) + </figcaption> +</figure> +<br> + +<p>St. Andrew is recognised in art by the transverse +<span class="pagenum"><a id="Page_155"></a><a id="Page_156"></a>[Pg 156]</span>cross, and the devotional pictures represent him as a +very old man with a certain brotherly resemblance +to St. Peter. He has long, white, flowing hair and +beard, the beard usually being divided. He is generally +represented leaning upon the cross, holding the +Gospel in his right hand.</p> + +<p><b>St. James the Great.</b> <em>Lat.</em> Sanctus Jacobus Major. +<em>Ital.</em> San Giacomo, or Jacopo, Maggiore. <em>Fr.</em> St. +Jacques Majeur. <em>Spa.</em> San Jago, or Santiago.</p> + +<p>St. James Major (the Great or the Elder) was a +kinsman of Christ’s, and, with his brother John the +Evangelist and Peter, went everywhere with the Lord +and was present at most of the events related in the +Gospels. He was one of the three who were permitted +to witness the transfiguration of Christ, and one of +those who slept during the agony in the garden. No +mention is made of him after the ascension, except +the fact that Herod slew him with the sword.</p> + +<p>The legends of the middle ages, however, have +amply made up for this deficiency, and as military +patron of Spain, he became one of the most famous +saints in Christendom and a most popular subject in +art.</p> + +<p>In the Spanish legend, although James (their +Santiago) is still the son of Zebedee and a native of +Galilee, this Zebedee, instead of being a poor fisherman, +becomes through the florid imagination of the +Spanish chroniclers a very rich nobleman, whose son, +always pure and heavenly-minded, is converted by +Jesus, and follows Him and shares His labours until +the end.</p> + +<p>It is related that after the ascension James went +<span class="pagenum" id="Page_157">[Pg 157]</span>first into Judæa, preaching, and then came at last to +Spain.</p> + +<p>One day as he stood on the banks of the Ebro, he +saw in a vision the Blessed Virgin, who appeared to +him surrounded by angels and seated on a pillar of +jasper. She commanded him to build on that spot +a church in her honour and told him that belief in +her and in her glorious Son would in time drive +paganism out of the land. St. James rose up from +the ground where he had prostrated himself before +her, and with faith strengthened by these words of the +Holy Virgin, began forthwith to erect the famous +church in her honour, which has been known ever +since as the Church of Our Lady of the Pillar (<i lang="es" xml:lang="es">Nuestra +Señora del Pilar</i>).</p> + +<p>Many other curious legends are related of him—his +encounter with the sorcerer Hermogenes, who sent +his scholar Philetus to compete with him. James +converted him, which so enraged Hermogenes that he +bound Philetus by evil spells, so that he could not +move hand or foot. Philetus sent his servant to St. +James, praying for aid. The apostle sent his cloak +by the servant, and no sooner had Philetus touched it, +than he became free and hastened to his deliverer. +Hermogenes sent his demons to take both the saint +and his disciple; angels, however, intervened, and +the sorcerer, now utterly vanquished by the power of +the apostle, cast his magical books into the sea and +declared himself also converted. Hermogenes having +prayed for aid against the power of his own demons, +St. James gave him his own staff to protect him, +and thus armed, Hermogenes set forth to preach the +<span class="pagenum" id="Page_158">[Pg 158]</span>Gospel, and became a faithful and worthy disciple +from that time.</p> + +<p>Soon after this the Jews, being roused to anger by +the miracles and good works of St. James, beheaded +the saint, and his disciples, fearing to bury his body, +placed it in a ship—some say of marble—and angels +guided it to the coast of Spain. Here the disciples +took out the body and laid it on a great stone, and +the stone yielded to his form like wax and softly +closed around it. Then they knew that they had +found its chosen resting-place.</p> + +<p>But that country was governed at the time by a +wicked queen named Lupa, who hated Christians, and +who harnessed wild bulls to the stone, thinking they +would dash it in pieces; but instead the bulls became +as gentle as lambs (<i lang="fr" xml:lang="fr">aussitot doux comme des moutons</i>) +and drew it slowly into the court of Lupa’s palace and +there rested. At this marvel, she became converted +and built a magnificent church to receive the body of +James.</p> + +<p>In after years the body was lost until the year <span class="allsmcap">A. D.</span> +800, when its place of concealment was revealed to a +friar. His relics were then removed to Compostella, +and so many miracles were wrought at his shrine +that thousands upon thousands of pilgrims visited it +from all parts of Europe, and the military Order of +Saint Jago, enrolled by Don Alphonso for their protection, +became one of the greatest and richest orders +in Spain.</p> + +<p>The wonderful deeds enacted by Santiago in behalf +of his chosen people would fill a volume. The Spanish +historians chronicle thirty-eight instances in which +<span class="pagenum" id="Page_159">[Pg 159]</span>Saint Jago descended from heaven and in person led +their armies against the Moors. The first and most +famous was in 939, when he visited the King of +Castile in a dream the night before, assuring him of +victory. As the army engaged in battle the next +morning, the soldiers were thrilled by the sight of St. +James at their head, mounted on a snow-white steed, +and waving a white standard on high. Thus he led +them on to victory, and from that day to this, “Santiago” +has been the Spanish war-cry.</p> + +<p>St. James’s place among the apostles is fourth in the +series, but third after St. Peter and St. Paul. Often +in art he is represented bearing a family resemblance +to Christ, his kinsman. He has the same thin beard +and the hair parted, flowing down on each side.</p> + +<p>From the thirteenth century, he has been represented +in the dress of a pilgrim of Compostella; he +carries the peculiar long staff, from which is suspended +a wallet or gourd of water; wears a cloak with a +long cape; and has the scallop-shell on his shoulder +or on his flapped hat. When the cape, hat, and +scallop-shell are omitted, the staff remains his constant +attribute, designating him as the first apostle +who departed to spread the Gospel into other lands. +He can always be recognised by the staff in Madonna +pictures and when grouped with other saints.</p> + +<p>St. John, who is fifth in the series of the apostles, +is found under the head of the Four Evangelists.</p> + +<p><b>St. Philip.</b> <em>Ital.</em> San Filippo Apostolo. <em>Fr.</em> +Saint Philippe.</p> + +<p>Little is related of St. Philip in the Gospels. After +the ascension, he preached in Scythia for twenty years, +<span class="pagenum" id="Page_160">[Pg 160]</span>and then travelled to Hieropolis in Phrygia, where +he found the people worshipping a great serpent or +dragon, whom they believed to personify the god +Mars.</p> + +<p>St. Philip, filled with compassion for their ignorance, +went into the temple, and holding up his cross +commanded the serpent to disappear. Immediately +it glided from beneath the altar, and as it moved +it sent forth so dreadful an odour that many died, +among them the son of the king; but Philip restored +him and the others to life, and again, by the power of +the cross which he always bore, he commanded the +dragon to depart and from that time it was seen no +more. This so infuriated the priests of the serpent +that they crucified Philip, and when he was fastened +to the cross they stoned him to death.</p> + +<p>The Scriptures state that Philip had four daughters, +who were prophetesses (Acts i., 9). In the Greek +calendar his sister, St. Mariamne, and St. Hermione, +his daughter, are commemorated as martyrs.</p> + +<p>St. Philip, when he is represented alone or in the +series of apostles, is a man of middle-age and kindly +face, with scarcely any beard. His attribute, a cross, +varies in form; sometimes it is small, and he carries +it in his hand; again it is a high cross in the form +of a “T” or a tall staff with a small Latin cross at the +top of it. The cross of St. Philip has a threefold +meaning: it may allude to his martyrdom; or to his +conquest over the idols through the power of the +cross; or when placed on top of the pilgrim’s staff +it may refer to his sojourn among the barbarians, +preaching the cross of salvation.</p> + +<p><span class="pagenum" id="Page_161">[Pg 161]</span></p> + +<p><b>St. Bartholomew.</b> <em>Lat.</em> S. Bartholomeus. <em>Ital.</em> +San Bartolomeo. <em>Fr.</em> St. Barthélemi.</p> + +<p>The origin of this saint is in doubt. According to +some accounts, he was the son of a husbandman,—others +say he was the son of a prince, Ptolomeus. +He went into India after the ascension, carrying with +him the Gospel of St. Matthew, and preached also in +Armenia and Cilicia. He suffered a horrible death +in Albanopolis, being first flayed alive and then +crucified.</p> + +<p>In devotional pictures and single figures, St. +Bartholomew sometimes bears in one hand a book, +the Gospel of St. Matthew, but his peculiar attribute +is a large knife, the instrument of his martyrdom, +and he is sometimes represented with his own skin +hanging over his arm, as in Michael Angelo’s <em>Last +Judgment</em> (Sistine Chapel, Rome).</p> + +<p><b>St. Thomas.</b> <em>Ital.</em> San Tommaso. <em>Spa.</em> San Tomé.</p> + +<p>St. Thomas, called <em>Didymus</em> (the twin), is seventh +among the apostles. He was a fisherman of Galilee, +and he is recorded in the Gospel on two occasions. As +Jesus was going up to Bethany, being then in danger +from the Jews, Thomas said, “Let us also go, that we +may die with Him” (John xi., 16). And after the +resurrection, it was Thomas who doubted the reappearance +of the crucified Saviour (John xx., 24-29).</p> + +<p>After the ascension, St. Thomas travelled into the +East, preaching the Gospel. A tradition has been +accepted in the Church that he went as far as India; +where he met the Three Wise Men of the East, and +baptised them. He founded a church in India, and +it was there that he suffered martyrdom.</p> + +<p><span class="pagenum" id="Page_162">[Pg 162]</span></p> + +<p>After the thirteenth century, St. Thomas bears as +his attribute the builder’s rule, shaped thus:</p> +<br> + +<figure class="figcenter illowp15" id="i_162" style="max-width: 24.1875em;"> + <img class="w100" src="images/i_162.jpg" alt=""> +</figure> +<br> + +<p class="no-indent">As he was neither a carpenter nor a mason, the reason +of this attribute is found in one of the legends.</p> + +<p>“When St. Thomas was at Cæsarea, our Lord +appeared to him and said, ‘The King of the Indies, +Gondoforus, hath sent his provost Abanes to seek +for workmen well versed in the science of architecture, +who shall build for him a palace finer than that of the +Emperor of Rome. Behold, now I will send thee to +him.’ And Thomas went, and Gondoforus commanded +him to build for him a magnificent palace, +and gave him much gold and silver for the purpose. +The King went into a distant country and was absent +for two years, and St. Thomas meanwhile, instead of +building a palace, distributed all the treasures intrusted +to him among the poor and sick; and when the +King returned he was full of wrath and commanded +that St. Thomas should be seized and cast into prison, +and he meditated for him a horrible death. Meantime +the brother of the King died; and the King +resolved to erect for him a most magnificent tomb; +but the dead man, after that he had been dead four +days, suddenly arose and sat upright and said to the +King, ‘The man that thou wouldst torture is a servant +of God; behold I have been in Paradise, and the angels +showed to me a wondrous palace of gold and silver +and precious stones, and they said, “This is the palace +<span class="pagenum" id="Page_163">[Pg 163]</span>that Thomas, the architect, hath built for thy brother +King Gondoforus.”’ And when the King heard those +words he ran to the prison and delivered the apostle; +and Thomas said to him, ‘Knowest thou not that +those who would possess heavenly things have little +care for the things of this earth? There are in heaven +rich palaces without number, which were prepared +from the beginning of the world for those who purchase +the possessions through faith and charity. Thy +riches, O King, may prepare the way for thee to +such a palace, but they cannot follow thee thither’” +(<i lang="fr" xml:lang="fr">Vos richesses pourront bien aller devant vous à ce +palais, mais elles ne pourront vous y suivre</i>).</p> + +<p>The builder’s rule in the hand of St. Thomas +represents him as the spiritual architect of King +Gondoforus, and thus he has been chosen as patron +saint of architects and builders.</p> + +<p>“The Incredulity of St. Thomas” appears in all the +early series in the life of Christ, and it is of frequent +occurrence in the later schools of Italy and in the +Flemish schools. Either St. Thomas is seen placing +his hand, with an expression of doubt and fear, on the +wounds of the crucified Christ, or his doubts having +vanished, his eyes are cast heavenward in joy and +thankfulness.</p> + +<p>The legendary subject styled <em>La Madonna della +Cintola</em>, where St. Thomas doubts the apotheosis of +the Virgin, has been described in the Assumption +of the Virgin.</p> + +<p>St. Matthew the Evangelist comes eighth in the +order of the apostles.</p> + +<p><b>St. James Minor.</b> <em>Lat.</em> S. Jacobus Frater Domini. +<span class="pagenum" id="Page_164">[Pg 164]</span><em>Ital.</em> San Jacopo or Giacomo Minore. <em>Gr.</em> Adelphotheos. +<em>Fr.</em> St. Jacques Mineur.</p> + +<p>St. James Minor, or the Less, also called the Just, +is ninth in the series. He was nearly related to Christ, +being the son of Mary, the wife of Cleophas, who was +the sister of the Virgin Mary; and although only a +cousin he was often spoken of as the “Lord’s brother.” +He became first Christian Bishop of Jerusalem, and +was reverenced for his piety, and wisdom, and charity. +The Scribes and Pharisees, however, became so +enraged by his teachings that they flung him down +from a parapet of the Temple to the infuriated mob +below, where his brains were beaten out with a +<em>fuller’s club</em>.</p> + +<p>St. James is generally represented leaning on this +club, the instrument of his martyrdom. According +to an early tradition, he so nearly resembled our +Lord “in person, in features, and deportment,” that +it was difficult to distinguish them, and this rendered +necessary the kiss of Judas.</p> + +<p><b>St. Simon Zelotes</b> (or <em>The Zealot</em>). <b>St. Jude</b> +(<em>Thaddeus</em>, or <em>Lebbeus</em>). <em>Ital.</em> San Simone; San +Taddeo. <em>Fr.</em> St. Simon; le Zelé; St. Thaddée. +<em>Ger.</em> Judas Thaddäus.</p> + +<p>Very little is known of these saints. According +to one tradition they were the same mentioned by +Matthew as our Lord’s brethren or kinsmen. According +to another tradition they were two brothers +among the shepherds, who visited Christ at His birth. +The painters who adhered to the first tradition represent +Simon and Jude as young. Those who follow +the latter represent them as very old. It seems +<span class="pagenum" id="Page_165">[Pg 165]</span>generally agreed that they preached the Gospel +together in Syria and Mesopotamia, and together +suffered martyrdom in Persia. Tradition says that +St. Simon was sawn asunder, and St. Thaddeus killed +with a halberd.</p> + +<p>In a series of apostles, St. Simon bears the saw +and St. Thaddeus the halberd. Greek art represents +Jude and Thaddeus as two distinct persons, Jude +being young and Thaddeus old; and St. Simon is extremely +old, with a bald head, and long white beard.</p> + +<p><b>St. Matthias.</b> <em>Ital.</em> San Mattia. <em>Fr.</em> St. Mathias.</p> + +<p>St. Matthias, who was chosen by lot to fill the place +of the traitor Judas, is the last of the apostles (Acts i.). +He preached the Gospel in Judæa, and was martyred +there by the Jews, either by the lance or by the axe. +In the Italian series of the apostles his attribute is +the lance; in the German sets he usually has an axe.</p> + +<p><b>Judas Iscariot.</b> <em>Ital.</em> Giuda Scariota. <em>Fr.</em> Judas +Iscariote.</p> + +<p>The Gospels do not speak of the life of Judas +before he became an apostle, but the legends of the +middle ages fill up the omissions of Scripture after +their own fancy. As recounted by Mrs. Jameson, +they picture Judas as a “wretch foredoomed, and +prepared by a long course of vice and crime for that +crowning guilt which filled the measure full. According +to this legend, he was of the tribe of Reuben. +Before his mother brought him forth, she dreamed +that the son who lay in her womb would be accursed, +that he would murder his father, commit incest with +his mother, and sell his God. Terrified at her dream, +she took counsel with her husband and they agreed +<span class="pagenum" id="Page_166">[Pg 166]</span>to avert the threatened calamity by exposing the child. +As in the story of Œdipus, from which indeed this +legend seems partly borrowed, the means taken to +avoid the threatened curse caused its fulfilment. +Judas, at his birth, is enclosed in a chest, and flung +into the sea; the sea casts him up, and being found +on the shore, he is fostered by a certain king and queen +as their own son; they have another son, whom Judas, +malignant from his birth, beats and oppresses, and at +length kills in a quarrel over a game of chess. He +then flies to Judæa, where he enters the service of +Pontius Pilate as page. In due time he commits the +other monstrous crimes to which he was predestined; +and when he learns from his mother the secret of his +birth, he is filled with a sudden contrition and terror; +he hears of the prophet who has power on earth to +forgive sins; and seeking Christ throws himself at His +feet. Our Saviour, not deceived, but seeing in him +the destined betrayer, and that all things may be +accomplished, accepts him as His apostle; he becomes +the seneschal or steward of Christ, bears the purse +and provides for the common wants. In this position, +avarice, the only vice to which he was not yet +addicted, takes possession of his soul and makes the +corruption complete. Through avarice, he grudges +every penny given to the poor, and when Mary +Magdalene anoints the feet of our Lord, he is full of +wrath at what he considers the waste of the precious +perfume: ‘Why was not this ointment sold for three +hundred pence, and given to the poor?’ This he +said not that he cared for the poor, but because he +was a thief. Through avarice, he yields to the +<span class="pagenum" id="Page_167">[Pg 167]</span>bribe offered by the Jews. Then follow the scenes +of the betrayal of Christ, and the late repentance +and terrible suicide of the traitor, as recorded in +Scripture.”</p> + +<p>Separate representations of Judas Iscariot would +have been regarded as “profane, ominous—worse +than the evil-eye,” and the early artists, in the scenes +from the Scriptures where Judas appears, give him +a countenance as expressive of all the evil passions +as their brushes were capable of. The legend says, +however, that Judas was of comely appearance, and +was recommended to the service of Pontius Pilate by +his beauty of person.</p> + +<p>In art Judas always wears a dirty, dingy yellow, a +colour that in Spain is so associated in the mind with +pictures of Judas, that it is held in abhorrence. In +Spain and in Italy malefactors and criminals are +garbed in yellow. Formerly the Venetians made +all Jews wear yellow hats.</p> + +<p><b>St. Barnabas.</b> <em>Ital.</em> San Barnaba. <em>Fr.</em> Saint +Barnabé.</p> + +<p>He is usually called the <em>Apostle</em> Barnabas, because +he was associated with the apostles in their calling, +and is to be “considered as <em>Apostolical</em>, and next to +them in sanctity.” St. Barnabas was a Levite, +born in the island of Cyprus and a cousin of Mark the +Evangelist. His life and character as recorded in the +Acts are full of interest. After the conversion of +Paul, he was the first to believe in his sincerity, and +to present him to the other apostles, “who were +afraid of him, and would not believe that he was a +disciple.” Barnabas afterwards went with St. Paul +<span class="pagenum" id="Page_168">[Pg 168]</span>to Antioch. There, however, they fell into a dispute +concerning Mark and separated. Barnabas preached +the Gospel in Asia Minor, Greece, and Italy, and it is +said he was the first Bishop of Milan. It is related +that “everywhere he carried the Gospel of St. Matthew, +written by the hand of the evangelist, and when +any were sick or possessed, he laid the sacred writing +upon their bosom and they were healed.”</p> + +<p>As he was preaching in a synagogue of Judæa +against the Jews, they seized him and put him to +death. Mark and the other Christians buried him +in much sorrow.</p> + +<p>In art he is represented as of lofty presence, holding +in his hand the Gospel of St. Matthew, and he frequently +appears in subjects taken from the Acts and +the life of St. Paul.</p> + + +<div class="footnotes"> +<h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a id="Footnote_7_7" href="#FNanchor_7_7" class="label">[7]</a> “Salut, Croix, qui as été consacrée par le corps de Jésus +Christ, et que ses membres ont ornée de tant de perles. Avant +que le Seigneur eût été lié sur toi, tu étais un objet de terreur; +maintenant, ceux qui sont enflammés de l’amour celeste t’appellent +de tous leurs vœux. Je viens donc à toi, plein de sécurité et +de joie, afin que tu reçoives le disciple de celui qui est mort sur +toi; je t’ai toujours chérie, et j’ai constamment desire t’embrasser. +O bonne croix! longtemps désirée, et que les membres du Seigneur +out revêtue de tout de beauté et d’éclat, toi que j’ai recherchée +sans cesse reçois-moi du milieu des hommes, et rends-moi a mon +maître, afin que celui qui m’a racheté par toi me voie arriver à +lui par toi.”—<cite>Legende Dorée.</cite></p></div> +</div> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_169">[Pg 169]</span></p> + + + <h2 class="nobreak" id="XIV-MARY_MAGDALENE"> + XIV.—MARY MAGDALENE + </h2> +</div> + + +<p><b>St. Mary Magdalene.</b> <em>Lat.</em> Sancta Maria Magdalena. +<em>Ital.</em> Santa Maria Maddalena. <em>Fr.</em> La +Madeleine.</p> + +<p>It has always been a question in dispute among the +theologians and expounders of the Gospels whether +Mary Magdalene, “out of whom Jesus cast seven +devils,” Mary of Bethany, and the “woman who was a +sinner” are three distinct persons, or one and the same +under different appellations. In Western art they are +represented as identical.</p> + +<p>The legends relate that Mary Magdalene was rich +and of noble race, and lived with her sister and brother, +Martha and Lazarus, in their castle Magdalon on the +Sea of Galilee. Lazarus became a soldier, Martha +was a model of virtue and propriety, but Mary +abandoned herself to pleasure and became so dissolute +that she was known as “The Sinner.” Her sister, +grieving, frequently rebuked her, and finally persuaded +her to listen to Jesus, and hearing him her heart was +touched, and she became converted.</p> + +<p>The legends follow closely the Gospel stories of the +supper at the house of Simon the Pharisee, Christ’s entertainment +at the house of Martha, Mary’s devotion +to the Saviour, and those final scenes at His death and +resurrection in which she takes so prominent a part. +In all these she appears again and again in art.</p> + +<p><span class="pagenum" id="Page_170">[Pg 170]</span></p> + +<p>According to an old Provençal legend, after the +ascension of Christ, Lazarus and his sisters, with their +handmaid Marcella, Maximin, who had baptised +them, and the blind man Cedron, to whom Jesus had +given sight, were put in a boat by the heathen—a +boat that was without rudder or sails or oars,—and +set adrift. The winds and waves carried them safely +to Marseilles, where the people at first refused to +give them food or shelter. But Mary began to tell +them of Christ, and both sisters performed such marvellous +miracles, that many became converted and +were baptised. Lazarus, after the death of Maximin, +was made the first Bishop of Marseilles.</p> + +<p>Of the many miracles attributed to Mary Magdalene +in the old legends, is that relating to a certain +Provençal prince, who became partially converted +by the preaching of Mary Magdalene, and wishing a +proof, told her of his desire and his wife’s, to have a +son, and asked if she could obtain this grace for them +by prayers to her God. And Mary answered, “If +thy prayer be granted, wilt thou believe?” The +prince promised, but shortly after, still but half-convinced, +he decided to visit St. Peter in Jerusalem +and see if his preaching accorded with the words of +Mary.</p> +<br> + +<figure class="figcenter illowp85" id="i_171" style="max-width: 50.1875em;"> + <img class="w100" src="images/i_171.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + LA DISPUTA DELLA TRINITÀ. ST. AUGUSTINE, ST. LAURENCE, + ST. PETER MARTYR, ST. FRANCIS; ST. SEBASTIAN, AND + MARY MAGDALENE, KNEELING.—ANDREA DEL SARTO<br> + (Pitti Palace, Florence.) + </figcaption> +</figure> +<br> + +<p>So he and his wife departed in a vessel bound for +Jerusalem. A fearful storm arose on the way, and +his wife, who was with child, gave birth to a son, +and then died. The sailors, in their superstition, +wished to throw the dead body into the sea, believing +the tempest would not cease as long as they had it on +board, but the prince restrained them until they came +<span class="pagenum"><a id="Page_171"></a><a id="Page_172"></a>[Pg 172]</span>to a barren, rocky island, where he laid his wife with +the living child on her bosom, praying to Mary +Magdalene to have pity on his grief and if her prayers +availed, to save at least the life of his child.</p> + +<p>When the prince and his attendants reached Jerusalem, +he found St. Peter, who instructed him and +showed him where Christ performed His miracles, so +that he became an ardent believer in the faith of the +Christians. After two years, he set sail again for his +own country, and passing the island where he had +left his wife he landed there to pray. What was his +joy to find that not only the prayers of the Magdalene +had kept his son alive, but as he approached the body +of his dead wife, she awoke as from a deep sleep and +was miraculously restored to him. Then they returned +joyfully to Marseilles, and falling at the feet of +Mary Magdalene blessed her, and became baptised.</p> + +<p>After some years of active good works Mary retired +to a barren wilderness not far from Marseilles, and +here she lived in solitude for thirty years, fasting +and doing penance and mourning for her past sins. +If it had not been for angels, and the comfort bestowed +upon her by celestial visions, she must have perished. +A hermit who lived not far off in the desert once +beheld angels bearing her in their arms towards +heaven, and hurried to the city to tell of his vision. +Some legends assert that St. Mary died in a church +after receiving the sacrament from St. Maximin, +but the more popular versions represent her as dying +in her solitude, watched over to the last by angels.</p> + +<p>Devotional pictures represent her as patron saint +and as the penitent. The historical pictures are +<span class="pagenum" id="Page_173">[Pg 173]</span>those scenes from the Gospel in which she is conspicuous, +and the scenes from her legendary life. In all +these subjects the accompanying attribute is the +alabaster box of ointment which has a twofold meaning; +it may be the precious ointment which she poured +over the feet of Christ, or the balm and spices that +were brought to anoint his body. Sometimes she +carries it in her hand, or it stands at her feet or near +her; frequently, in later pictures, it is borne by an +attendant angel. It may be a small vase, or a casket; +a cup with a cover, or a box; the form varying according +to the artist’s fancy—but it is always there, the +symbol of her conversion and her love, and so unmistakable +that there can be no doubt of her identity.</p> + +<p>In the ancient pictures she is usually represented +in red, to express the fervour of her love. In modern +pictures, and where she appears as the penitent, she +wears blue or violet,—violet, the colour of mourning +and penitence; blue, the colour of constancy. Where +both love and sorrow are expressed, she wears a +violet-coloured tunic and a red mantle. Her long, +luxuriant hair is light or golden in colour.</p> + +<p>As patron saint she became idealised into a noble, +imposing woman, retaining no trace of sin or sorrow +on her beautiful face. If it were not for the nimbus +she might be mistaken for Pandora. As in scenes +before her conversion, she is richly attired.</p> + +<p>The Magdalene doing penance in the desert became +a favourite subject with the artists in the sixteenth +century. She was represented in two aspects; first as +bemoaning her sins, where she appears lying prostrate +upon the ground, or standing or kneeling at the +<span class="pagenum" id="Page_174">[Pg 174]</span>entrance to her cave; her long yellow hair flows over +her shoulders, her hands are clasped or raised towards +heaven, and her eyes are streaming with tears. The +crucifix, skull, and sometimes the scourge are seen +symbolising faith, mortality, and penance. In the +second she has made her atonement and is seen reading +and meditating with a serene and uplifted countenance. +Angels scatter flowers or present the palm; a book +rests beside the skull, and the skies are bright with a +vision of glory. In every instance the alabaster box +appears.</p> + +<p>The <i lang="la" xml:lang="la">Noli me tangere</i> is the subject of many pictures; +the arrangement is arbitrary and fixed by tradition +and only admits of the two figures of Christ and the +Magdalene.</p> + +<p>Before leaving the subject of those who were +intimately connected with our Lord in His lifetime, +a few words upon the Last Supper in art may perhaps +find a fitting place here.</p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_175">[Pg 175]</span></p> + + + <h2 class="nobreak" id="XV-THE_LAST_SUPPER"> + XV.—THE LAST SUPPER + </h2> +</div> + + +<p><b>The Last Supper.</b> <em>Ital.</em> Il Cenacolo, La Cena. +<em>Fr.</em> La Cène. <em>Ger.</em> Das Abendmahl Christi.</p> +<br> + +<figure class="figcenter illowp100" id="i_175" style="max-width: 62.5em;"> + <img class="w100" src="images/i_175.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + THE LAST SUPPER.—D. GHIRLANDAJO<br> + (Convent of the Ognissanti, Florence.) + </figcaption> +</figure> +<br> + +<p>This event in the life of Christ has, next to the +crucifixion, a most important place in art, where the +subject has been treated dramatically, historically, +and mystically. When the picture is painted for an +altar or chapel of the Holy Sacrament, it is <em>mystical</em> +<span class="pagenum" id="Page_176">[Pg 176]</span>or <em>devotional</em>, and represents the institution of the +Eucharist. In such representations Judas is either +absent, or is seen stealing from the room. The subject +has been a favourite one for the decoration of +refectories of convents and hospitals, and it is then +treated in the <em>historical</em> sense—Christ’s celebration +of the passover with His disciples; or dramatically, +at the moment when Christ says, “Verily I say unto +you that one of you shall betray me,” or when His +disciples, “exceeding sorrowful,” say unto Him, “Lord, +is it I?” and He replies, “He that dippeth his hand +with me in the dish, the same shall betray me.” In +this scene the usual arrangement places Christ in +the middle of a long table with John leaning against +Him and the apostles, seated or starting up in dismay, +on either side. Judas sits alone on the opposite side +of the table.</p> + +<p>These distinctions must be borne in mind in judging +of the treatment of the various artists.</p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_177">[Pg 177]</span></p> + + + <h2 class="nobreak" id="XVI-THE_FOUR_LATIN_FATHERS"> + XVI.—THE FOUR LATIN FATHERS + </h2> +</div> + +<p>“<span class="smcap">The</span> Evangelists and Apostles represented in Art +the Spiritual Church, and took their place among the +heavenly influences. The great Fathers or Doctors +were the representatives of the Church Militant +on earth: as teachers and pastors, as logicians and +advocates, they wrote, argued, contended, suffered, +and at length, after a long and fierce struggle against +opposing doctrines, they fixed the articles of faith +thereafter received in Christendom. For ages, and +down to the present time, the prevailing creed has +been that which was founded on the interpretations +of these venerable personages. They have become, +in consequence, frequent and important subjects of +Art, particularly from the tenth century—the period +when, in their personal character, they began to be +regarded not merely as gifted and venerable, but as +divinely inspired; their writings appealed to as infallible, +their arguments accepted as demonstration” +(Jameson’s <cite>Sacred and Legendary Art</cite>).</p> + +<p><b>St. Jerome.</b> <em>Lat.</em> Sanctus Hieronymus. <em>Ital.</em> San +Geronimo, or Girolamo. <em>Fr.</em> St. Jérome, Hiérome, +or Géroisme. <em>Ger.</em> Der Heilige Hieronimus.</p> + +<p>As a subject of painting, St. Jerome is by far the +most popular of the four Latin doctors, not only +because of the interesting character of the man and +the varied and picturesque incidents of his life, but +<span class="pagenum" id="Page_178">[Pg 178]</span>also as founder of Monachism in the West and as the +translator of the Old and New Testaments into Latin.</p> + +<p>St. Jerome was born in 342 in Dalmatia, and was +the son of a nobleman named Eusebius. While still +very young he was sent to Rome to complete his +studies. He became a finished scholar and was +particularly fond of the classics. There for a time +he abandoned himself to a life of pleasure, but his +nature was so strong, and his love of learning so +great, that he soon tired of dissipation and taking +up the study of law he became famous for his +eloquence.</p> + +<p>When over thirty he travelled into Gaul and visited +the schools of learning there. About this time he was +baptised and took the vows of celibacy.</p> + +<p>In the year 373 he travelled to the East to visit the +scenes of the life of Christ. Here he encountered +hermits and ascetics, and becoming enamoured of +the idea of a life of solitude, he retired to a desert +and there spent four years in study and seclusion, +leading a life of penance and self-denial. As further +penance he studied Hebrew, which he detested, and +made his great translation of the Bible into Latin, +which has ever since been celebrated as the “Vulgate.”</p> + +<p>After ten years in the East he returned to Rome, +his fiery enthusiasm still unsubdued by the years +of solitude and penance. He preached the doctrine of +denial and abstinence, boldly attacking the self-indulgence +of the clergy. His influence was enormous, and +particularly so over the Roman women. His most +celebrated convert was Paula, a noble Roman matron, +descended from the Scipios and the Gracchi. Marcella +<span class="pagenum" id="Page_179">[Pg 179]</span>was another, who +founded a religious +community and has +been called the first +nun.</p> + +<figure class="figright illowp35" id="i_179" style="max-width: 23.4375em;"> + <img class="w100" src="images/i_179.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + ST. AUGUSTINE AND ST. JEROME—CRIVELLI<br> + (Academy, Venice.) + </figcaption> +</figure> + +<p>After three years +in Rome he returned +to Palestine and lived +and died in a monastery +he had +founded at Bethlehem. +Feeling the +approach of death, he +caused himself to be +carried to the chapel, +received the sacrament +for the last +time from the priest, +and then expired, dying +in 420 <span class="allsmcap">A. D.</span></p> + +<p>In the legends of +St. Jerome, as he sat +within the gates of +the monastery at +Bethlehem, a lion entered, +limping. The +brothers fled in terror; +but St. Jerome +met him as if he were +a guest. The lion +lifted to him his paw +and St. Jerome, taking +<span class="pagenum" id="Page_180">[Pg 180]</span>it, found a thorn, which he extracted, and the +grateful lion stayed with him ever after. The saint +employed him to guard an ass, who brought them +firewood from the forest. One day some merchants +stole the ass from the pasture while the lion slept, +and the latter, after looking for him in vain returned +to his master much cast down and ashamed. +Jerome, believing he had eaten the ass, compelled +the lion to carry the wood. One day, having finished +his task, the lion, who was always seeking +his companion, saw a caravan of merchants passing +by, with a string of camels led on a cord by +an ass: recognising his old friend, he drove all +the camels into the convent, so terrifying the merchants +that they came to St. Jerome and confessed +the theft, and were pardoned.</p> + +<p>The lion in pictures of St. Jerome is supposed to +refer to this legend, but in reality, from earliest times, +the lion was given to the saint as a symbol of his +fiery nature, and to typify his life in the wilderness. +And in later times the legend was invented to explain +the symbol.</p> + +<p>Devotional pictures represent him in one of his +three great characters,—first as patron saint and +Doctor of the Church. He usually stands full length, +dressed in cardinal’s robes or with a cardinal’s hat +at his feet (although there is no historical authority +for making him cardinal, as cardinal-priests were not +ordained until three centuries later). When his +head is uncovered, his forehead is very high and bald, +his beard long, reaching almost to his waist, his features +fine and sharp, and his nose aquiline. In his +<span class="pagenum"><a id="Page_181"></a><a id="Page_182"></a>[Pg 182]</span>hand he holds a book or scroll, frequently the emblematical +church.</p> +<br> + +<figure class="figcenter illowp85" id="i_181" style="max-width: 41.0em;"> + <img class="w100" src="images/i_181.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + ST. AMBROSE.—BERGOGNONE<br> + (Certosa, Pavia.) + </figcaption> +</figure> +<br> + +<p>In his second character of translator of the Scriptures, +he is usually seated in a cave, or cell. He has a +loose robe over his wasted form and his eyes are bent +on his book or writing, or he glances up as if seeking +heavenly inspiration. An angel is sometimes dictating +to him.</p> + +<p>The penitent St. Jerome is the recognised symbol +in the Christian Church of penitence, self-denial, and +humiliation. The scene is usually a rocky solitude, +St. Jerome, half-naked and almost a skeleton, with +unkempt hair and beard, is kneeling before a crucifix, +beating his breast with a stone. The lion is nearly +always introduced, sometimes crouching at his feet.</p> + +<p><b>St. Ambrose.</b> <em>Lat.</em> S. Ambrosius. <em>Ital.</em> Sant’ +Ambrogio. <em>Fr.</em> St. Ambroise. <em>Ger.</em> Der Heilige +Ambrosius.</p> + +<p>Ambrose was the son of a prefect of Gaul, and was +born at Trèves in the year 340. The story that when +still an infant a swarm of bees alighted on his mouth +without injuring him is related by all his chroniclers. +This was interpreted as a sign of future eloquence,⁠<a id="FNanchor_8_8" href="#Footnote_8_8" class="fnanchor">[8]</a> +and for this reason the beehive becomes the symbol +of St. Ambrose. The same story was related of Plato +and Archilochus, and with the same interpretation.</p> + +<p>Ambrose studied at Rome, and after that was made +prefect of Æmilia and Liguria (Piedmont and Genoa), +and dwelt at Milan. About this time the Bishop of +Milan died and a fierce dispute arose between the +<span class="pagenum" id="Page_183">[Pg 183]</span>Catholics and Arians as to who should succeed him. +Ambrose appeared, as prefect, to quell the disorder. +He spoke so wisely, with an eloquence so persuasive, +that the tumult ceased, and suddenly out of the hush +that followed his speech a voice like a child’s was +heard, saying, “Ambrose shall be bishop!” The multitude +took up the cry with enthusiasm. In vain +Ambrose pleaded that he was only a catechumen. +The wishes of the people, confirmed by the approbation +of the emperor, finally prevailed.</p> + +<p>Ambrose was baptised, and in eight days he was +consecrated Bishop of Milan. He gave all his +worldly goods to the poor, studied the Scriptures +earnestly, introduced from the East the manner of +chanting the service since called the <em>Ambrosian Chant</em>, +and it was he who invested the services of the +Church with that magnificence and grandeur of +form that has ever since made its ceremonies so +imposing.</p> + +<p>St. Ambrose advocated celibacy in both sexes, +and held that ecclesiastical power was above that +of sovereign or civil power. The most celebrated +example of this was his humiliation of the Emperor +Theodosius. The latter, angered by a sedition in +Thessalonica, had ordered a general massacre. For +this murderous act, by which seven thousand lives +were sacrificed, Ambrose forbade him to enter the +church. At length, after eight months of interdict, +during which the emperor had stormed and pleaded, +Ambrose relented, upon the emperor’s performing +public penance for his sin. The emperor, completely +cowed, submitted, and clad in sackcloth, with dust +<span class="pagenum" id="Page_184">[Pg 184]</span>and ashes upon his head, prostrated himself before the +altar of Christ.</p> + +<p>There are many legends of this saint. At the consecration +of the Cathedral at Milan, the relics of +St. Gervasius and St. Protasius were miraculously +revealed to him in a dream. The remains were disinterred, +conveyed in solemn procession to the +cathedral, and deposited beneath the high altar.</p> + +<p>He performed many cures and had many visions, +and died at Milan in the year 397.</p> + +<p>St. Ambrose is usually represented in bishop’s robes, +with mitre and crozier; the beehive is sometimes +placed at his feet, but his more frequent attribute +is a knotted scourge with three thongs, the scourge +symbolising the castigation of sin. In the hand of St. +Ambrose it may also signify the penance inflicted on +the Emperor Theodosius, or the expulsion of the +Arians from Italy and the triumph of the Trinitarians. +It has this meaning when the scourge has three knots +or three thongs. When St. Ambrose holds two +human bones in his hand, this attribute alludes to +the discovery of the relics of St. Gervasius and St. +Protasius. Devotional pictures of him alone are rare.</p> + +<p><b>St. Augustine.</b> St. Austin. <em>Lat.</em> Sanctus Augustinus. +<em>Ital.</em> Sant’ Agostino. <em>Fr.</em> St. Augustin.</p> + +<p>St. Augustine, the third of the Doctors of the +Church, was born at Tagaste, in Numidia, in 354. +His father was a heathen; his mother, Monica, a +Christian. With splendid talents, his youth was +passed in every form of vice and dissipation, to the +great sorrow of his mother, who never ceased praying +for his conversion. She related her grief to the Bishop +<span class="pagenum" id="Page_185">[Pg 185]</span>of Carthage, who after listening to her, said, “Go in +peace; the son of so many tears will not perish!”</p> + +<p>St. Augustine practised law for a time in Rome. +Here his eloquence soon brought him distinction and +wealth, but driven by some chance, restless, unsettled +and unhappy, Augustine went to Milan, and there, +after many struggles, he was converted by St. Ambrose, +and was baptised by him in the presence of his +mother, Monica.</p> +<br> + +<figure class="figcenter illowp85" id="i_185" style="max-width: 62.5em;"> + <img class="w100" src="images/i_185.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + ST. AUGUSTINE AT SCHOOL.—BENOZZO GOZZOLI<br> + (Church of San Agostino, San Gimignano.) + </figcaption> +</figure> +<br> + +<p>On this occasion was composed the <i lang="la" xml:lang="la">Te Deum</i> still +<span class="pagenum" id="Page_186">[Pg 186]</span>used in the Church, St. Ambrose and St. Augustine +reciting the verses alternately as they advanced to +the altar.</p> + +<p>St. Augustine, after devoting some time to study, +was ordained a priest and afterwards became the +Bishop of Hippo, near Carthage, where he died thirty-five +years later, at the time the city was besieged by +the Vandals. His writings are very celebrated.</p> + +<p>St. Augustine is not often represented in art alone; +and when grouped with others in devotional pictures +it is often difficult to distinguish him from other +bishops, for his proper attribute, the heart flaming or +transpierced, to express the ardour of his piety or +the intensity of his repentance, is rarely introduced. +When a bishop stands with a book or a pen in his hand, +accompanied by St. Jerome, St. Augustine is probably +intended.</p> + +<p>His most frequent symbols are: books at his feet +or in his hand; a heart flaming or transfixed by an +arrow; bishop’s robes, mitre, crozier; infant by the +seashore.</p> + +<p>The subject most often represented in art is the +<em>Vision of St. Augustine</em>. While meditating on his +“Discourse on the Trinity,” he strolled along the +seashore, and saw a little child attempting to fill a +hole in the sand with water he was bringing from the +sea. Augustine inquired what he was doing, and the +child replied he was going to empty all the waters +of the sea into that hole. “That is impossible!” +exclaimed St. Augustine. “Not more impossible,” +returned the child, “than for a finite mind to contain +the Infinite”—and he vanished. The version of the +<span class="pagenum" id="Page_187">[Pg 187]</span>child’s reply more often given, is: “Not more impossible +than for thee, O Augustine! to explain the +mystery on which thou art now meditating.”</p> + +<p><b>St. Gregory.</b> <em>Lat.</em> Sanctus Gregorius Magnus. +<em>Ital.</em> San Gregorio Magno, or Papa. <em>Fr.</em> St. Grégoire. +<em>Ger.</em> Der Heilige Gregor.</p> + +<p>St. Gregory, known as Gregory the Great, was +born in Rome in the year 540, and came of a patrician +family. His mother had a vision when he was an +infant that he would be pope. He was a lawyer +until his father’s death, but after coming into his +inheritance he gave all that he had to charities, converted +his home on the Celian hill into a monastery +and hospital, and dedicated it to St. Andrew. He +lived there in a cell and, adopting the habit of the +Benedictine Order, devoted himself to study. When +a terrible plague broke out in Rome he gave himself +up to nursing the sick. Pope Pelagius was one of the +victims, and the people desired Gregory as his successor. +Gregory believed himself unworthy and +entreated the emperor not to heed the wishes of the +people, but the emperor confirmed their choice. +Then Gregory fled from Rome and hid himself in a +cave. But those who sought for him were directed +to him by a celestial light, and brought him back to +Rome.</p> + +<p>As pope he showed himself in all respects worthy. +Although exalting his high office, he himself was the +most humble of men and was the first pope to call +himself the “servant of the servants of God”—<i lang="la" xml:lang="la">Servus +servorum Dei</i>. He abolished slavery throughout +Christendom and was the first to send missionaries +<span class="pagenum" id="Page_188">[Pg 188]</span>to England, his pity being excited by seeing some +British captives for sale in the market-place. It was +he who made the belief in purgatory an article of +faith. He instituted the celibacy of the clergy, reformed +the services of the Church, and introduced the +style of chanting still called Gregorian. His charities +were boundless. He died in 604, in the fourteenth +year of his pontificate, and was the last pope who was +canonised.</p> + +<p>His bed and the little scourge with which he was +wont to keep the choristers in order are still preserved +in the Church of the Lateran, Rome.</p> + +<p>Next to St. Jerome he was the most popular of the +Four Fathers, and single pictures of him abound, +variously treated, but generally he bears the tiara as +pope, and the crozier with double cross. His peculiar +attribute is the dove which, in the old pictures, was +placed close to the ear. Frequently he is seated on a +throne wearing the pontifical robes and tiara, one +hand raised in benediction, and the other holding a +book. The dove rests on his shoulder or hovers over +his head.</p> + +<p>Legends of St. Gregory have furnished many +picturesque themes for art. John the deacon, his +secretary, declared that he beheld the Holy Ghost, +in the form of a dove perched upon his shoulder while +he was writing his famous homilies. This vision has +been represented as a reality by the early painters.</p> +<br> + +<figure class="figcenter illowp85" id="i_189" style="max-width: 45.375em;"> + <img class="w100" src="images/i_189.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + MIRACLE OF THE BRANDEUM.—ANDREA SACCHI<br> + (Vatican, Rome.) + </figcaption> +</figure> +<br> + +<p>A favourite legend is that while a monk in the +monastery of St. Andrew a beggar asked for alms, and +being helped, came again and again, receiving aid +until there was nothing left but a silver porringer +<span class="pagenum"><a id="Page_189"></a><a id="Page_190"></a>[Pg 190]</span>which his mother Sylvia had sent to St. Gregory. +This, too, he gave to the beggar. Now it happened +that it was his custom, after he became pope, to +entertain every evening at supper twelve poor men, +in memory of our Lord’s apostles. But one evening +he counted thirteen; and calling his steward to him he +asked how it was, but the latter, greatly mystified, +could only count twelve. After the meal was finished, +Gregory called forth the unbidden guest and asked +him who he was. And he replied, “I am the poor +man whom thou didst formerly relieve, but my name +is ‘The Wonderful’ and through me thou shalt obtain +whatever thou shalt ask of God.” Then Gregory +knew that he had entertained an angel, or according +to another version our Lord Himself. This legend +has been frequently painted under the title of <em>The +Supper of St. Gregory</em>.</p> + +<p>In the legend of the Brandeum the Empress Constantia +sent to St. Gregory desiring some of the relics +of St. Peter and St. Paul. He, not daring to disturb +their sacred remains, sent her part of a consecrated +cloth (<i lang="la" xml:lang="la">brandeum</i>) which had enfolded the body of +St. John the Evangelist. The empress rejected the +gift with scorn. Then Gregory, to show that miracles +are not wrought so much by things as by the faith of +believers, laid the <i lang="la" xml:lang="la">brandeum</i> on the altar and, after +praying, cut it with a knife and blood flowed from it +as from a living body. This was called the <i lang="la" xml:lang="la">Miracle +dei Brandei</i>.</p> + +<p>It was Pope Gregory who sent St. Augustine of +Canterbury to England.</p> + + +<div class="footnotes"> +<h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a id="Footnote_8_8" href="#FNanchor_8_8" class="label">[8]</a> “Son pere en fut epouvanté, et dit, Si cet enfant vit, il sera +réservé à de grandes destinées” (<i lang="la" xml:lang="la">La Legende Dorée</i>).</p></div> +</div> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_191">[Pg 191]</span></p> + + + <h2 class="nobreak" id="XVII-THE_PATRON_SAINTS_OF"> + XVII.—THE PATRON SAINTS OF + CHRISTENDOM + </h2> +</div> + + +<p><span class="smcap">All</span> saints may be considered patron saints either +of some trade or industry, or of some especial province +or city. But there is a vast difference between those +whose fame is confined to a certain locality—as St. +Januarius, who is worshipped only in Naples, St. +Corentin, who is little known out of Brittany, or +St. Denis, whose name belongs almost exclusively to +France—and those other <em>great saints</em> who are reverenced +in all the countries of the world alike.</p> + +<p>These are St. George, St. Sebastian, St. Christopher, +SS. Cosmo and Damian, St. Roch and St. Nicholas, +and the four virgin patronesses, St. Catherine, St. +Barbara, St. Margaret, and St. Ursula. Although +without the apostolic and scriptural sanction accorded +to St. Peter of Rome, and the other great +apostles, these saints have been from earliest times +the object of universal faith and worship, and invested +with a pre-eminent dignity and authority +that puts them in a class by themselves.</p> + +<p><b>St. George of Cappadocia.</b> <em>Lat.</em> Sanctus Georgius. +<em>Ital.</em> San Giorgio. <em>Fr.</em> St. Georges. <em>Ger.</em> Der Heilige +Georgius, or Jorg or Georg.</p> + +<p>St. George was born in Cappadocia of a noble +family. His parents were Christians and he was a +tribune in the Roman army. One time as he was on +<span class="pagenum" id="Page_192">[Pg 192]</span>his way to join his +legion, he came to a +city in Libya called +Selene, whose inhabitants +were in terror +of a fearful dragon, +who lived in a marsh +outside the walls, and +devoured their flocks +and herds. These being +gone, the people, +fearing the dragon +might enter the city, +sent out daily two +sheep to appease his +hunger, and when they +had no more sheep left +they were forced to +sacrifice each day two +children who were +chosen by lot, and sent +forth to be devoured.</p> + +<figure class="figleft illowp35" id="i_192" style="max-width: 22.6875em;"> + <img class="w100" src="images/i_192.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + ST. GEORGE.—DONATELLO<br> + (Bargello, Florence.) + </figcaption> +</figure> + +<p>The king had one +daughter, Cleodolinda, +who was very beautiful, +and at last the lot +fell to her. So she +went forth to die for +the people, weeping +sadly as she walked +toward the dwelling of +the monster. At this +<span class="pagenum" id="Page_193">[Pg 193]</span>moment St. George, who was riding by, saw her and +wondered why so fair a maiden should be in tears. +He asked her her sorrow and when she told him, he +said: “Fear not, for I will deliver you.” She begged +him to fly lest he, too, perish, but St. George refused, +saying, “I will save thee through the power of Jesus +Christ.” Just then the dragon came forth from +his lair and rushed toward them. St. George made the +sign of the cross, and calling on the name of our +Saviour, spurred toward the monster, and after a +terrible battle pinned him to earth with his lance. +Then, binding him with the girdle of the princess, +he told her to lead the conquered brute back to the +city, and she did, the dragon following after them like +a dog. Seeing this, the king and the people believed, +and were baptised—twenty thousand in one day. +St. George killed the dragon and cut off his head, and +the king heaped treasures upon the knight, but he +gave all to the poor, and went on his way to Palestine.</p> + +<p>Seeing there the edict of Diocletian against the +Christians on the gates of the temples and in the +market-place, he tore it down and trampled it under +his feet. For this he was seized, and suffered most +cruel tortures for eight days and was finally beheaded. +The veneration paid him in England dates from the +time of Richard I., who in the wars of Palestine put +himself and his army under the protection of St. +George. His feast was ordered to be kept as a holiday +in England in 1222, and the Order of the Garter was +instituted in 1330.</p> + +<p>In single devotional pictures St. George is young or +in the prime of life, dressed in armour. He bears in +<span class="pagenum" id="Page_194">[Pg 194]</span>one hand the palm and in the other the lance, from +which sometimes depends a red banner. His expression +is uplifted and triumphant, the slain dragon +is at his feet. This representation is allegorical, +showing the victory of faith over the powers of evil. +<em>St. George and the Dragon</em> becomes <em>historical</em> when +accessories are introduced, such as the princess, or the +walls of the city and the combat still undecided. The +dragon of St. George never has the human or satanic +form, as in the legend of St. Michael.</p> + +<p>He is particularly honoured by the Greeks, who +gave him the title of <em>The Great Martyr</em>.</p> + +<p><b>St. Sebastian.</b> <em>Lat.</em> Sanctus Sebastianus. <em>Ital.</em> +San Sebastiano; or San Bastiano. <em>Fr.</em> St. Sébastien.</p> + +<p>St. Sebastian was born at Narbonne in Gaul, of +noble parents, and when very young was made commander +of a company of the Prætorian Guards and +was thus brought near the Emperor Diocletian, with +whom he was a favourite. Secretly a Christian, his +position as a soldier enabled him to protect many +who were persecuted for Christ’s sake. He had two +friends among the soldiers, who had endured torture +bravely for being Christians; but upon being led +forth to die, their families implored them to recant, +and as they were moved by their supplications and +about to weaken, St. Sebastian rushed forward and +urged them to die rather than renounce our Saviour. +All present were so influenced by his eloquence, that +the families of the condemned, and even the judges, +became converted and baptised, and Marcus and +Marcellinus met their death gloriously.</p> +<br> + +<figure class="figcenter illowp85" id="i_195" style="max-width: 44.25em;"> + <img class="w100" src="images/i_195.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + ST. SEBASTIAN.—SODOMA<br> + (Uffizi, Florence.) + </figcaption> +</figure> +<br> + +<p>Sebastian was then denounced as a Christian, and +<span class="pagenum"><a id="Page_195"></a><a id="Page_196"></a>[Pg 196]</span>the emperor, who loved him, reasoned with him +privately, but Sebastian was firm, and Diocletian +ordered him bound to the stake and shot to death +with arrows, and that there should be inscribed on +the stake that he was without fault except that of +being a Christian. The archers pierced him with +arrows and left him for dead, but Irene, widow of a +martyred friend, coming to take his body away, found +him still living and took him home and nursed him +back to health. His friends urged him to flee from +Rome, but instead he presented himself to Diocletian +and reproached him for his intolerance and cruelty, +and the emperor, enraged, had him seized and put to +death with clubs.</p> + +<p>In pictures St. Sebastian is always young and +beautiful, undraped, bound to a tree or column, and +pierced by one or many arrows. Arrows from the +most ancient times were the emblem of pestilence, so +they <em>symbolise</em> the shafts of pestilence, and are also the +<em>attribute</em> of the martyrdom and power of the saint, +who has been considered from the earliest days of +Christianity as patron saint against plague and pestilence—there +being, according to the legends, hardly +a city in Europe that has not been saved by his +intercession.</p> + +<p>The pathos of his story, added to his courage, and +youth, and beauty, has made St. Sebastian the favourite +saint of Italian women, particularly the women of +Rome.</p> + +<p><b>St. Christopher.</b> <em>Lat.</em> St. Christophorus. <em>Ital.</em> San +Cristofero, or Cristofano. <em>Fr.</em> St. Christophe, or St. +Christofle. <em>Ger.</em> Der Heilige Christoph.</p> + +<p><span class="pagenum" id="Page_197">[Pg 197]</span></p> +<br> + +<figure class="figcenter illowp85" id="i_197" style="max-width: 35.5625em;"> + <img class="w100" src="images/i_197.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + ST. CHRISTOPHER.—GIOVANNI BELLINI<br> + (Church of SS. Giovanni e Paolo, Venice.) + </figcaption> +</figure> +<br> + +<p><span class="pagenum" id="Page_198">[Pg 198]</span></p> + +<p>There was a giant of the land of Canaan, whose +name was originally Offero. Being very proud of his +size and strength, he was determined to serve no +other than the most powerful monarch in the world. +So he travelled to the court of a king whose fame was +greater than all others, and the king gladly accepted +him as his servant. Before long Offero noticed that +when the name of Satan was mentioned the king trembled, +and he asked him, “Who is this Satan at the +mention of whose name thou crossest thyself?” +The king answered, “He is as wicked as he is mighty, +and I fear lest he slay me.” Then Offero knew +there was one greater than the king, and he sought +and entered into the service of Satan.</p> + +<p>One day as they journeyed, they came to a cross +by the wayside, and when the devil saw it he turned +back and went a long distance out of his way to +avoid it. Offero questioned him as to this, and the +devil replied: “’T was on this cross that Jesus died, +and He it is whom I fear.” Offero said: “Since thou +fearest Him, He is greater than thou and Him will I +serve.” So he left Satan and went in search of Christ; +and he came to a hermit who taught him concerning +Jesus, and desired him to fast and pray. Offero +would not fast and knew not how to pray, saying, +“Such service is for weak ones, not for me.” So the +hermit said: “If thou wouldst use thy strength, go +to a certain river that is swollen with the rains, and +whose current is so swift that many perish, and help +all who struggle with the waves. This is a service for +Christ and He may accept thee.” Offero went joyfully, +and built himself a hut by the side of the river, +<span class="pagenum" id="Page_199">[Pg 199]</span>and rooting up a palm tree, he used it for a staff, +and aided all who wished to cross the stream.</p> + +<p>One night he heard a child’s voice calling him. He +arose and went out, but could find no one. Again +the voice called and again he searched in vain. The +third time that he heard it, he went forth with his +lantern, and found a little child sitting by the water’s +edge, who begged to be taken over, and Offero placed +him upon his shoulders, took his staff, and began to +cross the stream; but a storm arose and the current +became swift as never before, and the weight of the +child grew heavier and heavier, and Offero feared +that they both would be lost, but he struggled on +bravely until, exhausted, he reached the other shore, +and putting the child safely down, he cried, “Whom +have I borne! Had it been the whole world the burden +had not been heavier!” The child replied, “Thou +hast borne not only the whole world but Him who +made it, upon thy shoulder. Thou wouldst serve +Christ, and behold! I have accepted thee.” Then +Offero confessed and worshipped Christ.</p> + +<p>From there he went to Samos, where he was taken +as a Christian before the king, who said: “Who art +thou?” and Offero replied: “My name was Offero +the Bearer, but now I serve Christ, whom I have +borne on my shoulders, and am called Christ Offero, +the bearer of Christ.” St. Christopher was scourged +and beheaded, and as he was about to die he prayed +that all who beheld him, believing in our Saviour, +should not suffer from fire, earthquake, or tempest. +The sight of his image is thought to give strength +to the weak, and prevent all evils from accident. +<span class="pagenum" id="Page_200">[Pg 200]</span>The following inscription often accompanies his +pictures:</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">“Christophori Sancti speciem quicumque tuetur,</div> + <div class="verse indent1">Illo namque die nullo languore tenetur.”</div> + </div> + <div class="stanza"> + <div class="verse indent0">“Whoever shall behold the image of St. Christopher</div> + <div class="verse indent1">On that day shall not faint or fail.”</div> + </div> + </div> +</div> + +<p>In pictures St. Christopher stands above his ankles +in water, his proportions those of a giant, the Infant +Christ seated on his shoulders, usually bearing in his +hand the globe, but sometimes the cross as the Redeemer. +The saint looks up at the divine Child, +supporting his steps with the staff, which is often +the entire palm tree. When he is introduced near +the Madonna the water is omitted, but he is never +without this staff.</p> + +<p><b>St. Cosmo and St. Damian.</b> <em>Lat.</em> SS. Cosmas et +Damianus. <em>Ital.</em> SS. Cosimo e Damiano. <em>Fr.</em> SS. +Côme et Damien.</p> + +<p>These brothers were Arabians, and lived in Ægae in +Cilicia. They studied medicine and became the +greatest and most holy of physicians, giving their +services to the poor and suffering, without fee. They +even cared for sick animals, doing everything for +charity and the love of God. In the time of Diocletian, +Lycias, proconsul of Arabia, seized them as +Christians and cast them into prison. First they +were thrown into the sea, but were saved by angels; +then thrown into fire, but the fire would not burn them. +Then they were bound and stoned, but the stones +recoiled and fell on those who had sent them, and +<span class="pagenum" id="Page_201">[Pg 201]</span>finally they were beheaded, “a punishment which no +saint but St. Denis ever survives.”</p> +<br> + +<figure class="figcenter illowp85" id="i_201" style="max-width: 62.5em;"> + <img class="w100" src="images/i_201.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + AN EPISODE IN THE LIFE OF ST. COSMO AND + ST. DAMIAN.—FRA ANGELICO<br> + (Academy, Florence.) + </figcaption> +</figure> +<br> + +<p>In art they are always together, wearing loose dark +red robes trimmed with fur, and usually red caps. +Thus Chaucer describes a physician’s garb: “In +scarlet gown, furred well.” They have a small box +of ointment in one hand and lancet or surgical instrument +in the other, sometimes a pestle and mortar. +These saints appear frequently in the old Florentine +<span class="pagenum" id="Page_202">[Pg 202]</span>pictures, especially of the time of Cosimo de’ Medici.</p> + +<p><b>St. Roch.</b> <em>Lat.</em> Sanctus Rochus. <em>Ital.</em> San Rocco. +<em>Fr.</em> St. Roch or Roque.</p> +<br> + +<figure class="figcenter illowp85" id="i_202" style="max-width: 60.1875em;"> + <img class="w100" src="images/i_202.jpg" alt=""> + <figcaption> + FOUR SAINTS—ST. ROCH AND ST. SEBASTIAN;<br> + (Academy, Venice.) + </figcaption> +</figure> +<br> + +<p>St. Roch was born in Montpellier in Languedoc of +wealthy and noble parents. His parents dying before +he was twenty, he gave all that he had to the poor +and the hospitals, and spent his life in healing and +caring for the sick. He went wherever he heard that +the plague had broken out, and nursed those who were +most miserable and abandoned.</p> +<br> + +<figure class="figcenter illowp85" id="i_203" style="max-width: 61.125em;"> + <img class="w100" src="images/i_203.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + ST. AUGUSTINE (?); ST. BERNARDINO, OF SIENA.—CARLO + CRIVELLI + </figcaption> +</figure> +<br> + +<p>At last in Piacenza he himself became plague-stricken, +and a fearful ulcer broke out on his thigh. +The pain was so terrible that, fearing he might cry out +and disturb those in the hospital, he crawled out to +<span class="pagenum" id="Page_204">[Pg 204]</span>the street, and not being allowed to remain, dragged +himself to the woods to die; but his faithful little dog, +who had been his companion everywhere, trotted to +the city each day, returning with a loaf of bread for +his master, and an angel from heaven dressed his +wound.</p> + +<p>When St. Roch had recovered he returned to his old +home, but no one knew him, so wasted and haggard +was he, and he was cast into prison and remained +there five years. One morning, the jailer entered and +found his cell filled with a dazzling light, and the +prisoner dead. By his side there was writing telling +his name, and these words: “All those who are +stricken by the plague and who pray for aid through +the merits and intercession of Roch, the servant of +God, shall be healed.”</p> + +<p>In art St. Roch is represented in the prime of life, +dressed as a pilgrim with the cockle-shell in his hat; +wallet by his side, in one hand a staff, while with the +other he lifts his robe to show the plague spot, or +points to it. He is usually accompanied by his +dog.</p> + +<p>St. Sebastian and St. Roch figure in numerous works +of art as joint protectors against the plague. With +St. Cosmo and St. Damian, the medical saints, the +first two are patrons of the sick, and the last two +patrons of those who heal the sick.</p> + +<p>An old French legend relates that when St. Roch +died he wished to take his little dog in with him +through the gates of heaven. But St. Peter refused, +and St. Roch entered alone, feeling very sad. As he +wandered around, heaven did not seem like heaven +<span class="pagenum" id="Page_205">[Pg 205]</span>to him without his little dog. No one spoke to him. +The saints and prophets were all assembled around a +great white throne, and had no eyes for St. Roch. +Still lonely, he went to the wall of heaven, to see if by +looking over he might not discover his little dog. +There he was! looking wistfully at the gate wherein +had passed his master. St. Roch whistled softly, +his dog caught sight of his face, and leaping over the +wall, sprang into his master’s arms. Then St. Roch +was happy in heaven.</p> + +<p><b>St. Nicholas of Myra.</b> <em>Lat.</em> Sanctus Nicolaus. +<em>Ital.</em> San Niccolò, or Nicola di Bari. <em>Ger.</em> Der +Heilige Nicolaus or Niklas.</p> + +<p>Of all the saints in Christendom St. Nicholas is +perhaps the most popular and the most universally +beloved. While knighthood claims St. George, St. +Nicholas belongs to the children, and to the common +people. The mariner, the labourer, the poor, and the +weak all implore the aid of St. Nicholas.</p> + +<p>He was born in Panthera, a city of Lycia in Asia +Minor. His parents were Christians, wealthy, and +of illustrious family. It is related that on the day +he was born St. Nicholas stood up in his bath and +praised God for having brought him into the world. +His parents, impressed by the many instances of his +early piety, dedicated him to God, and he became a +priest and later Bishop of Myra. In 1084 his relics +were carried to Bari, and thus he is often known as +<em>St. Nicholas di Bari</em>.</p> + +<p>The legends of this saint are almost without number. +His proper attribute, the three balls, is supposed +to refer to the three bags of gold which he threw +<span class="pagenum" id="Page_206">[Pg 206]</span>into the poor man’s window. A certain nobleman +with three daughters, having lost all his money, +had no resource except he sacrifice them to infamous +lives. St. Nicholas, hearing this, considered how he +could help them, and one night he threw in a bag of +gold through a window which he found open, and +with this the father portioned his eldest daughter. +St. Nicholas did this a second time, and the father +married off his second daughter. Greatly wishing to +know his benefactor, the father watched, and when +St. Nicholas came the third time he flung himself +at his feet giving thanks, but St. Nicholas desired +him to tell no man.</p> + +<p>Sometimes the attribute is three children in a +tub, which refers to the legend of the wicked man +who, during a famine, stole little children, whom he +killed, and served their limbs as meat for his guests. +St. Nicholas visited his house when he was bishop, +and having this dish put before him divined the awful +contents. He denounced his host and going to the +tub where the bodies of the children were salted down, +he made the sign of the cross and they rose up alive +and whole.</p> + +<p>At Nice, St. Nicholas listened to the prayers of +some mariners in danger of perishing; his spirit +guided their ship and the tempest ceased. “And +when they were come to his Church, they knew him +without any man to show him to them, and yet they +had never seen him” (<em>Golden Legend</em>).</p> +<br> + +<figure class="figcenter illowp85" id="i_207" style="max-width: 42.125em;"> + <img class="w100" src="images/i_207.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + ST. NICHOLAS.—TITIAN<br> + (Church of San Sebastiano, Venice.) + </figcaption> +</figure> +<br> + +<p>While the province of Myra suffered a great famine, +certain ships laden with wheat arrived at the port, +and Nicholas persuaded the mariners to give him a +<span class="pagenum"><a id="Page_207"></a><a id="Page_208"></a>[Pg 208]</span>certain portion, promising they would bring as much +to the emperor as had been measured to them in +Alexandria, and this was indeed so. Yet by this +miracle, “the holy man distributed the wheat to +every man after that he had need, in such wise that +it sufficed for two years, not only for to sell, but also +to sow.”</p> + +<p>In art St. Nicholas is dressed as a bishop with +mitre, cope, and crozier, his robes often gorgeously +embroidered. Sometimes he is beardless, but usually +has a short grey beard. The three balls are placed on +his book, or at his feet, or sometimes in his lap. Some +say they represent the loaves of bread, in allusion to +his feeding the poor during the famine, but the more +popular version is the three purses or bags of gold. +Sometimes, instead of three balls, three purses are +given.</p> + +<p><b>The Four Virgin Patronesses</b>: <span class="allsmcap">ST. CATHERINE, ST. +BARBARA, ST. URSULA, AND ST. MARGARET</span>.</p> + +<p>Mrs. Jameson says, “We owe to these beautiful +and glorious impersonations of feminine intellect, +heroism, purity, fortitude, and faith, some of the +most excelling works of art which have been handed +down to us. Other female martyrs were merely +women glorified in heaven, for virtues exercised on +earth; but <em>these</em> were absolutely, in all but the name, +Divinities.... Their wholly ideal character, the +tacit setting aside of all human testimony with +reference to their real or unreal existence, instead of +weakening their influence, invested them with a divine +glory.... These allegories (which by simplicity +and ignorance were long accepted as facts) should +<span class="pagenum" id="Page_209">[Pg 209]</span>ever hereafter be received +but as one form of poetry +... to which the world +listened in its dreamy +childhood, and which, +like the ballad or the fairy +tale which kept the sleep +from our eyes and our +breath suspended in infancy, +have still a charm +for our latest years.”</p> + +<p><b>St. Catherine of Alexandria.</b> +<em>Lat.</em> Santa Catharina. +<em>Ital.</em> Santa +Caterina. <em>Fr.</em> Madame +Saincte Catherine. <em>Spa.</em> +Santa Catalina. <em>Ger.</em> +Die Heilige Katharine +von Alexandrien.</p> + +<p>St. Catherine represents +the highest type of +eloquence and intellect +that is found in woman. +She is an example of +courage and piety; and +all wisdom and good +counsel are found in her. +She is the Minerva of the +pagan, to whom has been +added all the virtues of +the Christian martyr.</p> + +<figure class="figright illowp35" id="i_209" style="max-width: 20.4375em;"> + <img class="w100" src="images/i_209.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + ST. CATHERINE.—LUCAS + CRANACH<br> + (Dresden Gallery.) + </figcaption> +</figure> + +<p>St. Catherine was the +<span class="pagenum" id="Page_210">[Pg 210]</span>daughter of Costis (half brother to Constantine +the Great) and Sabinella, Queen of Egypt. A +glory of light played around her head from the +moment she came into the world, and from earliest +childhood she was remarkable for beauty of +person and of mind. Even while very young, Plato +and Socrates were her favourite studies. She had +seven learned masters, but was so marvellously +endowed that she excelled each in his branch. At +fourteen her father died, but as queen she cared not +for worldly things and devoted herself to study. +The nobles, discontented, wished her to marry, but +she told them her husband must be as noble, as great, +as beautiful, and as rich as she, and the nobles knew +not what to say, for they realised well that no such +man could be found.</p> + +<p>Now a holy hermit came to St. Catherine with a +message from the Virgin Mary, telling her that the +husband she desired was her Son, and he gave her a +picture of Christ and His mother. And so filled was +her soul with love, that she forgot her books and +thought only of Him. One night she dreamed that +she was brought before the King of Glory, but He +turned away His head, saying, “She is not fair nor +beautiful enough for me,” and she awoke weeping.</p> + +<p>Then she asked the hermit what she must do to +become worthy of her celestial bridegroom, and he +instructed her in the Christian faith and baptised her. +That night as she slept, the Virgin Mary appeared +with her divine Son and a heavenly host, and the +Lord smiled upon her and plighted His troth, putting +a ring on her finger, and when she awoke the ring +<span class="pagenum" id="Page_211">[Pg 211]</span>was still there, and henceforth she considered herself +betrothed of Christ, and thought only of heavenly +things.</p> + +<p>At this time the tyrant Maximin came to Alexandria +and persecuted all Christians, commanding them +to worship heathen gods. St. Catherine confronted +him and argued for the truth of Christianity, and +so wonderful was she, that learned philosophers and +scholars were confounded by her eloquence, and confessed +themselves converted. This so infuriated the +emperor, that he had them burned at the stake, +Catherine comforting them to the end. Then she +was thrown into prison and kept without food, but +angels ministered unto her, and at the end of twelve +days, the empress visited her and found her cell filled +with fragrance and light; and she and two hundred +attendants were instantly converted and baptised.</p> + +<p>Maximin ordered them all to be put to death, and +then, sending for St. Catherine, because he was much +inflamed with her beauty, he offered to marry her if +she would give up Christ. Upon her refusal, he had +her bound between four spiked wheels, which, turning +in different directions, would tear her body in +pieces. But fire fell from heaven and consumed the +wheels, and three thousand persons were killed by +the flying pieces. Then St. Catherine was cruelly +scourged and beheaded, and angels carried her body +to the top of Mt. Sinai. In the eighth century a +monastery was built over her remains, which are +revered to this day.</p> + +<p>As patron saint, St. Catherine has several attributes: +the palm as martyr; the sword showing the manner of +<span class="pagenum" id="Page_212">[Pg 212]</span>her death; the crown +as a sovereign princess; +the book, signifying her +learning; or as trampling +on the pagan tyrant: +but her peculiar attribute +is the wheel. When +entire it is the <em>emblem</em> of +torture, when broken it +is the <em>historical attribute</em> +showing the torture +meditated, and the +miracle by which she +was saved. She is +pictured leaning upon +it, or it is at her feet or +an angel bears it over +her head. She is usually +richly dressed, with +all the attributes of +royalty.</p> + +<figure class="figleft illowp35" id="i_212" style="max-width: 21.3125em;"> + <img class="w100" src="images/i_212.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + ST. BARBARA—LUCAS CRANACH<br> + (Dresden Gallery.) + </figcaption> +</figure> + +<p>The <em>Marriage of St. +Catherine</em> is a devotional +subject and does +not appear in Italian +art until the middle of +the fifteenth century.</p> + +<p><b>St. Barbara.</b> <em>Ital.</em> +Santa Barbara. <em>Fr.</em> +Sainte Barbe.</p> + +<p>Dioscorus, who lived +in Heliopolis, was noble +<span class="pagenum" id="Page_213">[Pg 213]</span>and very rich, and he had a daughter Barbara whom +he loved so much that, fearing her beauty (which was +very great) would cause her to be desired in marriage +and thus he would lose her, kept her shut up in a high +tower away from the eyes of men. Here she gave +herself up to the study of all things which concern the +universe, and grew to believe that the gods of her +fathers must be false gods. Hearing of the famous +teacher Origen, she secretly wrote him for instruction, +and he sent her one of his disciples disguised as a +physician, who converted and baptised her. Some +workmen were engaged in putting in two windows +in her tower, and she commanded that they insert a +third. When her father questioned her for doing +this thing, she answered, “Know, my father, that +through three windows doth the soul receive light—the +Father, the Son, and the Holy Ghost; and the +Three are One.”</p> + +<p>Then her father knew she was a Christian, and +drew his sword to kill her, but she fled to the top of +her tower, her father pursuing; there angels came to +her assistance and bore her to a distance. A shepherd, +however, told Dioscorus where she was concealed, +and he dragged her forth by the hair, and +beat her, and shut her up; but as she would not yield, +he denounced her to the proconsul, who had her +scourged and tortured. Still she would not deny her +faith, and her father carried her up on a mountain and +himself cut off her head. As he was descending the +mountain, a tempest arose, and fire fell on him from +heaven and consumed him utterly.</p> + +<p>In devotional pictures St. Barbara carries the sword +<span class="pagenum" id="Page_214">[Pg 214]</span>and palm as martyr, and when she wears the crown, +it is as martyr, and not as princess. She has also a +book and is often reading, to show her life of meditation. +But her peculiar attribute is the tower, usually +with three windows in reference to the legend.</p> + +<p>St. Barbara as protectress against thunder and +lightning, firearms and gunpowder, is invoked against +sudden death, and those who implore her aid shall +not die without receiving the holy sacraments. +Thus she carries the sacramental cup and wafer, +and is the only female saint with this attribute. She +is pictured as dressed magnificently, usually with +red drapery, the tower in the background, or sometimes +holding a small tower in her hand.</p> + +<p><b>St. Ursula.</b> <em>Lat.</em> S. Ursula. <em>Ital.</em> Santa Orsola. +<em>Fr.</em> Sainte Ursule.</p> + +<p>The Cologne version of the quaint and charming +legend of St. Ursula is the one usually followed by +the artists. A portion of it follows.</p> + +<p>There reigned in Brittany a king named Theonotus, +whose wife, Daria, was a Sicilian princess. They +were both Christians, and had one daughter, whom +they called Ursula, and whom they educated with +exceeding care. She was beautiful, gifted, and accomplished +in all the ways of wisdom and knowledge, +so that many desired to marry her, but she refused +them all.</p> +<br> + +<figure class="figcenter illowp85" id="i_215" style="max-width: 48.25em;"> + <img class="w100" src="images/i_215.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + DETAIL FROM THE MARTYRDOM OF ST. URSULA.—V. CARPACCIO<br> + (Academy, Venice.) + </figcaption> +</figure> +<br> + +<p>Now the King of England had an only son named +Conon, as celebrated for all manly qualities, as was +Ursula for her beauty, piety, and wisdom. He became +one of her suitors, and not wishing to offend so +powerful a monarch, she sent answer that she would +<span class="pagenum" id="Page_215">[Pg 215]</span>accept him if he would do three things: First, he +must give her as companions ten virgins of the noblest +blood in his kingdom, and to each of these a thousand +<span class="pagenum" id="Page_216">[Pg 216]</span>attendants, and to her also a thousand maids in +waiting; secondly, he must wait for her three years, +while she and her companions visited the holy shrines +of the saints; and third, that the prince and his court +shall receive baptism, “for other than a perfect +Christian I cannot wed.”</p> + +<p>The wise Princess Ursula felt that Prince Conon +must refuse these demands, but if he did not, then +eleven thousand virgins would be dedicated to the +service of God.</p> + +<p>Now the ambassadors brought back such reports +of her beauty and wisdom, that the king was willing +to grant anything, and the prince only too eager to +do all she asked. So he was baptised, and the king +his father wrote to all the knights of his kingdom, +asking that they send the required number of maidens, +spotless, beautiful, and of noble birth, to attend on +the Princess Ursula, who was to wed his son Prince +Conon. And from all parts they came, fair and +beautiful and clad in rich garments, and when they +arrived in Brittany, Ursula received them with +great gladness, praising God that so many of her sex +had been redeemed from the world’s vanities.</p> + +<p>“Now when Ursula had collected all her virgins +together on a fresh and fair morning in the springtime, +she desired them to meet in a meadow near the +city, which meadow was of the freshest green, all over +enamelled with the brightest flowers; and she ascended +a throne which was raised in the midst, and preached +to all the assembled virgins of things concerning the +glory of God, and of His Son, our Lord and Saviour, +with wonderful eloquence; and of Christian charity +<span class="pagenum" id="Page_217">[Pg 217]</span>and of a pure and holy life dedicated to Heaven. +And all these virgins, being moved with a holy +zeal, wept, and, lifting up their hands and their voices, +promised to follow her whithersoever she should lead. +And she blessed them and comforted them; and as +there were many among them who had never received +baptism, she ordered that they should be baptised +in the clear stream which flowed through that flowery +meadow.”</p> + +<p>Then they started on their pilgrimage, some say +attended by the prince, but others that he remained +to comfort her father. They embarked on ships, the +virgins steering, but by some mistake they sailed to +the north instead of the south, and were driven by +the winds into the mouth of the Rhine as far as the +port of Cologne. Here it was revealed to St. Ursula +that upon her return she and her companions should +suffer martyrdom on this spot. They continued their +voyage, visited many places, and finally came to +Rome.</p> + +<p>Now it happened that the prince, by a miracle, who +had gone out in search of his bride, arrived in Rome +that same day. Being happily reunited, he knelt +with Ursula at the feet of Cyriacus, Bishop of Rome, +and “he no longer aspired to the possession of Ursula, +but fixed his hope on sharing with her the crown of +martyrdom on earth, looking to a perpetual reunion +in heaven, where neither sorrow nor separation should +touch them more.</p> + +<p>“After this blessed company had duly performed +their devotions at the shrine of St. Peter and St. Paul +the good Cyriacus would fain have detained them +<span class="pagenum" id="Page_218">[Pg 218]</span>longer, but Ursula showed him that it was necessary +they should depart in order to receive the crown +‘already laid up for them in heaven.’ When the +bishop heard this, he resolved to accompany her. +In vain his clergy represented that it did not become a +pope of Rome and a man of venerable years to run +after a company of maidens, however immaculate +they might be. Cyriacus had been counselled by +an angel of God, and he made ready to set forth and +embark with them on the river Rhine.</p> + +<p>“Now it happened that there were at Rome in +those days two great Roman captains, cruel heathens, +who commanded all the imperial troops in Germania. +They, being astonished at this multitude of virgins, +said one to the other, ‘Shall we suffer this? If we +allow these Christian maidens to return to Germania, +they will convert the whole nation; or if they marry +husbands, then they will have so many children—no +doubt all Christians—that our empire will cease; +therefore, let us take counsel what is best to be done.’ +So these wicked pagans consulted together, and wrote +letters to a certain barbarian King of the Huns, who +was then besieging Cologne, and instructed him what +he should do.</p> + +<p>“Meantime St. Ursula and her virgins, with her +husband and his faithful knights, prepared to embark; +with them went Cyriacus, and in his train Vincenzio +and Giacomo, cardinals, and Solfino, archbishop of +Ravenna, and Folatino, bishop of Lucca, and the +bishop of Faenza, and the patriarch of Grado, and +many other prelates; and after a long and perilous +journey they arrived in the port of Cologne.</p> + +<p><span class="pagenum" id="Page_219">[Pg 219]</span></p> + +<p>“There the pagans rushed upon their unresisting +victims, and one of the first to perish was the prince, +who fell pierced through by an arrow at the feet of +his beloved princess. Then they drew swords and +massacred them all so that the plain ran in rivers of +blood. But the barbarians, awed by the majestic +beauty of Ursula had no power to strike her, but +carried her before their prince, who wished to marry +her and make her the greatest queen in all Germany. +But St. Ursula repelled him with scorn. Then, +seized with fury and bending his bow, which he held in +his hand, he, with three arrows, transfixed her pure +breast, so that she fell dead and her spirit ascended +into heaven, with all the glorious sisterhood of martyrs +whom she had led to death, and with her betrothed +husband and his companions.”</p> + +<p>In devotional pictures of St. Ursula she has the +crown as princess; the arrow as martyr; and the +pilgrim’s staff, surmounted by a white banner with +the red cross, the Christian standard of victory. +Sometimes she has a dove, because a dove revealed +her burial place to St. Cunibert.</p> + +<p>As patron saint she appears alone; is crowned and +richly dressed with regal ornaments and wears a +green or scarlet mantle lined with ermine; she holds +in one hand a book, in the other an arrow; or sometimes +the arrow in one hand, and in the other the +banner with the red cross.</p> + +<p>As martyr she kneels or stands, her golden hair +unbound. Sometimes she is crowned, sometimes +not; her hands are clasped, her bosom transfixed by an +arrow; on the ground about her, her maidens lie dead.</p> + +<p><span class="pagenum" id="Page_220">[Pg 220]</span></p> + +<p>Sometimes she is painted standing, holding open +with both hands her mantle, which shelters many +maidens wearing crowns. She is here the patroness +of young maidens. The date of the martyrdom of +St. Ursula and her eleven thousand virgins has been +variously given as A. D. 237, 383, or 451. The legend +can be traced to the year 600.</p> + +<p><b>St. Margaret.</b> <em>Ital.</em> Santa Margarita. <em>Fr.</em> Sainte +Marguerite. <em>Ger.</em> Die Heilige Margaretha.</p> + +<p>St. Margaret was the daughter of a pagan priest of +Antioch named Theodosius, and being a frail child, +was sent to a nurse in the country, who was a +Christian and who brought her up in the faith. +Here she was seen by Olybrius, governor of Antioch, +who was so enamoured of her beauty that he +ordered her to be brought to his palace and, if she +was free-born, he would marry her. St. Margaret +refused his offers, and declared herself a Christian, +to the horror of her father and relatives, who fled, +leaving her in the power of the governor. Olybrius +then sought to subdue her by torments so great that +even he was forced to cover his face from the sight.</p> +<br> + +<figure class="figcenter illowp85" id="i_221" style="max-width: 47.6875em;"> + <img class="w100" src="images/i_221.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + ST. MARGARET.—SCHOOL OF CORREGGIO<br> + (Dresden Gallery.) + </figcaption> +</figure> +<br> + +<p>She endured all without flinching. Then she was +thrust into a dungeon, and there Satan in the form of +a frightful dragon endeavoured to terrify her into subjection; +but St. Margaret held up the cross of the +Redeemer and he fled before it. A more popular +version is, that he swallowed her alive and immediately +burst asunder, and she came forth unhurt. Satan then +came to her in the form of a man to tempt her, but she +overcame him, and placing her foot on his head, she +made him confess his vileness. Again she was brought +<span class="pagenum" id="Page_221">[Pg 221]</span>before the tyrant, and refusing to deny her faith, was +again tortured. Such constancy in one so young and +beautiful induced many to be converted, so that five +<span class="pagenum" id="Page_222">[Pg 222]</span>thousand were baptised in one day and wished to die +with her. Alarmed at this, the governor ordered +her to be beheaded forthwith.</p> + +<p>In art St. Margaret is usually represented trampling +a dragon, her peculiar attribute, under her feet, holding +the cross in her hand. Sometimes the dragon is +bound with a cord, or his jaws are open as if to swallow +her; or he is seen rent or burst, St. Margaret standing +upon him unharmed.</p> + +<p>As martyr she bears the palm and crown. In some +pictures she has a garland of pearls in allusion to her +name. She is always the type of maiden innocence +and the only one of the four great patronesses who is +not represented as very learned.</p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_223">[Pg 223]</span></p> + + +<h2 class="nobreak" id="XVIII-THE_FOUR_GREAT_VIRGINS_OF"> + XVIII.—THE FOUR GREAT VIRGINS OF + THE LATIN CHURCH</h2> + + <h3>ST. CECILIA, ST. AGNES, ST. AGATHA, AND ST. LUCY</h3> +</div> + +<p><b>St. Cecilia.</b> <em>Fr.</em> Sainte Cécile. The name is the +same in Italian, German, and Spanish.</p> + +<p>St. Cecilia was of a noble Roman family, and +brought up in the Christian faith. She early took a +vow of chastity, shunning the pleasures of the world. +She excelled in music and sang with such heavenly +sweetness that angels came to listen to her. She +played on all instruments, but as none sufficed to +express the harmony which filled her soul, she invented +the organ and consecrated it to the service of God.</p> + +<p>When about sixteen her parents desired her to +marry Valerian, a young Roman, rich and of noble +birth. Cecilia accepted him, but beneath her bridal +robe she wore a coarse garment of penance and renewed +her vow of chastity; and by her eloquence persuaded +her husband Valerian not only to respect her vow, +but also converted him to the true faith, and he was +baptised by the aged St. Urban who, being persecuted +by the heathen, had sought refuge in the catacombs.</p> +<br> + +<figure class="figcenter illowp85" id="i_224" style="max-width: 51.125em;"> + <img class="w100" src="images/i_224.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + ST. CECILIA.—CARLO DOLCI<br> + (Dresden Gallery.) + </figcaption> +</figure> +<br> + +<p>Cecilia had told Valerian that she had a guardian +angel, and upon returning to her chamber, he heard +the most enchanting music and beheld the angel standing +near her, with two crowns of roses gathered in +<span class="pagenum" id="Page_224">[Pg 224]</span>paradise; with these the angel crowned them as they +knelt before him, and told Valerian that whatever he +asked for should be granted him. And Valerian +<span class="pagenum" id="Page_225">[Pg 225]</span>replied: “I have a brother named Tiburtius whom I +love as my own soul; grant that his eyes also may be +opened to the truth.” And the angel answered with a +heavenly smile, “Thy request, O Valerian, is pleasing +to God, and ye shall both ascend to His presence bearing +the palm of martyrdom,” and the angel vanished. +Soon after, Tiburtius entered the chamber and perceiving +the fragrance of the celestial roses, Cecilia +explained all to him and he, too, was converted, and +went straightway to St. Urban and was baptised. +And all three went about doing good.</p> + +<p>Soon after, they were denounced to the prefect as +Christians, and the two brothers were cast into prison. +They converted their jailer Maximus, who suffered +martyrdom with them, and Cecilia buried them together +in the cemetery of Calixtus. The prefect, +coveting the wealth of St. Cecilia, commanded her to +sacrifice to the gods, and when she refused, put her to +many tortures; finally ordering her to be thrown into +her own bath filled with boiling water. But she came +out unharmed, as though “she had bathed in a fresh +spring.” Then he ordered her to be beheaded, but +the hand of the executioner trembled so that he +inflicted three wounds in her neck, and fled. She +lived three days, praying and distributing all she +had to the poor, and died “singing with her sweet +voice praises and hymns to the last moments.” +She was buried by the side of her husband, and, according +to her wish, her house was consecrated as a +church. In the ninth century it was revealed to Pope +Paschal where she lay buried, and he had her remains, +also the remains of Valerian, Tiburtius, and Maximus, +<span class="pagenum" id="Page_226">[Pg 226]</span>deposited in her church, now St. Cecilia in Trastevere. +The little room containing her bath is now +a chapel.</p> + +<p>Until the beginning of the fifteenth century St. +Cecilia is seldom represented with her musical instruments. +She has the palm, and the crown of red +and white roses, and occasionally an attendant angel. +It is thus sometimes difficult to distinguish her from +St. Dorothea, who has also the palm, the crown of +roses, and the angel. But Dorothea usually carries a +book, while St. Cecilia when she has anything besides +the palm, carries a scroll of music. Then St. Dorothea, +besides roses on her head, frequently has them +in her hand, or in a basket. The angel with St. +Dorothea carries fruit and flowers in a basket. The +angel with St. Cecilia bears a garland, or some musical +instrument.</p> + +<p>When accompanied by musical attributes, St. +Cecilia is readily distinguished. She is richly dressed, +wearing jewels, with musical instruments near her +or sometimes playing the organ.</p> + +<p><b>St. Agnes.</b> <em>Lat.</em> Sancta Agnes. <em>Ital.</em> Sant’ Agnese. +<em>Spa.</em> Santa Inez. <em>Fr.</em> Sainte Agnes.</p> + +<p>“The blessed virgin S. Agnes was much wise and +well taught, as S. Ambrose witnesseth, and wrote +her passion. She was fair of visage, but much fairer +in the christian faith, she was young of age, and +aged in wit, for in the thirteenth year of her age she +lost the death that the world giveth, and found life +in Jesus Christ” (<em>The Golden Legend</em>).</p> +<br> + +<figure class="figcenter illowp85" id="i_227" style="max-width: 45.6875em;"> + <img class="w100" src="images/i_227.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + ST. AGNES.—SPAGNOLETTO<br> + (Dresden Gallery.) + </figcaption> +</figure> +<br> + +<p>The legend of St. Agnes is one of the oldest and most +authentic in the Christian Church, and except for the +<span class="pagenum"><a id="Page_227"></a><a id="Page_228"></a>[Pg 228]</span>evangelists and apostles there is no saint who is +earlier depicted in art.</p> + +<p>St. Agnes lived in Rome, and it happened that the +son of the prefect Sempronius fell violently in love +with her and desired to marry her, but Agnes refused. +He then brought her rich presents and promised her +all the delights of the world if she would consent to +be his wife. But again she rejected him, saying she +was betrothed to One greater than any earthly suitor. +On hearing these words the prefect’s son fell ill with +jealousy and disappointment.</p> + +<p>Now the prefect loved his son, and went weeping +to Agnes and to her parents and besought them to +accept him. But Agnes made to him the same answer. +Then the prefect found that she was a Christian, +and enraged against her, subjected her to the +most cruel tortures, but she remained firm. Then he +ordered the soldiers to drag her to a place of infamy +and “they stripped her of her garments; and when +she saw herself thus exposed, she bent down her head +in meek shame and prayed; and immediately her +hair, which was long and abundant, became like a +veil, covering her whole person from head to foot, +and those who looked upon her were seized with awe +and fear as of something sacred, and dared not lift +their eyes. So they shut her up in a chamber, and +she prayed that the limbs that had been consecrated +to Jesus Christ should not be dishonoured. And +suddenly she saw before her a white and shining +garment, with which she clothed herself joyfully. +And the whole place was filled with miraculous light.” +Her lover entered, and as he approached her, was +<span class="pagenum" id="Page_229">[Pg 229]</span>struck with blindness and fell lifeless. Agnes, melted +to compassion, prayed that he might be restored to +health, and her prayer was granted.</p> + +<p>Then Sempronius, moved to gratitude, would have +saved her, but the people clamoured for her death as a +sorceress. So fagots were heaped up and set on fire +and St. Agnes thrown in their midst, but the flames +were miraculously extinguished and she stood unharmed, +while the executioners around her were +slain by the fire. She was at length put to death by +the sword, and thus, looking steadfastly up to heaven, +she yielded up her pure spirit and fell bathed in her +own blood.</p> + +<p>Her parents carried her body to a cemetery outside +the city, and Christians assembled there day and night +to pray. One day as her parents and others were +praying by her sepulchre, “St. Agnes appeared before +them all radiant of aspect; by her side was a lamb +whiter than the driven snow.” She assured them of +her perfect happiness and begged them to rejoice +for her, and then vanished. Then the Christians +ceased mourning for her and felt joy and thanksgiving +instead.</p> + +<p>Her pictures abound in every form and every school +of art. As martyr she is seated, partly veiled, holding +her palm in the right hand, with the other embracing +her lamb. The lamb in later times is her +invariable attribute, as the patroness of maidens, and +maidenly modesty.</p> + +<p><b>St. Agatha.</b> <em>Ital.</em> Santa Agata. <em>Ger.</em> Die Heilige +Agathe. <em>Fr.</em> Sainte Agathe.</p> + +<p>A certain Christian maiden whose name was +<span class="pagenum" id="Page_230">[Pg 230]</span>Agatha lived in the city of Catania, in Sicily. The +Emperor Decius, who had strangled his predecessor +Philip, reigned at that time, and sent his creatures +throughout the empire to oppress and persecute the +Christians. To Sicily he sent his emissary Quintianus, +and made him king over the whole island.</p> + +<p>Quintianus had not reigned long in Sicily when he +heard of the great beauty of the maiden Agatha, and +sent to have her brought before him; and tried to +tempt her with presents, and flatteries; but she rejected +him with disdain. Then Quintianus sent for a +courtesan named Frondisia, who had nine daughters +more wicked and abandoned than herself, and he +delivered Agatha into their hands, saying, “Subdue +this damsel to my will, and I will give ye great riches.”</p> + +<p>Failing in this, because Agatha’s heart was fixed +as firm as a rock in the faith of Jesus Christ, Quintianus +sent for her again, and upon her refusal to +abjure Christ, he ordered her to be most cruelly tortured, +and then she was thrown into a dungeon and +here St. Peter himself ministered unto her.</p> + +<p>She was again brought before Quintianus, and after +suffering many further tortures, her prayers were +heard, and her pure spirit ascended to heaven.</p> + +<p>When represented as patron saint either alone or +grouped with others, St. Agatha bears in one hand +the palm and in the other a dish or salver on which +is a human breast, in allusion to the tortures inflicted +upon her. The shears, as instrument of her martyrdom, +are sometimes in her hand or beside her. When +she wears the crown it is as the bride and martyr of +Christ.</p> + +<p><span class="pagenum" id="Page_231">[Pg 231]</span></p> + +<p><b>St. Lucy.</b> <em>Ital.</em> St. Lucia. <em>Fr.</em> Sainte Luce, or Lucie.</p> +<br> + +<figure class="figcenter illowp85" id="i_231" style="max-width: 50.375em;"> + <img class="w100" src="images/i_231.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + SANTA LUCIA.—CARLO DOLCI<br> + (Uffizi, Florence.) + </figcaption> +</figure> +<br> + +<p>Lucia was born in Syracuse, and dwelt there in the +time of the wicked Diocletian, who sent one of his +<span class="pagenum" id="Page_232">[Pg 232]</span>creatures, Pascasius, to be governor of Sicily. She +was a Christian and had made a secret vow of chastity, +but was betrothed at fourteen, against her will, to a +pagan youth of great wealth. Her mother, being +afflicted with a grievous malady, was induced by +Lucia to go on a pilgrimage to the shrine of St. Agatha, +which accordingly they did, and while praying beside +the tomb, Lucia beheld a vision of St. Agatha, who +appeared to her surrounded by angels, and said: +“Well art thou called Lucia, who art indeed a light +and mirror to the faithful,” and assured her that her +prayers were heard and her mother healed.</p> + +<p>Then Lucia persuaded her mother to permit her to +remain unwed, and to give her dowry to the poor. +When her lover heard this, in his rage he denounced +her as a Christian. The governor ordered her to +sacrifice to the gods, but she refused, and he then commanded +that she be dragged to a place of shame, +but when they tried to seize her she became +immovable, and neither men, nor oxen with ropes, +nor magicians could stir her from the spot.</p> + +<p>Then a great fire was kindled around her, but she +prayed and it did not harm her. Then one of the +servants of Pascasius, to do him pleasure, pierced her +throat with a sword or poniard.</p> + +<p>The method employed by some of the early painters +to express her name Lucia, <em>light</em>, by the emblem of an +eye or eyes placed near her, seems to have occasioned +the legend of the loss of her eyes, another instance of +a symbol being converted into a fact, and a story +invented to explain it.</p> + +<p>The later legend relates that one of her suitors +<span class="pagenum" id="Page_233">[Pg 233]</span>protested that he pursued her because of her beautiful +eyes, and Santa Lucia, recalling the words, “If +thine eye offend thee, pluck it out,” cut out her eyes +and sent them to her lover on a dish, and the youth, +full of remorse, became a Christian and her eyes were +miraculously restored to her.</p> + +<p>Devotional pictures of St. Lucia bearing her eyes +on a dish are often met with. As her eyes were +bored out with an awl, she often carries an awl in her +hand. When she stands with her lamp, she is the +type of celestial light and wisdom, the character +given to her by Dante. Sometimes she has a sword +or poniard in her neck—or a wound in her neck from +which rays of <em>light</em> proceed, in allusion to her name.</p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_234">[Pg 234]</span></p> + + + <h2 class="nobreak" id="XIX-LEGENDS_OF_THE_SAINTS_MOST"> + XIX.—LEGENDS OF THE SAINTS MOST + FREQUENTLY FOUND IN ART + </h2> +</div> + + +<p><b>St. Stephen.</b> Protomartyr. <em>Lat.</em> St. Stephanus. +<em>Ital.</em> San Stefano. <em>Ger.</em> Der Heilige Stefan. <em>Fr.</em> +St. Étienne.</p> + +<p>“And St. Stephen shone in beauty of body, in +flower of age, in fair speech of reason, wisdom of +holy thought, in works of divinity.”</p> + +<p>Little has been added to the brief account of St. +Stephen given in the sixth and seventh chapters of the +Acts of the Apostles. His name is held in the highest +honour as the first one who died for his faith in Christ. +He was made a deacon during the ministry of Peter +and before the conversion of Paul. He was accused +of speaking blasphemously of the Temple and the +Jewish law, and for this was condemned to death, and +stoned by a mob outside the city gates.</p> + +<p>In devotional pictures, the figure of St. Stephen +occurs repeatedly. He is represented young, and of +a mild and beautiful countenance wearing the rich +dress of a deacon; the dalmatica, usually crimson in +colour, and covered with embroidery. He bears the +palm as protomartyr. His <em>peculiar</em> attribute, the +stones, are in his hand or in his drapery, or on his +head and shoulders, or lying at his feet; or sometimes +on the Scriptures, signifying that he suffered for the +Gospel.</p> + +<p><span class="pagenum" id="Page_235">[Pg 235]</span></p> + +<p><b>St. Laurence.</b> <em>Lat.</em> S. Laurentius. <em>Ital.</em> San +Lorenzo. <em>Fr.</em> St. Laurent. <em>Ger.</em> Der Heilige +Laurentius or Lorenz.</p> + +<p>Nothing authentic is known of the early life of this +saint, who is honoured in Rome next to St. Peter +and St. Paul. He was a Spaniard of Huesca, Aragon, +and came to Rome while very young. “He walked +so meekly and so blamelessly before God,” that Sixtus +II., Bishop of Rome, made him his archdeacon, and +put him in charge of the treasures of the Church. +When Sixtus was denounced as a Christian and led +away to death, Laurence wished to die with him, but +the holy bishop told him that in three days he would +follow him, and that his battle would be harder, his +torments longer and more severe than his; and he +bade him distribute all the treasures of the Church +to the poor, that they might not fall into the hands +of the tyrant. Thus comforted, St. Laurence sought +the poor and the sick, the naked and the hungry, +and he washed the feet of the Christians and gave +them alms. “In this manner he went from one +dwelling to another, consoling the persecuted, and +dispensing alms, and performing works of charity and +humility. Thus he prepared himself for his impending +martyrdom.”</p> + +<p>The prefect, hearing that the treasures of the +Church were in his care, demanded them, and St. +Laurence brought all the poor and the sick whom he +had helped, before the prefect, and said, “Behold the +treasures of Christ’s Church!” The prefect, in fury, +thinking that he mocked him, ordered him tortured +and cast into a dungeon, in charge of Hippolytus, +<span class="pagenum" id="Page_236">[Pg 236]</span>whom, with his whole family, he converted and who +afterwards suffered martyrdom. When the prefect +found he could not subdue him, “he ordered a torture +more strange and cruel than ever entered into the +heart of a tyrant to conceive.” He had him stretched +on a sort of iron bed formed of iron bars in the manner +of a gridiron, and a fire lighted beneath, and he was +roasted alive. And all wondered at a cruelty that +would “condemn to such torments a youth of such +fair person, and courteous and gentle bearing, and +all for lust of gold.” In the midst of these torments +St. Laurence said to the tyrant, “Seest thou not that +I am already roasted on one side and if thou wouldst +have me well cooked it is time to turn me on the +other?”</p> + +<p>Hippolytus buried his remains in the Via Tiburtina +and Constantine built the church known as +<em>San Lorenzo fuori le Mura</em> on the spot. The common +people of Rome gave him the title of <em>Il cortese Spagnolo</em>—“the +courteous Spaniard”—because when they +opened his sarcophagus two hundred years after his +death and lowered into it the body of St. Stephen, +St. Laurence moved on one side, giving the place of +honour on the right to St. Stephen.</p> + +<p>St. Laurence is constantly represented in devotional +pictures, and like St. Stephen and St. Vincent he +wears the rich dress of the deacon and has the palm as +martyr. He is unmistakable, when he bears his +peculiar attribute, the gridiron (<i lang="it" xml:lang="it">la graticola</i>), which +varies in form. When it is the common kitchen +utensil, it is no longer an attribute, but simply an +emblem of the death he suffered. Sometimes a +<span class="pagenum" id="Page_237">[Pg 237]</span>small gridiron is suspended around his neck, or he +holds it in his hand, or it is embroidered on his robe. +Occasionally it is omitted and he carries a dish full +of gold and silver, representing the treasures of the +Church, or he swings a censer, or carries a cross. He +is always pictured young.</p> + +<p><b>St. Vincent.</b> <em>Lat.</em> S. Vincentius Levita. <em>Ital.</em> San +Vincenzio Diacono, San Vincenzino.</p> + +<p>St. Vincent was born in Saragossa in the kingdom +of Aragon. During the persecution under Diocletian, +the proconsul Dacian caused all the Christians of +Saragossa to be massacred. At this time lived St. +Vincent. He had been early taught in the Christian +faith, and although barely more than twenty, he +was already a deacon. The dangers and sufferings +of the Christians only aroused his sympathy and +zeal; and he encouraged and sustained many of his +brethren in the torments inflicted upon them. When +he and his aged bishop were brought before the tribunal +to answer the charge of being Christians, the +latter spoke in so feeble a voice that St. Vincent took +the words from his lips, proclaiming his faith loudly +and defying his persecutors.</p> + +<p>Upon him, for this, were inflicted the most inhuman +and barbarous tortures that cruelty could invent. +The young saint endured them unflinchingly. His +body was lacerated with iron forks, and when left +torn and bleeding angels came to comfort him. The +proconsul, after St. Vincent’s death, ordered his body +to be thrown to the wild beasts, but God sent a raven to +guard his sacred remains, and when a wolf approached +to devour them the raven obliged it to retire.</p> + +<p><span class="pagenum" id="Page_238">[Pg 238]</span></p> + +<p>Furious at this, Dacian commanded his minions +to sew up in an ox-hide——as was done to parricides——the +body of the holy martyr, and to throw it into the +sea. Placing it thus in a bark, they rowed far out to +sea, and flung it, attached to a millstone, overboard. +But, to their astonishment, upon returning immediately +to land, they found that the body of St. Vincent +had preceded them and was lying on the sand. They +fled terrified, and the waves of the sea, by the command +of God, hollowed a tomb for him in the sands, +where he lay protected from all harm, hidden from +all human knowledge, until after many years the +spot was miraculously revealed to certain Christians, +who brought his body to Valencia and buried it there.</p> + +<p>The Christians of Valencia, obliged to flee from the +Moors in the eighth century, carried with them the +remains of St. Vincent. Their vessel was driven by +the winds onto a promontory, ever since called the +Cape of St. Vincent. The body of St. Vincent +remained there—again guarded by ravens—until it +was removed to Lisbon by Alonzo I., about 1147. +On this journey two ravens piloted the ship, one +at the prow and the other at the stern. “Thus +after many wanderings the blessed St. Vincent +rested in the Cathedral of Lisbon; and the +crows which accompanied him, having multiplied +greatly, rents were assigned to the chapter for their +support.”</p> + +<p>This renowned saint is very popular in Spain, +the scene of his legend, and has been since the +sixth century one of the most venerated saints in +France.</p> + +<p><span class="pagenum" id="Page_239">[Pg 239]</span></p> +<br> + +<figure class="figcenter illowp85" id="i_239" style="max-width: 23.375em;"> + <img class="w100" src="images/i_239.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + ST. ANTHONY.—PALMA VECCHIO<br> + (Church of S. Maria Formosa, Venice.) + </figcaption> +</figure> +<br> + +<p><span class="pagenum" id="Page_240">[Pg 240]</span></p> + +<p>In art, it is sometimes hard to distinguish St. Vincent +from St. Stephen and St. Laurence. He, too, +is young and beautiful, wears the deacon’s robes, and +carries the palm. His peculiar attribute, however, +is a crow or raven, sometimes perched upon a millstone. +Occasionally the iron fork—instrument of +his martyrdom—is introduced. In Italian pictures +he rarely has any attribute except the palm, while St. +Laurence and St. Stephen are rarely without their +respective symbols, the gridiron and the stones.</p> + +<p>St. Vincent is often pictured in art with St. +Laurence.</p> + +<p><b>St. Anthony</b>, Hermit. <em>Ital.</em> Sant’ Antonio Abbate, +or l’Erémita. <em>Fr.</em> St. Antoine l’Abbé. <em>Ger.</em> Der +Heilige Anton, or Antonius.</p> + +<p>Anthony was born in Alexandria, Egypt. His parents +died when he was eighteen and left him a noble +name, great riches, and an only sister. He was +imperfectly educated, knowing no language but his +native Egyptian, and was a constant attendant on +Christian worship. He had been of a melancholy +disposition from childhood, and feared the temptations +of the world and the responsibilities of his possessions. +One day he heard the sentence, “Go, sell +all thou hast, and give to the poor ... and come +and follow me.” He took this as a message from +heaven, and divided his wealth with his sister, gave +his share to the poor, and withdrew to the desert, +where dwelt a company of hermits.</p> + +<p>Here he lived a life of such sanctity and self-denial +that he was the admiration and wonder of all; and +Satan, displeased at such amazing virtue, sent his +<span class="pagenum" id="Page_241">[Pg 241]</span>demons to tempt him.⁠<a id="FNanchor_9_9" href="#Footnote_9_9" class="fnanchor">[9]</a> They whispered to him +of all that he had sacrificed for this weary life of perpetual +rigour and self-denial, but the saint prayed till +the demon ceased.</p> + +<p>Then Satan had recourse to stronger weapons, and +clothed his demons in human forms: they plied him +with delicious food, and hovered around him as +beautiful women trying to allure him to sin. But +St. Anthony resisted these temptations, and in anguish +fled to a cave farther in the desert, where he +lived alone and fasted more rigorously than ever.</p> + +<p>But Satan followed him even here and now tortured +him with pain, and tried to “affright him with all the +terrors that can overwhelm the soul of man,” but +in the midst of all these appalling shapes and sounds, +suddenly there shone from heaven a great light which +fell upon Anthony, and all these terrors vanished at +once, and he arose unharmed and strong to endure. +And he said, looking up, “O Lord Jesus Christ, where +wert thou in those moments of anguish?” And +Christ answered, “Anthony, I was here beside thee, +and rejoiced to see thee contend and overcome. Be of +good heart; for I will make thy name famous through +all the world.”</p> + +<p>When Anthony had lived in the desert seventy-five +years, “his heart was lifted up by the thought that +no one had lived so long in solitude and self-denial +as he had done.” But in a vision a voice said to +him, that there was one holier than he, for Paul the +<span class="pagenum" id="Page_242">[Pg 242]</span>hermit had served God in solitude and penance for +ninety years. Anthony resolved to seek Paul, and +on the third day he came to a cavern overhung with +rocks, with a palm tree, and a fountain flowing near, +and there he found Paul. And while they talked +there came a raven carrying in his beak a small loaf, +which he let fall between them, and Paul blessed the +goodness of God, and said: “For sixty years, every +day hath this raven brought me half a loaf; but because +thou art come, my brother, lo! the portion is +doubled, and we are fed as Elijah was fed in the +wilderness.”</p> + +<p>Then Paul told St. Anthony that God had sent him +to receive his last breath, and to bury him; and bade +him return to his dwelling for the cloak given him by +the holy Bishop Athanasius, and to wrap him in it +and to lay him in the earth. Weeping, St. Anthony +went to his monastery, took down the cloak, and +returned as fast as his aged limbs would permit, and +found Paul dead in his cave. Wrapping him in the +cloak, he thought how he might bury him, for he had +no strength to dig a grave and behold, two lions came, +and by their roaring expressed their sympathy, and +began to dig in the sand with their paws, and in a short +time had dug the grave in which Anthony reverently +laid the body of Paul. After this, Anthony lived +fourteen years, and died aged one hundred and five.</p> + +<p>Figures of St. Anthony occur frequently, and are +easily recognised. He wears the monk’s habit and +cowl, usually black or brown, and in Greek pictures +the letter T, always blue, is on the left shoulder or +on the cope. Anthony and his monks bear the T from +<span class="pagenum" id="Page_243">[Pg 243]</span>the Greek word <em>Theos</em>, God, signifying, “These are +they which follow the Lamb whithersoever he goeth. +These were redeemed from among men, and in their +mouth was found no guile, for they are without fault +before the throne of God.”</p> + +<p>The crutch given St. Anthony indicates his age +and feebleness. The bell is given him because he had +the power to exorcise evil spirits. The devil, according +to Durandus, cannot endure the sound of a +consecrated bell. The asperges—the rod for sprinkling +holy water—as an instrument of exorcism, was +also given St. Anthony. The hog represents the +demon of sensuality and gluttony which St. Anthony +overcame. Flames of fire placed near him, or a city +or house burning in the background, signify his spiritual +aid as patron saint against fire in this world and +in the next. He is found with one or more of these +attributes alone or in Madonna pictures.</p> + +<p>In historical pictures the <em>Temptation of St. Anthony</em> +is the most common subject.</p> + +<p>The legend of St. Paul the hermit is interwoven +with that of St. Anthony. He is represented in +devotional pictures as extremely old and wasted; his +legs and arms bare; beard and hair white and very +long; garbed only in a mat of palm leaves. When a +raven is introduced, bringing him food, it is only by +his dress of plaited leaves and his attenuated and +aged appearance that St. Paul can be distinguished +from Elijah in the wilderness. He does not often +appear in Madonna pictures or grouped with other +saints, but is usually alone, seated upon a rock, in +deep meditation.</p> + +<p><span class="pagenum" id="Page_244">[Pg 244]</span></p> + +<p><b>St. Benedict.</b> <em>Ital.</em> San Benedetto. <em>Fr.</em> Saint +Benoit. <em>Spa.</em> San Benito.</p> + +<p>St. Benedict was born about 480 in Norcia, a small +town in the duchy of Spoleto. He came of noble +family and was sent to Rome to study. But even +as a boy, he became disgusted with the profligacy of +the times, and this, added to the religious enthusiasm +of the age, drove him into a hermitage at fifteen. His +nurse, who had been with him from infancy, followed +him, and insisted upon waiting upon him and cooking +for him. Feeling that his penance was not severe +enough while thus looked after, St. Benedict secretly +fled from his nurse and took refuge in a cave in +Subiaco, a wilderness about forty miles from Rome, +where he lived three years, supplied with bread and +water by a hermit named Romano.</p> + +<p>Here he experienced many temptations. Memories +of a beautiful Roman woman haunted his imagination, +and the desire to rush from his solitude and seek +her was well nigh irresistible. But, believing that +these thoughts came from Satan to try him, he flung +himself naked into a thicket of briars and nettles, +which so lacerated and stung the flesh that the temptation +vanished, never to return.</p> +<br> + +<figure class="figcenter illowp85" id="i_245" style="max-width: 44.6875em;"> + <img class="w100" src="images/i_245.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + ST. BENEDICT.—HANS MEMLING<br> + (Uffizi, Florence.) + </figcaption> +</figure> +<br> + +<p>His fame spread, and people came from all over and +begged for his prayers and brought their sick to be +healed. He yielded to persuasion and became head +of a monastery near by, but the strictness of his life +filled the monks, who had grown lax, with dismay, +and one tried to poison him in a cup of wine. But +St. Benedict blessed it as usual and made the sign +of the cross, and the cup fell broken, with its contents +<span class="pagenum"><a id="Page_245"></a><a id="Page_246"></a>[Pg 246]</span>spilled. He then left them and returned to his cave +in Subiaco. There crowds gathered in huts and cells, +attracted by the fame of his sanctity and miracles. +At length he had built twelve monasteries, in each +of which he placed twelve disciples with a superior +over them.</p> + +<p>Two Roman senators brought him their sons, +Maurus and Placidus, to be educated. St. Benedict +devoted himself to their care and they became his +most famous disciples. (St. Maurus founded a +monastery in France, and St. Placidus was sent to +Sicily, where he and his young sister Flavia were +martyred.) His community became celebrated for +brotherly love and charity, until jealousy crept in +and one priest, named Florentius, tried to blacken +the name of St. Benedict. He also tried to corrupt +the monks by introducing seven young women into +one of the monasteries. He then attempted to kill +St. Benedict by means of a poisoned loaf, but Benedict +suspected treachery and gave the loaf to a tame +raven, who carried it away. Then St. Benedict left +Subiaco, but had scarcely gone when a messenger +came to him with word that his enemy had been +crushed to death by the falling of a gallery in his house.</p> + +<p>Hearing of a temple on Monte Cassino, not far +from Rome, where the people performed pagan rites +to Apollo, Benedict repaired thither, and by his +preaching converted the people and persuaded them +to break the statue and throw down the altar. He +built two chapels here, and higher up on the mountain +established the first monastery of the Benedictine +Order. He here gave the famous Rule that became +<span class="pagenum" id="Page_247">[Pg 247]</span>the general law for monks in Western Europe, and +consisted of the three vows of poverty, chastity, +and obedience, to which St. Benedict added that of +manual labour for seven hours a day, and vows +perpetual after a novitiate of one year.</p> + +<p>His sister, St. Scholastica, followed her brother to +Mt. Cassino with a small company of pious women, +and he was wont to visit her once a year. On his +last visit, refusing to listen to his sister’s pleadings +that he remain longer with her, she prayed that +heaven might interfere, and immediately there came a +furious storm, which delayed his departure several +hours. St. Scholastica died two days later, and as +St. Benedict was praying in his cell, he beheld the +soul of his sister ascending to heaven in the form of a +dove. This scene is often represented in pictures for +the Benedictine nuns.</p> + +<p>St. Benedict died March 21, 543, and it would take +volumes to relate all the miracles attributed to him.</p> + +<p>He is difficult to distinguish in art, because he is +often represented wearing the <em>white</em> habit, whereas +the habit of the order was <em>black</em>. In white it is easy +to confuse him with St. Bernard, St. Bruno, or St. +Romualdo, and in black, for St. Anthony, so one +must look for more characteristic attributes.</p> + +<p>In pictures for Benedictine churches, which depend +on Mt. Cassino and Subiaco, and in single devotional +pictures, he wears the black habit with hood: as +patriarch of the Reformed Benedictines of Clairvaux, +Citeaux, Camaldoli, or Vallombrosa, the <em>white</em> habit. +Sometimes beardless, more often long white beard. +As Abbot of Mt. Cassino he sometimes carries the +<span class="pagenum" id="Page_248">[Pg 248]</span>staff and mitre; frequently holds an open book. Like +other saints who have resisted temptation, he carries +the asperges—the rod for sprinkling holy water—here +an emblem of purity or holiness by which he +conquered. The thorn bush is an attribute, showing +the means whereby he conquered. A pitcher of +wine or broken cup on a book expresses the attempt +to poison him, also the raven with loaf of bread with +serpent creeping from it. When a nun in black habit +is introduced with St. Benedict, or stands alone with a +lily in her hand and a dove at her feet or pressed to +her bosom, it is St. Scholastica. When grouped with +his two disciples, Maurus and Placidus, they all wear +the black habit, or St. Benedict appears as abbot +and the others as deacons, wearing the dalmatica +over the black tunic. St. Maurus holds a book or a +censer, and St. Placidus carries the palm as martyr.</p> + +<p><b>St. Bernard of Clairvaux.</b> <em>Lat.</em> Sanctus Bernardus. +<em>Ital.</em> San Bernardo di Chiaravalle, Abbate. <em>Ger.</em> +Der Heilige Bernhard.</p> + +<p>Bernard was born at Fontaines, near Dijon, in 1091. +Both parents were of noble family, and his mother, +a highly gifted woman, superintended his early +education. His personal beauty was very great, but +his health was always delicate and he practised +extreme self-denial from an early age. His thirst for +knowledge was amazing, and after studying at the +University of Paris, he entered the Reformed Benedictine +monastery of Citeaux. The Abbot of Citeaux +saw qualities in Bernard which convinced him that he +would be the proper head of a new foundation, and in +the year 1115 he sent him forth with twelve other +<span class="pagenum" id="Page_249">[Pg 249]</span>monks to found another Cistercian monastery. Bernard +led them to a wilderness called the “Valley +of Wormwood,” and there built the famous abbey +of Clairvaux.</p> +<br> + +<figure class="figcenter illowp85" id="i_249" style="max-width: 57.875em;"> + <img class="w100" src="images/i_249.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + THE MADONNA APPEARING TO ST. BERNARD.—FILIPPINO LIPPI<br> + (Church of the Badia, Florence.) + </figcaption> +</figure> +<br> + +<p>Bernard became known throughout the Christian +world, and was appealed to by feudal lords and +<span class="pagenum" id="Page_250">[Pg 250]</span>ecclesiastics alike. He was an authority on all subjects, +and his decisions were received with perfect +submission. He was commissioned by Eugenius III. +to preach a second crusade. Only a remnant returned +from the ill-starred expedition, and the people +turned on Bernard with sudden hatred. But he +defended himself with such eloquence that their rage +vanished. He affirmed boldly that they had been +punished for their sins, and bade them go home and +repent, which they did.</p> + +<p>His bitter religious controversies with Abelard +will be recalled.</p> + +<p>He died in his sixty-third year at Clairvaux, where +he had been abbot thirty-eight years, and was canonised +twenty years later by Pope Alexander III. +No man of his age had greater renown nor fills a +larger place in the history of that age. His reputation +rests on the integrity of his character, his eloquence as +a preacher, his remarkable executive ability, and his +skill as a writer.</p> + +<p>In devotional pictures St. Bernard is represented +as a monk in the white habit of the Cistercian Order, +with shaven crown, little or no beard, carrying a large +book under his arm, or presenting books to the +Madonna, or with writing implements before him. +Other attributes are the demon—signifying heresy—fettered +behind him; sometimes three mitres on +his book or at his feet signifying the three bishoprics +he refused—those of Chartres, Spires, and Milan; +also the beehive as symbol of eloquence in common +with Chrysostom and Ambrose.</p> +<br> + +<figure class="figcenter illowp85" id="i_251" style="max-width: 47.5em;"> + <img class="w100" src="images/i_251.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + ST. FRANCIS OF ASSISI.—SIMONE MARTINI<br> + (Church of S. Francesco, Assisi.) + </figcaption> +</figure> +<br> + +<p><em>The Vision of St. Bernard</em> has been charmingly +<span class="pagenum"><a id="Page_251"></a><a id="Page_252"></a>[Pg 252]</span>rendered in art. The subject is mystical and devotional. +St. Bernard’s most celebrated writings were +devoted to the honour and glory of the Blessed Virgin +who, in consequence, regarded him with peculiar +favour, and it is related that once when he was writing +his homilies he was so ill he could hardly hold his +pen, and behold! she appeared to him and comforted +and restored him by her gracious presence.</p> + +<p><b>St. Francis of Assisi.</b> <em>Lat.</em> Sanctus Franciscus, +Pater Seraphicus. <em>Fr.</em> Saint François d’Assise. +<em>Ital.</em> San Francesco di Assisi.</p> + +<p>St. Francis was the founder of the Franciscans, one +of the three Mendicant Orders of Friars. He was +born in Assisi in 1182. His father, Pietro Bernardone, +was a wealthy merchant. The son was taught +French, and spoke it with such ease that his companions +changed his baptismal name of Giovanni to +<em>Francesco</em>—the Frenchman—by which he was ever +afterwards known. In his youth he was remarkable +for his extravagance and excessive love of pleasure. +But he was kind and generous, and beloved by all. +In a quarrel between the inhabitants of Perugia and +Assisi he was taken a prisoner, and detained for a +year in the fortress of Perugia.</p> + +<p>After his return home, he was ill for many months, +and his thoughts constantly turned from this world +to God. Upon his recovery, he met a beggar in filthy +rags, who asked him for alms. St. Francis recognised +him as a former noble, who had commanded the +expedition against Perugia, and exchanged his own +rich apparel with him who was now a mendicant, +putting on the other’s tattered garments. Going +<span class="pagenum" id="Page_253">[Pg 253]</span>into a church that was falling into ruin, to pray, he +heard in his soul a voice saying, “Francis, repair +my church, which falleth into ruin.” Taking these +words literally, he sold merchandise of his father’s, and +brought the money to the priests of the church. This +put his father in a rage, and thinking him mad, he +first locked him up in his chamber, but as he still +persisted in his ideas, he took him before the bishop. +Here Francis tore off his garments and flung them to +his father, saying, “Henceforth I recognise no father +but him who is in heaven.” The bishop, touched and +weeping with admiration, took a coarse cloak from +a beggar who stood by and gave it to him. Francis +received it gladly, as the first fruit of that poverty +to which he had given himself. He was now twenty-five +years old, and from this time forth he went about +preaching charity, humility, and self-abnegation, +existing only on alms.</p> + +<p>It was a period in the history of the world of great +mental and moral excitement. St. Francis was the +living expression of an awakening emotion in the +minds and hearts of the people, and his example was +imitated with passionate enthusiasm by an immense +number of followers. He made the first condition of +their joining him absolute poverty. Hence the allusion +to his marriage with the Lady Poverty.</p> + +<p>He went to Rome to obtain the pope’s sanction for +his order, and was at first repulsed as a visionary +enthusiast. But the pope in a dream that night +beheld the walls of the Lateran tottering and about to +fall, then he saw the weight of the whole Church borne +and sustained on the shoulders of him who had +<span class="pagenum" id="Page_254">[Pg 254]</span>approached him in the morning. Greatly impressed +by this, he sent for Francis, confirmed the rule of his +order, and gave him power to preach. Returning +then to his cell called the <i lang="it" xml:lang="it">Porzioncula</i>, Francis +gathered his followers about him, gave to his order +the name of <i lang="la" xml:lang="la">Frati Minori</i>, and established his Rule +with its three vows of Poverty, Chastity, and +Obedience.</p> + +<p>Previous to this, at mass one day he heard the text +from St. Luke (ix., 3): “Take nothing for your journey, +neither staves nor scrip, neither bread, neither money, +neither have two coats apiece”; and looking upon +this as an ordinance it became the rule of his life. He +was already barefoot and wretchedly clad, begging +his food wherever he happened to be. There was +nothing he could do without, except his leathern +girdle. This he threw away, substituting one of +hempen cord, which was adopted by his followers. +These have thence been called the <i lang="fr" xml:lang="fr">Cordeliers</i>.</p> + +<p>St. Francis’s life was one of continual prayer and +self-inflicted penance. So gentle and tender and +compassionate was he that “when he found worms or +insects in his road he was careful not to tread upon +them.” He loved all animals and was accustomed +to call all living things his brothers and sisters. He +interpreted literally the text “Go ye into all the +world, and preach the gospel to every creature,” and +Giotto has painted St. Francis preaching to the birds.</p> +<br> + +<figure class="figcenter illowp85" id="i_255" style="max-width: 41.75em;"> + <img class="w100" src="images/i_255.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + ST. CLARA.—SIMONE MARTINI<br> + (Church of S. Francesco, Assisi.) + </figcaption> +</figure> +<br> + +<p>We are told that he suffered from sickness, pain, and +weakness and wept so much that he nearly became +blind. It is also related that, having fasted in his cell +on Mt. Alverna for forty days, passing the time in +<span class="pagenum"><a id="Page_255"></a><a id="Page_256"></a>[Pg 256]</span>prayer and ecstatic contemplation, he beheld in a +vision a seraph with six shining wings, and between +his wings he bore the form of a man crucified. When +the vision disappeared and he awoke, St. Francis +found that he had received the <em>stigmata</em>, and ever +after it was seen that he carried in his hands, his feet, +and his side the wounds of our Saviour. He died in +1226 and was canonised by Pope Gregory IX. in 1228.</p> + +<p>St. Francis is more frequently represented in art +than any other saint, and is nearly always unmistakable. +He may be distinguished by his habit, which +is grey or dark brown, girded by a hempen cord. +He bears the stigmata in his hands and feet and is +often portrayed in the act of opening his tunic to +display the wound in his side. The stigmata distinguishes +him from all other saints wearing the same +habit. Sometimes he has the crucifix and the skull. +The lamb and the lily are also given him as symbols +of meekness and purity. When St. Francis and St. +Dominick are pictured together the crucifix is given +to the former and the lily to St. Dominick.</p> + +<p><b>St. Clara.</b> <em>Ital.</em> Santa Chiara. <em>Fr.</em> Sainte Claire.</p> + +<p>St. Clara was born in Assisi of noble parents, who +desired her to marry; but, inspired by the example of +St. Francis, she fled to him for counsel, and he advised +her to renounce the world. She took refuge +in the convent of San Paolo, whither her kinsmen +pursued her, and in vain tried to drag her away. +Soon after, her younger sister, Agnes, and other ladies +of high rank joined her, and finally her mother, and +thus was formed the Order of “Poor Clares,” Franciscan +nuns, who followed the Rule of St. Francis, in +<span class="pagenum" id="Page_257">[Pg 257]</span>all its austerity. A lifelong friendship existed between +St. Clara and +St. Francis, and he +invariably turned to +her for consolation +in those periods of +despondency which +afflicted his soul.</p> + +<figure class="figright illowp35" id="i_257" style="max-width: 29.1875em;"> + <img class="w100" src="images/i_257.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + ST. ANTHONY OF PADUA.—SCHOOL + OF GIOTTO<br> + (Basilica of S. Antonio, Padua.) + </figcaption> +</figure> + +<p>At one time, when +the Saracens attacked +the convent +of San Damiano, and +the nuns were filled +with terror and despair, +St. Clara, who +had been bed-ridden, +arose, took from the +altar the pyx containing +the Host, +placed it on the +threshold, and kneeling +began to sing, +“Thou hast rebuked +the heathen,” etc., +whereupon the barbarians, +panic-stricken, +fled. The +fame of this miracle +spread, so that people +came from far +and wide to obtain the prayers and intercession of +Clara. The pope himself visited her, and solemnly +<span class="pagenum" id="Page_258">[Pg 258]</span>confirmed the Rule of her order. At the age of +sixty, she expired in a kind of trance in which she +heard angels’ voices calling her. She was canonised +in 1256.</p> + +<p>When she carries the palm it is not as martyr, but +is the palm of victory over suffering. She bears the +lily, and is distinguished from other saints with the +same emblem by her grey habit and the cord of St. +Francis. In devotional pictures she is young and +beautiful. She wears the habit of her order—the +grey tunic, the knotted girdle, and the black veil. +Her peculiar attribute is the pyx, containing the Host, +in allusion to the miraculous deliverance from the +Saracens.</p> + +<p><b>St. Anthony of Padua.</b> <em>Lat.</em> Sanctus Antonius +Thaumaturgus. <em>Spa.</em> San Antonio de Padua. <em>Ital.</em> +Sant’ Antonio di Padova, Il Santo.</p> + +<p>St. Anthony was completely imbued with the spirit +of St. Francis, and his popularity in religious art is +nearly as great. He was a Portuguese by birth, +and having entered the Franciscan Order, went to +Morocco as a missionary, but became very ill there, +and was obliged to return to Europe. Contrary +winds drove him to the coast of Italy, and he came to +Assisi when St. Francis was holding the first General +Chapter of his Order.</p> + +<p>St. Anthony’s learning and ability made him of +great value to St. Francis as a coadjutor, and for some +time he taught divinity in the universities of Paris, +Toulouse, Bologna, and Padua, but finally gave up +teaching altogether to become a preacher to the people. +Owing to his persuasive eloquence and skill in +<span class="pagenum" id="Page_259">[Pg 259]</span>argument, crowds came to hear him wherever he +went, and his followers have ascribed many miracles +to him, before and after his death. He died in his +thirty-sixth year, and the next year was canonised +by Pope Gregory IX., and the magnificent church at +Padua was begun in his honour.</p> + +<p>In art he is a young man with a mild, melancholy +countenance, without beard, and wearing the habit +and cord of St. Francis. His usual attributes are +the lily and the crucifix—the lily sometimes twined +around the crucifix. In pictures of the Siena school +he holds in his hand a flame of fire, symbol of his +ardent piety. He is often pictured as caressing the +Infant Christ, who is seen standing on his book, or he +holds Him in his arms. It is related that at one time +as he was explaining to his hearers the mystery of the +Incarnation the form of the Infant Christ descended +and stood upon his book. This is called the “Vision +of St. Anthony of Padua,” and is often represented +in art.</p> + +<p>The legend of the mule is one of the most popular +miracles of St. Anthony and is a frequent subject for +pictures painted for the Franciscan churches. Bovadilla, +a heretic, doubting the real presence in the +sacrament, demanded of St. Anthony a miracle in +proof of this favourite dogma of the Church. St. +Anthony saw Bovadilla’s mule, and commanded it +to fall on its knees as he carried the Host in procession. +The mule obeyed instantly, and in spite +of its master’s efforts to tempt it aside by a sieve +full of oats, remained kneeling until the Sacred Host +had passed.</p> + +<p><span class="pagenum" id="Page_260">[Pg 260]</span></p> + +<p><b>St. Bonaventura</b>, called the <em>Seraphic Doctor</em>, is +regarded as one of the greatest lights of the Roman +Catholic Church. He was born in Tuscany, and was +so ill when an infant that his life was despaired of. +His mother took him to St. Francis and begged +him to intercede with his prayers for the life of her +child. When St. Francis saw him he exclaimed, <i lang="it" xml:lang="it">O +buona ventura!</i> and the mother, in gratitude for +his recovery, dedicated him to God by the name of +Bonaventura.</p> + +<p>He entered the Franciscan Order and completed +his theological studies in Paris. There he was greatly +honoured by Louis IX. (Saint Louis) and in a few +years became known as one of the greatest writers +and teachers in the Church. He faithfully practised +all the precepts of his order and his humility was such +that he hardly dared present himself to receive the +sacrament, feeling himself unworthy; so, in the +legends, angels are represented bringing it to him.</p> +<br> + +<figure class="figcenter illowp85" id="i_261" style="max-width: 46.875em;"> + <img class="w100" src="images/i_261.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + ST. BONAVENTURA.—A. BRONZINO<br> + (Academy, Florence.) + </figcaption> +</figure> +<br> + +<p>In 1256 he was made General of the Franciscan +Order and restored the harmony which had previously +been threatened by factional dissensions. He declined +the archbishopric of York, but later Gregory X. +made him Cardinal and Bishop of Albano. When the +two nuncios of the pope brought him the cardinal’s +hat they found him in the garden of a little Franciscan +convent near Florence, washing the plate from which +he had just dined. He told them to hang the hat +on the bough of a tree until he could take it in his +hands. Hence in pictures of this saint the cardinal’s +hat is often seen hanging on a branch of a tree. He +died at the age of fifty-three and was buried in the +<span class="pagenum"><a id="Page_261"></a><a id="Page_262"></a>[Pg 262]</span>Franciscan Church at Lyons, and was canonised by +Sixtus IV. in 1462. During the wars of the League, +the Huguenots broke into his shrine and threw his +ashes into the river Saône.</p> + +<p>According to a Spanish legend, having left his +<em>Life of St. Francis</em> unfinished when he died, he +returned to earth for three days and completed it.</p> + +<p>In devotional pictures, sometimes he wears the +cope over the grey habit of his order, with the mitre +on his head, as Bishop of Albano, and the cardinal’s +hat at his feet, or on the branch of a tree. Sometimes +he wears only the Franciscan habit, and carries +the sacramental cup in his hand, or it is borne by an +angel. Occasionally he is attired in the crimson +robes and hat of a cardinal, with a book in his hand, +the symbol of his great learning.</p> + +<p><b>St. Louis of France.</b> <em>Lat.</em> Sanctus Ludovicus Rex. +<em>Ital.</em> San Luigi, Rè di Francia.</p> + +<p>Louis IX. was born at Poissy in 1215. He was the +son of Louis VIII. and Blanche of Castile—the Louis +and Blanche who figure in Shakespeare’s <em>King John</em>. +Gibbon says of St. Louis that he united the virtues +of a king, a hero, and a man. Voltaire said of him, +<i lang="fr" xml:lang="fr">Il n’est guère donné a l’homme de pousser la vertu +plus loin.</i> He had the most intense veneration for +relics, and when Baldwin II. approached him for aid, +he at once granted him “succors in men and money” +in exchange for the “holy crown of thorns.” Louis, +barefoot and bareheaded, brought this precious relic +himself from Sens to Paris; and having obtained also +a small piece of the true cross, he built for these treasures +the chapel since called <em>La Sainte Chapelle</em> (Paris).</p> + +<p><span class="pagenum" id="Page_263">[Pg 263]</span></p> + +<p>In 1247, after a dangerous illness, he sent for the +Archbishop of Paris and asked for the cross of a +crusader, and, in spite of the grief and remonstrances +of friends, as soon as his health permitted he sailed +for Egypt with an army of fifty thousand men, including +the flower of the French nobility. Most of +his followers perished, and Louis was taken prisoner. +His belief in the goodness of his cause never wavered, +however. When ransomed he spent three years in +Palestine, and then returned to France, where he +reigned sixteen years and then, never having laid +aside the cross, he started on a second crusade, landing +in Africa. His troops, affected by the climate, perished +miserably; and Louis died in his tent, lying +upon ashes, and wearing the garb of a penitent. He +was canonised by Boniface VIII. in 1297, twenty-seven +years after his death. Part of his body was carried +by Charles of Anjou to Palermo, and placed in the +church of Monreale; the rest was placed in a shrine at +St. Denis, which was destroyed in the first French +revolution.</p> + +<p>Pictures of St. Louis are found in Franciscan +churches, the Franciscans claiming that he put on the +habit of the “Third Order of Penitence” before +starting on his first crusade, and that he died in the +habit and cord of St. Francis.</p> + +<p>The proper attribute of St. Louis is the crown of +thorns, which he holds in one hand, his sword in the +other, and the royal crown and sceptre at his feet. +When painted in the grey habit and cord of the +Franciscans, he wears the crown of royalty.</p> + +<p><b>St. Louis of Toulouse.</b> <em>Ital.</em> San Ludovico Vescovo.</p> + +<p><span class="pagenum" id="Page_264">[Pg 264]</span></p> + +<p>Louis of Anjou was the nephew of St. Louis, King +of France, and son of Charles of Anjou, King of +Naples and Sicily. When Louis was fourteen, his +father was taken prisoner by the King of Aragon, and +was obliged to deliver up his three sons as hostages. +Louis spent several years in captivity, and the hardships +he endured broke his gentle spirit, and, on +regaining his freedom in 1294, he resigned all his +rights to the kingdom of Naples to his brother Robert, +and entered the Order of St. Francis. Soon afterwards +he was made Bishop of Toulouse and set out +for his new office barefooted, and dressed as a friar. +Although his life there was short, he endeared himself +to his people by his gentleness and charity. +Two years later he died, in his twenty-fourth year, in +his father’s castle in Provence, where he had gone on +a charitable mission. He was canonised in 1317 by +Pope John XXII., and his remains are enshrined at +Valencia.</p> + +<p>In art he is represented as young, beardless, and +of gentle face, wearing the episcopal robes over the +Franciscan habit. The fleur-de-lys is embroidered +on his cope, or on some part of his dress. The crown +he resigned is at his feet. He wears the mitre as bishop, +or carries it in his hand, or it is borne by an angel.</p> + +<p><b>St. Bernardino of Siena.</b> This saint was born of +a noble Sienese family, and from his youth upward +was distinguished for his personal beauty and grace, +united to such intelligence and purity of character, +that his presence alone sufficed to restrain and hush +the most vulgar of tongue. At seventeen, he entered +a confraternity that cared for the poor and the sick, +<span class="pagenum" id="Page_265">[Pg 265]</span>and when a pestilence broke out in Siena, he and +twelve other young men took entire charge of the +plague hospital for four months. He escaped the +contagion, but his health was never strong afterwards.</p> + +<p>He entered the Franciscan Order at twenty-three, +and became one of their most celebrated preachers. His +influence for good was unbounded, and his hearers, even +the hardest sinners, were melted to tears. Thieves +made restitution; gamblers threw away their cards; +enemies became reconciled, and women cast their +jewels at his feet. Wherever he went he preached +peace, and when preaching he held in his hand a +tablet on which was the name of Jesus in a circle of +golden rays.⁠<a id="FNanchor_10_10" href="#Footnote_10_10" class="fnanchor">[10]</a> A manufacturer of cards and dice complained +to Bernardino that since his preaching his +business had been ruined. The saint advised him to +make these tablets instead, and sell them to the +people; which he did, and the desire for them became +so general that he realised a fortune. St. Bernardino +is said to have founded the <i lang="it" xml:lang="it">Monte-di-Pietà</i>, for lending +money on small pledges to the very poor. These +institutions are still called in France <i lang="fr" xml:lang="fr">Monts-de-Piété</i>. +He was founder of a reformed Order of Franciscans, +called in Italy <i lang="it" xml:lang="it">Osservanti</i> because they <em>observed</em> the +Rule of St. Francis, went barefoot, and professed +absolute poverty. He refused three bishoprics, and +died at Aquila in the Abruzzi, where his remains are +enshrined in the church of San Francesco. He was +canonised by Pope Nicholas V. in 1450, and is venerated +throughout all of Italy.</p> + +<p>In devotional figures his peculiar attribute is the +tablet, with I. H. S. encircled with rays, which he +<span class="pagenum" id="Page_266">[Pg 266]</span>holds in his hand. Another attribute is the <i lang="it" xml:lang="it">Monte-di-Pietà</i>, +a little green hill of three mounds, and on the +top a cross or standard, on which is the figure of the +dead Saviour—usually called in Italy a <i lang="it" xml:lang="it">Pietà</i>. Sometimes +three mitres, in allusion to the three bishoprics, +he refused.</p> + +<p><b>St. Dominick.</b> <em>Lat.</em> Sanctus Dominicus. <em>Ital.</em> +San Domenico. <em>Spa.</em> San Domingo. <em>Fr.</em> Saint +Dominique.</p> + +<p>This saint was the founder of the Order of Dominicans +or Preaching Friars, and was a Castilian +of an illustrious family. Before he was born his +mother dreamed that she had given birth to a black +and white dog holding a lighted torch in its mouth. +At his baptism a star descended from heaven and +settled on his brow. These were interpreted as signs +that he would be a light to the world and he early +showed his ascetic and saintly nature.</p> + +<p>He studied theology at Valencia and became a canon +of St. Augustine while still very young. When about +thirty, he went to France on a political mission with +the Bishop of Osma, and passed through the land of +the Albigenses. Their heresies were so shocking to +Dominick that he felt that his vocation lay in forming +an order of preachers for the conversion of heretics. +He went to Rome in 1207 and obtained permission +from the pope to preach in the Vaudois to the Albigenses. +Here miracles aided him. A writing of +Dominick’s, defending the Catholic faith, thrice cast +into the fire, is said to have thrice leaped out uninjured, +while a writing of the heretics was instantly +consumed. This converted many.</p> + +<p><span class="pagenum" id="Page_267">[Pg 267]</span></p> +<br> + +<figure class="figcenter illowp85" id="i_267" style="max-width: 48.3125em;"> + <img class="w100" src="images/i_267.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + ST. DOMINICK. DETAIL FROM THE CRUCIFIXION.—FRA ANGELICO<br> + (San Marco, Florence.) + </figcaption> +</figure> +<br> + +<p>A fierce religious war broke out about this time +against the Albigenses. How far Dominick took +part in this is hotly disputed. For several centuries +<span class="pagenum" id="Page_268">[Pg 268]</span>public opinion considered him the founder of the +Inquisition, and it was believed that he directed the +persecutions from the beginning. His defenders, +however, assert that he was filled with horror at the +barbarities committed in the name of Christ. St. +Dominick instituted the rosary, which was received +with enthusiasm and made more converts than all +his orthodoxy. He founded many convents in the +principal cities of Europe, preaching wherever he +went. Bologna became the chief Dominican centre, +and here St. Dominick died in 1221, worn out by his +labours. He was canonised in 1233 by Gregory IX.</p> + +<p>The devotional figures of St. Dominick represent +him in his habit—the white tunic, white scapulary, +and long black cloak with a hood. In one hand a +book, in the other a lily. A star is on his forehead, +or just above his head. The dog with a flaming +torch in its mouth is his peculiar attribute, but in +pictures is often omitted.</p> + +<p><b>St. Peter Martyr.</b> St. Peter the Dominican. <em>Fr.</em> +Saint Pierre le Dominican, Martyr. <em>Ital.</em> San Pietro +or San Pier Martire.</p> + +<p>He was born at Verona in 1205. His parents belonged +to the heretical sect of the <em>Cathari</em>, but sent +Peter to a Catholic school, and St. Dominick persuaded +him to take the Dominican habit at the age +of fifteen. He became an eminent preacher and was +noted for his intolerance and cruelty to the heretics +with whom he had formerly been associated. Pope +Honorius III. made him Inquisitor General. He was +not loved in his lifetime even by his own brotherhood, +and his harsh persecutions made him universally +<span class="pagenum" id="Page_269">[Pg 269]</span>detested. Finally two noblemen, who had suffered +at his hands, hired assassins to waylay him in a wood +through which he and a lay brother must pass on +their way from Como to Milan. Peter was struck +down by a blow from an axe. Then the ruffians +pursued his attendant, and stabbed him. Returning, +they found that Peter had risen to his knees and was +reciting the Apostles’ Creed; or, as others say, was +writing it on the ground with his blood. He had +just finished the word <i lang="la" xml:lang="la">Credo</i> when they rushed on him, +and pierced him through with a sword. He was +canonised in 1253 and is one of the most popular +saints in Italy.</p> +<br> + +<figure class="figcenter illowp85" id="i_269" style="max-width: 62.5em;"> + <img class="w100" src="images/i_269.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + ST. PETER MARTYR.—FRA ANGELICO<br> + (San Marco, Florence.) + </figcaption> +</figure> +<br> + +<p><span class="pagenum" id="Page_270">[Pg 270]</span></p> + +<p>In devotional art, he wears the Dominican habit, +carries the crucifix as preacher, and the palm as +martyr, which, if not in his hand, is at his feet. His +peculiar attribute is the gash in his head, with blood +trickling from it, or the axe or sabre stuck into his +head.</p> + +<p><b>St. Thomas Aquinas.</b> <em>Ital.</em> San Tomaso di Aquino, +Dottore Angelico.</p> + +<p>St. Thomas Aquinas, called the “Angelic Doctor,” +ranks with the Four Great Doctors of the Western +Church. He was born at Belcastro in 1226. He was +of noble lineage, his father being Count of Aquino, +and connected both by descent and marriage with +several of the royal families of Europe. Thomas +was sent to the Benedictines at Mt. Cassino, where +he showed himself so precocious that when ten years +of age his masters declared they could teach him +no more. The splendour of his father’s home filled +him with humility, rather than pride. He was +gentle, thoughtful, and silent, and from childhood +was remarkable for the sweetness of his temper.</p> + +<p>After a few years, he was sent to the new University +of Naples, where he was noted for his devotion to +study and the singular purity of his life. At seventeen +he received the habit of the Dominican Order. His +relatives were violently opposed to this, and seized +and imprisoned him in a tower of his father’s castle, +allowing no one to see him but his two sisters. After +many months, aided by one of his sisters, whom he +had converted, he made his escape and returned to the +convent, where he took his final vows. The modesty +with which he concealed his profound learning gave +<span class="pagenum" id="Page_271">[Pg 271]</span>him the nickname of <em>Bos</em>, the ox. Later he studied +in Cologne and his master exclaimed one day, when +his brilliant answers had astonished them all, “This +dumb ox shall give such a bellow in learning as all the +world shall hear.” His reputation steadily increased +until he was acknowledged the greatest theological +writer and teacher of his age. His works are still +held as authority and of great value. He died in his +fiftieth year and was canonised in 1323.</p> +<br> + +<figure class="figcenter illowp85" id="i_271" style="max-width: 62.5em;"> + <img class="w100" src="images/i_271.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + ST. THOMAS AQUINAS.—FRA ANGELICO<br> + (San Marco, Florence.) + </figcaption> +</figure> +<br> + +<p>He is represented in the Dominican habit, often +writing, with the dove, emblem of inspiration, hovering +about him. His attributes are a book, or books; +<span class="pagenum" id="Page_272">[Pg 272]</span>the pen, or ink-horn; the sacramental cup, on account +of his having composed the Office of the Sacrament, +still in use; on his breast a sun, and sometimes a +human eye within it to express his far-seeing wisdom.</p> + +<p><b>St. Catherine of Siena.</b> <em>Lat.</em> Sancta Catherina +Senese. <em>Ital.</em> Santa Caterina di Siena.</p> + +<p>Volumes have been filled in chronicling the deeds +and visions of this remarkable saint, known at Siena +as “la Santa.” She was born in Siena in 1347. Her +father, Giovanni Benincasa, was a dyer by trade. +Catherine was the youngest and most beloved of all +the children and was fair and gay and graceful, but +(unlike other children), visionary, solitary, and strange. +She had heard of Catherine of Alexandria and prayed +that she also might become the bride of Christ, and at +eight years of age she took secret vows of perpetual +chastity.</p> +<br> + +<figure class="figcenter illowp85" id="i_273" style="max-width: 31.1875em;"> + <img class="w100" src="images/i_273.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + ST. CATHERINE OF SIENA.—VANNI<br> + (Church of San Domenico, Siena.) + </figcaption> +</figure> +<br> + +<p>As she grew up her vigils and penances and love of +solitude seemed nonsensical to her parents, who +desired her to marry. Angered by her refusal, they +treated her harshly, putting all sorts of menial duties +upon her, until her father, entering her chamber one +day, found her kneeling in prayer, and resting on her +head was a snow-white dove. He now saw that she +was protected by the Holy Spirit, and believing in her +vocation he allowed her to go her own way. She was +received in the convent of St. Dominick as a penitent +of the Third Order, but never became a professed nun. +She vowed herself to silence for three years, practised +all sorts of self-denials, going to the convent church +every day, where she had wonderful visions. Her +charity to the poor was boundless. She nursed the +<span class="pagenum"><a id="Page_273"></a><a id="Page_274"></a>[Pg 274]</span>sick, no matter how repulsive the disease, and converted +by her eloquence so many wicked persons and +unbelievers that her fame spread through all of Italy.</p> + +<p>When the Florentines were excommunicated by +Pope Gregory VI. they chose Catherine of Siena for +their ambassador and mediator. She went to Avignon, +where the pope then resided, and displayed such +discretion and wisdom that the pope left it to her to +decide the terms of peace. It was by her influence +and persuasions that the pope was induced to return +to Rome, and once more make the seat of government +in the Lateran. After the death of Gregory, in the +Great Schism that followed, she took the part of +Urban VI., who appointed her his ambassador to the +court of Joanna II. of Naples. But in the midst of +this her health failed, and she died at thirty-three, +worn out with fasting, labour, and suffering.</p> + +<p>It is related that while praying before a crucifix +at Pisa she fell into a trance and received the stigmata, +which miracle she tried to conceal, but it was known +by many. Others assert it was not impressed visibly +on her body, but on her soul.</p> + +<p>She would often pray for a new heart, and once, +it is related, our Saviour appeared to her in a vision, +took her heart from her bosom and replaced it with His +own, and there remained a wound or scar on her left +side from that time. Her letters and writings are +principally upon devotional subjects, written in very +pure Italian.</p> + +<p>In art St. Catherine is distinguished by the Dominican +habit and the stigmata. She usually bears the +lily. A book in her hand alludes to her writings.</p> + + +<div class="footnotes"> +<h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a id="Footnote_9_9" href="#FNanchor_9_9" class="label">[9]</a> “Dæmonology in all its multiplied forms was now an established +part of the Christian creed.” Milman’s <cite>History of +Christianity</cite>, vol. iii., p. 299.</p></div> + +<div class="footnote"><p><a id="Footnote_10_10" href="#FNanchor_10_10" class="label">[10]</a> See <a href="#APPENDIX">Appendix</a>.</p></div> +</div> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_275">[Pg 275]</span></p> + + + <h2 class="nobreak" id="XX-THE_MONASTIC_ORDERS"> + XX.—THE MONASTIC ORDERS + </h2> +</div> + + +<p><span class="smcap">Mrs. Jameson</span> says: “There is a Latin distich which +well expressed the different localities and sites affected +by the chief Monastic Orders:</p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0">Bernardus valles, colles Benedictus, amabat,</div> + <div class="verse indent0">Oppida Franciscus, magnas Ignatius urbes;</div> + </div> + <div class="stanza"> + <div class="verse indent0">(Bernard loved valleys, Benedict the hills,</div> + <div class="verse indent0">Francis, towns; Ignatius, great cities);</div> + </div> + </div> +</div> + +<p class="no-indent">and we shall find almost uniformly the chief foundations +of the Benedictines on hills or mountains, those +of the Cistercians in fertile valleys by running streams, +those of the Franciscans in provincial towns, and +those of the Jesuits in capital cities” (<cite>Legends of the +Monastic Orders</cite>).</p> + +<p>The <b>Benedictines</b>, founded by St. Benedict and +distinguished by a habit entirely black. This order +embraces the following branches of reformed +Benedictines:</p> + +<p>The <em>Camaldolesi</em>, founded by St. Romualdo; habit, +black.</p> + +<p>The <em>Vallombrosans</em>, founded by St. John Gualberto; +habit, pale ash colour, or light grey.</p> + +<p>The <em>Carthusians</em>, founded by St. Bruno; habit, +white, sandalled feet, and shaven heads.</p> + +<p><span class="pagenum" id="Page_276">[Pg 276]</span></p> + +<p>The <em>Cistercians</em>, white habit, a long loose robe with +very wide sleeves, and a hood or cowl.</p> +<br> + +<figure class="figcenter illowp85" id="i_276" style="max-width: 58.4375em;"> + <img class="w100" src="images/i_276.jpg" alt=""> + <figcaption> + <p class="right fs80">Photo. Alinari</p> + A VALLOMBROSAN MONK.—PERUGINO<br> + (Academy, Florence.) + </figcaption> +</figure> +<br> + +<p>The <em>Olivetani</em>, founded by St. Bernard dei Tolomei; +habit, white.</p> + +<p>The <em>Oratorians</em>, founded by St. Philip Neri; habit, +black.</p> + +<p><span class="pagenum" id="Page_277">[Pg 277]</span></p> + +<p>The word Abbey (<em>Ital.</em> Badia, Abbazia, <em>Fr.</em> Abbaye) +belongs especially to the foundations of this +order.</p> + +<p>In pictures painted for the Benedictine Orders, +the saints most frequently represented are St. Benedict +and his sister St. Scholastica, and his disciples St. +Maurus, St. Placidus, and St. Flavia, who all wear +the black habit; except, when St. Benedict appears as +patriarch of any of the Reformed orders which adopted +the white habit, he then wears white. The black +habit is also given to:</p> + +<blockquote> + St. Boniface, the Apostle of Germany.<br> + St. Bennet, Bishop of Durham.<br> + St. Benedict of Anian.<br> + St. Bavon of Ghent.<br> + St. Ildefonso of Toledo.<br> + St. Giles of Languedoc.<br> + St. Dunstan of Canterbury.<br> + St. Walpurgis of Eichstadt. +</blockquote> + +<p>St. Bernard is prominent in all the Cistercian +abbeys and churches. St. John Gualberto figures +principally in Florentine art, or pictures painted +for the Vallombrosans.</p> + +<p>The <b>Augustines</b> claim St. Augustine, one of the +Four Latin Fathers, as their founder, and wear the +black habit. This order embraces:</p> + +<p>The <em>Premonstratensians</em>, founded by St. Norbert; +habit, brown or black, with a white cloak.</p> + +<p>The <em>Servi</em>, founded by St. Philip Benozzi; habit, +black.</p> + +<p>The <em>Trinitarians</em>,⁠<a id="FNanchor_11_11" href="#Footnote_11_11" class="fnanchor">[11]</a> founded by St. John de Matha; +habit, white with a blue and red cross on the breast.</p> + +<p><span class="pagenum" id="Page_278">[Pg 278]</span></p> + +<p>The <em>Brigittines</em>, founded by St. Bridget of Sweden; +habit, black.</p> + +<p>The <em>Order of Mercy</em>, founded by St. Peter Nolasco; +habit, white, and the badge of the arms of the King +of Aragon on the breast.</p> + +<p>In the churches of the Augustines, one finds St. +Augustine and his mother Monica; St. Joseph, the +husband of the Virgin Mary, whom the Augustines +reverence as their patriarch and patron saint; Joachim +and Anna; the apostles and saints of the earliest +ages, and the hermits St. Anthony and St. Paul; but +next to St. Augustine their great saint is St. Nicholas +of Tolentino.</p> + +<p>The <b>Mendicant Orders</b>: the <b>Franciscans</b>, the +<b>Dominicans</b>, the <b>Carmelites</b>. These monks were +not called <em>Padri</em>, fathers, but <em>Frati</em>, brothers of men, +and so great was the humility of St. Francis that he +called his community <em>Frati Minori</em>, lesser brothers.</p> + +<p>The <b>Franciscan Order</b>, founded by St. Francis of +Assisi; the habit, originally grey, was changed after +the first two centuries to a dark brown. The knotted +cord around the waist was used symbolically by St. +Francis to represent the halter or bridle of a subdued +beast, or the body in subjection to the spirit. The +reformed branches of the Franciscans are:</p> + +<p>The <em>Capuchins</em>, habit dark brown with a long, +pointed hood.</p> + +<p>The <em>Poor Clares</em>, Franciscan nuns, founded by St. +Clara; grey or brown habit and cord, and black veil.</p> + +<p>The <em>Observants</em>, founded by St. Bernardino of +Siena; grey habit and cord.</p> + +<p>The <em>Cordeliers</em>, brown habit.</p> + +<p><span class="pagenum" id="Page_279">[Pg 279]</span></p> + +<p>The <em>Minimes</em>, founded by St. Francis de Paula; +brown habit, short scapulary with rounded ends, and +the cord of St. Francis.</p> + +<p>In pictures painted for any of the Franciscan +churches or convents are found, singly or in groups, +their eight great saints, called in Italian <i lang="it" xml:lang="it">I Cardini dell’Ordine +Serafico</i>,” “The Chiefs of the Seraphic Order.”</p> + +<p><em>St. Francis, Padre Serafico</em>, patriarch and founder.</p> + +<p><em>St. Clara, Madre Serafica.</em></p> + +<p><em>St. Bonaventura, il Dottore Serafico</em>, the great prelate +of the order.</p> + +<p><em>St. Anthony of Padua</em>, second only to St. Francis +as a worker of miracles.</p> + +<p><em>St. Bernardino of Siena</em>, their great reformer and +preacher, and the three royal saints, <em>St. Louis of +France</em>; <em>St. Louis of Toulouse</em>; and <em>St. Elizabeth of +Hungary</em> (wearing her crown, and with her lap full +of roses).</p> + +<p>The <b>Dominican Order</b>: founded by St. Dominick; +distinguished by a white habit under a long black +cloak with a hood. The Dominicans are always shod. +The Franciscans are generally barefoot or wear a +wooden sandal.</p> + +<p>The four celebrated saints who figure in Dominican +pictures are:</p> + +<p><em>St. Dominick</em>, founder and patriarch.</p> + +<p><em>St. Peter Martyr</em>, distinguished by the wound in his +head.</p> + +<p><em>St. Thomas Aquinas</em>, who represents the learning +of the order.</p> + +<p><em>St. Catherine of Siena</em>, the great female saint of the +Dominican Order.</p> + +<p><span class="pagenum" id="Page_280">[Pg 280]</span></p> + +<p>The <b>Carmelites</b> claim the prophet Elijah as +patriarch and founder, with the Virgin Mary as +protectress. They were first formed into an order +by St. Albert of Vercelli. The habit is a dark brown, +with a long scapulary and a white mantle. The +reformed branch, the <em>Scalzi</em>, or barefooted Carmelites, +was founded by St. Theresa.</p> + +<p>The <b>Jeronymites</b> claim St. Jerome as founder.</p> + +<p>The <b>Jesuits</b>, founded by St. Ignatius Loyola; +habit, a straight black cassock and square black cap.</p> + +<p>The <b>Order of the Visitation of St. Mary</b> was +founded by St. Francis de Sales and Ste. Jeanne +Françoise de Chantal (grandmother of Madame de +Sévigné).</p> + + +<div class="footnotes"> +<h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a id="Footnote_11_11" href="#FNanchor_11_11" class="label">[11]</a> See <a href="#APPENDIX">Appendix</a>.</p></div> +</div> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_281">[Pg 281]</span></p> + + + <h2 class="nobreak" id="APPENDIX"> + APPENDIX + </h2> +</div> + + +<p><b>Angels.</b> The Jewish belief in good and bad angels +was probably borrowed from Zoroastrianism during +their exile. St. Paul speaks of Thrones, or Dominions, +or Principalities, or Powers (Col. i., 16), and from +this and a few other scriptural texts the imagination +of the early theologians arranged the angelic host into +nine choirs—or three hierarchies of three choirs each. +To each of these were given fanciful and mystical +powers. The first hierarchy are the Councillors; to +this belong the Seraphim, Cherubim, and Thrones. +The Seraphim—love—stand nearest the throne +of God, next come the Cherubim—knowledge,—and +then the Thrones who support the seat of +the Most High. These receive their glory direct +from God and transmit it to the second who in +turn shed the radiance of divine light upon the third +and lowest hierarchy.</p> + +<p>The second hierarchy are governors, who reign over +and control the stars and the elements.</p> + +<p>The third are the only ones that have concern +with the earth. They are the messengers of God, +and the protectors and guardians of the children of +men.</p> + +<p>A fourth century Byzantine manual gives the +following directions to painters according to the order +laid down by Dionysius the Areopagite:</p> + +<p><span class="pagenum" id="Page_282">[Pg 282]</span></p> + + +<table class="autotable"> +<tr> +<td class="tdr" rowspan="5"> +1st— +</td> +<td class="tdl bt bl"> +</td> +<td class="tdl"> +Seraphim. +</td> +<td class="tdl br bt"> +</td> +<td class="tdl"> +Six wings covered with eyes. +</td> +</tr> +<tr> +<td class="tdl bl"> +</td> +<td class="tdl"> +Cherubim. +</td> +<td class="tdl br"> +</td> +<td class="tdl"> +Head only, two wings. +</td> +</tr> +<tr> +<td class="tdl bl"> +</td> +<td class="tdl"> +Thrones. +</td> +<td class="tdl br"> +</td> +<td class="tdl"> +Fiery wheels surrounded by wings +</td> +</tr> +<tr> +<td class="tdl bl"> +</td> + +<td class="tdl"> + +</td> +<td class="tdl br"> +</td> +<td class="tdl"> +filled with eyes. The whole +</td> +</tr> +<tr> +<td class="tdl bb bl"> +</td> +<td class="tdl"> + +</td> +<td class="tdl br bb"> +</td> +<td class="tdl"> +symbolising a royal throne. +</td> +</tr> +<tr> +<td class="tdr"> + +</td> +<td class="tdl"> +</td> +<td class="tdl"> +</td> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> + + +<tr> +<td class="tdr" rowspan="4"> +2d— +</td> +<td class="tdl bl bt"> +</td> +<td class="tdl"> +Dominations. +</td> +<td class="tdl br bt"> +</td> +<td class="tdl"> +These wear albs to feet, golden +</td> +</tr> +<tr> +<td class="tdl bl"> +</td> +<td class="tdl"> +Virtues. +</td> +<td class="tdl br"> +</td> +<td class="tdl"> +girdles, and green stoles. Hold +</td> +</tr> +<tr> +<td class="tdl bl"> +</td> +<td class="tdl"> +Powers. +</td> +<td class="tdl br"> +</td> +<td class="tdl"> +a golden staff in right hand and +</td> +</tr> +<tr> +<td class="tdl bl bb"> +</td> +<td class="tdl"> + +</td> +<td class="tdl br bb"> +</td> +<td class="tdl"> +seal of God in left. +</td> +</tr> +<tr> +<td class="tdr"> + +</td> +<td class="tdl"> +</td> +<td class="tdl"> +</td> +<td class="tdl"> + +</td> +<td class="tdl"> +<br> +</td> +</tr> + + +<tr> +<td class="tdr" rowspan="3"> +3d— +</td> +<td class="tdl bl bt"> +</td> +<td class="tdl"> +Principalities. +</td> +<td class="tdl br bt"> +</td> +<td class="tdl"> +In soldier’s garb, golden girdles, +</td> +</tr> +<tr> +<td class="tdl bl"> +</td> +<td class="tdl"> +Archangels. +</td> +<td class="tdl br"> +</td> +<td class="tdl"> +and holding lance-headed javelins +</td> +</tr> +<tr> +<td class="tdl bl bb"> +</td> +<td class="tdl"> +Angels. +</td> +<td class="tdl br bb"> +</td> +<td class="tdl"> +in their hands. +</td> +</tr> +</table> + + +<p>The early artists followed the description of the +Seraphim given in Isa. vi., 2: “Each one had six +wings; with twain he covered his face, and with twain +he covered his feet, and with twain he did fly.”</p> + +<p>In very old pictures and illuminated manuscripts, +the hierarchies of angels are represented by circles. +The innermost circles, the Seraphim and Cherubim, +are commonly depicted with heads only, and with +two, four, or six wings. The Seraphim are the colour +of red—fire, meaning love. The Cherubim blue, +the colour of the firmament or light, that is, knowledge. +In these representations of the celestial hierarchy the +Seraphim have the highest rank of all, and angels the +lowest. Then follow apostles, martyrs, confessors, +and virgins.</p> + +<p>Didron says that “the hierarchy thus figured in +rose windows and sculptured on vaulted roofs of +<span class="pagenum" id="Page_283">[Pg 283]</span>cathedrals, exhibits in a palpable form ... the +system of ethics and cosmogony embodied in the +Hindu doctrine of emanation.”</p> + +<p>The angels in the architectural decoration of old +Christian churches have for their authority the +Cherubim that adorned the temple of Solomon +(1 Kings vi., 23-29).</p> + +<p>Angels are sometimes placed on winged and fiery +wheels, to typify extreme swiftness and buoyancy.</p> + +<p>“The seven angels which stood before God” (Rev. +viii., 2) are occasionally represented in pictures of the +Last Judgment and of heaven, and can be recognised +by their seven trumpets. These seven archangels are +thus defined:</p> + +<p>1. <b>Michael</b> (“like unto God”), captain of the +host of heaven and protector of the Hebrews.</p> + +<p>2. <b>Gabriel</b> (“whose strength is in God”), guardian +of the heavenly treasury, and Joseph the patriarch’s +preceptor.</p> + +<p>3. <b>Raphael</b> (the healing of God), chief guardian +angel, and the leader of Tobias.</p> + +<p>4. <b>Uriel</b> (the light of God), who taught Esdras, +explaining the prophecies.</p> + +<p>5. <b>Chamuel</b> (the wrath of God), who wrestled +with Jacob.</p> + +<p>6. <b>Jophiel</b> (the beauty of God), guardian of the +tree of knowledge and the same who drove Adam and +Eve out of Paradise, and the preceptor of the sons of +Noah.</p> + +<p>7. <b>Zadkiel</b> (the righteousness of God), who stayed +the hand of Abraham when about to sacrifice Isaac.</p> + +<p>Only the names of the first four are given in the +<span class="pagenum" id="Page_284">[Pg 284]</span>Bible, and these four are seldom represented together +except in architectural decoration.</p> + +<p><b>Badge of Trinitarians.</b> “His Holiness [Pope +Innocent, III.] did forthwith ratify the Order, and, by +his command, they assumed the white habit, having +on the breast a Greek cross of red and blue; the three +colours signifying the Three Persons of the Most +Holy Trinity; the white, the Father Eternal; the blue, +which was the traverse of the cross, the Son as Redeemer, +and the red, the charity of the Holy Spirit.”</p> + +<p><b>Basket.</b> Liberality to the poor.</p> + +<p><b>Bear.</b> Solitary life and self-restraint.</p> + +<p><b>Bee.</b> Originally a pagan symbol, the bee was +adopted by the early monks as a symbol of chastity +and industry. Peter of Capua alludes to the risen +Saviour as <i lang="la" xml:lang="la">apis ætherea</i>. (In this connection it is +interesting to note that Vishnu incarnate as Krishna +is represented with a blue bee hovering about his head +symbolising the ether.) Chrysostom, Isidore of Seville, +Ambrose, and Bernard of Clairvaux were said +to have lips flowing with honey (<i lang="la" xml:lang="la">mellifluus</i>) typifying +their eloquence. The virgin queen of the hive became +a favourite type of the Virgin Queen of Heaven. The +bee is rarely found in art, however, but is occasionally +seen carved on tombs in the catacombs as a symbol of +immortality.</p> + +<p><b>Beehive.</b> Eloquence.</p> + +<p><b>St. Bernardino of Siena.</b> “So much was he +affected by the mysteries of the incarnation and +sufferings of the Son of God that he could never +pronounce his sacred name without appearing in +transports of love and adoration. Often at the end +<span class="pagenum" id="Page_285">[Pg 285]</span>of his sermon he showed to the people the sacred +name of Jesus curiously cut on a board with gold +letters, inviting them to adore Christ with him on +their knees, reciting a pious doxology.”⁠<a id="FNanchor_12_12" href="#Footnote_12_12" class="fnanchor">[12]</a>⁠</p> + +<p><b>Christ</b> in early art was typified by Orpheus seated +among beasts and birds playing on a lyre.</p> + +<p><b>Fish</b>, the eucharistic significance of. As the water +turned into wine at the marriage of Cana was accepted +by the early Church as symbolical of the Eucharist, so +the fish as a symbol of Christ had also a eucharistic +significance in commemoration of the miracle of the +loaves and fishes. An early symbol of the Eucharist +found in the catacombs is a cup containing three small +loaves upon which are traced the cross. Speaking of +the multitude who were fed with five loaves and two +fishes, Paulinus of Nola says of Christ that “he himself +is the true bread and the fish of living water”—<i lang="la" xml:lang="la">panis +ipse verus et aquæ vivæ piscis Christus</i>. Eternal +life and the Eucharist are inseparable ideas in the +Church. “He that eateth my flesh and drinketh my +blood hath eternal life and I will raise him up at the +last day.” Prosper of Aquitane speaks of Christ as +“giving himself as food to the disciples by the seashore +and offering himself to the whole world as +<em>Ichthus</em>.”</p> + +<p><b>Font.</b> According to Durandus the baptismal font +in Christian churches was made octagonal because +creation was complete in seven days; thus eight +figured regeneration—the beginning anew.</p> + +<p><b>Hands, two.</b> In some paintings by the early Italian +<span class="pagenum" id="Page_286">[Pg 286]</span>artists of the Baptism of Christ <em>two</em> hands are seen +emerging from the clouds with the dove proceeding +from them (see illustration, page <a href="#i_079">79</a>). Thus when two +hands crossed at the wrists are seen on certain houses +and convents in Italy it should typify the blessing and +protection of the Eternal Father.</p> + +<p><b>Horns</b>, symbol of strength, intelligence, and power. +See Moses.</p> + +<p>The <b>Lion</b> placed at the doors of churches as guardian +of the sanctuary was symbolical of spiritual vigilance, +as the lion was believed never to close its eyes in sleep. +The lion, however, not only typified Christ triumphing +over death and hell (Rev. v., 5), but was used also +to typify the devil which “as a roaring lion walketh +about, seeking whom he may devour” (1 Peter v., +8). Thus the lions used to support pulpits in churches, +as in Siena, Pisa, Lucca, and elsewhere in Italy, represent +Satan vanquished and subdued by the might of +Christianity. The same idea of triumphing over the +powers of evil was intended to be conveyed in the +sculptured figures of deceased persons reclining on +tombs with their feet resting on a dragon, a lion, or a +dog—the dog being regarded by the Jew as the +incarnation of the evil principle. The Hebrew misconception +of the character of the dog is a very curious +one and persists throughout the Bible, where he is +rarely referred to except in terms of contempt. The +substitution of the Aryan for the Semitic point of view, +however, reversed the meaning of the symbolism at a +later period, when a lion at the feet of a man typified +courage and manly strength, and the dog at the feet +of a woman indicated fidelity and undying love.</p> + +<p><span class="pagenum" id="Page_287">[Pg 287]</span></p> + +<p>The <b>Lizard</b> according to the <cite>Physiologus</cite> when +blind in old age creeps into the crevice of a wall +facing east and stretches out its head to the rising sun +whose beams restore its sight. Thus the lizard represented +in ecclesiastical architecture is a symbol +of the healing and illuminating effect of the gospel.</p> + +<p>The <b>Magi</b>. “In the early art of the catacombs the +three children of Babylon refusing to worship the +image of Nebuchadnezzar were often associated with +the three Magi who refused to obey Herod. It is +not improbable that the number of the Magi became +fixed by this association rather than by the gifts they +bore of gold, frankincense, and myrrh. Previous to +the fourth century they were represented as two, four, +and in one case six. After that time they were invariably +represented as three.”⁠<a id="FNanchor_13_13" href="#Footnote_13_13" class="fnanchor">[13]</a>⁠</p> + +<p><b>Majesty.</b> A term denoting pictures of Christ +seated upon a throne and surrounded by angels with +the symbols of the four Evangelists and the Greek +letters Α and Ω, alpha and omega, signifying that +Christ is the beginning and the end of all things.</p> + +<p><b>Oran</b>, or <b>Orant</b>, designates the figures seen in the +catacombs with hands uplifted in prayer.</p> + +<p>The <b>Ox</b> symbolises toil and patient renunciation.</p> + +<p>The <b>Phœnix</b> in Egyptian religion was the embodiment +of Ra the Sun God. It was fabled to come out +of Arabia every five hundred years to Heliopolis, +where it burned itself on the high altar in the Temple +of the Sun and rose again from its own ashes young +and beautiful. This pagan emblem of the resurrection +<span class="pagenum" id="Page_288">[Pg 288]</span>and of immortality was adopted by the Christians +and is frequently found on early mosaics and sarcophagi +and carved on church stalls, where it is often +associated with the pelican.</p> + +<p>The <b>Sibyls</b>. There are numerous Sibyls but the +Cumæan Sibyl of whom Ovid and Virgil wrote is the +most famous. According to a Roman legend this +Sibyl appeared to one of the Tarquins and offered him +nine books for sale. The king refused to buy them. +She burned three and returned with six, demanding +the same price. Upon his second refusal she burned +three more and returning to the king again demanded +the same price for the three remaining. Puzzled, +and curious at last, the king paid the price and found +them to contain the destinies of the Roman state. +These Sibylline books were for centuries the oracles of +Rome.</p> + +<p><b>Tetramorph</b>, a figure which combines the four heads +with wings and fiery wheels described by Ezekiel +(chap. x.). The same figure with six wings denotes +extreme swiftness, the wheels also winged.</p> + +<p><b>Three</b>, the number. According to Pythagoras +three was the primal perfect number and symbol of +completeness. The cube of three being nine was +regarded by him as the extent to which numbers +would go, all others being comprehended by and revolving +within it. The decade ten was called by him +“Heaven” as being the boundary of nine and forming +as it were a monad with which recommences a fresh +series capable of infinite expansion. The number +three among Greeks and Romans had a mystic import +and later when the meaning was lost it was +<span class="pagenum" id="Page_289">[Pg 289]</span>considered exceptionally lucky, as were all uneven +numbers.</p> + +<p><b>Tobias.</b> See Tobit, Apocrypha.</p> + +<p><b>Virgin of Pity.</b> The Madonna as “dispenser of +mercy on earth” is sometimes represented crowned, +standing with outstretched arms from which depends +her mantle, the corners of which are upheld by angels, +while underneath its shelter kneel worshipping votaries +of all ranks and conditions—the rich, the poor, the +lame and halt.</p> + + +<div class="footnotes"> +<h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a id="Footnote_12_12" href="#FNanchor_12_12" class="label">[12]</a> Butler’s <cite>Lives of the Saints</cite>, vol. v., p. 369.</p></div> + +<div class="footnote"><p><a id="Footnote_13_13" href="#FNanchor_13_13" class="label">[13]</a> <cite>Christian Art and Archæology</cite>, by Walter Lowrie.</p></div> +</div> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_290">[Pg 290]</span></p> + + + <h2 class="nobreak" id="SYMBOLS_OF_CERTAIN_OLD_TESTAMENT"> + SYMBOLS OF CERTAIN OLD TESTAMENT + CHARACTERS + </h2> +</div> + + +<h3>THE PROPHETS</h3> + +<p><span class="smcap">Amos.</span> A shepherd’s crook.</p> + +<p><span class="smcap">Daniel.</span> A lion. A ram with four horns. Sometimes +naked with hands outstretched and a lion on +each side.</p> + +<p><span class="smcap">Ezekiel.</span> A turreted gateway, in his hand a plan +of the New Jerusalem.</p> + +<p><span class="smcap">Isaiah.</span> A saw. Clothed in a sack. St. Matthew +on shoulder.</p> + +<p><span class="smcap">Jeremiah.</span> A wand in his hand.</p> + +<p><span class="smcap">Joel.</span> Lions around him.</p> + +<p><span class="smcap">Obadiah.</span> Pitcher of water and loaves.</p> + +<p><span class="smcap">Zechariah.</span> A temple building. A stone covered +with eyes.</p> + + +<h3>THE PATRIARCHS</h3> + +<p><span class="smcap">Abraham.</span> A knife and brazier of fire.</p> + +<p><span class="smcap">Adam.</span> A spade.</p> + +<p><span class="smcap">David.</span> Harp. Sling of stones. Head of Goliath.</p> + +<p><span class="smcap">Elijah.</span> Scroll and red robes. Fiery chariot. +Sword.</p> + +<p><span class="smcap">Elisha.</span> Two-headed eagle on shoulder.</p> + +<p><span class="smcap">Gideon.</span> Fleece of wool.</p> + +<p><span class="pagenum" id="Page_291">[Pg 291]</span></p> + +<p><span class="smcap">Joseph.</span> Purse.</p> + +<p><span class="smcap">Melchizedek.</span> Priest and king.</p> + +<p><span class="smcap">Moses.</span> Tablets of the Law. A rod. Horns of +light. Burning bush. A rock. Some modern writers +claim that the horns given to Moses by artists and +sculptors grew out of an error in the translation of +the ancient Hebrew, the early translators describing +Moses in his descent from Sinai as <i lang="la" xml:lang="la">facies cornuta</i> (“his +face was horned”) instead of “his face shone.” Other +writers, however, assert that among all peoples, horns +have symbolised power; that the Israelites, fresh from +the land of bondage, familiar with horns upon the heads +of Egyptian gods, would readily believe that Moses +had miraculously received the mark of divinity and +kingly power. That he really descended with solid +horns upon his head was devoutly believed down to +the middle ages.</p> + +<p><span class="smcap">Noah.</span> Ark. Dove with olive branch. An oar.</p> + +<p><span class="smcap">Samson.</span> Gates of city. Jaw bone of an ass.</p> + +<p><span class="smcap">Seth.</span> Three seeds of the tree of life. A thread +bound thrice around thumb.</p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_294">[Pg 294]</span></p> + + + <h2 class="nobreak" id="INDEX"> + INDEX + </h2> +</div> + + +<ul class="index"> + <li class="ifrst">Abbey, <a href="#Page_277">277</a>.</li> + + <li class="indx">Abraham, <a href="#Page_290">290</a>.</li> + + <li class="indx">Adam, <a href="#Page_290">290</a>.</li> + + <li class="indx">Adoration of Magi, <a href="#Page_105">105</a>.</li> + + <li class="indx">Adoration of Shepherds, <a href="#Page_104">104</a>.</li> + + <li class="indx">Agatha, St., her legend, <a href="#Page_229">229</a>.</li> + + <li class="indx">Agnes, St., her legend, <a href="#Page_226">226</a>.</li> + + <li class="indx">Ambrose, St., <a href="#Page_182">182</a>.</li> + + <li class="indx">Amos, <a href="#Page_290">290</a>.</li> + + <li class="indx">Anachronisms, <a href="#Page_65">65</a>.</li> + + <li class="indx">Anchor, <a href="#Page_73">73</a>.</li> + + <li class="indx">Andrew, St., Apostle, <a href="#Page_153">153</a>.</li> + + <li class="indx">Angels, <a href="#Page_281">281</a>.</li> + + <li class="indx">Anna, St., Legend of Joachim and Anna, <a href="#Page_91">91</a>.</li> + + <li class="indx">Anna, prophetess, <a href="#Page_109">109</a>.</li> + + <li class="indx">Anthony, St., Hermit, <a href="#Page_240">240</a>.</li> + + <li class="indx">Anthony, St., of Padua, <a href="#Page_258">258</a>.</li> + + <li class="indx">Apostles, the twelve, <a href="#Page_146">146</a>.</li> + + <li class="indx">Apparition of Christ to His mother, <a href="#Page_116">116</a>.</li> + + <li class="indx">Apple, symbol of, <a href="#Page_75">75</a>.</li> + + <li class="indx">Archangels, <a href="#Page_81">81</a>.</li> + + <li class="indx">Arrow, <a href="#Page_72">72</a>.</li> + + <li class="indx">Ascension, <a href="#Page_119">119</a>.</li> + + <li class="indx">Ass and Ox, Symbol of, <a href="#Page_103">103</a>.</li> + + <li class="indx">Assumption of the Virgin, <a href="#Page_119">119</a>.</li> + + <li class="indx">Augustine, St., <a href="#Page_184">184</a>.</li> + + <li class="indx">Augustines, The, <a href="#Page_277">277</a>.</li> + + <li class="indx">Aureole, <a href="#Page_67">67</a>.</li> + + + <li class="ifrst">Banner, or Standard, <a href="#Page_73">73</a>.</li> + + <li class="indx">Barbara, St., <a href="#Page_212">212</a>.</li> + + <li class="indx">Barnabas, St., <a href="#Page_167">167</a>.</li> + + <li class="indx">Bartholomew, St., <a href="#Page_161">161</a>.</li> + + <li class="indx">Basket, <a href="#Page_284">284</a>.</li> + + <li class="indx">Bear, <a href="#Page_284">284</a>.</li> + + <li class="indx">Bee, <a href="#Page_284">284</a>.</li> + + <li class="indx">Beehive, <a href="#Page_284">284</a>.</li> + + <li class="indx">Bell, <a href="#Page_75">75</a>.</li> + + <li class="indx">Benedict, St., <a href="#Page_244">244</a>.</li> + + <li class="indx">Benedictines, The, <a href="#Page_275">275</a>.</li> + + <li class="indx">Bernard, St., of Clairvaux, <a href="#Page_248">248</a>.</li> + + <li class="indx">Bernardino, St., of Siena, <a href="#Page_264">264</a>, <a href="#Page_284">284</a>.</li> + + <li class="indx">Birds, as symbols, <a href="#Page_88">88</a>.</li> + + <li class="indx">Bonaventura, St., <a href="#Page_260">260</a>.</li> + + <li class="indx">Book, symbol of, <a href="#Page_75">75</a>, <a href="#Page_87">87</a>.</li> + + <li class="indx">Brandeum, Legend of, <a href="#Page_190">190</a>.</li> + + <li class="indx">Brigittines, <a href="#Page_278">278</a>.</li> + + + <li class="ifrst">Camaldolesi, <a href="#Page_275">275</a>.</li> + + <li class="indx">Cana, Marriage at, <a href="#Page_113">113</a>.</li> + + <li class="indx">Capuchins, <a href="#Page_278">278</a>.</li> + + <li class="indx">Carmelites, <a href="#Page_280">280</a>.</li> + + <li class="indx">Carthusians, <a href="#Page_275">275</a>.</li> + + <li class="indx">Catherine, St., of Alexandria, <a href="#Page_209">209</a>.</li> + + <li class="indx">Catherine, St., of Siena, <a href="#Page_272">272</a>.</li> + + <li class="indx">Cecilia, St., <a href="#Page_223">223</a>.</li> + + <li class="indx">Chalice, as emblem, <a href="#Page_74">74</a>.</li> + + <li class="indx">Chamuel, <a href="#Page_283">283</a>.</li> + + <li class="indx">Christ, Symbols of, <a href="#Page_78">78</a>, <a href="#Page_285">285</a>.</li> + + <li class="indx">Christopher, St., <a href="#Page_196">196</a>.</li> + + <li class="indx">Cistercians, <a href="#Page_276">276</a>.</li> + + <li class="indx">Clara, St., <a href="#Page_256">256</a>.</li> + + <li class="indx">Colours, Significance of, <a href="#Page_76">76</a>.</li> + + <li class="indx">Cordeliers, <a href="#Page_278">278</a>.</li> + + <li class="indx">Coronation of the Virgin, <a href="#Page_121">121</a>, <a href="#Page_123">123</a>.</li> + + <li class="indx">Cosmo and Damian, Sts., <a href="#Page_200">200</a>.</li> + + <li class="indx">Creed, Apostles’, <a href="#Page_146">146</a>.</li> + + <li class="indx">Cross, Different forms of, <a href="#Page_69">69</a>.</li> + + <li class="indx">Crown, as symbol, <a href="#Page_71">71</a>.</li> + + <li class="indx">Crucifix, <a href="#Page_76">76</a>, <a href="#Page_125">125-126</a>.</li> + + <li class="indx">Crucifixion, <a href="#Page_114">114</a>.</li> + + + <li class="ifrst">Daniel, <a href="#Page_290">290</a>.</li> + + <li class="indx">David, <a href="#Page_290">290</a>.</li> + + <li class="indx">Deposition, <a href="#Page_116">116</a>.</li> + + <li class="indx">Descent from Cross, <a href="#Page_115">115</a>.</li> + + <li class="indx">Devotional representations of the Virgin, <a href="#Page_122">122</a>.</li> + + <li class="indx">Dispute in Temple, <a href="#Page_111">111</a>.</li> + + <li class="indx">Doctors, Four, of the Church, <a href="#Page_177">177</a>.</li> + + <li class="indx">Dominicans, <a href="#Page_279">279</a>.</li> + + <li class="indx">Dominick, St., <a href="#Page_266">266</a>.</li> + + <li class="indx">Dove, as emblem, <a href="#Page_74">74</a>, <a href="#Page_88">88</a>.</li> + + <li class="indx">Dragon, symbol of, <a href="#Page_70">70</a>.</li> + + <li class="indx">Dress, of Virgin, <a href="#Page_76">76</a>, <a href="#Page_89">89</a>.</li> + + + <li class="ifrst">Elijah, <a href="#Page_290">290</a>.</li> + + <li class="indx">Elisha, <a href="#Page_290">290</a>.</li> + + <li class="indx">Elizabeth, St., <a href="#Page_100">100</a>.</li> + + <li class="indx">Entombment, <a href="#Page_116">116</a>.</li> + + <li class="indx">Evangelists, Four, <a href="#Page_137">137</a>.</li> + + <li class="indx">Ezekiel, <a href="#Page_290">290</a>.</li> + + + <li class="ifrst">Fathers, Four Latin, <a href="#Page_177">177</a>.</li> + + <li class="indx">Fire and flames, <a href="#Page_73">73</a>.</li> + + <li class="indx">Fish, emblem of Christ, <a href="#Page_68">68</a>, <a href="#Page_285">285</a>.</li> + + <li class="indx">Flaming heart, <a href="#Page_75">75</a>.</li> + + <li class="indx">Flight into Egypt, <a href="#Page_109">109</a>.</li> + + <li class="indx">Flowers and fruit, <a href="#Page_75">75</a>.</li> + + <li class="indx">Font, <a href="#Page_285">285</a>.</li> + + <li class="indx">Francis, St., of Assisi, <a href="#Page_252">252</a>.</li> + + <li class="indx">Franciscans, <a href="#Page_278">278</a>.</li> + + + <li class="ifrst">Gabriel, St., the Archangel, <a href="#Page_84">84</a>.</li> + + <li class="indx">George, St., of Cappadocia, <a href="#Page_191">191</a>.</li> + + <li class="indx">Gideon, <a href="#Page_290">290</a>.</li> + + <li class="indx">Globe, <a href="#Page_87">87</a>.</li> + + <li class="indx">Glory, <a href="#Page_67">67</a>.</li> + + <li class="indx">God, the Father, Symbols of, <a href="#Page_78">78</a>.</li> + + <li class="indx">Gregory, St., the Great, Legends of, <a href="#Page_187">187</a>.</li> + + + <li class="ifrst">Hands, two, <a href="#Page_285">285</a>.</li> + + <li class="indx">Hart, <a href="#Page_71">71</a>.</li> + + <li class="indx">Hind, <a href="#Page_71">71</a>.</li> + + <li class="indx">Historical and devotional subjects, <a href="#Page_64">64</a>.</li> + + <li class="indx">Holy Family, <a href="#Page_112">112</a>.</li> + + <li class="indx">Holy Ghost, Symbols of, <a href="#Page_78">78</a>.</li> + + <li class="indx">Horns, <a href="#Page_286">286</a>.</li> + + + <li class="ifrst">Immaculate Conception, <a href="#Page_126">126</a>.</li> + + <li class="indx">Isaiah, <a href="#Page_290">290</a>.</li> + + + <li class="ifrst">James, St., the Great, <a href="#Page_156">156</a>.</li> + + <li class="indx">James Minor, St., <a href="#Page_163">163</a>.</li> + + <li class="indx">Jeremiah, <a href="#Page_290">290</a>.</li> + + <li class="indx">Jerome, St., <a href="#Page_177">177</a>.</li> + + <li class="indx">Jeronymites, <a href="#Page_280">280</a>.</li> + + <li class="indx">Jesuits, <a href="#Page_280">280</a>.</li> + + <li class="indx">Joachim, St., Legend of, <a href="#Page_91">91</a>.</li> + + <li class="indx">Joel, <a href="#Page_290">290</a>.</li> + + <li class="indx">John the Baptist, St., <a href="#Page_134">134</a>.</li> + + <li class="indx">John the Evangelist, St., <a href="#Page_142">142</a>.</li> + + <li class="indx">Jophiel, <a href="#Page_283">283</a>.</li> + + <li class="indx">Joseph, <a href="#Page_291">291</a>.</li> + + <li class="indx">Joseph, St., Marriage of, <a href="#Page_94">94</a>;</li> + <li class="isub1">Death of, <a href="#Page_113">113</a>.</li> + + <li class="indx">Judas Iscariot, <a href="#Page_165">165</a>.</li> + + <li class="indx">Jude, St., <a href="#Page_164">164</a>.</li> + + + <li class="ifrst">Lamb, <a href="#Page_70">70</a>.</li> + + <li class="indx">Lamp, <a href="#Page_73">73</a>.</li> + + <li class="indx">Lance, <a href="#Page_72">72</a>.</li> + + <li class="indx">Lantern, <a href="#Page_73">73</a>.</li> + + <li class="indx">Last Supper, <a href="#Page_175">175</a>.</li> + + <li class="indx">Latin Fathers, Four, <a href="#Page_177">177</a>.</li> + + <li class="indx">Laurence, St., <a href="#Page_235">235</a>.</li> + + <li class="indx">Lily, symbol of, <a href="#Page_74">74</a>.</li> + + <li class="indx">Lion, as emblem, <a href="#Page_70">70</a>, <a href="#Page_286">286</a>.</li> + + <li class="indx">Lizard, <a href="#Page_287">287</a>.</li> + + <li class="indx">Louis, St., of France, <a href="#Page_262">262</a>.</li> + + <li class="indx">Louis, St., of Toulouse, <a href="#Page_263">263</a>.</li> + + <li class="indx">Lucy, St., <a href="#Page_231">231</a>.</li> + + <li class="indx">Luke, St., the Evangelist, <a href="#Page_141">141</a>.</li> + + + <li class="ifrst">Madonna, Legends of, <a href="#Page_91">91-121</a>;</li> + <li class="isub1">Symbols of, <a href="#Page_86">86-88</a>.</li> + + <li class="indx">Magi, Adoration of, <a href="#Page_105">105</a>, <a href="#Page_287">287</a>.</li> + + <li class="indx">Majesty, <a href="#Page_287">287</a>.</li> + + <li class="indx">Margaret, St., <a href="#Page_220">220</a>.</li> + + <li class="indx">Mark, St., the Evangelist, <a href="#Page_140">140</a>.</li> + + <li class="indx">Marriage of Virgin, <a href="#Page_94">94</a>.</li> + + <li class="indx">Mary Magdalene, St., <a href="#Page_169">169</a>.</li> + + <li class="indx">Mater Amabilis, <a href="#Page_132">132</a>.</li> + + <li class="indx">Mater Dolorosa, <a href="#Page_125">125</a>.</li> + + <li class="indx">Matthew, St., <a href="#Page_138">138</a>.</li> + + <li class="indx">Matthias, St., <a href="#Page_165">165</a>.</li> + + <li class="indx">Melchizedek, <a href="#Page_291">291</a>.</li> + + <li class="indx">Mendicant Orders, <a href="#Page_278">278</a>.</li> + + <li class="indx">Michael, St., the Archangel, <a href="#Page_81">81</a>.</li> + + <li class="indx">Minimes, <a href="#Page_279">279</a>.</li> + + <li class="indx">Monastic Orders, <a href="#Page_275">275</a>.</li> + + <li class="indx">Moses, <a href="#Page_291">291</a>.</li> + + <li class="indx">Mysteries, Fifteen, of the rosary, <a href="#Page_89">89</a>.</li> + + + <li class="ifrst">Nativity, of the Virgin, <a href="#Page_92">92</a>;</li> + <li class="isub1">of Christ, <a href="#Page_102">102</a>.</li> + + <li class="indx">Nicholas, St., of Myra, <a href="#Page_205">205</a>.</li> + + <li class="indx">Nimbus, <a href="#Page_67">67</a>.</li> + + <li class="indx">Noah, <a href="#Page_291">291</a>.</li> + + + <li class="ifrst">Obadiah, <a href="#Page_290">290</a>.</li> + + <li class="indx">Observants, <a href="#Page_278">278</a>.</li> + + <li class="indx">Olive, as symbol, <a href="#Page_74">74</a>.</li> + + <li class="indx">Olivetani, <a href="#Page_276">276</a>.</li> + + <li class="indx">Oran or Orant, <a href="#Page_287">287</a>.</li> + + <li class="indx">Oratorians, <a href="#Page_276">276</a>.</li> + + <li class="indx">Order of Mercy, <a href="#Page_278">278</a>.</li> + + <li class="indx">Orders, religious, <a href="#Page_275">275</a>.</li> + + <li class="indx">Ox. <em>See</em> Ass, symbol of, <a href="#Page_287">287</a>.</li> + + + <li class="ifrst">Palm, as emblem, <a href="#Page_73">73</a>.</li> + + <li class="indx">Passion of our Lord, <a href="#Page_114">114</a>.</li> + + <li class="indx">Paul, St., Apostle, <a href="#Page_152">152</a>.</li> + + <li class="indx">Paul, St., Hermit, <a href="#Page_241">241</a>.</li> + + <li class="indx">Peacock, <a href="#Page_71">71</a>.</li> + + <li class="indx">Pelican, <a href="#Page_70">70</a>.</li> + + <li class="indx">Peter, St., <a href="#Page_148">148</a>.</li> + + <li class="indx">Peter Martyr, St., <a href="#Page_268">268</a>.</li> + + <li class="indx">Philip, St., <a href="#Page_159">159</a>.</li> + + <li class="indx">Phœnix, <a href="#Page_287">287</a>.</li> + + <li class="indx">Pietà, <a href="#Page_126">126</a>.</li> + + <li class="indx">Pomegranate, as emblem, <a href="#Page_75">75</a>, <a href="#Page_88">88</a>.</li> + + <li class="indx">Poor Clares, <a href="#Page_278">278</a>.</li> + + <li class="indx">Preaching Friars. <em>See</em> Dominicans.</li> + + <li class="indx">Precious stones, symbols of, in sacred art, <a href="#Page_76">76</a>.</li> + + <li class="indx">Premonstratensians, <a href="#Page_277">277</a>.</li> + + <li class="indx"><span class="pagenum" id="Page_295">[Pg 295]</span>Presentation of the Virgin, <a href="#Page_92">92</a>.</li> + + <li class="indx">Procession to Calvary, <a href="#Page_114">114</a>.</li> + + <li class="indx">Purification of the Virgin, <a href="#Page_108">108</a>.</li> + + + <li class="ifrst">Raphael, St., the Archangel, <a href="#Page_84">84</a>.</li> + + <li class="indx">Repose of Holy Family, <a href="#Page_110">110</a>.</li> + + <li class="indx">Roch, St., <a href="#Page_202">202</a>.</li> + + <li class="indx">Rosary, Institution of. <em>See</em> St. Dominick, <a href="#Page_268">268</a>.</li> + + <li class="indx">Rosary. <em>See</em> Mysteries.</li> + + <li class="indx">Rose, symbol of Virgin, <a href="#Page_87">87</a>.</li> + + + <li class="ifrst">Saints frequently found in art, Legends of, <a href="#Page_234">234</a>.</li> + + <li class="indx">Saints and Symbols, <a href="#Page_30">30-63</a>.</li> + + <li class="indx">Samson, <a href="#Page_291">291</a>.</li> + + <li class="indx">Scourge, as symbol, <a href="#Page_74">74</a>.</li> + + <li class="indx">Sebastian, St., <a href="#Page_194">194</a>.</li> + + <li class="indx">Serpent, <a href="#Page_70">70</a>, <a href="#Page_88">88</a>.</li> + + <li class="indx">Servi, <a href="#Page_277">277</a>.</li> + + <li class="indx">Seth, <a href="#Page_291">291</a>.</li> + + <li class="indx">Seven joys. <em>See</em> Sorrows.</li> + + <li class="indx">Shell, <a href="#Page_75">75</a>.</li> + + <li class="indx">Ship, emblem of, <a href="#Page_73">73</a>.</li> + + <li class="indx">Sibyl, Tiburtina, Prophecy of, <a href="#Page_102">102</a>.</li> + + <li class="indx">Sibyls, <a href="#Page_288">288</a>.</li> + + <li class="indx">Simeon, Prophecy of, <a href="#Page_108">108</a>.</li> + + <li class="indx">Simon Zelotes, St., <a href="#Page_164">164</a>.</li> + + <li class="indx">Skull, <a href="#Page_75">75</a>.</li> + + <li class="indx">Sorrows, Seven, of the Virgin, <a href="#Page_89">89</a>.</li> + + <li class="indx">Spasimo, lo, <a href="#Page_114">114</a>.</li> + + <li class="indx">Sposalizio, <a href="#Page_94">94</a>.</li> + + <li class="indx">Square, <a href="#Page_68">68</a>.</li> + + <li class="indx">Star, symbol of Virgin, <a href="#Page_86">86</a>.</li> + + <li class="indx">Stephen, St., <a href="#Page_234">234</a>.</li> + + <li class="indx">Sudarium, <a href="#Page_62">62</a>.</li> + + <li class="indx">Sun, <a href="#Page_86">86</a>.</li> + + <li class="indx">Sword, as emblem, <a href="#Page_72">72</a>.</li> + + <li class="indx">Symbols, general, <a href="#Page_67">67-75</a>;</li> + <li class="isub1">of saints, <a href="#Page_1">1-29</a>;</li> + <li class="isub1">of the Virgin, <a href="#Page_86">86-88</a>.</li> + + + <li class="ifrst">Tetramorph, <a href="#Page_288">288</a>.</li> + + <li class="indx">Thomas, St., <a href="#Page_161">161</a>.</li> + + <li class="indx"><span class="pagenum" id="Page_296">[Pg 296]</span>Thomas Aquinas, St., <a href="#Page_270">270</a>.</li> + + <li class="indx">Three, <a href="#Page_288">288</a>.</li> + + <li class="indx">Triangle, emblem of, <a href="#Page_68">68</a>.</li> + + <li class="indx">Trinitarians, <a href="#Page_277">277</a>;</li> + <li class="isub1">badge of, <a href="#Page_284">284</a>.</li> + + <li class="indx">Trinity, Holy, Symbols of, <a href="#Page_80">80</a>.</li> + + + <li class="ifrst">Unicorn, <a href="#Page_75">75</a>.</li> + + <li class="indx">Uriel, <a href="#Page_283">283</a>.</li> + + <li class="indx">Ursula, St., <a href="#Page_214">214</a>.</li> + + + <li class="ifrst">Vallombrosans, <a href="#Page_275">275</a>.</li> + + <li class="indx">Vincent, St., <a href="#Page_237">237</a>.</li> + + <li class="indx">Virgin Martyrs, Four, of the Latin Church, <a href="#Page_223">223</a>.</li> + + <li class="indx">Virgin Mary, Legends of, <a href="#Page_91">91-121</a>;</li> + <li class="isub2">Symbols of, <a href="#Page_86">86-88</a>.</li> + + <li class="indx">Virgin Patronesses, <a href="#Page_208">208</a>.</li> + + <li class="indx">Visitation, <a href="#Page_100">100</a>.</li> + + <li class="indx">Visitation of St. Mary, Order of, <a href="#Page_280">280</a>.</li> + + <li class="indx">Votive Pictures, <a href="#Page_65">65</a>, <a href="#Page_130">130</a>.</li> + + + <li class="ifrst">Zacharias, <a href="#Page_134">134</a>.</li> + + <li class="indx">Zadkiel, <a href="#Page_283">283</a>.</li> + + <li class="indx">Zechariah, <a href="#Page_290">290</a>.</li> +</ul> +<div style='text-align:center'>*** END OF THE PROJECT GUTENBERG EBOOK 78921 ***</div> +</body> +</html> diff --git a/78921-h/images/cover.jpg 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Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..f39c6c4 --- /dev/null +++ b/README.md @@ -0,0 +1 @@ +[Project Gutenberg](https://www.gutenberg.org) public repository for eBook [#78921](https://www.gutenberg.org/ebooks/78921) |
