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 OP BY 
 GR Majork ARTHUR DE BLES 
 
 Author of “The Illustrated Outline 
 of Art Culture,” etc., etc. 
 
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 More than 4oo Illustrations 
 
 
 
 
 
 
 
 
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 x 
 N ART CULTURE PUBLICATIONS & 
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 A | 407 FIFTH AVENUE A i 
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FOREWORD 
 
 who visit the great Museums of the world, either 
 
 in this country, where large numbers of the great 
 masterpieces of bygone centuries are now congre- 
 gating, or the grand old galleries of Europe, that the 
 pleasure to be gained from the religious pictures of 
 the 9th-16th centuries is in a great measure lost, 
 unless one is able to understand their symbolism, and 
 to recognise the personages portrayed, by the attributes 
 and emblems which render them distinguishable. 
 And one should bear in mind that almost seventy 
 per cent. of all pictures painted, at least up to the end 
 of the 15th century, at the zenith of the High Renais- 
 sance, treated of religious subjects, and were painted 
 for churches or the private chapels of the powerful 
 rulers of the small states, into which Italy, France, 
 and Flanders were then divided. 
 
 Now, just as in Gothic architecture, every portion 
 of a cathedral or church had its symbolic significance, 
 so has every item in the splendid altar-pieces or mural 
 paintings depicting the Divine Trinity, the Virgin 
 Mary alone, or with Her Child, the Holy Family, the 
 Evangelists and Apostles, the Fathers of the Church, 
 the Patron Saints, the Monastic Orders, and so forth. 
 
 In all such pictures the placing of the personages 
 was effected according to hierarchical laws laid down by 
 the Church, and in addition to the added enjoyment 
 one can find in the understanding of what has hitherto 
 been largely a sealed book—as far as laymen are con- 
 cerned—the knowledge of these laws will often help in 
 attributing a picture, and deducing, from the evidence 
 on its face, its history and origin. 
 
 It has been our aim, in compiling this monograph, 
 to make the practical information, actually required 
 when walking through any picture gallery, so easily ac- 
 cessible that no valuable time is wasted in wading through 
 masses of descriptive matter, which, while of incalcu- 
 lable importance to the student in his library, is never- 
 theless liable to obscure the vision of those who want 
 to find a concrete, definite, fact as quickly as possible. 
 Believing, with Napoleon, that “the slightest sketch 
 explains more than the longest discourse,’’ we have 
 endeavored to illustrate our book as profusely, and 
 at the same time, in as practical a manner, as lay 
 in our power. ‘There is no longer any questioning of 
 the principle that comparative illustrations offer the 
 best means of instruction, and so, instead of following 
 the only too common practice of reproducing curious 
 and little-known works, we have chosen, throughout, 
 typical treatments of every section of the subject dis- 
 cussed in this book, in order that our readers may gain 
 a clear impression of the accepted rule in each case. 
 The exceptions can always take care of themselves. 
 
 We have endeavored to explain, in as few words as 
 possible, the symbolic meaning of the costumes, acces- 
 sories, and even the attitudes, of the personages of the 
 Holy Trinity, of the Mother of Our Lord, and of the 
 Saints, but in respect of the latter, we have not at- 
 tempted to give lengthy descriptions of their lives and 
 deaths, for too many practical and inexpensive works 
 on this branch of the subject are at the disposal of 
 those who require such information. 
 
 It has been our own experience during the course 
 of our lecturing that the alphabetical lists of the dis- 
 tinctive attributes of the saints which form an impor- 
 tant part of many books on the subject, offer difficulties 
 of interpretation to all save those who are already 
 more or less familiar with sacred pictures and sculpture. 
 The tyro is frequently unable to distinguish the special 
 symbol or attribute, particularly in cases where various 
 
 [ IS BECOMING more and more clear to those 
 
 attributes may be given to a saint, as for example, 
 St. Barbara or St. Catherine. 
 
 Now the first thing one notices, in looking at the 
 picture of a saint, is the costume he or she is por- 
 trayed as wearing. Therefore, on condition that the 
 peculiarities of each costume are known, a classifica- 
 tion of the saints by their costumes must save an 
 immense amount of research, and prevent very obvious 
 errors. At the end of this volume will be found classi- 
 fied in this manner some 350 Saints who appear in the 
 works of the old Masters, supplemented by an alpha- 
 betical general index. 
 
 More than 100 Madonna pictures, 14 Coronations, 
 400 pictures of Saints alone or in groups, 11 Annuncia- 
 tions, and so forth, afford possibilities of comparison 
 and study such as have never before been offered to 
 the public. More than 300 Artists and almost 1000 
 Pictures are mentioned, 
 
 A carefully compiled Index of Illustrations, by cate- 
 gories in alphabetical order, and lists of Artists, 
 Museums and Churches where works by such Artists 
 can be seen should make this book valuable for 
 reference purposes. 
 
 In addition to this important list, the reader will 
 find a totally new table of Martyrdoms in alphabetical 
 order, so that pictures of saints undergoing torture, 
 or being executed, may be immediately understood, 
 and the principal personages identified; an alpha- 
 betical list of some 400 attributes and symbols with 
 the saints who bear them; a chronological list of the 
 Popes from St. Peter till the end of the Grand Period 
 in art; and other tables of inestimable value to those 
 who desire to extract the full mead of enjoyment 
 from their visits to the great picture galleries of the 
 world. 
 
 It will be found that in several places we have 
 drawn attention to mistakes of fact, dates, etc., in other 
 books on the subject, even in Mrs. Jameson’s monu- 
 mental work in several volumes which will always 
 remain the classic for library students—but we have 
 done so in no spirit of caviling, and with the sole inten- 
 tion of preventing misunderstanding. Similarly where 
 recent research has given certain pictures to artists 
 other than those who were until then considered to 
 be their authors, we have mentioned both the old and 
 the new attributions. 
 
 Finally, let us remark that we make no claim for 
 infallibility either, and that our readers will surely find 
 errors in this book as we find them in those of others, 
 but at least they can rest assured that every precaution 
 has been taken to check up all dates, Bible and classical 
 references, the spelling of foreign words, correct orthog- 
 raphy of names, and so forth, using the latest and 
 soundest reference works for that purpose. 
 
 In conclusion, we should like to point out that this 
 work is intended for practical use in the hands of art- 
 lovers, and is in no way designed as a complete list of 
 Christian saints. Hundreds of local saints never appear 
 at all in Art, and these are equally absent from our 
 book. Others only appear in ancient missals and 
 stained-glass windows. These also are only mentioned 
 where they have a direct interest for the student. 
 
OTHER WORKS BY MAJOR ARTHUR DE BLES 
 
 ART 
 
 THE THREE STYLES OF GOTHIC ARCHITECTURE, and how to distinguish them. 
 FRENCH PERIOD FURNITURE STYLES, and how to distinguish them. 
 
 OLD ENGLISH FURNITURE STYLES, and how to distinguish them. 
 
 CHINESE PORCELAINS, their history, and how to distinguish their periods. 
 JAPANESE COLOR PRINTS, their history and how to judge them. 
 
 WALLS AND THEIR DECORATION. 
 
 IN PREPARATION: 
 
 THE ART AND PRACTICE OF INTERIOR DECORATION, for professional and amateur. 
 EARLY ITALIAN SCHOOLS OF PAINTING, and how to undertand and distinguish them. 
 FLEMISH PAINTERS OF THE RENAISSANCE, and how to understand and distinguish them. 
 
 THE DUTCH MASTERS OF THE 17th CENTURY, and how to understand and distinguish 
 them. . 
 
 ENGLISH AND FRENCH ART OF THE 18th CENTURY, its masters, and how to understand 
 and distinguish them. : 
 
 MODERN SCHOOLS OF PAINTING AND SCULPTURE, what they are driving at, and 
 striving for, 
 MUSIC 
 THE POST-BEETHOVEN SYMPHONISTS; translated into English from the German of 
 Felix Weingartner. 
 
 Chopin, ? Homme et sa Musique; translated into French from the English of James G. 
 Huneker. (Out of Print.) 
 
 IMPRESSIONS OF A FIRST VISIT TO BAYREUTH (1902). (Out of Print.) 
 A NEW MUSICAL MASTERPIECE; PELLEAS AND MELISANDE (1902). (Out of Print.) 
 
 WAR AND POLITICS 
 THE CAUSES OF THE GERMAN DEFEAT: a study of the allied strategy from 1914-1918. 
 (Delivered 784 times as a lecture.) 
 
 THE SIXTEENTH DECISIVE BATTLE OF THE WORLD: THE MARNE 1914. (Delivered 
 212 times as a lecture.) 
 
 THE STRATEGIC IMPORTANCE OF THE FIRST BATTLE OF YPRES, 1914. (Delivered 
 140 times as a lecture. 
 
 THE BATTLES OF VERDUN, 1916-1918. (Delivered 221 times as a lecture.) 
 THE FIRST GREAT ALLIED OFFENSIVE: THE SOMME, 1916. 
 THE: “BATTLE OF FRANCE 1918,” AND AMERICA’S GLORIOUS ACHIEVEMENT. 
 
 THE NEED OF MINISTER OF SHIPPING: a study of conditions in the British Mercantile 
 Marine (1904). 
 
TABLE OF CONTENTS 
 
 CHAPTER I. A General Review of the Rise of Sacred Art, from the Commence- 
 ment of the Christian Era, the Origins of its Symbolism, and its 
 Gn Cra IP MUICAN CE, ae oe ele 8 Ras 
 CHAPTER II. Of the Distinction between Symbols and Attributes, and between 
 Devotional, Votive, and Narrative Pictures. ......... 
 Cuapter III. Of the General Symbols Employed in Sacred Art ........ 
 EL ew Yall DOINST eC IO (SMES ort unten a aRe SR aks car oe 6 va. S. os 
 CHAPTER IV. Devotional Portrayals of, and Symbols for, the Members of the Holy 
 CLE LY a ere PANE ae). MM RE Gos 
 CHAPTER V. Of the Virgin Mary, and the Different Aspects under which She is 
 OGRA Vet lie At Came enn Mca igs RIS crt gs Ie y lea 
 The Madouna-watnoutehe: Child... ge.) Gos, ta ofa 
 ites Vaden anurenudshictirGia, tem s, wines ky Geile oa, 
 ibhespecial symbols ofthe Virgin. Marye, $09. .21°...7. (6s 
 The, Colors. used for the Garments of the Virgin... ......: 
 CHAPTER VI. Of the Heavenly Hosts and Their Hierarchical Rendering in Art . 
 Wrapiern V1). Of the Evangelists and Apostles. ..0. 2 «uta we Sk we 
 CHAPTER VIII. Of St. John the Baptist and St. Mary Magdalene ........ 
 CHAPTER IX. Of the Doctors of the Latin and Greek Churches. ........ 
 CHAPTER X. Of the Patron Saints of Christendom, the Virgin Patronesses, and the 
 FourrGreat Virgins oithestatin Church os «i a eee 
 Tables of the Patron Saints of Countries, Cities, Classes of Society, 
 Professions and Trades, and against Sickness and Disease 
 CuHapTER XI. Of the Hermits and the Monastic Orders, their Founders and Dis- 
 {actives is tM CSem ane eet eee nce eee ee foie ee 
 CHAPTER XII. Historical or Narrative Pictures of the Lives of the Virgin Mary and 
 Hers Livinet Son tt avatar y cite nee ate a yoehekcatten 5 tek 
 Old} Testament subjects depleted In Art. LC ama ee eens ee 
 APPENDICES 
 I. Alphabetical Table of Martyrdoms, showing how the Martyr-Saints suffered and 
 Hadras Cepicted: IAA Tio sions: anton pease at eke ht An toes 
 II. Tables of 320 Saints, classified according to their Habitual Costumes, with the 
 date of their Deaths, their Monastic Order (where any), their Attributes, etc. 
 III. The Saints classified according to their divers categories, e. g. Contemporaries of 
 Our Lord; the Greek Martyrs; Roman Martyrs; the Martyrs of Northern 
 and Central Italy, France and Spain; etc. SELLE mae OS aimee 
 IV. Alphabetical Tables of the Symbols and Attributes of the Saints, with the 
 Names: of those: who bear thems, oc co. cy gee este ; 
 V. Chronological Table of the Bishops and Popes of Rome, from St. Peter up to the 
 endsof the: 16th: Century csr eet eee is eee ee et 
 Vi.bist of Jiustrations classed alphabetica Wve. aaeas eee ae 
 
 VII. Complete Alphabetical General Index 
 
 Teas ey iatat) Maumee ay Mish e rtewe tae meth cgi h ey bern, Per Trent "len ie 
 
 109 
 
 136 
 142 
 
 144 
 
 145 
 
 P52 
 
 161 
 163 
 

 
 
 
 BY ENGUERRAND CHARONTON (See Page 7). (Courtesy of Mr. Guy Eglinton). 
 
 ” 
 
 *“CORONATION OF THE VIRGIN, 
 
 
 
 
 
 ich Galleries). 
 
 THE LEFT WING DEPICTS THE “NATIVITY, 
 
 (Courtesy of the Ebr 
 
 ” 
 
 1550). 
 
 FLIGHT INTO EGYPT. 
 
 e 
 
 TRIPTYCH BY HERRI MET DE BLES (1480- 
 
 EGE Se a 
 Seale aR scp cal 
 
 . 
 
 WHILE THAT ON THE RIGHT REPRESENTS THE 
 
 ADORATION OF THE MAGI 
 
 “ce 
 
THE SYMBOLS AND ATTRIBUTES 
 
 Ole Wale 
 
 SAINTS 
 
 PN ART 
 
 
 
 HAPTER! 
 
 
 
 A GENERAL REVIEW OF THE RISE OF CHRISTIAN 
 ART FROM THE COMMENCEMENT OF THE CHRISTIAN 
 ERA, THE ORIGINS OF ITS SYMBOLISM AND ITS 
 GENERAL SIGNIFICANCE 
 
 of, and interest in, paintings of the gth to the 16th 
 
 century—that category of pictures which goes 
 under the name of “The Old Masters’’—it is becom- 
 ing more and more important that those who would 
 learn to love such pictures, could they but under- 
 stand their subject and symbolism, possess some 
 practical aid to their “‘reading,”’ in order to extract 
 from them their full cultural value. 
 
 It should be borne in mind that pictorial repre- 
 sentation of sacred subyects—which class constituted 
 the vast majority of early paintings, both of the 
 Italian and the northern schools till well mto the 
 Cinquecento, the 16th century—was originally per- 
 mitted by the church as an additional means of pro- 
 pagating the faith, in the days when books were still 
 rare and very costly, outside the reach of all save 
 the wealthy clergy and nobles, and such rich dilet- 
 tanti as, for example, Pico della Mirandola. 
 
 In those days, the education of the masses, such 
 as it was, lay entirely in the hands of the clergy, who, 
 once the principle of pictorial representation was 
 admitted, ordained not alone which subjects were to 
 be depicted, and which to be eschewed, but even the 
 manner in which the holy or saintly personages were 
 to be clothed, what colors were to be used for their 
 clothing, and the hierarchical order in which they 
 were to appear in group pictures. Every detail had 
 its significance in the established protocol of the 
 Roman Catholic Church. 
 
 No better example of the manner in which the 
 church mstructed its artistic servants, and thus both 
 encouraged and hampered the cause of true art— 
 encouraged it by the profusion of commissions issued, 
 and hampered it by the restrictions in composition, 
 both of color and line, which were imposed upon the 
 artists—than the following translation of a contract 
 dated April 14th, 1453, between the Seigneur Jean 
 de Montagnac—a Pyrennean name—and the painter, 
 Enguerrand Charonton, for an altar-piece to be set 
 up in the Chapel of the Carthusian Monastery at 
 Villeneuve-lés-Avignon. The subject was “‘The Cor- 
 
 [: THESE DAYS of constantly increasing knowledge 
 
 onation of the Virgin,” a popular one with all early 
 masters. This contract was published in an article 
 by Guy Eglington in the March, 1924, issue of the 
 International Studio, with the following translation: 
 
 Followeth hereafter the ordering of the altarpiece 
 which Messire Jean de Montagnac willeth be made by 
 Master Enguerrand, painter, to be placed in the church 
 of the Carthusians at Villeneuve-lés-Avignon, on the 
 altar of the Holy Trinity. 
 
 First there shall be the form of Paradise, and in this 
 Paradise shall be the Holy Trinity, and between Father 
 and Son shall be no difference; and the Holy Spirit in 
 the form of a dove, and Our Lady, before, as shall seem 
 best to the said Master Enguerrand; and on the head 
 of Our Lady, the Holy Trinity shall be placing a crown. 
 
 Item: by the side of Our Lady shall be the angel 
 Gabriel with a certain number of angels, and on the 
 other side Saint Michael with such number of angels as 
 shall seem best to the said Master Enguerrand. 
 
 Item: on the other band [the left side] Saint Jobn 
 the Baptist with other patriarchs and prophets according 
 to the judgment of the said Master Enguerrand. 
 
 Item: on the right side shall be Saint Peter and 
 Saint Paul with certain number of other apostles. 
 
 Item: on the side by Saint Peter shall be a martyr 
 pope over whose head an angel shall be holding the 
 tiara (tierre), together with Saint Stephen and Saint 
 Lawrence in the habit of cardinal deacons* with other 
 Holy Martyrs to the ordering of the said master. 
 
 Item: beside Saint Jobn the Baptist will be the con- 
 fessors, that is to say Saint Gregory in the form of a pope 
 as above and two holy cardinals, one old and one young, 
 and Saint Agricola and Saint Hugh, bishops (Saint 
 Hugh in Carthusian habit), and other saints according 
 to the judgment of the said master Enguerrand. 
 
 Item: on the side of Saint Peter shall be Saint 
 Catherine with certain other virgins according to the 
 judgment of the said Master Enguerrand. 
 
 Item: on the side by Jobn the Baptist (sic!) the two 
 Marys, the Magdalen and the mother of James, and 
 Salome, each of them holding in her hands that which 
 she ought to bold, together with other women according 
 to the judgment of the said Master Enguerrand. 
 
 Item: shall be in the aforesaid Paradise some of 
 every buman estate to the ordering of the said Master 
 Enguerrand. 
 
 
 
 * A curious error, for St. Stephen and St. Lawrence were deacons, not cardi- 
 nal deacons. 
 
PLATE I THE SAINTS IN ART 
 
 SIMPLY AN ORNAMENTED 
 GOLD PLATE WHICH 
 FRAMED’ THE HEAD 
 EVEN WHENTHE HOLY §£ 
 PERSONAGE,WITH HIS fs USED IN CONJUNCTION 
 OR HER BACK TURNED \ WITH THE ANCHOR OF 
 2. TO THE SPEC- OVS WE b/s!) SNe HOPE IN THE CATA- 
 SEN TATOR, HAD rong Mae Hate AS = COMBS. NOTE THE USE 
 ¥\) To LOOK WSs Rs = OF "C” INSTEAD OFS" IN 
 Rue] STRAIGHT IN- INS SSE ; 
 7 TOTHE SOLID LESS 
 DIS (34.2) gale 
 
 4 
 Pg 
 y 
 Ay 
 O27 
 
 8. THE FISH EMBLEM 
 
 a4 SM 
 WHICH CHRIST 1S PORTRAYED BAe are 
 AS ORPHEUS (see Aige72), THE 8 eee RS 
 COMPARTMENTS OF THE 
 
 RECTION. 4) DANIEL, oF FORTITUDE 
 AND DIVINE ASSISTANCE IN TROUBLE . I 
 
 9. OUR LORD SYMBOLISH) 
 AS THE “LAMB OF GOD: 
 
 OF MASOLINO (/354-cH#o) 
 
 MADE A FIRST STEP HAN 11. YOUNG CHRIST 
 
 TOWARDS A MORE - sae i (| JAN HOLOING 
 
 RATIONAL TREATMENT 7 HEXAGONAL 
 
 ATT 
 
 ame 
 Ht i) tM) AL 
 
 Cite” 
 
 Wide A ¥ 
 
 ¥ ; 
 byt 
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 T 
 4 IT WAS NOT Tite Masaccio TENTS 
 
 CANE ALONG (/401- 1428) 
 
 TO ALLEGORICAL FIGURES. 
 (Sa tov IL . Nimavs) Ofte a 
 
 fresco-by Giallo) 
 
 12. CHRIST ON A BANK OF 
 GOLD CLOUDS SUR- 
 - ROUNDED BY 
 
 SAINTS. LEFT: 
 
 ST PETER PRE; 
 
 STCOS- 
 
 THAT THE NIMBUS WAS MADE 
 To" HOVER’ OVER THE SAINTS’ 
 
 THE “LABARUM 
 CROSS. (Fema 
 fast safle 
 
 Cola ) 
 
 40. THE LABARUM. 
 CONSTANTINE'S 
 om STANDARD 
 
 HEADS. Wf 
 ITWAS STILL f¥ ines 
 
 FELIX Fou 
 5. CRUCIFE ROUS (CROSS: BEARING) ra HOS 
 
 OF THR CHURCH. ZS) THEOpesUs IN THE 
 ‘ : THE EMPEROR, 2a SBNTS CHRIST 
 NIMBUS USUALLY GIVEN TO CHRIST ON Riaur: ST.PAUL PRESENTS ST D MULAN yo THEPRIELE APOSTLES AS Lamas 
 4. The solid gold ‘‘plate’”’ which was employed by all early mosaic workers and painters to indicate the saintly character 
 of the personages in their pictures, began to become lighter with Fra Lippo Lippi (1406-1469), the famous pupil of Masaccios, 
 although the gay Carmelite friar still used the opaque disc nimbus in some of his early works. Indeed, in some few works, e. g. 
 The Annunciation, in the Doria Gallery in Rome, he painted the nimbus as in Figures 1 and 2, but usually it is in perspective 
 as in Figure 4. Then he began to use a delicate nimbus of filmy gold lace stretched, as it were, over a circular wire loop, as in 
 Plate XIII, Figure 5. Towards the end of the 15th century the nimbus became a simple circular fillet of gold, and then dis- 
 
 appeared entirely. Occasionally a saint is seen with a square nimbus, which indicates that he was living at the time the picture 
 was painted. ; 
 
 
 
 
 
Item: above the said Paradise shall be the beavens 
 in which will be the sun and moon according to the judg- 
 ment of the said Master Enguerrand. 
 
 Item: after the heavens the earth, of which shall be 
 shown a portion of the city of Rome. 
 
 Item: on the side of the setting sun shall be the form 
 of the Church of Saint Peter of Rome, and [the] front 
 of the said church at the portal bas a cone of copper and 
 ilex, [whence] one descends by great steps into a large 
 square leading to the bridge Sant’ Angelo. 
 
 Item: on the left side of the said square is a portion 
 of the wall of Rome and on the other side are houses and 
 shops of all manner of men; at the end of the said 
 square is the Castel Sant’ Angelo and a bridge over the 
 Tiber which is in that city of Rome. 
 
 Item: in the said city [Rome] are many churches 
 among which is the church of the Holy Cross of Jerusa- 
 lem, where while Saint Gregory was celebrating, to him 
 appeared Our Lord in the form of a Pieta, of which 
 shall be painted the story according to the ordering of 
 the said Master Enguerrand, in which story shall be 
 Saint Hugh, Carthusian, assistant to the said Saint 
 Gregory, with other prelates according to the judgment 
 of the said Master Enguerrand. 
 
 Item: looking from Rome, the Tiber shall be shown 
 entering into the sea, and on the sea a certain number 
 of galleys and ships. 
 
 Item: beyond the sea shall be a portion of Jerusa- 
 lem, first the Mount of Olives on which shall be the 
 Cross of Our Lord and at the foot thereof a praying 
 Carthusian, and a little further shall be the sepulchre of 
 Our Lord-and an angel above saying: Surrexit, non est 
 hic; ecce locus ubi posuerant eum. 
 
 Item: at the foot of the said sepulchre will be two 
 praying friars; on the right hand the valley of Jebosa- 
 phat between two mountains; in which valley a church 
 where is the sepulchre of Our Lady and an angel above 
 saying: Assumpta est Maria ad aethereum thalamum 
 in quod rex regum stellato sedit solio; and at the foot of 
 that sepulchre a praying friar. 
 
 Item: on the left side there shall be a valley in which 
 there will be three personages of a like age; from each 
 of them will spring rays of light, and there sball be 
 Abraham coming from bis tabernacle, and worshipping 
 the said three personages, saying unto them, etc. 
 
 Item: on the second mountain will be Moses with 
 bis sheep and a young boy playing upon the bagpipe, 
 and there appeared to the said Moses, Our Lord in the 
 form of a fire in the midst of a bush and Our Lord will 
 be saving to Moses: Moses, Moses! And Moses will 
 reply: Assum. 
 
 Item: on the left [sic] side will be Hell; and be- 
 tween Purgatory and Hell will be a mountain; and on 
 the side of Purgatory above the mountain will be an 
 angel comforting the souls in Purgatory; and on the 
 side of Hell will be a greatly deformed devil on the 
 mountain, turning bis back on the angel and lying in 
 wait for certain souls in Hell which, by other devils, are 
 driven towards him. 
 
 Item: the said altarpiece shall be made all in fine 
 
 oil colors and the blue shall be fine blue of Acre except- 
 ing that which shall be laid on the border which shall be 
 fine blue of alamigne (Germany), as around the altar 
 piece shall be fine gold and burnished. 
 
 Item: the said Master Enguerrand shall show all 
 bis science in the Holy Trinity and the Blessed Virgin 
 and for the rest according to his conscience. 
 
 Item: the back of the altarpiece shall be painted 
 with a fine cloth of crimson damask all figured with 
 fleurs-de-lys. The 14th day of April, 1453. 
 
 
 
 There is considerable attention drawn, in the 
 wording of this document, to the fact that Master 
 Enguerrand could “use his judgment,” or ‘‘act 
 according to his conscience,” from which one would 
 be Ied to wonder if this painter, possessed of the 
 “frondeur” (‘‘kicking’’) spirit of his race had not 
 been objecting to the settlement by his patron of so 
 much of the detail. The phrases of this sort appear 
 so frequently as to appear almost conciliatory. And 
 can one be surprised if an intelligent painter did 
 grumble at the ordering of a picture, with so little 
 left to his imaginative powers and sense of balance 
 and composition. 
 
 Interference, moreover, went very much further 
 than simply declarmg what subjects were to be 
 depicted and how. To understand this it is necessary 
 to go back to the beginings of Christian Art in the 
 days when the followers of the new faith were either 
 actually bemg persecuted, or lived in fear of a recru- 
 descence of former persecutions. 
 
 As a result thereof, their artistic endeavors were 
 more or less concealed, and produced in their under- 
 ground “‘burial-clubs” or catacombs, the regular 
 entrances to which were destroyed during the earlier 
 persecutions and new underground secret passages 
 constructed, The early Christians were not very far 
 removed from their pagan kindred, and it must 
 be remembered in this connection that they were 
 not a different race nor differently educated, but 
 Romans converted to Christianity as a new and 
 beautiful doctrine based on the Golden Rule. So it 
 is not difficult to realize how it was that they retained 
 so many of their old customs on adopting the new 
 creed, nor why they were not required to abandon all 
 their belongings of a pagan character, so long as they 
 were ready to throw away whatever had been 
 offered “‘in sacrifice to idols.” 
 
 Naturally, the childhood training of many of these 
 converts could not be eradicated instantly, and so we 
 find pagan symbols and symbolism used constantly in 
 early Christian iconography. Even the nimbus—of 
 which I speak more fully Iater—the outstanding 
 symbol of canonisation in the eyes of most people 
 —was simply a borrowed pagan symbol in use so 
 far back that it is mentioned in the Iliad of Homer 
 (940-850 B.C.). It represented originally a JIuminous 
 nebula derived from the Divine Essence, and so came 
 to symbolize power. Many Roman emperors are 
 portrayed with a nimbus of rays, while a compara- 
 
REA EL THE SAINTS IN ART 
 
 r 
 
 
 
 
 
 
 
 — 
 
 ASPECTS OF 
 
 i ~ F Aly THE ALMIGHTY 
 ..\ SEAN | || AND OUR LORD | 
 
 
 
 
 
 kei Re 3 
 Upper left corner: The haces Pieta by Given Bellon isa forts ef he ai ucharcde Ecco Homo” Bis 37) though 
 not in its usual style. Upper centre: Mazzolino’s Holy Family in the London National Gallery, with the Almighty and 
 Dove of the Holy Ghost suspended above the head of the Madonna. Right: A ‘‘Last Judgment” as conceived by Roger 
 van der Weyden, with the Saviour seated upon a rainbow, overlooking the Archangel Michael weighing the souls of the 
 Arisen. Note the Archangel’s long gown (see p. 52). On the left of the head of Christ is a Lily for the Blessed, and on 
 the right, the sword of punishment for the damned. Centre left: A modern interpretation of God the Father by von 
 Cornelius in the Ludwigskirche in Munich. Note the Sun and Moon, and the various choirs of angels each with its own 
 special attribute (see p. 50). Lower left: The celebrated ‘Dead Christ” by Mantegna im the Brera certainly inspired 
 Rembrandt’s still more famous ‘“‘“Anatomy Lesson” in the Hague. Though called a Pietd, it is really a study in anatomy 
 and foreshortening, and is lacking in reverence. Low right: This picture by Giovanni d’Alemagna and Antonio Vivarini 
 is fully described on page 77. 
 
 eae cca tr aie: 
 
 IO 
 
tively late example of the secular application of the 
 halo is to be found around the head of the Byzantine 
 “Emperor Justmian amid His Ministers” pictured 
 in mosaic in the old church of San Vitale at Ravenna 
 which dates between 525 and 534 A.D., though the 
 mosaics are later. This particular group must be so, 
 for Justinian only retook Ravenna in 539. Again 
 we find the nimbus in a hexagonal form used to indi- 
 cate allegorical characters even In pictures so late as 
 those of Giotto in the Lower Church at Assisi. (See 
 Plate I). 
 
 The necessity for concealment, by the Christians 
 of their conversion, from the persecuting Roman 
 emperors and their minions, was another cause of the 
 retention of many pagan symbols and types. Thus 
 we find such interesting depictions as that repro- 
 duced on Plate I from a painting in the Catacomb of 
 St. Callixtus in Rome, where Our Lord is depicted 
 in the character of Orpheus with his Jute, and the 
 use of the Fish to symbolise the Saviour, because the 
 Greek word for fish, IXOY, is an anagram of the 
 initial letters for the Greek phrase ’Insot¢ Xetotés, 
 @cod Yidc, Lwtne (Latin: Jesus Christus Dei Filius 
 Salvator) meaning Jesus Christ, the Son of God, our 
 Saviour. The Romans were a humorous people, and 
 we can picture their delight, almost see them looking 
 with their tongue in their cheek, in spite of all their 
 self-denying adherence to their new faith and their 
 cheerfully-accepted sufferings, at these representa- 
 tions intended to hoodwink their cruel persecutors. 
 
 Now im the early days of Christianity, that Is to 
 say in the three centuries which followed the Resur- 
 rection of Our Lord, the feeling of His disciples and 
 Iater followers towards Him was not so much a 
 religious adoration as a profound admiration for a 
 great teacher, and strange though it may seem—even 
 to those of us who still live in an age of hero-worship 
 of another and less noble form—He was almost 
 secondary In many ways to the authentic martyrs, 
 who died after suffering abominable tortures rather 
 than deny their new Master. A reason for this, one 
 which I have never seen advanced elsewhere, yet is 
 surely logical, is probably to be found in the fact that 
 apart from the Apostles a large proportion of the 
 earliest authentic martyrs—as opposed to the few 
 legendary sufferers—were either of high birth or of 
 great learning, or both, and therefore well placed to 
 capture the fancy of the “common herd”’ of unedu- 
 cated converts, who could not help but exalt them 
 from natural Jeaders into supernatural heroes. St. 
 Adrian (A.D. 290), St. Agatha (251), St. Barbara 
 (303), St. Blaise (316), St. Catherine of Alexandria 
 (307), St. Sebastian (288), St. Eustace (118), St. 
 Cecilia (280) and many others of the favorite saints 
 were of royal or noble birth, while others, such as St. 
 Lawrence, became heroes to their fellow Christians 
 because of the purity of their lives, the staunchness 
 of their support of the new faith, and the mdomitable 
 spirit in which they suffered torture and martyrdom. 
 
 And so we find the beginnings of this saintly 
 
 II 
 
 iconography to be but one more aspect of that same 
 spirit which gave popularity to a consistently success- 
 ful gladiator, a victorious athlete, or, in the present 
 day, a skilful matador, a conquering general, or an 
 outstanding home-run getter. This comparison is less 
 trivial than it sounds at first, for emulation is the 
 motive force of progress, and a people with nothing 
 at which to look upwards will soon be walking over 
 the ashes of the past with downcast eyes. 
 
 Presently, however, the figure of Christ began to 
 stand out, as time Ient majesty to His sacrifice, and 
 the ever-increasing thousands of His followers in- 
 vested Him in the thoughts of the imperially- 
 minded Romans with a regal grandeur and aloofness. 
 Then He became one with God the Father and the 
 Holy Ghost, a member of the Divine Trinity, too 
 exalted for direct hearing of pleas and prayer. 
 
 And so the saints, from being popular heroes, in 
 whom the new converts felt an admiring interest, 
 became the intercessors of the people at “‘the Court” 
 of a wellnigh maccessible Deity. This explains to a 
 great extent the enormous number of Christian saints, 
 and their high standing in the minds of the people. 
 Each town, and even smaller communities, had its 
 patron saint, to whom the imhabitants addressed 
 themselves for aid in everything, from the loss of a 
 silver coin to the desire for a son and heir. Further- 
 more, many varieties of illness, and other worries and 
 troubles, became the particular province of certain 
 saints, as, for example, St. Apollonia, who is the pro- 
 tectress against dental afflictions, while French 
 peasants still pray to St. Anthony of Padua to help 
 them recover some lost object, and their women offer 
 prayers to their patron that they be rendered fertile. 
 
 Now, one would think that with the general 
 recognition of the Christian religion by the Emperor 
 Constantine, and his swiftly-succeeding edicts mak- 
 ing the Christians monarchs of all they surveyed, 
 and an offence, punishable by forfeiture of half one’s 
 worldly possessions, to insult an adherent of the 
 Faith, one would think, I say, that the troubles of 
 the Christian artist were over. They were only just 
 beginning! For now the Church was not at all con- 
 vinced that pictorial representation of sacred sub- 
 jects by semi-educated Iaymen supported the dog- 
 matic teachings of the clergy, who naturally were 
 still gropmmg amid hair-splitting reasonings and de- 
 bates for the final “‘form”’ of the religion’s adminis- 
 tration. Everything having to be, as It were, codified, 
 which task was in the hands of the most learned of 
 the Fathers of the Church, there was good reason for 
 apprehension that freedom for composers of sacred 
 subjects might lead to embarassing contradictions. 
 
 Gregory II might exclaim that ‘Painting is em- 
 ployed in churches for the reason that those who are 
 ignorant of the scriptures may at least see upon the 
 walls what they are unable to read in books,” but 
 St. Augustine spoke of sacred pictures as “‘the 
 books of the simple”’ of which the first duty was to 
 teach. And the hierarchy had no intention of allow- 
 
ing the “libri idiotorum”’ to give instruction to the 
 simple along lines which did not run parallel to the 
 verbal teachings of the clergy. 
 
 At the Ccumenical Council of the Church, 
 at Nicea in Asia Mmor, known im history as the 
 Nicene Conference (A.D. 325), convoked and pre- 
 sided over by the Emperor Constantine, who favored 
 Christianity from the year 319 though he himself 
 was not baptised until shortly before his death in 
 337 A.D., rigid laws were laid down concerning the 
 treatment of sacred subjects. It was ordained, for 
 example, that the human body, even that of the 
 Infant Christ, must be entirely clothed m order that 
 no question of the flesh might obscure the spiritual 
 issue. Even the feet were to be hidden, and only the 
 hands and face exposed. This rule was adhered to 
 up till the time of Giotto, and we see in the Ma- 
 donnas of Guido da Siena, Cimabué and Duccio 
 exactly how the ruling was carried out. And further, 
 through a slavish adherence to pure Byzantine tra- 
 dition, the Russian 1kons—sacred pictures—up to 
 the recent revolution, still portrayed the Holy Per- 
 sonages in the same many-folded, gold-striped gar- 
 ments, covering every inch of the body, as those in 
 the 8th and oth century Byzantine pictures and 
 mosaics. 
 
 Even then the troubles of the artist were far 
 from being smoothed over, for with the accession to 
 the throne of the Eastern Roman Empire, or Byzan- 
 tium, of Leo the Isaurian, the Iconoclast, as he is 
 often styled—in 716 A.D., the churches of both 
 East and West were, by his order, cleared of images, 
 and the “symbols of idolatry” destroyed. Pope 
 Gregory II, mentioned above as an ardent supporter 
 of pictorial teaching—what we call today “‘teaching 
 through the eye’’—fought the execution of this edict 
 and excommunicated its author, severing him and 
 his followers from all connection with the true 
 Catholic Church, an action which played a great role 
 in history, through the alliance of Rome with the 
 French Carlovingian monarchs, for it established the 
 temporal power of the Papacy (755 A.D.). In 
 return, France became known as the “‘Elder Daugh- 
 ter of the Church.” 
 
 From that time, in spite of the rigid laws under 
 which it Iabored, art began its gradual enfranchise- 
 ment, and as it grew stronger, as painters 
 grew more skilful with their medium, so that it 
 became an easily-wielded instrument im their hands, 
 art stepped out of its swaddlmg clothes, refused to 
 take orders and finally, even in the depiction of sacred 
 subjects, thrust aside the spiritual, mm favor of an 
 almost entirely material, interpretation. Men having 
 Jost much of their medieval naiveté, were willing to 
 look at religious pictures and love them for what they 
 represented, but refused any Jonger to be hood- 
 winked as to their meaning. 
 
 So, as, with the Renaissance, the arts prospered and 
 education became commoner, symbolism changed, 
 became less mystic and simpler. The Holy Trinity 
 
 12 
 
 
 
 commenced to inspire less awe. Not only did Jesus 
 Christ begin to appear Iess far beyond the reach of 
 suppliant mankind, but even God the Father, who 
 at first was represented simply by a hand appearing 
 out of a cloud, began to be portrayed in human 
 form, thus showing that the artists of this later day 
 Iooked upon the Almighty more as a benevolent 
 Father who loved unworthy man so deeply that He 
 had given His Son as the Redeemer, than as a cruel 
 tyrannical overlord, in whose eyes man could do no 
 right and who had ordained terrible punishment for 
 all who committed the unavoidable sins. 
 
 “What! out of senseless nothing to provoke 
 A conscious something to resent the yoke 
 Of unpermitted pleasure, under pain 
 Of everlasting penalties, if broke! 
 Omar KHAYYAM 
 
 an ironic quatrain which expresses perhaps more 
 than any other written line the new spirit, the new 
 “feeling” towards the personages of the Holy 
 Trmity. And nothing betrays the “‘humanizing” of 
 religion more than the growth of the ‘‘Mother and 
 Child” motive in art. This motive, for obvious 
 reasons destined to have a mystic significance, is to 
 be found in the arts of all countries, much older than 
 Christian Art. The Chinese portray Kuan-yin, 
 “‘Hearer of Cries,’ with a child in her lap; the 
 Egyptians worshipped the goddess Isis holding her 
 
 greg 
 
 iva 
 
 \ AY, / VW 
 
 PORCELAIN STATUETTE OF THE CHINESE BUDDHIST DEITY 
 KUAN-YIN, GODDESS OF MERCY, WHOM THE JAPANESE CALL 
 KWANNON, AND THE INDIAN BUDDHISTS, AVOKOLITASVARA, 
 WHO FREQUENTLY HOLDS A SMALL CHILD AND HAS BEEN 
 CALLED THE BUDDHIST MADONNA. (Courtesy of Parish Watson ey Co.) 
 
son, Horus; while the Greeks, in the person of Diana, 
 symbolised at once fertility and chastity, and made 
 her the prototype of motherhood and beauty and 
 charity. And undoubtedly the influence of these 
 portrayals helped to create the “special” character 
 of the Mother of Christ in art. In all likelihood it 
 proceeded directly from the Isis and Horus legend, 
 for St. Cyril, who fought so strenuously for the 
 orthodoxy of the doctrine that the Virgin was the 
 “Mother of God” at the Council of Ephesus mm 
 431 A.D., was Patriarch of Alexandria from 412 to 
 444, and in consequence was thoroughly familiar 
 with Egyptian theology. It was this Cyril whose 
 followers persecuted and put to death the bril- 
 liant philosopher and mathematician, Hypatia, the 
 heroine of Charles Kingley’s romance of that name. 
 
 The “fight” just mentioned illustrates the 
 seriousness with which what we might call the 
 “working dogma”’ of the church was evolved. In 
 the year 431 the Council of Ephesus condemned for 
 heresy the party headed by Nestorius which main- 
 tained that Christ was a dual personality, comprising 
 both God and man, and that therefore Mary, His 
 human mother, was the mother of the latter and had 
 no right to be called the “‘Mother of God.” The 
 Monophysites, who upheld the single character of 
 Our Lord as the God-in-Man, contended that this 
 unity automatically established the Madonna in the 
 higher degree. The controversy engendered such 
 active partisanship that the ‘Madonna and Child”’ 
 became, as it were, a “campaign emblem,” and, after 
 the victory, was popularised in painting or em- 
 broidery on garments, or stamped on coins by all 
 who wished to show their horror at the “sacrilegious” 
 heresy. (See Chapter V.) 
 
 At first, as in all arts—see previous papers—the 
 artists who portrayed these religious subjects were 
 themselves deeply imbued with the spirit they were 
 commissioned to represent, and so even the crudest 
 of these early efforts are impressive in their evident 
 sincerity. This feeling of profound religious senti- 
 ment lasted up to the beginning of the Cinquecento, 
 and so we find the artists of the Quattrocento, the 
 15th century, painting with considerable skill pic- 
 tures which possess that rare combination of spon- 
 taneous matter and impeccable manner. This period 
 of perfection in art only lasts a very short time in 
 any branch or country, for only too soon, alas, the 
 artist who has acquired sufficient technical skill to 
 express without difficulty whatever he wishes to say 
 gathers unto himself an excess of pride in that skill, 
 and a desire to see how far it will carry him, which 
 fmishes by subordinating the matter entirely to the 
 manner. Decadence has set in. In the matter of 
 religious pictures this was displayed by a semi- 
 sacrilegious portraiture, as the Madonna, of the 
 wives, and even the mistresses, of some of the painters, 
 and, in votive pictures, by the painting, mto the 
 sacred group, of the donor of the picture and his 
 relations, or even the artist and his family. 
 
 There was nothing objectionable about the intro- 
 duction into the composition of early pictures, of 
 the donors, for they were brought in as worshippers 
 only, and portrayed in almost minute proportions in 
 order carefully to emphasize their comparative unim- 
 portance. But I have in mind a tryptich by Ludger 
 Tom Ring, a 16th-century German, in the Metro- 
 politan Museum, in which he has depicted Our 
 Lord in the centre panel, in the act of blessing, 
 with the donor and his two sons on one side of Him, 
 
 his wife and daughter on the other, and two other 
 
 members of the family on the outer panels. All these 
 figures are of the same size and value as Christ Him- 
 self; indeed more importance is accorded to these 
 impertinent and egotistical mdividuals than to 
 the Master, by the statement of the age of each 
 one of them painted over his or her head. These 
 awful “parvenus”’ are not even kneeling to their 
 Saviour. They are—probably with a condescending 
 thought—having dinner with Him! The Meyer 
 family of the Holbern Madonna, named after it, 
 Is more reverent. The burgomeister shows at least 
 some religious sentiment, and his wife is, as it 
 were, behaving decently, as she would, kneeling, in 
 church, as is also the younger daughter. But the 
 other is paying no attention whatever to the beau- 
 tiful crowned Madonna and Her Child, while the 
 
 boy on the side of his father has come into the picture 
 
 ‘Gi 
 NX 
 
 
 
 a - 
 [| he 
 pans 
 
 i, 
 
 y 
 
 | 
 | 
 H| 
 
 
 
 
 
 
 
 
 
 
 
 THE “MADONNA OF THE MEYER FAMILY” BY HANS HOLBEIN 
 THE YOUNGER, IN THE DARMSTADT GALLERY 
 
so that “‘he will be in it” for family reasons. And 
 Titian and Paul Veronese not only inserted the por- 
 traits of themselves and their families into such 
 works as the former’s “‘ Pilgrims of Emmaeus” in the 
 Louvre, and the latter’s great “‘Marriage at Cana,” 
 also in the Paris collection, but also introduced all 
 manner of prominent contemporary personages and 
 even personal friends. Finally, the painting of sacred 
 pictures became a business, and, with the 17th cen- 
 tury Italian eclectics of the schools of Bologna and 
 Naples and elsewhere, what had once been a glorious 
 art, pulsating with fervor, vibrant with emotion, vivid 
 in both color and sentiment, the work of preachers 
 in paint, just as the great architects of the Gothic 
 era were preachers in stone, this splendid art which 
 has cast a mantle of immortality upon the name of 
 13th to 16th century Italy, died an ignoble death, 
 choked by its greed, and its lifeblood of sincerity 
 thinned down to the consistency of over-matured 
 wines. 
 
 CITA TUE Rei. 
 
 
 
 OF THE DISTINCTION BETWEEN SYMBOLS AND ATTRI- 
 BUTES, AND BETWEEN DEVOTIONAL, VOTIVE AND 
 NARRATIVE PICTURES 
 
 There are two classes of objects with which the 
 Saints are always depicted in art, viz., attributes and 
 symbols. Sometimes they are represented with one 
 class, sometimes with the other, and frequently 
 with both. The former have reference to their his- 
 torical or legendary positions or careers. The latter 
 symbolise some abstract quality, such as piety, 
 learning, fortitude, eloquence, or are emblematic of 
 their martyrdom. For example, St. Catherine of 
 Alexandria, who was a royal princess, is sometimes 
 portrayed with two crowns, one at her feet, the other 
 on her head. In this case the crown at her feet 
 Is an attribute of her royal rank, spurned by her in 
 favor of the new Christian faith, while that on her 
 head is the crown of martyrdom, a symbol. Simi- 
 larly the Apostle Paul is shown in different pictures 
 with a sword held, now pointing upwards, now with 
 the pomt reversed and the Apostle Ieaning upon it. 
 In the former case the sword blade, raised in 
 the position of striking, is symbolic of the militant 
 character of the Apostle’s preaching, while in the 
 latter it is the attribute of his martyrdom, for he 
 was beheaded with that, the customary, weapon. 
 (See Plate XX.) 
 
 Again, the habiliments in which a saint is depicted 
 are almost always an attribute, for they refer to his 
 or her station in life, though the colors of such robes, 
 as in the case of the Dominican habit, may them- 
 selves be emblematic. There are exceptions to this 
 rule as, for example, when St. Dominick or St. Clara 
 are portrayed all in white, in symbolic recognition of 
 their outstanding purity of mind. On the other hand, 
 the robes of the Virgin Mary are purely symbolical, 
 the Red of Love, the White of Purity and the Blue 
 
 14 
 
 of Truth. When the Madonna is clad all in white, as 
 in pictures of the Immaculate Conception, it sym- 
 bolises Her purity, and again when She is clothed in 
 rich vestments they are symbolic of Her mystic 
 standing as the Queen of Heaven or of the Angels 
 (Regina Ceeli or Angelorum). 
 
 Pictures themselves also divide up into two 
 categories, DEVOTIONAL or VoTIvE, and NARRA- 
 TIVE, or, as they are sometimes called, Hisroricat. 
 They are easily distinguishable from each other, 
 once the basic points of difference are clearly under- 
 stood. There is a third group, which is rarer, com- 
 prising subjects which combine the features of the 
 
 
 
 A DEVOTIONAL CRUCIFIXION BY MARTIN SCHONGAUER OF THE 
 
 FIFTEENTH CENTURY GERMAN SCHOOL. THIS IS AN ADAPTED 
 ““STABAT MATER” (Q. Vv.) FOR, IN ADDITION TO THE USUAL 
 FIGURES OF THE VIRGIN AND ST. JOHN THE EVANGELIST, THE 
 OTHER THREE MARYS ARE ALSO PRESENT. (See Page 56.) 
 
 two main divisions, the features of a narrative char- 
 acter appearing in the subsidiary motives. 
 Devotional pictures may be classifted broadly as 
 those in which no action is depicted, where the per- 
 sonages are represented solely in their saintly aspect, 
 as opposed to their personal aspect. Pictures of the 
 Last Judgment; the Coronation of the Virgin; of 
 Paradise, with the Holy Trmity, the Virgin, the 
 Heavenly Host, and the earthly samts, with their 
 symbols and attributes; groups of saints, called by 
 the Italians, “Sacre Conversazione;” and of the 
 Crucifixion, where the single Cross is shown, bearing 
 the figure of Our Lord, with a number of Saints hav- 
 ing no connection with His actual life and His Pas- 
 sion, are all of the category of devotional pictures. 
 
Narrative or Historical Pictures are those which 
 tell a story, depict some incident, actual or Iegendary, 
 in the lives of the Saviour or His Mother, or the 
 Saints, thereby placing such personages on a terres- 
 trial plane in contradistinction from the spiritual 
 interpretation which marks Devotional Pictures. 
 
 The commonest form of devotional picture presents 
 the Madonna and “Bambino,” surrounded by saints, 
 having no reference to each other, nor to the actual 
 life of the Virgin, but bearing generally some connec- 
 tion with the symbolic side of Her Life. Good 
 examples of this type are the great Raphael Ma- 
 donna, the Taddeo Gaddi Altar-piece, and the 
 famous Girolamo dai Libri Madonna—under a tree 
 —all in the Metropolitan Museum of Art of New 
 York. 
 
 Practically all the representations of the Ma- 
 donna and Child—of which I shall speak more fully 
 in a separate chapter—are in the devotional class, 
 in fact all of them, except the usual type of work 
 representing the Nativity, the Presentation in the 
 Temple, the Circumcision, or the Adoration of the 
 three shepherds and the three Magi or Kings, and 
 other such historical events. Occasionally, the Ma- 
 donna is represented alone, either simply as a half 
 or bust-length figure, or at full Iength. These are, 
 of course, all devotional representations. 
 
 As mentioned previously, certain representations 
 of the Crucifixion are devotional, while others are 
 narrative. In the former, of which a good, though 
 small, example is again to be found in the Metro- 
 politan Museum, the work of Fra Angelico, 1! Beato, 
 the Blessed, the Saviour is depicted upon the cross, 
 but almost in an attitude of repose, the self-sacri- 
 ficmg Son of God, rather than the suffering Man, 
 while the other two crosses are replaced by palm 
 trees equal distances away on either side of the 
 Cross. Gathered around its foot are nine saints, 
 three of whom are kneeling to the Divine Figure, 
 while the others are separated into two groups of 
 three on each side, but all in a row. (See Chapter XI.) 
 
 When the Crucifixion is depicted with all the his- 
 torical or legendary attributes, such as the Roman 
 soldiers standing on guard, the two thieves on their 
 crosses, the centurion Longinus, who is said to have 
 pierced the side of Our Lord, and Iater became con- 
 verted and canonised as a martyr, or again when the 
 ‘Heavens were darkened,” in short, whenever the 
 picture tells a story, it is not a devotional, but a his- 
 torical, work. The Bartolo di Fredi crucifixion in the 
 Metropolitan Museum is an example of the narrative 
 form. 
 
 Portrayals of the Saints alone also divide into the 
 two groups. Wherever the personage is shown actu- 
 ally suffering martyrdom, or performing some one of 
 the acts that Ied to his or her canonisation, or as 
 accomplishing some event of his life, either historical 
 or legendary, such pictures fall into the narrative 
 group. The pictures of the Three Miracles of St. 
 Zenobius, and the Last Sacrament of St. Jerome, by 
 
 15 
 
 
 
 A VERY INTERESTING, 
 ‘“ANNUNCIATION.” 
 
 BUT UNCOMMON, RENDERING OF THE 
 THE SUBJECT IS TREATED ENTIRELY IN A 
 DEVOTIONAL MANNER, LIKE ANOTHER ONE BY THE SAME SATS 
 MASTER, FRANCESCO RAIBOLINI, COMMONLY KNOWN AS IL 
 FRANCIA.” (Picture in the Pinacoteca at Bologna) 
 Botticelli, in the Metropolitan Museum, belong to 
 this class. Such works as pictures of St. Sebastian, 
 with soldiers actually shooting arrows into his flesh, 
 are of course of the narrative type. But when this 
 same saint is depicted alone, fastened to a tree or 
 stake, with arrows driven into his limbs, it is a devo- 
 tional picture. The picture of St. Dominick, with his 
 book and lily symbols, in the Metropolitan Museum 
 is of the devotional order. (See Chapter XI.) 
 
 Pictures of the Annunciation might be classed 
 as either devotional or narrative, for usually they 
 depict the arrival of the Archangel Gabriel, with his 
 lily-wand, to announce the news to the Virgin. There 
 is therefore action in such pictures, but at the same 
 time, the mystic atmosphere of the whole incident 
 should really class them among the devotional works. 
 There are some representations of this most impor- 
 tant subject—from an Art standpoint—which are 
 clearly devotional, e. g., the two well-known pic- 
 tures by Francia, in the Bologna Museum, in which 
 the Virgin is standing upon a slight elevation with a 
 book in her hand, with saints around her and the 
 angel floating above a little to one side, with the 
 right hand raised mm a gesture of benediction. 
 
 In one of these two (above), the Virgin Mary is 
 surrounded by St. John the Evangelist, St. Francis 
 of Assisi, St. Bernardino of Siena, and St. George, 
 while above her head to the right floats a blessing 
 
angel, and immediately above is a symbolic figure, in 
 a “mandorla”’ (olive shaped glory) of rays, of a nude 
 Christ Child, holding a small cross. In a picture by 
 Ambrogio Lorenzetti in the Siena Academy, the 
 Virgin and the Announcing Archangel are in separate 
 Gothic panels, with the Angel kneeling before Her, 
 and pointing back upwards with his thumb (!) at 
 the Dove of the Holy Ghost. In the great Fra Bar- 
 tolommeo Annunciation in the Louvre, the Virgin Is 
 seated on an elevated throne in a niche, with a small 
 figure of a hovering angel above her to the left and 
 the Dove emitting rays immediately above Her head. 
 Around the steps of the “‘throne”’ are a number of 
 saints. 
 
 A purely devotional picture is the one by Lo- 
 renzo Costa in Bologna, where he has portrayed the 
 tall, comely Virgin, walking with an open book in her 
 hand, under a colonnade while a Dove, alone, sheds 
 rays towards her as she halts to the mystic summons. 
 On the other hand, a curious narrative picture by 
 Carlo Maratta in the Corsini Gallery in Rome, shows 
 the head and bust of the lightly-veiled Virgin, read- 
 ing an open book set on a table, while away to the 
 right, one sees the arriving figure of the Archangel, 
 at a distance. (See Page 38.) 
 
 Votive pictures may be either devotional or nar- 
 rative, though most of them are devotional in char- 
 acter. Votive pictures are those which were offered 
 by some individual or community or some monastic 
 order, m thanksgiving to some holy personage for 
 “services rendered,” e. g., recovery from sickness, 
 or any other benefit attributed by the donor to the 
 sacred personage who forms the subject of the pic- 
 ture. Pictures of the Madonna, or of Our Lord, alone, 
 are VoTIVE pictures, because they were painted with 
 the Madonna as the Patroness, not as the Mother 
 of Christ, or, in the case of the Saviour, as the 
 general Patron of mankind. The vast majority of 
 votive pictures represent the Madonna and Child 
 surrounded by the Saints, who, as patrons, interceded 
 with the Virgin Mary for the bestowal of the benefits 
 in question. For example, in Florentine pictures, 
 painted by order of the Medici, one sees very fre- 
 quently S.S. Cosmo and Damian, who were the 
 patrons of that famous house, while in those of the 
 Lombardy school, we nearly always find St. Ambrose, 
 in his character of Bishop and Patron of Milan. 
 
 In many instances, instead of the Madonna and 
 Child being the principal motive, with the patron 
 saints on either side of the Holy Pair, we find the 
 Saint himself enthroned, as for example, the famous 
 Lorenzo Costa altar-piece in the Pinacoteca at Bo- 
 logna, in which St. Petronius is seated upon a high 
 throne, and holding a model of the city of Bologna 
 in his hand, with the figures of St. Francis of Assisi 
 on one side and St. Dominick on the other, in the 
 attitude of presenting this comparatively minor saint 
 to the congregation of the church erected in his honor 
 by the city of which he was the Patron. This altar- 
 piece is a typical VoTIvE picture. (See Page 26.) 
 
 16 
 
 Other famous examples of votive pictures are the 
 St. Ursula and her maidens, by Moretto in Brescia, 
 the St. Thomas Aquinas and the St. Ursula, by Car- 
 paccio in the Stuttgart Gallery and the Venice 
 Academy, respectively. In all these the honored 
 saint is enthroned. In others, the Patron is standing, 
 surrounded by other Saints, e. g., Raphael’s cele- 
 brated St. Cecilia in the Bologna Pinacoteca, the St. 
 Anthony of Egypt, by a pupil of Cima da Coneg- 
 liano, in the Metropolitan Museum, the Saint Cecilia 
 
 \ 
 
 AZ 
 
 Ss - \ 
 SSSSQoowkdlf 
 \ 
 
 NOAA 
 
 VLE 
 
 
 
 ST. CECILIA, PATRON SAINT OF SACRED MUSIC, SURROUNDED BY 
 SS. PAUL, JOHN THE EVANGELIST, PETER AND MARY MAGDALENE 
 
 (From the picture by Raphael in the Vatican.) 
 
 by Moretto in St. Clement’s at Brescia, and the St. 
 Francis of Assisi between S.S. Ursula and Catherine 
 of Alexandria by Lorenzo Costa in the Metropolitan 
 Museum; the San Frediano standing amid four other 
 saints, in the Bologna Gallery. The famous “Tri- 
 umph of St. Thomas Aquinas” in the Louvre in 
 Paris, in which the “Angelic Doctor” is seen with 
 his attributes, the Sun on his breast and a book 
 shedding rays, and with Plato and Aristotle on either 
 side of him, shows the saint enthroned. 
 
 Votive pictures very frequently comprise a por- 
 trait of the donor of the painting. In the early 12th 
 and 13th century works, the donors when present 
 were always depicted as tiny dwarfs symbolizing their 
 comparative unimportance in a picture of saintly per- 
 sonages, as in a wonderful Agnolo Gaddi panel in the 
 collection of Mr. Otto Kahn. It is called an allegory 
 in the catalogue by Dr. Sirén, but is, I believe, a votive 
 
picture of the Madonna, without the Child, with the 
 doctor-saints Cosmo and Damian standing together 
 at Her left. At Her right—on the left of the picture 
 —are two tiny figures, representing a nun and a 
 novice of the Trinitarian Order—a derivative of the 
 Augustinians—as the Greek cross on their white 
 habit mdicates — kneeling with hands joined in 
 prayer. The Trinitarians were essentially a chari- 
 table order, for the redemption of captives. S.S. 
 Cosmo and Damian were also famed for their charity, 
 so their inclusion fits in, though St. Leonard is the 
 
 wife, of the same size as the other figures, are kneel- 
 ing outside the arched recess, one on either side. 
 
 In Flemish pictures the donors were usually por- 
 trayed in the wings, though frequently they appear 
 in the main body of the picture, e. g., the great van 
 der Paele Madonna by Jan van Eyck, in the Bruges 
 City Museum, illustrated here, or the Madonna of 
 the Chancellor Rolin by Van Eyck in the Louvre. 
 
 In most of the Flemish votive pictures, the 
 Patron Saints of the kneeling donors are depicted 
 standing behind them, each with his or her attribute, 
 
 
 
 THE WONDERFUL MADONNA OF THE CANON GEORGE VAN DER PAELE BY JAN VAN EYCK, IN THE MUNICIPAL MUSEUM AT BRUGES IN 
 BELGIUM, IS AN EXCELLENT EXAMPLE OF THE REVERENT TREATMENT OF THE DONOR WHICH IS SO CHARACTERISTIC OF EARLY FLEMISH 
 WORKS. THE LEARNED CANON IS PRESENTED TO THE MADONNA BY ST. GEORGE, HIS PATRON, WHO IS POLITELY RAISING HIS HELMET, 
 WHILE OPPOSITE THIS PAIR STANDS ST. ERASMUS IN HIS ROBES AS BISHOP OF FORMIA, HOLDING IN HIS RIGHT HAND ONE OF THOSE 
 CROZIERS WITH FIVE BLOOD-RED CARBUNCLES OR RUBIES MENTIONED ON PAGE I9 (d), AND IN THE OTHER A MINIATURE WINDLASS, 
 THE ATTRIBUTE OF HIS HORRIBLE MARTYRDOM, BEARING FIVE CANDLES WITH THE SAME MYSTIC SIGNIFICANCE AS THE FIVE RUBIES 
 
 true patron of prisoners. The circular nimbus and 
 the crown and the rich robe clearly indicate the 
 principal figure as the Madonna in Her capacity as 
 Queen of Mercy, Our Lady of Pity. If the principal 
 figure were allegorical, the nuns would not be kneel- 
 ing. (See Page 80.) 
 
 In a votive picture of the Trinity, by Masaccio 
 in S. Maria Novella in Florence, represented as Our 
 Lord upon a Cross surmounted by a bust-length 
 figure of the Almighty, and the Dove, with a male 
 and a female saint, one on either side of the cross, 
 all under an arch, two figures of a noble and his 
 
 17 
 
 as in the Guillaume Moreel triptych by Memlinc, 
 and the Gerard David ‘Baptism of Christ,”’ both mn 
 Bruges. In both these great works, the donors are 
 portrayed on the side panels. 
 
 In Italian pictures of the Quattrocento, It was a 
 common practice to introduce a bust-length portrait 
 of the donor in a lower corner of the picture, in 
 profile, as in the famous Pinturicchio Madonna, in 
 the Ambrosiana Library in Milan, named after St. 
 Ambrose, Bishop and Patron of that city. 
 
 I have already spoken on page 13 of the self-satis- 
 fied attitude of German donors. The contrast with 
 

 
 
 
 
 PEAS ESI 
 
 
 
 
 
 
 
 
 
 
 ; 
 
 i 
 
 
 
 \\ 
 
 \ \ 
 
 ROSS. THE TOP \ i 
 BAR IS SYMBOLIC OF TEMPOR- 
 AL JURISDICTION; THE SECOND OF 
 MILITANT ECCLESIASTICAL JURIS - 
 DICTION: THE THIRD OF 
 THE 
 PATIENT 
 
 
 
 
 
 
 
 
 
 OF THE KNIGHTS OF MALTA. THE 
 
 
 
 THE EIGHT BEATITU DES. 
 
 
 
 
 
 3 THE “TAU"CROSS, HELD 
 BY STANTHONY OF EGYIT. 
 
 
 
 
 
 
 
 \ 
 
 WY 
 \\W 
 CHURCH. 
 
 8. MALTESE CROSS, THE BADGE 
 EIGHT POINTS PROBABLY SYMBOLISE 
 
 TRADITIONAL FORM OF THE 
 
 THE SAINTS IN ART 
 
 
 
 VARIOUS FORMS OF THE CROSS 
 AND CRUCIFIX WITH SOME 
 INTERESTING APPLICATIONS 
 
 13. A GERMAN STAINED-GLASS 
 WINDOW (/37w Century) IN THE 
 ih) COSTESSEY HALL COLLECTION 
 IN NORFOLK, 
 ENGLAND. 
 (sa hw) 
 
 
 
 
 
 
 
 
 ee 
 A 
 
 
 
 
 ie ‘| : { fo  —eeee 
 \ : :, AN \ 5 
 
 Tl A CURIOUS PICTURE 
 BY FRA ANGBLICO, 
 
 IN THE CONVENT OF 
 
 SAN MARCO, FLORENCE, 
 SHOWING OUR LORD AT 
 THE TRANSFIGURATION 
 WITH ARMS EXTENDED 
 AS THOUGH 
 ON THE CROSS. 
 
 
 
 
 NOTE. THAT JESUS IS BEAR- | 
 ING ON HIS SHOULDERS A “TAU 
 CROSS (Fig. U INSTEAD OF THE 
 
 
 
 
 
 412. THE TRUE’ 
 
 GREEK CROSS 
 WITH THE SLOP- 
 ING FOOT-BOARD 
 
 USUAL LATIN FORM. THIS IS. 
 HOWEVER, AR QUITE COMMON 
 GERMAN $ FLEMISH 
 
 CROSS UPON WHICH ST. AN- 
 
 PREW SUFFERED MARTYRDOM. 
 THERE IS, HOWEVER, A SERIOUS 
 DOUBT (See CHAP.IIL"CROSS “) 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 A: THE ARMS OF JERUSALEM 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ; | : 
 
 ol i 
 
 \ yy 
 4 
 
 OR KNOBBED CROSS, 
 1S THAT OF THE RES- 
 URRECTION. IT1S ALSO 
 THE FORM BORN BYTHE 
 LAMB OF GOD.*THE 
 KNOBS ARE 
 EMBLEMATIC, 
 HERE, OF THE 
 END OF SUF. 
 FERING. 
 
 
 
 
 
 es 
 
 10. ST. NICHOLAB OF 
 TOLENTINO BEARS 
 ACRUCIFIX ENTWIN 
 WITH LILIES ,( See C 
 IL, “CRUCIFIX ©) 
 
 6. EPISCOPAL OR BISHOP'S 
 CROSS. ALSO CALLED A 
 PATRIARCHAL CROSS. 
 
 AND WE HAVE DISCOVERED 
 SOME ANCIENT MISSALS IN 
 WHICH THE APOSTLE 
 
 14 REMARKABLE 
 
 hap, 
 
 TREATMENT. 
 . (See eI) 
 
 
 
 
 
 
 
 
 
 
 WHICH GAVE RISE 
 TOTHE BELIEF 
 INTHE EAST 
 
 THAT CHRIST 
 AT THE TIME OF CRUSADES. ISCARRIING A 
 AGOLD'CROSS POTENT” 10. PLAIN LATIN HAD ONE LEG 
 (See CHAPT IZ.“ ; : CROSS ON LONGER 
 
 “CROSS HIS SHOULDER THAN THE 1 4. 
 ANDO + CROSSLETS AS INDICATED HER. ; 
 
 ON A SILVER BY THE DOTTED 
 
 “FIELD: LINES, A Pes- 
 
 5 SIBLE EXPLAN- 
 
 By S.CROSSE ATION. “ade 
 
 POMME’ ‘ 
 
 FIETA, SOMETIMES {Lj muiah 
 CALLED,WHENIN Wf JORrerSs 
 THIS FORM, A"EUCH-F i 
 ARISTIC £CCE HO/70"§ 
 = AN OBVIOUS ERROR if i 
 (JOHN XIX.5)== BY Don Bi 
 LORENZO MONACO, 
 THE BENEDICTINE 
 MONK WHOSE IN- 
 FLUENCE WAS SO 
 GREAT UPON FRA & 
 ANGELICO. THIS ff 
 PANEL WHICH 
 1S NOW IN THE 
 UFFIZI GALLERY 
 IN FLORENCE, 1S 
 AN IMPQ RTANT 
 EXAMPLE OFTHE 
 EXTRAORDINARY 
 
 aad atta fe 
 =H ih! 
 
 LENGTHS TO WHICH SYMBOLISM 
 IN ART WAS CARRIED.IN EARLY. , 
 RENAISSANCE DAYS. LORENZO'S 
 DATES WERE ABOUT 1370 - 1425. 
 
 [ror THE MEANING OF THE 30, opp, 
 SYMBOLS, SEE. FOOT OF ADJACENT PAGE] 
 
 ED 
 
 18 
 
that of the humble, reverent, treatment of Italian 
 and Flemish donors affords a curious example of 
 character differences between peoples, for the evident 
 pride, betrayed almost, one might say, at the expense 
 of the Sacred Personage forming the principal sub- 
 ject of the picture, even though it be Christ Himself 
 or the Madonna, is almost universal in German works. 
 
 From these examples the reader will, I hope, be 
 able to judge from the general composition of a 
 picture whether it is Votive or Narrative. 
 
 CHAPTER III 
 
 
 
 Or THE GENERAL SYMBOLS OR EMBLEMS USED IN 
 SACRED ART* 
 
 The symbols used im art, as distinct from the 
 attributes allotted to all sacred personages, are the 
 following, arranged alphabetically: 
 
 The ANcHor, a very early emblem, symbolises 
 steadfastness of purpose and undying hope. (Plate I.) 
 It is also the special attribute of St. Clement. 
 
 The Appie, emblem of the Fall of Man. In the 
 hands of the Infant Christ it symbolises redemption 
 for mankind. In the hand of the Virgin, it charac- 
 terises her as the new Eve. 
 
 The AuREOLE (see Nimbus). 
 
 The Axe is an emblem of martyrdom, but is less 
 often used in this connection than the Sword. It 
 usually is an attribute, as in the case of St. Martina, 
 the virgin martyr. 
 
 The Banner is a symbol of victory, given to 
 Warrior Saints, e. g., St. George. It is usually in the 
 form of a pennon bearing a cross. (Plate V, Fig. 6.) 
 
 The Book or GosPEL, generally is an attribute, 
 but in the hands of such learned saints as Catherine 
 of Alexandria, or St. Augustine, it-symbolises learn- 
 ing. In the hands of St. Stephen the book is the Old 
 Testament. The Apostles hold their own gospels; 
 thus they are attributes rather than symbols. But the 
 Book in the hands of other great preachers may be 
 symbolic of their teaching of the scriptures, e. g., St. 
 Thomas Aquinas. 
 
 The CaNDELABRUM symbolises Christ and His 
 Church and the Light it has brought to the souls 
 of men. A seven-branched candlestick refers to the 
 seven gifts of the Spirit or to the Seven Churches. 
 
 *This chapter includes no attributes, which are innumer- 
 able, a different one being peculiar to every saint. A list of 
 attributes and emblems is given at the end of this volume. 
 
 *“‘And the seven candlesticks that thou sawest are the 
 seven churches.” (Revelation 1:20.) (Plate XIX.) 
 
 The CHERUB is given to St. Matthew, because as 
 the nearest approach among the celestial beings to a 
 human being, it symbolises the fact that the Gospel 
 according to St. Matthew emphasises the human, even 
 more than the divine, character of Jesus Christ. 
 
 A Cuurcu Is either a symbol or an attribute. In 
 the hand of St. Jerome it symbolises his great love 
 for the whole church of Christ, of which he was one 
 of the 4 Latin Fathers. In the hands of Pope Felix 
 or other saints it signifies that the church shown was 
 built by the saint holding it. It is then an attribute 
 (see Plate I, Fig. 12). Do not confuse with the 
 model of the City of Bologna in the hand of St. 
 Petronius. This is always recognisable by the high 
 bell-tower or campanile. (Plate VI, Fig. 4.) 
 
 The Cross symbolises the Saviour, when He 
 Himself is not upon it. It also symbolises His Suffer- 
 ing for Mankind. In addition it is given to a number 
 of saints as an attribute, e. g., St. Helena, who is said 
 to have discovered the True Cross (picture by Paul 
 Veronese in the National Gallery m London); and 
 St. John Gualberto, in a picture by Fra Angelico, 
 because his enemy, the assassin of the saint’s brother, 
 whom he had sworn to slay in vengeance, is said to 
 have obtained mercy by extending his arms in the 
 shape of a cross, which so impressed the saint that 
 he spared his enemy and took the Benedictine habit, 
 after he had seen, in the church to which he had 
 taken his brother’s murderer, the head of Jesus on 
 the great crucifix on the altar, bend forward as 
 though mn approbation of the saint’s clemency. 
 When the cross bears the figure of Our Lord it is 
 called a Crucifix. (q. v.) There are a number of dif- 
 ferent forms of the Cross. (See Plate III.) 
 
 In a picture by Niccolo di Lorenzo in the posses- 
 sion of Mr. Raymond Henniker-Heaton, ex-Director 
 of the Worcester (Mass.) Museum, this saint is seen 
 behind his supplicating enemy, while the whole 
 crucifix is leaning forward. (Plate VI, Fig. 3.) 
 
 The Cross altogether replaced the Fish (q. v.) as 
 the sole emblem or symbol of Christianity in the roth 
 century. When it was made of wood or stone, or 
 embroidered upon a robe, it was left a plain Latin 
 cross, but when it was made of gold or silver, the 
 four ends, and the junction of the horizontal and 
 vertical bars, were adorned with rubies or car- 
 buncles, blood-red precious stones symbolic of the 
 five wounds of Christ, and frequently shown shed- 
 ding rays. When a saint holds a cross it is generally 
 
 Plate III, Fig.14. Pietda by Lorenzo Monaco, the master of Fra Angelico. This type of Pietd with the body of Our Lord half- 
 way out of the sepulchre is sometimes called a “Eucharistic Ecce Homo,” obviously an erroneous title (see John x1x, 5). This 
 remarkable work contains all the accessories of the Passion, which reading from top to bottom and left to right are as follows: 
 The sun and the moon, symbols of the Godhead; the pelican with its young (see Page 29) on the tree of life; the denial by Peter 
 to the maidservant; the kiss of Judas. Then the cross with the pincers which drew out the nails, the scription J. N. R. I. and 
 the crown of thorns and the hammer that drove in the nails. Below the cross, on the right of the upright, the three nails, the 
 seamless garment on the ladder, the spear that pierced the side of Christ, the washing of bands by Pilate, the bandage that blindfolded 
 Him, and the bead of St. Veronica in profile. On the left of the upright are the cutting off of the ear of Malchus, the passing 
 of the thirty pieces of silver, the brasier around which He stood after the betrayal, the sponge on the hyssop, the reed, the 
 column with the two scourges, and on the column, the cock that crowed when Peter denied our Lord. Below is Jesus, with the 
 Virgin and St. John the Evangelist. The latter is always present in Pietd and Stabat Mater on the left of the Saviour. At the foot 
 
 of the sepulchre are the chalice and three ointment boxes. 
 
PLATE IV. THE SAINTS IN ART 
 
 
 
 
 
 
 
 : 
 ible! foe ae cos 
 
 
 
 & 
 
 Upper left: Fifth-century Sarcophagus described in footnote on page 21. Upper right: Drawing by Mantegna 
 showing St. Andrew, bearing a Latin cross, and St. Longinus, on either side of the resurrected Saviour. Middle left: St. 
 Andrew, by Masaccio, also with a Latin cross (see footnote p. 21). Centre: The “Invention”’ (finding) of the True Cross 
 by St. Helena, a picture by Tiepolo in the Venice Academy. Middle right: “‘Last Judgment,” by Jan Prevost, at Bruges, 
 showing a symbolic Cross below the figure of Our Lord. Low right: The Archangels Michael (left) and Gabriel (right) 
 flanking Raphael holding the youthful Tobias by the hand. (Picture of the School of Verrocchio in the Florence Academy. 
 Note the fish in the hand of Tobias). (See p. 25 (c).) Low right: ‘Coronation of the Virgin” by Raffaelino dei Carli in 
 the Louvre, described on pages 122 (c) and 41 (c). 
 
 20 
 
of the Latin form, but a single cross on the end of a 
 Bishop’s staff indicates a Greek Bishop, who wears 
 no mitre or other head-covering, with the exception 
 of St. Cyril of Alexandria, who wears a hood falling 
 over his shoulders, with the front adorned by a cross. 
 Other Bishops carry a staff with a scrolled top. A 
 triple cross on a staff indicates that its bearer was a 
 Pope. The Cross of St. Andrew is usually a trans- 
 verse cross, shaped like an X; that of St. Anthony 
 the Hermit is T-shaped (see Plate III). In very early 
 pictures the Cross is sometimes found bearing a ser- 
 pent, in which case it is an Old Testament symbol, 
 with the brazen serpent, or interlaced with two 
 Greek letters, the first two of the word Xoetotdc, or 
 Christ. In this case it refers to the legendary miracle 
 of the victory of Constantine over Maxentius in 311 
 A.D. when the Emperor saw in the sky, at a critical 
 moment of the combat, a cross inscribed “EN 
 TOYTQ NIKA” or in its more famous Latin form: 
 “In hoc signo vinces,” (By this sign sball thou con- 
 quer). In the 6th Century, the Cross, from an 
 Emblem or Symbol, became an Image, of a “‘narra- 
 tive”’ character, by the placing upon it of the suffer- 
 ing figure of Our Lord. 
 
 The Latin Cross, the western symbol of the 
 
 Christian religion, is supposed to be the form of that 
 upon which Our Lord gave His life for our redemp- 
 tion. It is also symbolic, in its conventionalised 
 form, of a man standing with arms extended, in the 
 ancient attitude of prayer. The Greek Cross, the 
 invention of minds more tinged with oriental sym- 
 ‘bolism than those of the material Romans, is an 
 idealised form, and its four equal-lengthened arms 
 reflect the benign influence of the religion of the 
 Nazarene over the ‘‘four quarters of the world.” 
 Sometimes the Latin cross is represented on the 
 summit of three steps—we often see this form on 
 gravestones—which represented originally the three 
 graces of Faith, Hope, and Charity. The Cross 
 Potent (see Plate III), which was the blazon of the 
 Crusaders’ Kingdom of Jerusalem, is interesting to 
 us on that account, and also because of the frequent 
 misreading of the word ‘“‘potent”’ as powerful, an 
 easily-understood error m this connection. But 
 “potent” in this sense simply meant a crutch, in old 
 English, and was so called from the form of its 
 arms. Chaucer in his “‘EIde” (Old Age) says: 
 
 “So old she was that she ne’er went 
 On foot but it were by potent.” 
 
 Although the traditional cross, upon which Our 
 Lord suffered, is a Latin cross (see Plate III), and 
 this tradition is adhered to in the majority of pic- 
 tures of the Passion, there are numerous examples 
 of the use of the ‘‘T” or Tau cross being employed, 
 particularly, I think, by masters of the German and 
 Flemish Schools (see Plate III, fig. 13). Among 
 such are the Roger van der Weyden Pietd, and the 
 Gerard David devotional Crucifixion (see Chapter 
 II), both in the Berlin Museum; the Geertgen tot 
 Sint Jans Pieta—with Christ extended on the ground 
 
 2I 
 
 with only His head on His Mother’s knee—in the 
 Albertina of Vienna; the devotional ‘‘Christ Cru- 
 cified”’ by the ‘‘ Master of the Virgo inter Virgines”’ 
 in the Uffizi; the Stabat Mater by the “‘ Master of the 
 Death of Mary,” formerly in the Weber Collection 
 at Hamburg; and another Stabat Mater by the Ger- 
 man “‘ Master of the Life of Mary” in the Wallraf- 
 Richartz Museum in Cologne. And in the celebrated 
 triptych of the Last Judgment by Van Orley in the 
 Antwerp Museum the Cross held by angels at the 
 base of the celestial group is a Tau cross, again. I 
 can recall no instance of anything but a Latin cross 
 in Italian pictures, though it 1s impossible to say 
 that there are none. 
 
 The Cross of St. Andrew is almost always shown 
 as X-shaped, or as it is styled in heraldry, in Saltire 
 form. But there appears to have been no authentic 
 foundation for the establishment of this tradition. 
 On the contrary, the Abbé Méry, in his “‘Théologie 
 des Peintres” (Theology as Interpreted by the 
 Artists), states distinctly: “It suffices to look at the 
 veritable Cross of St. Andrew, preserved in the 
 Church of St. Victor at Marseilles, in order to prove 
 the fallacy of the old tradition. It will be observed 
 that it is a right-angled cross.” In view of this clear 
 statement, with information as to the place where 
 ocular evidence can be obtained, it is difficult to 
 understand Mrs. Jameson’s sceptical remark: “‘His 
 reasons are not absolutely conclusive.” To us they 
 appear entirely so, and therefore it seems to be worth 
 while seeking the origin of the traditional X-shaped 
 cross, usually, but not universally, given to St. An- 
 drew. *Now in some very old documents of early 
 Christian art, St. Andrew is shown bearing his cross 
 on his shoulder at approximately the angle of that 
 in Fig. 9 of Plate III. It will be noticed that in this 
 position a portion of the cross (shaded) takes the 
 X-form, and it is more than likely that in those early 
 days either a portion of the real Latin cross (as indi- 
 cated by the dotted lines) may have been oblit- 
 erated, leaving only the X, or through the corruption 
 of original idea and word which is almost universal 
 in art—see De Bles’ Old English Furniture Styles 
 and How to Distinguish Them—the form of the 
 
 
 
 *We have reproduced on Plate IV in the upper left-hand 
 corner a $th-century sarcophagus, now in the Church of St. 
 Apollinare-in-Classe, at Ravenna, which has on the arched 
 lid three Greek crosses, overlaid with transverse crosses, each 
 therefore having eight arms. On the side shown in our illus- 
 tration will be seen, carved in alto-relievo, the seated figure of 
 Christ, with three of His apostles on each side, hurrying 
 towards Him. One of these figures is that of St. Andrew, who 
 bears on his shoulder a Latin cross in the position shown.on 
 Plate III, Fig. 9. Again, in Michelangelo’s wonderful “Last 
 Judgment” in the Sistine Chapel, St. Andrew is given a Latin 
 cross. Masaccio, whose sacred allusions are always correct 
 in detail as were those of all the early men, also gives the plain 
 Latin cross to St. Andrew in a votive picture now in a private 
 collection in Vienna, and a splendid drawing by Mantegna, 
 recently sold in New York, depicting Christ between SS. 
 Andrew and Longinus, the centurion who pierced the side of - 
 Our Lord and was converted subsequently, offers still one 
 more example of the belief among the more reflective masters 
 that the cross of St. Andrew was of the same form as that upon 
 which Our Lord, and St. Peter, and other crucified saints 
 suffered and died. (See Plate IV.) 
 
cross on the shoulder of St. Andrew deteriorated into 
 a saltire. The documents I refer to antedate the his- 
 torical pictures of the Passion, with the scene of 
 Christ bearing His Cross to Golgotha, so the position 
 of the cross was not then as familiar as it became 
 later. 
 
 The Crown, again, may be either a Symbol or 
 an attribute. When it is placed upon the head of a 
 Saint who bears other symbols of martyrdom, such as 
 the Palm (q. v.), it is generally an attribute of the 
 royal rank of its wearer. This rule is not absolute, 
 however, and in a votive picture of St. Catherine of 
 Alexandria of the school of Raphael, now in the 
 Louvre, a crown-circlet, with spikes, symbolising the 
 crown of thorns, is worn by this samt, who also 
 carries the Palm and has, besides, her attribute, the 
 spiked wheel. Sometimes, as stated in Chapter II, 
 two crowns are given to a Saint, in which case, one, 
 generally lying spurned at his or her feet, is the attri- 
 bute, while that on the head is the symbol. St. Louis 
 of Toulouse, who renounced the throne of France, 
 in order to give all his thought to religious matters, 
 is depicted in Bishop’s robes, with a mitre, and a 
 crown at his feet, or wearing a royal blue velvet robe 
 strewn with golden fleur-de-lys, over his monastic 
 habit, with a mitre and crozier, and a French royal 
 crown lying on the ground at his feet. He is thus 
 depicted in a picture in the Louvre collection by 
 
 
 
 ST. ELISABETH OF HUNGARY, ONE OF THE PATRON SAINTS OF 
 
 THE DONORS OF THE CELEBRATED ‘“‘BAPTISM OF CHRIST” TRIP- 
 
 TYCH, BY GERARD DAVID, IN BRUGES, IS DEPICTED WITH BOTH 
 CROWNS 
 
 Raffaelino dei Carli, of the Coronation of the Virgin 
 at the hands of the Almighty—Our Saviour is no- 
 where portrayed, a most unusual representation of 
 this subject—while three of the great Franciscan 
 Saints and St. Jerome are seen below, viz.: SS. 
 Jerome and Francis on one side, and St. Bonaventura, 
 the Seraphic Doctor, and St. Louis of Toulouse on the 
 other. Gerard David, similarly, gives two richly 
 jeweled crowns to St. Elisabeth of Hungary in the 
 famous Triptych of the Baptism of Christ in the 
 Bruges Museum. One is on her head placed on her 
 white veil, while she is contemplating the other, held 
 in her hands. This royal saint is, to the best of my 
 knowledge, always depicted wearing a royal crown. 
 Saints Barbara and Ursula are also very frequently 
 portrayed with a crown on their heads, as is invari- 
 ably Saint Louis, the nmth king of that name who 
 ruled over France (1226-1270). 
 
 CRowNS OF FLoweErs or FOLIAGE will be spoken 
 of under “‘FLOWERs.” 
 
 The Crown or Tuorns Is, of course, one of the 
 chief attributes of Jesus Christ, as an instrument of 
 one phase of the Passion, in which case its significance 
 is explained by the context. But it is also given as 
 an attribute, held in her hands, to St. Catherine of 
 Siena, who beheld a vision of the Saviour offering 
 her the choice of a golden crown or a crown of 
 thorns. St. Catherine, who is always shown clad in 
 a white Dominican robe, with the Stigmata on her 
 hands, feet and breast, like St. Francis of Assisi, 
 spurned the crown of gold and placed the thorns 
 upon her head. St. Louis of France is also depicted 
 with a Crown of Thorns in his hand, because, when 
 in Jerusalem during the Third Crusade, he is sup- 
 posed to have discovered the true Crown, worn by 
 our Saviour. He brought it back to Paris and built 
 the exquisite “Sainte Chapelle” to receive it. The 
 Crown of Thorns in votive pictures for monastic 
 orders 1s a symbol of martyrdom or renunciation of - 
 the pleasures of this world for the sake of Jesus 
 Christ. As Patroness of the city of Pisa, the Virgin 
 Mary holds in her hands a Crown of Thorns. 
 
 The CruciFix is again both a symbol and an 
 attribute, according to the manner of Its appearance 
 in a picture. It differs from the Cross in that it 
 bears upon it the figure of Jesus Christ. It is gen- 
 erally an emblem, or symbol, of faith and penance, 
 but it is most frequently met with in the hands of 
 Saints who were famous as preachers of the Christian 
 faith. Missionaries like St. Francis Xavier, who 
 proselytised Portuguese India and Japan im the 16th 
 century; St. Vincent Ferraris, who preached the 
 Gospel throughout all Europe; and St. Nicholas of 
 Tolentino, all carry a crucifix, the last-named bearing 
 one entwined with lilies. St. John Gualberto, men- 
 tioned previously, is sometimes seen with a crucifix 
 as an attribute referring to the legend of his brother’s 
 slayer (see Cross). In a picture by Lorenzo Costa 
 in Bologna, St. Dominick is portrayed with a lily 
 and a long thin wand terminating Im a crucifix. St. 
 
Francis of Assisi and St. Clara bear a crucifix m 
 pictures by Macrino d’Alba and Benvenuto Tisi, 
 respectively. Mrs. Jameson states that when St. 
 Francis and St. Dominick are shown together in a 
 picture, the crucifix is given to the former and the 
 lily to the latter, but that this is not always so is 
 proved by the above-mentioned Bologna picture, for 
 St. Francis, easily recognizable by the stigmata and 
 his habit, standing opposite St. Dominick, only 
 carries a plain reed Cross, while the Dominican car- 
 ries both Crucifix and Lily. 
 
 The first step to be taken in the evolution of 
 the Cross to the Crucifix as a Christian emblem was 
 the addition of the head of Our Lord, either at the 
 head or the foot of the vertical post, while the 
 symbolic Lamb was placed at the “crossing.” Then 
 Jesus was placed upon it, but not nailed, and fully 
 clothed. Then He was represented nailed, but alive 
 with His eyes open. In the toth century, He 
 began to be depicted as dead, or at any rate with 
 closed eyes. Originally, in keeping with the inscrip- 
 tion I.N.R.I. (see page 34), the figure of Christ was 
 crowned and fully clothed. Later the royal crown 
 was replaced by a crown of thorns, and a lom cloth 
 alone draped about His person. In all early repre- 
 sentations, the two feet were nailed together so that 
 only three nails were employed, but in Jater times it 
 became the rule of the Church to separate the feet, 
 and use four nails. 
 
 The Dove is symbolic of several qualities, as well 
 as an occasional attribute. It is first and foremost 
 the symbol of the Holy Ghost and as such appears 
 in almost all pictures of the Annunciation, and in 
 general pictures of large groups of Sacred personages. 
 such as those of Paradise, or the Last Judgment, or 
 the Coronation of the Virgin, or the Baptism of 
 Jesus Christ, in short in any pictures where the 
 personages of the Holy Trinity are depicted. It is 
 also a symbol of purity, and as such is given to the 
 Blessed Virgin and certain female Saints, e. g., St. 
 Scholastica, the sister of St. Benedict, and St. Eu- 
 lalia, the martyr. Often again it is used as an em- 
 blem of Divine imspiration as in the case of St. 
 _ Gregory, near whose ear is hovering a dove (picture 
 of the Madonna and Child between SS. Gregory 
 and Anthony by Pinturicchio in the Louvre), and St. 
 Thomas Aquinas and others. 
 
 The Dracon symbolizes temptation, evil, sin, 
 paganism, and its vanquishing by various saints was 
 a favorite subject of all painters in early days. The 
 great Raphael picture in the Louvre of St. Michael 
 conquering the Dragon is but one example of hun- 
 dreds. St. George is almost always seen either fight- 
 ing the Beast, or with it at or beneath his feet, dead. 
 In many cases it represents opposition to the Chris- 
 tian faith and so is overcome by St. George and St. 
 Sylvester. As Sin it is that SS. Michael and Mar- 
 garet of Antioch are Its victors, while in some cases 
 the Dragon is an attribute referring to the slaying by 
 some saint, e. g., St. Martha of Bethany, sister of St. 
 
 23 
 
 Mary Magdalene, of some partially legendary, par- 
 tially actual, monster, exaggerated by popular fear. 
 It is shown chained at the feet of St. Martha, 
 who is said to have saved the people of the Rhone 
 valley from the monster—probably a disastrous 
 flood so symbolized. When a Dragon is shown in a 
 monastic picture it symbolizes not ordinary sin, but 
 heresy. 
 
 
 
 IN THIS OLD DRAWING, BY AN UNIDENTIFIED SIXTEENTH-CEN- 
 TURY ITALIAN MASTER, THE ALMIGHTY PRESENTS THE VIRGIN, 
 AS THE SECOND EVE, TO DESTROY THE SERPENT, HERE DEPICTED 
 AS A DRAGON, WHICH BROUGHT ABOUT THE FALL. THE LATIN 
 INSCRIPTION MEANS “‘SHALL CRUSH THY HEAD” (GEN. III:15). 
 
 The EacLte when accompanying St. John the 
 Evangelist is an emblem of the spiritual character of 
 his Gospel, but when the King of Birds accompanies 
 St. Prisca it refers to the legend that an eagle held 
 watch over her body until it was buried after her 
 martyrdom. When a figure bearing an eagle’s head, 
 or a four-winged eagle, or a male saint with an eagle, 
 is depicted, it always represents St. John, not in the 
 character of a simple Apostle, but as the Evangelist. 
 
 Frre and Fiames symbolise religious fervor, or 
 are attributes of martyrdom. St. Anthony of Egypt 
 is sometimes shown with flames under his feet, or 
 with a burning edifice, for he is the patron saint 
 against fire in this world and the hereafter. St. 
 Florian is also shown casting water upon a burning 
 house, the Iegend being that he miraculously extin- 
 guished one with a single pitcher of water. 
 
 The Fis is one of the earliest symbols in Chris- 
 tian art, the reason for its adoption having been 
 already explamed on Page 11, column I. 
 
 It also symbolises water and the ceremony of 
 baptism. Like the nimbus (q. v.) the fish emblem is 
 a relic of paganism, where, as a dolphin, it was one 
 of the numerous members of the animal kingdom 
 connected with the worship of Apollo. The name 
 
THE APPLICATION OF SOME OFTHE 
 PRINCIPAL SYMBOLS AND ATTRIBUTES. 
 
 Fig. 6. The anachronisms of the German 
 painters in dealing with costumed saints 
 are very amusing; particularly such works 
 as the St. George in the costume of a 
 Lanzknecht of Holbein’s own time. 
 
 4+ Courtesy 
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 ANUSEUM. 
 
 
 
 
 
 
 
 
 
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 AANA LEMS Ar eo ttl NIMBUS, GLORY AND'MANDORLA 
 THE GREAT. (3/£-335 AD) bea kelow. AC Ne LR SEN ete 
 
 
 
 _ ST.GEORGE WITH HIS 
 BANNER AND 
 
 DEAD DRAGON. #4 
 loflecthy ( Z| 5 
 
 OLBEIN GA 
 UNICH 
 
 
 
 
 
 2.CH RIST IN A TRANSOMED ‘MANDORLA 
 UPHELD a pane (2rem aw ole 
 
 St. HUBERT, IN BISHOP'S 
 ROBES, HOLDING A 
 STAG (HART) WITH 
 A GRUCIFIX BET - 
 WEEN ITS ANT- 
 
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 wh 4s ERINA 
 St. CHRISTOFER, WITH THE CHILD ei ad 2 SAC ma hale 
 
 
 
 CHRIST ON HIS 6 HOULDERS HOLDING dT ebb i tay seis Et: (From & 
 CAT RS eckp Aa) J ull aldo! Giovanni della Chiesa at measlor pes: 
 Coutkiy of EXRKH GALLERIES) Ooo Colegne, a Ws 
 
 
 
 Fig. 1. The animal in the hand of St. Sylvester looks more like a fish than a dragon, but the artist has given it ears 
 to emphasize the distinction. The cords round its mouth refer to the legend of his having, after the baptism of Constan- 
 tine the Great, confounded the pagan priests by exorcising a dragon and binding its mouth with three cords. The sym- 
 bolism lies in the deliverance of the people from idolatry. Fig. 3. This representation of St. Christopher bearing the 
 Infant Jesus over the river illustrates the naive ideas of the early masters. The Infant Christ was supposed to be unknown 
 to his carrier, yet. He bears in His hand the symbol of earthly power, surmounted by a Cross. Fig. 4. Amida is one of 
 the five meditation Buddhas, who rule over the Heaven of the West. Note the use of the Mandorla, and Nimbus and 
 Glory, the latter framing the Heart of the Buddha. Fig. 5. See page 25 for the meaning of the figures beneath the feet 
 of St. Catherine of Alexandria, and also of the fruits near her head. Fig. 7. St. Hubert is generally portrayed in hunting- 
 dress, before he became converted by the sight of the Hart bearing a crucifix between its antlers standing before him in 
 the forest. He later became Bishop of Liege (see page 25, under “Hart”’). 
 
 
 
 24 
 
itself is derived from the Greek “‘Delphis” from 
 the city of Delphi where the Apollonic Oracle was 
 situated. The ancient Greeks also considered it a 
 symbol of Spring. A dragon was.called ‘‘Delphyne,”’ 
 which close connection is an explanation of the semi- 
 dragon, semi-fish, “‘grotesques”’ called Dolphins, in 
 Renaissance art, derived from the classic. One of the 
 causes for the early adoption of the Fish symbol is 
 believed to have been the phrase in the Gospel 
 according to St. Matthew, when Our Lord, calling 
 the fishermen Peter and Andrew, said unto them: 
 “Follow me, and I will make you fishers of men”’ 
 (St. Matthew tv:109). 
 
 St. Peter is often depicted with a fish in his hand, 
 in which case it has a triple significance, viz.: as an 
 attribute of the Apostle’s former calling; as a symbol 
 of his vocation as an Apostle in the sense just men- 
 tioned; and in the oldest sense, of his conversion to 
 Christianity. 
 
 Many bishops, renowned for their success in 
 converting unbelievers to the Christian faith, are 
 pictured with a fish. Among the most important 
 are St. Zeno, patron of Verona; St. Ulrich, patron 
 of Augsburg; and St. Benno, Bishop of Meissen, with 
 whom the fish is an attribute, relating to the legend 
 of his locking the doors of his Cathedral against the 
 excommunicated Emperor Henry IV, and throwing 
 the key into the river Elbe, before proceeding to 
 Rome. Upon his return, he ordered a net to be cast, 
 which when drawn in was found to hold a fish with 
 the key m its mouth. St. Benno’s attribute is there- 
 fore always shown with the key, but as it Is always 
 in its mouth, there can be no confusion with St. 
 Peter, who, moreover, bears two or three keys. 
 
 In pictures of ‘Tobias and the Archangel Ra- 
 phael,” e. g., the famous panel of the school of Ver- 
 rocchio showing the Archangels Michael, in armor, 
 Gabriel, with the lily, flanking Raphael, leading the 
 young Tobias by the hand, the son of Tobit always 
 carries a fish, in reference to the incident of his 
 journey to Media in quest of moneys due to his 
 father, related in the Apocrypha, Book of Tobit, 
 Chapter vi:2 et seq. (Plate IV.) 
 
 FLowers and Fruit in the hands of the Saints 
 have various significances. For such emblems in the 
 hands of the Madonna and Child, see Chapter V. 
 
 Any fruit in the hands of St. Catherine, always 
 recognisable by other attributes, represent the “‘fruits 
 of the spirit: joy, peace and love.” 
 
 In pictures of the Paduan and Mantuan schools, 
 particularly, flowers, and even more so fruit, are 
 strewn all over the composition, when, though they 
 may have a symbolic significance, their purpose Is 
 mainly decorative and should be so considered. For 
 more detailed explanations see under individual 
 names of flowers and fruits. (See Plate XV (7).) 
 
 The GospeL. See Book. 
 
 A Guose beneath the feet of the Madonna sym- 
 bolises Her triumph over the world of Sm. Often the 
 Globe is entwined with a serpent, ever the emblem 
 
 25 
 
 of sin and deceit. In the hands of the Intant Christ, 
 It represents His sovereignty, and was used very 
 early in Christian Art. An orb, a large globe-like 
 ball with a cross, is also an emblem of the fourth 
 choir of angels, the ‘‘Dominations,”’ in the classifica- 
 tion of Dionysius the Areopagite. (See Chapter VI.) 
 
 A G1tory is an oval or circular halo surrounding 
 the entire figure of a member of the Divine Trinity 
 or the Mother of Our Lord. See Nimsus. 
 
 GRAPES, In clusters, combine with Ears of Wheat 
 to symbolise the Blood and Flesh of Jesus Christ, 
 the Wine and Bread of the Holy Eucharist. 
 
 The Hart is both a symbol and an attribute. As 
 the former it is the emblem of religious aspirations, 
 “As the hart panteth after the water-brooks, so 
 panteth my soul after Thee, O God.” (Psalms 
 XLu: 1.) It is also given to hermit saints, though 
 chiefly as an attribute, as in the cases of St. Giles of 
 Edinburgh, SS. Eustace and Hubert, and St. Pro- 
 copius, King of Bohemia, who relinquished his crown 
 to become a hermit. St. Giles and St. Procopius are 
 both shown with a hart or hind by their side, but 
 that of St. Giles is always recognisable by the arrow 
 in its flank. SS. Eustace and Hubert are both por- 
 trayed with a stag bearing a crucifix between its 
 horns standing a short distance away. But here 
 again it is easy to distinguish between them because 
 St. Eustace is always portrayed in armor, while St. 
 Hubert is depicted either in hunting costume, as 
 by Diirer, or in episcopal robes as bishop of Liége 
 (Plate V). St. Julian Hospitator is also shown in 
 courtier’s dress, with a stag or hind, but it bears 
 no crucifix, nor can this Saint be mistaken for either 
 St. Giles or St. Procopius, on account of his rich dress. 
 
 A Heap under the feet of St. Catherine of Alex- 
 andria is that of the Emperor Maximian, who ruled 
 the Roman Empire jointly with Diocletian, one of 
 the worst of the persecutors of Christians. It sym- 
 bolises the triumph of the new faith over paganism 
 and cruelty. In a picture by Giovanni della Chiesa 
 at Lodi, St. Catherine is represented bearing in 
 her hand the palm of martyrdom, and holding an 
 immense sword, point downwards, while beneath her 
 feet are two bust-length figures, one the emperor, in 
 armor, holding a small spiked wheel, and the other 
 evidently intended to represent the spirit of wicked- 
 ness and cruelty. A head with other saints is usually 
 an attribute, referring to their martyrdom by decapi- 
 tation, e. g., St. Denis, patron saint of France. See 
 Plate V. and p. 27. St. Grata carries the head of 
 St. Oswald. 
 
 A Heart, Flaming, “is symbolic of fervent piety 
 and spiritual love.”” (Mrs. Clement.) As the emblem 
 of fervent piety, It is given to St. Augustine, but 
 following St. Ignatius Loyola, founder of the Order 
 of Jesuits, who is depicted with a Heart crowned 
 with thorns, a number of minor saints were accorded 
 this emblem, thereby expressing their renunciation 
 of the world. 
 
 Hinp. See Hart. 
 

 
 
 
 
 
 
 
 
 
 
 
 
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 ZERO 
 <p Ze 
 
 IW 3. 
 xa! Hl v | SKETCH of THe 
 Ba ¢) (I sth WAY ESSENTIAL 
 DETAIL of tne 
 PICTURE ay 
 LORENZO o1 
 | NICCOLO, (1370 
 -1440), REPRES 
 = ENTING StJoun 
 | GUALBERTO 
 AND HIS 
 ENEMY ar tHe 
 ALTAR or SAN 
 MINIATO In 
 FLORENCE. 
 (See [AGgeTY) 
 
 
 
 
 
 
 
 
 
 =< 
 SS 
 
 
 
 
 
 
 
 
 
 1. THE DEVIL’ FigHTING AN ANGEL FOR THE 
 SOUL OF A DEAN MAN 
 AND POINTING TO 
 A ROLL OF MISDEEDS. 
 THE SOUL’ 1S SYMBOL- 
 ISED BY A NAKED 
 INFANT IN A 
 OVAL 
 GLORY 
 
 (Seo Sage 27) pes 
 
 
 
 
 
 
 
 
 
 
 
 FROM A PICTURE 
 IN THE COLLEC- 
 TION OF MR 
 RAYMOND HEA 
 NIKER-HEATO 
 DIRS OF THE 
 WORCESTER 
 (/fass) ART Mu- 
 SEUM 
 
 
 
 = 
 — 
 
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 rs = = SS ~ 
 > 
 
 
 
 
 
 
 
 
 
 
 
 Od. ST. PETRONIUS, 
 
 PATRON OF BOLOGNA 
 
 4. NHOLOS IN HIS j 
 HANDS A 
 
 HODEL OF 
 
 THAT CITY 
 
 
 
 
 
 
 
 
 
 ABLE ALWAYS : 
 BY ITS HIGH HK \e3 : 
 CAMPANILE [A | , 
 y ff iy 4 
 
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 i Nia WW | 
 
 
 
 
 2. ST. AGNES, WITH THE CROWN 
 AND PALM OF MARTYRDOM, 
 1S SHOWN, IN THIS IST* CENTY 
 GERMAN WORK, WITH HER SPECIAL 
 ATTRIBUTE, ALAMB, SEATED ON — f SS 
 P 2 ¥ a, yf i 
 AGOSPEL (rey oy Ana ele f ity 
 
 4) 
 (eely) OR BELL- y 
 ToweR (i 
 
 N 
 
 7 Ny AY \\\\\ i. Wn 
 (dare gT 2). fh I Y) 4 /* a \! \ Wan NY NNN 
 Gh lag Ny ei NWN 
 4- sr. DOMINICK’S SPECIAL H! fifi; ins Ve } yy NG BN Ni, \ 
 SYMBOLS ARE ALQLY AND A WM — eS // sy Sis 
 
 STAR, WHICH HOWEVER, IS 
 ABSENT 1N THIS PICTURE, AND 
 
 USUALLY IN THE HABIT OF HIS ORDER, Pips 
 
 THOUGH SOMETIMES HE 15 DEPICTED, From THE FAMOUS PicTURE S 
 
 SYMBOLICALLY, ALLIN WHITE By GIOVANNI BELLINI IN 
 (Se? 27) THE NATIONAL GALLERY. LONOON . 
 
 Fig. 1. The representation of the newly escaped soul of a human being as a small naked child is almost universal 
 in early art, but except in the case of Our Lord or His mother it is rarely enclosed in a mandorla. In this case this “glory”’ 
 symbolizes the victory of the angel of good over the spirit of evil for the man’s soul. Fig. 2. In German and Flemish 
 pictures and in ancient Byzantine mosaics, St. Agnes is generally depicted with the Crown of Martyrdom. Fig. 3. A 
 scene similar to the above as far as the inclining forward of the crucifix on the altar is concerned represents the so-called 
 “Mass of St. Gregory,” who, however, is always recognizable by his papal robes. Fig. 4. St. Dominick is frequently 
 represented with a star in his nimbus (Plate VII) or on his shoulder and a crucifix. His robes are white with a black 
 cloak. Fig. 5. This representation of St. Petronius, enthroned, by Lorenzo Costa, is flanked by SS. Francis of Assisi and 
 St. Dominick, who died in Bologna in 1221. Berenson calls the Dominican saint in this picture St. Thomas Aquinas, 
 but he bears none of the particular emblems of that saint, the sun on his breast or the book shedding rays. 
 
 26 
 

 
 
 
 
 
 
 
 THE USUAL REPRESENTATION OF ST. 
 DENIS, WHO IS OFTEN DEPICTED CARRY- 
 ING HIS HEAD UNDER HIS ARM. NOTE 
 HOW THE NIMBUS IS NOT ROUND THE 
 HEAD BUT ROUND WHERE IT SHOULD BE, 
 
 (From an old 
 
 English church 
 painting.) 
 
 CASS 
 ’ 2s 
 
 
 
 
 
 
 f if Ve | 
 | | Bot 
 
 Sse 
 m 
 
 
 
 we. 
 oer te 
 7 mere: 
 
 "wae PTL 
 
 
 
 ‘ar 
 Cd 
 
 
 
 
 
 
 
 
 LIZZ, 
 OP e221 52; 
 hf? 
 
 ST. DENIS BEARING 
 UPON A GOSPEL A. 
 symbolic HEAD, INDI- 
 CATING THAT HE SAC- 
 RIFICED HIS OWN 
 HEAD FOR THE 
 CHURCH OF CHRIST 
 
 n=. 
 
 (From a drawing by 
 Hans Baldung Griin) 
 
 < a's 
 S *-@: =u 
 (as 
 age 
 
 
 
 
 Fe 
 Fs. 
 tc 
 
 An INFANT, naked, hovering over a dead body, 
 symbolizes the newly-escaped soul. In a very early 
 ancona by Bartolo di Fredi in Siena, depicting scenes 
 from the life of the Virgin, one of the panels repre- 
 sents Her Death, where the Saviour in a glory of 
 seraphs holds n His arms the Soul of His Mother 
 as a little child, but fully clothed, in the manner of 
 the period. (See Plates VI (1) and XI (2) ) 
 
 The Lams is the symbol of the Saviour Himself 
 adopted in the earliest times, from St. John the 
 Baptist’s words, “Behold the Lamb of God which 
 taketh away the sins of the world” (John 1:29). 
 On Plate XIX an old drawing represents Christ 
 Himself, the Lamb of God, with a nimbus around 
 His head, standing upon an elevation from which 
 run the four rivers which rise in Paradise, a symbol 
 of the four Evangelists. St. John the Baptist 
 
 ee 5S 
 r 
 
 
 
 27 
 
 is very frequently accompanied by a white lamb 
 holding a banner inscribed ‘‘Ecce Agnus Dei” (Be- 
 hold the Lamb of God). The Apocalytic Lamb, seen 
 in pictures of Paradise and the Last Judgment, is 
 portrayed as described in Revelation v:6. ‘‘Lo, in 
 the midst of the throne and of the four beasts (the 
 Evangelists) and in the midst of the elders, stood a 
 Lamb, having seven horns and seven eyes, which are 
 the seven spirits of God sent forth into all the earth.” 
 
 The lamb also symbolises meekness, and inno- 
 cence, and purity, and as such is always seen with 
 St. Agnes, whose name is a “pun” on the Latin 
 word for “‘Iamb” (agnus). (Plate VI.) 
 
 A Lamp is symbolic of piety and good example: 
 “Let your light so shine before men,’ and also of 
 wisdom and inspiration. In the former sense, it is 
 given to St. Bridget of Ireland, before whose tomb 
 at Kildare, a lamp was kept burning for many cen- 
 turies. St. Gudula and St. Genevieve are also de- 
 picted with a Iantern or taper as an attribute, refer- 
 ring to the miraculous relighting, by the power of 
 prayer, of their Janterns extinguished by the evil 
 spirit, a mystic significance, it is hardly necessary to 
 state. St. Lucia, who tore out her own eyes so: that 
 they might not tempt a pagan youth who complained 
 that their beauty obsessed him, is often depicted 
 with a lamp symbolising the light of the spirit, 
 though she dwelt in self-inflicted darkness. 
 
 The Lity is another emblem of purity and chas- 
 tity. As such the Archangel Gabriel, the Angel 
 of the Annunciation, always holds it, and frequently 
 also does the Madonna with Her Child. ‘I am 
 the Rose of Sharon and the Lily of the Valley.” 
 (Song of Solomon, 1:1.) Joseph, the husband of 
 the Virgin Mary, is also depicted with lilies, his 
 rod, according to the legend, having put them forth. 
 A lily is also given to St. Dominick, St. Francis of 
 Assisi, St. Catherine of Siena, and other Saints re- 
 nowned for their surpassing purity. As stated before, 
 the crucifix of St. Nicholas of Tolentino is shown 
 entwined with lilies. St. Euphemia, the Greek Virgin 
 martyr, holds a lily while a Lion crouches at her feet 
 or is biting her hand, as m a picture by Mantegna. 
 The lily, as one of the emblems of the Madonna, 
 patroness of Florence, was adopted by that city for 
 its device in the form of the “‘ Fleur de Lys.” 
 
 A lily intermingled with thorns refers to the 
 second verse of Chapter II of the Canticles: “As the 
 lily among thorns, so is my love among the daugh- 
 ters.” 
 
 The Lion is the symbol of fortitude and also of 
 solitude in the desert. In the latter significance it is 
 given to St. Jerome, though its character in this case 
 is more of an attribute than a symbol. The Saviour 
 is on rare occasions represented as the “Lion of 
 Judah,” wearing a cruciferous nimbus. The King of 
 Beasts is also used as the symbol of the Resurrection 
 in respect of the oriental legend that the lion-cub is 
 born dead and is licked by its sire for three days, 
 when it comes to life. It also symbolises the life work 
 
of certain saints such as St. Magnus and St. Germain 
 of Auxerre, who by their preaching and example 
 turned lawless Jands into law-abiding, Christian, 
 countries. The Lion as the symbol of St. Mark the 
 Evangelist is the King of Beasts and so symbolises 
 the royal dignity of the “King of Men,” which is the 
 keynote of the Gospel according to St. Mark. 
 
 A Manpor ta is an almond-shaped “glory,” that 
 is to say, an oval pointed at both ends, sometimes 
 composed of simple lines or a halo of light, at others, 
 of seraphs. It is used about the figures of the Divine 
 Trinity in, or ascending to, Heaven. (See Nimsus 
 and Plates V and XI.) 
 
 NAKED INFANTS. See INFANT, NAKED. 
 
 The Nimsus, that circular halo or ring which 
 surrounds the head of all divine personages and 
 saints, is the outstanding symbol par excellence by 
 which such holy figures can be distinguished from 
 donors, or other ordinary human beings, so fre- 
 quently introduced into their pictures by painters 
 of the Cinquecento and later. Like the Palm (gq. v.) 
 the Nimbus was a pagan emblem of great antiquity, 
 a luminous nebula derived from the divine essence, 
 and so came to symbolise power. It is even men- 
 tioned as far back as Homer (940-850 B. C.) in the 
 Iliad (Book xvi, Ines 255 et seq., not Book xx1n, 
 Ime 205, as stated by Mrs. Jameson) referring to the 
 hero, Achilles: 
 
 The great goddess (Pallas) caused 
 A golden cloud to gather round his bead 
 And kindled in the cloud a dazzling flame. 
 
 (William Cullen Bryant’s translation.) 
 
 I have also found a nimbus of tiny beads on 
 ancient coins, e. g., a coin of Athena with the Phidian 
 helmet (c. 4th century B. C.), while on another of 
 Rhodes, bearing the head of the Colossus—one of 
 the seven wonders of the ancient world—which 
 represented the Sun God, there is a nimbus of ten 
 rays. It is also used in India encircling the heads of 
 three kings: Kanishka, Havishka and Vasudeya 
 (48 B. C. to 41 A. D.), and on Roman monuments, 
 traceable back to Egypt, e. g., the head of the 
 Emperor Trajan on the Arch of Constantine. 
 
 It is, however, more than likely that the Chris- 
 tian use of the nimbus was evolved from the Hvareno, 
 an aureole of fire, which surrounded the head of the 
 Persian monarchs, and indicated that they had found 
 favor in the sight of Ormazd, the Persian god of the 
 sky. The belief of the populace in this respect gave 
 rise to the doctrine that the Sun was the bestower 
 of the Hvareno. Now Mithras, one of the chief 
 Persian gods of light, was worshipped as the agent 
 of the destruction of evil and the administrator of 
 the world, and thus, in the moral realm, he became 
 the god of truth and loyalty. But what is more 
 important still, he was the god of victory. Therefore 
 the cult of Mithras acquired an immense importance 
 in Rome, where it was imported during the first 
 century B. C., through the Cilician pirates taken by 
 
 28 
 
 Pompey. For about 200 years it lay dormant, but 
 towards the close of the 2nd century A. D., Mith- 
 raism had gained great favor, and Rome indeed 
 became its headquarters. 
 
 Mithraism was thereafter the religion of all the 
 emperors, until Constantine took sides against it in 
 favor of Christianity. But Julian the Apostate 
 (361-363 A. D.) and the usurper Eugenius restored 
 Mithraism to favor, though only for a short time, 
 and under the emperor Theodosius (c. 395 A. D.), 
 who for slaughtering 7,000 inhabitants of Thessa- 
 Ionica, was forbidden by St. Ambrose, Bishop of 
 Milan, to enter the Cathedral, until he had done 
 penance publicly as ordered, Mithraism died out for 
 ever. (Seé Page 81.) 
 
 It is easy to see how this cult—the most 
 dangerous antagonist with which the young Chris- 
 tianity had to contend and which was the propelling 
 force behind all the most atrocious massacres of the 
 Christians, from those under Nero (54-68 A. D.) 
 until the last and most appalling ordered by Dio- 
 cletian (284-304 A. D.), when the Christians sought 
 refuge in, and decorated with disguised Christian 
 pictures, the Roman Catacombs (see Plate 1)—came 
 to be used as a “blind” by those same Christians 
 who, as mentioned previously, hid Jesus Christ and 
 their worship of Him under the form of Orpheus. 
 And so it came about that to this Persian idolatrous 
 cult we owe the nimbus, Christianity’s most dis- 
 tinctive emblem, after the Cross. 
 
 As a Christian symbol the Nimbus came into use 
 in the sth century and its development from that 
 time till its virtual disappearance in the 16th century 
 is of great interest to lovers of early Italian paintings 
 and those of the northern Catholic countries. At 
 first It was represented as a circular gold plate, more 
 or Iess ornamented with interior circles, rays and 
 stars in relief, behind the head of the saint to whom 
 it belonged. When that saint was looking out of the 
 picture towards the spectator or even was shown in 
 profile, the effect was passable, but when, as in 
 several of Fra Angelico’s pictures, particularly in his 
 “Coronation of the Virgin,” saints and angels look 
 up at the Divine group with their back to the spec- 
 tators, the effect of them staring straight into a solid 
 gold disc is, to say the least, curious. Such discs are 
 universal in all pictures up to the end of the 14th 
 century. Masolino (1403-1440) still used the disc. 
 but made a move towards showing it in perspective, 
 though the change was hardly perceptible. But his 
 great disciple, Masaccio, provided his personages 
 with a flat gold plate m perspective hovering as it 
 were over the head, not framing it as hitherto. Then 
 the material itself became lighter, and, with Fra 
 Lippo Lippi, we find it a gold ring with a delicately- 
 embroidered Iace pattern in gold or with wavy 
 rays from the centre to the rim stretched over it. 
 This form developed into the simple circular fillet of 
 gold of the Cmquecento, and finally the nimbus dis- 
 appeared altogether. Some painters, such as Cor- 
 
reggio, simply indicated a nimbus by a halo of light 
 around the head of the saintly personage, thereby 
 returning to the Homeric origin of the emblem, while 
 others, notably of Leonardo’s Milanese school, gave 
 their subjects haloes of rays projecting beyond the 
 contour of the head. Velasquez in the 17th century, 
 in his very rare religious subjects, faintly indicated a 
 few sparse rays of light. 
 
 In most of the earlier figures of Christ, either 
 as a “Bambino” (child) or as a man, He bore 
 a cruciferous (cross-bearing) nimbus, that is, either 
 with a cross painted, generally in red, on the gold 
 plate-nimbus, or forming part of the dainty pattern 
 of the later “Iace’’ nimbus. When even the fillet 
 was disappearing rapidly, the Christ head was 
 often adorned, particularly by such men as Bernar- 
 dino Luini and others of Leonardo’s Milanese school, 
 with a cruciform nimbus, composed of a cross of 
 bunched rays of which the upper three branches 
 alone are seen. In the rare examples of a depicted 
 saint, living at the time of his being incorporated 
 into a picture, his nimbus is square. St. Francis of 
 Assisi (1182-1226) is sometimes portrayed thus. A 
 hexagonal nimbus indicates not a saint but an alle- 
 gorical personage, e. g., Charity or Fortitude or 
 Faith. (See Plate I.) 
 
 A nimbus is often called an aureole, but that is 
 erroneous, for the latter properly means a Iarge cir- 
 cular light surrounding the entire figure. It is only 
 bestowed upon personages of the Godhead and the 
 Virgin Mary, though the latter application is rare 
 unless She is accompanied by the Saviour as in a 
 Coronation, or, when alone, in an “Assumption” or 
 an “Immaculate Conception.” This aureole ts fre- 
 quently termed a “Glory.” An almond-shaped 
 Glory, 1. e., an oval pointed at both ends, is called in 
 Italy a Mandorla, and is again used only for the 
 members of Godhead and the Virgin as above. (See 
 Plate V.) . 
 
 Ors. See GLOBE. 
 
 The OtrveE is symbolic of peace, hope, and abun- 
 dance, and as such is often employed in pictures of 
 the Madonna and Child. The Archangel Gabriel in 
 Annunciations is frequently crowned with an olive 
 wreath. (See page 52.) 
 
 The Ox is the symbol of sacrifice, and is always 
 given to St. Luke, whose gospel stresses the Priest- 
 hood of Christ. It is always seen with the Ass, in 
 pictures of the Nativity, with a bearing upon the 
 prophecies of Habakkuk 11:4. ‘He shall lie down with 
 the Ox and the Ass.”” These two beasts were never 
 absent in pictures of the Nativity from the 6th to the 
 16th century. They have always been considered 
 as symbolic, the Ox of the Jews, the Ass of the Gen- 
 tiles. 
 
 The Pa.m, like the Crown, is the universal sym- 
 bol of martyrdom, and like the ntmbus comes down 
 from classical times, far antedating the Christian era, 
 when it was an emblem of triumph and victory. Its 
 symbolism in the Church is therefore easy to under- 
 
 29 
 
 stand: victory over suffering, triumph over pagan 
 cruelty. The early Christians found their justifica- 
 tion for the adoption of so distinctive a pagan em- 
 blem in Revelation vii:9, “A great multitude... 
 stood before the throne, and before the Lamb, 
 clothed with white robes and palms in their hands.” 
 
 The Peacock is still another pagan emblem, of 
 which the application to the Christian religion is 
 more remote than either the palm or the nimbus. It 
 was the bird of Juno, the divine wife of Jupiter, and 
 In pagan literature signified the apotheosis of an 
 Empress. Thus it came to mean in Christian art the 
 immortalization after death of the mortal soul. It is 
 an early symbol and died out of general use in the 
 sth century. It is interesting to note that the pea- 
 cock is even today the emblem of the Empress of 
 China—tthe title still exists though the Emperor has 
 no longer any empire to rule. It is only in quite 
 recent times that this handsome bird has come to 
 signify earthly pride. 
 
 A Pear symbolises, like the Apple and the Pome- 
 granate, the fruits of the spirit: love, joy, and peace. 
 
 The Petican is the emblem of self-sacrifice in 
 suffering, from the ancient belief that the female bird 
 tears open her breast to feed her young upon her own 
 blood. It is thus used to symbolise the redemption 
 of mankind through the sacrifice of Jesus Christ. It 
 is often found with the Lamb, the latter lying at the 
 foot of the Cross symbolising the Redeemer without 
 blemish, and the Pelican at the top. The Pelican is 
 thus shown at the summit of the curious symbolic 
 tree-like cross of the Giotto altarpiece in the Refec- 
 tory of Santa Croce m Florence, and in a still more 
 extraordinary Pieta with a symbolic cross in the 
 background, surrounded by all the attributes of the 
 Passion, by Lorenzo Monaco, in the Uffizi Gallery. 
 This remarkable work is reproduced on Plate III. 
 
 The PoMEGRANATE (see PEAR) burst open with 
 Its seeds exposed is emblematic of the Hope of Im- 
 mortality, of an Eternal Future. It often figures in 
 pictures of the Madonna and Child, the fruit being 
 then in the hands of the Child, who is frequently 
 depicted giving it to His Mother. 
 
 The SERPENT is the emblem of Sin. It Is often 
 placed beneath the feet of the Virgin Mary, with 
 obvious meaning. In an old enamel by Godefroid de 
 Claire in the Brussels Museum the serpent on the 
 top of a column is the Brazen Serpent, with Moses 
 on one side, holdmg the Tables of the Law, and 
 Aaron, with his rod, on the other. (Plate VII.) The 
 Serpent, issuing from a chalice in representations of 
 St. John the Evangelist, is rather an attribute than 
 a symbol, for it refers to legends of futile attempts 
 to poison him. 
 
 The SHELL is the symbol of pilgrimage. 
 
 The Sku. symbolises penance, and is generally 
 present in pictures of hermit saints. It is almost 
 always given to the penitent Magdalene. 
 
 The Suir is symbolic of the church. In earliest 
 days it used to represent the ark floating on the 
 
water, an obvious symbol of the security of the Chris- 
 tian faith, but later any ship came to have this 
 meaning. 
 
 The Square used to be symbolic of earth in very 
 early works, while the circle represented Heaven. 
 
 The Sworn is both a symbol and an attribute. 
 In its former meaning, it is given to many saints who 
 did not die by the sword. But as a rule it is as the 
 attribute of martyrdom that it appears. Warrior 
 saints, of course, bear a sword as part of their equip- 
 ment. 
 
 STAG.) oce LIART. 
 
 The Star, given to St. Dominick and St. Nich- 
 olas of Tolentino, is an emblem of the divine attesta- 
 tion of particular sanctity. It is seen sometimes on 
 the head, sometimes on the shoulder or breast. A 
 Sun with rays, on St. Thomas Aquinas’ breast, must 
 not be mistaken for a Star. 
 
 SS 
 
 4 WOnaS: "fee 
 35 mo4) Qe Een ree HEA 
 See GY ae : 
 
 
 
 
 
 
 
 ST. JUSTINA OF ANTIOCH WITH HER SYMBOLIC UNICORN, WITH 
 ALPHONSO D’ ESTE, THE THIRD HUSBAND OF LUCREZIA BORGIA 
 (Picture by Moretto da Brescia, in the Belvedere in Vienna.) 
 
 The TRIANGLE was symbolic of the Holy Trinity 
 in those very early days of the Faith when it was 
 necessary to conceal as far as possible the worship 
 of Christ and abandonment of that of the pagan 
 deities. It is also used as a nimbus for the Almighty 
 (see Plate VII). 
 
 The TETRAMORPH (see Plate VII) was a symbol of 
 the four evangelists, bearing the heads of the ‘‘four 
 beasts” of the Apocalypse, surrounding by wings 
 covered with eyes, and with the feet of the cherub 
 or angel of St. Matthew resting upon two winged 
 wheels. 
 
 30 
 
 The Unicorn is the symbol of female chastity, 
 and so is given to the Virgin, though only very 
 rarely, and to St. Justina of Antioch, e.g., the picture 
 of St. Justina and Alphonso of Este-Ferrara, in 
 the Vienna Belvedere. A curious allegorical picture 
 of the school of Botticelli in the Turin Gallery pre- 
 sents a chariot, bearing a throne with a female figure 
 upon it, and a bound figure of Love in front of her, 
 the chariot being drawn by two unicorns, led by a 
 maiden holding aloft a banner bearing the Lamb, 
 emblem of purity. The picture is named “The Tri- 
 umph of Chastity.”’ Another of the same subject, 
 and forming one of a pair, the Triumph of Chastity, 
 and the Triumph of Love, by Jacopo del Sellaio, are 
 in the Church of S. Ansano at Fiesole. 
 
 The Ear of WHeEaT or Corn is symbolic of the 
 Bread of the Eucharist, and so is frequently seen in 
 the hand of the Child-Christ m pictures of the 
 Madonna and Child. 
 
 THE SYMBOLISM OF COLORS 
 
 WuiteE symbolises Purity, Innocence, Clabes 
 Faith, Light, Felicity and Integrity. It is worn by 
 Jesus Christ after the Resurrection, and by His 
 Mother in the Immaculate Conception and the 
 “Assumption.” The Dominicans wear a white frock 
 covered with a black cloak, in reference to a legend 
 that these hues were dictated by the Blessed Virgin 
 herself in a vision of a monk of Orleans.. The white, 
 representing the purity of life of the Dominican 
 brethren, was to be covered with the black of mor- 
 tification and penance. The Diamond is the pee 
 stone symbolic of the “‘white idea.” 
 
 Rep is emblematic of loyalty and, also of 
 course, of royalty; fire, divine love, the creative 
 power, heat (generative power) and the Holy Spirit. 
 Red and white roses are worn as a wreath by St. 
 Cecilia, symbolic here of love and wisdom. St. 
 Elizabeth of Hungary has the same combination of 
 colored roses, for several of the above reasons. In 
 an adverse sense, red denotes blood, war, and’ 
 hatred. (‘‘Seeing red.”) Rep AaNp BLack are the 
 colors of Satan, Purgatory, and evil spirits. The 
 Ruby is the precious stone. 
 
 BuiuE of the Sappbire is symbolic of Hee 
 divine love, truth, constancy and fidelity. 
 
 Rep AND BLUE are the vestment colors of the 
 Madonna, the tunic being red and the mantle over 
 it blue. In Fra Angelico’s pictures, these colors are 
 in the most delicate of what, today, we call pastel 
 shades. But there are numerous exceptions to this 
 law. (See end of Chapter V.) 
 
 GREEN, the color of Spring, denotes Hope and 
 Victory (see Chapter V). The Emerald is technically 
 the corresponding stone, but im general practice the 
 green has more of an olive tone. 
 
 YELLOw or Gold represents the Sun’s glory, the 
 bounty of Almighty God, marriage and fertility. 
 St. Joseph and St. Peter are usually depicted in 
 
TeAhE V IT THE SAINTS IN ART 
 
 
 
 
 
 
 
 
 
 
 
 AE hay ih 7. THE ALMIGHTY WITH A TRIANG - 
 KE . ss ULAR NIMBUS, SURROUNDED 6Y 
 ‘a Ny — >: THE FOUR EVANGELISTS WitH | 
 AI Ca ey : S THEIR, EMBLEMS. (ec Aelow) 
 
 2. Sr AGNES, STRIPPED OF HER 
 GARMENTS, IN THE COURSE OF 
 HER MARTYRDOM, IS COVERED 
 BY HER HAIR GROWING LONG 
 MIRACULOUSLY. Clee Behow) 
 
 JO. THE TETRAMORPH, OR Four 
 SYM BOLISED EVANGELISTS 
 UNITEDIN THE FORM OF A 
 
 4 THe Star of Bette. 
 HEM, WHICH BECAME 
 A GREAT DECORATIVE 
 FEATQRE IN (7TH 
 EARLY (Stu CENTURY 
 ENGLISH FURNITURE, 
 
 9. Moses (dfs) An D 
 AARON ANDTHE 
 BRAZEN SERPENT: 
 
 
 
 
 
 
 
 
 
 CTURE IN 
 THE LOUVRE, OF ST. FRANCIS 
 OF ASSIS! RECEIVING THE 
 
 STIGMATA ON MOUNT ALVERNA 
 FROM OUR LORD AS A SERAPH 
 
 
 
 
 
 
 
 
 
 
 
 BY GIOV.DA 
 Rican, IN 
 THE COLLECTION 
 Wl) G0 DEFRO/D DE OF FRANK &L. 
 mW CLAIR{/274 BABBOTG Eso. 
 
 CENTURY]. J THE ALMIGHTY, WITHA NY] oc D HI 
 TRIANGULAR NIMBUS Jsee Beton Secs oar 
 
 
 
 
 
 Fig. 1. The Almighty is represented symbolically either by a triangle or a circle, or in human form, in which case 
 He is frequently given, as here, a triangular nimbus. In this illustration, furthermore, we have an example of the inter. 
 pretation of Christ as the Lamb of God. Note also the inclusion of the Kings Saul, David and Solomon. Fig. 2. St- 
 Agnes is rarely seen elsewhere than in Spanish pictures except in a devotional aspect, accompanied by her lamb. This 
 is curious, for the Inquisition in Spain, founded by St. Dominick, was strongly opposed to the presentation of the nude 
 female form, at least until the second half of the 17th century. Fig. 3. Shows the mystic interpretation of the four 
 preneela, with the wheels of the Cherubim and their eyed wings. (See page 50.) Figs. 4-9 are sufficiently explained 
 above. 
 
 3I 
 
yellow garments. A musty yellow also symbolises 
 infidelity, corruption, and treachery, and as such is 
 worn by Judas. 
 
 VIOLET of the Amethyst symbolises suffering and 
 penitence. Mary Magdalene usually is depicted in 
 violet garments (see Chapter VII). The Virgin wears 
 this color as the Mater Dolorosa, and sometimes Jesus 
 Christ, but not after the Resurrection, as Mrs. 
 Clement says—for white is the color then—but imme- 
 diately after the Passion, when about to “descend 
 into Hell.” 
 
 Grey denotes penance and humility. It has 
 other significances, such as wrongful accusation or 
 mourning, but they are rarely portrayed thus in 
 important works. 
 
 Back is explained above (see White). It also 
 symbolises Death, Mourning, Wickedness. The 
 Saviour and St. Anthony the Hermit are both de- 
 picted in black in some pictures of their temptation. 
 
 CHAPTERAIY: 
 
 DEVOTIONAL PORTRAYALS OF, AND SYMBOLS FOR, 
 THE MEMBERS OF THE Hoty TRINITY.* 
 
 I. Gop THE FATHER. Up to the end of the 11th 
 century, God was never presented in human form. 
 A hand or pair of hands, sometimes with the Dove 
 of the Holy Ghost, alone betrayed the presence of 
 the Almighty. And although He was depicted in 
 other forms after the beginning of the 12th century, 
 we still find numbers of pictures with the Hands and 
 the Dove. One of the most famous of all is the Ver- 
 rocchio Baptism of Christ, with the two angels 
 ascribed to Leonardo da Vinci, in the Florence 
 Academy. 
 
 Then God the Father was represented in Italian 
 pictures as a head or a bust m a cloud or a circular 
 glory, e. g., an exquisite Nativity attributed to 
 Benvenuto di Giovanni belonging to Mr. Dan Fel- 
 lows Platt, in which the Almighty, wearing an enor- 
 mous hat of the shape of those given to cardinals, is 
 shown bending over from the top centre of the panel. 
 In an early Coronation of the Virgin by Giovanni 
 d’Alemagna and Antonio Vivarini of the Murano 
 (Venetian) School (c. 1443), the Almighty is por- 
 trayed as Raphael and Michelangelo always repre- 
 sented Him, in the aspect of a patriarch, with benign, 
 yet powerful, countenance, and with Jong white hair 
 and a beard. It is thus, though with a stern expres- 
 sion, that Michelangelo has depicted God the 
 Father in his famous “‘Creation of Light” fresco in 
 the Sistine Chapel. Since the end of the Cinquecento, 
 it began to appear sacriligious to portray the AI- 
 mighty in the form of man, though the original idea 
 from Genesis seemed sound enough to the earlier 
 painters, more naifs and sincere than the later ana- 
 
 *A Chronological Table of the principal events in lives of 
 Jesus Christ and His Mother, as they are depicted in Art, is 
 given in Chapter XII of this volume. 
 
 32 
 
 lytical eclectics, and so He was symbolised again, 
 this time as a triangle or a patch of light. Often the 
 triangle bore the Hebrew name of the Almighty, and 
 the whole was enclosed in a circle, emblematic of 
 Eternity, being a form which has neither beginning 
 nor end. This symbol ts now only seen on the pal- 
 lium of a bishop or in church decorations over the 
 altar. 
 
 Gop THE Son. The early symbolisations of Our 
 Lord have already been noted on previous pages 
 (pp. II, 14, 19, 21, 23, 27) and frequently depicted 
 in our illustrations to which frequent reference 
 should be made. 
 
 As we explained on page 27, the Lamb has, from 
 the remotest times, been used as a symbol of the 
 Saviour. It is so mtroduced into fig. 1 of Plate VII, 
 and the page of an ancient missal reproduced on 
 page 58. The Labarum (Celtic: lavar, to command), 
 composed of a cross entwined with the first two 
 letters of Our Lord’s name in Greek Capitals, viz.: 
 X and R, also symbolised Jesus Christ, whose 
 religion was adopted on behalf of the Roman people, 
 by Constantine the Great in 312 A.D. in gratitude 
 for the Divine intercession to which he attributed 
 his victory over Maxentius at the Milvian Ridge 
 the year previously. This victory, and consequently 
 the institution of the Christian religion as the official 
 faith of the formerly pagan Romans, was also com- 
 memorated by the splendid Arch of Constantine, 
 near the Colosseum, so well-known to all visitors to 
 Rome. 
 
 The IHS on church vestments and elsewhere, 
 which is so puzzling to many people, represents the 
 JES of Our Lord’s first name, in Greek, in which 
 Ianguage the letter E is written as an H, while of 
 course the J in early days was always represented as 
 an I. It is a very prevalent mistake to believe that 
 IHS means Jesus Hominum Salvator (Jesus the 
 Saviour of Men), but we find conclusive proof of the 
 Greek meaning in a gold com of the time of Basil the 
 Macedonian, Emperor of Byzantium (See page 34), 
 bearing on its obverse side a nimbused half figure of 
 Christ, and on the reverse a Greek inscription mean- 
 ing Jesus Christ, King of Kings, a curious mix- 
 ture of capitals and small letters, and of the 
 Greek and Latin forms of the letters). The I.N.R.I. 
 inscription above the Crucifix is not a Greek but a 
 Latin inscription, being the mitial letters of Jesus 
 Nazarenus, Rex Judicorum (Jesus of Nazareth, King 
 of the Jews). 
 
 Tue Hoty Guost. Except for a few years in the 
 10th century, and then only rarely in pictures, when 
 the Holy Ghost was represented as a human figure, 
 of all ages, and performing the acts in which it 
 takes part according to the Scriptural tradition, the 
 third member of the Trinity has always been repre- 
 sented as a dove, generally shedding rays. As the 
 Holy Ghost, the dove is usually in the centre of the 
 picture with wings outspread. When as an ordinary 
 bird it hovers over the head of a saint, or near his 
 
Pee NALLL THE SAINTS IN ART 
 
 Ole te hes 
 OLYe TRINITY 
 
 
 
 
 
 og wa ahitioo ghana Nic 
 omavasshign non 
 
 Top left: —The Members of the Trinity each wearing a cruciform nimbus and bearing His own attribute: the Almighty 
 with a papal tiara and orb; Christ with His Cross; and the Holy Ghost with a Dove which also has a cruciform nimbus. 
 Middle left: God the Father with the Orb of Power, by Masaccio. Lower left: the Holy Trinity according to the Meister 
 von Messkirch (see p. 34). Note the angels bearing the accessories of the Passion; the Sun and Moon, in the corners, 
 St. Michael with his scales, and other saints with their attributes. Also the Bubenhoven family, the donors, kneeling 
 below. Upper right: Fra Bartolommeo’s “Enthronement of the Virgin”’ in the Uffizi. Note the triple head of the Trinity 
 at the top, the open book and St. Anne behind her daughter. Middle right: The Almighty creating Light. ‘‘Fiat Lux,” 
 by Michelangelo, in the Sistine Chapel. Low right: the symbolic triangle of the Trinity, with the triple head again, and 
 the symbols of the evangelists. (Title-page of William Lynwodd’s Constitutiones, or Canon Law (1506), one of the 
 earliest books printed at the Sign of the Trinity in St. Paul’s Churchyard, London.) 
 
 
 
 ie 
 
ear, as in the case of St. Gregory, it symbolises, not 
 the Holy Ghost as a component member of the 
 Trinity, but that the Saints in question were inspired 
 by Heaven. Sometimes the Holy Ghost is repre- 
 sented as Seven Doves, each bearing a cruciferous 
 Nimbus, and emblematic of the Seven gifts with 
 which Our Lord was endowed. ‘‘And the Spirit of 
 the Lord shall rest upon him, the spirit of wisdom 
 and understanding, the spirit of counsel and might, 
 the spirit of knowledge, and of the fear of the Lord 
 
 . and with righteousness shall He judge the 
 DOOR ¢-4usu (lsaian "xXI72,° 3354). 
 
 Tue Hory Trinity. In addition to the varied 
 symbolism by means of which the “Individuals” of 
 the Holy Trinity are interpreted in art, the Triune 
 entity is itself depicted in many different manners, 
 some of which are purely emblematic, while the 
 
 0 020005 
 x 
 
 
 
 THREE BYZANTINE GOLD COINS OF THE QTH AND IOTH CEN- 
 TURIES, DISPLAYING THE FIGURE, NAME AND TITLES OF THE 
 SAVIOUR. THE UPPER LEFT-HAND COIN, BEARING AN INSCRIP- 
 TION “I HC X PS REX REGNANTIUM,” DATES FROM ABOUT 867 
 A.D. THE COIN NEXT TO IT SPELLS JESUS, “IHS,” AND IS OF 
 THE TIME OF CONSTANTIUS II, circa QI2 A.D. THE THIRD, OF 
 WHICH BOTH SIDES ARE ILLUSTRATED HERE, SHOWS ON THE 
 REVERSE THE ORIGIN OF THE “IH S”” ON CHURCH VESTMENTS 
 AND ELSEWHERE. ITS DATE IS ABOUT 969 A.D. WE HAVE 
 UNDERLINED THE LETTERS “I H S”’ IN ORDER TO MAKE IT STILL 
 CLEARER. (See page 32.) 
 
 others are wholly or partially naturalistic. (See 
 Plates VII and VIII.) It is not difficult to under- 
 stand why the triangle was one of the commonest 
 and most obvious symbols, and we find threes of 
 several forms expressive of the same idea. The 
 Triangle is sometimes enclosed in a circle, the symbol 
 of eternity—the circle beng an endless form—at 
 others, three intertwined circles were used, were 
 indeed a common emblem, from the 13th to the 16th 
 centuries, concurrently, of course, with the repre- 
 sentations in human aspect. 
 
 Three fishes, placed head to tail, m the form of 
 a triangle, was still another method of expressing 
 the Trinity, but is only to be found in very early 
 art, and in later times, the most frequently used 
 method, im pictorial and plastic art, was frankly 
 
 34 
 
 anthropomorphous, as far as the two principal 
 Figures went, with the Holy Ghost as a Dove 
 emitting rays. 
 
 A form found chiefly in Germany and Flanders, 
 in the 14th and 15th centuries—I can recall no 
 example in Italian art—is that employed by the 
 Meister von Messkirch in the picture known as the 
 Bubenhoven Trinity, reproduced on Plate VIII, and 
 by Albrecht Durer in his celebrated Trinity at the 
 Imperial Gallery in Vienna. In these pictures the 
 Father, in the guise of a long-bearded patriarch, 
 holds in his hands below him, a Cross bearing the 
 body of His Son, while the Dove of the Holy Ghost 
 hovers either over the head of the Almighty or 
 between the two figures. 
 
 Other representations of the Holy Trinity will be 
 found throughout this volume in illustrations of the 
 Coronation of the Virgin, the Baptism of Christ, the 
 Annunciation, and so forth. 
 
 CHAPTER:Y, 
 
 Or THE BLESSED VIRGIN, AND THE DIFFERENT As- 
 pEcTS UNDER WHICH SHE IS PORTRAYED IN ART, 
 WITH THE SYMBOLS AND ATTRIBUTES PARTICULAR 
 To Her. 
 
 I have already spoken, on page 13, of the Nes- 
 torian Controversy about the question of the Virgin 
 Mary’s right to the title of the Mother of God. The 
 battle waged furiously for three years, between the 
 Nestorians and Cyril of Alexandria, and the final 
 victory of the latter and his supporters, approved by 
 the Popes Celestin II and Gregory the Great, gave 
 a start to the truly religious significance of the 
 Madonna and Child group and made it the most 
 important of all the subjects treated in Sacred Art. 
 This recognition of the holy character of the group 
 began only in the 6th century, for before that the 
 Mother and Child only appeared as part of the bib- 
 lical story of the Adoration of the Kings. And 
 although the sanctity of the Virgm Mary was first 
 recognized by the Greek Church, the destruction of 
 all religious works of art by Leo the Isaurian was 
 the cause of the first representations now extant 
 being the work of artists of the Western Empire, 
 particularly the mosaic workers of Ravenna and 
 Capua, many of whom were, however, of Greek 
 origin. 
 
 In the earliest works we find the Madonna hold- 
 ing the Child before her, without any expression of 
 maternal feeling, as though She held Him in awe, 
 and usually She is represented half-Iength only. But 
 as time went on, a more intimate feeling was ex- 
 pressed, reaching its apex in those exquisite pictures 
 of the Mother suckling Her Child, e. g. the beautiful 
 Madonna of the Green Cushion by Andrea Solario 
 in the Louvre, and those in which the Child Christ 
 appears less in His divine character than as a playful 
 happy baby upon whom His Mother gazes with 
 maternal rapture. In these pictures the Madonna Is 
 
the ‘Mater Amabilis,” the Loving Mother, and as 
 such is the subject of by far the most lovely of all 
 the Madonna pictures. 
 
 But our subject covers so wide a range that we 
 shall be obliged, owing to the limited space at our 
 command, and also in keeping with our desire to 
 make this paper first and foremost a work of prac- 
 tical utility to the visitor to picture galleries, to 
 tabulate to a certain degree the principal aspects of 
 the Madonna in Art, and the symbols peculiar to Her. 
 
 I. THe Maponna WITHOUT THE CHILD. 
 
 When She is depicted, standing alone, or accom- 
 panied by Saints, facing straight to the front, gener- 
 ally with arms extended in the ancient attitude of 
 prayer, She is the Virgin Glorious (Virgo Gloriosa) 
 and represents the second Eve, the mother of all 
 mankind. (See Plate IX.) 
 
 When her hands are jomed in prayer, she is 
 the Virgin of Virgins (Virgo inter Virgines) or Queen 
 of Virgins (Regina Virginum). 
 
 When She ts holding a book, She is the Most 
 Wise Virgin (Virgo Sapientissima), imbued with the 
 wisdom of Heaven. As such She is to be seen in the 
 left upper panel of the great Adoration of the Lamb 
 altarpiece by the Van Eycks at Ghent. She is here 
 clad in a blue robe with a richly jewelled border, 
 while upon Her head is an exquisite crown of jewels 
 surmounted with lilies and lilies-of-the-valley (mu- 
 guets), while still higher are the seven stars. This isa 
 most uncommon rendering of the Madonna, when 
 she is subordmate to Her Son, for generally She is 
 represented devoutly contemplating Him, with Her 
 hands folded across Her bosom. Only when She 
 Herself is the chief figure, or is with Her Son as a 
 child, does She elsewhere than in this great master- 
 piece carry a book. (Plate IX.) | 
 
 When the Madonna is crowned and attended by 
 angels, she is the Queen of Angels (Regina Angelo- 
 rum), even when She is accompanied by the Child, 
 
 or in glory—in the heavens—or on an elevation with - 
 
 saints on a lower plane, as in the lovely Bonfigli 
 picture in St. Fiorenzo in Perugia, or the celebrated 
 Tondo—circular picture—by Botticelli in the Uffizi 
 Gallery m Florence, inaccurately styled “‘The Coro- 
 nation of the Virgin,” better known as the Mag- 
 nificat. 
 
 When the Virgin is wearing a crown over her veil 
 and bears a sceptre in her hand or either separately, 
 she is the Queen of Heaven (Regina Coeli), as in the 
 Piero di Cosimo altarpiece painted for the Servite 
 Order, in which She is presented standing alone on a 
 raised pedestal surrounded by several saints. 
 
 As the Virgin is shown in both these pictures, 
 now in the Uffizi Gallery m Florence, holding a book, 
 She is at the same time the Virgin, Mother of Wisdom 
 (Virgo Sapientiae). 
 
 Representations of the Madonna without the 
 child were extremely rare prior to the middle of the 
 
 30) 
 
 Quattrocento, but there is one lovely Sienese picture 
 by Domenico di Bartolo (1400-1449), pupil of 
 Taddeo di Bartolo, in the Refugio (Girls’ School) 
 Chapel at Siena, of the head, only, of the Virgin Mary, 
 veiled and looked straight to the front with partially 
 closed eyes, which is known as the Madonna Orans, 
 the Virgin in prayer. 
 
 
 
 THE VIRGIN, AS QUEEN OF HEAVEN, PREVENTS A DEMON FROM 
 SNATCHING A CHILD FROM ITS MOTHER. NOTE THE FIVE 
 SERAPHS EACH WITH A NIMBUS, AND THE MANDORLA THROUGH 
 WHICH THE VIRGIN APPEARS. A NAIF WORK BY NICCOLO DA 
 FOLIGNO (OR D’ALUNNO) IN THE COLONNA GALLERY IN ROME 
 
 A curious picture by Niccold da Foligno (or 
 d’Alunno) in the Colonna Gallery in Rome, shows 
 the Virgin as the Queen of Heaven and of the Souls 
 of Children. She is here depicted in the heavens, 
 three-quarter Jength and crowned, in a rayed man- 
 dorla (pomted oval glory) with five seraphs at its 
 base, and striking with a Jong birch-rod (!) at a fear- 
 some demon attempting to snatch from its mother a 
 sick child. 
 
 Among the other most important representations 
 of the Virgin without the Child are the Mater Dolo- 
 rosa (the Mother Grieving), the Stabat Mater (here 
 stands the Mother), and the Pietd, all three being 
 forms of the Mater Dolorosa characterisation. 
 
 In the first, She ts generally depicted in deep 
 grief, as the name implies, simply treated in the 
 earlier schools, but usually in awful taste, with far 
 too much dramatic feeling, in the decadent eclectic 
 schools of the 17th century. She is frequently de- 
 picted in this capacity with Her heart pierced with 
 one or seven swords, symbolic of the Seven Sorrows. 
 
PU AgralxX THE SAINTS IN ART 
 
 
 
 
 
 
 
 
 
 
 SOME TYPICAL REPRESENTATIONS 
 OF THE MADONNA WITHOUT THE 
 CHILD, AND BOTTICELLI’S FAMOUS 
 SMAGNIFIGATS 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ny ee 
 EUMER ERG ER 
 
 Upper left: Pietd, by Perugino, in the Fiorence Academy, described on the next page. Low left: The reading Madonna 
 of the “‘Adoration of the Lamb” altar-piece at Ghent, by the Van Eyck brothers (see page 34(c)). Upper right: The 
 Maccabean mother and her seven sons, by Bartel Bruyn (c. 1460). (See pages 34(d) and 37.) Do not confuse with St. 
 Felicitas and her seven martyred sons. The Jewish martyrs are always shown with amputated hands, and standing in a 
 caldron. (Courtesy of the Ebrich Galleries.) Centre: The Virgin of San Venanzio, a 7th-century Greek mosaic in the 
 church of the Lateran in Rome, showing the ancient attitude of prayer. Centre low: The Mater Dolorosa, from a 16th- 
 century enamel. Note the seven swords symbolising the Seven Sorrows, also depicted in the medallions. They are: The 
 Scourging, the Ecce Homo, the Road to Calvary, the Crucifixion, the Descent from the Cross, and the Resurrection. 
 Centre right: Sketch for Raphael’s famous ‘“‘Entombment”’ in the Borghese Palace in Rome. Low right: Botticelli’s cele- 
 brated Magnificat in the Uffizi Gallery in Florence (see page 34(b)). 
 
 36 
 
An interesting variant of the Mater Dolorosa treat- 
 ment is to be found in a remarkable picture in the 
 possession of the Ehrich Galleries by Barthel Bruyn, 
 the German painter (worked 1520-1560), in which 
 the principal subject is the death of the seven 
 Maccabean youths and their heroic mother (Mac- 
 cabees: v11) suffering martyrdom in a huge cauldron 
 over a fire. On the right is a figure of the Madonna, 
 not grieving, but serene because of the beauty 
 of the sacrifice, though appropriately surrounded 
 by seven swords, pomting at Her heart. Probably 
 also with intention the artist has depicted the Virgin 
 with the features, expression, and even the exactly 
 identical pose of the Maccabean mother, thereby 
 symbolising her almost divine fortitude in sacrificing 
 one by one her beloved sons, exhorting them even 
 to the last-born to withstand the torture bravely, 
 rather then deny the faith of their forefathers. On 
 the left side, Our Lord, crucified, looks down benevo- 
 Iently upon them, while a donor is portrayed in the 
 lower right-hand corner. Another type of Mater 
 Dolorosa shows the Virgin seated in the Clouds, 
 upheld by seraphim with a large rayed glory behind 
 Her head and shoulders and with seven swords, 
 radiating, point inwards, from the circumference of 
 the glory, around her head. Another mteresting and 
 very unusual derivative of this aspect of the Virgin 
 is to be found in a Madonna and Child enthroned, 
 by Pietro Alemanus—Peter the German—also in the 
 possession of the Ehrich Galleries, mm which the 
 Mother of Christ instead of wearing the customary 
 regal crown—when She is wearing one—is depicted 
 with the spiked crown of martyrdom, and looking 
 sadly down at Her Child. The significance of this 
 interpretation is, of course, the mental martyrdom of 
 the Woman upon losing her only son. 
 
 
 
 The Stabat Mater always presents the Mother 
 standing at the right of the Cross bearing the figure 
 of Her Son, with John the Evangelist—who is 
 almost invariably present in pictures of the Cruci- 
 fixion, whether devotional or historical—at the left. 
 This subject is always devotional for none of the 
 historical attributes of the Crucifixion are depicted. 
 Therefore in the Stabat Mater interpretation the 
 Virgin is not alone the Mother of Our Lord, but also 
 personifies the whole Church of Christ. She always 
 wears a purple or violet mantle. 
 
 
 
 The Pieta should present the Mother alone hold- 
 ing Her dead Son lying at full Iength upon Her 
 knees. Famous examples of this subject are 
 the Cosimo Tura Prieta in the Correr Museum in 
 Venice, where the Virgin is seated upon the edge of 
 the ornamental tomb holding Her Son, half doubled 
 up in her lap, and kissing His left hand; the great 
 Perugino masterpiece in the Academy at Florence, 
 in which, however, while the Christ is in the tradi- 
 tional position across the knees of His Mother, there 
 are others present. St. John the Evangelist, exqui- 
 
 37 
 
 sitely beautiful, supports His head and shoulders, 
 while His feet lie across the knees of the seated Mag- 
 dalene, who is gazing reverently at the wounds, and 
 two other personages, without emblems in the pres- 
 ence of the Great Tragedy, probably St. John the 
 Baptist and St. Joseph, stand at the flanks. See also 
 the splendid Quentin Matsys in the Munich Museum, 
 and two interesting panels in the Metropolitan 
 Museum of Art of New York. Another interpretation 
 of the Pieta is particularly common in the North 
 Italian schools, though not exclusively, where the 
 body of Our Lord is upright, half in the sepulchre, 
 and either alone, or supported by His Mother and 
 St. John, or with saints upon either side of Him. An 
 example of this version of the Pieta with Christ alone 
 is in the Metropolitan Museum by a Venetian 
 Primitive, Giambono (worked 1420-1462), while in 
 the church of S. Domenico in Cagli, Giovanni 
 Santi painted our Lord, unsupported, but flanked 
 by St. Jerome and St. Bernardino of Siena. 
 Of the versions showing the half-figure of Christ 
 upheld by the Virgin and St. John the Baptist, per- 
 haps the most famous is the Giovanni Bellini in the - 
 Brera at Milan, while in another work by the same 
 great master, at the Berlin Museum, Our Lord is 
 upheld by two angels. One of the most celebrated 
 pictures extant is the Pietd, generally known as “The 
 Dead Christ,” by Mantegna, also in the Brera. Here 
 the body of the Saviour is drawn lying flat on a slab 
 of stone, feet foremost, a remarkable study in fore- 
 shortening and anatomy. Still one more curious 
 example, by Giovanni Bellini, is in the Venetian 
 Academy, for here the figure lying across the knees 
 of the Virgm is not Her crucified Son. It is the 
 sleeping Child. But the position of His Body, exactly 
 similar to that of the traditional Pietd, and the sad 
 expression on the Virgin’s face, indicate that the 
 artist intended this work to represent, as it were, a 
 pre-vision of the day of the true Pieta. The Preta 
 subject must not be confounded with two others which 
 resemble it very closely in general composition, so 
 much so, indeed, that important museum catalogues 
 have failed to make the distinction, viz.: The 
 Descent from the Cross, and the Burial of Our 
 Lord. Both these subjects fall into the class of bis- 
 torical pictures, and contain a number of figures con- 
 temporary with the event of the Passion, whereas the 
 Pieta is essentially a devotional picture. (See Plates 
 II, IlI, IX, and passim.) 
 
 
 
 The Annunciation is naturally enough one of the 
 favorite subjects among painters of all periods. We 
 have mentioned these pictures previously in specify- 
 ing the difference between devotional and narrative 
 pictures, but there are other points which require 
 explanation if this work is to be of practical value 
 to the visitor to picture galleries. The different 
 schools of painting and even the individual artists 
 have treated this most mystical of subjects in a 
 myriad different ways according to the degree of their 
 
lelyeV ible, ok THE SAINTS IN ARG 
 
 
 
 
 
 
 
 HOW FOURTEENTH TO SIXTEENTH 
 GENTURYSELALIANSE ATIVE ERS 
 DEPICTED THE ANNUNCIATION 
 
 
 
 ae & bs ‘ ¢ x J Cus: main > “i 
 
 Upper left: In the brilliant Carmelite friar, Fra Lippo Lippi’s, Iovely Annunciation in the National Gallery, the 
 Dove alights on the Virgin’s book. The Almighty is represented as a Hand emerging from a cloud (see page 32(a)). 
 Middle left: In this interesting work by an unknown 15th-century Italian, im Santa Maria Novella in Florence, the 
 Angel Gabriel remains outside the door, while the Dove despatched by God—represented full-length—is close by her 
 ear. Low left: Cosimo Roselli (1538-1406) shows the Archangel “explaining,” to a not very interesting Virgin, the 
 mystic news. It is typical of Rosselli’s quattrocento simplicity. Note the saints present in this devotional Annunciation, 
 now in Louvre. Upper centre: Herri met de Bles, in this charming Annunciation in Notre Dame at Bruges, gives the 
 angel a royal sceptre and a crown of lilies. Lower centre: An exquisite Virgin—after the Annunciation—by Melozzi da 
 Forli in the Uffizi. Upper right: Childish, but sincere, work by Niccolo d’Alunno with a typical 14th-century angel 
 pointing backward with his thumb (1!) at the Dove. Note the garden and book. Centre right: Lorenzo di Credi’s picture in 
 the Uffizi comprises no Dove. Low right: Carlo Maratta’s (1624-1713) Annunciation in the Corsini Gallery in Rome 
 (pages 16 and 39(b)). 
 
 
 
 
 
technical skill, their reverence, their feeling for 
 the mystical, and their sense of the dramatic. 
 Then again the object of the picture had a bearing 
 upon its treatment, e. g., when an Annunciation was 
 offered as a votive picture for some monastic 
 assembly. In such cases the figure of the Virgin is 
 often so depicted that she is, in a way, in trono, that 
 is to say enthroned—although she is not so actually 
 —for she is then treated as the Mother of God in 
 prospective rather than the unsophisticated Virgin 
 of the majority of Annunciations. As explained 
 further on, the Madonna in trono is a type of terres- 
 trial glorification of her as the Mother of Our Lord, 
 in contradistinction to the more earthly, human, 
 mother of the usual Madonna and Child pictures. 
 In most cases, she is actually enthroned, as in the 
 Fra Bartolommeo, in the Louvre, previously men- 
 tioned, but in the others, the two Francias, she is 
 standing upon a slight elevation of rock. In the 
 Annunciation by Francia in Bologna (Page 15) 
 the presence of the Franciscan Patriarch, St. Francis 
 of Assisi, and St. Bernardino of Siena, flanked re- 
 spectively by St. John the Evangelist, recording the 
 great event in his book, and St. George, in armor 
 with a broken lance, shows that this great work was 
 executed for the Franciscans. Mrs. Jameson states 
 (Legends of the Madonna, Part II) that in this pic- 
 ture as in the Fra Bartolommeo picture in the 
 Louvre, the subject is not an Annunciation, but a 
 depiction of the Virgin after the Annunciation. This 
 is not quite correct, for in both pictures, in fact in all 
 similar ones, the Archangel Gabriel is shown arriving 
 and about to make the mystical announcement. On 
 the other hand, the Carlo Maratta mentioned pre- 
 viously, and the lovely Melozzo da Forli in the 
 Uffizi in Florence are not annunciations but pictures 
 of the “Virgin Notified”? (La Vergine Annunziata). 
 In the former case, she is reading an open book, while 
 in the latter she is kneeling with her hands crossed 
 over her breast, in an exquisitely beautiful attitude 
 of thanksgiving and humility. In a picture by 
 Timotei Viti, Raphael’s first master, now in the 
 Brera at Milan, the Virgin is standing, with her 
 hands jomed in prayer, and her symbolic sealed 
 book in the crook of her arm. On her lIeft—looking 
 at the picture—are St. John the Baptist, and St. 
 Sebastian, the former as patron of Florence, the latter 
 as patron against pestilence. Here again the angel— 
 without a lily—makes the Divine announcement, 
 pointing upwards to a Child Christ stepping out of 
 
 a circular glory, with one foot upon the head of the’ 
 
 Holy Ghost. 
 
 But the customary form of the Annunciation 
 picture is as an event, that is to say with the acces- 
 sories as mentioned in the Gospel according to St. 
 Luke, 1:28-38, and the Virgin either in a house or 
 upon the porch thereof, for St. Luke says: “And the 
 angel came in to her,” and the artists of the Trecento 
 and Quattrocento were above all literal m their 
 interpretations. The angel is the Archangel Gabriel, 
 
 39 
 
 who bears a lily in his hand, as the emblem of purity. 
 He is always depicted young and with wings. Fre- 
 quently in the earlier pictures, the Virgin and the 
 angel are shown in two adjacent panels, forming a 
 diptych. In some again, instead of the arrival of the 
 Divine Messenger taking place in broad daylight, 
 the scene is laid at midnight. In many works, the 
 angel is crowned with olives, symbolic of peace, and 
 occasionally, though rarely, bears a palm. 
 
 Again in the earliest pictures the Virgin is de- 
 picted as humble and submissive to the Divine 
 “command,” but later she became a Queen among 
 women and is shown crowned, and almost conde- 
 scending, towards the Archangel, treating him, as it 
 were, as a simple messenger between two Superior 
 Beings. Mrs. Jameson states that Mary’s work 
 basket is seldom omitted in pictures of the Annun- 
 ciation, but I have found it far less general than 
 a book, which is shown open, though the sealed 
 book is the correct symbol. The Holy Ghost, 
 despatched towards her by the Almighty, repre- 
 sented either as a Hand or by a bust-length figure, is 
 practically universal in all pictures up to the end of 
 the Quattrocento, but later the Dove was introduced 
 alone, and sometimes even that was absent, the 
 angel appearing without it, as in the beautiful 
 Lorenzo de Credi in the Uffizi Gallery (Plate X). 
 
 In the charming lunette by Fra Lippi Lippi in the 
 National Gallery, the Dove is about to alight upon 
 her open book, with the Almighty presented as a 
 Hand emerging from the surrounding darkness. And 
 mn a Taddeo Gaddi panel in the Louvre the Dove ts 
 despatched to the prayerful and attentive Virgin by 
 another angel, while a third in dark robes kneels 
 behind the Archangel Gabriel. In late pictures, of 
 the latter end of the 16th century and after, a 
 dramatic quality entered into the pictures of the 
 Annunciation, in. the worst of taste, for of all sub- 
 jects portrayed in art, the nature of the Annunciation 
 is such that it requires the most delicate, mystical, 
 treatment, from which all earthly matters should be 
 eliminated as completely as it is possible to do so. 
 
 
 
 The Immaculate Conception is a comparatively 
 modern subject in art, having only become an article 
 of faith, definite and obligatory, in July, 1615, upon 
 the issuance of a Papal Bull by Paul V, who ruled 
 the church from 1605-1621. Prior to that, however, 
 the Franciscan pope, Sixtus IX (1471-1484), had 
 issued a decree promulgating the doctrine, thereby 
 giving official recognition to what had long been a 
 favorite creed of his monastic brethren. It must not, 
 however, be thought from this that the doctrine was 
 a new one. On the contrary, the matter had been a 
 subject for discussion ever since the victory of the 
 orthodox church over the Nestorians had firmly es- 
 tablished, as an article of faith, the Divinity of the 
 Mother of Christ. From the 7th to the 11th century, 
 the doctrine grew more and more popular, following 
 the writings of St. Ildefonso, who, the legend relates, 
 
PLATE XI THE SAINTS IN ART 
 
 iat 
 
 y 
 
 } 
 a 
 q 
 5 
 } 
 i 
 i 
 A 
 
 
 
 1) Murillo’s famous “Immaculate Conception” in the Paris Louvre. Note the upturned points of the moon’s 
 crescent (see page 51). 2) The “Death of the Virgin” by the Master of the Bambino Vispo (lively child). Note how 
 Christ holds in His arms the fully-clothed “Soul” of His Mother (see page 27, ““INFANT’’). (By courtesy of the Ebrich 
 Galleries.) 3) The great “Coronation of the Virgin, with the Twelve Apostles,”’ an early work by Raphael, in the Vatican. 
 5) ASketch by the great French master, Pierre Paul Prudhon (1748-1823) for his beautiful “Assumption” in the Louvre. 
 
 40 
 
was rewarded therefor by the Virgin appearing to 
 him in his cathedral of Toledo, where she sat upon 
 his tvory throne and vested him with a chasuble of 
 heavenly tissue, a favorite subject of Spanish paint- 
 ers up to this day. Curiously enough St. Bernard, 
 who ts regarded as a special devotee of the Madonna, 
 strenuously opposed the establishment of a festival 
 to commemorate the mystic event, though he did 
 not deny the truth of the doctrine. His opposition, 
 perhaps, sprang from his instinctive dislike of 
 possible controversy in reference to so delicate a 
 subject, and I believe my theory is upheld by what 
 is known of St. Bernard’s breeding and exquisite 
 refinement of thought, particularly as he was quite 
 aware of the extraordinary lengths to which analysis 
 of any abstract idea was carried by the scholiasts 
 of those early days. Duns Scotus, the Scottish 
 Franciscan, in the 13th century became the cham- 
 pion of the festival, but was opposed by that most 
 brilliant of ecclesiastical polemists, St. Thomas 
 Aquinas, who, like St. Bernard, was especially 
 devoted to the cult of the Blessed Virgin. The con- 
 troversy has been continued even down to our own 
 times, the last papal decree regarding it being signed 
 by Pius IX, and dated 1849. 
 
 In art, Pacheco, first master, and father-in-law of 
 Diego Velasquez, having been invested with con- 
 siderable authority as mspector of sacred pictures 
 under the Inquisition, formulated rules for the repre- 
 sentation of the Virgin in the characterisation we 
 are discussing. He took the woman of the Apoca- 
 Iypse as his model: ‘‘And there appeared a great 
 wonder in heaven; a woman clothed with the sun, 
 and a moon under her feet, and upon her head a 
 crown of twelve stars.”’ (Revelation x11:1.) 
 
 She was to be shown in the flower of youth, from 
 twelve to thirteen years of age, with golden hair and 
 “grave sweet eyes,” arrayed in spotless white with a 
 blue mantle or scarf, and her hands joined in prayer 
 or crossed upon her bosom. The sun was to be a 
 glory of light around her, while the moon beneath 
 her feet was to be a crescent with its horns pointing 
 downwards, for it was illuminated by the figure 
 standing upon it. Cherubim and seraphim were to 
 surround her carrying her symbolic flowers, and the 
 head of the dragon of sin was to be displayed, 
 bruised, beneath her feet. Pacheco also decreed that 
 the Virgin of the Immaculate Conception was to be 
 depicted with the hempen rope girdle of St. Francis, 
 
 probably as a recompense to the friars of that order — 
 
 for their zeal in the fight to obtain official recognition 
 of their favorite doctrine. Murillo and Guido Reni 
 are the two most famous painters of this subject. 
 The great picture by the former (see opposite page) 
 is known, either im the original or by reproduction, 
 to all who are interested in art, but his rendering of 
 the prescribed details is most unorthodox. Neither 
 he nor Guido Reni painted the crescent of the moon 
 with its points downwards—thereby losing the sig- 
 nificance of the ordinance—feeling that, in a material 
 
 4! 
 
 sense, it afforded a better support with the points 
 upwards. 
 
 The Assumption properly comes under the head- 
 ing of “Historical Pictures of the Lives of Christ 
 and the Virgin Mary,”’ Chapter XII, but we must 
 mention here that the subject was treated in two 
 ways by the old masters. They differentiated be- 
 tween the Assumption of the Soul of the Virgin, and 
 that of her body. An example of the former is the 
 picture by the Master, “del Bambino Vispo,”’ (see op- 
 posite page) in which Our Lord is depicted half-length 
 and supported by seraphs, above the death-bed of 
 His Mother, whose soul, in the guise of a young 
 child fully clothed, He holds in His arms. But the 
 usual form of the Assumption is that in which the 
 body of Mary, called forth from the tomb by her 
 Divine Son, has rejoined her soul, and she is borne 
 to Heaven by angels. Moretto’s great picture in the 
 Martinengo Gallery in Brescia, and the very beau- 
 tiful Prudhon “‘Assumption”’ in the Louvre are both 
 too well-known to require description. (Plate XI.) 
 
 
 
 The Coronation of the Virgin was another favorite 
 form of devotional picture, and its subject, happier 
 than that of many large religious groupings, lent 
 itself to the most gorgeous display of color and 
 brilliancy. In the “correct”? representation, Our 
 Lord is depicted in the act of placing a regal crown 
 on His Mother’s head, but in two well-known paint- 
 ings, it is the Almighty who bestows the crown upon 
 the Virgin; in neither case does the Saviour appear 
 at all. The works I refer to are those by Fra Lippo 
 Lippi,,in the Academy m Florence, and the Fran- 
 ciscan votive picture by Raffaellino dei Carli, in the 
 Louvre, in which the Celestial Pair are upheld in 
 the heavens by angels and seraphs, while below, on 
 earth, are SS. Jerome, Francis of Assisi, Bonaven- 
 tura and Louis of Toulouse. (Plates XII and IV.) 
 
 But all the most famous pictures of the Corona- 
 tion, such as the great Raphael, above the flowering 
 sepulchre; the splendid votive Franciscan Corona- 
 tion by Pinturicchio with Our Lord and His Mother 
 in a mandorla; the Gentile da Fabriano, all in the 
 Vatican; the celebrated Fra Angelico in the Louvre; 
 the early Jacobello del Fiore in the Accademia of 
 Venice; the Fra Angelico in the Uffizi; and the Coro- 
 nation, of the school of Giotto, in the National Gal- 
 lery; all these pictures represent the Virgin receiving 
 the crown at the hands of Her Son. In a few excep- 
 tional works, such as the remarkable picture by the 
 Venetian primitives, Giovanni d’Alemagna and An- 
 tonio Vivarini in the Venice Accademia; and the 
 Coronation by Enguerrand Charonton at Villeneuve- 
 Ies-Avignon, described in Chapter I, the Crown is 
 placed upon Mary’s head by both the Almighty and 
 Our Lord, while the Holy Ghost hovers with out- 
 spread wings above it. (See List of Illustrations.) 
 
 Of all the old renderings of this wonderful sub- 
 ject, which symbolises so beautifully the homage 
 

 
 PLATE XII THE SAINTS IN ART 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 a a eh eo 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 1) Coronation of the Virgin, by Fra Lippo Lippi, in the Florence Academy. The painter himself, in the garb of a Carmelite 
 friar, is kneeling at the extreme right, by the side of St. John the Baptist, while an angel, facing him, holds a scroll inscribed Jste 
 perfecit opus. (This man accomplished this work.) 2) Coronation, by an anonymous artist of the school of Giotto, in the 
 National Gallery. 3) Lo Spagna’s fine version in the Palazzo Pubblico at Todi, painted for the Franciscans. St. Francis is 
 seen kneeling in the centre of the terrestrial group. 4) Fra Angelico’s Coronation, in the Louvre. It includes. many Saints 
 (from left to right) The Apostles, on the steps at the left; SS. Dominick, with a lily; Louis of Toulouse, as a bishop; Benedict; 
 Charlemagne, crowned; Thomas Aquinas, with his shining book; Anthony, Francis of Assisi; Nicholas of Myra, and St. 
 Augustine; Mary Magdalene; Cecilia, with a crown of roses; Clare, with a starred hood; Catherine and Agnes, with their 
 respective wheel and lamb; Ursula, crowned; above, Stephen and Lawrence, each in a dalmatic; George, in armor, and Peter 
 Martyr, with the gash in his head. At the top, crowned, is King David. 5) Christ and His Mother, by Andrea, Orcagna. 
 6) The Coronation of the Virgin, by Borgognone (1450-1523), in S. Simpliciano, Milan. 7) Moretto’s Coronation, in Brescia, 
 with SS. Michael, Anthony, Francis, and Nicholas of Myra, holding the three balls of gold in his hand. 
 
 
 
paid by the Son to the Mother, the grandest, I think, 
 are those where the coronation takes place in a 
 great palace in which the throne of Our Lord is 
 placed upon the summit of a glittering staircase, 
 around the foot, and upon the steps, of which 
 are grouped the whole hierarchy of the Saints, 
 with their emblems and attributes. Of such is the 
 famous Fra Angelico in the Louvre, one of the most 
 popularly-known pictures extant. (See Plate XII.) 
 All the most important saints are grouped around 
 the throne, in front of which kneels the Virgin, while 
 Jesus, with a royal crown, places another upon the 
 head of His Mother. But although the throne and 
 
 Its steps are commonly used, the scene ts habitually 
 
 ai 
 
 
 
 EXQUISITE EARLY MADONNA AND CHILD OF THE Mater 
 Amabalis TYPE, BY GUIDO DA SIENA. 
 
 (In the Collection of Mr. Dan Fellows Platt.) 
 represented as being out of doors, as in the interesting 
 Jacobello del Fiore (1370-1439) in the Venice Acad- 
 emy. In that picture, the Virgin is seated on the 
 right hand of Jesus Christ, but turned towards Him 
 in an attitude of prayer. The throne itself is covered 
 by a double canopy, one arch of which forms a niche 
 for each one of the Holy Pair. It is placed on a 
 tesselated platform upon an elevation, divided into 
 two terraces of niches, the upper of four, sheltering 
 the Evangelists, the lower of seven—always that 
 mystic seven!—occupied by angelic musicians. Im- 
 mediately next to the throne are numbers of sera- 
 phim and cherubim, and then im vertical columns, 
 on both sides, the Apostles, Prophets, Saints and 
 Angels. Beneath these columns of saintly person- 
 ages, and much smaller, are groups cf Dominican 
 saints, the male saints on one side and the female on 
 the other, while a Bishop donor, also small, but 
 
 43 
 
 larger than the monastic saints, kneels in front of 
 the imposing structure, with his mitre before him on 
 the ground. This indicates clearly that it was 
 painted for the Dominican order to which belonged 
 the Bishop of Ceneda, the donor. The picture was 
 painted for the cathedral of that city, and hung 
 there until it was transferred to the Accademia. 
 Commoner far than these very ceremonial interpre- 
 tations of the Coronation are those which were 
 painted as votive offerings for some monastic order 
 or in thanksgiving for deliverance from pestilence 
 and famine. In such works, the celestial group is 
 generally shown in the heavens, either in a circular 
 glory, as in the Fra Angelico, of the Convent of San 
 Marco, Florence, or in a mandorla, as in the pre- 
 viously-mentioned Pinturicchio in the Vatican, or 
 simply sustained by clouds or seraphs, or both, as 
 in the Raphael “Coronation”’ in the same wonderful 
 collection. (See Plate XXXIV and page 116.) 
 
 The true Coronations either by the Almighty or 
 the Son, or both together, must not be confused with 
 those in which angels are placing a crown upon the 
 Virgin’s head, for there the act simply symbolises 
 her standing as Queen of Heaven, or Queen of the 
 Angels, e. g. Botticelli’s Magnificat. 
 
 
 
 THE MADONNA AND CHILD PICTURES. 
 
 When the Virgin, with her hands joined in 
 prayer, holds her Child upon her knee, or He is 
 placed upon some object in front of her, or when 
 He ts lying on the ground, while His Mother kneels 
 praying before Him, she is the Pious Mother (Mater 
 Pia). Raphael’s beautiful Madonna with the Blue 
 Diadem (page 67); Lorenzo di Credi’s ‘Virgin 
 in Adoration’’—another name for the Mater Pia—in 
 the Metropolitan Museum; Fra Lippo Lippi’s cele- 
 brated picture in the Berlin Museum, and Botti- 
 cini’s in the Pitti, in Florence, come under this head- 
 ing, a very popular subject. Occasionally the Vir- 
 gin’s hands instead of being joined are outspread in 
 the ancient attitude of prayer, as in the Leonardo 
 da Vinci drawing in the Metropolitan Museum and 
 the adorable Correggio in the Uffizi. 
 
 But when the Madonna is holding her Infant, 
 more as a human mother than the Mother of the 
 Son of God; when she is suckling Him, or when the 
 Divine Child ts in a playful humor or attitude, the 
 Virgin represents that most beautiful version of the 
 idea, the Loving Mother (Mater Amabalis). Almost 
 all Raphael’s Madonnas, notably the Colonna Ma- 
 donna in the Berlin Museum and the Orleans Madonna 
 at Chantilly; the charming Madonna with the Green 
 Cushion by Andrea Solario in the Louvre, and thou- 
 sands of others fall into this category. It also com- 
 prises that large class of pictures in which the infant 
 John the Baptist is included, e. g., the Fra Bartolom- 
 meo and Raphael pictures in the National Gallery; 
 the Esterhazy Madonna; the celebrated “‘Belle Jar- 
 diniére” by Raphael in the Louvre, and the Lorenzo 
 
Lotto in the Brera, where the Infant Christ is mis- 
 chievously pulling the hair of His little play- 
 fellow. 
 
 When the Madonna, with her Child, is accom- 
 panied, usually either in pastoral surroundings, or in 
 a large room, by St. Joseph, her spouse, St. Elisabeth, 
 her kinswoman, St. Anne, her mother, and St. John the 
 Baptist—who should not be present in a ‘Madonna 
 
 Enthroned’’—the picture is called a Holy Family. 
 The Virgin and Child Enthroned. The Madonna 
 
 splendid of 
 
 
 
 in trono is the most and 
 
 regal 
 
 
 
 CHARACTERISTIC BYZANTINE MADONNA in trono WITH THE 
 CHILD CHRIST. NOTE HOW HE IS FULLY CLOTHED (SEE PAGE 12) 
 AND THE ‘TYPICAL THRONE OF ALL I3TH CENTURY PICTURES. 
 
 (From a picture in the possession of Mr. Otto Kabn.) 
 
 all the representations of Our Lady. In such 
 representations, of which there are literally thou- 
 sands in Italian art, she is not only Sancta 
 Dei Genetrix, the Sacred Mother of God, but 
 is also the Queen of Heaven. They testify to the faith 
 of the church in the divinity of Jesus Christ. The 
 variations upon this theme are mnumerable. As 
 a rule the Blessed Virgin is seated upon a throne, 
 but frequently she is standing upon an elevation 
 surrounded by angels and saints. In its purest form 
 the pictorial presentment of the Madonna enthroned 
 should comprise no other member of the Holy 
 
 44 
 
 Family, though since the Quattrocento, first St. 
 John the Baptist, then St. Anne, the mother of the 
 Virgin, were occasionally introduced. The throne 
 itself and the position of the Madonna in relation to 
 the surrounding saints Is a precious indication as to 
 the provenance of an Italian picture. In Florentine 
 works the throne is placed low, at the most two to 
 three shallow steps up, and in the majority of cases 
 is placed beneath a shell-like niche in an architectural 
 setting. In the great Madonna with St. John the 
 Baptist and John the Evangelist as an old man, by 
 Botticelli in Berlin (page 65), the shell niche is 
 repeated over the heads of the three, but is not 
 architectural. It is composed in each case of symbolic 
 fruits and flowers, e. g., lilies and ears of wheat, 
 pomegranates, olives, etc. The great architectural 
 thrones of Duccio di Buoninsegna and Cimabué, 
 constructed in the Byzantine manner and supported 
 by angels, are known to all art-lovers. Giotto and 
 his followers generally placed the Madonna and 
 Child on a low throne, the back of which was sur- 
 mounted by a sharp angular gable or a gothic arch, 
 alone in the center panel, with one saint in each of the 
 gothic-arched panels on either side. The Central 
 Italian Schools, of Siena and Umbria, also depicted 
 the Madonna on a Jow throne, but with the saints in 
 more Intimate contact with her than in the colder 
 Florentine pictures. She is very frequently sur- 
 rounded by angels, adoring her, whereas angels, in 
 Florentine pictures of the Enthroned Madonna, are 
 generally employed for some utilitarian object, as 
 for example, drawing aside the curtains of the balda- 
 chino over the throne. In pictures of the northern 
 Italian Schools, the throne is placed very high, and, 
 particularly by Venetian painters, angels are in- 
 cluded, seated at the foot of the high “pedestal” 
 playing musical instruments. A famous Giovanni 
 Bellini with SS. Francis, John the Baptist, Onofrio 
 the hermit, Bernard, Sebastian and Louis of 
 Toulouse, in the Venice Accademia is an example, 
 while Carpaccio’s musician angels are universally — 
 known and beloved. Cima da Conegliano places his 
 Madonnas on a fairly low throne, with a panel back, 
 in the open air, while Girolamo dai Libri paints his 
 beneath beautifully-executed trees in a rocky land- 
 scape. A fine painting by this master is in the 
 Metropolitan Museum. The great Giorgione at 
 Castelfranco, considered by some of the most exact- 
 ing critics to be the only indisputable work by that 
 master in existence, is remarkable even among 
 Venetian works for the height of the pedestal upon 
 which the architectural throne of the Madonna is 
 placed (see Plate XV). The thrones of the early 
 Flemish painters were gorgeous things draped with 
 wonderful embroideries or carpets, but there is 
 rarely to be found among the northern masters that 
 air of regal aloofness and sense of the Virgin’s great 
 destiny which is the proper feeling for the Madonna 
 in trono and which the Italian masters achieved 
 instinctively. (See, however, Memlinc’s, page 17.) 
 
RUAUEE XIII THE SAINTS IN ART 
 
 _— 
 
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 lebEStO Palit 
 
 ({ “MATER AMABILIS” 
 \ X BY FAMOUS ARTISTS 
 
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 WOW DEERE PEEVE ED GEAV OD ID HEA KOIDE RAE HAT OW HEP ROO HRIOIO PIN VRAD 
 Rolie caro . Rat Ae Ne i nee = a 
 
 Le te 
 
 pes 
 
 ror 
 
 1) Madonna in Adoration, by Botticini, formerly attributed to Filippino Lippi, in the Pitti Palace (see page 46). 2) Holy 
 Family, with SS. Joseph and John the Baptist, as a child, by Andrea del Sarto, in the Metropolitan Museum. 3) An exquisite 
 Madonna in Adoration by Pier Francesco Fiorentino, in the Ehrich Collection. It was very strongly inspired by the great Lippo 
 Lippi picture in Berlin, even to the folds of the Virgin’s dress. 4) Raphael’s celebrated “Belle Jardiniére,”’ in the Louvre, 
 painted in his Florentine period in 1507. 5) Madonna and Child, by Fra Lippo Lippi (1406-1469) in the Munich Gallery. 
 (Compare with figures 7, 3, 4 and note the already lightening nimbus.) 6) Madonna and Child with the little St. John, by Fra 
 Bartolommeo, in the Louvre. 7) Remarkable Madonna and Child, by Carlo Crivelli, in the Civic Museum of Verona. Note the 
 small figures bearing the implements of the Passion, and the garland of fruits, symbolic in this case. 8) Raphael’s great “Cani- 
 giani Holy Family,” at Munich, with SS. Joseph, Elizabeth, and John the Baptist. 9) Procaccini’s (1548-1626) Madonna, also 
 in Munich, demonstrates to what heights of affectation painters of the Italian decadence attained. 
 
 
 
 45 
 
THE SPECIAL SYMBOLS OF THE VIRGIN 
 INSTR EVAR LS 
 
 Seven of the ancient prophets who made special 
 mention of the Incarnation: Moses, Aaron, Gideon, 
 Daniel (11:45), Isaiah (vu1:14), Ezekiel (xtiv:2), and 
 David, who was also her ancestor. 
 
 Five women of the Old Testament, who are some- 
 times placed around her and were considered as 
 types of the Virgin: Judith and Esther, for they 
 delivered Israel; Ruth, the ancestress of David; 
 Bathsheba and Abishag, both for reasons which 
 must appear far-fetched to our modern minds. 
 
 The Virgin is also represented, betimes, as the 
 Second Eve when she holds an Appte in her hand, 
 or if the Child Jesus is depicted eating it. A curious 
 unattributed picture of the 14th century Italian 
 School in the Louvre represents Eve, nude save for 
 her long hair, lying prostrate before the throne of 
 the Madonna and Child, around which stand saints 
 and angels, while a serpent with a woman’s face Is 
 spitting evil towards Eve’s open mouth. Eve’s head 
 is surrounded by a nimbus with concave indentations 
 all round its edge. 
 
 Birps symbolise the Soul, and for that reason 
 are frequently put into the hand of the Child on His 
 Mother’s Iap., e. g., Raphael’s Madonna with the 
 Goldfinch (Madonna del Cardellino). 
 
 A Book, when open, is that of wisdom, when it is 
 held by the Virgin. A closed book is given to her in 
 many Annunciations, in reference to the 29th chap- 
 ter of the Book of Isaiah: “And the vision of all is 
 become unto you as the words of a book that ts 
 sealed.) ; 2 
 
 The CLosep Gate; the ENCLOSED GARDEN (Can- 
 ticles 1v:1), so frequently found in Annunciations; 
 the Mirror in reference to a passage in the Book of 
 Wisdom, vi1:26: “‘For she is the brightness of the 
 everlasting light, the unspotted mirror of the power 
 of God... ;” are all symbolic of the Virgin Birth. 
 A beautiful example of the use of the Enclosed Gar- 
 den symbol is the Madonna worshipping Her Child, 
 surrounded by angels, the whole group in a charming 
 Renaissance garden, by Botticint—formerly attrib- 
 uted to Filippino Lippir—in the Pitti Palace in 
 Florence. 
 
 The CeEparR oF LEBANON, on account of its 
 height, and its healing qualities and the incorrupti- 
 bility of its core, symbolises the grandeur, dignity, 
 and bounty of Our Lady. 
 
 The Dove is the Holy Ghost, or Holy Spirit, 
 which hovers constantly above her; seven of them, 
 the Seven Gifts of the Spirit. 
 
 The Liry, the Rose, are again allusions to the 
 Canticles: “I am the Rose of Sharon and the Lily 
 of the Valley.” The Rose is the special emblem of 
 the Virgin, who is often depicted in or near a garden 
 of roses. In an interesting votive Madonna and 
 Child panel of the early German school, the Divine 
 Group as well as a donor in a white surplice, and his 
 
 wife, and two angels, are all enclosed in an oval of 
 small conventional roses, with five large ones repre- 
 senting the Wounds of Our Lord, the whole upheld 
 
 . by extremely naive angels, one at each corner. The 
 “large rose at the summit is charged with a wounded 
 
 46 
 
 heart. 
 
 The Pear, the Otive, the SERPENT, the PoME- 
 GRANATE, Ears OF WHEAT are all explamed in 
 Chapter III in their alphabetical place. 
 
 The Sun and the Moon refer to the passage in 
 Revelation, quoted previously in regard to the 
 Immaculate Conception, and also to a passage in the 
 Canticles: “Fair as the Moon, Clear as the Sun” 
 (Canticles vi:10). Also, from an early association 
 with paganism and Diana, the crescent of the moon 
 symbolises the Virgin’s perpetual chastity. 
 
 The Srar is frequently placed upon the left 
 shoulder of the Madonna’s blue cloak, from an inter- 
 pretation of her Hebrew name, Miriam, which can 
 be translated as ‘‘Star of the Sea”’ (Stella Maris), but 
 she is also the Morning Star, the Immovable Star, 
 and the Star of Jacob. When she has twelve stars as 
 a crown or halo, it is a reference to the Apocalyptic 
 passage, previously mentioned, and perhaps, though 
 to my mind the notion is far-fetched, to the Twelve 
 Apostles. 
 
 A very beautiful half-length picture by Fra 
 Angelico of the Madonna holding Her Child on 
 her arm, belonging to Mrs. Benjamin Thaw, has a 
 brilliant star on the right shoulder. 
 
 The “WELL oF Livinc Waters” (Cant. Iv:15), 
 the ‘‘FouNTAIN SEALED (Cant. Iv:12), the “Tower 
 oF Davin” (Cant. 1v:4), the “City of JERUSALEM” 
 (Cant. v:4) are frequently introduced into early 
 pictures, and oftener still mto illuminated missals 
 and stained glass. The Fountain, the Enclosed 
 Garden and the Cedar are all present in the beautiful 
 Madonna and Child by Quentin Matsys in the Berlin 
 Museum, and in the remarkable work of the same 
 subject by Coninxloo in the Palermo Museum, 
 while there is a charming rendering of the Enclosed 
 Garden, in a Madonna and Saints with Donors, by 
 the Master of the “Life of Mary,” in the Berlin 
 Museum, and, among Italian masters, the Madonna 
 in Adoration by Botticini, previously mentioned, is 
 a good example. (See also Plate XIV, Fig. 9.) 
 
 The ANGELs of which mention was made in the 
 section dealing with the “Madonna Enthroned”’ are 
 not simple accessories. They, like all other details 
 in sacred pictures, have their meaning, relating to 
 the fact that the Virgin was the Patroness of music 
 and minstrelsy. In Nativities, the musician angels 
 are singing the Gloria in excelsis; m Coronations, the 
 Regina Celi; in pictures of the Madonna in trono, 
 with donors, they are entoning the Salve Regina, 
 Mater Misericordiae. In the type of Madonna and 
 Child which we have classed as the Mater Amabilis, 
 the loving mother, or those known as Pastoral 
 Madonnas, the angels are chanting the Alma Mater 
 Redemptoris. (See Plate XVIII.) 
 

 
 PLATE XIV THE SAINTS IN ART 
 
 
 
 ad 
 
 1) Madonna and Child, by Duccio di Buoninsegna of Siena (d. 1319) in the Rucellai Chapel at S. Maria Novella in Florence 
 (see pages 12 and 44). 2) Madonna, by Jacopo Bellini (d. 1470), the father of the famous brothers, Gentile and Giovanni. 
 3) The Mystic Marriage of St. Catherine, with SS. Barbara, Peter and John the Baptist in a Venetian Landscape, by Boccaccio 
 Boccaccino of Cremona (1467-1525). 4) Madonna in trono between SS. Nicholas and Catherine, with a donor, by Gentile da 
 Fabriano (1360-1427). Note the angels with attributes in the trees. 5) Holy Family, by Paolo Veronese, in the Venice Academy. 
 St. Joseph is with the Madonna; below are SS. Justina, Francis, and Jerome. 6) Diirer’s famous ‘‘ Madonna with the Monkey,” 
 anengraving. (Courtesy of M. Knoedler and Co.) 7) Correggio’s “‘Madonna with St. Sebastian”’ as it is known in the Dresden 
 Gallery. The centre figure below is some bishop who built the church in the hands of the angel, while on the right is St. Roch, 
 with his hand on his wounded thigh. 7) Madonna and Child by Gerard David, Bruges (d. 1523). Note the bunch of grapes 
 in the Child’s hand (see page 25(c)). 8) Madonna by Isenbrandt, in the Metropolitan Museum. Note the Fountain, the 
 Enclosed Garden, the Cedar of Lebanon, the Peacock, the Tower of David, etc. (see opposite page). 
 
 
 
 
 
 
 
 47 
 
COLORS USED7 FOR THEFGARMENTS, OF 
 THE VIRGIN MARY. 
 
 As stated at the end of Chapter III, the tradi- 
 tional colors of the Virgin, when she Is not arrayed 
 in white as in the Immaculate Conception and the 
 Assumption, or in purple as in a “Prieta”? and the 
 ““Stabat Mater,” are red and blue, the former for the 
 tunic or dress, the latter for the cloak or mantle 
 which covers it. But these rules are apparently like 
 all others, made to be broken, for n many famous 
 works we find the Madonna in other colors, or with 
 the colors of her garments transposed. For instance, 
 in the fine Madonna and Child by Jacopo Bellini in 
 the Venice Accademia the Virgin is clad in an olive 
 green cloak—of hope—held together at the neck by 
 a gold and ruby brooch, while the Child wears a 
 crimson dress, and is seated on a cushion of the same 
 
 
 
 THE VIRGIN AND CHILD, IN THE “ADORATION OF THE MAGI” BY 
 
 JAN GOSSAERT, IN THE COLLECTION OF THE DUKE OF NOR- 
 
 FOLK, IN WHICH THE MADONNA IS CLAD IN A BLUE INSTEAD OF 
 A RED TUNIC 
 
 color, both embroidered with gold. The Virgin, of 
 the Adoration of the Magi, by Jan Gossaert (Jan de 
 Mabuse), in the Duke of Norfolk’s collection at 
 Castle Howard, wears a long and full blue cloak over 
 a white undergarment, of which, however, only a 
 tiny portion shows, at the neck. Memlinc’s Madonna 
 in Vienna is garbed in a blue tunic covered by a red 
 mantle, as is the Virgin in the exquisite Nativity by 
 Correggio at Dresden. The Holbein “Madonna of 
 the Burgomaster Meyer” is dressed in a rich dark 
 green costume with a flaming red girdle, and with 
 golden yellow sleeves. She is crowned, without a veil. 
 In Raphael’s famous ‘Sistine Madonna”’ at Dres- 
 den, she wears the correct colors—as do all Raphael’s 
 Virgins, but has a flowing green scarf or veil on Her 
 head. The same costume is worn by the Mother of 
 Christ in a beautiful Annunciation by Francesco 
 Cossa, also at Dresden. But in the great Carlo 
 
 48 
 
 Crivelli altarpiece m the Brera of Milan, she wears 
 a richly-embroidered golden mantle, Imed with 
 green, over a tunic of brilliant crimson, and Is 
 crowned with gold over a white gauze veil. 
 
 CHAPTER RY 1 
 
 OF THE HEAVENLY HosTs AND THEIR HIERARCHICAL 
 RENDERING IN ART. 
 
 This is no place for a treatise on the origin of the 
 belief in, and the worship of, the Angelic Hosts, for 
 all the information required upon that historical 
 subject may be obtained from the Encyclopcedia 
 Britannica—under “‘Angels’’—or in the reference 
 books listed at the end of this volume. In order to 
 live up to our desire to be, above all things, of prac- 
 tical utility to those interested in the artistic repre- 
 sentation of sacred subjects, we must confine our 
 attention to the manner in which the angels have 
 been depicted in art, rather than to the history of 
 their interest for hero-worshipping mankind. 
 
 Suffice, then, to say that the Greek word 
 ayyeAXos from which our English name is de- 
 rived, simply means ‘‘ Messenger,” and it is in their 
 generic role as Messengers of God that we meet 
 the angels most frequently m art. We must, how- 
 ever, mention that angels are not the product of 
 early Christian symbolism, but are mentioned 
 throughout the Old Testament, from the very com- 
 mencement of Genesis: So He drove out the Man, and 
 He placed at the east of the Garden of Eden, CHERU- 
 BINS, and a flaming sword. . . (Gen. 1:24). In 
 Isaiah, v1:2, we find: Above it stood the Seraphim: 
 each one had six wings; with twain he covered his face; 
 with twain he covered his feet, and with twain did he fly. 
 And in the Book of Daniel, x:13, there is a clear sug- 
 gestion of hierarchic distinctions among the angels. 
 But it is in the New Testament, naturally enough, 
 that we find the most important reference to the 
 Heavenly Hosts, in as far as regards the subject of 
 this chapter: For by Him were all things created... 
 whether they be THRONES or DomINIoNs or PRINCI- 
 PALITIES or Powers. (Colossians 1:16.) 
 
 And so we come to the hierarchical classification 
 of the angels, which is the accepted one, among the 
 majority of the early writers, and exclusively as far 
 as pictorial representation is concerned. It is attrib- 
 uted to a convert of St. Paul (Acts. xv11:34), a cer- 
 tain Dionysius the Areopagite, who lived in the 
 second half of the first century, but it did not appear 
 in book form until the sth century, under the title of: 
 De Hierarchia Celesta (Concerning Celestial Rank), 
 in all probability based upon manuscripts left by 
 the great Athenian philosopher.* 
 
 
 
 *It is a common mistake to confuse St. Dionysius the 
 Areopagite with St. Denis of France, and in art this confusion 
 is almost universal. But historically it is generally conceded 
 that the French theory is incorrect. Dionysius was a member 
 
PLATE XV THE SAINTS IN ART 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 1) Madonna and Child, with angels, by the early master, Masaccio (1401-1428) in the collection of Rev. Arthur F. Sutton, 
 Brant Broughton. 2) Madonna and Child, in a rayed and flaming mandorla, adored by SS. Mary Magdalene and Bernard of 
 Clairvaux. By Botticini (1446-1498) in the Louvre, where it is attributed to his master, Cosimo Rosselli. 3) The great Castel- 
 franco Madonna by Giorgione (1478-1510). At the foot of the lofty throne are SS. Liberale and Francis. 4) Madonna and 
 Child with six Saints; Longinus, the centurion of the Crucifixion, Peter and Catherine to the left, and Mary Magdalene, Mark 
 and Sebastian to the right. This picture, by Alvise Vivarini of Venice (w. 1461-1503), is in the Berlin Museum. 5) Enthroned 
 Madonna and Child, with an angel and donor, by Hans Memlinc, in the Vienna Gallery. 
 
 49 
 
The accepted classification of the Heavenly 
 Hosts of St. Dionysius the Areopagite is into nine 
 choirs, composed of three main groups, each com- 
 prising three choirs, as follows: 
 
 A) CounciLtors oF Gop, having no direct contact 
 with Mankind. 
 
 1) The Seraphim (from a Hebrew word mean- 
 ing to burn), are the closest to God, and 
 are shown as bodiless heads with six 
 wings, the whole symbol colored a bril- 
 liant scarlet. The wings should be 
 sprinkled with staring eyes (see Tetra- 
 morph, Plate VII). Later, the color of 
 the Seraphim merged with that of the 
 Cherubim, in order to form a more har- 
 monious color scheme. 
 
 2) The Cherubim (from a Hebrew word mean- 
 ing a chariot) come next to the Seraphim, 
 and should possess six or four blue wings. 
 They are not necessarily bodiless like the 
 first choir—though they frequently are 
 so depicted—and in illuminated MSS. 
 and stained glass windows they often 
 stand upon a wheel, having reference to 
 the origin of the name. 
 
 3) The Thrones, who uphold the-Seat of God, 
 should be depicted either holding a mini- 
 ature throne in their hands, or a fiery 
 wheel covered with eyes. In the former 
 case they are dressed as deacons. 
 
 These three choirs receive their glory 
 directly from the Almighty, and transmit 
 it to the next group. 
 
 B) Governors, whose mission is to regulate the 
 movement of the spheres. 
 
 4) The Dominations, or Dominions, are shown 
 with crowns, swords, and sceptres, or 
 with an orb bearing a cross on it. 
 
 5) The Virtues, in complete plate-armor, with 
 battle-axe, or crown and sceptre. 
 
 6) The Powers, who hold a scourge or a baton 
 in their hands. 
 
 C) MEssENGERS OF Gop, who protect the great 
 monarchies on earth, and who transmit 
 to Man the rulings of the Almighty. 
 
 7) The Principalities, in a hauberk, or shirt of 
 chain mail, and helmet, carrying a Iance, 
 with a pennon with a cross of St. George. 
 They sometimes only carry a lily. 
 
 
 
 of that famous body, instituted as early as the seventh century 
 before Christ, known as the Council of the Areopagus. In the 
 year 51 A. D. Dionysius, with a large number of fellow-citizens 
 of rank and learning, listened to those splendid impassioned 
 words of St. Paul, recorded in Acts xv11:22-31, and became 
 converted, eventually being appointed Bishop of Athens by 
 the great Missionary Apostle. The Greeks state that he suf- 
 fered martyrdom by being burnt alive at the stake. His day 
 is Oct. 3rd. St. Denis of Paris, on the other hand, is celebrated 
 Oct. oth. He was a missionary in Gaul, and suffered martyr- 
 dom through decapitation, for which reason he is shown either 
 holding his severed head in his hands, or holding another 
 symbolic head on his Gospel. (See page 27.) 
 
 50 
 
 
 
 8) The Archangels, as warriors in full plate- 
 armor, with shield and sword, always 
 pointing upwards. 
 
 9) The Angels, as deacons, in flowing white 
 robes, with trumpets or other musical 
 instruments, or bearing a lily. | 
 
 These, however, are but the arbitrary lines laid 
 down by St. Dionysius, and are but rarely adhered 
 to in actual practice, except to a certain degree in 
 very early works, in mosaic, where the whole com- 
 
 
 
 THIS TINY CORONATION—FOR IT IS ONLY I7 X 10% INCHES— 
 
 BY NICCOLO DI BUONACORSO, DISPLAYS A ROW OF CHERUBIM— 
 
 OUTSIDE ROW—ABOVE SIX SERAPHIM, WHILE “THRONES” 
 
 UPHOLD THE “FLOOR OF HEAVEN.’ BELOW ARE ANGELS OF 
 THE NINTH CHOIR. 
 
 (In the Collection of Mr. Philip Lehman) 
 
 pany of Heaven, with the saints, is mtroduced, in 
 such pictures as those of ‘‘ Paradise,” or the “Last 
 Judgment,” or in a “Coronation of the Virgin.” In 
 an interesting rendering of the last great theme, by 
 Jacobello del Fiore (c. 1370-1439) in the Venice Ac- 
 cademia, one can identify fairly distinctly the nine 
 choirs, having the seven archangels grouped together 
 in the upper left-hand corner, above SS. Peter and 
 Paul. But, mn general, the only clearly-indicated 
 choirs are the first two and the last two. 
 
 Except in such occasional groups, only four of the 
 seven Archangels, who should be clad in the full plate- 
 armor of a knight of feudal times, are ever repre- 
 sented in art, rarely more than three, and then they 
 are never, with the exception of St. Michael, Prince 
 
REA E XVI THE SAINTS IN ART 
 
 
 
 
 
 
 
 
 
 Top i.ft: Michelangelo’s Madonna of Bruges is one of the noblest versions of the subject in sculpture. Like the Sistine 
 Madonna (figure top right), its great dignity is due to the vertical line of the face, which is found very rarely in art. Middle top: 
 Correggio’s charming ‘‘ Madonna in Adoration,” with the arms extended in the ancient attitude of prayer, in the Uffizi Gallery. 
 Lower centre: “Madonna of the Green Cushion,” by Andrea Solario (d. 1515), in the Louvre. Solario was of Leonardo’s Milanese 
 school. Top right: Raphael’s masterpiece, the so-called “Sistine Madonna,” or “da San Sisto,”’ in the Dresden Gallery, of which 
 the beauty caused Raphael to be called the ‘‘ Divine Painter.”’ It was painted for the Benedictines of Placentia, and ccntains 
 besides the wonderful Madonna, images of Sixtus I[V—whence the name—and St. Barbara. Low left: Madonna and Child, by 
 Jan van Eyck, in the Metropolitan Museum, where it is called ‘‘School of Van Eyck, probably Petrus Cristus.” Certainly not 
 Peter Cristus, whose treatment of hair is characteristic. But it is almost as certainly by Van Eyck himself, and possesses all 
 that master’s most typical technical mannerisms. It bears a very close resemblance to the Madonna in Antwerp. Low right: 
 a lovely Madonna and Child. by Francesco Ubertini, called Bacchiacca (d. 1557). (By courtesy of the Ebrich Galleries.) 
 
 
 
 451 
 
of the Heavenly Hosts, the Army of God, repre- 
 sented in the armor that the Areopagite allotted to 
 them when they are grouped together in collective 
 pictures. 
 
 “ANNUNCIATION, A PRINT BY MARTIN SCHONGAUER, THE 
 
 GERMAN ENGRAVER. NOTE THAT THE ARCHANGEL GABRIEL 
 BEARS A CROSS ON A WAND INSTEAD OF A LILY, WHICH IN THIS 
 CASE IS SHOWN IN A VASE NEAR THE VIRGIN 
 
 (Courtesy of Knoedler & Co.) 
 
 The three archangels who appear in art are: 
 Micua-EL, whose name means “Like unto God;” 
 clad in shining armor—sometimes covered by a Iong 
 robe, e. g., a picture by Van der Weyden (Plate IT) 
 slaying a dragon, or driving Satan from Heaven, or, 
 in devotional pictures, with his sword and lance, or 
 with an orb, or again with a pair of scales in which 
 to weigh the souls of those who aspire to a heavenly 
 abode. But no matter how he is portrayed, he is 
 unmistakable by his majestic dignity, his armor and 
 his great splendid wings. He is the Prince-Patron 
 of the Church Militant, and Captain General of the 
 Celestial Hosts. GaAsrI-EL, one of the loveliest of 
 figures m art, 1s the Angel of the Annunciation. His 
 name means “God is my Strength.” He wears long 
 white robes, and bears a lily, and generally a scroll 
 bearing the mystic words “‘Ave Maria, gracie plena”’ 
 (Hail, Mary, full of grace). He rarely appears except 
 in this capacity, though he is seen with St. Michael, 
 accompanying the Archangel Rapua-EL, who holds 
 the youthful Tobias by the hand, in a picture in the 
 Florence Academy, attributed generally to Verroc- 
 chio, but really the work of his pupil, Botticini. 
 
 
 
 52 
 
 RaApHA-EL, meaning “Healer through God,”’ is the 
 Guardian Angel, par excellence—all angels are ipse 
 facto guardian angels—for it was he who conducted 
 Tobias on his quest for the ten talents of silver that 
 his father, Tobit, had given to Gabael in Media. 
 Tobias is always shown as very young, holding the 
 Archangel’s hand, and carrying a fish in the other. 
 St. Raphael wears a long flowmg robe, with sandals 
 and powerful wings. 
 
 The other four archangels are: CHAMU-EL, “‘who 
 seeth God,” believed by some theologians to be the 
 angel of Gethsemane, though that honor is more 
 generally ascribed to Gabriel; Joput-EL, “‘the Beauty 
 of God,’ who drove Adam and Eve forth from the 
 Garden of Eden; Urt-k1, “‘the Light of God,” who is 
 Regent of the Sun, and was the master of Esdras; 
 and finally ZApKI-EL, “Righteousness of God,” to 
 whom is ascribed by some writers the holding of 
 Abraham’s arm, when about to sacrifice his son, 
 Isaac. Here again the Christian Church gives the 
 credit to St. Michael. 
 
 Uriel, mentioned above, is the fourth Archangel 
 in art. Mrs. Jameson notes his inclusion in a 
 series of anonymous prints, but states that none but 
 the first three are to be found in any ecclesiastical 
 pictures. 
 
 An interesting introduction of an angel of the 
 type regarded as of the Christian type is that 
 illustrated on Plate XVIII of Marcantonio’s en- 
 graving after a drawing by Raphael, entitled ““The 
 Judgment of Paris.” 
 
 In all early works, 1. e., up to the end of the 15th 
 century, angels are distinguishable immediately by 
 their wings. St. Vincent Ferraris is sometimes given 
 
 
 
 ST. JOHN THE BAPTIST, ‘‘ENTHRONED’ SURROUNDED BY FOUR 
 
 SAINTS, WHO, READING FROM LEFT TO RIGHT, ARE SS. FRANCIS 
 
 OF ASSISI, JEROME, MICHAEL, AND ANTHONY OF PADUA. THIS 
 
 FAMOUS PICTURE BY PERUGINO (PIETRO VANNUCCI) WHO LIVED 
 
 FROM 1446-1523, IS IN THE LIBRARY OF HIS NATIVE CITY, 
 PERUGIA. 
 
PLATE XVII THE SAINTS IN ART 
 
 
 
 
 
 
 
 
 
 
 THE ARCH- 
 ANGELS AND 
 ANGELS OF 
 ES NINTH 
 CHOIR AS POR- 
 TRAYED IN ARG 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 TaBPH 
 yes 
 
 
 
 
 
 
 
 
 
 h rm i 
 
 | , : 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 Top left: Kneeling angel with the candelabrum, attributed to Michelangelo. Middle left: Angel placing a Crown of 
 Martyrdom on the head of St. Sebastian, in the celebrated picture by Il Sodoma (1477-1549) in the Uffizi. Low left: The 
 Angel at the Sepulchre announces the Resurrection to the Three Women. Wall-painting by the great Sienese painter of 
 the Proto-Renaissance, Duccio di Buoninsegna (worked 1279-1319), in Siena. Top centre: The Archangel Michael (left) 
 and Gabriel, with two unidentified bishops, in attendance upon the Virgin and Child, in trono. Above, the Holy Trinity 
 in a Circle (see page 34) adorned with Seraphim. This world-renowned picture by Luca Signorelli of Perugia (1441-1523) 
 is in the Cathedral of his native city. Low centre: The Archangel Raphael presents the youthful Tobias to the Madonna 
 and Child, in Raphael’s great ‘Madonna with the Fish”’ (del Pesce) in the Prado. The Saint at the right is called St. 
 Jerome, the picture having been acquired for the Escurial in Madrid, belonging to the Jeronymites. It is very 
 difficult, in such cases as this, to tell whether the saint is Jerome or Mark, with his Lion and Gospel. Upper right: The 
 Archangel Michael weighing the souls of the Dead. A detail from Hans Memlinc’s famous picture known as the “‘Dantzig 
 Last Judgment,” in the Church of St. Mary’s in that city. Note the plate-armor in which the Captain of the Heavenly 
 Hosts is clad. (See page 52.) Also his crozier and the fantastic wings, terminating in a peacock’s tail-feathers.(!) Below: 
 Two 12th-century depictions, in mosaic, of the Archangels Michael (top) and Gabriel, imbued with the heavy dignity 
 characteristic of the early days of Christian art. Their names are inscribed in Greek letters by the side of their heads. 
 These mosaics are in the Cappella Palatina at Palermo. 
 
 
 
 
 
wings, but as he was only canonized in 1455, this 
 does not affect the accuracy of the first statement. 
 Fra Bartolommeo does not give them to him, though 
 the saint’s compatriot, Murillo, in the 17th century, 
 does so. 
 
 The treatment of angels in Christian art follows 
 the steadfast rule of descent from the grand sim- 
 plicity of the days of respectful wonder and research 
 
 ANGELS IN THE GREAT ‘‘CORONATION OF THE VIRGIN” BY 
 FRA ANGELICO IN THE UFFIZI GALLERY IN FLORENCE 
 
 THE 
 
 to the facile carelessness of purpose of the decadence 
 and degradation. In the Ravenna mosaics, e. g., at 
 St. Agatha’s Church, they are depicted as splendid 
 lordly figures in long regal robes, bearing upon their 
 faces an expression of true celestial majesty, and 
 from then on till the time of Fra Angelico (1387-1455) 
 sternness was the predominant feature of the angels 
 proper. The artists of those primitive days in art 
 were sincere, if naif, transmitters of their profound 
 beliefs, and were too deeply imbued with the 
 splendor of Heaven, as they saw it, to take liberties, 
 and indulge in fantasy, or to attempt to bring the 
 Messengers of God down to the level of human 
 understanding. In their eyes the angels were always 
 on their dignity. (Plate XVII.) 
 
 Fra Angelico, the transition master, In more ways 
 than one, gave perhaps a truer interpretation—some 
 say the truest—by endowing his exquisite angelic 
 figures with all the Iove he himself possessed for the 
 Divine Trinity, and all those who dwelt in Paradise. 
 And after I] Beato, Raphael and Luini came closest 
 
 
 
 54 
 
 to reproducing in human form the lovely angel idea, 
 beings without sex, ethereal in attitude and expres- 
 sion, floating in space without effort, as belonging to 
 space, their own limitless territory. 
 
 With these two exceptions, the angels became 
 less and less celestial in appearance, providing in 
 many cases a simple attribute to a picture of the 
 Madonna, as in some of the Botticelli angels, of the 
 earth earthy. And by the end of the 15th century, 
 they had, artistically speaking, fallen as far as 
 Lucifer from the high place they had once occupied. 
 Even the Seraphim and Cherubim lost their tradi- 
 tional expressions of adoration and contemplation, 
 respectively, of the Almighty, and became simply 
 joyous children with wings, more like pagan Cupids 
 than the rmmediate recipients of the Divine Message. 
 From the end of the 15th century, the roles of the 
 angels, proper, became innumerable, from catching 
 the sacred drops of ‘blood from the Wounds of Our 
 Lord—an early motive—to performing personal ser- 
 vices for the Virgin and Child, or holding aside the 
 curtains of a canopy as in Raphael’s Madonna del 
 Baldacchino in the Pitti Palace in Florence. (Plate 
 XXVI.) 
 
 Yet, when a great master depicted them, such 
 masters as Michelangelo or Leonardo, they were able 
 to present them in their more sophisticated manner, 
 as magnificent as those simple figures, inaccurately 
 drawn, by the artists of the earliest days of Christian 
 art, without even giving them the special attributes 
 of the Celestial Hosts, the angelic wings. 
 
 
 
 TWO ANGELS ATTRIBUTED TO LEONARDO DA VINCI IN THE 
 FAMOUS PICTURE OF “THE BAPTISM OF CHRIST” BY HIS MASTER, 
 ANDREA VERROCCHIO 
 
PLATE XVIII 
 
 
 
 
 
 
 
 THE SAINTS IN. ART 
 
 
 
 SOME STYPICAL 
 INTERPRETATIONS 
 OPS THE ANGEL 
 IDEA IN ART 
 
 
 
 LLLP AEE OM 
 
 , AS vet, ie 
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 Oc et ALS PATINA EEO PIN ORO 
 
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 Be. 
 
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 nv 
 
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 Or e ‘ rec 
 
 1) The Heavenly Choir, in Benozzo Gozzoli’s (1420-1497) great “Adoration of the Magi”’ in the Riccardi Palace 
 in Florence. Note the inscription Gloria inExcelsis (see page 46(d)) on the haloes, and the “choir-leader,’’ naively intro- 
 duced. 2) How incomparably more skilful is the portrayal of the heavenly choir in the ‘Adoration of the Lamb” altar- 
 piece by the Van Eycks at Ghent. In technical skill this panel is perhaps the most perfect piece of painting extant, 
 while it is by no means lacking in the reverential spirit appropriate to the subject. Its companion panel is the St. Cecilia, 
 illustrated on page 104. 3) Jacobello del Fiore’s ‘Coronation of the Virgin,” described on pages 41, 43, 50, etc. The Seven 
 Archangels can be seen to the left of the picture, at the top, with helmets and shields. The four Evangelists are in niches 
 at the foot of the throne, but without their symbolic “‘beasts.’’ 4) One of Fra Angelico’s most popular pictures. An 
 angelic music’an in the “‘Tabernacle”’ in the Uffizi, painted in 1443, for the Guild of Linen Merchants. 5) This picture 
 by Raphael is out of place in a book devoted to the Saints in Art, for it depicts the pagan Homeric legend of the ““Judg- 
 ment of Paris.”’ But we have included it in this page on account of the angel, bearing a palm (see page 29), depicted in 
 exactly the same form as that which they appear in all religious pictures of the Renaissance. 6) A 16th-century Italian 
 drawing of the Madonna conducted by two angels. The Madonna is crowned with roses. (From a drawing in the collec- 
 
 tion of Mr. George Cotils.) 
 
 
 
 535 
 
 
 
CHARTER: Vill 
 
 
 
 OF THE EVANGELISTS AND APOSTLES 
 
 Atter the Mother of Jesus Christ, the four Evan- 
 gelists hold the first place in the hierarchy of the 
 Saints, for they were the transcribers of the words 
 and deeds of our Saviour, and their works formed 
 the basis of the teachings of the militant apostles 
 and disciples. Each gospel treats of Christ’s mission 
 on earth in some special aspect, which inspired the 
 symbols by which their authors are distinguished in 
 art. The first emblematic representation of the 
 Evangelists was more in the nature of an attribute 
 than of a true symbol, for it took the form of Four 
 Booxs placed in the angles of a Greek or Maltese 
 cross (Plate XIX). From the 4th to the 7th Century, 
 the treatment was purely symbolic, and used only 
 in connection with the Saviour. He stands either as 
 the Lamb of God or in human form upon a mound 
 from which spring the Four Rivers WuicH FLow 
 From ParapiseE(Plate XIX). In the 4th Century,also, 
 another form of symbolism, illustrative in this case, 
 was adopted from the Book of Ezekiel, repeated in the 
 Revelation. It did not come into general use until 
 the 6th Century, and although the relation between 
 the emblem and the Evangelist to whom it referred 
 has suffered at times certain modifications, it became 
 standardised early in the Revival of Learning (13th 
 Century) as follows: St. Matthew was represented by 
 a WINGED CHERUB or ANGEL, the nearest celestial 
 approach to the form of man, for the first of the 
 Evangelists emphasises, through his gospel, the 
 human side of our Lord. St. Mark’s emblem is a 
 Lion, the king of beasts, for he stresses the regal 
 aspect of the character of Christ, as King of the 
 Jews. The lion is also symbolic of the Resurrection 
 (see page 27) of which St. Mark has been called the 
 historian. St. Luke’s symbol, an Ox, the beast of 
 sacrifice, illustrates the fact that his gospel reveals 
 the priestly character of the Son of God, while St. 
 John was given the Eacte, emblematic of the soaring 
 spiritual note of the scripture as set forth by the 
 favorite apostle of Jesus Christ. 
 
 The first use of this symbolism represented 
 the “Four Beasts,” with six or four wings. 
 Then in human form, but bearing the head of 
 the emblematic creatures. Toward the middle of 
 the 15th Century this archaic treatment, which 
 fitted in well with the humoristic note of much of 
 Romanesque and Gothic sculpture, gave place to a 
 more rational representation in which the Evange- 
 lists were depicted as human beings accompanied by 
 their symbols (e. g., a fresco by Andrea del Sarto in 
 San Salvi in Florence), though in a few rare pictures 
 the beast is shown alone. Finally, inthe decadence of 
 Italian art, the Evangelists appear without emblems, 
 their place in the picture and their appearance deter- 
 mining their identity. Partly on account of their 
 convenient number, the emblems of the Evangelists 
 have been employed for centuries at the four corners 
 
 56 
 
 of innumerable rectilinear forms to which their use 
 was appropriate, such as Books of Hours, missals, 
 bibles, caskets, and tombs. There is a handsome 
 example of the Iast in the Metropolitan Museum of 
 Art of New York, behind, and slightly to the right of, 
 the model of Notre Dame Cathedral in the Archi- 
 tecture Hall. 
 
 It is hardly necessary to state that in historical 
 pictures of the life of our Lord and that of His 
 Mother, after the Passion, the apostle-Evangelists 
 are depicted only with the other apostles and in their 
 company. In such works, their emblems as Evan- 
 gelists are generally absent, their place being taken 
 by attributes, such as the instruments of their 
 effectual or attempted martyrdoms, or some object 
 having a bearing upon their lives. 
 
 St. Matthew’s typical attribute is a long purse 
 or bag, for, prior to the call of the Master, he was a 
 collector of taxes. - St. Luke is frequently repre- 
 sented with the implements of an artist. Apart 
 from his special character as an Evangelist, St. John 
 is generally portrayed holding in his hand a chalice 
 from which is Issuing a serpent, illustrating the 
 legend that upon a certain occasion he was forced 
 to drink a cup of poisoned wine, which had no effect 
 upon him. The poison (serpent) was withdrawn by 
 the Divine Intervention. St. John is the most fre- 
 quently depicted of all the Saints in Art. He was, 
 I repeat, the favorite apostle of Our Lord. In 
 pictures of the Last Supper he was—until Leonardo 
 broke the tradition—almost universally drawn re- 
 clining upon the breast of Jesus, as in the famous 
 Ghirlandajo fresco in the Ognissanti Refectory in 
 Florence. He is always present with the Virgin 
 Mary in pictures of the- Crucifixion. He holds a 
 chalice. In the Stabat Mater he stands on the right 
 of the picture (left of the Cross) and in Pieta, 
 again, he is rarely absent. St. John is usually por- 
 trayed, in the loose flowing garments common to all 
 the apostles, as a beautiful youth, but occasionally 
 he appears as a very old man with a long white beard, 
 —he died at the ripe old age of 99 years—as in the 
 Botticelli Madonna in the Berlm Museum (p. 65). 
 His robes and the chalice in his hand or a book will 
 always identify him in such cases. There are also a 
 number of pictures representing the futile attempt 
 of the Emperor Domitian to destroy the young fol- 
 lower of Christ by boiling him alive in a cauldron of 
 oil outside the Latin gate of Rome. A canvas by the 
 Flemish painter, Quentin Matsys, now in the Ant- 
 werp Museum, is characteristically gruesome in its 
 detail. St. John founded the seven churches—sym- 
 bolised by the seven-branched candlestick—in Asia 
 Mior: at Ephesus, his particular charge, Smyrna, 
 Pergamos, Thyatira, Sardis, Philadelphia and Lao- 
 dicea. (See Plate XIX.) 
 
 The “‘ Four Beasts” of the Evangelists have ever 
 been the cause of controversy as to their significance. 
 The Hebrew Doctors treated these figments of the 
 brain of Ezekiel as symbolic, first of the four Arch- 
 
PLATE XIX THE SAINTS IN ART 
 
 
 
 
 
 yferati, 
 tifto.s f 
 
 
 
 
 
 
 
 
 
 oy - 
 
 
 
 
 
 
 
 
 
 
 
 Upper left: the first symbolic representation of the Evangelists, as four Gospels, each in a nimbus, and in the four angles of 
 a Greek cross. Beneath: Our Lcrd as the Lamb of God, standing upon a mound from which issue the Four Rivers (Evangelists) 
 which flow from Paradise. Top centre: The “Vision of Ezekiel,’ in which the Four Beasts are mentioned for the first time. 
 From a picture by a painter of the school of Raphael. Here the Almighty is shown surrounded and supported by the Four. 
 It is in the Pitti Palace. Top right: curious woodcut from Legenda Aurea, “The Golden Legend,” by Jacobus de Voragine, 
 published at Ulm in 1478. Note the Evangelists in the top corners, above the Madonna and St. Blasius (left). Beneath the 
 large inscription are the Four Latin Doctors, St. John Chrysostom, and other saints, each with his name inscribed on a scroll. 
 Low left: Vision of St. John the Divine, from a woodcut by Diirer, illustrating an old book on the Apocalypse published in Venice 
 in 1605. Note the Seven Candlesticks, the Seven Stars, and the Square on a Circle, upon which the Saviour is standing. Low 
 right: Christ, with his hand raised in benedicticn, surrounded by the Four Evangelists, who are here shown without other emblems 
 than their gospels. By Fra Bartolommeo in the Pitti Palace. 
 
 57 
 
angels, Michael, Raphael, Gabriel and Uriel, and, 
 later, of the Prophets, Isaiah, Jeremiah, Ezekiel 
 himself and Daniel. Rupertus, a famous commen- 
 tator of the Book of Revelation, interprets them 
 mystically as the Incarnation, the Passion, the 
 Resurrection and the Ascension. Their position in 
 relation to each other had also to be decided by the 
 scholiasts of medieval days. Thus Durandus, who 
 was the first to give the significance later identified 
 with Rupertus, to the Apocalyptic “Beasts,” places 
 the Angel and Lion on the right of the Throne of 
 Heaven, with the Ox and the Eagle, the latter in the 
 upper station, on the left. This ts the arrangement 
 in the picture of the “Vision of Ezekiel,” in the Pitti 
 
 
 
 TWO INTERPRETATIONS OF THE FOUR EVANGELISTS, REPRE- 
 SENTED BY THEIR SYMBOLS. THEY SURROUND THE SEPULCHRE 
 AT THE SIDES OF WHICH ARE A LAMB AND A LION, SYMBOLIZING 
 THE COMPASSIONATE AS WELL AS THE REGAL ASPECT OF OUR 
 LORD’S CHARACTER (FROM A NINTH-CENTURY BIBLE IN THE 
 BRITISH MUSEUM, ADD. NOS. 10546) 
 
 Palace in Florence, formerly attributed to Raphael, 
 but now known to be the work of his pupils. 
 
 The most probable origin of this strange sym- 
 bolism is to be found in the carved figures of Nineveh 
 and Persepolis, the former in the British Museum, 
 the latter at the Louvre in Paris. 
 
 Two interesting examples of the use of these 
 symbols are to be found on a page of a gth-century 
 Bible in the British Museum (see above), the 
 upper half displaying an open tomb flanked by the 
 emblematic Lamb and Lion of the Saviour himself, 
 with the Evangelists’ symbols, as head and winged 
 shoulders of the ‘‘Beasts,’’ in each corner. Below, 
 Our Lord ts seated upon a throne holding a scarf in 
 an arch above His head, while a winged Lion and Ox, 
 turned toward Him, are placed to His right and left 
 
 58 
 
 respectively. The Eagle is perched upon the summit 
 of the arch of the scarf, and the Angel in front of 
 Christ stands pointing upwards at the emblem of 
 St. John. 
 
 In the great “Coronation” altar-piece by Gio- 
 vanni d’Alemagna and Antonio Vivarini in the 
 Venice Academy, the Evangelists are seated at the 
 foot of the throne, St. John—as an old man—and 
 St. Mark on the left (of the picture) facing St. Mat- 
 thew and St. Luke on the right. Each is accom- 
 panied by his emblem, at his feet, while all except 
 St. Luke hold open gospels. The last-named has a 
 closed book surmounted by a Gothic picture frame 
 upon his knee, one of the rare examples of the use of 
 his attribute as an apostle when depicted in his char- 
 acter as an Evangelist. This refers to an old legend 
 or tradition that St. Luke was an artist and actually 
 painted the portrait of the Blessed Virgin, in conse- 
 quence of which this gentle apostle became the 
 patron saint of the leeches (barber-surgeons) and 
 painters, who both belonged to the same guild! This 
 tradition is frequently found represented in art, par- 
 ticularly mn pictures of the Flemish, early Dutch, and 
 German schools. 
 
 * * * 
 
 The ApostLes are depicted in Art in various ways 
 and groupings, but whatever the personal composi- 
 tion of the group may be, there are never more than 
 twelve present. In very early works, such as the 
 mosaic in the Church of SS. Cosmo and Damian in 
 Rome (Plate I, Fig. 12), they are represented sym- 
 bolically as Lambs, six issuing from Jerusalem on 
 one side of Our Lord, as the Lamb of God, the others 
 coming toward Him from Bethlehem on the other. 
 In San Clemente in Rome, the great crucifix at the 
 east end bears twelve doves, typifying the chosen 
 companions of Christ on earth. 
 
 When they came to be represented as elderly men 
 —all save St. John—they were at first aligned six 
 upon each side of the Master, but later they were 
 portrayed as a group around Him. When the 
 Apostles are represented thus together they bear 
 attributes having some reference to their life or 
 martyrdom, or with scrolls in their hands or both. 
 The scrolls refer to the tradition that each of the 
 Twelve wrote a phrase of the so-called Apostles’ 
 Creed, as follows: St. Peter: I believe in God the 
 Father Almighty, maker of Heaven and Earth; St. 
 Andrew: And in Jesus Christ, His only Son, Our 
 Lord; St. James Major: Who was conceived by the 
 Holy Ghost and born of the Virgin Mary; St. John: 
 Suffered under Pontius Pilate, was crucified, dead, and 
 buried; St. Philip: He descended into Hell; On the 
 third day He rose again from the dead; St. James 
 Minor: Ascended unto Heaven and sat on the right 
 band of God the Father Almighty; St. Thomas: 
 Whence He came to judge the quick and the dead; St. 
 Bartholomew: I believe in the Holy Ghost; St. Mat- 
 thew: In the Holy Catholic Church; the Communion of 
 Saints; St. Simon: The forgiveness of sins; St. Mat- 
 
thias: The resurrection of the body; St. Thaddeus: 
 And the Life Everlasting. 
 
 All of the Apostles, save St. John, are believed 
 to have died a martyr’s death. 
 
 St. Peter, Prince of the Apostles, and first Bishop 
 of Rome, was crucified head downward, during the 
 Neronian persecution. His usual attributes in devo- 
 tional pictures are two keys, one of gold and one of 
 iron, opening respectively the gates of Heaven and 
 Hell. Sometimes St. Peter wears the papal tiara and 
 robes as in the famous Crivelli altarpiece in the 
 Brera at Milan, from which his figure has been repro- 
 duced on Plate XX. The key attributes were only 
 adopted in the eighth century. St. Peter’s day is 
 June 29th. 
 
 St. Andrew, the brother of Stmon called Peter 
 (St. Peter), was also crucified, the legend being that 
 he was hung upon an X-shaped cross. This, however, 
 has never been proved (see page 21). Nevertheless, 
 it has remained as his attribute in the vast majority 
 of cases. He is the patron of Scotland where his 
 remains were brought in the fifth century, as well 
 as of the Orders of the Golden Fleece of ancient 
 Burgundy and of St. Andrew of Russia. St. An- 
 drew’s day is November 30. 
 
 St. James Major, the son of Zebedee and brother 
 of St. John the Evangelist, was beheaded at Jeru- 
 salem, fourteen years after the death of Christ. His 
 attribute is a pilgrim’s staff. He is the Patron Saint 
 of Spain, “‘Sant ’Iago”’ or Santiago, and the favorite 
 patron of that country. In the year 800 his remains 
 were removed by his disciples to Compostella, where 
 one of the most famous shrines in the world was 
 built to recetve them. He is frequently called St. 
 James of Compostella. His day is July 25. 
 
 St. Philip was stoned and crucified against a pillar 
 at Hieropolis in Phrygia. He carries a T(au) Cross 
 as an attribute, or a small cross on a staff or crozier. 
 His day and that of St. James the Less is May Ist. 
 
 St. James the Less (or Minor), called ‘‘the 
 Brother of Our Lord,”’ was flung from the temple of 
 Jerusalem and then beaten to death with a fuller’s 
 club, with which he is always depicted. He was the 
 first Bishop of Jerusalem. 
 
 St. Thomas, called also Didymus, the Twin, was 
 the Apostle of the Indies and Persia. He was mar- 
 tyred at Meliapore on the Coromandel coast of India 
 by the Brahmin priests who stoned him and then 
 pierced him with a lance. His attribute is a builder’s 
 square, through a quaint legend connected with King 
 Gondoforus of the Indies. He is the patron of 
 architects and builders. (Dec. 21.) 
 
 St. Bartholomew was flayed alive at Albanopolis 
 in Armenia. In the Last Judgment by Michelangelo 
 in the Sistine Chapel this apostle is in the foreground 
 holding his skin im his hand. His attribute is a large 
 knife. His day is August 24th. 
 
 St. Matthew was a Jewish tax collector for the 
 Romans, a thoroughly despised calling, but after his 
 conversion he went forth into Egypt and Ethiopia 
 
 59 
 
 to preach his gospel, which he wrote to satisfy 
 his fellow converts in Palestine. Venantius Fortu- 
 natus states that he suffered martyrdom by the 
 sword at Nadgar in Ethiopia in the goth year of the 
 new Christian era. His remains were brought west 
 and interred at Salerno, in a church named after him 
 by Pope Gregory VII in 1080 A. D. The attribute of 
 St. Matthew is a purse or money-bag, and his day, 
 September 21st. 
 
 
 
 ST. SIMON ZELOTES, THE APOSTLE, WITH A SAW, THE SUPPOSED 
 INSTRUMENT OF HIS MARTYRDOM, FROM A DRAWING BY THE 
 I5TH-CENTURY GERMAN ARTIST, HANS BALDUNG GRUEN 
 
 St. Simon, or Simon the Zealot, preached the 
 gospel with Christ’s kinsman, St. Jude or Thaddeus, 
 in Syria and Mesopotamia. They were both put to 
 death in Persia, St. Simon being sawn asunder, while 
 St. Thaddeus was stricken down with a halberd. 
 These objects are their respective attributes. Their 
 feast 1s celebrated on October 28th. 
 
 St. Matthias was the last of the Apostles, who 
 according to St. Clement of Alexandria, was chosen 
 by lot out of the seventy-two disciples, in place 
 of Judas. He was put to death in Ethiopia or in 
 Judea, at the hands of the Jews, either with a spear or 
 an axe. In German pictures, St. Matthias is usually 
 represented with an axe, while in Italian works, his 
 attribute is a spear or lance. His day is Feb. 24th. 
 
 Judas Iscariot is generally shown in a dirty yellow 
 garment, and in early representations of the Last 
 Supper, even up to that of Domenico Ghirlandajo 
 (1480) in the Ognissanti in Florence, he appears, 
 isolated from the group of the faithful apostles, by 
 being seated on the other side of the table. Leonardo 
 
da Vinci broke this tradition and placed Judas 
 amidst his fellow disciples, but with consummate 
 mastery he still succeeded in isolating the traitor by 
 turning his face away from the light and so throwing 
 it into strong shadow, the only one of the holy com- 
 pany whose visage is not fully illuminated. Judas 
 hanged himself. Leonardo also abandoned the tra- 
 ditional pose of St. 
 John lying asleep 
 (according to later 
 tradition) upon the 
 breast of his be- 
 loved Master. In 
 Leonardo’s great 
 fresco, St. John 
 forms part of the 
 group of three, com- 
 prising St. Peter 
 holdinga knifein his 
 right hand, Judas 
 Iscariot holding a 
 bag of silver, and 
 St. John, with in- 
 tertwined fingers, 
 asleep and leaning 
 toward St. Peter, who is excitedly poiting at the 
 Saviour. 
 
 Now in addition to the twelve Apostles properly 
 speaking, there are five other contemporaries of Our 
 Lord who take the places of some of the true Apostles 
 in many works of art, viz.: SS. Paul, Mark, Luke, 
 _ Barnabas and John the Baptist. But the more im- 
 portant of His original followers always remain 
 aa Peter, Andrew, James Major, Philip, Mat- 
 
 
 
 THE TRADITIONAL EARLY RENDERING OF THE “LAST SUPPER, WITH A TABLE 
 TURNED BACK AT THE ENDS, JUDAS BY HIMSELF OPPOSITE CHRIST, AND ST. JOHN 
 LYING AGAINST HIM DOZING. 
 
 From the picture by Domenico Ghirlandajo in the Ognissanti Refectory in Florence. 
 
 thew, John, Thomas and Bartholomew. St. Simon 
 and Matthias, however, sometimes give place to SS. 
 Mark and Luke; St. Jude (Thaddeus), to St. Paul. 
 When St. Paul is represented with the Apostles he 
 carries invariably one or two swords, one pointing 
 upwards, the other down (Plate XX). Another is 
 sometimes classed as an Apostle, who has no real 
 claim to the title. I 
 refer of course to St. 
 Barnabas, the com- 
 panion of St. Paul at 
 Lystria and Anti- 
 och. St. Paul and 
 Barnabasseparated 
 owing to a differ- 
 ence concerning St. 
 Mark, the kinsman 
 of the latter, after 
 which Barnabas 
 preached in Italy 
 and the Near East. 
 It is said that he 
 was the first Bishop 
 of Milan, after- 
 wards thesee of that 
 great Father of the Church, St. Ambrose. Barnabas 
 was stoned to death by the Jews at Salamis. He is 
 generally shown with St. Paul, and carrying in his 
 bosom the original copy of the Gospel of St. Matthew 
 from which he is said to have preached. June 11th 
 is St. Barnabas’ day. 
 
 The two chief Apostles in Art are St. Peter and 
 St. Paul, who are almost always depicted together, 
 
 for they represent the two churches, St. Peter that 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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 Denies 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 LEONARDO DA VINCI’S FAMOUS “‘LAST SUPPER”’ IN THE REFECTORY OF SANTA MARIA DELLE GRAZIE (St. Mary of the Graces) AT MILAN. 
 
 IT WILL BE OBSERVED THAT BY PLACING OUR LORD IN THE “FRAME OF THE DOORWAY,” HE IS MORE CENTRALIZED THAN IN THE PICTURE 
 
 ABOVE. NOTE ALSO THAT ST. JOHN ON HIS RIGHT HAND (left in the picture) LEANS AWAY FROM HIM INSTEAD OF LYING ON THE BOSOM 
 
 OF JESUS AS IT WAS THE TRADITION TO DEPICT THE YOUTHFUL EVANGELIST IN EARLIER PICTURES. JUDAS IS THE THIRD OF THE SIX 
 
 FIGURES TO THE RIGHT OF OUR LORD. HIS FACE IS IN SHADOW TO DISTINGUISH HIM FROM THE FAITHFUL APOSTLES, AND HE 
 HOLDS A MONEY-BAG IN HIS RIGHT HAND. 
 
of the Jews, St. Paul that of the Gentiles. They 
 appear one on either side of the Madonna in trono, 
 or of the Saviour, and although they do not invari- 
 ably bear their typical attributes, there can be no 
 mistaking either of them in works of art produced 
 up to the end of the 16th century. Like all the 
 Apostles, they are always clad in classical robes 
 (see Plate XX), with loose flowing folds, which imme- 
 diately places them in this group irrespectively of 
 attributes or symbols. St. Peter is depicted as a 
 powerful elderly man with white hair and a short 
 
 and Pythagoras. In Michelangelo’s Last Judgment 
 in the Sistine Chapel of the Vatican, the Apostles, as 
 great undraped figures, are grouped around the cen- 
 tral figures of Christ the Judge and His Mother. St. 
 Andrew, with his cross, is on the immediate left (as 
 one looks at the picture) of the Divine group, his 
 back turned to the spectator, with a colossal figure 
 of St. Paul, his eyes intent upon the upraised hand 
 of the Master, next to him. On the left, in the same 
 relative positions, are St. John, as always, young and 
 beautiful, kneelmg in adoration and love, and the 
 
 
 
 THE “LAST JUDGMENT” BY MICHELANGELO, IN THE SISTINE CHAPEL OF THE VATICAN. THE FIGURES IN THE 
 FOREGROUND, READING FROM LEFT TO RIGHT, ARE: ST. PAUL, ST. ANDREW, THE VIRGIN MARY, JESUS CHRIST, ST. 
 
 JOHN AND ST. PETER. 
 
 IN FRONT ARE ST. LAWRENCE WITH HIS GRIDIRON, AND, ST. BARTHOLOMEW WITH A LARGE 
 
 KNIFE IN HIS RIGHT, AND HIS OWN SKIN IN HIS LEFT, HAND. 
 
 curly beard. His correct dress is a blue or green tunic 
 with yellow mantle. St. Paul appears to us as a man 
 in the prime of life, with a high forehead, piercing 
 eyes, a hooked nose and a Jong, pointed, dark brown 
 beard. He wears a blue tunic with a white mantle. 
 St. Augustine resembles St. Paul in many respects, 
 but the great “Doctor”? wears a bishop’s mitre 
 and cope which distinguish him from the Mis- 
 sionary Apostle. It is quite likely that these two 
 types descend directly from actual portraits made 
 contemporaneously. We know that such did exist, 
 for in the case of St. Peter, the best known descrip- 
 tion, that of Nicephorus, is obviously drawn from 
 some representation before his eyes, while in the case 
 of St. Paul, there was a Roman Iady named Marcel- 
 lina who kept among her Lares (household gods) 
 images of Our Lord and St. Paul with those of Homer 
 
 61 
 
 grand figure of St. Peter holding a key. Behind him 
 one can distinguish St. Philip with his T(au) cross. 
 Seated upon boulders in front, at the feet of Jesus, 
 are St. Lawrence, the early martyr, with his gridiron, 
 and St. Bartholomew holding his own skin. 
 Although St. Paul was not one of the original 
 Apostles, being only called after the Ascension, he 
 stands with St. Peter, as the most important and 
 popular of them all. He was originally a Roman 
 soldier who was present at, and even concurred in, 
 the martyrdom of St. Stephen. In the Acts of the 
 Apostles (v11:58) It is stated that “the witnesses 
 laid down their clothes at a young man’s feet, whose 
 name was Saul.”’ Before his conversion he was very 
 bitter against the exponents of the new faith: “And 
 Saul yet breathing out threatenings and slaughter 
 against the disciples of the Lord . . . went to the 
 
High Priest for permission to go to Damascus and 
 bring bound to Jerusalem all those who had already 
 embraced Christianity. As he was journeying thither 
 he was called by a voice from Heaven ‘Saul, Saul, 
 why persecuteth thou me?’”’ (Acts 1x:1-4), and he 
 went into Damascus so impressed by the miracle 
 that, blmded for three days by the light that had 
 enveloped him at the time the Voice had appeared 
 to him, for the same three days he neither ate 
 nor drank. And so when Ananias of Damascus went 
 reluctantly at the Divine bidding to call Saul to the 
 fold, the great preacher-to-be was ready. He is first 
 named as Paul: “Saul, who is also called Paul” in 
 Acts xu11:9. The conversion of St. Paul and _ his 
 previous life have been made the subject of innum- 
 
 
 
 ST. JAMES MAJOR (SANT’ IAGO), THE APOSTLE, AS A PILGRIM 
 WITH HIS STAFF AND WALLET, PREACHING TO THE PEOPLE. 
 FROM A PICTURE BY NOEL COYPEL. 
 
 (Courtesy of Wildenstein er Co.) 
 
 erable pictures. The sword was given him as a 
 symbol or attribute (see Plate XX) no earlier than 
 the 11th century, three centuries after the keys 
 became the traditional attribute of his companion, 
 Ste Peter: 
 
 St. James the Great is frequently represented as 
 a pilgrim with staff and wallet, as in a fine picture by 
 the 18th Century French painter, Noél Coypel, of 
 St. James preaching, a stately, noble, figure in long 
 flowing robes. As the patron saint of Spain and 
 conqueror of the Moorish infidels at the battle of 
 the Clavijo or Alveida Plains, he is usually garbed 
 as a pilgrim mounted on a snow-white charger, and 
 holding aloft a banner. Occasionally, in his capacity 
 
 62 
 
 as a warrior of Christ, he is depicted naively in full 
 armor—as though he, any more than St. Michael 
 and other armored angels, needed that terrestrial 
 protective harness—his heels armed with the golden 
 spurs of a knight, and with a casque with flowing 
 plumes upon his head. 
 
 St. James the Less is represented as resembling 
 
 closely his kinsman, Jesus—his mother, Mary Cleo-) 
 
 phas, being the sister of the Virgin Mary—and the 
 
 tradition is that Judas agreed.with the Jews to kiss 
 his Master’s cheek, when the Roman soldiers. arrived ' 
 
 to take Jesus prisoner, in order that they might not 
 mistake St. James for Our Lord. St. James Major 
 likewise bears a strong likeness to Christ, of whom 
 he also was a cousin, Mary Salome being another 
 step-sister of the Madonna.* 
 
 St. Philip is generally portrayed in the prime of 
 
 life and beardless, or with only a slight beard. 
 
 Save for the Crucifixion, no incident of Christ’s 
 Mission on Earth has so deep a significance as the 
 Lord’s Supper, or the Last Supper, as it is usually 
 called in English. The French and Italian terms— 
 of importance to visitors to European galleries—are 
 “La Céne” and “La Cenacola,” respectively. This 
 great subject can be treated, indeed by some great 
 artist-mystics, such as Giotto and Fra Angelico, has 
 been treated, in two different ways, firstly as an his- 
 torical event, in the course of which occurs the 
 dramatic incident of the denunciation of the traitor, 
 in which case it signifies simply the Passover meal: 
 ““Now the first day of unleavened bread, the dis- 
 ciples came to Jesus, saying unto Him: Where wilt 
 Thou that we prepare for Thee to eat the pass- 
 over?” (Matthew xxv1:22); secondly, as the mystic 
 institution of the Eucharist, after the pointing out 
 of Judas as the traitor: “And as they did eat, Jesus 
 took bread and blessed and brake it, and gave it to 
 them and said: Take, eat; this is my body. And He 
 took the cup, and when He had given thanks, He 
 gave it to them and they all drank of it. And He 
 said unto them: This is my blood of the new testa- 
 ment, which is shed for many.” (Mark x1v:22.) 
 In the gospels of the first two evangelists, the denun- 
 
 ciation’ of Judas precedes the mstitution of the > 
 Eucharist; St. Luke places it immediately after, ° 
 while St. John refers neither to the Passover supper | 
 nor to the Eucharist. St. Mark andiSt. Luke, not 
 being Apostles, ‘were, of course, not present at the 
 Cenacola, the twelve being Matthew, Andrew, James | 
 Major and Minor, both bearing the ‘traditional — 
 
 resemblance to the Master, John, ‘always’ next ‘to: 
 
 Jesus, usually on His left leaning upon’ His bosom, ° 
 
 Philip and Thomas, both as young men, Peter, old 
 
 
 
 
 
 *St. Anna, the Mother of Mary, was married twice before 
 she espoused Joachim, the father of the Blessed Virgin, the 
 
 first time to Cleophas, by whom she bore Mary, the wife of | 
 
 Alpheus, and mother of St. James the Less, Thaddeus and 
 Joseph Justus; the second to Salome, by whom she bore 
 another Mary who married Zebedee, a wealthy merchant of 
 Galilee, and whose children were St. James Major and St. 
 John the Evangelist. 
 
THE SAINTS IN ART Pye ISIE NO 
 
 FIVE OF THE MORE 
 IMPORTANT APOSTLES 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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 ST. PAUL ,ASAMILITANT PROS- it) N 
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 ST ANDREW 1S ALWAYS (Counties, of rd HISEARNEST [aA OR 17 & 
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 re plied Nessa WHEN ST.PAUL IS DEPICTED WITH 
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 my ik Ee eh i ea i ST. JOHN THE EVAN- 
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 BUTES. AND ATTRIB es (%¢ 
 “ne Rerre Two THE EAGLE $G0SPE 
 AS AN APOSLE,ASDIS- KEYS.ARE. ARE. OF THE FORMER & 
 
 
 
 TINCT FROM HISFAMEAS EMBLEMS AD- 
 AN EVANGELIST, ST. OPTED ONLY INN 
 MATIHEW.BEARS AS THE EIGHTH Cy. PEND SSUGCE TH ecw 
 HIS ATTRIBUTE,A PURSE, 
 
 ACULOUS HARMNLESSNESS OF TK 
 ROR ATE Delonte ints POISONED DRAUGHT HE WAS MADE 
 DC CUPATION AS FUTANSABLLERER: TO DRINK BY THE EMPEROR DIOCLETIAN 
 
 CLASS, WHILE THE 
 CUP WITH THE SER- 
 PENT ISSUING FORTH 
 
 
 
 63 
 
with a curly short white beard, Bartholomew, 
 Simon, Thaddeus (Jude) and Judas Iscariot. 
 
 It is the event of the Last Supper at the moment 
 of the denunciation that is most commonly repre- 
 sented, for its inherent dramatic qualities could not 
 help but appeal to the artists of old. The surprise, 
 the questioning looks, the anger at the possibility of 
 such unbelievable treachery, are all portrayed with 
 a greater or less degree of emotion and dramatic 
 vigor according to the mentality and _ technical 
 powers of the artist. Giotto painted for the Refec- 
 tory of the convent of Santa Croce in Florence, the 
 first representation in Western Art, of the event of 
 the Lord’s Supper, and has chosen the actual 
 moment of the denunciation when Christ is saying: 
 “He that dippeth his hand with Me in the dish, that 
 same shall betray Me.” As it was necessary for this 
 picturization for Judas to be close to Our Lord, and 
 as it would have appeared offensive to the pious of 
 early days to give the traitor precedence over the 
 faithful apostles, Giotto placed him opposite the 
 Saviour, alone on the near side of the table, a com- 
 position which remained as a model until Leonardo’s 
 infraction of the traditional rule, previously referred 
 to. Again, as many, if not the majority, of the 
 representations of the Last Supper were painted for 
 refectories In monastic institutions, the scene was 
 painted upon the wall running at right angles to the 
 lines of tables on the floor, and as one long table on 
 the far side of which Our Lord and the Twelve, with 
 the exception of Judas, are seated, so that when the 
 monks or nuns were at their meals, the effect was 
 created of a “‘head-table”’ from which Our Lord and 
 His immediate disciples presided over the company. 
 Occasionally again, this great scene, at which the 
 mystic foundation of the Christian religion was laid, 
 is depicted shortly after the denunciation, and shows 
 Judas preparing, or attempting, to escape from the 
 room. In some pictures, Judas appears to be trying 
 to hide the purse in his hand as though It contained 
 the ‘thirty pieces of silver” only, whereas there was 
 no need of concealment, for the traitor was officially 
 the steward or custodian of the funds of the holy 
 company. 
 
 Fra Angelico, in his series depicting the Life of 
 Christ, in the Florence Academy, has painted two 
 scenes, one of the Passover supper, the other of the 
 Institution of the Eucharist. The first adheres to the 
 general rules as described above, with all its move- 
 ment and dramatic tenseness; the other is quite 
 evidently devotional. Christ and His followers have 
 all risen from the table; the Apostles are kneeling, 
 while the Saviour presents the Host to St. John. 
 Judas kneeling behind Our Lord seems to be watch- 
 ing for an opportunity to slip out of an open door 
 nearby. Thus again is the traitor cleverly set apart 
 from his fellows. 
 
 In a remarkably devout picture by the early 
 Fleming, Dirk Bouts, formerly in the Church of St. 
 
 Peter in the martyred city of Louvain, the Saviour 
 
 
 
 and His followers are grouped around a square table, 
 four with Our Lord at the head facing the spectator, 
 two at the foot with their backs turned, one of whom 
 is quite evidently Judas, the other most probably 
 Thomas, a youngish man with a beard; and three on 
 each side. Two servants are in the room and two 
 more look through a serving aperture in the wall. 
 Bouts has chosen for his subject the moment when 
 Christ holding the wafer in His hand is making His 
 momentous announcement of the significance of the 
 
 THE LORD'S SUPPER BY THE I5TH-CENTURY FLEMISH PAINTER, 
 
 DIRK BOUTS, IN THE NOW DESTROYED TOWN HALL OF LOUVAIN. 
 
 JUDAS IS SEEN ON THE LEFT OF THE PAIR AT THE NEAR END 
 OF THE TABLE 
 
 Bread and Wine. The scene is Jaid in a Gothic hall, 
 with a tesselated pavement and contemporary fur- 
 niture. 
 
 Justus of Ghent has depicted the ceremony of 
 the Eucharist in a picture now in the Urbino Gallery, 
 in which in addition to the Apostles there are a 
 number of spectators who are not kneeling. Among 
 them one can recognize the patron of the painter, 
 Duke Federigo da Montefeltro, ruler of Urbino, 
 in profile, from the famous portrait by Piero della 
 Francesca, in the Uffizi Gallery in Florence. Here all 
 are kneeling before the Master who is placing the 
 Host in the mouth of one of them. Judas, richly 
 dressed and coiffed with a turban, looks contempt- 
 uously upon the devout group and Is moving toward 
 the door. And it is the Duke of Urbino who pushes 
 the traitor back with his outstretched hand! A 
 characteristic bit of Flemish painting with its very 
 “every-day” interpretations of even the most mystic 
 and elevated events. 
 
CHAPTER VII 
 
 Sr. JOHN THE BapTisT AND Mary MAGDALENE 
 
 I have brought together in one chapter these two 
 saints of widely different character and significance 
 for no other reason than that they are, outside the 
 group of the Evangelists and Apostles, the two out- 
 standing saints contemporary with the life of Our 
 Lord. 
 
 St. John the Baptist is celebrated throughout 
 Christendom as the patron of all who have been 
 baptised, and, in art, holds a particularly important 
 place both as patron of the cradle of the Renaissance, 
 Florence, and as a witness to the divinity of Christ, 
 which reasons account for his appearance in so 
 many pictures of the Madonna and Child and of 
 Holy Families in galleries all over the world. He is 
 the only saint whose birthday (June 24th) is cele- 
 
 
 
 ST. JOHN THE BAPTIST AS A YOUTH IN THE DESERT, THE FAMOUS 
 PICTURE BY ANDREA DEL SARTO, IN THE PITTI PALACE IN 
 FLORENCE 
 
 brated as a Feast-day, like those of Our Lord and 
 His Mother. AII other Saints are remembered on 
 the day of their death. 
 
 The representation of St. John the Baptist in art 
 is practically constant, although in quite late works 
 and occasionally in Spanish paintings, he is garbed 
 with a richness which is ill-suited to his character 
 and mission, and can only be attributed to the exces- 
 sive extent to which hero-worship of the Saints was 
 carried in the Iberian peninsula. 
 
 His correct dress, whether as a child, as he 
 appears in so many lovely Madonna pictures by 
 Raphael and the Umbrians, or as a man, Is a camel- 
 hair tunic, very short, with another garment thrown 
 
 over It as a cloak. It is this cloak which in late 
 pictures is painted as a richly embroidered mantle. 
 The camel’s-hair tunic is always there. He ts drawn 
 as tall and emaciated, sometimes with, sometimes 
 
 
 
 THIS FINE BOTTICELLI MADONNA in trono SHOWS ST. JOHN THE 
 BAPTIST WITH A SLIGHT BEARD, AND ST. JOHN THE EVANGELIST 
 —EXCEPTIONALLY—AS AN OLD MAN (SEE PAGE 46(d)) 
 
 without, a beard, even by the same artist, as in the 
 case of two great Enthroned Madonna pictures by 
 Botticelli, one in the Berlin Museum, the other at the 
 Florence Academy. Titian, who of course comes 
 Iate-m the history of Italian art (1477-1576), has 
 painted the Fore-runner as a man of splendid 
 physique, and powerful, handsome features, almost 
 nude, a magnificent picture and probably more like 
 the subject’s real type than the more ascetic mystical 
 representation of the earlier artists. St. John the 
 Baptist as the Fore-runner, is, so to speak, the Ink 
 between the Old and the New Testament, the last 
 Prophet of the former, the first. Saint of the latter. 
 It was his mother, the elderly Elisabeth, wife of 
 priest Zacharias, still older than herself, who was 
 exalted to a miraculous motherhood, that her son 
 who was to be called John, might “make ready a 
 people prepared for the Lord,” and who first recog- 
 nised the divimity of Christ. Mary having been 
 informed by the Archangel Gabriel, of her glorious 
 destiny, learnt from the same divine messenger that 
 her kinswoman, Elisabeth, had also ‘“‘concetved a 
 son in her old age”’ (Luke 1: 36). So she ‘“‘ went into 
 the hill country with haste... and entered the house 
 of Zacharias and saluted Elisabeth. . . . And she 
 (Elisabeth) spake out with a loud voice . . . and said 
 whence is this to me that the Mother of my Lord 
 should come to me’”’(Luke 1: 39-43). It was then that 
 Mary said “‘My soul doth magnify the Lord,” that 
 ringing Magnificat which is the shining light of all arts: 
 painting, poetry and music, the great cry of exulta- 
 tion that she, this lowly girl, was to give to the wait- 
 
PLACER XOX] THE SAINTS IN ART 
 
 
 
 
 
 
 
 
 DIFFERENT ASPECTS 
 OResS Ta e|OHN Zhe 
 
 BAPTIST AS SEEN BY 
 THE GREAT MASTERS 
 
 
 
 1) St. John the Baptist in the Desert, in the Louvre, attributed to Raphael, but not considered to be his, by modern 
 critics. 2) St. John, as the patron of Henri de Werl, Provincial of the Minorites in Cologne, by Peter Cristus (c.1415-1472) 
 the early Flemish Master (see page 67). 3) Three scenes from the life of John the Baptist, by Roger van der Weyden 
 (1400-1464), in the Berlin Museum. To the left is the Birth of the ‘‘ Forerunner;”’ in the middle, the Baptism of Christ; 
 and then, the Decapitation. 4) The “Man who came before,” the Baptist, as that greatest of late Italian masters, 
 Titian, saw him. This picture, now in the Venice Academy, is one of the finest things ever accomplished by Titian, who 
 painted it when about 80 years of age. 5) St. John the Baptist performs his chief mission on earth, by baptising Jesus 
 in the River Jordan. Note the Almighty Ary the Holy Ghost in direct line over the head of the Saviour. This picture, 
 formerly in the Weber Collection in Hamburg, is by the anonymous Master of St. Severin (early 16th century), so-called 
 from his best-known pictures being in the church of that name in Cologne. 
 
 66 
 
ing world its Messiah. The “Salutation of Elisa- 
 beth” or “‘the Visitation,” as it is most frequently 
 called, is one of the favorite subjects in Sacred Art 
 on account of the beauty of the human sympathy 
 
 
 
 RAPHAEL’S CELEBRATED “MADONNA WITH THE BLUE DIADEM”’ 
 IN THE LOUVRE. THE LITTLE ST. JOHN IN ADORATION BEFORE 
 HIS DIVINE KINSMAN IS ONE OF THE MOST EXQUISITE CHILDREN 
 IN ART 
 
 expressed by the visit of the younger woman to her 
 elderly kinswoman of whom she had just heard so 
 wonderful a story, and of the mystic significance of 
 Elisabeth’s instinctive recognition of the greater 
 destiny of Mary’s Son. 
 
 The Baptist is almost invariably recognisable by 
 his camel’s-hair garment, his comparative youth, his 
 emaciated frame, and his thin “‘reed cross,” a long 
 reed wand with a small cross at the end. To this 
 cross, or floating beside the Saint, is generally a 
 pennant or scroll bearing an inscription. The com- 
 monest forms are ‘“‘Ecce Agnus Dei”? (Behold the 
 Lamb of God), and ‘‘ Vox clementis in deserto”’ (The 
 Voice of the Merciful in the desert). He also is given 
 a cup, and is frequently accompanied by the Lamb, 
 as in a fine picture dated 1438 by the Maitre de 
 Flémalle, now in the Prado at Madrid, of John the 
 Baptist standing behind the donor, a Reformed 
 Franciscan monk, Henri de Werl, Provincial of the 
 Minorites in Cologne. This picture and its com- 
 panion also in the Prado, representing St. Barbara, 
 are the wings of a lost altar-piece by Jacques Daret, 
 the master of the Flémalle altar-piece. 
 
 The most important incident of the mission of 
 St. John the Baptist whence, of course, he drew his 
 name, was the Baptism of Our Lord, who standing 
 
 in water almost to his knees, receives the first sacra- 
 ment of the Church at the hands of the Messenger. 
 The almost universal picturisation of this ceremony 
 shows the Almighty, or a Hand or pair of Hands, and 
 the Dove of the Holy Spirit, directly m line above 
 the head of the Saviour. Some typical representa- 
 tions of the Baptism of Christ as rendered by artists 
 of various schools are illustrated in Chapter XII 
 and Plate XXI. 
 
 Another favorite subject from the life of the 
 Fore-runner is his sojourn in the desert. It is in that 
 aspect that Titian painted the picture mentioned 
 above. Raphael painted him as a beautiful boy, 
 seated on a tree trunk, while the curious Flemish 
 painter Geertgen tot Sint-Jans (Gerard de St. Jean) 
 presents him—in a picture now in Berlin—seated on 
 a ledge of stone, clad as a hermit, in an attitude of 
 profound meditation with the Lamb crouched beside 
 him. The scene is a distinctly fertile desert, with 
 lovely trees and a winding stream probably in the 
 neighborhood of Haarlem in Holland where the 
 artist resided at the monastery of St. John the Bap- 
 tist, whence he derived the name under which he is 
 known. 
 
 The child St. John is another very popular sub- 
 ject In art, particularly in pictures of the Madonna 
 and Child which come under the heading of the 
 Mater Amabilis or Loving Mother, described in 
 Chapter V. Nearly all Raphael’s pictures of the 
 
 Pere 
 
 
 
 ST. JOHN THE BAPTIST IN THE DESERT, BY THE CURIOUS HAAR- 
 LEM PAINTER, GEERTGEN TOT SINT-JANS (FIFTEENTH CEN- 
 TURY), IN THE BERLIN GALLERY (SEE ABOVE) 
 

 
 PLATE; XXII THE SAINTS IN ART 
 
 
 
 
 
 
 
 
 
 
 
 
 FURTHER | 
 PICTURES OF | | 
 THE BAPTIST, | | 
 AND MARY 
 MAGDALENE | 
 
 
 
 
 
 
 
 1) St. John the Baptist in the Desert. A print by the Paduan engraver, Giulio Campagnola (1482-1514). This is one 
 of the rare interpretations in which the camel’s hair garment is absent. (Courtesy of Kennedy and Co.) 2) The Magda- 
 lene at the moment of Christ’s appearance to her in the Garden, the episode known as the “Noli me Tangere”’ (see page 
 69). This picture is by Lorenzo di Credi, and hangs in the Louvre. 3) A fine picture of the Holy Trinity with the 
 Magdalene and the Baptist, attributed to Botticelli, but unquestionably the work of Botticini (1446-1498). 4) Titian’s 
 famous ‘“‘Noli me Tangere”’ in the National Gallery. While this work is remarkable from the standpoints of technical 
 mastery and in drawing, color and composition, it lacks the reverent feeling of the earlier painters, e. g., even the affected 
 picture by Lorenzo di Credi, illustrated above. This is a fault of all sacred pictures of the Italian schools bordering on the 
 17th century and the decadence. 5) St. Mary Magdalene, by Carlo Crivelli (1435-after 1493), in Berlin. Note 
 the curious form of the Pyx, and the rich costume (see page 72). 
 
 
 
Madonna and Child, such as the “‘ Belle Jardiniére”’ 
 in the Louvre, and the Madonna with the Goldfinch, 
 as well as numerous compositions by other painters, 
 particularly Fra Bartolommeo and Andrea del Sarto, 
 picture the two children, the little St. John as a 
 beautiful child a little older than the Infant Jesus. 
 The incidents relative to the death of St. John the 
 Baptist have frequently been represented, their 
 dramatic qualities rendering them specially appealing 
 to the later Italians, and 16th Century Flemings. 
 
 As Patron Saint of the City of the Lilies, the 
 Baptist is present as an attendant in almost all 
 Florentine pictures of the Madonna in trono painted 
 by Florentine artists, and although his death, accord- 
 Ing to tradition, took place about two years before 
 the Passion, he is sometimes introduced into pictures 
 of the Lord’s Supper, when they belong to the 
 devotional class representing the institution of the 
 Eucharist. Statues of St. John the Baptist are 
 found in the baptisteries of a large majority of 
 Catholic churches. 
 
 * * * 
 
 St. Mary Magdalene, the first penitent to receive 
 the forgiveness of the Saviour, stands almost alone 
 among the Saints on account of her communion 
 with Our Lord. She remains ever a shining beacon, 
 a living hope for all dissolute livers to “go and sin 
 no more.” She was the sister of Martha and 
 Lazarus, who was first a soldier, then the first bishop 
 of Marseilles, he whom Jesus raised from the dead. 
 Her second name was derived from that of her castle 
 Magdalon, near Magdala* on the Sea of Galilee. 
 It is said that their parents were of royal, or at least 
 noble, blood, and Martha and Lazarus both lived 
 in righteousness. But Mary who was very beautiful 
 led such a dissolute life that she was known as “‘The 
 Sinner.” But finally her sister persuaded her to 
 meet our Lord at her, Martha’s, house, and as He 
 spoke, Mary Magdalene became converted, and 
 learning that the Master was to attend a feast 
 in the house of Simon the Levite, she went there 
 “‘and stood at His feet weeping, and began to 
 wash his feet with tears, and did wipe them with 
 the hair of her head and kissed His feet, and 
 anointed them with the ointment” (Luke vu:38). 
 The ointment box of alabaster called a Pyx, which 
 Mary took with her to the house of Simon, is her 
 own distinctive attribute in Art. This scene has 
 been painted very frequently, being a special favorite 
 with artists of the later Italian and Flemish pictorial 
 periods, because it allows so much room for the 
 rendering of gorgeous architecture and garments, 
 both out of harmony with the spiritual significance 
 of the event, and utterly wrong from the chrono- 
 logical standpoint. Paul Veronese and the other 
 16th Century Venetians, as well as Rubens and 
 Van Dyke and their fellow-Flemings were particular 
 
 *The name of this place was not Magdala, as it is called 
 in the Bible (Matthew xv: 39), but Magadan. Its Arab name 
 is “El Mejdel,’’ whence the incorrectly translated “ Magdala.”’ 
 
 69 
 
 offenders in this direction. Our illustrations show 
 how the Veronese and Titian interpreted the ‘‘Feast 
 at the House of Simon the Levite”’ at which Our 
 Lord instituted, so to speak, the principle of Divine 
 
 
 
 ST. 
 
 HOUSE OF HER SISTER, MARTHA OF BETHANY, LISTENING TO 
 
 THE WORDS OF CHRIST WHICH MADE HER RENOUNCE HER LIFE 
 
 OF SIN AND LUXURY (SEE OPPOSITE COLUMN). THIS PICTURE 
 IS BY TINTORETTO, AND HANGS IN THE MUNICH GALLERY 
 
 MARY MAGDALENE, BEFORE HER REPENTANCE, AT THE 
 
 forgiveness in contradistinction to the Old Testa- 
 ment doctrine of a God of Punishment for unatonable 
 sins. (See Chapter XII.) 
 
 St. Mary Magdalene is represented in Art in 
 several characterisations. 1) As the dissolute woman, 
 given to all the pleasures of the world, that she was 
 prior to her conversion and pardon, and also in the 
 successive phases of remorse which culminated in 
 her historic act of penitence. 2) As a participant in 
 the drama of the Passion, as one of the women who 
 went to the sepulchre on the third day (‘‘the first 
 day of the week,” Luke xxiv:1) and finding not the 
 body of Our Lord, returned and announced the 
 Resurrection to the eleven Apostles, and what they 
 had heard from the lips of the “two men in shining 
 garments” (Luke xxiv:4) who had appeared to 
 them by the side of the sepulchre. 3) At the mo- 
 ment of the appearance to her of Christ, in the 
 garden, on the day of His Resurrection, the subject 
 known as the “Noli me tangere”’ (Touch me not) 
 from the verse of the Gospel of St. John xx:17: 
 ‘And Jesus said unto her, Touch me not; for I am 
 
not yet ascended to my Father... .” This beautiful 
 episode is always treated in a traditional manner 
 with none present but the Saviour and the grieving 
 Penitent. 
 
 
 
 ST. MARY MAGDALENE IN THE DESERT, BY TIMOTEI VITI OF 
 
 URBINO, IN THE BOLOGNA GALLERY. NOTE THE LONG HAIR 
 
 UNDER HER CLOAK, AND HER DISTINCTIVE PYX, OR OINTMENT 
 
 BOX, AND BOOK. THERE IS NO SKULL, WHICH IS UNUSUAL IN 
 HERMIT PICTURES 
 
 Then 4) Mary, Magdalene is represented as a 
 recluse in the desert where for thirty years she ‘did 
 penance for the sins of her past life.. The legend 
 relates that she fasted so assiduously and so mortified 
 the flesh in other ways that she must have perished 
 had not. the Angels ministered unto her. And that 
 during the-last few years of her seclusion, she was 
 daily borne up to Heaven, or as it sometimes related, 
 to the summit of a high mountam, in the arms of the 
 divine messengers, to. hear the beautiful music and 
 see “the glory and the joy prepared for the sinner 
 that repenteth.”’ And there it was in the solitude of 
 the wilderness, comforted only by the divine 
 promise of pardon for the past, that she passed 
 away, though according to other legends she died 
 ‘within the walls of a Christian Church after receiv- 
 ing the Sacrament” from the hand of St. Maximin, 
 one of the seventy-two disciples, who had baptised 
 her and her sister, Martha, and their brother, 
 Lazarus, later Bishop of Marseilles. 
 
 All these aspects refer either to her historical or 
 her legendary life, and must be classed under the 
 heading of Narrative pictures. Other narrative pic- 
 tures in which she appears are 1) Christ at the 
 
 70 
 
 house of Martha of Bethany, where the Magdalene 
 first was moved to repentance by the words and 
 bearing of Our Lord. 2) The raising of Lazarus. 
 3) The Crucifixion, in which she is frequently 
 shown with her arms round the shaft of the Cross, 
 as in the devotional Fra Angelico crucifixion in the 
 Metropolitan Museum. 4) The Deposition, the 
 taking down of the Saviour’s mortal remains from 
 the Cross. 5) With the Virgin Mary, Mary Cleo- 
 phas and Mary Salome at the sepulchre. 
 
 Devotional representations of the Magdalene de- 
 pict her as the Patron Saint of. frail and penitent 
 women, and of Provence and Marseilles in France, 
 or as the Repentant Sister in the Desert. The former 
 characterisation permitted the artist of early days 
 to give free rein both to his vivid imagination and to 
 his love of painting gorgeous dress-fabrics; for they 
 all remembered, in those days of intense feudalism, 
 that Mary Magdalene was a princess, or, at least, of 
 noble rank, to whom sumptuary laws meant nothing, 
 and whose dress therefore must be splendid. A 
 curiously feudal sentiment of awe for the nobles and 
 all and every thing that pertained to that privileged 
 class was also largely responsible for the tremendous 
 wave of enthusiasm with which the Magdalene was 
 adopted as a favorite saint throughout the awaken- 
 ing Europe of pre-Renaissance days. The very fact 
 that she had been.a sinner seemed to bring this noble 
 lady ‘‘la trés sainte demoiselle pécheresse’’ nearer to 
 human level than were most of the saints, and par- 
 ticularly did those who led dissolute lives themselves 
 
 
 
 ST. MARY MAGDALENE, RICHLY DRESSED, WITH A “DESERT”’ 
 
 BACKGROUND, HOLDING HER PYX, FROM A PICTURE BY THE 
 
 FLEMING, JAN VAN SCOREL (1495-1562) IN THE RIJKS-MUSEUM, 
 AMSTERDAM 
 
PLATE XXIII THE SAINTS IN ART 
 
 
 
 MAGDALENE AS 
 PAK ONESS 
 AND IN SOME 
 LATE NARRA- 
 ELVESPIC LURES. 
 
 
 
 1) A picture by Spinello Aretino (1333-1410), one of the later Giotteschi, in the Metropolitan Museum. It will be 
 found described on page 73. 2) The famous “Reading Magdalene” by Pompeo Batoni (1708-1787), in Dresden. The 
 skull and the book and the pyx (to the left behind her) should be noted. 3) Another late picture of the Magdalene in 
 the Desert, by Ludovico Cardi da Cigoli (1559-1613) in the Pitti Palace in Florence. 4) Pietd, by Carlo Crivelli, in the 
 Vatican. Note the strained expression of agony on all the faces, and the reverent attitude of the Magdalene as she 
 holds the hand of Jesus in both of hers. A picture almost exactly similar to this one is in the Metropolitan Museum in 
 New York. 5) “St. Mary Magdalene attended by the Angels”’ is the subject of a dramatic picture by Guercino (1590- 
 1666) in Florence (see page 70). 6) St. Mary Magdalene, stricken by remorse for her sinful life, casts away her jewels, 
 as she kneels at the feet of Jesus. This famous picture by Paul Veronese is in the National Gallery (see page 69). 
 
 
 
 Fi 
 
prefer to address their prayers to one who would 
 understand their sentiments and temptations, and 
 who could better translate them to Our Lord, than 
 to those other saintly women who had suffered 
 martyrdom in defence of their faith and their chas- 
 tity. These seemed too far away from the would-be 
 penitents, but Mary Magdalene in spite of her high 
 
 
 
 THE MAGDALENE (RIGHT) WITH ST. MARGARET, AS PATRONESS 
 
 OF THE WIFE AND DAUGHTER, RESPECTIVELY, OF THE DAUGHTER 
 
 AND WIFE OF THE DONOR. THIS “PORTINARI ALTAR-PIECE”’ 
 
 BY HUGO VAN DER GOES (1405-1482) IS IN THE UFFIZI GALLERY 
 (SEE OPPOSITE COLUMN) 
 
 rank was, by their common sin, brought nearer to 
 them. 
 
 It must be remembered that the middle of the 
 thirteenth century in Europe was dominated by a 
 fear-inspired ‘‘wave of penitence,” expressed by 
 innumerable pilgrimages to Rome, rigorous pen- 
 ances imposed by the clergy both on themselves and 
 on the members of their flocks, and the institution 
 of ever severer regimes in monastic establishments. 
 And it was right on the crest of this wave that news 
 came of the discovery of the early remains of Mary 
 and her brother, the Bishop Lazarus, at a place now 
 
 called St. Maximin after the disciple who had bap- 
 tised them. 
 
 In Flemish and German pictures where it was 
 almost customary to depict female saints in the 
 richest satins, velvets and brocades, naively present- 
 ing them as ipse facto “‘of,the Noble Class,”’ the 
 Magdalene is invariably thus portrayed. In the 
 famous Portinari Nativity, by Hugo van der Goes, 
 now in the Uffizi Gallery, the right wing pre- 
 sents the wife and small daughter of the donor, 
 Tommaso Portinari, great-grandson of Folco of the 
 same house, whose daughter, Beatrice, was rendered 
 immortal by Dante’s beautiful love for her. The 
 little girl is placed under the protection of St. Mary 
 Magdalene, who is standing sumptuously garbed 
 behind the devoutly-kneeling child. She seems lost 
 
 ‘in contemplation and ts holding in her right hand 
 
 her alabaster ointment-box. In a curious picture 
 by Jacob Cornelisz of Amsterdam, dated 1507, 
 representing Christ appearing to the Magdalene in 
 the Garden, she is still more richly dressed in semi- 
 royal costume, but with her traditional blond hair 
 falling loose from the elaborate head dress affected 
 by women of high stations of the time. Her Pyx is 
 standing beside her on the ground, a handsomely 
 decorated vase. Our Saviour is portrayed holding a 
 spade in his left hand! His right hand is placed upon 
 the head of the woman, which hardly fits in with the 
 version of St.John: “Noli me tangere”’ quoted above. 
 
 
 
 JACOB CORNELISZ (1470-1533) OF AMSTERDAM, PORTRAYS 
 THE MAGDALENE AS A RICHLY-DRESSED PRINCESS IN HIS 
 “Noli me tangere,”? IN THE BERLIN GALLERY (SEE ABOVE) 
 
Carlo Crivelli, again, depicts the Penitent in gor- 
 geous raiment, with her bosom uncovered, her long 
 nair falling to her knees, and holding on her hand 
 bent back, an ointment box, in the form of a drinking 
 mug with a richly embossed lid! 
 
 In Mantegna’s splendid Madonna and Child with 
 the Baptist and the Magdalene, in the National Gal- 
 lery, she is clad in the red tunic which is her color, 
 expressing her great love, covered by a blue mantle 
 for constancy. Her beautiful face is uplifted toward 
 Heaven, with an expression of profound faith. In 
 her right hand she holds a small pyx. This is one of 
 the loveliest representations of St. Mary Magdalene 
 
 that I have ever seen. Luca Signorelli shows her 
 looking almost shamefacedly downwards at her pyx, 
 while St. Catherine of Siena, bearing a lily, appears 
 to be comforting her. An interesting votive picture 
 in the Metropolitan Museum portrays Mary Mag- 
 -dalene seated on a back-less throne, in a grey-green 
 tunic covered by a brilliant scarlet mantle, with a 
 hood, under which her hair is this time confined. 
 She holds im her left hand a crucifix, and in the right, 
 her ointment box, while four charmingly-painted 
 musician angels are lined up on each side of her. At 
 her feet are kneeling the donors, tiny hooded figures 
 representing Friars of the Misericordia Fraternity as 
 the Pyxon their shoulders indicates (see Plate X XIII). 
 
 But apart from her more or less artificial role as 
 patroness, Mary Magdalene has been painted innum- 
 erable times in one of her two most interesting 
 epochs, that of her sojourn as a penitent recluse in 
 the desert. In this aspect she appears either nude, 
 covered only by her long hair, or scantily clad in a 
 garment of camel’s hair, similar to that of St. John 
 the Baptist. A picture by Raphael’s first master, 
 Timoteo Viti of Urbino, now in the Bologna Gallery, 
 depicts her as a very beautiful and very young girl 
 with bare feet, but otherwise completely covered by 
 a crimson cloak over a camel’s-hair garment. The 
 desert in which she is standing Is represented by some 
 high crags and a cavein the background, while on 
 the ground near her feet are a cross, a skull—the 
 attribute of all desert hermits—and her omtment 
 box standing on a closed Gospel. 
 
 Again the famous Donatello statue in Florence 
 shows her standing nude, very tall, extremely 
 emaciated and covered to her knees with long flowmg 
 hair. She bears no attribute but the general appear- 
 ance of the statue and the Jong hair immediately fix 
 for us the identity of the subject. 
 
 She is painted nude, only partially covered, by 
 all those artists of the early decadence to whom 
 painting for its own sake bore more interest than 
 for what it could express. In such figures they could 
 not only exhibit their skill in Iimning the “female 
 form divine,” but also in imprinting upon the face 
 and general attitude of the Magdalene the dramatic 
 sorrow and penance which she had imposed upon 
 herself. Many of these, due to the brushes of such 
 men as Rubens, Guido Rent, Ludovico Cardi, 
 
 73 
 
 
 
 ANDREA MANTEGNA’S SPLENDID MADONNA WITH THE BAPTIST 
 
 AND THE MAGDALENE, IN THE NATIONAL GALLERY, BETRAYS A 
 
 REVERENCE WHICH IS NOT ALWAYS SO APPARENT IN PICTURES 
 OF THE GREAT PENITENT (SEE OPPOSITE COLUMN) 
 
 Furmi, are depicted sitting upon a rock, while 
 others such as the so-called Correggio Magdalene* in 
 Dresden and the other far more beautiful Batoni 
 picture in the same gallery, are lying at full Iength 
 on the ground, buried deep in the study of the 
 Gospel. These are often called ‘Reading Mag- 
 dalenes.”’ The ointment box and the skull are always 
 present in these desert pictures, and generally a 
 crucifix. 
 
 
 
 CHAPTER IX 
 
 OF THE FATHERS OF THE LATIN AND GREEK 
 CHURCHES 
 
 If the Evangelists hold a special place in the 
 established hierarchy of the Church because they set 
 down in writing the Life and Doctrines of Our 
 Lord, the Doctors of the Church again are given 
 precedence over other saints, because it was they 
 who not only interpreted the gospels for us, but also 
 produced what we might call a working order of 
 procedure for the systematic worship of what was 
 in their day still a new, and more or less loosely- 
 constructed, religion. The interpretations they set 
 forth and the articles of faith they evolved are in 
 force even now, and while this century of ours is one 
 of scepticism and discussion, we must not forget 
 when we gaze upon the pictures of the old masters 
 that the Fathers or Doctors of the Church were so 
 
 *Giovanni Morelli definitely and incontestably denies the 
 authenticity of this picture as a Correggio. It bears none of 
 the characteristics of the Parmese Master. According to 
 Morelli it is a copy of a lost Correggio by the late 17th Century 
 Dutch painter, Adrian van der Werff. 
 
PLATE XXIV THE SAINTS IN ART 
 
 f/ THE FOUR 
 DOCTORS 
 AND 
 ST. JEROME 
 \ ALONE. 
 
 \. 
 
 1) A Crucifixion, by Lorenzo Vechietta (1412-1480) of Siena, with the half-figures of the four Doctors issuing from 
 clouds around the Cross. Immediately to the left of the Cross is St. Paul. (Courtesy of the Kleinberger Galleries.) 2) Leo- 
 nardo da Vinci’s famous unfinished St. Jerome in the Desert, now in the Vatican. Note the action of the great Hermit- 
 Doctor, about to beat his breast with a large stone, and the remarkably dramatic lion in the foreground. 3) St. Jerome 
 as a Cardinal (see page 79) in his cell at Bethlehem, with the translations of the Bible with which he is credited: Greek, 
 Latin, and Hebrew. He is seen drawing the thorn from the foot of the lion, which act is one of the causes of the King 
 of Beasts being his attribute. This illustration is from a woodcut by Albert Diirer, from an old book printed in Basle in 
 1497. (Courtesy of O’Malley’s Bookstore, New York.) 4) The Four Doctors in attendance upon the Madonna and Child, 
 by Moretto of Brescia, in the Stadel Institute, Frankfort. Reading from left to right, they are SS. Ambrose, Gregory, 
 Jerome and Augustine. 5) St. Jerome in the Desert. A sketch by Giovanni Contarini (1549-1605) in the Brera in 
 Milan. 6) “St. Jerome in His Study,” in the National Gallery, where it is attributed to Giovanni Bellini. Berenson, 
 however, rightly gives this work to Giovanni’s pupil, Vicenzo Catena, whose style is clearly apparent throughout. 
 7) St. Jerome kneeling, with the Bishop of Florence, St. Zenobio, at the foot of the Madonna and Child. In the back- 
 ground, behind St. Jerome, are scenes from his real and legendary life. This well-known picture by Mariotto 
 Albertinelli (1475-1520) is in the Louvre. 
 
 
 
highly venerated for their learning and their pro- 
 found faith that their interpretations of the actions 
 and sayings of Our Lord were looked upon as divinely 
 inspired, and the judgment of their authors as 
 infallible. 
 
 The Doctors of the Church are divided into two 
 groups, the Fathers of the Latin Church, St. JERoME 
 (d. 420 A. D.), St. AmBrose (d. 437 A. D.), Sr. 
 AucusTINE (d. 430A.D.), and St. GrEGory (Gregory 
 the Great), who died in 604 A. D.—and those of the 
 Greek Church—Sr. JoHN CuHRysOSTOM, meaning 
 Golden Mouth, who died in 407 A. D.; St. Basix the 
 Great, whose mother and father, two brothers and 
 sister, were all noted for their piety and were 
 canonised (d. 380 A. D.); St. ArHaNnasius (d. 373 
 A. D.), author of the long Creed bearing his name, 
 who never appears in art except as one of the group 
 of Greek Fathers; and St. GREGoRy NAZIANZEN, who 
 like St. Basil had a number of saints in his family, 
 including his parents and two sisters. He was the 
 intimate friend of St. Basil, with whom and Julian 
 the Apostate he studied at Constantmople and 
 Athens. He died in the year 390 A. D. 
 
 The Greek Fathers, who preceded the Latin 
 Fathers, and were indeed their teachers, are seldom 
 found in what we call modern Western Art, that is 
 to say, works produced since the 13th Century, or 
 even since the final rupture in 1054 A. D. between 
 the Roman and the Greek (Byzantine) Churches. 
 Mrs. Jameson says that we may conclude that any 
 picture exhibiting the Greek Fathers with their 
 famous disciples must have been executed under 
 Byzantine influence, but surely we can not apply 
 that somewhat dogmatic statement to the Fra 
 Angelico figures in San Lorenzo Chapel in the 
 Vatican. However, “‘I/ Beato”’ only introduced St. 
 Athanasius and St. John Chrysostom, as representing 
 the four Greek Fathers, the places of the other two 
 being taken by St. Leo the Great, who by his per- 
 sonal intercession saved Rome from destruction at 
 the hands of Attila the Hun, and St. Thomas 
 Aquinas, “the Angelic Doctor,” the Dominican 
 orator and theologian, who composed the Office of 
 the Sacrament as it is still used today. His inclusion 
 in the group ts due to his high rank as a Dominican— 
 next after the founder and patriarch of the Order— 
 and the veneration in which he was held by the 
 painter, a Dominican himself, who created the pic- 
 ture for a Pope who held the preaching friars in par- 
 ticular esteem. 
 
 In the rare pictures where the eight Doctors are . 
 
 grouped together the Latin Fathers should be dis- 
 tinguishable from their Greek teachers by their 
 mitres. Greek bishops wear no head-dress at all, 
 except St. Cyril, who is often included in a group 
 of the Greek Fathers, and who wears a hood falling 
 over his shoulders, the front of which is decorated 
 with a cross. St. Cyril was Bishop of Alexandria 
 from 412 to 444 and was the most earnest opponent 
 of Nestorius, the “‘heretic” (see page 13). The Greek 
 
 75 
 
 Fathers, again being given no distinctive emblems 
 or attributes in Byzantine or Greek art, can only 
 be identified definitely if, as is usually the case, 
 their names are inscribed above their heads, gen- 
 erally on the rim of the nimbus. 
 
 So much for the Greek Fathers. Now let us pass 
 on to those venerable prelates who occur so fre- 
 quently, either as a group or as separate figures in 
 Italian works of all periods since the Proto-Renais- 
 sance. There is no space for the usual description of 
 their lives and characters, nor does such come 
 within the true scope of this book. AII I shall 
 endeavor to effect is to show how they are repre- 
 sented in Art, with a succinct note as to the meaning 
 of this rendering or that emblem. All biographical 
 and legendary information may be found in Mrs. 
 Jameson’s exhaustive treatise: “Sacred and Legend- 
 aryeart. 
 
 In devotional pictures when the Four Latin 
 Fathers are grouped together, St. Jerome is shown 
 either as a very old man, with a bald head, semi- 
 nude, a hermit in the wilderness, with his book and 
 writing implements, and accompanied by a lion,* or 
 in the scarlet robes of a Cardinal, although cardinal 
 priests as a class did not exist until three centuries 
 after his death, a curious but studied anachronism.** 
 St. Jerome also has, as an emblem, the model of a 
 church on account of his strenuous labors in support 
 of the Faith, of which he will always live as one of its 
 great lights. 
 
 St. Ambrose, the great orator and statesman, 
 bishop of Milan, wears his episcopal robes and 
 carries a scourge in his hand. Or a beehive is placed 
 near him, in token of his remarkable eloquence, of 
 which bees are the symbol. Again he is seen some- 
 times bearing human bones in his hand, on account 
 of the miraculous vision which Ied him to the burial 
 place of two early martyrs, SS. Gervasius and Pro- 
 tasius. 
 
 St. Augustine, also m episcopal robes, should have 
 a flaming heart as his attribute, but is usually with- 
 out it, and is therefore difficult to distinguish from 
 other bishops, except from the “‘context” of the 
 picture, such as when the other doctors are all 
 
 
 
 *Mrs. Jameson says that St. Jerome can be distinguished 
 from St. Mark because the Lion emblem of the latter is 
 “generally winged,”’ whereas that of the Latin Father is not. 
 (Sacred and Legendary Art, Vol. I, p. 147.) This, however, 
 is an error, for the lion of St. Mark is but rarely winged when 
 the emblematic beast accompanies the saint. It frequently is 
 in very early art, before the symbol was replaced by the 
 Evangelist in human form (see Chapter VII). 
 
 **St. Jerome, though the most eminent of the four Doctors, 
 was the only one who occupied no high rank in the hierarchy 
 of the church, an honor which he had steadfastly refused. 
 Therefore, those who ordered paintings to be executed in 
 honor of these learned men, caused the greatest of them to be 
 dressed in the habits of a cardinal, thus placing him higher 
 than the two bishops, Ambrose and Augustine, who were his 
 contemporaries. St. Gregory, who was a pope, lived nearly 
 200 years later. Another reason that has been advanced for 
 the strange anachronism of the cardinal’s hat is that St. 
 Jerome performed at the court of Pope Dalmatius_ the 
 identical services that later were performed by cardinal- 
 deacons. In Venetian pictures, St. Jerome wears a scarlet 
 cloak coming up over his head like a hood. (Plate XXIV.) 
 
PEATE eV THE SAINTS IN ART 
 
 AMONG THE 
 EARLY MASTERS 
 
 
 
 1) St. Augustine, with his mother, St. Monica, standing behind him, in a picture by Francia in the Bologna Museum. 
 
 2) This interesting work by Carlo Crivelli, in the Berlin Museum, is fully described on page 82. The picture was painted 
 for the Franciscan order, as is apparent from the fact that except for the two Doctors, Ambrose and Augustine, and 
 St. Peter, all the other saints, SS. Francis, Bernardino of Siena, and Louis of Toulouse (as a bishop) all belong to the 
 Seraphic Order. 3) St. Augustine, by Botticelli, in the Ognissanti Church in Florence (see page 83). 4) “The Dream of 
 St. Augustine,” by Garofalo, in the National Gallery (see page 83). Behind the “Doctor of Grace,” who is engaged in 
 writing his famous Discourse on the Trinity, stands St. Catherine, patroness of scholars. In the distance, by the shore, is 
 St. Stephen, of whom St. Augustine wrote an eulogy, while above are the Madonna and Child with attendant angels. 
 5) The “ Disputa:” St. Augustine, discoursing upon the Trinity to SS. Lawrence, Dominick and Francis (all standing), 
 and SS. Sebastian and Mary Magdalene. Note the symbolic Trinity in the centre at the top of the picture, which is by 
 Andrea del Sarto, and hangs in the Pitti Palace. 6) St. Ambrose, with the Baptist in attendance upon the Virgin and 
 Child, by Ambrogio Borgognone (c. 1440-1423), in Berlin. Note the scourge with three thongs, thrice knotted, lying at 
 the feet of St. Ambrose, and the Y-shaped pallium, which he wears over his chasuble as Primate of Northern Italy. 
 
 76 
 
present with their emblems or attributes clearly 
 defined, or when he is accompanied by his splendid 
 mother, St. Monica, dressed in a black habit with a 
 white or grey coif as the first nun of the Augustinian 
 Order. Or again when there is some inscription near 
 him, either the name of one of his books, such as his 
 “Discourse upon the Trinity,’’* or his “Confessions,” 
 or some phrase relating to his real or legendary 
 career, particularly the famous “Tolle lege” (Take and 
 read) which brought about his conversion. Occasion- 
 ally also one finds a scroll inscribed ‘‘Te Deum,”’ 
 which chant was composed for St. Augustine’s bap- 
 tism, at the hands of St. Ambrose, in the latter’s 
 church at Milan, and was sung alternately by the 
 new convert and his sponsor as they walked slowly 
 up the nave to the altar. In a picture by Carpaccio, 
 at the Brera Museum of Milan, St. Augustine holds 
 
 then St. Gregory in papal robes and tiara, the 
 triple crozier, and an open book, but no dove; 
 then St. Jerome as a Cardinal with one of the 
 weirdest lions in art, quite small, and sitting like a 
 dog at his feet; and finally St. Augustine without a 
 book, dressed in his episcopal robes, and holding a 
 flaming heart in his Ieft hand. The name of each one 
 is inscribed in Latin in large gothic letters beneath 
 the figure, without the title ‘“‘Sanctus.”’ We illustrate 
 this naif panel here, by courtesy of the Ehrich Gal- 
 leries. 
 
 In the great Coronation of the Virgin by Giovanni 
 d’Alemagna and Antonio Vivarini, in the Venice 
 Academy referred to in Chapter VII, the Doctors are 
 seated behind the Evangelists at the foot of the 
 throne, St. Jerome m a scarlet cloak and hood with 
 his model of a church, and St. Gregory as a Pope 
 
 
 
 THE FOUR DOCTORS OF THE LATIN 
 
 CHURCH 
 
 a scourge which should not be his attribute at all, 
 but that of his senior, St. Ambrose. 
 
 The last of the Latin Fathers, St. Gregory, is 
 always recognisable by his papal robes and tiara. 
 His particular emblem, however, is a dove near his 
 ear, again a symbol of inspired eloquence. Mrs. 
 Jameson tells us that he was the last pope to 
 be canonised, but there were eight more papal 
 saints who came after him: SS. Martin (655-658), 
 Agatho (679-682), Leo II (682-683), Gregory II 
 (715-731), Leo IV (847-855), Leo IX (1049-1054), 
 Gregory VII (1073-1085), and Peter Celestine V 
 (1294-1204). 
 
 Let us now take a few examples of the pictures 
 which portray the Four Doctors of the Latin Church 
 in their devotional aspect. One of the most interest- 
 ing to my mind is the ingenuous panel (above) of 
 the School of Avignon in France, painted at the 
 time when that city was the seat of the Papacy. 
 The four are standing in a row, independent 
 of each other, all clad in their ceremonial robes; 
 first—from left to right—St. Ambrose as a Bishop 
 with a gospel but no other distinctive object; 
 
 *The actual inscription which our readers will find in 
 pictures is, of course, in Latin: De Trinitate. 
 
 (i 
 
 BY AN ANONYMOUS MASTER OF THE FRENCH SCHOOL OF AVIGNON. 
 
 (Courtesy of the Ehrich Galleries) 
 behind (to the left in the picture) SS. John and Mark, 
 
 respectively, while St. Ambrose, carrying two human 
 bones, and St. Augustine, both in episcopal robes, 
 are behind (to the right in the picture) SS. Matthew 
 and Luke, ‘respectively. In the Louvre there is an 
 interesting canvas by Pier-Francesco Sacchi of Pavia 
 who worked between 1512 and 1526 in Lombardy 
 and Liguria (Genoa). It represents the Four Doctors 
 seated round a white marble table under a richly- 
 decorated portico. Beside each of them is one of the 
 symbols of the Evangelists, the Eagle of St. John 
 near St. Augustine, St. Luke’s Ox close to St. 
 Gregory, the Angel of St. Matthew with St. Jerome, 
 and the winged lion of St. Mark by the side of St. 
 Ambrose, who is paring a quill. In front of the latter 
 is the scourge which refers either to the Milanese 
 patriarch’s daring disciplining of the Emperor Theo- 
 dosius, or to his successful fight against the Arian 
 “heretics” in Italy, culmmating in the triumph of 
 the Trinitarians. When the scourge has three 
 thongs or three knots, this is its usual significance. 
 Guido Reni and Rubens and numerous other artists 
 of the later periods have painted the Four Doctors, 
 but the fervor of the primitives and their immediate 
 successors had gone, and it was quite evident that 
 

 
 PLATE XXVI THE SAINTS IN ART 
 
 — SSM saa 
 
 
 
 
 
 
 
 
 
 
 
 | ITRAYING THE FOUR DOC. 
 | ORS =PARAICUTAK ICY, 
 SETAUGCUSHINE 
 
 ce 
 _ | SOME MORE WORKS POR- 
 
 
 
 
 
 8. Ambrese- 
 From Callots Leesan, 
 
 | 
 t 
 | 
 
 
 
 
 
 
 
 5 eile 
 
 1) Raphael’s famous ‘‘DispuTA” in the Vatican, in which the Doctors can be recognized seated two on each side of the 
 altar. 2) Madonna, with SS. Augustine and Jerome—as a Venetian Cardinal—at the foot of the great throne (see page 82). 
 The fine picture is by the Ferrarese, Cosimo Tura (c. 1430-1495), and hangs in the Berlin Museum. 3) St. Ambrose admonish- 
 ing the Emperor Theodosius. Note the beehive. 4) SS. Augustine and Jerome, the latter bearing in his hand a model of a 
 church, by Carlo Crivelli, in the Vatican. 5) Cosimo Tura’s famous St. Jerome, in the National Gallery. Note the head-dress 
 (see page 75, footnote. * *). 6) The ‘Madonna del Baldacchino,” in the Pitti, in Florence, one of Raphael’s best-beloved 
 Madonnas im trono. The Saints gathered around the steps of the throne are Peter, Bruno (see page 124), James Major, the 
 apostle, and Augustine, the Doctor of Grace. 
 
 
 
the technical possibilities of the subject had the 
 greatest appeal for those who, like Rubens, depicted 
 this subject on Jarge canvases. One of his interpre- 
 tations, however, is worthy of notice; it shows the 
 Four Doctors consulting each other while angels are 
 holding aloft their attributes. 
 
 Now in addition to these groups of the Four Doc- 
 tors, each one frequently occurs by himself in devo- 
 tional pictures, either enthroned as the special patron 
 of the church in which it is hung, or as one of a mis- 
 cellaneous group accompanying the Madonna and 
 Child. St. Jerome, by far the most popular of the 
 four, appears in such works, as described previously, 
 either in the robes of a Cardinal, or as a semi-nude 
 hermit, as in the ‘‘ Meditation on the Passion” by 
 Marco Basaito (but attributed to Vittore Carpaccio), 
 
 
 
 ST. JEROME IN HIS CELL AT BETHLEHEM, A FAMOUS ENGRAVING 
 BY ALBERT DURER (1471-1528). NOTE THE LION AND THE 
 LAMB, ASLEEP; THE SKULL; AND THE CARDINALS HAT. SUCH 
 REPRESENTATIONS OF ST. JEROME IN HIS CELL WERE VERY 
 POPULAR WITH VENETIAN PAINTERS OF THE I6TH CENTURY. 
 (Courtesy of Kennedy and Co.) 
 
 in the Metropolitan Museum, or the fine Alberti- 
 nelli in the Louvre, in which St. Jerome kneels with 
 St. Zenobio, patron of Florence, at the foot of a 
 pedestal upon which is standing the Madonna hold- 
 ing the Child. A famous picture by Giovanni Bellint, 
 in the Church of St. Zacharias in Venice, contains a 
 noble figure of St. Jerome in scarlet robes with a 
 hood of the same hue upon his head, reading a large 
 book. St. Peter, the Magdalene, and St. Catherine 
 of Alexandria complete the group of four gathered 
 around the high throne of the Madonna and Child. 
 St. Jerome in his cell at his monastery in Beth- 
 Iehem is another favorite subject of painters of all 
 schools; Antonello da Messina and Vincenzo Catena 
 in the National Gallery; Domenico Ghirlandajo in 
 the Ognissanti in Florence; but perhaps above all, 
 Diitrer’s wonderful engraving illustrated here. In 
 
 79 
 
 
 
 MADONNA AND CHILD, WITH SS. JEROME AND GREGORY, BY 
 
 PINTURICCHIO, IN THE LOUVRE (SEE BELOW). NOTE THE RAPT 
 
 EXPRESSION OF THE GREAT POPE, AS HE LISTENS TO THE DOVE 
 NEAR HIS EAR. 
 
 pictures of this phase of St. Jerome’s career, the 
 lion, the skull, the cardinal’s hat, the crucifix are 
 always present. St. Jerome kneeling in the desert, 
 beating his breast with a large stone, is still another 
 frequently-painted subject. Two typical works of 
 this category, one by Marco Meloni, the other by 
 Parentino, are in the Modena Gallery. In a very 
 unusual Pietd, of the Eucharistic Ecce Homo type, 
 by Giovanni Santi, the father of Raphael, painted 
 for a church in Cagli, St. Jerome stands on one side 
 of the emerging body of the Saviour, opposite St. 
 Bernardino of Siena on the other. Again he is to 
 be seen with St. Gregory, one on either side of the 
 Madonna, in a tenderly interpreted picture by Pin- 
 turicchio in the Louvre. St. Gregory is wearing his 
 robes and tiara and appears to be listening to a dove 
 hovering near his ear (see above). 
 
 Narrative pictures of the life of St. Jerome come 
 under the following subjects: 1) His receipt of the 
 red hat from the Madonna or the Child. 2) His dis- 
 pute with the Hebrew doctors, on the fundamental 
 truth of the religion of Christ. 3) The Vision of St. 
 Jerome, in which he is seen lying on the ground with 
 an angel blowing a trumpet floating over him. 4) 
 The Temptation of St. Jerome, distinguishable from 
 that of St. Anthony by the attributes and symbols 
 of each one. 4) St. Jerome translating the scriptures 
 with divine help in the form of an angel. 6) The 
 Saint as a young man chastised for preferring the 
 
DW NINS, LOVE THE SAINTS IN ART 
 
 
 
 
 
 f/ INCIDENTS OF \.\) 
 #7 THE LIFE AND \B 
 LEGENDS OF 
 ST. GREGORY 
 
 
 
 1) Enthroned Madonna, with (from top left to right) SS. James Major, Fabian, Sebastian, and Catherine of Alexandria, 
 by Paris Bordone, in Berlin (see page 84). 2) St. Gregory and the skull of the Emperor Trajan (see page 84), by Roger van der 
 Weyden, the elder (d. 1464). 3) The ‘‘ Mass of St. Gregory” (see page 84), one of the interior wings of Pourbus’ “Last Supper,” 
 in the Church of Saint Sauveur at Bruges. 4) St. Gregory appears in a vision to St. Fina, as she lies on her deathbed, by Do- 
 menico Ghirlandajo, in S. Gimignano, Florence. 5) The Madonna and Child, surrounded by the Four Doctors, by Giovanni 
 
 d’ Alemagna and Antonio Vivarini, in the Venice Academy. 6) The Miracle of the Brandewm (see page 84), by Andrea Sacchi 
 (d. 1661), in the Vatican. 
 
 80 
 
pagan classics to the Bible. 7) St. Jerome, in his 
 cell, ministers to the wounded lion. 8) The Last 
 Communion of the great Doctor, of which there is a 
 fine example by Botticelli in the Metropolitan 
 Museum and a still more famous picture by Domeni- 
 chino now in the Vatican. 
 
 There are other subjects too numerous for de- 
 scription here, but whenever the great Father of 
 Monasticism in the West is represented in art, he is 
 unmistakable by his noble carriage and expression, 
 and by the attributes already described, some of 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 the seat of the noble Gonzaghe; Brescia, Cremona 
 and Bergamo; and in works of the masters of all these 
 schools, St. Ambrose appears as Patron of the chief 
 city. He was above all a man of great personal 
 ascendancy and deeply imbued with the sense of that 
 power, derived no doubt to some extent from his pre- 
 conversion career first as the son of the Roman pre- 
 fect of Gaul, and then himself prefect of the great 
 provinces of Liguria and Emilia, of which in his day 
 Genoa and Milan were the chief cities. He fixed his 
 headquarters in the latter city, and one day shortly 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 which, particularly the lion and the cardinal’s hat, 
 are almost invariably represented with him. 
 
 The other three Latin Fathers have much less 
 importance in Art than St. Jerome, and their dis- 
 tinctive attributes or symbols have already been 
 described as far as devotional representations are 
 concerned. But there remain a few points, of interest 
 to the student, to be made clear, and as St. Ambrose 
 is the second of the four, we shall now tell how and 
 where he has been depicted since the Revival of 
 Learning. Firstly, let it be noted that as St. Am- 
 brose was the Bishop of Milan, it is only natural that 
 he should be present in practically all pictures com- 
 prising a group of saints, issuing from the studios of 
 the Milanese artists and those who worked in the 
 principality of Milan. This principality, under the 
 Visconti and again under the Sforze, included such 
 highly-cultured cities as Pavia, the famous univer- 
 sity city to which students from all over the then- 
 known world traveled as on a pilgrimage; Mantua, 
 
 
 
 81 
 
 SS § 
 = 
 
 SS 
 
 MY WG 
 aa Ue 
 
 ST. AMBROSE IN HIS ROBES AS BISHOP OF MILAN, REFUSES ENTRANCE TO THE CATHEDRAL TO THE EMPEROR THEODOSIUS. 
 THIS SPLENDID PICTURE BY RUBENS (1577-1640), ILLUSTRATING AN IMPORTANT INCIDENT IN THE LONG STRUGGLE BETWEEN 
 THE SPIRITUAL AND TEMPORARY POWERS, IS ONE OF THE TREASURES OF THE BELVEDERE GALLERY IN VIENNA (SEE BELOW) 
 
 OAs 
 
 SS 
 
 after his arrival, the Bishop died, whereupon violent 
 quarrels broke out between the orthodox Christians 
 and the “heretical”? Arians. Ambrose in his official 
 capacity set out to adjust their differences, giving 
 full rein to that remarkable eloquence which had 
 been prophesied for him at birth by the omen of a 
 swarm of bees settling upon his mouth without 
 stinging him. So well did he succeed that, so the 
 legend relates, a child-like voice from amid the mul- 
 titude cried ‘Ambrose shall be bishop,”’ to which he 
 protested that he was not a Christian. But the 
 populace was so insistent that he caused himself to 
 be baptised and,.a few days later, was consecrated 
 Bishop. His sense of his own intellectual and oratori- 
 cal powers, and his total lack of physical or moral 
 fear, gave him an immense hold over nobles and 
 people alike, and so it came about that when the 
 Emperor Theodosius, about eight months after caus- 
 ing a cruel and totally unjustified massacre of 7,000 
 Thessalonicans in reprisal for some trivial misde- 
 
meanor, wished to enter the church of St. Ambrose 
 in Milan, the Bishop refused admission to the most 
 powerful monarch in the world, until he had done 
 penance. Naturally this dramatic scene has been 
 illustrated frequently, but no picture of it Is more 
 justly celebrated than Rubens’ magnificent canvas 
 in the Belvedere Gallery in Vienna. (See Page 81). 
 
 
 
 SS. AMBROSE (LEFT) AND AUGUSTINE IN THEIR EPISCOPAL 
 
 ROBES. A DETAIL OF THE GREAT ENTHRONED MADONNA BY 
 
 THE VIVARINI (C. 1540) IN THE VENICE ACADEMY. NOTE ST. 
 
 AMBROSE’S SCOURGE WITH THE THREE THONGS. BOTH HIS 
 
 SHORT ROUND BEARD AND THE LONGER BLACK ONE OF THE 
 “DOCTOR OF GRACE” ARE TYPICAL 
 
 The Bishop in full canonicals standing amid his 
 priests and acolytes, repulses with a gesture of con- 
 tempt and an expression of loathing, the half plead- 
 ing Master of the Holy Roman Empire. And for once 
 the bad taste so apparent in many of Rubens’ inter- 
 pretations of religious subjects, is missing, for here 
 the inherent strength of the great diplomat artist, 
 which made him the intimate friend of all the lead- 
 ing sovereigns of his day, has expressed itself in 
 the grandiose figure of the famous Bishop without 
 exaggeration or overdrawn drama. 
 
 St. Ambrose is not often presented as a patron 
 saint, but the great enthroned portrait—for it is of 
 the quality of such—by Bartolommeo Vivarini and 
 Marco Basaiti in the St. Ambrose Chapel of the 
 Frari in Venice, shows him seated on the usual high 
 Venetian throne, around which are gathered the 
 other three doctors, with SS. John the Baptist, 
 
 82 
 
 George of Cappadocia, Theodore—a warrior saint— 
 Sebastian, and Maurice, of the Theban Legion. 
 
 St. Ambrose is also present, in episcopal robes 
 and mitre, and with a short round beard, in a Ma- 
 donna picture by Crivelli in the Berlin Gallery. It 
 is as curious a work as all Crivelli’s, full of fervor, 
 even passion, to such an extent that the faces of all 
 are distorted, yet in every detail marvelously painted, 
 betraying a technical skill unequalled except by the 
 great Fleming, Janvan Eyck. At the foot of the throne, 
 St. Peter is kneeling, and with one hand pressed against 
 his bosom seems to be offering the golden key of 
 Heaven to the Bambino. The Madonna, instead 
 of being as is usual in such pictures, the dignified 
 Mother of Our Lord, paying scant attention to the 
 homage paid her Divine Son, is here frankly inter- 
 ested, looking over the Child as though examining 
 the “‘new toy”’ that the “‘old gentleman” at her feet 
 is offering herbaby*. And all the other saints, includ- 
 ing the venerable St. Ambrose, are looking on with 
 the same semi-inquisitive, semi-respectful sentiment 
 that, shall we say, the grandfathers and uncles show 
 toward a newly-born infant. Yet, naif as this 
 wonderful picture is, there is no mistaking its piety, 
 nor is there, while looking at it, any of that feeling 
 of humor on the part of the artist that we experience 
 when we study early Flemish and Dutch pictures. 
 St. Ambrose is peeping round from behind the high 
 back of the throne on the right of the picture. In a 
 picture, also in the Berl Gallery, by Ambrogio 
 Borgognone, a Milanese painter, St. Ambrose, wear- 
 ing a mitre and episcopal robes with the pallium of an 
 archbishop** Iymg over the chasuble, stands oppo- 
 site St. John the Baptist, one on each side of the 
 Madonna enthroned. The great Doctor has two 
 fingers raised in benediction; a scourge with three 
 thongs, each knotted three times, lies on the step of 
 the throne near his feet. 
 
 St. Augustine, the third Doctor and the greatest 
 of the four from an intellectual standpoint, is more 
 frequently found in groups of Saints around the 
 Madonna than any of the Fathers except St. Jerome, 
 and indeed they are both found in the same group 
 in numerous pictures which do not contain the other 
 two doctors. A fine picture in the Berlin Gallery, 
 by Cosimo Tura, of Ferrara, shows both of them 
 standing one on each side of a tremendously high 
 throne upon which is seated the Virgin adoring her 
 sleeping Child. On either side of the Madonna, one 
 step below her, are SS. Apollonia and Catherine, 
 each with her special attribute and a palm. St. 
 Augustine is in full pontificals, clean shaven, and 
 holding an open book, while at his feet is an eagle 
 with one claw on a crystal solar globe, looking 
 furiously at the retreating lion of St. Jerome depicted 
 
 
 
 *Though, of course, it should be Christ who gives the 
 Key of Heaven to St. Peter, yet in this picture the gestures, 
 particularly of the Madonna, who apparently is pushing the 
 offered key away, appear to reverse the roles. 
 
 **The title of Archbishop did not come into use until the 
 middle of the 9th Century, nearly 500 years after the death of 
 St. Ambrose. 
 
in cardinal’s robes but without the hat, and holding 
 a crucifix in his hand. Both St. Augustine and St. 
 Ambrose, as heavy-set bishops without attributes, 
 are presented with SS. Catherme, Barnabas, John 
 the Baptist and the Archangel Michael, in Botti- 
 celli’s famous Madonna, in the Academy at Florence. 
 This master has also painted St. Augustine in his cell 
 im monastic attire with his mitre off, gazing at a 
 solar globe, while mathematical instruments and 
 books with diagrams are on a shelf behind him. 
 
 I can find, in the histories of St. Augustine, no 
 reference which explains the introduction of these 
 globes and instruments, unless they might be inter- 
 preted as relating to his pre-conversion studies, and 
 the discovery of the falsity of the Zoroastrian 
 astrology, and his researches into the exact sciences, 
 which Jed him away from the pagan creed, a form of 
 Mithraism (see Chapter I), into the paths of the true 
 faith. The attitude and expression of doubt on the 
 face of the ‘Doctor of Grace”’ as he looks up at the 
 solar globe on a shelf of his desk, and the position, at 
 the back of the room, of the mathematical instru- 
 ments, should probably be interpreted to indicate 
 that he had left such studies behind him. They can 
 not refer, in these two pictures, to his early days, as 
 a brilliant young pagan student, for in the Cosimo 
 Tura picture he ts clad in episcopal robes, and in the 
 Botticelli panel in a monastic habit with his mitre 
 beside him on his writing table. 
 
 _ Perugino again introduces our Saint in the black 
 habit of the Augustine monks, with the mitre and 
 crozier of an abbot, in the exquisite ““Madonna and 
 Child” in the Church of S. Agostino at Cremona, 
 and as such again, but with a bishop’s cope over his 
 black robe, he is present in Francia’s famous ‘‘Adora- 
 tion of the Infant Christ”’ in the Bologna Pinacoteca. 
 
 St. Augustine is very often accompanied by his 
 mother, St. Monica, but in a pair of single figures 
 attributed to Botticini, in the Florence Academy this 
 saintly lady, in the black robes of her great son’s 
 foundation, is the pendant to St. Louis of Toulouse, 
 in the robes of a bishop, his cope strewn with stars. 
 A splendid polyptych im five panels by Paolo di 
 Giovanni (1403-1482), formerly in the collection of 
 Count Alleotti of Arezzo, now the property of the 
 Colonel Friedsam, shows from left to right, each 
 in separate panels, St. Monica, her black habit 
 covered by a grey cloak, and with a white veil, St. 
 Augustine with his mitre and an episcopal cope over 
 his Augustinian habit, with its distinctive leather 
 girdle, reading a book, the Madonna and Child, 
 St. Nicholas of Tolentino also in the habit of the 
 Augustinians, and St. John the Baptist. (P. 125.) 
 
 St. Augustine is very rarely seen in pictures of 
 Northern schools, 7. e., those of Flanders and Ger- 
 many. 
 
 Narrative pictures of the life and legends of St. 
 Augustine include: 1) St. Monica taking her son to 
 school and presenting him to his master. 2) Medi- 
 tating upon the Scriptures as he lies prostrate be- 
 
 83 
 
 neath a tree. 3) His Baptism. 4) In monastic 
 dress, giving the rules of his order to the monks. 
 5) In his black habit, dispensing alms. 6) The 
 famous vision of St. Augustine in which he dreamt 
 that strolling one day along the sea shore, meditating 
 upon his book on the Trinity (De Trinitate) he saw 
 a child filling a hole in the sand with water from a 
 bucket. He asked the child what he was doing and 
 received the reply that he was going to empty the 
 sea into the hole he had dug. St. Augustine pointed 
 out that it was impossible, upon which the child 
 replied that it was no more impossible than to try, 
 as St. Augustine was trying, to explain the mystery 
 of the Triple Godhead. Garofalo’s famous rendering 
 of this legend in the National Gallery is illustrated 
 on Plate XXV. 
 
 One of the most famous pictures in Europe is that 
 by Andrea del Sarto in the Pitti Palace, in which St. 
 Augustine is discoursing upon the Trinity with St. 
 Lawrence, St. Peter Martyr and St. Francis, who 
 are standing, while St. Sebastian and the Magdalene 
 are kneeling in front. Above the group, emerging 
 from the background, is the Almighty holding a 
 Cross upon which hangs Our Lord. The great Doctor 
 is here shown as an Augustinian Abbot with his staff 
 but no mitre. In a text book on Andrea del Sarto, 
 by Leader Scott, the author calls St. Lawrence (who 
 holds his gridiron): St. Stephen; St. Peter Martyr 
 with his distinctive slash in his head is called St. 
 Dominick, and in addition the personalities of St. 
 Peter Martyr and St. Francis are transposed. 
 This ts only one example of the careless analysis of 
 the characteristic marks of the Samts m many books 
 on art. In Brewster’s “Saints and Festivals of the 
 Christian Church” (pp. 384-386) the author names 
 St. Simon as one of the Doctors, mstead of St. 
 Jerome, and closes the section by saying that Dtrer 
 (1471-1528) was “‘proud to be the engraver of Van 
 Dyck’s (1599-1641) picture” (of St. Augustine)! 
 
 The fourth and last Latin Father, Gregory the 
 Great, is one of the outstanding figures in the his- 
 tory of the Church. Like St. Monica, the mother of 
 St. Augustine, Gregory’s mother, the patrician Lady 
 Sylvia, wielded a great and good influence upon her 
 noble son, both by the example of her own exemplary 
 life and by the wisdom of her counsels during the 
 formative years of his career. It is not generally 
 understood, I believe, to what extent St. Gregory 
 made his short reign of fourteen years in the Pon- 
 tifical chair felt in the establishment of the Catholic 
 Church as it still exists today. He it was who gave 
 it one of its most powerful weapons, the celibacy of 
 the clergy; who introduced organised sacred music, 
 still known as the Gregorian chants; who reformed 
 the services of the Church which under his prede- 
 cessors had become more and more lax; who, shocked 
 at the idea of perpetual punishment for mankind for 
 innate and uncontrolable sin, preached, if he did not 
 actually originate, the doctrine of purgatory, and 
 decreed it to be an article of faith; who declared his 
 
hatred of slavery and aggressive war; and fixed the 
 vestments of the ordained ministers of God and the 
 emblematic significance of each. And he it was who 
 was almost directly responsible for the founding of 
 the British Empire, when upon seeing some pagan 
 English slaves offered for sale in the public mart in 
 Rome, he sent St. Augustine of Canterbury—do not 
 confuse with the great Doctor, St. Augustine of 
 Hippo—to England to convert its natives to Chris- 
 tianity. Trained in statecraft by twelve years as 
 Mayor (Praetor) of Rome, his administration of the 
 Church was broad-minded, charitable, and vigilant. 
 He protected the Jews though he was the most ardent 
 of proselytisers, and when they were suffering under 
 persecution in Sardinia, St. Gregory ordered that 
 they be allowed to worship in their own way, and 
 their confiscated synagogues be returned to them. 
 
 In single devotional representations, he comes to 
 us as a powerfully built, dignified man, with Iittle 
 or no beard, and jet black hair, almost always in the 
 pontifical robes and the triple crown of the successors 
 of St. Peter. We have already mentioned St. Greg- 
 ory’s appearance with St. Jerome in the Pinturicchio 
 pictures in the Louvre, when dealing with the earlier 
 Father. He is, perhaps, more often than any other 
 Saint, portrayed in trono, surrounded by other 
 saints, and almost always with a dove hovering near 
 his ear. Thus have Guercino, and Michelangelo, and 
 many others, portrayed the great Pope. Annibale 
 Caracci has represented him at prayer, with his tiara 
 at his feet, and angels hovering around. Ina splendid 
 Enthroned Madonna, by Paris Bordone, the late 
 Venetian master (1500-1571), in the Berlin Gallery, 
 painted with all the brilliancy of color and vivacious- 
 ness of his school, there are, besides St. James Major 
 and St. Catherine of Alexandria, two other Saints on 
 the tesselated pavement at the foot of the throne, 
 who are called by the German critic, Oskar Fischel, 
 St. Gregory and St. Sebastian, the latter almost in a 
 swoon, bound to a column and transpierced with an 
 arrow in his heart.* The Pope, who is represented 
 as a handsome man with a flowing white beard, in a 
 white surplice over a black habit, the whole covered 
 by a rich cope, can not be St. Gregory, for the papal 
 tiara lying on a cushion at the foot of the throne has 
 a martyr’s palm placed across it, and St. Gregory was 
 not a martyr. It might have seemed at first that the 
 palm was that of St. Sebastian placed there for the 
 sake of the composition of the picture, as the painter 
 was of a school to which technique counted for more 
 than sincerity and truth, but the portrait is too far 
 distant from the traditional appearance of the last 
 Latin Father for this to be the explanation. Nor is 
 the Pope, St. Clement, for he has no anchor. He 
 must therefore be St. Fabian, who is often depicted 
 with a book and a palm-branch. 
 
 
 
 *This is a mistake, for the story of St. Sebastian relates 
 that the arrows were aimed only against non-vital places in 
 his body. Generally, the Second Patron is fastened to a tree or 
 a column as in figures 5 and 7 on Plate XXVIII, and on page 88, 
 but there are other exceptional representations, as in the narra- 
 tive picture of his martyrdom, by Antonio Pollajuolo, in the 
 National Gallery, where he is fastened high up the trunk of a tree. 
 
 84 
 
 So many other semi-narrative, semi-devotional 
 pictures relating to incidents in the career of St. 
 Gregory have been painted that we must explain 
 briefly the more important, in order to help the 
 student as much as possible. 
 
 1) Sometimes he is writing, in which case the 
 book upon which he is working is his famous volume 
 of ““Homilies.”” At other, he is dictating it with a 
 dove on his shoulder. 
 
 2) An interesting picture by Domenico Ghir- 
 Iandajo, in S. Gimignano, depicts the miraculous 
 appearance of St. Gregory surrounded by seraphs, 
 to Saint Fina, as she lay on her death-bed. (See 
 Plate X XVII). 
 
 3) The ‘Supper of St. Gregory”? at which the 
 twelve men whom, after his election to the Papacy, 
 he fed at his table every night nm commemoration of 
 the Lord’s Supper, were miraculously joined by a 
 thirteenth, seen by St. Gregory only, and who, the 
 legend says, was Our Lord Himself. Paul Veronese 
 and Vasari, among others, have painted this episode. 
 
 4) But one of the most famous subjects in art, 
 dealing with the life of the great Pope, is the “Mass 
 of St. Gregory,” at which an incredulous bystander 
 having expressed a doubt of the Real Presence in the 
 Eucharist, the Saviour, acceding to the prayers of 
 the Pope, descended in a vision upon the Altar, sur- 
 rounded by all the instruments of the Passion. 
 (See Plate X XVII). 
 
 5) Andrea Sacchi, (d. 1661) has also left us a note- 
 worthy canvas of another important episode, the 
 “Miracle of the Brandeum.” The picture is now in 
 the Vatican. The story runs that the Empress Con- 
 stantia having asked the Pope to send to her in Byzan- 
 tium some of the sacred relics of SS. Peter and Paul, 
 St. Gregory pomted out the impossibility of such 
 desecration, and sent her instead the Brandeum 
 (consecrated winding sheet) of St. John the Evan- 
 gelist, which the Empress. rejected. It is said that 
 in order to prove that the value of such relics is m 
 direct ratio to the faith their holders possess in them, 
 St. Gregory thrust a knife through the Brandeum, 
 whereupon blood flowed from it as from a living 
 
 body. (See Plate XXVII). 
 
 6) St. Gregory and the Emperor Trojan, whose 
 soul, though that of a pagan, was released from Hell 
 through the mtercession of St. Gregory, impressed 
 by the sense of justice displayed by the Emperor in 
 the matter of a widow’s son. This subject was 
 also a popular one among the later Italian painters. 
 
 (See Plate X XVII). 
 
 Care must be taken to avoid confusion of St. 
 Gregory with a number of other papal saints who 
 are always portrayed in full pontificals. In the 
 Church of San Clemente in Brescia, St. CLEMENT 
 appears in a series by Moretto. But he is always 
 accompanied by his particular attribute, an ANCHOR. 
 St. PETER, again, is frequently represented as a 
 Pope, the first Bishop of Rome, but he invariably 
 
when thus depicted bears his Krys. St. Fasran 
 was another Pope who has a dove as an attribute, 
 not as a sign of eloquence, but in reference to the 
 legend that the Holy Ghost, in its usual form, 
 descended upon his head, when, as an unknown lay- 
 man, he was thus designated for the chair of St. 
 
 
 
 THE SO-CALLED “PENANCE OF ST. JOHN CHRYSOSTOM” EX- 
 
 THIS PAGE. FROM AN ENGRAVING BY ALBERT 
 (Courtesy of Kennedy and Co.) 
 
 PLAINED ON 
 DURER. 
 
 - Peter upon the death of St. Anterus in 236 A. D. 
 St. Fabian died, a martyr, fourteen years later. 
 He is sometimes shown upon his knees before a 
 block, with the triple crown on his head. Frequently 
 he carries a palm, and occasionally a_ sword, 
 but generally is represented in papal vestments 
 without attributes. The context of the picture 
 should show which papal saint is meant where there 
 are no distinctive signs. The great French painter 
 and etcher, Jacques Callot, has drawn St. Fabian 
 with a palm. St. Sy_vesTEr, who ruled the Western 
 Church from 314 to 335 A. D., and during whose 
 pastorate it was that Christianity became the official 
 religion of Rome, by order of the Emperor Constan- 
 tine, is represented in pontifical robes, but often has 
 a bishop’s mitre as “‘Bishop of Rome,” the original 
 title of the Popes, in lieu of the tiara. His partic- 
 ular attribute is a Butt crouched at his feet. His 
 robes distinguish him again from St. Luke, who, 
 as we know, is generally accompanied by an ox. 
 On Plate V, St. Sylvester is shown without the 
 Bull but with a muzzled dragon in his arms. Pope 
 Sixtus IV was not canonised but is mentioned here 
 as appearing in Raphael’s “‘Sistine Madonna,”’ so- 
 called because it was painted for the Benedictines 
 of San Sisto at Piacenza, who sold it to the Elector 
 
 Augustus of Saxony, for about $40,000, in order to 
 procure funds for repairing their church. 
 
 And now for the one Greek Father with whom we 
 need concern ourselves from an art standpoint: St. 
 John Chrysostom, the Golden-mouthed, one of the 
 great orators of bygone days. He was born at An- 
 tioch in 344, and his mother, Arthusia, was as re- 
 markable a woman as were the Lady Sylvia and St. 
 Monica, the mothers of SS. Gregory and Augustine, 
 respectively. St. John Chrysostom, like the other 
 Greek bishops, is indicated in devotional pictures 
 only by his name inscribed somewhere near him, as 
 already mentioned. He bears no attribute to dis- 
 tinguish him, unless at times a dove is given to him, 
 in recognition of his inspired eloquence, and particu- 
 larly his splendid appeal for mercy for the people of 
 Antioch when that touchy person, the Emperor 
 Theodosius, threatened them with a massacre such 
 as he had ordered at Thessalonica, and for which he 
 had to do penance before St. Ambrose would grant 
 him the right to enter his church in Milan (see p. 81). 
 One curious legend of the first Greek Father relates 
 to his sojourn of five or six years in the desert, during 
 which time he fed upon wild grasses and vegetables. 
 He is shown, e. g., In a print by Albert Durer, crawl- 
 ing along on all fours, while a nude woman in the fore- 
 ground ts suckling a child. A royal princess, whom 
 some believe to have been Geneviéve of Brabant, 
 wife of Count Siegfried, having been unjustly accused 
 of infidelity to her husband, was Ied into the forest, 
 there to be put to death. Her executioners, however, 
 relented and let her live. She gave birth to a child, 
 and some years later she was found again by her 
 husband, now convinced of her innocence, and taken 
 home. Her accuser was executed in her stead. 
 Another version of this legend does not identify the 
 princess and relates that she came to St. John Chry- 
 sostom’s cave, to which at first he refused to admit 
 her, thinking she was a Demon sent to tempt him. 
 But on her assurance that she was a Christian and 
 that she would be slain by the wild beasts if he 
 refused her refuge, he took her in, dividing his cave 
 into two parts, one for her and the other for himself. 
 But, the legend continues, a sin was committed, and 
 St. John Chrysostom filled with remorse, took the 
 princess up and threw her over a precipice. This 
 only made matters worse and the hermit went to 
 Rome, confessed his sins and begged absolution, 
 which was refused. He then made a vow that he 
 would never rise from the ground until his sin was 
 expiated, and so, for fifteen years, until from out of 
 the mouth of a babe came the inspired message 
 “John, come thou and baptise me,” when he was 
 recognised, did he live like an animal, feeding upon 
 herbs, and crawling on his hands and knees. The 
 princess was found to be alive with her child, the 
 scene depicted above. The Durer rendering is some- 
 times called “‘Geneviéve de Brabant,” but the 
 Church agrees so little with this interpretation that 
 the Flemish princess has been canonised. 
 
CHA PTEREX 
 
 THE PaTRON SAINTS OF CHRISTENDOM, THE VIRGIN 
 PATRONESSES AND THE FouR GREAT VIRGINS OF 
 THE LATIN CHURCH. 
 
 All Saints are in a way Patron Saints, but whereas 
 the aid of most of them is only to be invoked in 
 some particular country or locality, or as protection 
 against, or to “‘doctor,’’ some particular malady, 
 pestilence or others of the woes which assail man- 
 
 
 
 ST. GEORGE AND THE DRAGON, FROM THE PICTURE BY RAPHAEL 
 IN THE LOUVRE 5 
 
 kind, there are some few who are worshipped uni- 
 versally throughout Christendom. These, in their 
 order of precedence in Church hierarchy, are: 
 
 1) St. GeorGE oF Cappapoci, Patron of Eng- 
 Iand, Germany and Venice, and of soldiers and 
 armorers of all countries. 
 
 2) Sr. SeBAsTIAN. Patron against plague and 
 pestilence, a favorite of the Venetians. 
 
 3) Sr. Rocu. Patron of prisoners, of the sick, 
 and, particularly, of the plague-stricken. 
 
 4) SS. Cosmo and Damian. Patrons of all med- 
 ical men and medicine. Also of the Medici family in 
 Florence. 
 
 5) Sr. CHRISTOPHER. Patron against fire, earth- 
 quakes, accidents, tempests and floods. 
 
 6) St. Nicnotas oF Myra (or Bari). Chief 
 Patron of Russia (pre-Revolution), and of Bari, 
 Venice, Freiberg, and many other seaports and 
 towns devoted to commerce. Also, of school boys, 
 and to a lesser degree of all children, of poor maidens, 
 sailors, merchants, and against robbers and losses 
 therefrom. 
 
 The Virgin Patronesses are: 
 
 1) Sr. CATHERINE OF ALEXANDRIA. Patroness of 
 
 86 
 
 Venice, of schools and colleges; of philosophy and 
 science; of all students; and of diseases of the tongue. 
 
 2) Sr. BARBARA. Patroness of Mantua, Ferrara, 
 and Guastola; of armorers and gunsmiths; of fire- 
 arms and fortifications; and against explosive acci- 
 dents, thunder and lightning. 
 
 3) Sr. Ursuta. Patroness of young girls, particu- 
 larly those who are at school, and of all women who 
 have consecrated their lives to the education of their 
 own sex. 
 
 4) St. MarGArReET. Patroness of Cremona, and of 
 women in childbirth. 
 
 None of these patrons and patronesses have any 
 scriptural sanction, but for various reasons have 
 become so generally popular that they form a class 
 by themselves. The patrons who have both the 
 scriptural and apostolic sanction are: 
 
 1) St. PETER; Patron and First Bishop of Rome 
 
 2) St. Mark; Patron of Venice (San Marco). 
 
 3) Sr. James; Patron of Spain (Sant’Jago). 
 
 4) St. Mary MaGpAten; Patroness of Provence 
 and Marseilles and of penitent women. 
 
 The four Great Virgins of the Latin Church are: 
 
 1) Sr. Cecitia. Martyr; Patroness of music and 
 musicians. 
 
 2) Sr. Acnes. Martyr; Patroness of Roman 
 women and of maidenhood. 
 
 3) Sr. AcatHaA. Martyr; Patroness of Malta and 
 Catania; against diseases of the breast; and against fire. 
 
 4) Sr. Lucta. Martyr; Patroness of Syracuse; of 
 the laboring classes and against diseases of the eyes. 
 
 * * * 
 
 Now let us state briefly who each of these saints 
 were and the reasons for their outstanding position. 
 But first be it noted that all of them except St. 
 Roch, St. James the Great, and St. Mary Magdalene, 
 were martyrs, and again that with the single excep- 
 tion of St. Roch, they were all of that noble company 
 which in the earliest days of the Christian religion 
 were of so steadfast a faith that in the end their 
 example prevailed against the creed of the pagan 
 deities, and the beautiful doctrines of Our Lord 
 Jesus Christ came to be the official faith of then 
 known civilised world. St. Roch was a late saint, 
 who died in 1327 A. D. and so does not appear in the 
 first pictures of the early Renaissance artists. 
 
 * * * 
 
 St. George of Cappadocia is perhaps the best 
 known and most easily recognisable of all the saints 
 in the Calendar. He is always shown either, in nar- 
 rative pictures, such as Raphael’s little gem in the 
 Long Gallery in the Louvre, on horseback, fighting 
 with the dragon which was devastating the country- 
 side and devouring both flocks and maidens; or, in 
 devotional pictures, with a broken lance, and a dead 
 dragon at his feet. He is always young and clad mn 
 armor, but is distinguishable from St. Michael who 
 also is seen in combat with a dragon—representing 
 in this case the Prince of Evil—by the fact that he 
 has no wings, as has the Archangel. One day he 
 
PLATE XXVIII THE SAINTS IN ART 
 
 
 
 SLOnGae 
 AND 
 SOME 
 Or 
 Meds 
 MANY 
 JES alate, 
 ale 
 Oimeobs 
 BASTIAN 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ; 
 
 “=. 
 
 7 ee Mee Se 
 
 
 
 1) Mantegna’s world-renowned St. George, in the Venice Academy. 2) A very curious St. Sebastian of the School of Orcagna 
 (14th century) (Courtesy of the Ehrich Galleries). 3) Another devotional St. Sebastian, in courtier’s dress, by an unidentified 
 Spanish painter (17th century). 4) Madonna, in trono, with St. John the Baptist (right) and St. George in armor, by Ercole 
 Roberti (c. 1430-1496) in the Berlin Museum. 5) Diirer’s interpretation of St. Sebastian (see page 88). 6) SS. Sebastian— 
 again in court dress—and Matthew, by Girolamo da Santa Croce, described on page 88. (Courtesy of the Ehrich Gallerizs.) 
 7) The Madonna with SS. Sebastian, as he is usually portrayed, Jerome, James Major and George, by Lorenzo Costa, in San 
 
 Petronio at Bologna. 
 
 87 
 
observed upon the gates of the temple a decree of 
 the Emperor Diocletian denouncing the Christians, 
 and risking the fury of his master—for he was a 
 Roman legionary—he tore it down and destroyed it. 
 For this, after torture lasting eight days and borne 
 
 PERUGINO’S FAMOUS ST. SEBASTIAN IN THE LOUVRE. 
 
 FREQUENT ERROR OF PAINTERS OF CERTAIN SCHOOLS TO DEPICT 
 
 THIS SAINT, WITH ARROWS EMBEDDED IN VITAL PARTS OF THE 
 
 BODY, WHEREAS HE WAS NOT MORTALLY WOUNDED THUS AND 
 WAS FINALLY PUT TO DEATH BY THE SWORD 
 
 Tpers A 
 
 with surpassing fortitude, he was beheaded. The 
 Greeks honor St. George with the title of the Great 
 Martyr. For a time his deeds in defence of Chris- 
 tianity appear to have been questioned by the 
 Church, and in 494, St. Gelasius, the Pope, refused to 
 admit him to the reformed calendar of Saints. It 
 was the famous crusader, the first king of Jerusalem, 
 Godefro1 de Bouillon, who invoked the aid of the 
 warrior saint and made his name the battlecry of the 
 English hosts. In 1222 his feast day, April 23rd, was 
 ordered to be kept as a holiday, and in 1330, the 
 institution of the Order of the Garter, with its 
 ““Great George”’ and “Little George”’ badges, estab- 
 lished the young saint’s position forever as the patron 
 of England. Prior to his adoption, although he had 
 been popular for a long time, St. Edward the Con- 
 fessor had been the Anglo-Saxon patron Saint of 
 the English people. St. George, in German pictures, 
 is clad in the armor and costume of the painter’s 
 day, as in the case of the Holbein representation 
 illustrated on Plate V. His banner always is white 
 
 
 
 88 
 
 
 
 with the red cross known by his name. St. George 
 died in 303 A. D. 
 
 St. Sebastian’s pictures are well-known to all who 
 visit the great galleries of the world. He is almost 
 always presented nude, with only a cloth round his 
 loms, attached to a tree, with either—in narrative 
 pictures—soldiers shooting arrows at his unprotected 
 body, or—in devotional pictures—alone, his body 
 transpierced at non-vital spots with arrows. Exam- 
 ples of both types of pictures are to be found in every 
 gallery which contains sacred pictures of the 13th to 
 17th centuries... In some German pictures there are 
 modifications of the usual presentment, as in a 
 famous engraving by Diirer where St. Sebastian is 
 depicted as a man in the prime of life with a 
 beard and shaggy locks. In a large polyptych of the 
 Madonna and Child by an anonymous Spaniard, 
 which was formerly in the Salomon Collection, 
 dispersed in New York in 1923, St. Sebastian Is 
 portrayed in a court dress of pourpoint and tights 
 with large velvet cap on his head. He is a hand- 
 some figure, but has nothing to remind us that he 
 is the self-sacrificing martyr for Christianity 
 except a small arrow which he holds in his hand. 
 (See Plate XXVIII) 
 
 But what is still more curious, an Italian painter 
 of Bergamo, Girolamo da Santa Croce, who worked 
 between 1520 and'15449, has left us a St. Sebastian— 
 with an Evangelist—also dressed in a short tunic, 
 
 MADONNA AND CHILD, WITH SS. ROCH (RIGHT) AND LOUIS OF 
 
 TOULOUSE, BY ROMANINO (1487-1566), IN THE BERLIN GAL- 
 
 LERY. NOTE ST. ROCH’S GESTURE OF INDICATING HIS FESTERING 
 
 THIGH, AND HIS PILGRIM’S STAFF. ALSO THE CROWN AT THE 
 FEET OF THE YOUNG FRENCH ROYAL BISHOP 
 
tight red hose and blue calf-high boots, with a gold- 
 embroidered mantle hanging from his shoulders, 
 holding im his right hand a Jong sword in its scabbard 
 with the point resting on the ground, and with his 
 left hand lightly laymg an arrow across his right 
 forearm, a most unusual treatment of this saint for 
 an Italian. St. Sebastian died in 288 A. D. 
 
 Sr. Rocu is always represented as a pilgrim, with 
 his staff and wallet, and frequently accompanied by 
 a dog. He invariably points to the ulcer on his thigh 
 which he contracted at Piacenza where he had 
 stopped to help cure the afflicted during the course 
 of a dreadful plague which had fallen upon the in- 
 habitants. For some time before, he had devoted 
 his life to the care of the sick, going from city to city 
 wherever he learnt that the plague was raging. After 
 his own infection, he went through many troubles 
 and terrible sufferings, till he was at last thrown into 
 a dungeon by an uncle who failed to recognise his 
 nephew in the wan and ragged pilgrim who had come 
 home. He lingered in this dungeon for five years, 
 but one day his soul having been released in the 
 night, his jailers found upon him a Ietter in which 
 was written his name and a statement to the effect 
 that ‘Whosoever, being stricken by the plague shall 
 pray for relief through the intercession of St. Roch, 
 the servant of Our Lord, shall be healed.’ For 
 nearly a century after his death St. Roch remained 
 simply a local saint of the neighborhood of his es- 
 tates near Montpellier in France, but in 1414, the 
 plague having descended upon the city of Constance, 
 where the Grand Gicumenical Council was in session, 
 his aid was invoked at the suggestion of a German 
 monk, who, having traveled in France, knew of the 
 reputation of this saint. An image was carried 
 through the streets of Constance with prayers and 
 chants, and the plague is said to have abated and 
 ceased its ravages. This was the commencement of 
 the universal fame of St. Roch, and in 1485, the 
 Venetians fearing the plague more than any other 
 city of the Peninsula, on account of her extended 
 intercourse with Eastern marts, determined to ob- 
 tain the relics of St. Roch for their city. So under 
 the guise of pilgrims, a company of these wiliest of 
 Italians set forth, and reaching Montpellier, plun- 
 dered the tomb of St. Roch, and bore his bones to 
 Venice. The Church of San Rocco was built to 
 receive them. His patronage of those in prison pro- 
 ceeds from his own unjust, but courageously borne, 
 imprisonment. St. Roch died in 1327 A. D. 
 
 The two brothers, SS. Cosmo and Damian, being 
 the patrons of the Medici overlords of Florence, are 
 to be found in numerous pictures painted by early 
 artists of the City of the Lilies. They are always 
 represented together, both in narrative pictures of 
 their labors and their martyrdoms, and in votive 
 pictures, and, in devotional works, they are gener- 
 ally depicted in the Jong red robes and full round 
 cap of the doctors and apothecaries of the twelfth 
 and thirteenth centuries. Still one more curious 
 
 89 
 
 
 
 anachronism in art, for the brothers lived in the 
 third century and died in the second year of the 
 fourth. They are said to have been born in the city 
 of AZgae in Cilicia, where stood at one time the 
 temple of the healing god A‘sculapius, which was 
 destroyed by the Emperor Constantine. Brought up 
 in the Christian faith by their mother, Theodora, 
 they became famed and beloved for their learning 
 
 THE MADONNA, AS THE Virgo Sapientiae (SEE PAGE 35), EX- 
 POUNDING A THEORY TO THE TWO APOTHECARY SAINTS, COSMO 
 AND DAMIAN, WHILE THE DONORS AS TINY FIGURES KNEEL AT 
 HER FEET. FROM A FINE PICTURE BY AGNOLO GADDI, (D. 1396), 
 IN THE POSSESSION OF MR. OTTO KAHN (SEE PP. 16 AND 17) 
 
 and their marvelous cures. But it availed them little 
 when the persecutions under Diocletian and Max- 
 imian—the tormentor of St. Catherine of Alexan- 
 dria—raged through the Jand, and they were con- 
 demned totortureanddeathasChristians. Firstthey 
 were thrown into the sea, but an angel descended 
 from Heaven and saved their lives. Nor would the 
 flames, to which they were then committed, consume 
 their mortal frames, and when at last they were 
 bound to crosses and stoned, the stones fell back 
 upon their oppressors and killed many of them. But 
 finally they were delivered to the headsman who 
 succeeded in depriving them of the lives which they 
 had rendered so precious by their pious ministrations 
 to the sick and their disinterested succor to all those 
 in need thereof. From the fact that they are said 
 never to have accepted payment for their services 
 they are honored by the Greeks with the title of 
 Anargyres, meaning “‘without money.” In 526A. D., 
 Pope Felix built a magnificent church in Rome in 
 honor of these Saints, in which there is a famous 
 mosaic, depicting SS. Peter and Paul presenting the 
 
PLATE XXIX THE SAINTS IN ART 
 
 SSK IN Cle lOlbyats 
 Ore MY IWAS 
 COSMO AND 
 DAMIAN, 
 CHRISTOPHER; 
 AND ROCH 
 
 
 
 
 
 
 
 1) The famous miracle of St. Nicholas of Myra, described on page 94, as depicted by Gerard David, in a picture belonging 
 to Lady Wantage. 2) The Madonna enthroned between SS. Julian of Rimini and Nicholas, by Lorenzo di Credi in the Louvre. 
 3) and 4) Further interpretations of the Miracle of the Three Children, No. 3 being by Bicci di Lorenzo (1373-1452) in the 
 Metropolitan Museum. No. 4 is from an old MS. in the Bodleian Library at Oxford. 5) Relief statue of St. Christopher on the 
 side of a house at Castiglione d’Olona (Courtesy of Mr. Dan Fellowes Platt). 6) Famous lunette by Fra Lippo Lippi, in the Na- 
 tional Gallery, of (from left to right) SS. Francis, Lawrence, Cosmo, John the Baptist, Damian, Anthony of Egypt and Peter 
 Martyr. 7) SS. Cosmo and Damian attaching a Moor’s leg to a sick man (page 91) by Fra Angelico, in the possession of 
 Captain E. G. Spencer-Churchill. 8) Fine pierre noire drawing by Simon Vouet (French, 1590-1649), of St. Roch showing the 
 ulcer on his thigh to a cherub. (Jn the collection of drawings belonging to the author.) 
 
 90 
 
two apothecary Saints to Our Lord, while on the 
 farthest edges of the picture are the Pope himself 
 holding in his hand a model of the church, and the 
 Emperor Theodosius (379-395 A. D.), of whom 
 we have had occasion to speak in reference to 
 St. Ambrose. (See Plate I, fig. 12.) Fra Angelico 
 and Fra Lippo Lippi mtroduced these saints many 
 times into their devotional pictures. A famous 
 example by the latter master, now in the National 
 Gallery and illustrated here, represents the two 
 brothers on either side of St. John the Baptist, with 
 from left to right, St. Francis of Assisi, St. Lawrence, 
 St. Anthony of Egypt, the hermit, and St. Peter 
 Martyr. He has also painted them with St. Francis 
 and St. Anthony of Padua, two on each side of an 
 enthroned Madonna, in the Florence Academy. In 
 a case like this, or when they are with St. Sebastian 
 or St. Roch, the inclusion of these two Saints indi- 
 cates that the picture is a votive work offered in 
 thanksgiving for restoration to good health, particu- 
 larly from the plague. And although they occur 
 very rarely in the later schools, both Titian and 
 Tintoretto have brought them into pictures of 
 thanksgiving for the delivery of Venice from the 
 curse of the great plague of 1512. The picture by 
 the former master in the Church of the Salute in 
 Venice, displays the two doctors with SS. Sebastian 
 and Roch grouped around the throne of St. Mark. 
 Tintoretto’s work presents them with the three 
 patrons of the Pearl of the Adriatic: SS. Mark, 
 George and Catherine of Alexandria. 
 
 Pictures of their lives are not uncommon either 
 among Florentine artists of the Trecento and Quat- 
 trocento. Fra Angelico has left us a series dealing 
 with them, part of which is in the Florence Academy, 
 and part, I believe, in the Dublin Gallery and else- 
 where. In pictures of their miraculous healings the 
 two Saints are always recognisable by their distinc- 
 tive dress of scarlet and ermine, and they are fre- 
 quently shown administering to the sick and some- 
 times even acting as surgeons. One story relates 
 how having amputated the leg of a man afflicted 
 with cancer they replaced it with that of a Moor 
 who had just been buried in San Pietro-in-Vinicole. 
 It is this miracle to which reference is made when a 
 black leg is being adjusted to a recumbent white 
 man, by one or both of our two Saints, as in a picture 
 by Fra Angelico, owned by Captain E. G. Spencer- 
 Churchill. (Plate XXIX). 
 
 Naturally, the early Florentine painters fre- 
 quently chose as their subject the various attempts to 
 put the two Saints to death, described above. Fra 
 Angelico and Pesellino, as already stated, have given 
 us their versions, of which the Louvre and the 
 galleries above-mentioned contain interesting 
 examples. In many of the earlier of these repre- 
 sentations, three of their kinsmen who suffered with 
 them are included. SS. Cosmo and Damian died 
 together in the year 301 A. D. 
 
 Sr. CHRISTOPHER, whose protection is invoked 
 
 gI 
 
 against accidents—his image is frequently borne on 
 the radiator-caps of automobiles in France and 
 Italy—was a Canaanite of gigantic stature, by the 
 name of Offero, the bearer. Having sworn to serve 
 only the greatest monarch on earth, one strong 
 enough to fear no one at all, he set out one day to 
 find him. The first to whom he applied showed that 
 he feared the Prince of Evil for he crossed himself 
 every time the dread name was mentioned. So 
 Offero set out to take service under the Demon, but 
 found that his new master, whom he had met march- 
 ing at the head of a vast multitude along the high- 
 
 
 
 A NARRATIVE ST. CHRISTOPHER, WITH THE CHILD JESUS ON HIS 
 
 SHOULDERS, CROSSING THE STREAM. NOTE THE UPROOTED 
 
 PALM-TREE, AND THE ORB OF SOVEREIGNTY IN THE HAND OF 
 
 THE CHILD. PICTURE BY ANTONIO POLLAJUOLO (1429-1498) IN 
 THE METROPOLITAN MUSEUM 
 
 way, made a detour each time his path took him 
 past a wayside shrine surmounted by a cross. And 
 so Offero, learning that the Devil feared the Cross, 
 left him and sought to enter the service of Him who 
 had died on it. He went to a hermit who told him 
 that if he wished to serve Christ he would have to 
 fast often. As he objected that if he did so he would 
 lose his strength, the hermit told him that he could 
 also serve the Lord by using his great strength to 
 help all those who desired to cross a wide river 
 nearby, which was swift-running and swollen from 
 
the heavy rains. So Offero went and dwelt in a cabin 
 by the side of the river, and using a palm tree which 
 he had uprooted, as a staff, he bore across the stream 
 all who implored his help. One night as he lay in his 
 rough shelter, he heard a voice as of a child crying, 
 “Come forth and carry me across.” Three times did 
 the voice make itself heard, and when the Canaanite 
 went out he beheld a little child whom he bore over 
 to the other side of the stream in spite of a terrible 
 storm which at times threatened to submerge him. 
 
 Then the Child declared Himself to be the Saviour 
 
 
 
 A DEVOTIONAL ST. CHRISTOPHER IN RICHLY-EMBROIDERED 
 
 ROBES, WITH A symbolized PALM-TREE, AS INTERPRETED BY 
 
 THE SPANISH PAINTER, ALONZO CANO (1601-1667), IN A PICTURE 
 FORMERLY IN THE CATHOLINA LAMBERT COLLECTION 
 
 of the World, and told the giant to plant his palm 
 tree in the ground, which he did, and immediately it 
 put forth leaves and fruit. From that day on the 
 giant believed in Christ, calling himself Christopher, 
 for, he said, “‘I have borne the Christ upon my 
 shoulders.” But when he came to a place called 
 Samos, wherein a persecution of the Christians was 
 taking place, the Canaanite, instead of resisting 
 arrest, submitted to torture and death, only praying, 
 before the headsman did his work, that all those who 
 might invoke his aid be henceforth immune against 
 fire and tempest and earthquakes and disastrous 
 floods. In consequence it became a strongly-rooted 
 belief that any who looked upon the image of St. 
 Christopher was for that day safe from such evils as 
 he had made his particular province. And that is 
 why we find such gigantic figures of this Samt on 
 
 Q2 
 
 the outside of so many churches and even secular 
 buildings throughout Europe. Particularly is this 
 the custom in southern Germany and the country 
 around Venice, and such colossal figures are still to 
 be seen on the exterior of the walls of more than one 
 old English place of worship. (See Plate X XIX.) 
 
 St. Christopher is almost always represented as 
 a gigantic figure in a short tunic wading up to above 
 his ankles in a stream, holding im his hand either a 
 great pole or a palm tree with its feathery crest, and 
 with the Christ Child on his shoulder. I say “almost 
 always”’ for there are a few exceptions, notably a 
 remarkable picture by Alonzo Cano, the Spanish 
 painter, which is purely devotional, and m which 
 both the saint and the Child are clad from head to 
 foot in ample robes heavy with gold embroidery. In 
 this interesting work, formerly in the Catholina 
 Lambert collection dispersed in 1916 in New York, 
 St. Christopher is portrayed as of rather less than 
 the stature of a tall man, and, in lieu of his rude 
 staff or palm-tree, he is holding a long thin wand 
 banded with gold rings at regular intervals, and 
 bearing at the top, not the leaves of a palm tree, but 
 a bouquet of roses and foliage. Nor is the Child 
 upon his shoulders. He is walking by the side of the 
 Saint upon a path strewn with flowers, and holding 
 him by the Ieft hand, while indicating the direction 
 with the right. Two small angels hold open richly- 
 woven curtains through which they have just passed. 
 This picture is illustrated here, as is the great work 
 by the Pollajuolo brothers, of the colossal size (9 ft. 
 4 in. high by 4 ft. 11 in. wide) often adopted for 
 pictures of this saint, and which is now one of the 
 treasures of the Metropolitan Museum of New York. 
 It is a fresco (on plaster) and the old Florentine 
 disciple of Michelangelo, Vasari, says of it in his 
 “Lives of the Painters” that it was painted for the 
 Church of San Mimiato of Florence. Insome pictures, 
 the hermit who imposed his famous task upon the 
 Canaanite giant is seen with a lighted Iantern on the 
 further bank of the stream. The pictures of St. 
 Christopher present him as a man of the most power- 
 ful type known to the artist, therefore while the 
 Italians generally painted him with only a slight 
 beard, the Germans gave him a heavy one, their idea 
 of strength being expressed by the hairiness of the 
 human body. His martyrdom has not often been 
 painted, but a fine exception is the picture by Tinto- 
 retto in the Madonna dell’Orto Church in Venice, in 
 which, again, the saint is depicted not of gigantic, 
 but of ordinary, proportions. Andrea Mantegna, the 
 great painter of Padua, has left us a series of three 
 pictures dealing with his famous passage of the river, 
 his proselytising at Samos and his martyrdom, in the 
 Chapel dedicated to him in the Eremitani, in Padua. 
 St. Christopher died m 364 A. D. 
 
 St. NicHoLas oF Myra, the last of the male pa- 
 trons of Christendom, Is, however, the most popular 
 and beloved of all, for he is the protector of children 
 everywhere and of numerous classes of those who 
 
eA XOX THE SAINTS IN ART 
 
 SOME SCULPTURED PORTRAYALS, 
 PICTURES AND DRAWINGS OF THE 
 PATRONS AND PATRONESSES 
 
 1) St. Barbara, a carved oak statue of the Lower Rhenish School (c. 1520). 2) Masolino’s exquisite St. Catherine (detail) 
 in the series of the young Saint’s Life in San Clemente in Rome. 3) Carved limewood half-length figure of St. Catherine, with 
 her crown, book, and fragment of a wheel. A polychrome work of the middle 16th century Bavarian School. Upper right: 
 St. Nicholas of Myra, with the three bags of gold, or balls, on his gospel. A polychrome limewood statue of the Upper Suabian 
 School (c. 1500). 4) St. Catherine with two wheels, which is uncommon in devotional pictures, by Bernardo Daddi (c. 1340). 
 5) St. Lawrence enthroned between SS. Cosmo and Damian, by Fra Lippo Lippi, in the Palazzo Alessandri, Florence. 6) St. 
 Justina of Padua (not St. Barbara, as stated in the Academy catalogue) between SS. John the Baptist and Catherine, a draw- 
 ing by Morto da Feltre (d. 1527),in the Venice Academy. 7) South German carved oak statue of St. George and the Dragon, 
 dating from around 1500 A.D. 
 
 
 
 93 
 
toil for their daily bread. As Mrs. Jameson says: 
 “While knighthood had its St. George, serfhood 
 its St. Nicholas.” He is the saint of the common 
 people, the bourgeois classes, the protector of the 
 weak against the strong, the poor against the rich, 
 the guardian of all children, but particularly of those 
 unfortunates who have lost their parents. No other 
 male saint is so universally invoked as the good 
 bishop of Myra, and we have even in this country 
 a children’s magazine, of many years’ standing, and 
 
 monastery of Sion, of which he rose to be abbot, 
 and where he remained until he was appointed to 
 the see of Myra. His acts of mercy and his miracles 
 are numerous, but two particularly are depicted in 
 Art. One is related thus: A certain man of position 
 who had fallen upon evil days had three beautiful 
 daughters whom, after all his efforts to provide for 
 them had proved vain, he had decided to sell into 
 slavery, not for his own gain, but that they might 
 not starve. St. Nicholas, hearing of this, so arranged 
 
 
 
 THE MADONNA AND CHILD, WITH FOUR SAINTS, WHO, READING FROM LEFT TO RIGHT, ARE SS. AUGUSTINE, PETER, ANTHONY OF 
 EGYPT, WITH HIS cere CROSS, AND NICHOLAS OF MYRA, WITH THE THREE BESANTS, OR BALLS OF GOLD, AND CLAD IN EPIS= 
 
 COPAL ROBES WITHOUT THE MITRE. 
 
 a famous patriotic society in New York both bearing 
 the name of the great patron. The proof of his 
 extraordinary popularity is to be found in the fact 
 that there are no less than 375 churches dedicated 
 to him in England alone, as against only 170 to that 
 country’s noble patron, St. George (including 4 in 
 which he shares the honor with other saints). 
 
 St. Nicholas of Myra—or as he is called in Italy, 
 “of Bari’’—is the subject of many beautiful stories, 
 mostly relating to his Iabors in the relief of the op- 
 pressed. It is said that from birth he was predestined 
 to a life of holy endeavor, for on the very day of his 
 birth, he stood up in his bath with his hands joined 
 in thanksgiving for the gift of life. He refused to 
 feed at his mother’s breast on the appointed fast- 
 days of the Church, Wednesdays and Fridays, and 
 
 as soon as he was of an age to do so he entered the 
 
 94 
 
 FROM A PICTURE BY GIROLAMO DA SANTA CROCE (WORKED 1520-1549). 
 
 (By permission of the Ehrich Galleries) 
 
 matters that he was able to throw im through the 
 window of the room in which the maidens slept—for 
 he did not wish it known that he was the benefactor 
 —first one, then a short time after, a second, and 
 finally a third, bag of gold which relieved their dis- 
 tress and enabled them to be honorably married. 
 The other story relates that during a famine, a cer- 
 tain innkeeper having no food to give travelers, used 
 to steal and kill small children—another version says 
 he killed some of his travelers—whom he pickled and 
 served up as pork. St. Nicholas hearing of it went 
 to the inn one day and making the sign of the cross 
 over the vat of pickle, the three dismembered chil- 
 dren lymg in it were made whole and restored to life. 
 These two incidents may be said to have had a 
 decisive influence on the characteristic aspect of St. 
 Nicholas in art, for when he is not shown actually 
 
restoring the three children standing in vats, as in a 
 predella in two sections by Bicci di Lorenzo—the 
 other part represents the legend of St. Nicholas and 
 the three maidens—he is represented with the three 
 gold balls or bags of gold which he gave to the 
 maidens. (Plate XXIX). 
 
 Still another story relates how when the city of 
 Myra was suffering from a terrible famine, St. 
 Nicholas prevailed upon the captains of grain ships 
 from Alexandria to cede to him part of their cargoes, 
 although they were consigned to the Emperor at 
 Constantinople. He assured them that the Em- 
 
 
 
 ST. NICHOLAS OF MYRA (OR BARI) PRESENTS THE ORPHAN CHIL- 
 
 DREN OF THE NOBLE RONCAGLIA FAMILY TO THE MADONNA. A 
 
 THIRD CHILD IS BEHIND THE PATRON SAINT, PROBABLY SYM- 
 
 BOLISING THE LEGEND REFERRED TO ON PAGE 94. PICTURE BY 
 
 MORETTO (ALESSANDRO BONVICINO, 1500-1547) IN THE MAR- 
 TINENGO GALLERY AT BRESCIA 
 
 peror’s agents would lose naught of what was their 
 due, and, behold, when the ships arrived at their 
 destination, their cargoes were discovered to be 
 intact. This episode has also been represented in art. 
 
 In devotional pictures St. Nicholas is represented 
 in episcopal robes, generally with his cope and mitre, 
 but sometimes without a headdress, as in the Santa 
 Croce picture on Page 94. But he almost mvari- 
 ably has the three balls, or besants, signifying the 
 three bags of gold he threw into the bedchamber of 
 the three maidens. Frequently the three bags or 
 balls are Iaid on a book, and sometimes they lie at his 
 feet. An interesting picture by Moretto of Brescia, 
 now in the Martinengo Gallery of that city, shows 
 the charitable bishop presenting three small children 
 to the Madonna who leans forward from her high 
 throne to receive them. One of the children holds in 
 
 95 
 
 his hands the Saint’s mitre, while another holds the 
 three balls. It should be noted that the three-balls 
 sign of the pawnbroker, derives its existence from the 
 famous legend of St. Nicholas of Myra. Ina picture 
 by Lorenzo di Credi in the Louvre, St. Nicholas is 
 found with St. Julian of Rimini, as joint protectors 
 of the Adriatic cities. The bishop has no attributes, 
 but his association with St. Julian identifies him 
 sufficiently. 
 
 Many other legends, in addition to those I have 
 related, are told about St. Nicholas, but he is so 
 easily distinguishable that it is unnecessary to do 
 more than enumerate the most important. 1) His 
 calming of the storm at sea when on the way to the 
 Holy Land. 2) He saves three men from execution, 
 seizing the sword of the executioner in his hands. 
 3) He causes Constantine to release his imprisoned 
 tribunes, calling down upon him the anger of Heaven 
 should he fail to obey. 4) Constantine sends him a 
 beautifully illuminated copy of the Gospels, in a 
 binding enriched with pearls and precious stones. 
 5) He smites the heretic Arius in the face at the 
 great Council of Nice in 325. This story has not 
 obtained a wide credence, on account of the known 
 gentle nature of St. Nicholas—and the fact that his 
 name Is not to be found im the list of those present 
 at the Council—but as it has been depicted in art, I 
 repeat it here so that when It is met with its signifi- 
 cance may be clear. 
 
 St. Nicholas died the next year, 326 A. D., and 
 for nearly seven and a half centuries his remains 
 reposed at Myra, though in the year 807, an unsuc- 
 cessful attempt was made by a captain of Haroun-el- 
 Raschid, the famous Caliph of Bagdad, to rifle the 
 tomb. But, m 1084, some Ragusa merchants tried 
 again and this time accomplished their purpose, 
 carrying the holy relics to Bari where a splendid 
 church was built over them and consecrated by Pope 
 Urban II (1087-1099). It is from this fact that St. 
 Nicholas of Myra is known in Italy, San Niccolé di 
 Bari, or San Nicola di Bari. Venice claims to have 
 stolen his remains—as they had stolen those of St. 
 Roch—in 1100 A. D., when Vitale Michiele, the first 
 of his famous line, was the Doge, but their story is 
 not credited, and to Bari is given the honor of 
 housing the bones of one of the most famous saints 
 in Christendom. 
 
 * * * 
 
 Now we come to the Virgin Patronesses, of whom 
 the first is the very beautiful and profoundly learned 
 St. CATHERINE OF ALEXANDRIA. After St. Mary 
 Magdalene she is the most popular of all female 
 saints, and appears in innumerable pictures of all 
 dates and schools. She can always be recognised in 
 devotional pictures either by her crown, as a royal 
 princess, and her handsome robes, or, when not so 
 clothed, by her lovely thoughtful face and the book, 
 and often the palm, which she is carrying. In most 
 pictures, however, she has one of the two SpikKED 
 WHEELS between which her pagan persecutors tried 
 
PLATE XXXI THE SAINTS IN ART 
 
 UNUSUAL 
 DEPICTIONS 
 OF THE 
 VIRGIN 
 PATRONESSES 
 
 
 
 ss ies 
 
 1) St. Catherine of Alexandria, in glory, supported by angels, with the spiked wheels beneath her feet, by Pietro di Giovanni 
 d’Ambrogio (1444), in the Louvre. 2) The celebrated “Chassz de Ste. Ursule.” (Reliquary of St. Ursula), by Memlinc, in the 
 Hospital of St. John at Bruges (see pages 101 and 102). 3) SS. Catherine, Margaret, and Barbara, in a 15th century German 
 picture, formerly in the Catholina Lambert collection in New York. 4) St. Barbara, by Lucas Cranach (1472-1553) in Dresden. 
 5) St. Barbara, as patroness of builders, by Jan van Eyck, at Ghent. 6) St. Barbara, by the same Spanish artist who executed 
 the St. Sebastian (Plate XXVIII. 3). 7) St. Catherine of Alexandria and twelve scenes from her life, by the 15th Century “‘ Mas- 
 ter of the Life of St. Cecilia.”” Taking each column from top to bottom, starting at the left, we see her visit with Queen Sabinella 
 to the Hermit who gave her a picture of the Madonna and Child; her dispute with the doctors; her dream; the Mystic Marriage, 
 and, on the right, scenes of her martyrdom and her burial by the angels on Mount Sinai (see pages 95-99). 
 
 96 
 
to Iacerate her body, but which were rent in pieces 
 by the divine intervention before they touched her. 
 Sometimes the wheels are shown intact, in order to 
 symbolise her fortitude and determination to 
 uphold the Christian faith even under the most 
 inhuman tortures, e.g. by Bernardino Daddi, 
 (PI. XXX). But usually, only a fragment of one 
 spiked wheel, or a miniature wheel, is represented, as 
 the attribute of her attempted martyrdom. She 
 frequently carries a sword and a palm, the former as 
 the instrument of her death, the latter emblematic 
 of her self-sacrifice. One of the most frequent 
 and well-beloved forms of the story and legend of 
 St. Catherine, is that picturing the famous dream in 
 which she was taken as spouse by Our Lord. In 
 almost every case this “Mystic Marriage” of St. 
 Catherme represents the young virgin saint offering 
 her ring fmger to the Infant Christ who bestows the 
 ring upon her. One of the most famous of all is the 
 great Hans Memlinc picture in the Hospital of St. 
 
 
 
 THE MYSTIC MARRIAGE OF ST.’ CATHERINE BY HANS MEMLINC 
 
 (WORKED 1477-1496) IN THE METROPOLITAN MUSEUM. THE 
 
 BROKEN SPIKED WHEEL LYING AT THE FEET OF THE VIRGIN 
 
 PATRONESS IS HARDLY VISIBLE IN THIS REPRODUCTION. NOTE 
 
 THE THREE-WINDOWED TOWER BEHIND ST. BARBARA ON THE 
 RIGHT OF THE PICTURE 
 
 Jean at Bruges in which St. John the Baptist and 
 St. John the Evangelist, one standing on each side 
 of the Madonna’s throne, look down upon the 
 crowned princess kneeling before the Infant Jesus, 
 to whom she is extending her finger. 
 
 St. Barbara, who is the habitual companion of 
 St. Catherine im pictures, is seated reading a book 
 opposite the latter. An almost similar picture as far 
 as the central group—without the two Saints John— 
 is concerned, from the brush of the same master as 
 the Bruges altarpiece, is in the Metropolitan Mu- 
 seum. But perhaps the best-known, and certainly 
 one of the most beautiful, renderings of this subject, 
 is that by Correggio m the Louvre, which ts full of 
 all the charm which makes that delightful master, 
 at his best, so satisfying. How different its exquisite 
 
 97 
 
 
 
 CORREGGIO’S (1493-1534) VERSION OF THE MYSTIC MARRIAGE 
 
 OF ST. CATHERINE IN THE LOUVRE. NOTE THE UNUSUAL REPRE- 
 
 SENTATION OF ST. SEBASTIAN, HOLDING ARROWS IN HIS HAND, 
 BEHIND ST. CATHERINE 
 
 simplicity from the mannered pomposity and 
 fussy composition of the Tintoretto version in the 
 Ducal Palace in Venice, with its incredibly lengthy 
 Madonna and Child, its regally-clad princess holding 
 up her hand almost with condescension, and all its 
 restless figures of mortals, saints and angels. Even 
 the old unhappy-looking Doge, Pasquale Cicogna, I 
 think, appears quite out of place and is looking away 
 from the principal group, one of Tintoretto’s many 
 cases of looseness of composition. Frequently St. 
 
 
 
 THE MYSTIC MARRIAGE OF THE OTHER ST. CATHERINE, OF 
 
 SIENA, THE FAMOUS DOMINICAN NUN, BY LORENZO DA SAN 
 
 SEVERINO (Cc. 1483), IN THE NATIONAL GALLERY. THIS ST. 
 
 CATHERINE IS INVARIABLY IN A NUN’S HABIT, WHEREAS THE 
 
 ALEXANDRIAN PRINCESS IS ALWAYS RICHLY DRESSED AND 
 
 GENERALLY CROWNED. THE THREE OTHER SAINTS ARE ALL 
 DOMINICANS 
 

 
 MORETTO OF BRESCIA HAS DEPICTED THE MYSTIC MARRIAGE 
 WITH BOTH THE SS. CATHERINE, IN HIS GREAT PAINTING IN SAN 
 CLEMENTE AT BRESCIA. ST. CATHERINE OF SIENA HOLDS HER 
 DISTINCTIVE LILY. BELOW ARE SS. PAUL, WITH HIS SWORD, 
 AND JEROME, AS A HERMIT. NOTE THE LARGE STONE. 
 
 Catherine is represented with a book only, that is to 
 say, without any other of her usual emblems and 
 attributes, but her position in art Is so outstanding 
 that it can be laid down as almost an mvariable rule 
 that when a young female saint is depicted, in a 
 devotional group of saints, in or without the presence 
 of the Madonna, holding a book in her hand, she is 
 intended to represent St. Catherme of Alexandria. 
 In pictures of the Mystic Marriage, care must be 
 taken not to confuse the Alexandrian princess with 
 her namesake of Siena, who rememberimg the story 
 of the first St. Catherine and inspired by a vision of 
 Christ, upon his throne in a resplendent heaven, 
 prayed to the Virgin Mary to bestow her Divine Son 
 upon her. The future Dominican Saint was only 
 eight years old at the time, but it is said she imme- 
 diately made a vow of perpetual chastity, and later 
 entered a convent of the Third Order of St. Dom- 
 inick. It was necessary to give this short account of 
 the Sienese nun, for ber mystic marriage with the 
 Saviour is a popular subject also. But as she is 
 always dressed in the habit of the Dominican nuns, 
 in spotless white, with or without a black cloak over 
 her habit, she cannot be mistaken for St. Catherine 
 of Alexandria. (See Pages 97, 121, 132.) In the great 
 Moretto picture above, in San Clemente of Brescia, 
 
 98 
 
 the artist has depicted the two Saints Catherine, one 
 on either side of the Madonna and Child. The 
 Divine Infant is bestowing the ring upon the prin- 
 cess, while His Mother presents the lily of purity 
 to the kneeling Dominican. It may be observed here 
 that when the catalogue of a gallery, or the title of a 
 picture mentions St. Catherine alone without any 
 other title, it is the learned princess of Alexandria 
 who is meant. St. Catherine of Siena is always given 
 her fullname. There is still another of the same name 
 in the calendar of Saints, St. Catherme of Bologna or 
 Caterina dei Vigri, but firstly she was a nun of the 
 Poor Clares and is portrayed either in the brown 
 habit of the Franciscan Order, (see page 131) or 
 in the rich robes of an aristocrat which distinguish 
 her immediately from either of the other saints. 
 Secondly, she was only canonised in the seventeenth 
 century so that she is never found in any early pic- 
 tures. Thirdly, she had but little importance save 
 in Bologna, where, however, she was worshipped for 
 nearly two centuries before her elevation to the 
 status of a saint, under the name of La Santa. 
 
 Inregardtonarrative pictures of thelife and career 
 of St. Catherine—for the Mystic Marriage having 
 been only a dream comes under the heading of devo- 
 tional works—Masolino has left us a remarkably 
 beautiful series m the Church of San Clemente in 
 Rome. In their order the pictures represent: 1) Her 
 famous discussion with the fifty learned doctors sent 
 by Maximian to confound her and over whose most 
 convincing sophistries she triumphed. Through an 
 open window are seen the same philosophers standing 
 in a blazing fire, with the young saint exhorting them 
 to be steadfast as they suffered martyrdom for the 
 new faith to which her brilliant reasoning had con- 
 verted them.* 
 
 2) St. Catherine, pointing upwards to the statue 
 of a nude goddess, exhorts the pagan patricians to 
 renounce the worship of such idols. 
 
 3) St. Catherme, through the window of her 
 prison, converts the Empress who is seated on a 
 stool before her. To the right, the converted sover- 
 eign is beheaded, and above her prone and headless 
 form can be descried an angel bearing her released 
 soul to the Heaven to which she has now gained 
 admittance. 
 
 4) The beautiful young Patroness clad in a Jong 
 simple gown is standing in an attitude of prayer 
 between the two horribly spiked wheels.- One has 
 already broken asunder while an angel is descending 
 upon the other and is smiting it with a sword. 
 
 5) She kneels on the ground, while an executioner 
 with upraised sword is about to strike off her head. 
 
 *This custom of depicting several scenes relating to the 
 main theme was a very common one among early artists, and 
 was continued even down to the end of the Cinquecento, for 
 Titian in his celebrated “‘ Pilgrims of Emmaus” in the Louvre, 
 shows them on the road outside the house where they were 
 supping with the apparition of Our Lord. The Albertinelli 
 “Madonna with SS. Jerome and Zenobius,” also in the 
 Louvre, again shows various episodes of the life of the two 
 
 Saints, in the background of the picture. In earlier art there 
 are hundreds of similar examples. 
 

 
 THE BURIAL OF ST. CATHERINE BY THE ANGELS, ON THE SUMMIT OF MT. SINAI, BY BERNARDINO LUINI (1475-1531), IN THE BRERA 
 
 OF MILAN. 
 
 In the sky an angel is waiting to receive her spirit, 
 and in the upper right-hand corner, others are laying 
 her mortal remains to rest in a beautiful sarcophagus 
 on the summit of Mount Sinai. 
 
 Mrs. Jameson attributes this series to Masaccio, 
 but while certain of the heads may be ascribed to the 
 first great painter after Giotto, there can be no doubt 
 that the whole conception and the greater portion of 
 the execution are the work of his master, Masolino. 
 
 - Sr. Barpara, like all the Virgin Patronesses,: 
 
 except St. Ursula, was an Eastern Saint, who became 
 extremely popular in-France, Flanders, and Northern 
 Germany, as Is reflected in the products of their 
 schools of painting, sculpture and stained glass. The 
 story goes that she was the beautiful daughter of a 
 certain noble of Heliopolis, near Alexandria, who 
 became converted to Christianity when confined to 
 
 a tower for study and meditation and to protect her: 
 
 from the temptations of the world, and that when a 
 special chamber was being built for her by her 
 father, she ordered the workmen to put in it three 
 windows as a symbol of the Holy Trinity. Her angry 
 father attempted to slay her, but she fled to the top 
 of her tower, where angels hid her from: his view 
 and bore her away to a place of safety. Betrayed 
 by a shepherd, she was denounced by her father to 
 the Roman pro-consul, who condemned her to ter- 
 rible tortures, but she refused nevertheless to abjure 
 her new religion and finally was beheaded by her un- 
 natural parent upon the top of a nearby mountain. 
 
 St. Barbara is one of the noblest figures among 
 the female martyrs for the Faith. She is habitually 
 represented in a rich habit, and very frequently 
 crowned, but unlike those of SS. Catherme and Ursula 
 her crown is not that of royal rank, but the emblem 
 of martyrdom. Her chief attribute is the TowErR 
 which has generally three windows, but sometimes 
 
 99 
 
 THE ANGELS IN THIS PICTURE ARE ALMOST UNEQUALLED IN ART FOR TENDERNESS AND LIGHTNESS IN THE AIR 
 
 has less. Frequently none are seen clearly, as 
 in the Moretto picture in San Clemente, Brescia, of 
 the Four Great Virgins of the Latin Church and St. 
 Barbara, who is Jeaning on her tower. Holbein has 
 given us a beautiful picture of the second Patroness 
 —now in the Munich Gallery of Old Masters—in 
 which she is portrayed in a blue gown embroidered 
 with gold, over a 
 white underdress, 
 and covered by a 
 brilliant red mantle 
 falling from her left 
 shoulder. She is 
 crowned and holds a 
 chalice, with a wafer 
 suspended immedi- 
 ately above it, in her 
 two hands. Her 
 tower is to the right, 
 treated as an actual 
 buildmg im. correct 
 perspective and pro- 
 portions. Instead of 
 bemg a symbolic 
 model—analogous to 
 the Church model in 
 the hands of St. 
 Jerome and that of 
 Bologna carried by 
 St. Petronius—as in 
 the Moretto picture 
 first cited, orn Mem- 
 Iinc’s figure of St. 
 Barbara on one of 
 the wings of his great 
 “Descent from the 
 Cross” triptych in 
 
 
 
 ST. BARBARA, BY HOLBEIN THE 
 YOUNGER (1499-1544), IN THE 
 MUNICH GALLERY. HER TOWER IS 
 IN THE BACKGROUND, WHILE SHE 
 HOLDS THE CHALICE SURMOUNTED 
 BY THE HOST IN HER HANDS 
 
Bruges Hospital, it is an attribute of her actual life. 
 But the most famous of all pictures of St. Barbara Is 
 that of Jacopo Palma the Elder—Palma Vecchio— 
 in the Church of S. Maria Formosa in Venice, in 
 which the beautiful maiden, a splendid majestic 
 figure, is depicted m a rich brown tunic with a 
 crimson mantle, and a spiked crown from which is 
 hanging a white veil. A large architectural tower 
 stands in the background, but St. Barbara herself 
 simply holds a palm-branch in her right hand. 
 
 
 
 JACOPO PALMA, il Vecchio (1480-1528), IN HIS PICTURE IN S. 
 MARIA FORMOSA IN VENICE, HAS GIVEN US THE NOBLEST RE- 
 PRESENTATION EXTANT OF THE SECOND VIRGIN PATRONESS 
 
 100 
 
 
 
 ST. BARBARA, AS THE PATRONESS OF THE CARTHUSIAN 
 
 WHO HAD THE PICTURE PAINTED, IS THE SUBJECT OF THIS FINE 
 
 WORK BY THE FLEMING, PETER CHRISTUS (1444-1472), IN THE 
 
 BERLIN MUSEUM. HERE, IN ADDITION TO HER TOWER, ST. 
 BARBARA CARRIES HER MARTYR’S PALM 
 
 MONK 
 
 Certain German pictures give St. Barbara a pea- 
 cock’s feather, in reference to the legend that the 
 rods with which her father scourged her were turned 
 to feathers. The lovely female samt in Raphael’s 
 great “Sistne Madonna” is again St. Barbara, 
 richly-dressed, uncrowned, save for a dainty circlet 
 around her brow. (See Plate.) 
 
 Narrative pictures of the life and death of St. 
 Barbara are rare, but when they are found, they are 
 easily recognisable from the excerpt of her legend as 
 given above. She Is, however, seen, with or without 
 St. George, on arms and armor, in her capacity of 
 patroness of firearms, and sometimes, as in the 
 famous suit of plate-armor sent by the great Em- 
 peror Maximilian to Henry VIII of England, now in 
 the Tower of London, there is depicted a series relat- 
 ing to her career and that of St. George. The designs 
 are attributed to Hans Burgkmaier. ~ 
 
 * * * *k * * * * 
 
 The Legend of Sr. Ursurta and her “Eleven 
 Thousand Virgins”’ is one of the great subjects of 
 the Venetians, particularly Carpaccio, who painted 
 a series relating to it; the Flemings, notably the 
 author of the famous Reliquary of St. Ursula (Chasse 
 de Sainte Ursule) in the Hospital of St. John at 
 Bruges, and the Germans, especially the masters of 
 the Cologne School. The story is so well-known as 
 to require only a brief reference to it here. Saint 
 

 
 CARPACCIO’S (1450-1522) FAMOUS PAINTING, IN THE VENICE 
 ACADEMY, OF ST, URSULA, SURROUNDED BY HER MANY MAIDENS. 
 THIS IS A TYPICAL VOTIVE PICTURE, IN HONOR OF THE SAINT. 
 NOTE THE FIGURE OF THE ALMIGHTY WITH HIS ARMS EXTENDED 
 IN BLESSING OVER THE SAINTLY GROUP OF MARTYRS 
 (SEE PAGE 102) 
 
 Ursula was a Princess of Brittany noted for her 
 great beauty, modesty, and Jearning. Her hand was 
 sought in marriage by the son of the King of 
 Britain, but she only accepted on condition that he 
 fulfill three desires of her heart: 1) that Prince 
 Conon, her suitor, would provide her with ten 
 virgins, chosen from the most beautiful and nobly- 
 born of his father’s kingdom; a thousand other 
 maidens as companions to each of the ten; and a 
 thousand for her own service;.2) that the marriage 
 be postponed for three years, during which time the 
 eleven thousand virgins could visit the shrines 
 of the saints throughout the Christian world; 
 3) that the Prince and his whole suite, including 
 the maidens, become converted to Christianity. 
 
 King Ag- 
 rippimus and 
 Tish sO 0; 
 Prince Con- 
 on, agreed to 
 these terms 
 and _ provid- 
 ed the maid- 
 ens asked 
 for. Then 
 Ursula and 
 her com- 
 rades set sail 
 for Rome, 
 
 but were BERLIN MUSEUM. 
 
 
 
 FRA LIPPO LIPPI’s (1412-1469) Madonna della Misericordia (LADY OF MERCY) IN THE 
 
 NOTE THE RESEMBLANCE OF STYLE WITH THE MEMLINC ST. URSULA 
 
 IOI 
 
 blown into the mouth of the Rhine as far as Cologne. 
 Thence under great difficulties and privations they 
 made their way to Rome where St. Sericius receiv- 
 ed them, and, when they had visited the shrines of 
 SS. Peter and Paul, set out with them, accompanied 
 
 
 
 ST. URSULA CASTING THE SHELTER OF HER MANTLE OVER HER 
 
 11,000 VIRGINS. NOTE THE PROPORTIONATELY COLOSSAL SIZE 
 
 OF THE SAINT, AND HER ARROW. ONE OF THE ENDS OF MEM- 
 
 LINC’S WORLD-RENOWNED Chasse de Ste. Ursule, iN THE HOS- 
 PITAL OF ST. JOHN AT BRUGES 
 
 by two of his cardinals and several bishops, for Co- 
 Iogne, where, on her previous visit, it had been re- 
 vealed to St. Ursula she would receive her martyr’s 
 crown. The object of her journey becoming known 
 to the pagan captains in Rome, who feared that 
 such a band of maidens would convert the whole 
 German 
 nation to 
 Christianity, 
 they ordered 
 the captain 
 of the Huns 
 who were 
 besieging 
 Cologne to 
 destroy the 
 wholeassem- 
 bly. And so 
 it happened. 
 The Prin- 
 
 cess and her 
 
betrothed—who had joined her in Rome and re- 
 ceived the sacrament of baptism at the hands of the 
 Pope—with all their companions, were surrounded 
 by a host of barbarians who shot with arrows or 
 slew with the sword all the noble maidens. They suf- 
 fered bravely, and finally, after Prince Conon, whose 
 baptismal name was Ethereus, and all the prelates, 
 
 
 
 ANOTHER OF THE PANELS OF MEMLINC’S Chasse de Ste. Ursule 
 
 AT BRUGES. IT REPRESENTS THE MARTYRDOM OF THE YOUNG 
 
 PRINCESS AT THE HANDS OF THE BARBARIANS AT COLOGNE, OF 
 
 WHICH THE UNFINISHED CATHEDRAL MAY BE SEEN IN THE 
 
 BACKGROUND. THERE ARE ALTOGETHER EIGHT PANELS IN THE 
 FLEMISH MASTER'S FAMOUS RELIQUARY 
 
 had perished, a soldier flew three arrows at St. 
 Ursula and “transfixed her pure breast, so that she 
 fell dead, and her spirit ascended into heaven, with 
 all the glorious sisterhood of martyrs she had led to 
 death ... and there with palms in their hands and 
 crowns on their heads, they stand around the throne 
 Of Christ mae 
 
 The distinctive character of this legend, particu- 
 larly the band of maidens who accompanied St. 
 Ursula on her pilgrimage, make it unnecessary for 
 us to go Into any details concerning narrative pic- 
 tures of her life and legend. Care must be taken, 
 however, to differentiate between the pictures of the 
 Virgin Mary in her role of Madonna della Miseri- 
 cordia when she sometimes covers a number of figures 
 with her cloak as in the Fra Lippo Lippi panel in the 
 Berlin Museum, (See Page 101) and those of St. 
 Ursula, e. g., the end panel of Memlinc’s St. Ursula 
 Shrine at Bruges, in which the Virgin Patroness 
 
 102 
 
 is surrounded by a number of maidens whom she is 
 sheltering beneath her mantle.* (See page 101.) 
 
 Devotional pictures of St. Ursula are numerous. 
 In the Venice Academy there is a beautiful work by 
 Carpaccio, who might be called the official painter 
 of this saint, in which she stands upon a pedestal of 
 palms surrounded by six angels and a Iarge number 
 of maidens kneeling at its base. A banner, of which 
 the pole is surmounted by a Greek cross, stands 
 unfurled on each side of her, and above, the AI- 
 mighty is leaning out “‘from the gold bar of Heaven” 
 with His arms extended im the attitude of benedic- 
 tion. This picture and all those other remarkable 
 works by the Venetian Master, now in the Academy, 
 were painted in 1490 for the school of St. Ursula, 
 founded for the support and education of orphan 
 girls. Moretto of Brescia has depicted her standing, 
 crowned, and holding two banners of St. George, 
 each surmounted by a cross, in her hands, while a 
 large group of maidens is gathered round her. In 
 this picture she has no arrow, which is her almost 
 universal attribute in art; nor indeed has she in the 
 Carpaccio picture, in which she is bareheaded, 
 though two angels are holding a crown of martyrdom 
 above her head. She generally wears a royal crown as 
 
 a princess of Brittany. In the Memlinc panel repro- 
 
 duced on page 101 she is portrayed witha delicate dia- 
 dem of pearls fitting close to her tightly-drawn hair. 
 
 * * * * * * 
 
 -And now we come to the last of the Virgin 
 Patronesses, St. MARGARET OF ANTIOCH, whose name, 
 meaning “pearl,” has been given, as we know, to 
 that floral symbol of purity and humility, the daisy. 
 She was once so popular in England that 238 
 churches are dedicated to her; indeed she is only 
 surpassed in this respect by two other saints, St. 
 Nicholas with 375, and St. Lawrence with 250, and 
 only approached by two more, St. George with 170 
 and St. Martin of Tours, he who divided his cloak 
 with a beggar, in whose honor there are 165 churches 
 in Great Britain. 
 
 St. Margaret, like St. George, was stricken from 
 the Calendar of Saints by Pope Gelasius in 494 A.D., 
 which testifies to the antiquity of her legend, and 
 only came back to the West in the 11th century 
 when the Crusaders returned to their homes. The 
 wife of Malcolm III of Scotland, a Hungarian prin- 
 cess, born in 1046, was the first historical Mar- 
 guerite of standing. She also was canonised and so 
 
 *In regard to the eleven thousand virgins, it has always 
 been a matter of discussion as to what can have been the 
 origin of this estimate of St. Ursula’s company. One explana- 
 tion which sounds very plausible is that when Archbishop 
 Hermann of Cologne wrote about this saint in 922, he mistook 
 the old figures XIMV, for 11000 Virgins, whereas it may 
 have meant 11 Virgin Martyrs—Undecem Martyres Virgines— 
 which is a more probable number, for the transport of eleven 
 thousand maidens in those early days was a bigger matter 
 than could have been handled easily. Another version is that 
 St. Ursula had only one companion, whose name was Undeci- 
 milla, which means eleven thousand, but this is less probable 
 for the commentator would have written Virgin Martyr after 
 her name, thus XIMMYV, not with one M only. 
 
popular that the name become a favorite one 
 throughout the British Isles. 
 
 In devotional pictures, St. Margaret is always 
 represented with a dragon either dead at her feet or 
 prostrate but alive, with its mouth open. In one or 
 two rare instances, the dragon is replaced by the 
 Demon, for in her case more than in that of St. 
 George, the dragon is the emblem of the temptations 
 which beset her, and particularly, says the story, of 
 the visit of the Prince of Evil himself in the mon- 
 strous form-of a dragon, to the dungeon in which 
 she was confmed. The legend relates that he swal- 
 lowed her whole—which is the cause of the open 
 mouth in art—whereupon he burst asunder, after 
 which he tried again to tempt her, this time in 
 human form. AII these incidents are depicted in art. 
 Some of the most famous pictures of St. Margaret 
 are those by 1) Raphael, in the Louvre, painted in 
 
 
 
 ST. MARGARET, WITH HER DEAD DRAGON AT HER FEET. FROM 
 THE PICTURE BY RAPHAEL IN THE LOUVRE 
 
 honor of the great Queen of Navarre, for her grateful 
 brother, Francis I; 2) Tintoretto, in the Ducal 
 Palace at Venice, in which she is accompanied by 
 St. Louis of Toulouse and St. George, who has no 
 dragon, but is shown in plate armor, with a broken 
 lance at his feet and his white charger behind him; 
 3) The Master of the St. Bartholomew Altar—now 
 in the Munich Gallery—where she is with St. John 
 the Evangelist. In this picture the dragon holds 
 part of her mantle in its mouth, indicating that it 
 
 103 
 
 has swallowed her whole, while from the general 
 appearance it looks as though St. Margaret was 
 coming forth from the burst body of the monster. 
 Lucas van Leyden has painted a similar subject in a 
 picture also in the Munich Gallery of Old Masters. 
 
 Historical pictures of St. Margaret represent the 
 main incidents of her life and her martyrdom as 
 follows: 1) She is keepmg the sheep which belonged 
 to her nurse, when the Caesarean ruler of Antioch 
 sees and covets her. 2) She announces herself to be 
 the servant of Christ. 3) She is thrown into prison 
 and comforted by the Holy Ghost in the form of a 
 Dove. 4) She is tortured with forks and barbed 
 prongs as she hangs suspended from a gibbet. 5) She 
 conquers the Demon or Dragon. 6) She is cast into 
 a cauldron of boiling pitch. 7) She is beheaded. 
 
 * *K * 
 
 And now the Four Great Virgins of the Latin 
 Church—their official title—SS. Cercitia, AGNEs, 
 AcaTua and Lucia, who stand out on account of the 
 heroism with which they braved the wrath of the 
 pagan rulers, and the fortitude with which they bore 
 the most abominable humiliations and tortures and, 
 finally, death, in defence of their chastity and their 
 faith in the new religion of Jesus Christ. Unlike the 
 Virgin Patronesses, who, with the exception of St. 
 Ursula, were, as we have already stated, Greek saints, 
 they are not universally considered throughout 
 Christendom, but only in the Roman church and 
 the Reformed Church of England. The Virgin 
 Patronesses are worshipped in the Greek and Rus- 
 sian Orthodox Church, as well as in the Roman, but 
 only St. Catherine and St. Margaret are included 
 in the Protestant Episcopal Calendar of Saints. 
 
 Sr. Cecixia was of patrician blood, whose parents 
 were among those numerous Romans—St. Sebastian 
 was another—who professed Christianity secretly, 
 making at first no open show of their conversion. 
 Having a special gift for music, she composed hymns 
 and invented the organ, which she consecrated to 
 the glory of God. She was married to a young noble, 
 who, like herself, was of virtuous character, and who 
 not only respected the vow of perpetual chastity she 
 had made when a child, but also became a Christian, 
 was baptised by St.. Urban, and suffered martyrdom 
 with his brother Tiburtius and a centurion named 
 Maximus, whom they converted while under his 
 charge in prison. AII three were canonised and are 
 buried in the cemetery of St. Callixtus. A Roman 
 prefect named Almachius, coveting St. Cecilia and 
 her wealth, called upon her to renounce her faith, 
 and upon her scornful refusal caused her to be cast 
 in a bath of boiling water in her own house, from 
 which, however, she emerged uninjured. Thereupon 
 she was ordered to be beheaded, but the execu- 
 tioner’s hand trembled so violently that, though he 
 struck at her three times, she lived, terribly wounded, 
 for three days. St. Cecilia’s house in Rome was con- 
 secrated as a church, at her own request, and the 
 

 
 THE FOUR GREAT VIRGINS OF THE LATIN CHURCH AND ST. 
 BARBARA, BY MORETTO, IN SAN CLEMENTE AT BRESCIA. 
 IT IS A VOTIVE PAINTING IN HONOR OF ST. CECILIA, AFTER 
 WHOM IT IS NAMED. THE SAINTS ARE, READING FROM LEFT TO 
 RIGHT: (ABOVE) ST. AGATHA, AND ST. AGNES WITH HER LAMB. 
 (BELOW) ST. LUCIA, ST. CECILIA, AND ST. BARBARA 
 bath chamber is now the chapel of it. The heating 
 apparatus still exists, for the church was repaired 
 and decorated anew in the 16th century. St. Cecilia 
 is almost always represented with musical instru- 
 ments in pictures painted since about 1400 A. D. 
 Prior to that she was depicted with a crown of 
 martyrdom, holding a gospel. In groups of saints 
 such as the Coronation by Fra Angelico m the 
 Louvre, St. Cecilia is frequently shown with a 
 wreath of red and white roses on her head. In this 
 particular picture she appears kneeling opposite St. 
 Nicholas of Myra right in the foreground with her 
 back turned to the spectator. She has no musical 
 attribute. Care must be taken in such cases not to 
 confuse her with St. Dorothea of Cappadocia, who 
 usually carries roses in a fold of her dress and a book. 
 One of the best known paintings of St. Cecilia is that 
 by Raphael m the Bologna Museum reproduced on 
 page 16, where it is fully explained. In the picture 
 by Moretto of Brescia, illustrated above where 
 the four Latin Virgins are assembled with St. Bar- 
 bara, and in which St. Cecilia is the central figure, 
 she is shown holding a miniature organ under her 
 arm. In theBartholomewAltar in Munich she stands 
 with the Apostle and St. Agnes, playing a minia- 
 ture organ upheld by an angel. The famous wing of 
 the “Adoration of the Lamb” altar-piece by the 
 
 104 
 
 Van Eyck brothers at St. Bavon’s at Ghent shows St. 
 Cecilia playing an organ as a pendant to the equally 
 famous angel choir. (See Plate XVIII). Pictures 
 of the martyrdom of St. Cecilia can be recognised 
 from our short account of her sufferings and death. 
 
 Sr. AGNEs, the second of the Latin Virgins, is 
 always, I think, represented with a lamb, the symbol 
 of innocence and meekness, and frequently with a 
 palm and a crown of martyrdom. (Plate VI.) Her 
 legend is one of the most ancient and authentic in 
 ecclesiastical history, and the Church of St. Agnes 
 in Rome is said to have been built early in the 4th 
 
 
 
 ST. CECILIA AT THE ORGAN SHE IS SAID TO HAVE INVENTED, 
 
 SURROUNDED BY ANGEL MUSICIANS. ONE OF THE WINGS OF 
 
 THE ADORATION OF THE LAMB ALTAR-PIECE AT GHENT, BY THE 
 
 VAN EYCK BROTHERS (1366-1426 AND 1390-1440). THIS PIC- 
 
 TURE WAS FORMERLY AT BERLIN BUT WAS RETURNED TO 
 
 BELGIUM IN IQIQ WITH OTHER PORTIONS OF THE VAN EYCK’S 
 MASTERPIECE 
 
PLATE XXXII THE SAINTS IN ART 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 _SOME WELL-KNOWN PICTURES 
 || OF SAINTS LUCIA, CECILIA, 
 AGNES, AND DOROTHEA 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 1) St. Lucia, by Carlo Dolci (1616-1686) in Florence. Note the rays of light issuing from the wound in her throat, in reference 
 to the meaning of her name. 2) The Madonna, between SS. Dorothea, of Cappadocia—also the birth-place of St. George—and 
 Agnes, whose distinctive lamb, again in reference to her name, is lying at her feet. St. Dorothea, who was an early Greek Virgin 
 Martyr is always shown with a basket or bow] of fruit and red and white roses, which she is frequently offering to the Madonna 
 or Child, as depicted here by the unidentified German master of the Holy Family (Meister der Heiligen Sippe), in the Wallraf- 
 Richartz Collection in Cologne. 3) It is hard to believe that this gross richly-costumed, sentimental creature painted by 
 the famous Fleming, Peter Paul Rubens (1577-1640), in the Berlin Gallery, is intended to be the dainty ethereal martyr, St. 
 Cecilia. An excellent example of degradation in Art, after the end of the Cinquecento. 4) Although this charming picture by 
 Francesco Ubertini, (Bacchiacca), in the collection of Mr. Dan Fellowes Platt, is called St. Agnes, and might quite well be so, 
 (see page 106), we believe it is actually intended as a devotional representation of the Magdalene, inspired by the picture by 
 Timotei Viti (see page 70) for the Lamb of the Virgin Patroness is not present. (Courtesy of the Ehrich Galleries). 
 
 105 
 
Century by Constantine the Great over the very 
 spot where she died. The mosaic showing the young 
 saint with Popes Honorius I (626-638 A. D.), who 
 built the edifice, and Symmachus (498-514 A. D.), 
 the former holding a model of the Church, and the 
 latter a book, is still mm existence and should be 
 visited by all lovers of Christian art who find them- 
 selves in the Eternal City. Next to the Evangelists 
 
 into a dungeon, still without raiment, she again 
 prayed for succor, whereupon an angel descended 
 from Heaven and wrapped a shining cloak around 
 her virginal form. (See Plate VII.) The son of Sem- 
 pronius entering her cell was stricken with blindness 
 as he gazed irreverently upon her, but, movedto pity, 
 she prayed for his recovery and her prayer was 
 granted. For this the people called for her punish- 
 
 
 
 THE CENTRE PANEL OF THE BARTHOLOMEW ALTAR-PIECE BY THE ANONYMOUS GERMAN PAINTER, KNOWN AS THE “MASTER OF THE 
 
 BARTHOLOMEW ALTAR,” IN THE MUNICH GALLERY. 
 ATTRIBUTE (SEE PAGE 59). 
 
 THE APOSTLE HOLDS A GOSPEL AND THE LARGE KNIFE WHICH IS HIS PARTICULAR 
 AT THE LEFT IS ST. AGNES WITH HER LAMB AND BOOK, AND, AT THE RIGHT, ST. CECILIA 
 
 WITH THE MODEL OF AN ORGAN 
 
 and Apostles, St. Agnes is the earliest Saint to appear 
 in Art. In devotional pictures she is unmistakable 
 by her youth and innocence and her Iamb and book, 
 while pictures of her martyrdom are sufficiently dis- 
 tinctive to permit of no confusion with other female 
 saints. Having taken a vow of chastity and of devo- 
 tion to the service of Our Lord, she was pursued by 
 the desires of the son of the prefect Sempronius. The 
 youth fell sick and was like to die unless the maiden 
 would consent to marry him, as he had requested of 
 her parents. Semprontius tried to bring her back to 
 the faith of his pagan gods and to consent to a union 
 with his son, but upon her refusal became violently 
 angry, caused her to be loaded down with chains and 
 exposed unclothed to the soldiers and the multitudes. 
 But as her garments were torn off her she prayed to 
 her God, who caused her hair to grow instantly and 
 fall as a cloak around her. Then when she was cast 
 
 106 
 
 ment as a sorceress and the ungrateful prefect 
 caused her to be flung into a fire which left her 
 unscathed. Thereupon the people more convinced 
 than ever that the maiden was a witch, clamored 
 still more loudly for her blood, and again yielding, 
 Sempronius ordered the executioner to behead her 
 as she stood upon the harmless pile of blazing fagots. 
 She was buried in the Via Nomentana where she is 
 said to have appeared to her parents in a vision and 
 told them that she was seated on a throne in Heaven 
 close to Him to whose service she had devoted her 
 life. All these incidents are portrayed in narrative 
 pictures of St. Agnes, which have ever been popular, 
 particularly with Roman women. Perhaps the best 
 known are those by Tintoretto in the Madonna dell’ 
 Orto Church in Venice, Domenichino’s dramatic 
 work in Bologna, and Ribera’s famous picture, repro- 
 
 duced on Plate VII of this book. 
 
The martyrdom of St. AGATHA is so particularly 
 painful and oppressive even in pictures that it has 
 been represented in art comparatively seldom. Her 
 history relates that she was a native of Catania in 
 Sicily, where the wicked Emperor Decius placed his 
 creature Quintianus as King, with orders to put all 
 Christians to the sword. He did this to justify his 
 murder of his predecessor, Philip, who was a Chris- 
 tian, but whose throne he had coveted to gratify his 
 own overweening ambition. The beauty of the 
 maiden, Agatha, fired him with evil lusts, and he 
 attempted in many unmentionable ways to possess 
 himself of her. Failing, in spite of all, to achieve his 
 object, he abandoned himself to a frantic rage 
 against the girl, and ordered that her breasts be 
 severed from her body, which was done, but in the 
 night St. Peter and an angel appeared to her in a 
 vision and healed her wounds with ointment. Then 
 she was thrown into a fire, but an earthquake rocked 
 the city, and the inhabitants, laying the blame to the 
 cruel tortures to which St. Agatha had been sub- 
 jected, obtained her release. But she died almost 
 immediately from her frightful myjuries. AII this 
 happened in the early years of Christianity, as early 
 as 253 A. D. It is related that in 1551, the Turkish 
 infidels were prevented from capturing Malta by the 
 intervention of St. Agatha and that is the reason for 
 her being the patroness of the small island in the 
 Mediterranean. In devotional pictures she Is gen- 
 erally depicted holding a female breast, or some- 
 times a pair, in her hands or on a platter, as in the 
 Moretto picture on page 104. She is also seen in 
 some works holding a pair of shears and wearing 
 the veil, which was wound about her bosom 
 after her torture. Of pictures relating to her 
 actual martyrdom, I know none which belong to 
 what we might call the sincere period in art. Those 
 that do exist such as the famous Sebastiano del 
 Piombo canvas, in the Pitti Palace, and the awful, 
 dramatic, representation of the suffering maiden by 
 Tiepolo, in the Berlin Museum, are all of a late 
 school, when the painters took advantage of the 
 opportunity, comparatively rare in sacred art, of 
 presenting the nude female form in all the splendor 
 with which they were able to endow it. In the pic- 
 ture by Callisto da Lodi, a huge canvas over the high 
 altar of the church dedicated to St. Agatha in 
 Brescia, she is seen hanging upon a cross, with only 
 a few drops of blood upon her veiled bosom to indi- 
 cate the mode of her suffering. 
 
 The last of the Four Great Virgins, St. Lucta, or 
 Lucy, was, like her companions in the Church 
 hierarchy, pursued by the evil designs of the ruler 
 of the province in which she lived, and resisted them 
 in spite of all the tortures to which she was sub- 
 jected. She was very wealthy, and at fourteen years 
 of age was betrothed by her mother to a young 
 pagan, but her secret vow of chastity was, owing to 
 a miracle which convinced her mother, respected, and 
 
 107 
 
 St. Lucy was permitted to sell all their possessions 
 and give the proceeds to the poor. This enraged her 
 suitor so much that he denounced her as a Christian 
 to Pascasius, the prefect of Syracuse, who had re- 
 ceived orders from the monstrous Diocletian to 
 exterminate the followers of the new Faith in his 
 province. Previously, however, as the young pagan 
 complained that the chaste maiden’s eyes haunted 
 him at all times, she deliberately tore them out and 
 sent them to him on a platter. This incident is re- 
 ferred to when St. Lucia is shown, as she generally 
 is, with a pair of eyes on a dish (see our illustration, 
 page 104). Pascasius tried his utmost to induce her 
 to sacrifice to the gods, but in vain, and upon her 
 definite refusal, resorted to the then common device 
 
 Al 
 
 4S cette, ints 
 
 - = _ 
 srk i ee a 
 
 
 
 ST. LUCY REMAINS IMMOVABLE AGAINST THE PULLING OF FOUR 
 OXEN. A PICTURE BY LORENZO DI NICCOLO (1370-1440) IN 
 THE METROPOLITAN MUSEUM OF ART 
 
 of sending this pure maiden to a house of ill-fame. 
 She was, however, shielded from defilement by the 
 miraculous strength which was given her, and Pas- 
 casius ordered her to be slain with the sword. But 
 when the executioners came to lead her to the place 
 of suffering, neither they nor a double team of oxen 
 could move her from where she stood—symbolising 
 the power of Christian resistance to evil—nor could 
 a fire lit around her move her, until finally a soldier, 
 desirous of pleasing the infuriated prefect, thrust a 
 dagger into her throat, whereupon her soul was 
 released. 
 
 In devotional pictures, St. Lucy is shown some- 
 times with a wound in her throat from which issue 
 rays of light as in the famous Carlo Dolci picture in 
 the Florence Academy. She ts frequently seen with 
 a lamp, in reference to her name, Lucia, derived, it 
 goes without saying, from the Latin lux, 1. e., light. 
 But her usual attributes are either a dagger, or her 
 eyes, sometimes on a platter, as in the Moretto pic- 
 ture of the Four Virgins, or, as in a curious work by 
 Zenale in the Church of S. Martino at Treviglio, 
 with her two eyes impaled on a skewer with a bottle- 
 shaped handle. Lorenzo di Niccolo (1370-1440) 
 painted an interesting though naif series of four 
 scenes from the life of St. Lucia, which is now in the 
 Metropolitan Museum. The first panel shows her 
 with her mother at the shrine of St. Agatha, whither 
 they had journeyed to pray at the tomb of the 
 
virgin saint for the restoration to health of Lucia’s 
 mother, on which occasion St. Agatha appeared to 
 her and told her that henceforth she could by her 
 own prayers protect her native city of Syracuse, and 
 obtain her mother’s return to good health. The 
 second shows her giving away the proceeds of the 
 sale of her estates. In the third she is traduced before 
 the prefect Pascasius by her suitor, while the fourth, 
 which we reproduce here, depicts her resisting the 
 attempts of a double yoke of oxen to drag her to 
 the place of execution. (See preceding page). 
 
 * * * 
 
 Before closing this chapter, it is, I think, neces- 
 sary to say a few words about the large number of 
 courageous converts to Christianity, who, durmg the 
 course of the ten major persecutions, suffered horrible 
 tortures and appalling deaths with an almost unbe- 
 lievable fortitude, in both men and women, among 
 young people and children, as among the aged. The 
 vast majority are, of course, anonymous, “‘Unknown 
 Soldiers” of the first army of Christ Our Lord, but 
 some of them are known to us, either because of 
 their outstanding social position, or their steadfast- 
 ness under suffermmg. We have classed them as the 
 Early Martyrs, and included those who died in the 
 first three hundred years of the Christian Era, from 
 the time of Nero (44-68 A. D.) to that of Diocletian 
 (284-305 A. D.). If any reader will trouble to look 
 through the list of Saints classified according to their 
 costumes, which closes this book, they will be 
 astonished at the number of martyr-saints who suf- 
 fered under the last cruel tyrant. 
 
 The word “Martyr” simply means “witness” 
 (to the Faith), and Martyrdom, “‘death for the true 
 Faith or for any article thereof, or being killed in 
 odio fidet.”’ 
 
 The Proto-Martyr, he who first—not counting 
 the Innocents who were slain at Bethlehem by 
 Herod in the hope of including in the slaughter the 
 Infant Jesus—suffered martyrdom for the religion of 
 Christ was St. Stephen, who was stoned to death as 
 described in the Acts of the Apostles vit. 59, while 
 Saul, who became the Apostle Paul, looked on and 
 guarded the clothes, “and Saul was consenting unto 
 his death” (Acts vii. 1). Stephen was one of the 
 seven deacons (Acts vi. 5) chosen by the “‘multitude 
 of the disciples”’ and ordained by the Apostles, and 
 it is in the robes of that office that he is invariably 
 depicted. (Plate XX XIII.) His typical dalmatic is 
 bright crimson, embroidered and tasselled with gold. 
 He is never without the palms—being the Proto- 
 Martyr, the first of all, with no possible doubt as to 
 the authenticity of his story—nor without one or more 
 stones on his head, or shoulder, or Iying near him on 
 the ground, or again on a gospel in his hand. Do 
 not confuse with St. Nicholas of Myra, and his three 
 balls of gold. The latter is never represented other 
 than as a bishop, while St. Stephen always wears the 
 distinctive dalmatica of a deacon. It seems strange 
 
 ‘ 
 
 108 
 
 that in spite of the biblical sanction for the martyr- 
 dom of St. Stephen, he does not appear in the great 
 mosaic of St. Apollinare Nuovo at Ravenna—nor of 
 course in the more accessible copy at the Church of 
 St. Vincent de Paule in Paris—in which forty-two 
 martyrs, twenty-one men and a like number of 
 virgins, are depicted in procession, bearing crowns, 
 and advancing, one group from the right, the other 
 from the left, towards an enthroned Madonna im the 
 centre. This mosaic having been executed in the 
 sixth century—about 434 A. D.—the choice of the 
 martyrs represented is of prime interest to stu- 
 dents and art lovers, for naturally only those who 
 were most in favor would be selected. And although 
 the work was executed by Greek mosaic artists, and 
 by order of the Byzantine Emperor Justinian, only 
 six of the forty-two are Greek Saints. The others 
 all belong to the Western, or Roman, Church. The 
 names of the Byzantine, or Greek, saints are marked 
 in the followimg list with an asterisk. The order given 
 is that of the procession, with the head of each sec- 
 tion being nearest to the Madonna, and it will be 
 noticed that many of the most important saints in 
 the Calendar of today do not appear at all in this 
 sixth-century list which, on the other hand, includes 
 many who are now forgotten. 
 
 The men, Ied by St. Clement the Pope, are SS. 
 Justinus, Lawrence the deacon, and Hippolytus, his 
 warrior guard and disciple; “Cyprian of Antioch, the 
 companion of St. Justina; Cornelius the Pope (2547- 
 242); Cassian, Bishop of Imola; the Roman brothers, 
 John and Paul; Vitalis of Ravenna and his two sons, 
 Gervasius and Protasius of Milan; Ursmus; Apol- 
 linaris, the early bishop of Ravenna in whose honor 
 the church was built and who was martyred in 79 
 A. D.; Sebastian; “Demetrius; *Polycarp, the dis- 
 ciple of St. John the Evangelist and first Bishop of 
 Smyrna, who is called one of the earliest ‘Fathers 
 of the Church’”’; Vincent, deacon of Saragossa and 
 one of the most renowned saints in the calendar; 
 Pancras, the 14-year-old martyr under Diocletian; 
 Chrysogonus and Sabinus, the Roman martyrs. 
 
 The Virgin martyrs are Ied by *St. Euphemia of 
 Chalcedonia, instead of St. Catherine as they would 
 be in a similar work composed today. Following the 
 ““Great”’ Virgin, as she is called in the Eastern 
 Orthodox Church, are in order, SS. Paulina; Daria— 
 whose usual companion, St. Chrysanthus, is not 
 present; Anastasia, the companion of Chrysogonus— 
 * Justina of Antioch who is usually seen with Cyprian; 
 *Perpetua who appears nowhere else in Art; Felici- 
 tas, who died with her seven sons for the true Faith; 
 Vincentia; Valeria; Crispina; Lucia and Cecilia, two 
 of the “‘Four Great Virgins”; Eulalia the Spanish 
 martyr; Agnes and Agatha, the other two “Great 
 Virgins’’; Pelagia, one of the Blessed Penitents, an 
 actress; Sabina, the Roman patrician; Christina, 
 patroness of the Venetian States; Eugenia, who lived 
 as a monk under the name of the Abbot Eugenius; 
 Anatolia and Victoria. 
 
The most popular saints of today are not here at 
 all. SS. Catherine, Barbara, Margaret, Dorothea and 
 Ursula, Stephen, George of Cappadocia, Christo- 
 pher, are all missing from this interesting procession. 
 
 This list of the Early Martyrs, classified as such, 
 with those of the Eastern and Roman persecutions 
 and of the other Italian states and foreign countries, 
 will be found on page 155 near the end of the book, 
 each list arranged in alphabetical order. 
 
 And in addition to these few of the more impor- 
 tant saints of whom I have found it necessary to 
 speak at length in order that their various appear- 
 ances In art may be instantly understood, there are 
 at least a hundred more who were also frequent sub- 
 jects for the artists of bygone days. It is not that 
 their sacrifice of all that life held dear to them was 
 less great than that of their more renowned brethren, 
 but simply that their celebrity being more local, less 
 universal, their appearances are less frequent, and, 
 however entrancing I may find this subject, I must 
 not allow myself to forget that this book is designed 
 first and foremost as a practical aid to those who 
 want to understand the significance of the thousands 
 of sacred pictures which crowd the galleries of the 
 old and even the new world. Therefore to our regret 
 we must leave the rank and file of “the Noble Army 
 of Martyrs” to others who are fortunate in having 
 a greater space at their command, and simply refer 
 our readers to the list we have prepared classifying the 
 saints by their costumes, and the alphabetical index 
 which will tell the reader in which category of that 
 list to look for any saint he may wish to identify. 
 
 MISCELLANEOUS PATRON SAINTS 
 
 OF COUNTRIES, CITIES, PROFESSIONS, ETC. 
 
 The knowledge of the various Saints who were, 
 or in some cases are still worshipped, as Patrons of 
 some locality, is most important in the “reading”’ of 
 pictures, particularly those which are still hanging in 
 the City, Church, Chapel or Monastery for which 
 they were painted. For example in Bologna one sees 
 numerous representations of a Saint holding a model 
 in his hand. The high belfry in the model tells us 
 that this is Samt Petronius, who rarely appears 
 except in Bolognese pictures. Thus can we often 
 Jocate a Master, or at least a school of painting. 
 Again, a Warrior Saint with a palm in Bergamo is 
 certainly St. Alexander, who is that city’s chief 
 patron. Otherwise a warrior saint with a palm might 
 be St. George, or St. Longinus, or St. Adrian, or St. 
 Liberale though the latter two usually bear an anvil 
 and a spear respectively, as their attributes. 
 
 The number of Saints who are patrons of coun- 
 tries, cities, classes of society, or against troubles, 
 sickness and so forth is Iegion and we can only give 
 a succinct list of the most important. Many of 
 these do not occur in Art at all, but we publish them 
 here for reference purposes. For the same reason we 
 have arranged them in categories, and im alpha- 
 betical order in each category. 
 
 109 
 
 CountTRIES 
 
 Austria: St. Leopold, St. Stephen, St. Maxi- 
 milian, St. Coloman. 
 
 Bavaria: St. George. 
 
 Bouemia: St. John Nepomuck, St. Wenceslas, 
 St. Ludmilla, St. Vitus, St. Procopius. 
 
 Burcunpy: St. Andrew. 
 
 DENMARK: St. Anscharius and St. Canute. 
 
 ENGLAND: St. George. 
 
 FLANDERS: St. Peter. 
 
 FRANCE: St. Michael, St. Dionysius (Denis), St. 
 Geneviéve, St. Martin. 
 
 GERMANY: St. Martin, St. Boniface and St. 
 George Cataphractus; SS. Maurice and Gereon. 
 Ho.ianp: St. Mary. 
 
 Huncary: St. Mary of Aquisgrana and St. Louis. 
 IRELAND: St. Patrick, St. Bridget. 
 
 Iraty: St. Anthony of Padua. 
 
 Norway: St. Olaf and St. Anscharius. 
 PiepMonT and Savoy: St. John the Baptist, 
 Maurice, St. George, St. Amadeus. 
 
 PoLanp: SS. Stanislas and Hedwiga. 
 PorTuGAL: St. Sebastian. 
 
 Prussia: St. Andrew and St. Albert. 
 
 Russia: St. Nicholas, St. Mary and St. Andrew. 
 SARDINIA: St. Mary. 
 
 ScoTLAND: St. Andrew. 
 
 Sicity: St. Vitus, St. Rosalia (Palermo), St. 
 Agatha (Messina), St. Lucia (Syracuse). 
 
 Spain: St. James (Sant’ Jago). 
 
 SwepD_En: St. Anscharius, St. Eric and St. John. 
 
 SWITZERLAND: St. Gall and the Virgin Mary. 
 
 TuHurINGIA and all that part of Saxony: St. 
 Elizabeth of Hungary, St. Boniface. 
 
 Umpria: All through this region and the eastern 
 coast of Italy, very important in respect to art, the 
 favorite Saints are: St. Nicholas, St. Francis of 
 Assisi, St. Clara, St. Julian of Rimini and St. 
 Catherine of Alexandria. 
 
 Wates: St. David. 
 
 StU 
 
 
 
 CITIES 
 
 ABERDEEN: St. Nicholas. 
 
 ANCONA: St. Syriacus, and his mother Anna. 
 
 ArREzzo: St. Donato. 
 
 Asti, Novara, and all through the cities of P1Ep- 
 MONT and the north of Italy, we find St. Maurice, 
 and his companions St. Secundus, St. Alexander, and 
 the other Martyrs of the Theban Legion. 
 
 Aucssurc: St. Ulrich, St. Afra. 
 
 BamBerc: St. Henry and St. Cunegunda. 
 
 BarceELona: St. Eulalia. (In Spanish pictures 
 only.) 
 
 Bercamo: St. Alexander, St. Grata. 
 
 Botocna: St. Petronius, St. Dominick, St. Pro- 
 culus, St. Eloy (Eligio), Patron of Goldsmiths and 
 Farriers. 
 
 Brescia: SS. Faustinus and Jovita, St. Julia, St. 
 Afra. 
 
 Bruces: St. John the Baptist. 
 
 BrusseEts: St. Mary Magdalene and St. Gudula. 
 
CoLtocNe: The Three Magi, 
 Ursula, St. Gereon. 
 
 Cortona: St. Margaret. 
 
 Cremona: St. Omobuono. 
 
 EpInBurGH: St. Giles. 
 
 FERRARA: St. Gemignano, St. George, St. Bar- 
 bara. 
 
 FIESOLE: St. Romolo. 
 
 FLoRENCE: St. John the Baptist, St. Zenobio, St. 
 Antonino, St. Reparata, SS. Cosmo and Damian (the 
 Apothecary Saints, especial patrons of the Medici 
 family), St. Verdiana, St. Miniato, St. Zenobius. 
 
 Genoa: St. George, St. Lawrence. 
 
 GHENT: St. Bavon. 
 
 GRENOBLE: St. Hugh the Carthusian. 
 
 Liece: St. Hubert, St. Lambert. 
 
 LissBon: St. Vincent. 
 
 Lucca: St. Martin, St. Frediano, St. Zita. 
 
 Maprop: St. Isidore, St. Dominick (Patron of the 
 Escurial), St. Lawrence. 
 
 Mantua: St. Andrew, St. Barbara, St. George, 
 and St. Longinus. 
 
 MarsEILLEs and all Provence: St. Lazarus, St. 
 Mary Magdalene, St. Martha, St. Marcella. 
 
 Messina: St. Agatha. 
 
 Miran: St. Ambrose, St. Gervasius and St. Pro- 
 tasius, St. Maurice, St. Victor. 
 
 Mopena: St. Gimignano. (In pictures of the 
 Parmese school.) 
 
 Naptes: St. Januarius. 
 
 Novara: St. Gaudenzio (see AstT1). 
 
 NureEmBurc: St. Lawrence, St. Sebald. (The Jat- 
 ter an important person in pictures and prints of the 
 Albert Diirer school.) 
 
 Oxrorp: St. Frideswide. 
 
 Papua: St. Anthony of Padua. 
 
 Paris: St. Geneviéve, St. Germain, St. Hippo- 
 lytus. 
 
 Parma: St. John the Baptist; St. Thomas the 
 Apostle; St. Bernard; St. Hilary (Ilario). 
 
 Peruaia: St. Ercolano and St. Costanzo. 
 
 Piacenza: St. Justina, St. Antoninus (Theban 
 Legion). 
 
 Pisa: St. Ranieri, St. Torpé, St. Ephesus and St. 
 Potita. (These only in the ancient Pisan school.) 
 
 Ravenna: St. Apollinaris. 
 
 Rimint: St. Julian. (A young saint, popular all 
 through the north and down the east coast of Italy.) 
 
 Rome: SS. Peter and Paul. 
 
 SEVILLE: St. Leander, St. Justina, St. Rufina. 
 (These are only found in Spanish pictures.) 
 
 Si—ENA: St. Ansano, St. Catherine of Siena, St. 
 Bernardino. 
 
 Toepo: St. Ildefonso, St. Leocadia. (Only in 
 Spanish pictures.) 
 
 Treviso: St. Liberale. 
 
 Turin: St. John the Baptist, St. Maurice. 
 
 VALENCIA: St. Vincent. 
 
 VENICE: St. Mark, St. George, St. Theodore, St. 
 Nicholas, St. Catherine, St. Christina. 
 
 or Kings, St. 
 
 VERCELLI: St. Eusebius, St. Theonestus (Theban ——— 
 Legion). 
 
 VERONA: St. Zeno, St. Fermo, St. Euphemia. 
 
 VIENNA: St. Stephen. 
 
 CLASSES OF SOCIETY, TRADES AND PROFESSIONS 
 
 ARCHERS: St. Sebastian. 
 Artists: St. Catherine. 
 BooKsELLers: St. John Port-Latin. 
 Captives: St. Leonard and St. Barbara. 
 CarPENTERS: St. Joseph. 
 CHILDREN, PROTECTION FROM REPROACH: St. 
 Susanna. 
 Divines: St. Thomas. 
 FISHMONGERS: St. Peter. 
 Foots: St. Mathurin. 
 GOLDSMITHS AND FarrieERs: St. Eloy of Noyon. 
 Hatters: St. William of Aquitaine. 
 Hunters: St. Eustace and St. Hubert. 
 LAWYERS AND CrviLiAns: St. Yves of Brittany. 
 LITERATI AND Stup1ous Persons: St. Catherine 
 and St. Gregory. 
 Lovers: St. Valentine. 
 Mariners: St. Christopher and St. Nicholas. 
 Mixuers: St. Arnold. 
 Musicians: St. Cecilia. 
 Naixsmitus: St. Cloud. 
 Nurses: St. Agatha. 
 PaInTERs: St. Luke. 
 PARISH-CLERKS: St. Nicholas. 
 PERIWIG MAKERS: St. Louis of France. 
 PHYSICIANS AND SURGEONS AND PHILOSOPHERS: 
 Cosmo and St. Damian. 
 Pitcrims: St. Julian Hospitator. 
 PIN-MAKERS: St. Sebastian (on account of his 
 body having been used as a pin-cushion for arrows!). 
 Prisoners: St. Leonard and St. Roch. 
 SaiLors: St. Nicholas. 
 SHOEMAKERS: St. Crispin. 
 Smitus: St. Eloy. 
 SWINEHERDs: St. Anthony. 
 TANNERS: St. Clement. 
 VirGins: St. Winifred. 
 Younc CuiLpren: St. Felicitas, St. Nicholas, St. 
 Ursula, St. Catherine. 
 
 Sh 
 
 AGAINST SICKNESS AND TRIBULATIONS 
 
 Co.iic AND KINDRED TROUBLE: St. Erasmus. 
 
 Deatu, SUDDEN: St. Mark. 
 
 Eye Trovus.es: SS. Ottilia and Lucia. 
 
 Frre, DESTRUCTION OF PROPERTY BY, AGAINST: 
 St. Agatha, St. Anthony of Padua. 
 
 Mice Anp Rats: St. Gertrude. 
 
 Nervous TRouBLEs: St. Vitus. 
 
 PLAGUE AND INnFEcTIOUS DisEASEs: St. Roch and 
 St. Sebastian. 
 
 Quincy: St. Blaise. 
 
 TEETH, ACHING OR DecayreEp: St. Apollonia. 
 
 Tuieves: St. Ethelbert. 
 
 IIo 
 
PEATE XXXII THE SAINTS IN ART 
 
 SOMBOr “THE 
 MOST POPULAR 
 PATRON SAINTS 
 monies | HE PRO- 
 TO-MARTYR: ST. 
 STEPHEN 
 
 
 
 
 
 1) St. Apollonia, the Greek Virgin Martyr, Patroness against dental troubles, holding the pincers and tooth, which are 
 her attributes in art, by some 16th Century Ferrarese Master, in the Louvre. 2) Enthroned Madonna, with SS. Omobuono 
 and Francis of Assisi, by Bartolommeo Montagna (c. 1450-1523) in the Berlin Museum. Note the tiny St. Catherine with her 
 pen, book, and wheel, in the centre foreground, and St. Bernardino da Feltri kneeling at the feet of the patr.crch of his order, 
 St. Francis, and holding up a miniature ‘“Monte-di-Pieta.”’ 3) St. Lucy, with her eyes in a bowl and her dagger, by Zagarelli 
 da Cotignola (w. 1495-1518). (Courtesy of the Kleinberger Galleries). 4) St. Maurice, of the Theban Legion, as a Moor, in 
 reference to his name—a frequent occurrence in German pictures—with St. Erasmus, Bishop of Formio, by Matthias Griinewald 
 (died c. 1530), in the Munich Gallery. 5) The famous Etienne Chevallier, with his patronymic patron, St. Stephen, by the rare 
 French master, Jean Fouquet (w. 1461-1485), in the Berlin Gallery. Note the stone on St. Stephen’s Old Testament (see page 19). 
 6) ae Stephen, in his usual dalmatic, by Francia, in the Casino Borghese in Rome. Note the blood on his head and the stones 
 in front of him. 
 
 
 
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 THE WORLD-RENOWNED “TRIUMPH OF DEATH’? PROBABLY BY FRANCESCO TRAINI, IN THE CAMPO SANTO IN PISA. THIS INTERESTING 
 WORK OF A FOLLOWER OF GIOTTO IS REPLETE WITH SYMBOLISM AND YET IS MORE NATURALISTIC THAN ANYTHING EXECUTED UP TO THAT 
 
 TIME. 
 IN THREE COFFINS. 
 LIVES OF THE DEAD MEN. 
 
 IN THE FOREGROUND WE SEE A NUMBER OF KNIGHTS LOOKING AT THREE BODIES LYING IN VARIOUS STAGES OF DECOMPOSITION 
 ONE IS A KING, FOR HE WEARS A CROWN. A HERMIT, PROBABLY ST. RANIERI OF PISA, PRESENTS A ROLL OF THE 
 IN THE MOUNTAINS ABOVE, AN INTERESTING GROUP OF HERMITS IS ENGAGED IN PERFORMING THEIR DAILY 
 
 DUTIES, AND IN THE CENTRE OF THIS SECTION ST. ANTHONY IS PAYING HIS FAMOUS VISIT, OF WHICH WE SPEAK BELOW 
 
 CHAPTER XII 
 Tue Hermits AND MonasTICc Opes. 
 
 Although this grouping under one heading is 
 unusual in works of this kind, the only matter for 
 surprise Is that it is not always adopted, for the whole 
 principle and history of monasticism grew out of that 
 species of flight from temptation and self-mortifica- 
 tion which led men away from their fellows to seek 
 solitude and meditation mm the wilderness. The 
 hermits are therefore particularly venerated by the 
 church, partly because of their self-sacrifice and 
 sufferings for an ideal, partly, again, because out of 
 the principle of solitude grew the monastic orders 
 with their incalculable influence upon the whole 
 cultural history of humanity. We shall go more 
 fully into this Iater in this chapter. 
 
 The hermits who appear in art are listed in their 
 proper place among the Saints, classified by their 
 garments. Some of them are universally famous, 
 others enjoy a more local celebrity. Among the best- 
 known to all of us are, of course, St. Anthony of 
 Egypt, with his Iong beard, his hooded monastic 
 habit, his pig, his crutch and bell, and his aspergill; 
 
 I12 
 
 St. Jerome with his semi-nude body, his skull and 
 crucifix, his lion and his cardinal’s hat, and fre- 
 quently shown beating his chest with a big stone; 
 St. Giles of Edinburgh as an old man, holding a hart 
 wounded by an arrow—which had taken refuge in 
 his cave—and more rarely, St. Paul the Hermit, to 
 whom St. Anthony went for advice, and who might 
 be called the Father of the Anchorites or true Solli- 
 tary Hermits. He lived in the desert by himself for 
 nearly a century, rarely coming into contact with 
 other human beings until St. Anthony, who had 
 dwelt alone in a cavern for 75 years, and believed 
 that he had lived a life of self-mortification longer 
 than any other man had ever done, heard that 
 another hermit, Paul, had spent 24 years more than 
 he had, in the wilderness. St. Anthony reached 
 Paul’s cave just in time to receive his last breath and 
 blessmg. The two old men are sometimes seen 
 together, notably in four famous works, one by 
 Velasquez in the Prado, Madrid, another by Lucas 
 van Leyden in the Lichtenstein Gallery, Vienna, a 
 third by Pinturicchio in the Vatican, the last by 
 Guido Reni in the Berlin Museum, which we have 
 illustrated on page 114. 
 

 
 
 
 
 
 
 
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 PP Naan ws. asaw an eamncirnet 
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 ROTA IN ra Pow nT RES 
 
 
 
 
 
 TO ST. PAUL THE HERMIT (see below). 
 
 
 
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 IN THE FOREGROUND OF THE NEXT SECTION ARE A GROUP OF DEAD OR DYING, FROM SOME OF 
 
 WHOM ANGELS OR DEVILS ARE WITHDRAWING THE SOULS, AS NAKED INFANTS (SEE PAGE Daly WHILE ON THE RIGHT ARE A NUMBER OF 
 HAPPY PEOPLE, WHOM DEATH, WITH A SCYTHE IS ABOUT TO CUT DOWN. NOTE THE WAY THE DEAD ARE SEPARATED SHARPLY FROM THE 
 
 LIVING, LIKE IN A FIELD OF CORN PARTIALLY MOWN, WHICH IS THE IDEA INTENDED HERE. 
 
 IN THE AIR, SERAPHIM AND DEVILS ARE 
 
 BEARING AWAY THE SOULS OF THE BLESSED AND THE DAMNED RESPECTIVELY, OR FIGHTING FOR POSSESSION OF ONE OR ANOTHER. 
 
 St. Paul, alone, is shown as a very old man, 
 almost naked, with a girdle of leaves, seated near a 
 palm-tree. His beard should be white and very long. 
 Two lions are frequently mntroduced to illustrate the 
 legend relating that two such beasts, always the 
 emblem of solitude in the desert, dug his grave with 
 their paws. A centaur Is also brought in occasionally, 
 the mythical creature, half man, half horse, who led 
 St. Anthony to the cave of St. Paul. The raven, 
 which fed him, is another common accessory. Care 
 must be taken not to confuse him with St. Onofrio, 
 who ts also depicted clothed only with branches of 
 trees, but who is always made to appear as dirty and 
 shaggy and generally uncouth as possible. He figures 
 in the picture called the ‘“Meditation on the Passion”’ 
 by Marco Basaiti (attributed to Carpaccio) in the 
 Metropolitan Museum, and the great Andrea del 
 Sarto Madonna illustrated on page 114. 
 
 St. Paul was, as stated above, the founder of the 
 Anchorites, while St. Anthony found it better to 
 group together a number of hermits for prayer and 
 organized labors for Christ. They were known as 
 Cenobites, and their communities were, so to speak, 
 the first monasteries. St. Anthony is therefore seen 
 
 113 
 
 in some works holding a building in his hand, but 
 such pictures are rare, and when a saint is depicted 
 thus it generally represents St. Jerome, — who 
 introduced the monastic principle from the Theban 
 desert into Europe, and so is revered as the 
 founder of monachism in the West,—or some other 
 personage, who may or may not be a saint, but 
 who built a church or monastery. (See page 154, 
 Buildings.) 
 
 A number of women are included in this group of 
 hermits (see page 147), notably St. Mary Magdalene, 
 St. Gudula and St. Mary of Egypt. The two former 
 appear in the wonderful van Eyck panel of the Ghent 
 altarpiece, which depicts ten male hermits and two 
 women, led by St. Anthony who is recognisable by the 
 blue T-shaped cross on his breast. St. Onofrio fully 
 clothed as all the group is, can also be recognised by 
 his shaggy matted beard right behind St. Anthony, 
 St. Mary Magdalene is distinguished by her omtment 
 box, while the other is surely St. Gudula, for she is 
 the patroness of Brussels, and she is dressed in hand- 
 some robes, whereas the other female hermits were 
 of lower social rank and are always depicted in rags 
 
 or semi-nude. (See Plate XXXIV.) 
 
Now from the beginning of history we find that 
 two basic yearnings govern the soul of mankind, one, 
 that desire for spiritual community with the Al- 
 
 
 
 THE MADONNA IN GLORY WITH SS. ANTHONY OF EGYPT AND PAUL 
 THE HERMIT, BY GUIDO RENI, IN THE BERLIN MUSEUM 
 
 mighty while still in this life, which we term “mysti- 
 cism,” and the other, the sense of a necessity of more 
 or less painful penance for self-acknowledged short- 
 comings, which we know as “‘asceticism.”” Monasti- 
 cism (from the Greek “‘monastikos”—living alone) 
 was In sort the expression of these almost universal 
 longings regulated and developed, instead of being 
 governed solely by the degree of fortitude of soul 
 and body possessed by each individual penitent. 
 And so we find organised monasteries long before 
 the Christian era in such countries as Tibet and 
 India, and in China and Japan, where the Brahmins 
 and the Buddhist monks, respectively, Itved under 
 conditions very similar to those which obtained in 
 the European Christian establishments. In Judea 
 and in Alexandria in pre-Christian times the Essenes 
 and the Therapeutae, respectively, lived in the man- 
 ner of the later Cenobites under strict rules, but con- 
 cerned, as were all the Cenobites until the rule of St. 
 Benedict came to give a higher note to the system, 
 with the salvation, one might say by hook or crook, 
 of their own souls, rather than with the work of 
 doing good or giving the benefit of their meditations 
 to their fellow-men living in spiritual darkness. 
 
 114 
 
 So it follows that none of these early pre-Christian 
 monastic institutions had any effect upon the Chris- 
 tian communities of SS. Anthony and Benedict. 
 
 Now when St. Anthony, by his eloquence and 
 the exemplary life he led, drew*toward him large 
 numbers of converts who followed him and also took 
 to dwelling in caverns near him, he brought into being, 
 as It were, the earliest Christian monastery. He and 
 his first disciple, Pachomius, built an edifice on an 
 island in the Nile, to which St. Anthony returned 
 after the death of his mentor, Paul—which had been 
 attended by so many miraculous tncidents—and 
 where he died in the year 357 A.D. Hilarion, 
 another convert and disciple, founded the first 
 monastery in Syria, and still another, Basil, built the 
 first monastic cloister in Asia Minor. St. Jerome, 
 after a visit to St. Anthony, founded a number of 
 monasteries in Italy and Northwestern Europe, then 
 known as Gaul, and a century later the monastic 
 principle was firmly established by St. Benedict, who 
 had also lived as a hermit in the rocky wilderness of 
 Subiaco near Rome for three years. (See page 122.) 
 
 But whereas the hermits, bound by no laws, 
 acknowledging no authority, filled In many cases 
 with self-glorification, refusmg to study, and believ- 
 ing in nothing but their primitive theology, pre- 
 sented a menace rather than a support to the cause of 
 the religion of Jesus Christ, the monks of the Bene- 
 dictine order, and others which soon came into being 
 after it, must be looked up to forever, not only for 
 
 
 
 ANDREA DEL SARTO’S GREAT MADONNA AND SAINTS IN THE BERLIN 
 
 GALLERY. THE SAINTS ARE: Standing, SS. BENEDICT, PETER, 
 
 MARK AND ANTHONY OF PADUA. <Kueeling, SS. ONOFRIO AND 
 
 CATHERINE OF ALEXANDRIA. In front, SS. CELSUS AND JULIA, 
 
 THE VIRGIN MARTYR, WHOSE PRESENCE SHOWS THAT ANDREA DEL 
 
 SARTO PAINTED THIS PICTURE FOR BRESCIA, OF WHICH CITY 
 CELSUS AND JULIA ARE PATRONS 
 
their intelligent teaching of the Gospels but also 
 for their work in the realms of fine arts, of chem- 
 istry, of all the then-known natural sciences, in the 
 education of the people, and for their institution 
 of well-organised hospitals. It is safe indeed to say 
 that without the splendid disinterested Iabors of the 
 monastic orders in those early days the majority of 
 the glorious cathedrals which dot the face of Europe 
 would never have been built; innumerable literary 
 treasures would never have seen the light; the arts of 
 painting and sculpture would have been incalculably 
 slower in reaching their maximum of achievement; 
 medicine would long have continued in the primitive 
 methods of barbaric days, and strange as it may 
 seem in this connection, women would have re- 
 mained under the proprietary influence of chivalry, 
 until the mvention of gunpowder, making the knight 
 in armor an encumbrance and a danger rather than 
 backbone of an army as he used to be, drove feudalism 
 out of the field and allowed men to begin thinking 
 for themselves. In short, the influence of the monks 
 on every aspect of life was so tremendous that it is 
 hard to visualize what would have happened to civil- 
 isation had the monastic orders not come into being. 
 
 Now, pictures painted for them take several 
 important forms: 1) those which glorify the Saviour 
 in one or another of His manifestations on earth, or 
 
 
 
 SS. ANTHONY AND GEORGE WITH THE MADONNA IN GLORY, BY 
 PISANELLO (C. 1385-1455), IN THE NATIONAL GALLERY. NOTE 
 THE BELL, ASPERGILL AND PIG OF ST. ANTHONY 
 
 
 
 THE TEMPTATION OF ST. ANTHONY, AS INTERPRETED BY ONE OF THE 
 MOST INTERESTING OF ALL GERMAN PAINTER-ENGRAVERS, MAR- 
 TIN SCHONGAUER. (C. 1440-1491) (Courtesy of Kennedy er Co.) 
 
 the Virgm, His Mother, with one or more of the 
 most prominent saints of some particular order 
 gathered together around the throne of the Madonna, 
 or gazing rapturously upon such miraculous happen- 
 ings as the Resurrection, or the Assumption, or the 
 Coronation of the Virgin; 2) those in which the lead- 
 ing saints of one particular order, with its patriarch, 
 its own founder, and frequently its patron saint, are 
 united in adoration of the divine Beings or the 
 Mother of God, as such (Dei Genetrix); 3) those 
 again where the leading lights of the monastic idea as 
 a whole are represented together; 4) those m which 
 the founder of the order, or sometimes the general 
 patriarch is himself enthroned, surrounded by the 
 great dignitaries of his community; and finally, 5) 
 those in which incidents in the lives and spiritual 
 careers of the founders and principal saints are illus- 
 trated in historical or narrative form. 
 
 Of the first type of picture we can take as 
 example, Raphael’s great Madonna da Foligno, now 
 in the Vatican, in which St. Francis of Assisi kneels 
 at the feet of the Madonna in glory, opposite the 
 donor, Sigismondo Conti. Behind St. Francis is the 
 patron of his order, St. John the Baptist, presenting 
 il Padre Serafico to the Virgin, while St. Jerome, the 
 patron of the donor, performs the same service for 
 that worthy. (See page 116). 
 
 An excellent example of the second type is the 
 wonderful Coronation by Pinturicchio, also in the 
 Vatican, in which, against a background of the 
 twelve Apostles, divided into two groups of six, the 
 

 
 a 
 we 
 
 RAPHAEL’S CELEBRATED ‘‘MADONNA DA FOLIGNO,” IN THE VATICAN, 
 PAINTED FOR THE FRANCISCAN ORDER AT THE COMMAND OF SIGIS- 
 MONDO CONTI, WHO IS KNEELING OPPOSITE ST. FRANCIS, WHILE 
 ST. JEROME PRESENTS THE DONOR TO THE VIRGIN, AND ST. JOHN 
 THE BAPTIST, THE PATRON OF THE ORDER, PERFORMS A SIMILAR 
 SERVICE FOR THE Padre Serafico. (SEE PAGE 120.) 
 
 most brilliant personalities of the Franciscan order 
 are kneeling beneath a beautifully conceived celestial 
 group. We see on the extreme left in front, the 
 Seraphic Doctor, St. Bonaventura, in episcopal 
 robes, with his rejected cardinal’s hat on the ground 
 before him. Behind him is St. Bernardino of Siena 
 with his lean, emaciated face; in the centre ts the 
 founder of the Order, St. Francis of Assisi, with 
 his distinguishing mark, the Stigmata; to the ex- 
 treme right, St. Louis of Toulouse, the French 
 royal saint, nephew of the great St. Louis, as a 
 Bishop, his cope sprinkled with fleurs-de-lys, and his 
 mitre on the ground before him; and behind him, 
 St. Anthony of Padua, with no attributes but always 
 recognisable as a portrait. 
 
 Of the third class, a representative picture is to 
 be seen in the Metropolitan Museum: a devotional 
 Christ on the Cross—not a Crucifixion as it Is 
 termed in the catalogue—already mentioned on 
 page 15, and to make our point clearer, we have 
 reproduced it on page 118. Although this mter- 
 esting work was executed by a Dominican, for the 
 Dominicans, as the presence in the foreground, of 
 the two kneeling saints of that order testifies, there 
 are, present, saints of other orders whose names are 
 given in the caption beneath the cut. A better 
 
 
 
 116 
 
 example still is the Coronation by the same master 
 in the Convent of San Marco, m Florence where he 
 lived and flourished. Kneeling beneath the Divine 
 group are from left to right: St. Thomas Aquinas, 
 the Angelic Doctor, with a sun on his breast; St. 
 Benedict mm his black habit, and wearing a beard; 
 St. Dominick and St. Francis facing each other with 
 their characteristic habits and attributes; St. Peter 
 Martyr, the third great Saint of the Dominican 
 order, while the saint on the right is St. Anthony of 
 Egypt, representing the Augustinian order, as he 
 does so frequently in pictures painted specially for it. 
 Thus the four great original orders are represented, 
 each by its founder or patron. (See Plate XXXVI). 
 
 An even more comprehensive picture in this class 
 is the great Crucifixion—with the two thieves—by 
 Fra Angelico, on the walls of the convent of San 
 Marco in Fiesole. (See page 118). Here we find, in 
 addition to the customary group of the Virgin Mary, 
 Mary Cleophas, St. Mary Magdalene, St. John the 
 Evangelist, St. John the Baptist, and St. Mark, the 
 two last as patrons of Florence and the particular 
 convent respectively, and the patrons of the Medici 
 family, SS. Lawrence (Lorenzo), Cosmo and Da- 
 
 THE CORONATION OF THE VIRGIN. ANOTHER FRANCISCAN PICTURE 
 
 BY PINTURICCHIO, ALSO IN THE VATICAN. THE TERRESTRIAL 
 
 GROUP, KNEELING IN FRONT OF THE TWELVE APOSTLES, ARE: (From 
 
 Left to Right): ss. BERNARDINO OF SIENA, BONAVENTURA 
 
 WITH HIS CARDINAL’S HAT ON THE GROUND, FRANCIS, LOUIS OF 
 TOULOUSE, AND ANTHONY OF PADUA. 
 

 
 PEATE XXXIV THE SAINTS IN ART 
 
 1 
 ANTHONY 
 OF EGYPT AND SOME 
 OFTHE OTHER 
 HERMITS 
 
 $ 
 
 nominee = apie weer oe eee 
 
 
 
 1) St. Anthony of Egypt, as an Abbot, iz cathedra (enthroned) with Pope St. Cornelius and St. Cyprian, in a famous picture 
 by Paul Veronese, in the Brera at Milan. 2) St. Anthony with his pig, crozier, bell, and book, and St. Barbara with a palm and 
 chalice in attendance upon the Madonna, by Bernardino Luini, also in the Brera. 3) St. Mary of Egypt, one of the ‘‘Blessed 
 Penitents,” by Menlinc at Bruges. 4) The Coronation of the Virgin, by Fra Angelico, at the convent of San Marco, at Fiesole, 
 near Florence, shows us the patrons, founders and prominent members of all the leading orders kneeling in adoration of 
 the Divine group. From left to right we see SS. Thomas Aquinas, Benedict, in black, Dominick, Francis of Assisi, Peter 
 
 Martyr and Augustine as an Augustinian Hermit. 5) St. Anthony leading the company of hermits: one of the wings of the 
 Ghent altarpiece of the “‘Adoration of the Lamb,” by Hubert and Jan van Eyck. 
 
 riz 
 
mian, all of whom stand on the left of the picture, 
 the founders of the Dominican, Franciscan, Car- 
 melite, Jeronymite, Camaldolese, Benedictine, Cis- 
 tercian, and Vallombrosan Orders. 
 
 Typical of the fourth class is the picture by the 
 Sicilian artist, Novelli, in the monastery of San 
 Martino near Palermo, in which St. Benedict is seen 
 
 
 
 DOMINICAN CONVENT OF SAN MARCO IN FIESOLE, FULLY EXPLAINED ON PAGES 116 AND 118 
 
 enthroned and surrounded by a vast concourse of 
 saints of the original, and all the reformed orders 
 which were governed by the rule of the patriarch. 
 
 As for the fifth group, such works are innumer- 
 able, for they have been the favorite subjects of the 
 painters and their monastic patrons ever since the 
 earliest days of the Renaissance in Italy. Incidents 
 in the lives of the leading saints of each order, their 
 miracles, their mystic visions, are to be found depicted 
 in early pictures in every gallery that collects works 
 of the old masters. (See Plates XX XV.-XXXIX.) 
 
 Now, the first monasteries, as 
 we understand the term today, 
 were founded by St. Benedict, who 
 In 529 removed his congregation 
 from Subiaco to Monte Cassino, 
 upon the summit of which there 
 was formerly a temple dedicated 
 to Apollo, while one of his disciples, 
 St. Maur, founded the first Bene- 
 dictine institution in France at 
 Glanfeuil, during the life-time of 
 the famous “patriarch.” Benedic- 
 tine monasteries are very numer- 
 ous throughout Europe, or rather 
 were, until political bodies growing 
 either jealous or afraid of their 
 enormous influence—the infinitely 
 larger proportion being for good 
 —either destroyed the building, or 
 drove the monks away, or both. 
 Although the Benedictines were not 
 essentially the “building monks,” 
 
 SMALL DEVOTIONAL CRUCIFIXION BY FRA ANGELICO, IN THE METROPOLITAN MUSEUM, WITH 
 ( from left to right: ) SS. MONICA AND HER SON, AUGUSTINE, THE VIRGIN MARY, JOHN 
 THE EVANGELIST, FRANCIS OF ASSISI, AND DOROTHEA OF CAPPADOCIA. KNEELING IN FRONT 
 ARE SS. DOMINICK, MARY MAGDALENE, AND THOMAS AQUINAS. (SEE PAGE 15) 
 
 the fact that until the ninth century, there was no 
 other organised body of clerics, forced the senior 
 “order” to build churches and monasteries for the 
 housing of its adherents and the practice of its 
 teaching to the people. The Augustinian Canons 
 were the “Cathedral Builders” par excellence, for 
 reasons which we shall explain presently, but some 
 of the grandest monuments of 
 Gothic still extant are of Bene- 
 dictine construction, notably the 
 Cathedral Churches of Canter- 
 bury, Bath, Winchester, Ely, and 
 the Palatinate Cathedral Church 
 of Durham, of which the Bishop, 
 alone in the British Isles, wears 
 a ducal coronet around his mitre. 
 Westminster Abbey, Peterbor- 
 ough, Gloucester, and Chester 
 Cathedrals are also Benedictine 
 edifices as are all those lovely 
 ruined abbeys which make certain 
 parts of England and Scotland so 
 picturesque, notably Fountains 
 Abbey inY orkshire, Bolton Abbey 
 in Derbyshire, Melrose Abbey in 
 Scotland, Tintern Abbey on the 
 river Wye, and Glastonbury, most 
 famous of all, for it was there that fifteen years 
 after the Assumption of the Blessed Virgin, 
 Joseph of Arimathea established himself and con- 
 verted vast numbers of people to the new faith. 
 On account of this early success in proselytising 
 by one who had helped to lay Our Lord in the 
 sepulchre, English Ambassadors at three great coun- 
 cils in the fifteenth century claimed precedence of 
 those of the Kings of France, Spain and Scotland, 
 all of whose peoples were converted later than the 
 
 English. 
 
 
 
The most famous Benedictine monasteries are 
 those at Subiaco, formerly St. Benedict’s cavern- 
 dwelling, and, a mile away, the convent of Santa 
 Scholastica, so named after St. Benedict’s sister, 
 which has the distinction of having housed the first 
 printing press in Italy, just as Caxton set up his in 
 the Benedictine Abbey of Westminster in 1477; the 
 San Sisto at Piacenza, for which Raphael painted 
 the world-famous Madonna da San Sisto; Grotto 
 Ferrata near Frascati, with its great Domenichino 
 frescoes of the life of St. Nilus; San Severino at 
 Naples; San Giustina at Padua; the Abbeys of 
 Fontevrault, St. Maur, Marmoutiers in France, and 
 St. Andrew’s Church in Rome. It should be remem- 
 bered that the term ‘‘Abbey”’ attached to the name 
 of any building stamps it almost certainly as of 
 Benedictine origin, e. g., Westminster Abbey. But 
 as already stated, the Benedictines were not really 
 builders; they were, first and foremost, scholars, and 
 to their untiring patience and loving labors it is that 
 we owe so much of our knowledge of ancient litera- 
 ture. And from the viewpoint of art, we shall always 
 be under obligations to the monks of this great com- 
 munity for their researches into the realm of chem- 
 istry with its offshoot of pigment-mixing, which 
 made possible the painting of those exquisite works 
 of the early Masters. Not only did the monks of St. 
 Benedict invent many of the best tints, they also 
 prepared them for use, and when a painter was given 
 a commission to execute a picture to adorn one of 
 their chapter houses, his colors were mixed by the 
 chemists of the institution in order that, in their 
 excellence, they might be worthy of the subject for 
 which they were to be used (see pages 7 and 9). 
 The majority of the wonderful illuminated manu- 
 scripts of feudal days were produced by these sincere 
 and disinterested art-craftsmen. 
 
 Artists who bear the title Dom or Don are always 
 either original Benedictines, or one of the later re- 
 formed branches, such as the Camaldolesi, e. g., Don 
 Lorenzo Monaco, whereas those whose names are 
 preceded by the title Fra (brother) are members of 
 the Mendicant Orders, 7. e., Dominicans or Francis- 
 cans or Carmelites, as, for example, Fra Angelico 
 and Fra Bartolommeo, who belonged to the former, 
 Fra Antonio da Negroponte, who was a Franciscan, 
 and that remarkable personage, Fra Lippo Lippi, a 
 Carmelite. The author of the famous treatise on 
 painting, who is known as Theophilus the Monk, 
 was a Benedictine. 
 
 Now, while the Benedictines were above all 
 scholars, students, and teachers, the Augustinian 
 Canons were responsible for many of the noblest of 
 the Gothic Cathedrals, while the Mendicant Orders 
 specialised on the construction of hospitals and in 
 the care of the sick. And it is most important that 
 we should know the founders, and, in many cases, 
 the present owners of the great hospices and cathe- 
 drals containing world-famous works of art, for 
 through that knowledge we can understand more 
 
 I1Q 
 
 
 
 easily the significance of such pictures and solve the 
 fascinating puzzle of the identity of the saints por- 
 trayed. 
 
 We have already mentioned a number of Bene- 
 dictine edifices, but there are many others built 
 either by reformed branches of that order or by royal 
 or ducal saints who were members of either the 
 parent body or a subsidiary community. Of such is 
 
 ee 
 
 te aan aed 
 
 HPP Bagge at 
 pion ers 4, 
 
 “MEDITATION ON THE PASSION,” BY MARCO BASAITI (ATTRIBUTED 
 TO CARPACCIO) IN THE METROPOLITAN MUSEUM. THE HERMITS ON 
 EITHER SIDE OF THE SAVIOUR ARE ST. JEROME (LEFT) AND ST. 
 ONOFRIO, WITH SCENES FROM THEIR LIVES {N THE BACKGROUND 
 the great cathedral of Bamberg, erected by King 
 Henry of Bavaria, who with his wife, Cunegunda, is 
 included.in the calendar of saints; the celebrated 
 Certosa of Pavia, the Grande Chartreuse near Gre- 
 noble, the Certosa in Rome, were all built by the 
 Carthusians, founded by St. Bruno; the Cistercians 
 assembled by that most wonderful of all monks, St. 
 Bernard de Clairvaux, who preached the second 
 crusade, gave us the abbeys of Fountains and Tin- 
 tern, which we mentioned before, the famous Abbey 
 of Citeaux near Ch4lons-sur-Saéne in France, which 
 is the Mother-house of the Order, and its most re- 
 nowned dependency, the Abbey of Clairvaux m 
 Champagne. The Vallombrosans constructed the 
 Abbey from which they took their name, near 
 Florence, in the mountains; the Salvi Monastery 
 on the outskirts of the Tuscan capital, and the 
 splendid Church of the Trinita, also in Florence. 
 The Church of S. Maria della Vallicella in Rome 
 belongs to the Oratorians, founded in 1575 by St. 
 Philip Neri, but it was not built by them. 
 
 The Augustinian Monks, or Augustinian Canons, 
 or Austin Canons or Austin Friars, as they are 
 diversely styled, were above all Churchmen, or to 
 use the ecclesiastical term, Regular Canons. They 
 claim foundation by the great ‘Doctor of Grace’ 
 himself, but the claim has been disallowed by the 
 Church, and their first authentic establishment as a 
 cenobite community dates from 816 A. D., when the 
 Council of Aix-la-Chapelle drew up the so-called 
 Rule of St. Augustine in order to reaffirm the disci- 
 pline of the canons regular, which had grown lax. 
 These men, then, being Church-dignitaries, in con- 
 

 
 ST. PATRICK, WHO WAS AN AUGUSTINIAN CANON, IN HIS EPISCOPAL 
 ROBES AS PRIMATE OF IRELAND, WITH HIS SERPENT EMBLEM 
 
 CRUSHED BY THE HEEL OF HIS PASTORAL STAFF 
 (Courtesy of O’Malley’s Book Store) 
 
 tradistinction to the “Jay” monks. of St. Bene- 
 dict, were the Church builders, super omnes, of the 
 middle ages. It was they who gave us the great 
 cathedrals of Cologne, and Strasbourg and Mainz, in 
 Germany; the beautiful Salisbury, stately Lincoln, 
 Lichfield, and Carlisle in England; the Eremitani in 
 Padua; San Lorenzo in Florence; and the Churches 
 dedicated to their Patriarch, Sant’Agostino, in Pavia 
 and Rome. As a general rule, ecclesiastical buildings 
 dedicated to the Patriarch, or his mother, St. 
 Monica, or to St. Mary Magdalene, St. Lawrence or 
 St. Anthony the Hermit, are Augustinian. York 
 and Beverley Minsters, though, as their name im- 
 plies, they were Benedictine edifices, were ceded by 
 the monks to the Austin Canons. 
 
 The Dominicans also gave the world some re- 
 markably beautiful churches, which they filled with 
 pictures painted by the greatest artists of Italy. 
 San Domenico at Bologna is the parent church where 
 the great preacher himself lies buried. Santa Maria 
 Novella in Florence, with its famous Rucellai Ma- 
 donna—formerly attributed to Cimabue, on the word 
 of Vasari, but now given by nearly all scientific 
 critics to the Sienese master, Duccio di Buoninsegna 
 —and Santa-Maria-sopra-Minerva in Rome, 
 both belonged to the preaching order. In Fiesole 
 also is the famous Convent of St. Mark (San Marco), 
 the life-long home, first of J] Beato, Fra Angelico, 
 then of Fra Bartolommeo, and in the gardens of 
 which the great Savonarola preached. The Santa 
 Maria-delle-Grazie outside Milan, for which Leon- 
 
 ardo painted his wonderful “Last Supper,” is another 
 Dominican church. The Dominicans bemg famous 
 preachers, nearly all their churches, except Santa 
 Maria-sopra-Minerva, were built as one large hall 
 without aisles, in order that the voice of the friar 
 could be heard more distinctly. 
 
 The Franciscans built a number of fe churches 
 also, notably the Santa Croce in Florence; the Ara- 
 Coeli in Rome for which Raphael painted his splendid 
 Madonna da Foligno; and of course the parent- 
 church at Assisi with its celebrated series dealing 
 with the life of the patriarch by his friend, Giotto, and 
 his followers. 
 
 The Carmelites built the beautiful Carmini 
 Church in Florence with its famous Brancacci 
 Chapel, decorated by Masolmo and Masaccio. 
 
 The Jesuits gave us the Cathedral of Antwerp 
 and its magnificent ‘‘Descent from the Cross” 
 which Rubens painted for the Order. And finally, 
 the Jeronymites, who claim St. Jerome as their 
 patriarch, built the Monastery of San Sigismondo 
 near Cremona, and in Spain, those of St. Just, and 
 the Escurial, now the Royal Palace, in Madrid. 
 
 * * * ok * 
 
 The limited space at my disposal forbids me 
 even to skirt the fascinating topic of the careers of 
 those noble characters who founded the great 
 monastic orders, while as for the secondary members, 
 I cannot do more than mention the names of those 
 who appear in art sufficiently often to warrant such 
 notice. All of those who have any importance from 
 the artistic standpoint are, however, listed in the 
 
 
 
 ST. PATRICK, AS A PILGRIM, ON THE JOURNEY TO TARA 
 (Courtesy 0 iMr. Edward J. O’Malley) 
 
PLATE XXxXV THE SAINTS IN ART 
 
 IMPORTANT MONASTIC SAINTS 
 NARRATIVE | 
 
 
 
 ny 
 JON? ar 
 
 = , “ isi 
 
 1) St. Catherine of Siena, with the Stigmata plainly discernable on her hands and feet, and her lily and book, by Lorenz 
 Vecchietta (c. 1412-1480), in the Public Library at Siena. 2) St. Thomas Aquinas, in glory, by F. Traini, in St. Catherine’s at 
 Pisa. Note how Christ sends a triple ray of knowledge to the Angelic Doctor; a ray each to SS. Paul, Matthew, and Luke, on 
 the left, and to Moses, John, and Mark on the right, each of whose books transmits a ray to the Dominican. The books of Plato 
 and Aristotle also send him a ray, but his own book crushes the Arab philosopher, Averroes, whom he defeated in debate. It, with 
 his other works, give light to the numbers of Dominicans gathered beneath his feet. 3) St. Benedict, from an old Breviary. 4) St. 
 Chad of Lichfield with a model of his cathedral, from a modern stained glass window by Christopher Whall. 5) Pope Honorius 
 III confirming the ‘‘Rule of St. Francis of Assisi’? (see page 130), by Domenico Ghirlandajo in Santa Trinita at Florence. 
 6) St. Benedict, from the Guillaume Moreel altarpiece, in the Bruges City Museum. 
 
 
 
 I2I 
 
THIS CHARMING PICTURE OF THE MADONNA IN GLORY, AGAINST A 
 ROCKY AND UNDULATING LANDSCAPE, BY THE EXCELLENT UMBRIAN 
 MASTER, BERNARDO PINTURICCHIO, IN THE NEW PALACE OF THE 
 PODESTA AT SAN GEMIGNANO, GIVES US THE INTERESTING COM- 
 BINATION OF POPE ST. GREGORY THE GREAT, ONE OF THE LATIN 
 DOCTORS, AND ST. BENEDICT, AS THE FIRST ABBOT OF THE BENE- 
 
 DICTINE ORDER. HE HAS AN ABBOT’S MITRE AND CROZIER, WHILE 
 ST. GREGORY IS IN PAPAL ROBES WITH THE ‘‘TRIPLE CROWN.” 
 THE ROCKS AT THE RIGHT REPRESENT THE CAVERN AT SUBIACO 
 WHERE ST. BENEDICT IN HIS YOUTH LIVED AS A HERMIT, THIS PICTURE 
 WAS EXECUTED FOR THE CISTERCIANS OF ST. BERNARD OF CLAIR- 
 VAUX, AS THE PATRIARCH’S WHITE HABIT AND MITRE INDICATE. 
 
 be 
 
 “Complete Tables of Holy Personages and Saints 
 classified in categories according to their habitual 
 costume in pictorial representations. It is to these 
 tables that the letters in parentheses following the 
 names of Saints in this chapter refer. 
 
 BENEDICTINES: Founded 529 A. D. by St. Bene- 
 dict, General Patriarch of the order, and author of 
 the famous ‘‘Rule of St. Benedict”? which was the 
 governing law of nearly all monastic institutions for 
 centuries. Irish monasteries, exceptionally, never 
 accepted the Rule of St. Benedict. St. Benedict 
 himself is shown in a black habit in pictures painted 
 for the original order; in white, when the picture 
 was for one of the reformed branches. 
 
 The other Benedictine Samts who wear the 
 monastic habit are always in black, such as St. 
 Benedict (K.a.), St. Ildefonso, Archbishop of Toledo 
 (C), St. Benedict Biscop or Bennet, (A) St. Cuthbert, 
 Bishop of Durham (D), St. Benedict of Anian (K.a.), 
 St. Dunstan, Archbishop of Canterbury (C), St. 
 Giles of Edinburgh (H and K.a.), St. Bavon of Ghent 
 (O), St. Scholastica (G.e.1.), the sister of the Patriarch, 
 St. Guthlac of Croydon (K.a.), SS. Maurus and Pla- 
 cidus (K.a.), the immediate disciples of St. Benedict. 
 Besides these, there are a number of English and 
 German Benedictine Saints, and of royal Saints 
 
 
 
 122 
 
 belonging to the first of the monastic orders. St. 
 Helena (G.a.), who is said to have discovered the 
 True Cross, and St. Alban (A.), the English pro- 
 tomartyr, come first. St. Alban only seems to 
 be commemorated in sculpture or stained glass. 
 St. Benedict Biscop appears in a little print by 
 Wenceslas Hollar. St. Austin or Augustine, first 
 primate of Canterbury (C.) and St. Chad of Licb- 
 field (D.) only appear, as far as I know, in sculpture 
 or stained glass. A modern stained-glass window, 
 representing St. Chad, is illustrated on Plate XX XV. 
 
 The English Abbesses were important indeed in 
 the history of their times, but in art they are rarely 
 found save in local cathedrals, in the form of small 
 pieces of high-relief sculpture. The most important 
 were: 1) St. Ethelreda (G.a.), who was Queen of 
 Northumbria, and built the Monastery at Ely. She 
 was the first Abbess of the first Benedictine nunnery 
 in England at Barking in Essex. 2) St. Ebba, who 
 was the sponsor of Queen Ethelreda when she took 
 the veil. 3) St. Werberga of Chester, (G.e.1.). 4) St. 
 Hilda of Whitby (G.e.1.).. The chief German Bene- 
 
 dictines whose effigies are met with in art are St. 
 
 
 
 \ 
 
 ST. ROMUALDO, WITH OTHER MONKS OF THE CAMALDOLESE ORDER, 
 WITH THE PATRIARCH’S ASCENT TO HEAVEN IN THE BACKGROUND. 
 BY ANDREA SACCHI, IN THE VATICAN. 
 
PeNiE XXX V1 THE SAINTS IN ART 
 
 
 
 PESO DESIN THEILLVES 
 OF SOME IMPORTANT 
 MONASTIC SAINTS 
 AND THREE DEVO- 
 BIONALE PORTRAITS 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 pen 
 
 1) St. Elisabeth of Hungary, by Holbein, in the Munich Gallery. She was a royal saint connected with the Franciscan Order. 
 The beggars at her feet and white and red roses are her attributes in art. 2) St. Dominick clothed by Angels (see page 30), by 
 a follower of Ambrogio Lorenzetti (early 14th Century), in the Berlin Museum. 3) St. Bernardino of Siena, with 
 three mitres, symbolising the three bishoprics he refused. By Dario di Giovanni (w. 1420-1498) (Courtesy of the Kleinberger 
 Galleries). 4) St. Anthony of Padua makes a mule kneel to the Host, by Gerard David, in the collection of Lady Wantage. 
 5) The Death of St. Benedict, by Spinello Aretino (c. 1333-1410) in San Miniato, Florence. Note the carpeted way to Heaven. 
 6) The Meeting of SS. Francis and Dominick at Rome in 1216, by Fra Angelico, in the Berlin Museum. The founders of the 
 two great Mendicant Orders are accompanied by uncanonised monks, not SS. Anthony of Padua and Thomas Aquinas, as 
 they are sometimes called. 7) St. Bernardino of Siena, with his tablet with the letters IHS (see page 32). 
 
 
 
 123 
 

 
 
 
 
 
 
 
 
 
 
 
 ST. BERNARD OF CLAIRVAUX WRITING HIS BOOK ‘‘MISSA EST”? AT 
 
 THE DICTATION OF THE VIRGIN MARY. A BEAUTIFUL PICTURE OF 
 
 THE RENOWNED CISTERCIAN, WHO WAS UNQUESTIONABLY ONE OF 
 
 THE GREATEST MEN OF THE MIDDLE AGES, BY FILIPPINO LIPPI, IN 
 THE UFFIZI GALLERY IN FLORENCE 
 
 Boniface (D), St. Sebald (M), and St. Benno (D), 
 among the men, and St. Ottilia (G.e.1.), the German 
 counterpart of the virgin St. Lucia, and St. Wal- 
 burga (G.e.1.) among the women. 
 
 Of the Royal Samts connected with the Bene- 
 dictine Order, the most important are Charlemagne 
 (O), who is seen on the extreme left of the wonderful 
 “Coronation of the Virgin”’ by Fra Angelico in the 
 Louvre (see Plate XII), St. Wenceslas of Bohemia (O), 
 St. Henry of Bavaria (O), and his wife,- St. Cune- 
 gunda (G.a), St. Leopold of Austria (P) (in prints or 
 pictures of the German and Flemish schools), S¢. 
 Ferdinand of Castile (P) (m Spanish pictures), and 
 St. Casimir of Poland (P), St. Clotilda (G.a), wife 
 of King Clovis, 1s found in French pictures. 
 
 Now in about 983 A. D. the first serious attempt 
 was made—apart from the worthy efforts of St. 
 Peter of Cluny and his Cluniacs, who are hardly ever 
 found in art—to reform the Benedictine monasteries 
 and bring them back to the Jaw and order estab- 
 lished by the Patriarch himself, and 30 years later, 
 he who had fought for these reforms, despairing of 
 ever cleansing the old monasteries, founded a new 
 order, which he called the CAMALDOLESE after the 
 Camaldoli family who were the original owners of 
 the first monastery of the order. St. Romualdo 
 (K.f.) was the founder of this branch of the Bene- 
 dictines and ts the only saint it can claim. As in all 
 the “‘ Reformed Benedictine” communities, St. Bene- 
 dict is the patriarch. We illustrate here the famous 
 picture of St. Romualdo by Andrea Sacchi in the 
 Vatican. Don Lorenzo Monaco, the master of Fra 
 Angelico, was a Camaldolese monk (see Plate III). 
 
 124 
 
 The habit is white, with white hood and white girdle. 
 
 The next reformed Benedictine Order was that 
 founded by St. Giovanni Gualberto (K.e.), called 
 the Order of VALLomBrRosa, from its location in the 
 hills near Florence. Its Saints are in addition to its 
 founder, St. Bernard degli Uberti (K.e.), who ap- 
 pears, not in his rightful cardinal’s robes, but as an 
 Abbot, in Andrea del Sarto’s celebrated picture, 
 but Perugino portrays him as a cardinal im his 
 great “Assumption” in the Florence Academy. The 
 Vallombrosan nun, St. Umilta (G.e.5.), is a subject 
 for that rare Giottesque painter, Buffalmaco. This 
 order was a great patron of famous artists, from 
 Cimabué through Luca Signorelli to Andrea del 
 Sarto and Perugino. St. Michael is its patron. The 
 Vallombrosans wear a pale grey ash-colored habit. 
 
 After the Vallombrosans came the CARTHUSIANS, 
 founded by the Cologne monk, St. Bruno (K.f.), 
 in 1084. This order again took its name from the 
 site of its first monastery, the famous Grande 
 Chartreuse, near Grenoble, nm France. St. Bene- 
 dict is also the patriarch of this order, after 
 whom its founder is venerated; then come Sz. 
 Hugh of Grenoble (D), and St. Hugh of Lincoln 
 (D). The Carthusian rule was stricter than any 
 that had ever been used up to that time, even than 
 that of the Camaldolesi, but these austere monks 
 
 
 
 STUDY BY DOMENICHINO, FOR HIS FAMOUS 
 OF ST. BRUNO 
 
 (From a drawing in the collection of the author.) 
 
 SERIES ON THE LIFE 
 
MADONNA AND CHILD BY GIOVANNI DI PAOLO (1403-1482) IN THE COLLECTION OF COL. MICHAEL FRIEDSAM OF NEW YORK. 
 TYPICAL AUGUSTINIAN PICTURE, FOR EVEN THE GREAT DOCTOR WEARS HIS MONASTIC HABIT UNDER HIS RICHLY-EMBROIDERED COPE. 
 AT THE LEFT IS ST. MONICA, THE PATRIARCH’S MOTHER, THEN ST. AUGUSTINE, AS ABBOT OF THE ORDER. FACING HIM ON THE OTHER 
 
 SIDE OF THE MADONNA ARE ST. NICHOLAS OF TOLENTINO AND ST. JOHN THE BAPTIST. 
 SAINTS ARE FOR THE AUGUSTINIAN HABIT WITH ITS LEATHER THONG GIRDLE IS DISTINCTIVE. 
 
 were among the most generous and discriminating 
 of art patrons. Zurbaran was a great painter of Car- 
 thusians, particularly of St. Bruno, the founder, but 
 the members of this order only appear quite late in 
 sacred art, for St. Bruno was not canonised until 
 1623, although he became a Beato about 1518. The 
 17th-century French painter, Eustache Lesueur, 
 painted a fine series of the life of St. Bruno. The 
 Carthusians are easily distinguishable by their 
 totally shaven beads, the only monks who did not 
 retain all their hair save the tonsure. Their habit 1s 
 full and white, and they have bare feet with sandals. 
 
 And then came the greatest of all the Reformed 
 Benedictines, the CisTERCIANS, of whom that mar- 
 velous character, St. Bernard of Clairvaux (K.f.), is 
 often thought to be the founder, though the original 
 abbey of Cisteaux (or Citeaux) was built by Robert 
 de Molesme in 1098. Nevertheless, St. Bernard is 
 the great saint of the order, and in spite of Its 
 extraordinarily brilliant membership, the only one 
 who is at all prominent in works of art. One famous 
 picture, reproduced here, shows the great orator 
 writing his book “Missus est”? under the guidance 
 of the Virgin. St. Bernard was of such great renown 
 that he is classed among the fathers of the Church, 
 and he is given the title of Doctor Mellifluus. The 
 habit of the order is an ample white robe, with a hood, 
 as in the picture on page 124. 
 
 Bs 
 
 
 
 THIS IS A 
 
 THERE CAN BE NO DISPUTE AS TO WHO THESE 
 (Courtesy of the Kleinberger Galleries) 
 
 The OLivetans, founded by St. Bernard Ptolomei 
 (K.f.), in 1319, took their name, once more from the 
 site of their first establishment, upon the Mount of 
 Olives near Siena. In pictures of this order, we find 
 St. Benedict, in white, as the Patriarch, and St. Ber- 
 nard de Clairvaux, the great Cistercian, who was 
 the patron saint of his namesake of the Ptolomei. 
 Other saints of this community were the Cardinal 
 St. Charles Borromeo (E.), and St. Francesca Romana 
 (G.c.1.) The Olivetan habit is also white, but the nun, 
 St. Francesca Romana, is always depicted as a 
 Benedictine, in black. 
 
 St. Philip Neri (K.a.), the founder of the Ora- 
 TORIANS, was the intimate friend of St. Charles 
 Borromeo. It was a late Order, for Philip Neri only 
 lived between 1515 and 1595. The Congregation— 
 as It was called—of the Oratorians was only formed 
 in 1575, so it never appears in early pictures of any 
 school. The Oratorians wore the black habit. 
 
 THe AUGUSTINIAN CANONS were, as already 
 stated, churchmen, as distinct from cloistered monks, 
 and claim that their order was founded, as a ceno- 
 bitic community by the great “Doctor of Grace” 
 himself, and, although the Church has not authorised 
 that claim, there is no doubt that the Augustines go 
 back to a very remote date. 
 
 The original pretension of the Augustinians was 
 even that the Apostles made a resolution to renounce 
 

 
 ST. LORENZO GIUSTINIANI IN GLORY, SURROUNDED BY SS. AUGUS- 
 
 TINE, FRANCIS, BERNARDINO OF SIENA, JOHN THE BAPTIST AND 
 
 TWO MINOR CANONS, BY PORDENONE (1484-1539) IN THE VENICE 
 ACADEMY. (SEE PAGE 128) 
 
 all property, and that those who concurred in this 
 agreement were the original founders of the Building 
 Order. As this was, however, difficult to prove, the 
 Augustinians put forward some three centuries later 
 the absolute date of their foundation, basing their 
 contention upon a famous letter of St. Augustine 
 “De Moribus Clericorum” (On the Customs of 
 Clerics), and his rogth epistle in which he laid down 
 a rule of life for the religious women who lived and 
 worked under his supervision. The fact that he 
 wrote such a letter for such a purpose would seem to 
 be some sort of evidence that Augustinian nuns at 
 least did exist as a community, but on the other 
 hand, it is difficult to understand how, if we allow 
 this claim, history can record that St. Benedict’s was 
 the senior order in point of foundation. The discus- 
 sion does not properly belong here, but I have men- 
 tioned it because of the fact that St. Augustine Is 
 treated as the patriarch of the order and that SS. 
 Anthony and Paul the Hermit, the earliest ceno- 
 
 126 
 
 bites, are very frequently found in works of art 
 executed for the Augustinians. 
 
 One of the meanings of the Greek word ‘‘ Kavov’’- 
 is “‘list”’ and the ecclesiastics who served the earliest 
 churches were called “‘canonici.”” In the 8th century 
 a more definite meaning was given to the name by the 
 efforts of the Bishop of Metz, one of the great Rhine- 
 land clerics—the others being the Primates of 
 Cologne, Coblentz and Treves—-who formed his 
 clergy into a community, bound by a rule—which ts 
 the truest sense of the word Kévov—under which they 
 lived in common in the same way as the Benedictine 
 monks. This did not, however, Jast long and the 
 common property upon which all had lived on equal 
 shares was divided up into prebends, one for each 
 canon. Until the monk has acquired his prebend he 
 is known as a Minor Canon. 
 
 The general aspects of all of these in art have 
 already been described. 
 
 The habit of the Augustinians is easy to recognise 
 for while it is black like that of the Benedictines it is 
 bound at the waist by the distinctive leather girdle with 
 its circular ivory buckle. (See Page 125.) The Nuns 
 of the order also wear a black robe with a white veil, 
 and sometimes a grey mantle over It. 
 
 St. Augustine in monastic pictures is frequently 
 shown without the rich episcopal vestments which 
 he wears as one of the Four Doctors of the Church, 
 and appears instead in the habit of his order. Some- 
 times, as in the Giovanni di Paolo picture on page 
 125, he wears his cope and mitre over his black 
 habit. 
 
 After the Patriarch, the next in Importance Is 
 St. Nicholas of Tolentino (K.a.), who was young 
 and eager, and fasted so assiduously that he grew 
 weakened and finally died of exhaustion. A miracle 
 is told of him that when a dish of doves was brought 
 to him im his sickness, he scolded those who had 
 sought thus to tempt him, and stretching his hand 
 over the dish, the birds took life again and flew away. 
 This episode is sometimes seen in art. (Picture by 
 Garofalo in the Leuchtenberg Gallery.) 
 
 St. Patrick and St. Bridget are both Augustinian 
 Saints. The former is represented either as a Pilgrim- 
 Missionary, and the great Apostle of Christianity in 
 Erin, or as Primate of the Irish Church in full 
 canonicals. As the missionary he wears the habit 
 of his order with the staff and wallet of all pilgrims; 
 beneath his feet is a serpent, and he holds a gospel 
 in his hands. As an Archbishop he wears the pal- 
 ltum, and a neophyte glances up adoringly at him. 
 
 I know of no old pictures in which St. Bridget of 
 Ireland appears, but if there should be any such, 
 this saint, so popular among her countrymen, should 
 wear the black habit with the long white veil and 
 should hold a cross and Jamp in her hands. 
 
 St. Thomas of Villanueva was a late saint only 
 canonised in 1688, and so does not appear In any 
 works prior to that date, and then only in Augus- 
 
le OE KOOL THE SAINTS IN ART 
 
 THREE FAMOUS NUNS, AN INTERESTING 
 GROUP OF MISCELLANEOUS SAINTS, A 
 NARRATIVE PICTURE OF A MARTYRDOM, 
 AND A FRANCISCAN VOTIVE MADONNA. 
 
 Upper left: St. Monica, the mother of St. Augustine, as an Augustinian Nun, attributed to Francesco Botticini, in the 
 Florence Academy. Centre: SS. Albert of Vercelli, founder of the Carmelite Order, Sigismond of Burgundy, Vitus, and Wen- 
 ceslas of Bohemia. From the Prague Missal, 1507. Right upper and centre: Two depictions of St. Clara of widely different 
 schools, the first by Simone Martini (1285-1344) of Siena, in San Francesco of Assisi, the other by Hans Memlinc of Bruges. 
 Lower left: The Assassination of St. Peter Martyr, by Cariani (c. 1480-1544) in the National Gallery, where it is attributed to 
 Giovanni Bellini. Lower right: Madonna and Child, with SS. Anna and Joachim and four Franciscans, by Alvise Vivarini 
 (w. 1461-1503) in the Venice Academy. The Saints are Louis of Toulouse, Anthony of Padua, Francis, and Bernardino of Siena. 
 
 
 
 jody: 
 

 
 PAUL VERONESE’S FAMOUS “VISION OF ST. HELENA” WHICH LED 
 TO HER DISCOVERY OF THE “‘TRUE CROSS” IN 326 A. D. (SEE 
 PLATE XXXVIII). SHE WAS THE MOTHER OF THE ROMAN EM- 
 PEROR CONSTANTINE THE GREAT, WHO MADE CHRISTIANITY THE 
 OFFICIAL RELIGION OF THE EMPIRE AFTER HIS DEFEAT OF 
 
 MAXENTIUS AT THE MILVIAN RIDGE IN 311 A.D. (In the 
 
 National Gallery, London.) 
 
 tinian edifices, mostly m his native Spam. He was 
 Archbishop of Valencia in 1544, and was a munificent 
 and enlightened patron of the Arts and Sciences. He 
 is nearly always depicted in the act of bestowing 
 alms. 
 
 St. Jobn Nepomuck (K.a.), Patron of the Jesuits 
 and of bridges and rivers in Bohemia and Austria, 
 was still another Augustinian. He was the confessor 
 of the Empress, and her husband Wenceslas, wishing 
 to know what she had told him in confidence, put 
 him to torture and then had him thrown into the 
 Moldau River when he steadfastly refused to violate 
 his oath. Five stars arose over the spot where his 
 body had sunk, and they or a padlock on his lips form 
 his attribute in both sculpture and painting. He was 
 not canonised till 1729. 
 
 St. Lorenzo Giustiniani (K.1.), of whom a fine 
 picture by Pordenone in Venice is shown on page 126, 
 was born in 1380, but not canonised until 1690. He 
 is seen in a white surplice with a tight blue cap, 
 with two of his juniors, while around him are St. 
 Augustine, two Franciscan Saints and St. John the 
 Baptist. The Franciscans are St. Francis himself, 
 and Bernardino of Siena carrying his usual tablet. 
 Mrs. Jameson says that three Austin Canons are 
 
 128 
 
 looking up at the first Patriarch of Venice, with St. 
 John the Baptist, St. Augustine and St. Francis! 
 Mrs. Jameson can never have seen the picture for 
 there are only the two minor canons kneeling at the 
 foot of the Saint’s pedestal, while St. Francis is in 
 his usual attitude of profound humility before the 
 Lamb, held by the Baptist; St. Bernardino looks out 
 of the picture and St. Augustine, looking at St. 
 Lorenzo, points also at the Lamb. The Patriarch is 
 here depicted so youthful that were it not for the 
 black gown and surplice beneath the rich cope of 
 the Bishop, one would take him for St. Louts of 
 Toulouse, the famous Franciscan. 
 
 The women of the order are SS. Monica, the 
 Patriarch’s mother and Rosalia of Palermo. Clara 
 of Monte Falco was never canonised, and her proper 
 title is simply “Beata Clara of the Cross of Monte 
 Falco.”” St. Monica is dressed as described when 
 reference was made above to the picture by Gio- 
 vanni di Paolo, though as a general rule she wears no 
 lighter-colored cloak over the black. She is shown as 
 an older woman. She is rarely seen except in pictures 
 which comprise her famous son, or their wings. (See 
 Plate XX XVII.) St. Rosalia was only canonised in 
 1628 and is represented recumbent and semi-nude in 
 the cavern which was her home for so many years. 
 She Is enveloped ina supernatural light with a crucifix 
 pressed to her bosom. She often wears a crown of 
 roses, but cannot be confused with the earlier saints 
 who are given the same adornment, e. g., St. Cecilia. 
 
 Now in 1119 an Augustinian Canon, St. Norbert, 
 kin to the Holy Roman Emperor, Henry IV, who 
 like the Benedictine, St. Romualdo, was displeased 
 with the Jax morals of the monks of the old Order, 
 formed around him a new group of 13 companions 
 and built a monastery at a place called Premontré 
 in the famous forest of Coucy near Laon, and gave 
 his new community the long name of PREMON- 
 STRATENSIANS. Their habit is a white woolen cloak 
 over a black tunic, and a white four-cornered beret, a 
 cap of the shape worn by Cardinals and Monsignori 
 in other colors. The Augustinian Canons wore this 
 beret in black. During the lifetime of its founder the 
 order grew to a membership of twelve hundred. They 
 are known in England as the White Canons in oppo- 
 sition to the Augustinians proper, who are called the 
 Black Canons. The beautiful Abbey of Welbeck, 
 now the seat of the Duke of Portland, was one of 
 the monasteries of this order. St. Norbert is repre- 
 sented in art rarely, except in German pictures, as 
 Archbishop of Magdeburg, where he died in 1134. 
 Barend van Orley painted a picture, nowin Munich, 
 of this Saint debating with the heretic Tankelin. He 
 sometimes has a fettered demon at his feet, but that 
 attribute is hardly distinctive, for it may be given to 
 all hermits, monks, and others specially famed for 
 having conquered the temptations of the outer world. 
 
 
 
 Notre—All the Monastic Saints are listed with their dates, 
 orders and individual symbols and attributes in Sections C, D, GC, 
 (Female) or K (Male) of the Classification by Costume, pages 
 145-152. For further information consult INDEX. 
 
St. Hermann-Joseph is the only other saint of the 
 Premonstratensians. Van Dyck, in the Vienna 
 Gallery, has portrayed him in the habit of his order 
 presented by an angel to the Virgin Mary. 
 
 The next senior order of Reformed Augustinians 
 was that of the Servites, as we call them, or the 
 SERVI or SERvITI In the Italian vernacular. It was 
 founded in 1233 by a group of seven sons of wealthy 
 Florentine Merchants, some of whose names are still 
 famous today: Monaldi, Manetti, Amidei, Lantella, 
 Ugucciont, Sostegni, and Alexis Falconieri,* who lived 
 to the extraordinary age of 110 years, and was the 
 uncle of St. Juliana Falconiert who founded the 
 Third Order of Servites. Let me mention here that 
 the Third Orders or Tertiaries of the great monastic 
 communities, of which the most famous was that of 
 St. Francis who founded the first of them, were com- 
 posed of men and women who, while not renouncing 
 the world, devoted themselves to charitable works 
 and the good of their communities, and undertook 
 to dress more soberly, to fast more strictly and to 
 pray more regularly than other people. The name 
 “Third Order” was given to this group of religious 
 minded as the third in succession of the date of foun- 
 dation. First St. Francis established his great order 
 of Friars, then the Poor Clare Nuns were founded 
 by St. Clara, and then these men and women of the 
 
 ve 
 
 
 
 SASSETTA, A NOTED SIENESE PAINTER (1392-1450), HERE DEPICTS 
 
 THE LEGEND OF ST. FRANCIS AND THE THREE MAIDENS, CHASTITY, 
 
 OBEDIENCE AND POVERTY, THE “SUM AND BEAUTY OF EVANGELI- 
 
 CAL PERFECTION,’ WHOM HE ESPOUSED. ABOVE THEY ARE SEEN 
 
 FLOATING AWAY AGAIN. THIS PICTURE, FORMERLY THE PROPERTY 
 
 OF PRINCE DEMIDOFF, IS NOW IN THE MUSEE CONDE AT CHANTILLY, 
 WHERE IT IS ATTRIBUTED TO SANO DI PIETRO. 
 
 129 
 
 
 
 
 
 ONS AND CHILD WITH ST. BERNARDINO OF SIENA BY MARCO 
 D OGGIONE. THE SAINT IS ALWAYS RECOGNISABLE BY HIS VERY 
 EMACIATED FACE—IT IS A PORTRAIT—AND HIS TABLET WITH THE 
 INSCRIPTION “‘I HS,” GIVING FORTH RAYS OF LIGHT. (Courtesy of the 
 Ehrich Galleries.) 
 
 world which numbered many thousands, particularly 
 among the Franciscans. Third Orders were subse- 
 quently established by the Dominicans—about 1220 
 —the date is now known, but the Dominican nuns 
 having been founded mm 1218, and St. Dominick dying 
 in 1221, it was probably between these years**—the 
 Augustines in the middle of the 15th century, the 
 Minims of St. Francis de Paula in 1401, the Servites, 
 Carmelites and the Trappists. 
 
 But to return to the Servites. They were so called 
 because they constituted themselves the “‘ Religious 
 Servants of the Holy Virgin,” after a legend according 
 to which they were greeted in these terms by the 
 babes in arms of Florence. They were the patrons 
 of Andrea del Sarto in respect of his world-renowned 
 “Rest in Egypt,” better known as the Madonna del 
 Sacco, in the Church of the Annunziata in Florence. 
 
 The first General of the Order was one of the 
 seven founders, Bonfiglioli Monaldi, but he who is 
 treated as its founder and chief saint — though 
 in reality he was the fifth general and only jomed 
 the order 14 years after its institution (1247)—1s 
 St. Philip Benozzi, its only canonised samt. The 
 Servi wear the black Augustinian habit. (A series of 
 frescoes by the late 16th century Italians: Salembeni, 
 Pocetti, and their group of mannerists.) In 1484, the 
 Servites were placed among the Mendicant orders 
 and were thenceforth styled “Frati” or Friars, 
 instead of Monks as they had been up till that time. 
 
 *This list is given by the official Catholic Dictionary and 
 Currier’s History of Religious Orders. Mrs. Jameson omits 
 the names of Lantella and Uguccioni, and inserts instead those 
 of Benedetto Antellesit and Ricovero Lippi. 
 
 **There was no written Rule until 1405. SS. Catherine of 
 Siena and Rosa of Lima belonged to the Third Order of St. 
 Dominick. 
 

 
 MURILLO’S FAMOUS ST. RODRIGUEZ, IN THE DRESDEN GALLERY. 
 THE SPANISH MARTYR OF THE 9TH CENTURY IS GARBED IN A 
 SPLENDID CHASUBLE STILL TO BE SEEN IN SEVILLE CATHEDRAL 
 
 The habit of the Servites was the black Augustinian robe 
 with leather girdle, scapulary and cope. 
 
 The TrINITARIANS were founded by St. Jobn de 
 Matha and a French hermit named Felix of Valois in 
 1198, for the purpose of redeeming Christian captives 
 from the Moors, Barbary pirates and other infidels. 
 It is stated that they actually saved 30,720 Chris- 
 tians from the horrors of Moslem servitude. Their 
 habit is a gown and scapular of white serge with a 
 red and blue cross on the right breast or shoulder. 
 In England they were known as the Maturin or Red 
 Friars, the latter from the predominant color of the 
 Cross. The founder, and St. Felix de Valois and St. 
 Radegunda are their only canonised Saints. 
 
 St. John de Matha in the habit of his order 
 appears In art with fetters mm his hand or at his feet, 
 while an angel leading two captives, one black and 
 one white, 1s in the background. 
 
 St. Felix de Valois is shown as an Augustinian 
 hermit, seated near a fountain at which a deer is 
 drinking. 
 
 St. Radegunda, a royal princess, appears wearing 
 her crown over a long white veil with a captive at her 
 feet, whose fetters she holds in her hands. Do not 
 mistake for St. Elisabeth of Hungary and her leper. 
 
 130 
 
 Our Lapy oF Mercy, originally a military order, 
 was instituted by St. Peter Nolasco in 1218 with the 
 same purpose in view as the Trinitarians. Their 
 habit 1s again white but is distinguishable from other 
 white-gowned monks by the coat of arms of King 
 James I of Aragon, “El Conquistador,’ “Paly of 
 eight, argent and gules; on a chief of the first a cross 
 patée of the second,” in other words, of eight vertical 
 stripes, alternately silver and red; on a silver band 
 (one-third of the shield in depth) at the top, a red 
 cross with its ends splayed. (See Plate XX XIX.) 
 
 St. Peter Nolasco was only canonised in 1628. He 
 is always represented as an old man, sometimes 
 borne by angels who are carrying him to the altar. 
 The famous convent of La Merced in Seville filled 
 with pictures of this Saint should be seen by all 
 travelers in Spain. 
 
 St. Raymond Nonnatus or San Ramon was of this 
 order and was created a Cardinal in 1240. The pad- 
 lock which seals his lips is not here a symbol, as in the 
 case of St. John Nepomuck, but refers to the actual 
 torture applied to him while a prisoner of the infidels. 
 
 The last of the Reformed Augustinians need 
 detain us but an instant. The BricitTINEs were 
 founded by St. Bridget of Sweden, not of Kildare as 
 is often believed. 
 
 And now we 
 come to the great 
 Mendicant Orders, 
 the FRANCISCANS, 
 founded In 1209, and 
 officially confirmed a 
 year later, and the 
 Dominicans,  foun- 
 ded in 1213. and 
 authorised by Pope 
 Honortus III in 1216. 
 after a miraculous 
 vision similar to that 
 which had _ caused 
 him to yield to the 
 prayers of St. Francis 
 of Assist for the of- 
 ficial recognition of 
 bis order. The Fran- 
 ciscans were govern- 
 ed by a rule drawn 
 up by the Patriarch 
 himself, the terms of 
 which prescribed a 
 vow of perpetual 
 poverty—a symbol 
 of spiritual lowli- 
 ness—the means by 
 which this vow was 
 to be carried out; the 
 dress to be worn; 
 and so forth through- 
 out a list of twenty- 
 seven precepts. 
 
 
 
 THIS FINE ST. DOMINICK BY CARLO 
 CRIVELLI IS IN THE METROPOLITAN 
 MUSEUM. NOTE THE LILY, THE DIS- 
 TINCTIVE HABIT, AND THE MARVEL- 
 LOUS TECHNIQUE DISPLAYED IN THE 
 PAINTING OF THE HEAD AND HANDS 
 
oe 
 
 
 
 od be, a2 a z 
 ST. PETER MARTYR, BY FRA ANGELICO, IN THE SAN MARCO CONVENT 
 AT FIESOLE. NOTE HIS BLEEDING HEAD, HIS STERN FACE—HE WAS 
 INQUISITOR-GENERAL—AND HIS FINGER ON HIS LIPS. (SEE ALSO 
 PLATE XXXVII AND PAGE 132) 
 
 The Franciscan habit was ordered to be a grey 
 gown of coarse cloth, with a pointed hood or 
 capuche—whence the name of Capuchins given to a 
 Franciscan offshoot of the 16th century—a knotted 
 cord girdle, representing the halter of a beast of 
 burden—another symbol of the extraordinary hu- 
 mility of St. Francis—and bare feet, or shod only with 
 a wooden sandal. This last item of the Franciscan 
 habit distinguishes them immediately from all other 
 monks and friars, except the Carmelites—whose 
 . OU Ggeemee ~=habit prevents 
 any confusion 
 with the Fran- 
 ciscans—and 
 the Trappists, 
 founded In 
 1660, who do 
 not appear at 
 all in art. We 
 can then say 
 with safety 
 that any bare- 
 footed friar m 
 pictures, up to 
 the end of the 
 16th century at 
 least, is a Fran- 
 ciscan. In the 
 14th century 
 the color of the 
 Franciscan hab- 
 it was changed 
 from grey to 
 brown, so that 
 from about 
 1420 onwards 
 we generally 
 find the Saints 
 of the order in 
 the latter color. 
 
 St. Francis 
 of Assisi Is one 
 of the great fig- 
 
 Be 
 
 
 
 
 
 ee ee ee 
 
 THE TRIUMPH OF ST. THOMAS AQUINAS OVER 
 GUILLAUME DE SAINT AMOUR, A DOCTOR OF 
 THE UNIVERSITY OF PARIS. BY BENOZZO 
 GOZZOLI (1420-1497) IN THE LOUVRE. BELOW 
 IS SEEN THE FAMOUS DISPUTE BEFORE POPE 
 ALEXANDER IV IN 1256 
 
 jae | 
 
 ures in all Italian Art, and he is represented‘in a vast 
 number of connections, sometimes throned as the 
 Patriarch of the Order, or as one of the saints sur- 
 rounding the Madonna; at others, performing some 
 one of the acts of humility and charity which he 
 had made the guiding principle of life for himself 
 and his followers. A few of the most important of 
 these episodes are St. Francis preaching to the Birds; 
 his espousal of Faith, Hope and Charity in the forms 
 of three maidens (Picture by Sassetta, on page 129), 
 
 
 
 A CHARACTERISTICALLY SPANISH PICTURE OF THE FAMOUS 
 SPANIARD, ST. DOMINICK, BY THAT MOST ORIGINAL OF GREAT 
 
 MASTERS, DOMENICO THEOTOCOPULI, KNOWN AS EL GRECO, OF 
 TOLEDO (Cc. 1548-1614). (Courtesy of the Ebrich Galleries.) 
 
 and the miracle of the Stigmata (see Plate VII). 
 St. Francis being always recognisable by the im- 
 print of the wounds of Our Lord (Stigmata) on his 
 hands, feet and right side, it is unnecessary to go any 
 further into the artistic appearances of this famous 
 man whose personal example and teaching had so 
 profound an effect on all the men and women of his 
 generation. 
 
 Following the Patriarch, St. Francis, who ts also 
 called the Seraphic Father—the Franciscan is known 
 as the Seraphic Order—come St. Anthony of Padua 
 (K. b. and d.), who is generally seen with St. Francis 
 and is the next most important to him in the 
 order; St. Bernardino of Siena (K.b. and d.) is always 
 recognisable by his lined, emaciated face and his 
 tablet shedding rays and bearing the inscription 
 I.H.S. (see Page 34); St. Bonaventura (E), theSeraphic 
 Doctor, whose Cardinal’s hat distinguishes him from 
 the other Franciscan saints; and St. Louis of Toulouse 
 (D), who occurs very frequently, always in his episco- 
 pal robes strewn with fleurs-de-lys, and generally with 
 a rejected royal crown at his feet. St. Louis of France 
 
RLM III RO INSP 
 
 
 
 THE MADONNA AND THE GREAT NUNS, ST. THERESA, WHO FOUNDED 
 THE BAREFOOTED CARMELITES, WITH A CROWN OF THORNS; ST. 
 CLARA, FOUNDER OF THE POOR CLARES; AND ST. CATHERINE OF 
 SIENA; BY TIEPOLO (1696-1770) IN THE CHURCH OF THE GESUATI, 
 OR MADONNA OF THE ROSARY, IN VENICE 
 is always in royal robes and crowned, which prevents 
 confusion with his nephew. And a number of minor 
 saints, e. g., Ives of Brittany (J), an advocate, and, 
 Eleazar de Sabran (J), who with the two female 
 saints, Margaret of Cortona, and Rosa of Viterbo 
 (G.e.4) were all members of the Third Order, dis- 
 tinguishable by the knotted cord girdle even over a 
 secular dress. SS. Jobn Capistrano and Peter Rega- 
 lato are Franciscan Saints. SS. Juan de Dios, Felix 
 of Cantalicio, Peter of Alcantara and Diego of Alcala 
 (all K.b.) appear only in Spanish works by such 
 painters of friars as Ribera and Murillo. Among the 
 female saints of the order are Santa Clara (G.e.2), the 
 Seraphic Mother, the first Franciscan nun, who 
 founded the sisterhood of the Poor CLares, and St. 
 Elisabeth of Hungary (G.a.), the beautiful wife of 
 the young Landgrave Ludwig of Thuringia, who stand 
 among the Franciscan saints as the symbol of female 
 charity, and is one of the most popular saints in the 
 calendar. 
 
 In 1436, St. Francis de Paule founded the re- 
 formed order of Franciscans, known as the MINIMEs, 
 of which the rules were even stricter than those of the 
 parent body. The habit is a dark brown tunic with 
 the usual knotted cord girdle of the Franciscans, but 
 there 1s m addition a short scapulary with rounded 
 
 corners which comes down to below the girdle, and 
 
 ise) 
 
 which has a small round hood at the back to be 
 drawn over the head as a protection against the 
 weather. St. Francis de Paule is never in early 
 pictures, for he was only canonised in 1519, but 
 Murillo and Ribera have painted him many times. 
 
 The order of St. Francis was entrusted by a Papal 
 Bull of 1342 with the guardianship of the Holy Places 
 in Jerusalem and they still retain that privilege. It 
 was a Franciscan Friar, Juan Perez, who espoused 
 the cause of Columbus and used his influence, as 
 confessor to Queen Isabella, to obtain her support 
 for his friend’s expedition. He also went to America 
 himself m 1493 and founded the first Christian 
 Church of the New World in Haiti. The Osser- 
 VANTI, a Franciscan reform order, performed a 
 similar service with Cortez in Mexico in 1523, and 
 then made their way further north under the great 
 missionary leader, Martin da Valenza, and estab- 
 lished missions in New Mexico (1580), Texas (1600), 
 and lastly in California in 1769. Many of the Fran- 
 ciscan Missions in the last-named State are still in 
 existence. Spanish Franciscans wear a grey tunic like 
 the earlier members of the order in Italy. 
 
 The Dominicans wear a white woolen habit and a 
 white scapular, the whole covered by a black cloak. In 
 1215, St. Dominick founded his order, placing it under 
 the rule of St. Augustine, with many of Its statutes 
 borrowed from the Premonstratensians. It recerved 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 TITIAN’S GREAT PAINTING “‘THE ASSASSINATION OF ST. PETER 
 
 MARTYR”? WHICH USED TO BE IN THE CHURCH OF SS. GIOVANNI E 
 
 PAOLO IN VENICE, BUT WAS DESTROYED BY FIRE. (SEE ALSO PLATE 
 XXXVII.) 
 
PLATE XXXVIII THE SAINTS IN ART 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 | NARRATIVE 
 | PICTURES 
 OF INCIDENTS 
 IN THE LIVES 
 OF LEADING 
 MONASTIC 
 SAINTS AND | 
 TWO DEVO- | 
 TIONAL REP- | 
 RESENTATIONS 
 
 a ee 
 
 Upper left: St. Edward the Confessor, patron of England before St. George. Right: St. Catherine of Siena swoons on re- 
 ceiving the Stigmata; by Il Sodoma in S. Domenico at Siena. The two long pictures: St. Helena superintends the excavations 
 for the True Cross. Below: The Jew who led her to the spot tests which of the three crosses was that of Jesus by laying them 
 upon a crippled woman. The True Cross made her whole. Ferrarese School, 15th century (courtesy of the Ehrich Galleries). 
 Middle right: St. John of God (Juan de Dios) curing a cripple, by Murillo, in the Munich Gallery. Low left: Andrea del Sarto’s 
 famous Madonna delle Arpie, in the Uffizi. The Saints are Francis of Assisi and John the Evangelist. 
 
 133 
 
the title of Fratres Predicantes, or Preaching Friars. 
 It was not intended at first to make the Dominicans 
 a mendicant order. Indeed, five years after its 
 institution, the Order was very wealthy and 
 had chapter houses at Paris, Metz and Venice. 
 But in 1221, at a council held at Bologna, it 
 was decided to follow in the footsteps of St. 
 Francis of Assisi, and renounce all worldly 
 possessions. In England, the Dominicans are 
 known as Black Friars, from the color of their 
 cloak. St. Dominick is as easily distinguishable in 
 art as his contemporary, St. Francis, by his black 
 cloak over the white habit and scapular, his rapt 
 expression, the star either in his nimbus or on his 
 shoulder, and his lily symbol. We cannot go, here, 
 into the politico-religious missions of this noble scion 
 of the great Spanish house of Guzman, who 
 played so important a part in the crushing of the 
 Albigensian heretics in the first decade of the 13th 
 century. It was during his sojourn in the country 
 of the Albigenses, prior to their actual outbreak, 
 that he invented the Rosary, which was simply 
 a new arrangement of the bead chaplets used Jong 
 before by the monks of many orders and religions, 
 both Christian and non-Christian. In 1218, he 
 founded the order of Dominican Nuns, and shortly 
 after, as already explained, the Third Order of St. 
 Dominick was instituted. 
 
 The most important Saints of the Dominican 
 Order, after the founder and patriarch himself, are 
 St. Peter Martyr (K.k.), always recognisable by the 
 gash in his head, or sometimes an axe sticking in it, 
 or again pierced by a sword, with a gashed head; as 
 in a picture by Botticini in the Berlin Gallery where 
 he is with SS. Anthony, Lawrence and the Archangel 
 Raphael and the young Tobias; St. Thomas Aquinas 
 (K.k.), the Angelic Doctor, the thinker of the Order— 
 as St. Bonaventura was the Iearned member of the 
 Franciscan Order—who always has either a rayed 
 sun on his chest or is holding in front of him a book 
 from which are issuing rays of light, as in the “Apoth- 
 eosis of St. Thomas Aquinas” by Benozzo Gozzoll, 
 in the Louvre (see page 131), or with a chalice, in 
 recognition of the fact that he composed the office of 
 the Holy Sacrament which is still in use; St. Ray- 
 mond of Pefiaforte, St. Vincent Ferraris (both K.k.), 
 who sometimes wears wings, and St. Antonino, 
 Bishop of Florence (D), all three of whom are 
 only found in fairly late pictures. The Spanish 
 Dominicans are St. Rosa of Lima (G.e.6), St. Pedro 
 Gonzales, and St. Louis Beltran. 
 
 The great female Saint of the Order is St. Catb- 
 erine of Siena (G.e.6), of whom mention was made 
 in previous chapters (see Index). She is said to have 
 dreamt that the Saviour had chosen her as his 
 spouse, and like her namesake of Alexandria, she 
 figures in “‘Mystic Marriage”’ subjects. (See pages 
 97 and 98.) She is also believed to have received 
 the Stigmata, and a famous picture by Sodoma in 
 Siena represents her fainting as she perceives the 
 
 134 
 
 divine contact (See Plate XXXVIII). There is 
 no doubt that St. Catherine was a very remarkable 
 woman, who devoted her life from childhood to the 
 service of God and cheerfully underwent self- 
 denial in all its forms, while at the same time 
 fulfillmg the purpose of her Order by her prayers 
 and eloquence. She saved the _ Florentines, 
 who had been excommunicated for rebelling 
 against the papal authority in 1376, and later 
 induced the Pope, who was then in _resi- 
 dence at Avignon in France, to return to Rome. 
 During the “Great Schism,” the Roman Pope, 
 Urban VI, wished to send this brilliant nun as an 
 Ambassadress to the dissolute court of Joanna II of 
 Naples, but, as no others could be found willing to 
 share with her the dangers of the journey, the mis- 
 sion was abandoned. St. Catherine of Siena died in 
 1380. She was only canonised, however, in 1604, so 
 she is rarely met with mn very early art. 
 
 Other saints of the Order whose names will be 
 found in the Tables, pp. 145-152 at the places 
 indicated after them here in brackets, are St. 
 Hyacinth (K.k.) and St. Agnes of Monte Pul- 
 ciano (G.e.6), and Albertus Magnus (K.k.), the 
 master of St. Thomas Aquinas, who, though 
 never canonised, is sometimes treated as a saint 
 and introduced in his habit, as a pendant to his 
 famous pupil, e.g., two pictures by Fra Angelico in 
 the Florence Academy. 
 
 Nowaround 1150A. D.,acrusader named Berthold 
 vowed that if God should give victory to Christian 
 arms In a certain battle, he would embrace a religious 
 life, and in 1156, following a vision to him of the 
 prophet Elijah, went and dwelt upon Mount Carmel, 
 near Acre in Palestine, upon which the Prophet had 
 once gathered together “‘all the people of Israel” 
 (Kings III, xvut:19). Thus started the Car- 
 MELITE OrpER. Berthold took up his abode in the 
 old cavern of Elijah around which stood an ancient 
 monastery of unknown origin. In 1209 St. Albert of 
 Vercelli (D), patriarch of Jerusalem, compiled a Rule 
 for the community of hermits which Berthold had 
 gathered around him and many who were there 
 before he arrived. The rule was very severe, for- 
 bidding the holding of property, denying to its 
 adherents any use of meat whatsoever, and enjoin- 
 ing upon them continuous manual labor and per- 
 petual silence. Their habit is a brown frock with white 
 scapular and white cloak. 
 
 Their Patroness is the Blessed Virgin, who is 
 called Madonna del Carmine in all Carmelite con- 
 vents when She is depicted with Her mantle wide- 
 spread over the friars of the order. Their founder is 
 considered to be, not the Crusader Berthold, but St. 
 Albert, just mentioned, and the other Saints of 
 the Order are St. Theresa (G.e.3), founder of the 
 BAREFOOTED CARMELITES, St. Maria Maddalena dei 
 Pazzi (G.e.3), SS. Angelus (K.c.), Juan de la Cruz 
 (K.c.), and Andrea Corsini (D). 
 
 The Jesuits, founded in 1534 by St. Ignatius 
 
PeASDE XOEXTX THE SAINTS IN ART 
 
 Se VEO WHER PIGTURES 
 
 ILLUSTRATING LEGENDS OF 
 
 PeawOUS MONASTIC PER- 
 SONAGES 
 
 
 
 1) St. Francis appears in a vision to the monks of his Order: a picture by Fra Angelico in the Berlin Museum. 1A) Peter 
 Igneus, a Vallombrosan monk, walks through fire, with St. John Gualberto at the left. By Andrea del Sarto in the Florence 
 Academy. 2) The Assumption of St. Clara. attributed to Tiepolo, formerly in the Catholina Lambert Collection. The Saint 
 is an Abbess, as the pastoral staff held by the angel proves. 3) A portrait by Zurbaran (1598-1662) of Dom Miguel del Pozo, 
 a Spanish monk of the Order of Our Lady of Mercy. Note the arms of E/ Conquistador. (See page 130.) (Courtesy of the Ehrich 
 Galleries.) 4) St. Elisabeth of Hungary heals the Leper, by Murillo, in the Academy of Fine Arts in Madrid. 5) St. John 
 Gualberto, as Abbot of Vallombrosa, by Fra Angelico. 6) The famous Vision of St. Anthony of Padua, by Murillo, in the 
 Berlin Gallery. 
 
 
 
 135 
 
Lovola (K.a.), had little influence on Art. Their 
 
 principal saints after the founder are St. Francis 
 Xavier (K.a.), the great missionary who landed at 
 Kagoshima in Japan in 1449 and converted an im- 
 mense multitude to Christianity; St. Francis Borgia, 
 
 A BEAUTIFUL NATIVITY BY GUIDO RENI IN THE COLLECTION OF 
 HIS EMINENCE CARDINAL HAYES, ARCHBISHOP OF NEW YORK. 
 (Courtesy of the Ebrich Galleries.) 
 
 St. Stanislas Kotzka, and St. Louis Gonzaga (all in 
 Kiass 
 
 Other Orders need not occupy our attention, for, 
 while in many cases they are of great interest from a 
 religious and even a political standpoint, they have no 
 bearing upon that which has been our aim throughout 
 this book, namely, a better comprehension of pictures 
 executed between the Fifth and the Sixteenth 
 Centuries, the Jast three of which constitute what 
 has been called the Second Age of Pericles or 
 Augustus, the Golden Ages of things of the Intellect. 
 
 
 
 A SMALL PANEL ENTITLED “THE THREE MIRACLES OF ST. ZENO- 
 
 BIUS,” BY BOTTICELLI, HANGS IN THE METROPOLITAN MUSEUM. 
 
 It AFFORDS A GOOD EXAMPLE OF THE PAINTING OF SEVERAL 
 
 SCENES OF A SAINT’S LIFE IN THE SAME PICTURE. (SEE PAGE 
 98, FOOTNOTE. ) 
 
 
 
 136 
 
 CHARTERS 
 
 HisroricAL oR NARRATIVE PICTURES OF THE LIFE 
 OF CHRIST AND THE VIRGIN Mary. 
 
 Although it may safely be said that the major- 
 ity of sacred pictures come within the scope of the 
 preceding chapters, either as devotional representa- 
 tions of Our Lord, His Mother, or the Saints in 
 their different aspects, or as narratives of the lives 
 of the Saints, there are three groups of works which 
 are also very numerous, namely: Depictions of in- 
 cidents in the lives of the Saviour and His Mother, 
 treated historically, rather than in a devotional 
 manner; scenes from the Old Testament, such as 
 those in the Garden of Eden, and the Sacrifice of 
 Abraham’s son, Isaac; and, thirdly, such mystic 
 events as the Last Judgment, and pictures of 
 Heaven, Purgatory, and Hell. 
 
 Taking first the history of the Virgin Mary and 
 her Divine Son, we have simply listed the princi- 
 pal episodes which are to be found in art, for the 
 pictures, being in themselves illustrations, explain 
 themselves quite distinctly to whomsoever is ac- 
 quainted with the Scriptures. The series of narra- 
 tive pictures of the Virgin Mary and Jesus Christ 
 commences with the legend of Joachim and Anna, 
 and closes with the Coronation of the Virgin. 
 They will be found below, listed in chronological 
 order, with such notes as may be of service to 
 those who are interested in this class of picture. 
 
 1) THe Reyecrion oF JOACHIM, THE VIRGIN’S 
 FUTURE FATHER, FROM THE TEMPLE. Joachim, bemg 
 childless, but very wealthy, brmgs a double offer- 
 ing to the High Priest, that he may find favor in the 
 sight of the Lord. His gift is rejected, for “It is 
 not lawful for thee to bring an offering who hast 
 not given a son to Israel”. Famous pictures by 
 Quentin Matsys, in the Brussels Museum; by 
 Domenico Ghirlandajo, in Santa Maria Novella 
 in Florence; by Bernardino Lumi, m the Brera, 
 and many others. (See Plate XL.) 
 
 2) THe ANNUNCIATION TO JOACHIM’ TENDING HIS 
 FLOCKS IN THE HILLS. Joachim upon his rejection 
 from the temple, went up into his pastures in the 
 foothills, and lived in a hut, fasting for forty days and 
 forty nights. Frescoes by Taddeo Gaddi in the Baron- 
 celli chapel, and by Giotto in the Arena at Padua. 
 
 3) Tue MEeEtiINnG oF JoacHim AND ANNA. Pictures 
 by Carpaccio in the Venice Academy, and Ridolfo 
 Ghirlandajo for the Servites in Florence. 
 
 4) Tue BirtH or THE VirGIN Mary. This episode 
 has, of course, been treated by a thousand painters. 
 One of the best-known works is by Domenico Ghir- 
 Jandajo in S. Maria Novella in Florence. (See Plate 
 XI} 
 
 5) THe PRESENTATION OF THE BLESSED VIRGIN IN 
 THE Tempe. ‘This incident took place when she 
 was three years old, but she is almost always de- 
 
le Bele THE SAINTS IN ART 
 
 LAEAAELAAA LARA RARER 
 
 
 
 
 
 1) Joachim’s offering refused by the High Priest (page 136), by Quentin Matsys (1460-1530), in the Brussels Museum. 
 2) Titian’s (1477-1576) celebrated ‘Presentation of the Virgin Mary” in the Venice Academy. Note the fifteen steps (page 
 138). 3) The “Education of the Virgin:’ A 16th century stone statue. (Courtesy of the M: etropolitan Museum.) 4) The same 
 subject by Murillo, at the Prado in Madrid. 5) The Birth of the Virgin Mary, by Domenico Ghirlandajo, in S. Maria Novella 
 in Florence. 6) The Presentation of the Virgin, by the Master of the Lyversberg Passion, a Flemish-influenced German, in 
 the Munich Gallery. 7) ‘Marriage of the Virgin,” by a 15th century Burgundian Master. (Courtesy of the Ehrich Galleries.) 
 
 137 
 
picted as much older, as in the Domenico Ghirlan- 
 dajo series already mentioned. There should always 
 be 15 steps up to the temple, in reference to a pas- 
 sage in Josephus’ Life of the Jews:—‘‘Between the 
 wall which separated the men from the women, and 
 the great porch of the temple, were fifteen steps.” 
 But here again, in spite of Mrs. Jameson’s statement 
 to the effect that there are always 15 steps, the pic- 
 tures in which the tradition has been adhered to are 
 in a very small minority. The most famous repre- 
 sentation of this subject is by Titian, in the Venice 
 
 A “PRESENTATION IN THE TEMPLE” BY AN UNIDENTIFIED MASTER 
 OF THE GIOTTESCHI, IN WHICH THERE ARE NOT FIFTEEN STEPS TO 
 THE TEMPLE. THIS FRESCO IS IN S. MARIA NOVELLA IN FLORENCE 
 
 Academy, reproduced here. The Child is very small, 
 but mounts the fifteen steps with assurance, and is 
 surrounded by a glory of light. (See Plate XL.) 
 
 6) THe VirGIN IN THE TEMPLE. Where she lived 
 for some time after the Presentation. When she 
 was fourteen years old, the High Priest told her of 
 her great destiny, and she agreed to marry. Pic- 
 tures by Luini in the Brera, and Agnolo Gadd1, in 
 the Carmine, in Florence. 
 
 7) THe ANNUNCIATION (as an event). 
 (See Chapters II and V and Plate X.) 
 
 8) Tue VisiraTIon (to Elisabeth, future Mother of 
 John the Baptist). Famous pictures by Domenico 
 Ghrrlandajo in the Louvre, and Mariotto Albertinelli 
 in the Uffizi of Florence, etc., etc. 
 
 9) THe MarriaGE OF THE VirGIN. (Lo Sposalizio.) 
 Celebrated pictures by Perugino at Caen (the “Caen 
 Sposalizio’”’), by Raphael, in the Brera, and numer- 
 
 ous others. (See Plates XL and XLI.) 
 
 
 
 138 
 
 10) THe JouRNEY TO BETHLEHEM. 
 
 11) THe Nativity or Jesus Curist, either as a 
 Mystery or an Event. Innumerable pictures of this 
 fundamental subject. Among the best-known are 
 the Correggio “Holy Night,” in Dresden; the “‘Porti- 
 nari Nativity,” by Hugo van der Goes; Fra Lippo 
 Lippr’s in the Louvre, etc. The first named shows 
 the whole scene lit by the radiance emanating from 
 the Divine Infant. Care must be taken to avoid 
 confusion of pictures of the Nativity, as a mystery, 
 with those of the madre pia. In Nativities of either 
 category, the Ox and the Ass (see page 29) are 
 introduced, while, particularly m those pictures 
 which treat of the subject as a mystery, there are 
 angels singing Gloria in Excelsis. Examples of both 
 types are illustrated here. In Botticelli’s famous 
 Nativity—as a mystery—in the National Gallery, 
 there are numerous angels, both on earth and in the 
 heavens, giving way to demonstrations of ecstatic 
 joy. Piero della Francesca’s beautiful work, also in 
 the National Gallery, is m a calmer note. (See 
 
 Plates XLI and XLII and pages 136 and 140.) 
 
 
 
 12) THe ADORATION OF THE SHEPHERDS. Generally 
 occurs with the Nativity, in pictures, e. g. Martin 
 Schéngauer’s lovely picture in Berlin, or the Sienese 
 Pietro di Domenico’s devout work, m Siena, illus- 
 
 trated on Plate XLII. 
 
 13) THe ADORATION OF THE MacI, oR THREE KINGs, 
 or WisE Men. Thethree Wise Men. This subject 
 is one of the most important in the whole range of 
 iconography. It has been painted mnumerable 
 times. Legend and tradition have even gone so far 
 as to place names upon these three Wise Men: Cas- 
 par, an old man with a long white beard; Melchior, 
 of middle age, and Balthasar, who Is generally inter- 
 preted as a black man, King of Ethiopia. It is thus 
 that he ts represented in the fine triptych by Herri 
 met de Bles, in the Ehrich collection, (See Frontis- 
 piece); by Geertgen tot Sint-Jans, in the Rudolphi- 
 num at Prague; Hieronymus Bosch, in the Prado; the 
 Master of ‘“The Death of Mary’’, in Berlin, among 
 the Flemings; by Vincenzo Foppa (d. 1492); Dom- 
 enico Ghirlandajo, and Mantegna, among the Italians 
 both in the Uffizi. The Adoration of the Three 
 Kings of Cologne, as they are sometimes called, can 
 always be distinguished from that of the Shepherds 
 by the rich costume of the former, and the notice- 
 ably respectful attitude of the latter, frequently 
 shown lifting their head-dress to the Child Christ. 
 (See, for comparison, Plates XLI and XLI1.) 
 
 14) THE MASSACRE OF THE INNOcCENTs. This is an 
 uncommon subject, but there is a well-known pic- 
 ture by Matteo di Giovanni (c. 1435-1495) in S. 
 Agostino in Siena, (See Figure 8 of Plate XLI) and 
 a curious work, of which the scene is laid in a Flemish 
 landscape, by Pieter Brueghel the Elder, in the Im- 
 perial Gallery of Vienna. 
 

 
 PLATE XLI THE SAINTS IN ART 
 
 
 
 1) Fra Lippo Lippi’s (1406-1469) well-known Nativity, in the Louvre. Note the ox and the ass (see page 29) in this and 
 Nos. 3,5and7. 2) Lo Sposalizio, or Marriage of the Virgin, by Raphael, in the Brera. Note the flowering of Joseph’s wand 
 and the disappointed suitor breaking his. 3) Nativity, by Botticelli, in the National Gallery (see page 138). 4) The same 
 subject by Piero della Francesca (c. 1416-1492), also in the National Gallery (see page 138). 5) The world-renowned Madonna 
 del Sacco, representing the Repose in Egypt, painted by Andrea del Sarto for the Annunziata, belonging to the Servites, in Flor- 
 ence. 6) The Flight into Egypt, by Joachim Patinir (d. 1524), the father of Herri met de Bles, according to Sir Martin Co way. 
 7) The Adoration of the Magi, by Herri met de Bles (1480-1550), in the Johnson Collection in Philadelphia. 8) The Massacre 
 of the Innocents, by Matteo di Giovanni (c. 1435-1495) in the Academy of his native city, Siena. 
 
 
 
 139 
 
15, 16 and 17) THe PuriFICATION OF THE VIRGIN, 
 PRESENTATION OF THE CHILD CHRIST IN THE TEMPLE, 
 and the Circumcision, are subjects which occur fre- 
 quently in paintings of all schools. They are often 
 
 placed as wings of triptychs having as the principal 
 subject, either the Nativity, or the Adoration of the 
 Magi, e.g. the picture by Herri met de Bles 
 illustrated in our frontispiece. 
 
 A REMARKABLE ‘“‘ NATIVITY”? EXECUTED IN WATER-COLORS, BY A GIRL OF ELEVEN YEARS OF 
 YVETTE HOWLETT, WHOSE MOTHER IS THE DISTINGUISHED NEW ZEALAND ACTRESS, MISS 
 DESPITE THE EXTREME YOUTH OF THE ARTIST, SHE HAS, WE THINK, ACHIEVED A 
 RESULT WHICH FOR DEVOUTNESS AND SINCERITY IS RARELY TO BE SEEN AMONG THOSE MODERN 
 PAINTERS WHO ATTEMPT THIS MOST DIFFICULT SUBJECT TO INTERPRET IN THE RIGHT NOTE. 
 
 AGE, 
 EVE BALFOUR. 
 
 18) THe Fricut nro Ecypr. Always shown in the 
 same way, with the Madonna and Child seated on 
 an Ass, led by St. Joseph. 
 
 19) THe Rest 1n Eoypr. Andrea del Sarto’s 
 famous Madonna del Sacco, in the Annunziata in 
 Florence, is the best-known work of the early Italian 
 schools, illustrating this episode. It was painted 
 for the Order of the Serviti in their famous Chapel 
 of the Annunziata in Florence. 
 
 20) THe RETURN FROM Ecypt. From then until 
 the close of the Passion and its sequels, the life of 
 the Virgin is subordinated in Art to that of her Son, 
 which is depicted in all its aspects by so many 
 painters that it is futile to mention even the best- 
 known of them here. The pictures, of course, ex- 
 plain themselves, So we will simply list them as 
 under. 
 
 a) Curist AMONG THE Docrors (or the Dispute 
 in the Temple). See Mazzolino’s picture repro- 
 duced on Plate XLII. Bernardino Luini was the 
 author of another famous painting of this subject. 
 
 b) Baprism or Curist by St. John the Baptist 
 (see Plate X XI and page 65). 
 
 c) THe TEMPTATION IN THE WILDERNESS. 
 
 d) Tue MarriaGe at Cana. Pictures by Paul 
 
 
 
 140 
 
 Veronese and other Venetians, notably the celebrated 
 picture by the former in the Louvre, reproduced 
 here. 
 
 e) THe CaLiinc or PETER AND ANDREW, then of 
 the Sons of Zebedee (SS. James Major and John 
 the Evangelist). Fine picture by Marco Basaiti 
 in the Venice Academy. (See Plate XLIII). 
 
 f) Incidents of Our 
 Lorp’s TEACHING, and 
 y illustrations of Hts 
 PARABLES; e.g. the 
 Woman taken in Adult- 
 ery, and the Prodigal 
 Son. 
 
 g) His Mrracies; e.g. 
 The Raising of Lazarus; 
 theMuiracles ofthe Loaves 
 and Miraculous Draught 
 of Fishes cartoon by 
 Raphael in the Victoria 
 and Albert Museum in 
 London). 
 
 h) THe SERMON ON THE 
 Mount. 
 
 1) THe TRANSFIGURA- 
 TION. Raphael’s cele- 
 brated picture in the 
 Vatican. 
 
 j) Jesus aT THE House 
 oF MarTHA OF BETHANY 
 and her sister, Mary Magdalene. (See pages 70 
 et seq.) 
 
 k) Tue Feast art tHE House oF SIMON THE 
 Levire, distinguishable from (j) by the larger 
 number of persons present. (See Plate XLIII.) 
 
 1) The Scenes in the GARDEN OF GETHSEMANE OR 
 THE Mount oF OLIVEs. 
 
 m) THe Lorp’s, or Last, Supper. (See page 60 
 et seq.) 
 
 n) Tue InstiruTION OF THE Eucnarist. (Idem.) 
 
 o) Tue BerrayAL AND Capture and its atten- 
 dant incidents, e.g. the cutting off of the ear of 
 Malchus. oi 
 
 p) THE ScourGING AND CRowNING wiTtH THORNS. 
 Famous picture by Titian in the Louvre. 
 
 q) The Via Dolorosa, the Roap To Catvary, with 
 its incident of Saint Veronica. (See Plate XLIV.) 
 
 s) THe NaILinc To THE Cross. 
 
 t) THe CruciFixion, treated as an event, with all 
 the accessories, such as the Roman soldiers, the two 
 thieves, the Centurion, afterwards St. Longmus, etc. 
 
 u) THe Descenr From THE Cross. Celebrated 
 painting by Rubens in Antwerp Cathedral, and 
 innumerable others. 
 
PLATE XLII THE SAINTS IN ART 
 
 lS als 
 
 THE NATIVITY, AND OTHER | 
 SCENES OF THE SAVIOUR’S | 
 MOU THEW DAYS: 
 
 1) A beautifully devout Nativity, by Geertgen tot Sint-Jans, in the Kaufmann Collection, in Berlin. 2) The Baptism of 
 Christ, by Joachim Patinir, in the Vienna Gallery. Note the Almighty and the Dove directly over the Saviour’s head (see page 
 67). 3) The young Christ disputing with the Doctors, by Bernardino Luini (c. 1475-1532), in the National Gallery, where is 
 also No. 5 of the same subject by Mazzolino (c. 1478-1528). 4) Adoration of the Shepherds, by Pietro di Domenico (1457- 
 1506) in the Siena Academy. 6) The Tiburtine Sibyl, prophesying to the Emperor Augustus the coming of Christ, whereupon 
 the heavens opened and disclosed a radiant Virgin with the Child in her arms. By Lucas of Leyden (1495-1533), in the Venice 
 
 Academy. 
 
 
 
 141 
 
v) Tue Deposition. Similar to the Pietd, save 
 that the personages present are more numerous, 
 and they are IN THE act of laying the Body of 
 Christ down. In the Prieta, there is NO ACTION 
 whatsoever. (See Plate IX.) 
 
 w) THe ENTOMBMENT. 
 
 (See Plate XLV.) 
 
 y) Tue Visit or THE Marys (other than the Virgin 
 Mary, who did not go) TO THE SEPULCHRE. (See 
 Plate XVII.) 
 
 z) THE Descent Into HELL. 
 
 x) THe RESURRECTION. 
 
 (See Plate XLVI.) 
 
 aa) THE APPARITION OF Curist TO His MoruHer. 
 (Not scriptural.) 
 
 bb) THE ApparITION TO Mary MAGDALENE IN THE 
 GarDEN. (The Noli me tangere.) (See Plate XXII.) 
 
 cc) THe AscENSION. 
 dd) Tue Descent or THE Hoty Guost. (Acts I. 4.) 
 
 ee) THE Supper aT Emmaus. APPARITION TO THE 
 Two ApostLes. (Mark xvi: 12). Famous pictures 
 by Titian and by Rembrandt, both in the Louvre. 
 (See Plate XLVI.) 
 
 ff) Tae UNBELIEF oF THomas, at the supper of 
 the Eleven. (Mark xvr.), who was not present at 
 the Supper at Emmaus. (John xx: 25-29.) 
 ge) JEsus aT THE SEa OF Tiperias. (John xxi: I et 
 seq.) 
 hh) THe Cuarce To St. Peter: ‘Feed My Sheep.”’) 
 (St. John xxx: 17.) 
 
 Then we come back to the Virgin with: 
 
 (See Plate XLVI.) 
 (See Plate XI.) 
 (See Plate XII.) 
 
 24) Her Miracutous APPEARANCES IN AID OF 
 Humans. (See Page 35.) 
 
 * * 
 
 21) Her Deatu. 
 22) Her AssuMPTION. 
 23) THE CoronaTION. 
 
 In regard to Old Testament subjects, it must 
 be remembered that the great majority of early 
 painters were Roman Catholics, who executed 
 their works at the instigation of the Clergy 
 or Monastic Orders, or for laymen who wished 
 to present them to Churches or monastic institu- 
 tions. Therefore most of the subjects chosen were 
 taken from the Gospels, or the accepted histories 
 and legends of the Lives of the Virgin and the Saints. 
 Where Old Testament scenes were depicted they 
 generally had some symbolic or prophetic signifi- 
 cance. But m 17th Century Protestant Holland, 
 Old Testament “‘illustrations’” were more pop 
 ular than Catholic devotional subjects. Rembrandt 
 was one of the great painters of Old Testament 
 episodes, and also made numerous etchings after 
 the Bible. 
 
 Among the most commonly illustrated are the 
 CREATION; ADAM AND Eve; the ExpuLsioN FROM 
 THE GARDEN OF EDEN (pictures by Masolino and 
 
 142 
 
 Masaccio); THE DEATH oF ABEL; GoD APPEARS TO 
 ABRAHAM; Gop APPEARS TO Moses IN THE BuRN- 
 ING Busu; THE DRUNKENNEsS OF Noaun, and oF 
 Lor; Hacar AND ISHMAEL; ABRAHAM AND ISAAC; 
 Isaac AND JacosB; JAcoB’s DrEAM; JOSEPH AND 
 THE WIFE OF PoripHAR (a very frequently painted 
 subject); THe Finpinc oF Moses; JAEL KILLS 
 SISERA; JUDITH AND HoLOpHERNES; SAMSON AND 
 DeE.iLAH; Davin AND GoLiATH; Davip ANnp BaATH- 
 SHEBA; The JUDGMENT OF SOLOMON; ELIJAH FED 
 BY THE Ravens; EsTHER AND HAMAN; THE 
 TriumepH oF MorpbeEcal; BELSHAzZAR’S FEAST; 
 DANIEL IN THE Lions’ DEN, and the VISION OF 
 DANIEL, SUZANNAH AND THE ELDERS, etc., etc. 
 
 * * 
 
 The Srpyits were Jegendary prophetesses who 
 were said to have foretold to the Gentiles, as the 
 Prophets had foretold them to the Jews, various 
 aspects of the Advent and Sojourn upon earth of the 
 Messiah. They were twelve in number; the Persian 
 Sibyl, the Libyan, the Delphic, the Erithrean, the 
 Cumezan, the Samian, the Cimmerian, the Tibur- 
 tine, the Hellespontine, the Phrygian, the European, 
 and the Agrippine. (See pictures touching upon 
 the Sibyllic legends on Plates XLII and XLVII.) 
 The Michelangelo and Raphael Sibyls are known 
 to all who have visited the Vatican. 
 
 et et 
 
 The third category of pictures includes the Last 
 JUDGMENT, of which some of the most famous are 
 those by Michelangelo, in the Sistine Chapel (see 
 pages 61 and 158); Luca Signorelli, in Orvieto Cathe- 
 dral; Tmtoretto, m the S. Maria dell’Orto Church 
 in Venice of which the original drawing, in the 
 collection of the author, is reproduced on Plate 
 XLVII; Fra Bartolommeo, in the Uffizi in Flor- 
 ence; Giotto, in the Arena at Padua; Orcagna in 
 S. Maria Novella in Florence, among the Italians; 
 and Roger van der Weyden; Memlinc; Jan Pre- 
 vost, Lucas van Leyden (See Plate XLVI.), among 
 the Northern artists. 
 
 * * * 
 
 PARADISE was again a popular subject, in which 
 the Saints and Prophets are grouped around the 
 Trinity. Some outstanding examples are those by 
 Tintoretto, in the Louvre m Paris; Giovanni di 
 Paolo, mm Siena; and Hieronymus Bosch, in the 
 
 Prado. (See Plate XLVI.) 
 
 * *K * 
 
 HELL was a favorite subject of the early Flemish 
 painters, particularly, for in it they were able to 
 give free rein to all the fantasm of their strange 
 natures. Among the best-known are those by Herri- 
 met de Bles, in Munich; Hieronymus Bosch, in the 
 Escurial, and, of course, among modern artists, 
 the wonderful drawings by Gustave Doré, illustrat- 
 ing Dante’s “Inferno.” 
 
PLATE XLIII THE SAINTS IN ART 
 
 A GROUP OF INTERESTING IN- 
 BERERE VATIONS s= OF  (OUT- 
 Bea DING -EVENTS, IN THE 
 BIStORICAL CAREER OF THE 
 GREAT TEACHER. 
 
 
 
 
 
 1) One of the most celebrated pictures in the world: Paul Veronese’s ‘‘ Marriage at Cana,’ in the Louvre. This immense 
 canvas—for it is nearly 36 feet long, by 22 feet high— was taken from Venice by Napoleon, during his Italian campaigns, 
 and, when his captures were returned to their rightful owners after 1815, this picture, on account of its unwieldiness, was left to 
 the French in exchange for the work of a third-rate painter, Baron Gerard, who enjoyed a vogue at that time. 2) Preliminary 
 wash drawing by Paul Veronese for his famous ‘‘Feast at the House of Simon the Levite,” in the Brera of Milan. As usual, 
 Veronese has mingled contemporary personalities with the scriptural ones. Marked with an “X”’ is the great Emperor Charles V, 
 and with an “O” King Francis I of France (In the Collection of the Author). 3) The Raising of Lazarus, by Albert van 
 Ouwater or Oudewater (15th Century), in the Berlin Museum. 4) The Calling of the Sons of Zebedee (SS. James Minor and 
 John the Evangelist), by Marco Basaiti (c.1470-1527) in the Venice Academy. 
 
 
 
 143 
 
HOW THE MARTYR-SAINTS SUFFERED AND DIED 
 
 AS DEPICTED BY SOE GREAT MASTER Ss © agian 
 
 
 
 This Table is not intended as a complete list of martyr- 
 saints, but only of those whose martyrdoms are painted as 
 narrative pictures of the actual events. Others whose martyr- 
 doms are only depicted in series in stained glass have been 
 
 omitted. 
 
 ‘ 
 
 The mention 
 
 ‘ineffectual”’ or 
 
 ‘ 
 
 ‘ineff.” means that the 
 
 form of martyrdom to which it refers was rendered so by 
 divine intervention. In the majority of such cases, the saint 
 thus saved was finally slain with the sword. There are excep- 
 
 tions. 
 
 The letters following the name of a Saint in this Table 
 denote the section in which he or she is placed in the “‘Com- 
 plete Tables of Holy Personages and Saints,” pages 145-152. 
 
 
 
 ANVIL, LIMBS BROKEN ON. St. Adrian. P. 
 
 ARROWS, SHOT WITH. 
 
 AXE, SLAIN WITH. 
 BEHEADED. 
 
 BOILED ALIVE IN 
 CAULDRON 
 
 Bounp To CoLumN. 
 Breasts MutTItatep. 
 
 St. Ursula (with a number of 
 maidens). G. a. 
 
 St. Angelus (in his Carmelite 
 Robes and hung from a tree). 
 IRS @& 
 
 St. Sebastian (nude). L. 
 
 St. Christina. G. a. 
 
 St. Pantaleon (nude, but hands 
 nailed to tree above his head). J. 
 
 St. Proculus, in a house. 
 
 St. Alexander (in Bergamese pic- 
 tures only). P. 
 
 St. Adrian. P. 
 St. Alban. A. 
 St. barbara Gata: 
 
 St. Catherine of Alexandria. G. a. 
 
 SS. Celsus and Nazareus (always 
 together). J. 
 
 S. Cosmo and Damian (always 
 together in the scarlet robes of 
 a physician.) J. 
 
 S. Crispin and Crispianus (rarely 
 seen except in Flemish works.) J. 
 
 SS. Justina and Cyprian. G. a. 
 and C. 
 
 St. Denis (carrying head). D. 
 
 St. Donato. D. 
 
 St. Dorothea, with angels bearing 
 roses. G. a. 
 
 SS. Faustino and Jovita, together 
 as Deacons. F. 
 
 St. George of Cappadocia. P. 
 
 St. Margaret of Antioch with Dead 
 
 ragon. G.a. 
 
 St. Matthew. (Picture by Cara- 
 vaggio in San Luigi de’Francesi, 
 Rome.) B. 
 
 St. Maurelius, Bishop. D. 
 
 St. Maurice (surrounded by his 
 comrades of the Theban Legion, 
 either as spectators, or themselves 
 crucified or bebeaded.) P. 
 
 St. Paul (easily recognizable). B. 
 
 St. -PriscasnG..di 
 
 SS. Crispin and Crispianus, to- 
 gether (ineff.). J. 
 
 SS. Justina of Antioch and St. 
 Cyprian (ineff.). G. a. and C. 
 
 St. Felicitas and her seven Sons. 
 
 The Mother of the Maccabean 
 
 young). J. 
 St. Bibiana. G. d. 
 St. Agatha. G. d. 
 
 T 44 
 
 BuL1, BRAZEN, ROASTED 
 ALIVE IN. 
 Burnt ALIVE. 
 
 CAULDRON, STANDING IN. 
 
 CoLumn, Bounp To. 
 CRUCIFIED. 
 
 DaGGER (IN NECK). 
 DraGGEp BY Hair. 
 DRAGGED OVER ROCKS 
 AND STONES. 
 DROWNED. 
 
 FLAYED ALIVE. 
 
 Horses, Torn ASUNDER 
 BY. 
 
 LANCES OR JAVELINS, 
 MEN PIERCING WITH. 
 
 Lions, THROWN TO. 
 
 MILLSTONE TIED TO NECK. 
 
 DROWNED WITH. 
 “* (CRUSHED BENEATH 
 A) 
 “* (FLOATING, FAS- 
 TENED TO A) 
 Naits, PrERCED WITH. 
 
 OxXEN ATTEMPTING TO 
 MOVE HER. 
 
 Roastep ALIVE ON BED 
 OR GRIDIRON. 
 
 SLAIN WITH SworD. 
 (Nor BEHEADED) 
 
 SPIKES (WRITING STYLES) 
 PIERCED WITH. 
 STONED TO DEATH. 
 
 STRIPPED OF CLOTHING. 
 
 TreetH ExtTrAcrTeD. 
 WHEELS, SPIKED, 
 STANDING BETWEEN. 
 
 Wivp Beasts. 
 WInpb.ass, ENTRAILS 
 WOUND UPON A. 
 
 St. Eustace and his family. P. 
 
 ay Afra, patroness of Augsburg. 
 
 St. Apollonia (see Teeth Ex- 
 tracted). G. d. 
 
 St. Christina (unharmed). 
 
 SS. Cosmo and Damian (ineff.). 
 
 St. Ephesus, in blue starred robe 
 (ineff.). P. 
 
 St. Lucia (ineff.). 
 
 See Boiled Alive. 
 
 St. Bibiana. G. d. 
 
 sae (on an X-shaped cross). 
 
 St. Peter (head downwards). B. 
 
 St. Philip the Apostle (with crowd 
 stoning him). B. 
 
 St. Lucia, (Gaye 
 
 St. Sabnaa. * Gad: 
 
 St. Mark. B. 
 
 St. Christina (millstone attached 
 to her neck). G. a. 
 
 St. Clement (anchor fastened to 
 his neck). N. 
 
 St. Julian of Rimini (in sack full of 
 serpents). J. 
 
 St. Bartholomew. B. 
 
 St. Hippolytus. J. 
 
 St. Thomas the Apostle. B. 
 
 St. Euphemia (ineff.). G. a. 
 
 SS. Faustino and Jovita (ineff.). F. 
 St. Ignatius of Antioch, Bishop. D. 
 St. Prisca, very young (ineff.). G. d. 
 St. Thecla (ineff.). G. d. 
 
 St. Christina (ineff.). G. a. 
 St. Floriany oF: 
 
 St. Victor of Marseilles, then be- 
 headed. P. 
 
 St. Vincent. F. 
 St. Crispin (with Crispianus who 
 is In a cauldron of oil). J. 
 
 Gas 
 
 St: Faith, Gig: 
 
 St. Lawrence. D. 
 
 St. Agnes. G. a, and c. 
 
 St. Euphemia (in arena with 
 lions). G. a. 
 
 St. Justina of Padua (in bosom). 
 
 St. Lucia. 
 
 oul 
 St. Lucia (dagger in neck). G. f. 
 St. Peter Martyr. See illustrations 
 Plate xxxvu and page 132. 
 
 St. Cassian. a2: 
 St. Alphege (always as an arch- 
 ishop. C. 
 St. Stephen (as a Deacon). F. 
 St. Gaudenzio (very rare) as 
 Bishop. D. 
 St. Philip the Apostle (on a cross). 
 
 iG 
 St. Agnes (ineff.). (See Plate VII.) 
 . a. and e. 
 St. Thecla (in amphitheatre). G. d. 
 St. Apollonia (ineff.). G. d. 
 
 St. Catherine of Alexandria (ineff.). 
 « @ 
 See Lions. 
 
 St. Erasmus (picture by Dirk Bouts 
 in Louvre). D. 
 

 
 COMPLETE TABLES OF THE HOLY PERSONAGES AND SAINTS 
 
 Found in Early Christian, Byzantine, Italian, Flemish, German, French, and Spanish Art, including 
 Pictures, I[Juminated Manuscripts, Mosaics, and Statues, arranged by categories, listed 
 alphabetically, according to the costume in which they are usually portrayed. 
 
 These categories are as follows: Abbots; Apostles; Archbishops; Armor (see Warrior Saints); 
 Bishops; Cardinals; Deacons; Female Saints (Crowned, Hermits; Long Hair; Miscellaneous; Nuns; 
 Richly-Dressed); Hermits; Miscellaneous; Monks; Nude or Semi-nude; Pilgrims; Popes; Royal 
 
 Saints; Warrior Saints; Saints with Wings. 
 
 Norte; The indication of the costume being the main 
 purpose of these tables, we have bad to abbreviate greatly 
 all other information. The reader will find, however, 
 the typical emblems and dates, etc., of each saint in- 
 cluded. For further information consult the Index and 
 List of Illustrations. The Plate or Page number after 
 each section-beading means that an example of the 
 costume 1s there depicted. 
 
 The place-name, following the date of death of 
 an Archbishop or a Bishop, signifies the Diocese he ad- 
 ministered. 
 
 Aug—Augustinian Canons. 
 Ben—Benedictine Monks. 
 Br—Brigittines, Order of (Nuns). 
 c.—circa (about). 
 Cam—Camaldolesi, Order of the. 
 Carm—Carmelites. 
 Carth—Carthusians. 
 Cis—Cistercians. 
 
 CM—Crown of Martyrdom. 
 d—Died. 
 
 Da—Daughter of... 
 DC—Doctor of the Latin Church. 
 DGC—Doctor of the Greek Church. 
 Dom—Dominican Monks. 
 FC—Father of the Latin Church. 
 FGC—Father of the Greek Church. 
 FMO—Founder of a Monastic Order. 
 Fr—Franciscan Friars. 
 
 GB—Greek Bishop. 
 GVM—Greek Virgin Martyr. 
 Jer—Jeronymite. 
 
 Jes—Jesuit. 
 
 LVM—Latin Virgin Martyr. 
 M—Martyr. 
 
 Mo—Mother of... 
 Oliv—Olivetan Order. 
 
 OM—Order of Mercy. 
 
 PC—Poor Clares (Nuns). 
 Prem—-Premonstratensians. 
 QW—Queen, Wife of... 
 RD—Reigning Duchess. 
 RP—Royal Princess. 
 Serv—Servites, Order of. 
 Trin—Trinitarians. 
 Val—Vallombrosan Order. 
 VM—Virgin Martyr. 
 
 VP—Virgin Patroness. 
 
 Vis. M—Visitation of Mary, Order of the. 
 (1)—First Bishop of .. . 
 
 A. ABBOTS 
 (See Pages 122 and 125) 
 
 SS. ALBAN. d. 305. Ben. Sword and Fountain. 
 
 BENEDICT, or BENNET Biscop. d. 703. Ben. Mitre and 
 Planeta and Pastoral staff; 2 monasteries in background. 
 
 BERNARD OF CLAIRVAUX. d. 1153. Ben. Fettered Demon or — 
 Three Mitres on a book. 
 
 BERNARD DEGLI UBERTI. Val. (See Section E.) 
 
 Bruno. FMO. d. 1200. Carth. Habit of his order (g. v.). 
 
 B. APOSTLES 
 (See Pages 59-66) 
 
 SS. ANprew. M. d. 70. X-shaped Cross (see Plate XX). 
 
 BarTHOLOMEW. M. Large Knife. 
 
 James Masor, or the Great. d. 44. Pilgrim’s Staff. 
 
 James Minor, or the Less. M. Fuller’s Club. 
 
 JOHN THE EvaNGELtsT. d. 99. Chalice and Serpent. 
 
 MatrHew. M. d.ogo. Bag or Sack-Purse. 
 
 Martruias. M. Last Apostle called. Took place of Judas. 
 Lance in Italian, Axe m German, pictures. Holding 
 sword by the point in a picture by Cosimo Rosselli, in the 
 Florence Academy. 
 
 Peter. M. d.65. Keys or a Fish. 
 
 Puitie. M. Cross on Staff. 
 
 Smmon Zetotes. M. Saw. 
 
 TuappeEus or JupE. M. Halberd or Lance. 
 
 Tuomas. M. Builder’ssquare. Also a spear sometimes, e. g. 
 in pictures of his martyrdom. 
 
 
 
 BarnaBas. M. Gospel in Hand, with St. Paul or St. Mark. 
 Luxe. M.(?) Easel and Brush. 
 
 Mark. M. d. 68. Pen and Book. 
 
 Paut. M. d. 65. Sword and Gospel. 
 
 Note: The four Evangelists, as such, carry different sym- 
 bols. Here they are depicted simply as members of the group 
 of apostles. See Chapter VII passim and Index. 
 
 C. ARCHBISHOPS 
 (See Plate XXV, 6) 
 
 SS. AtpHece. M. d. 1012. Canterbury. Chasuble full of 
 stones. 
 
 ANTONINO. d. 1461. Florence. Dom. Pallium over Habit. 
 
 AuGUSTINE. d. 604. Canterbury. Ben. Pallium. 
 
 Cyprian. M. d. 258. Carthage. Palm and Book. 
 
 Dunstan. d. 988. Canterbury. Ben. Tongs or a Harp, or 
 holding the devil by the nose. 
 
 ILtpEFonso. d. 677. Toledo. Ben. Investiture by the Vir- 
 gin Mary. 
 
 Norpert. FMO. d. 1134. Magdeburg. Prem. Chalice 
 with spider, or Demon at his feet. 
 
 Patrick. d. 464. Primate of Ireland. Aug. Neophyte looking 
 up at him in adoration. Serpent beneath his feet. (See 
 Section L.) 
 
 Pautinus. d. 644. York. Ben. On horseback in pictures 
 with St. Augustine. 
 
 Tuomas A Becker. d. 1170. Canterbury. Ben. With 
 wounded head, or with knife in head. (Do not confuse 
 with St. Peter Martyr.) : 7% 
 
 Tuomas oF VILLANUEVA. d. 1555. Valencia. Aug. Giving 
 his clothes to a beggar. Only in Iate Spanish Art. 
 
 D. BISHOPS 
 (See Pages 17, 82, and 94.) 
 
 SS. ABBoNpDIO. Como. 
 
 Apert. M. FMO. d.c. 1210. Vercelli. Carm. Palm. 
 
 AmprosE. F.C. d. 397. Milan. Beehive and Knotted 
 Scourge. 
 
 ANDREA Corsini. d. 1373. Fiesole. Carm. 
 
 Antanus. d. 86. Alexandria. 
 
 Apoturnaris. M. d.79. Ravenna (1). Black Cross on White 
 robe. 
 
 Atuanasius. D.G.C. d. 373. Alexandria. Author of the 
 Athanasian Creed. 
 
 AucustTInE. D.C. d. 430. Hippo. Book, and small child 
 near a hole in the shore. Flaming Heart. 
 
 
 
PLATE LXIV THE SAINTS IN ART 
 
 (OEE sates 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 FINAL |. 33s ees = 
 
 SCENES 
 
 OF OUR 
 
 | LORD’S 
 LIFE 
 
 AND A 
 
 MIRACLE 
 
 1) An engraving by Marcantonio Raimondi after Raphael’s Cartoon, in the Victoria and Albert Museum, London, for a 
 “Miraculous Draught of Fishes,” one of a series of seven tapestry projects which has been called the ‘‘ Parthenon of Modern 
 Art.” We shall discuss this picture more fully in our ‘‘ Early Italian Schools of Painting, and How to Distinguish Them,” 
 in course of preparation. 2) Christ’s Agony in the Garden, by Correggio, in the National Gallery. 3) Another version of 
 the same subject by Marco Basaiti, in the Venice Academy, with SS. Francis and Dominick. 4) Correggio’s beautiful Ecce 
 Homo, in the National Gallery. Note the figure of Pilate at the right. 5) The Via Dolorosa, the Procession to Calvary, with 
 St. Veronica, bearing the kerchief upon which she wiped the sweat off the brow of Our Lord, and found imprinted upon it His 
 Image. By Ridolfo Ghirlandajo (1483-1561) in the National Gallery. 6) The Transfiguration, by Giovanni Bellini, in the 
 Venice Academy. 7) Christ bound to the Column, by Eustache Le Sueur (1615-1655), in the Louvre. 8) A semi-devotional, 
 
 semi-narrative, Crucifixion by Gerard David, in the Berlin Museum. The four Marys, and the Centurion and other soldiers 
 are present, but there is only one Cross. 
 
 146 
 
Basit THE Great. D.G.C. d. 380. Cesarea. No mitre. 
 Dove on shoulder. Do not confuse with Gregory the Pope. 
 Benno. d. 1100. Meissen. Ben. Fish with Key in its mouth. 
 
 Braise. M. d. 316. Sebaste. Wool comb. 
 
 Bonirace. M. d. 755. All Germany. Ben. As Bishop of 
 Mainz. Book pierced by sword, or baptizing a convert, 
 with his foot on fallen oak. 
 
 Brice. d. 444. Tours. Live coals in hand or Child in arms. 
 
 Cassian. M. Imola. Iron spikes (styles). 
 
 Cuap. d. 672. Lichfield. Ben. (Stained glass.) 
 
 CHERON. M. d. 3rd cen. Chartres. Head in hand. 
 
 Costanzo. M. d.c. 255. Perugia. 
 
 Cunipert. d. 660. Cologne. Model of a Church. Dove. 
 
 CutupBert. d. 687. Landisforme or Durham. Ben. Otter or 
 Head of St. Oswald. Generally as Abbot. 
 
 Cyprian. M. d. 304, Antioch. As a Greek Bishop, with- 
 out head-dress. Rarely, if ever, without St. Justina of 
 Antioch (‘Section G.f.), in devotional pictures. 
 
 Cyrit. G.B. d. 444. Alexandria. Only G. B. with head 
 covered. Wears hood falling on shoulders with front 
 bearing cross. 
 
 Denis. M. d. 3rd cent. Paris. Severed Head under arm. 
 
 Donato. M. Arezzo. Glass of Wine and Sword. 
 
 Exoy or Exicius oF Noyon. d. 659. Horse with three legs. 
 
 Enurcuus. d.c. 340. Orleans. Finding pot of gold. 
 
 Erasmus. M. d. 296. Formia. Windlass. 
 
 Ercorano. M. d.c. 547. Perugia. 
 
 FRANCIS DE SALES. d. 1622. Geneva. Vis. M. Great Beauty. 
 
 FrepDIANus. d.c. 580. Lucca. Harrow. 
 Gaupenzio. M. d. 359. Rimini. Stones. 
 GaupEnzio. d.?. Novara. 
 
 GEMINIANUus. d.c. 450. Modena. 
 
 GrecoryY NaZIANZEN. D.G.C. d. 390. Nazianus. 
 
 Hirary or Irario. d. 363. Poitiers. 
 
 Husert. d. 727. Liege. Stag with crucifix between its horns. 
 
 Huen. d. 1132. Grenoble. Carthusian. 
 
 Hucu. d. 1189. Lincoln. Carthusian. Swan. 
 
 Ienatius. M. d.107. Antioch. Lions. 
 
 Istpore. d. 606. Seville. Called “The Egregius Doctor of 
 Spain.’’ Seen with Bishop St. Leander (g. v.). 
 
 Januarius. M. d. 303. Benevento. Vesusius in background 
 and Palm in hand. 
 
 JoHN Curysostom. D.G.C. d. 407. Constantinople. Name 
 on nimbus, 
 
 Lampert. M. d.709. Maestricht. Palm and Javelin. 
 
 Lazarus. Marseilles. With Mary and Martha or sometimes 
 with a Bier in the background. 
 
 LEANDER. d. 596. Seville. Styled the “‘Apostle of the Goths.” 
 Represented with St. Isidore (q. v.), in attendance upon 
 Ferdinand of Castile and Prince Hermengildus. (Sect. P.) 
 
 Louis or Toutouse. d. 1297. Toulouse. Fr. Crown at feet. 
 Cope embroidered with fleurs-de-lys. (See Royal Saints.) 
 
 MartTIAL. d. 3rd cent. Limoges (1). With St. Valery bear- 
 ing her Head. 
 
 MarTIN oF Tours. d. 397. Tours. Dividing cloak with a 
 beggar (see Warrior Saints). 
 
 Mauvretius. M. d. 2nd cent.(?). Ferrara (1). 
 
 MercuRIALe. d. 2nd cent. Forli (1). Dragon. 
 
 NicaiseE. M. d. 400. Rheims. Upper part of Head, with 
 mitre, in his hands. : 
 
 Nicoctas or Myra or Bart. d. 326. Myra. Rich robes, 
 Three Gold Balls, or three children. 
 
 Petronius. d. 430. Bologna. Model of City in hand (with 
 tall Campanile). (See Plate VI.) 
 
 Procutus. M. d. 445. Bologna. In Bolognese pictures. 
 
 Quirinus. M. d. 309. Sissack in Croatia. Millstone. 
 
 Recuius. M. Africa. Severed Head, seated. Only repre- 
 sentation at Lucca (statue). 
 
 Romain. d. 639. Rouen. Dragon called the Gargoyle 
 (whence the term im architecture) or Headless. 
 
 Romuto. M. Time of Nero. Fiesole (1). Palm and Dagger. 
 
 Syrus. M.? Pavia (1). 
 
 SwipBert. d. 713. Ben. Holding a star. 
 abbot, but always shown as bishop. 
 
 SwiTHEN. d. 862. Winchester. Ben. Waterspout. 
 
 Urricu. d. 973. Augsburg. Fish. 
 
 Zeno. M.(?) d. 380. Verona. Fishing rod and Fish. 
 
 ZeNosBIO. d. 417. Florence. Tree putting forth leaves. 
 
 E. 
 
 Was really an 
 
 CARDINALS 
 (See Plate XXIV) 
 
 SS. BERNARDO DEGLI UBERTI, OR BERNARDO CARDINALE. Val. 
 
 BonaveENTuRA. d. 1274. Fr. Red hat worn or on branch of tree. 
 
 CuarRLES BorROMMEO. d. 1584. Ben. Rope around neck 
 and bare feet, or one hand holding a book, and other 
 raised in benediction. 
 
 JEROME. d. 420. Cardinal’s hat and robes an anachronism 
 (see Chapter VIII). Frequently as a Hermit. Founder 
 of Monachism in West. 
 
 147 
 
 Raymonp Nonnatus (San Ramon). d. 1240. OM. Lips 
 
 padlocked. 
 DEACONS 
 
 F. 
 (See Plates XXX, 5 and XXXIII, 5 and 6) 
 
 SS. Faustino. M. d. 121. With St. Afra (section G-f.). 
 Rarely seen except in Brescian pictures. 
 
 Jovira. M. d.121. See St. Arra or Brescia, G.f. 
 
 Lawrence. M. d. 258. Gridiron and Book. 
 
 LEONARD. d. 559. Fetters, or slaves around him. 
 
 Puitip. Baptising Chamberlain of Queen Candace. 
 
 Pracipus. M. d. 584. With his Dalmatic over a Benedictine 
 black tunic. (See Section K. a.) 
 
 STEPHEN. M. 1st Cent. Proto-Martyr. Stones on head, or 
 on shoulder, or around him, his head wounded. 
 
 Vincent. M. d. 304. Raven. 
 
 G. FEMALE SAINTS 
 a) CROWNED (See Pages 22 and 100) 
 
 SS. ADELAIDE. d. 300. Duchess of Bergamo. Long veil under 
 Crown. Generally with St. Lupo (see Royal Saints) and 
 St. Grata (below). 
 
 ADELAIDE. d. 999. QW. of Otho I. of Germany. 
 
 Acnes. LVM. d. 304. Rarely crowned except in German and 
 Flemish pictures (see sub-section ‘‘c”’ and Plate VI). 
 BarBaRA. VP and M. d. 303. CM. Tower with three win- 
 
 dows or a chalice and Gospel, or a Sword. 
 
 CATHERINE OF ALEXANDRIA. VP and M. d. 307. RP. Wheel 
 with spikes, generally broken. Also with Sword and 
 Gospel and Palm; sometimes (Plate V) with Head of 
 Emperor Maximian and Demon at her feet. 
 
 Cecitira. LVM. d. 280. Patroness of Sacred Music. Crown 
 of Roses and Musical Instruments, also Palm and some- 
 times Sword. 
 
 Curistina. M. d. 295. CM. Also Arrow, or Millstone. 
 
 Criotitpa. d. 534. QW. of King Clovis of France. 3 Fleurs- 
 de-lys, generally on a Shield. 
 
 CunEGuNDA. d. 1040. QW. of Henry of Bavaria. Walking 
 on Ploughshares. 
 
 DorotHEA OF Cappapocia. GVM. d. 303. Crown of Roses. 
 Basket with Three Apples and Three Roses. 
 
 EvIsaABETH OF Huncary. d. 1231. QW. of King Ludwig. 
 Two Crowns (see p. 22). Lap full of Bread and Roses. 
 Often with beggars or children. Always represented as 
 young and beautiful. Died at 24 years of age. Often 
 wears a Veil. . 
 
 ELISABETH OF PorTUGAL. d. 1336. QW. of Dionysius. Al- 
 ways represented as old and venerable. 
 
 ETHELREDA. d. 679. Da. of King of East Anglia. Was 
 founder of Ely Cathedral. Asleep under a tree with two 
 maidens. 
 
 Eupuemia. GVM. d. 307. Lion and Palm. CM. 
 
 GraTa oF BerGcAmo. M. d. 300. Head of St. Alexander in a 
 napkin. 
 
 Hevena. d. 327. Mo. of Constantine the Great. Asleep, 
 with a Large Cross as a dream (Paul Veronese) or holding 
 one in her arms. She discovered the True Cross of 
 Christ on Calvary, as St. Louis discovered the True 
 Crown of Thorns (q. v.). 
 
 Justina oF Papua. VM. d. 303. Da. of King Vitalicino. 
 Unicorn is sometimes given her by mistake, being the 
 special attribute of Justina of Antioch who is not crowned. 
 Sword in bosom is this saint’s true attribute, with Palm. 
 
 MarGareEt OF ANTIOCH. VP. and M. d. 306. CM. Dragon, 
 Spear and Cross. 
 
 RADEGUNDE. d. 587. QW. of Clothaire V. Long Veil. Cap- 
 tive with Broken Fetters. 
 
 Reparata. VM. d. at 12 years of age. Only in Florentine 
 pictures. Seen as a small girl by the side of the Madonna, 
 in white robe and red mantle, or with Crown and Palm. 
 CM. Was Patroness of Florence from 680 to 1298. 
 White Banner with Red Cross. 
 
 Rosa oF Lima. d. 1617. Only canonized saint in the Western 
 Hemisphere. Crown of Thorns. Child Jesus on a full- 
 blown Rose (Murillo). Only seen in late Spanish pictures. 
 
 Rosatia OF PaLtermo. d. 1160. Hermit Saint. Crown of 
 Roses. In cave with Crucifix. 
 
 Ursuta. VP. and M. d. c. 380(?). Princess of Brittany. 
 Arrow and large numbers of Maidens with her. (11,000 
 Virgins). Rich robes and Arrow and Banner in votive 
 pictures. 
 
 b) Hermit Saints (FEMALE) 
 (See Plates XXIII and XXXIV, 3) 
 
 SS. GENEVIEVE OF Paris. d. 509. Patron Saint of Paris 
 Saved the city from Attila and Childeric. Converted 
 Clovis and Clotilda to Christianity. Generally portrayed 
 as a Shepherdess with her Flock and a Spindle, in youth, 
 and as a “‘réligieuse’”’ (nun) in later life. 
 
PEATEs Ey: THE SAINTS IN ART 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ‘ethan sects seatlinecanitcccestt 
 
 IO OLE De fe Ie Sa SOMME ANG: Wy 
 
 
 
 1) ‘The Crucifixion of St. Philip,” ot of Our Lord, by Filippino Lippi, in S. Maria Novella, Florence. Note the similarity 
 with the real “Crucifixion,’’ but that the Marys are not present, nor other historical witnesses of the Tragedy on Calvary. 
 2) A curious “Crucifixion,” by the Fleming, Gerard van der Meire, in Saint-Sauveur at Bruges. It comprises three scenes: 
 The Procession to Calvary; the Crucifixion; and the Deposition. 3) Again a semi-devotional Crucifixion, with the three 
 Crosses, but only the Virgin Mary and St. John the Evangelist present, as in the Stabat Mater. By Antonello da Messina 
 (c.1444-c.1493), in the Antwerp Museum. 4) Mantegna’s true narrative Crucifixion, in S. Zeno at Verona. Note the 
 personages participating in the scene. 5) Purely devotional Crucifixion, or, as it is called, a ‘‘Holy Trinity,” by Masaccio, 
 in S. Maria Novella, Florence (see page 17). 6) ‘‘The Descent from the Cross,’’ by Sodoma in the Siena Academy. 7) 
 Orcagna’s (1308(?)-1368) famous ‘‘Resurrection,”’ in the National Gallery. Note the Banner of Victory, with the Cross of 
 St. George. 
 
 148 
 
Guputa. d. 712. Carries a Lantern with a Demon trying 
 to extinguish it. 
 
 Marina. Dressed as a Monk—not a Nun—but clearly 
 shown to be a very beautiful woman. Child at her feet 
 or in her arms. 
 
 Mary oF Eeyprt. d. 433. Represented as very old and worn 
 with long hair and with Three Loaves of Bread. When 
 there are Pyx, Skull and Crucifix, the saint depicted is 
 not this one, but Mary Magdalene. (See Plate XXXIV.) 
 
 c) Lone Harr as RAImENT 
 (See Plates XXIII and XXXII) 
 
 SS. Acnes. LVM. d. 304. In pictures, not votive but his- 
 torical, she is shown nude, but covered by her hair. (See 
 Section G.a. and Plate VI.) 
 
 Mary Macpatene. d. 68. Long golden hair. Spanish paint- 
 ers give her dark hair. Often shown in cave, or as a her- 
 mit penitent, with Skull and Crucifix and Pyx. 
 
 
 
 
 
 d) MiscELLANEous SAINTS (FEMALE) 
 
 SS. AcatHa. LVM. d. 251. Generally depicted in long 
 flowing robes, with modest yet noble bearing, and holding 
 a Platter upon which lies one or a pair of severed female 
 Breasts. Sometimes she carries a large pair of Shears. 
 
 Apro.titonia. VM. d. 250. Palm and Pincers holding a tooth. 
 See Procaccino’s “Martyrdom of St. Apollonia” in Milan 
 Cathedral. 
 
 Ba.sina. d. 130. Found the Chains of St. Peter. Veiled with 
 Chain or Fetters in hands or near her. 
 
 Bipiana. M. d. 362. Bound to a column with dagger in her 
 throat. 
 
 ExisasetH, Mother of John the Baptist. In pictures of the 
 Visitation, or in Holy Families, or in scenes from the life 
 of her son. Head covered, elderly. She is unmistakable 
 from the context. 
 
 FaitH. VM. d. 290. Nude to the waist. Crowned. Holds 
 an iron bed (on which she was roasted). 
 
 Fericiras. M. d. 173. Always seen with her seven sons. 
 Hooded, veiled as a widow, with martyr’s palm. Do not 
 confuse with the Seven Maccabees and their mother. The 
 latter are always depicted with their hands and feet cut 
 
 off, whereas the sons of St. Felicitas are not. (See 
 Plate IX.) 
 Firomena. M. d. 303. Extremely popular today in all 
 
 northern Italy. Lily. Palm. Javelin. Surrounded by 
 sick and maimed. 
 
 Fina oF GEMIGNANO. d. 1253. Picture by Bastiano Mainardi 
 in the Cathedral of San Gemignano. Rarely found any- 
 where else. (See however Plate X XVII.) 
 
 GENEVIEVE OF BraABANT is often believed to be the nude 
 woman nursing her child, with St. John Chrysostom, 
 also nude and creeping on his hands and knees, in the 
 background. (See page 85.) 
 
 JusTINA AND RuFina. VM. d. 304. Patroness of Seville, 
 particularly the famous Giralda Tower. Usually dressed 
 as low-class peasant girls with earthenware pots and 
 palms. Ribera painted a devotional picture of them in 
 rich costumes. 
 
 Martina. M. d. between 193 and 211. Double-pronged 
 Pitchfork with barbed pomts and Lictor’s Axe. Very 
 young and beautiful. Pictures after 16th century only. 
 
 Perpetua. M.d. 203. A Cow is generally shown with her. 
 
 PETRONILLA, d. c. 98. Daughter of St. Peter. 
 
 PRAXEDES AND PupDENTIANA. d. 148. Richly dressed with 
 Sponge and Cup, symbolic of their unceasing care of 
 suffering martyrs and their storing of the blood of those 
 who died. 
 
 PLAUTILLA was not a saint but is frequently seen in pictures 
 of the martyrdom of St. Paul, giving her veil to the great 
 Missionary Apostle. 
 
 Prisca. VM. d. 275. Lion and Palm. Eagle. 
 
 SaBina. M. d. 2nd century. Palm and Crown. Surrounded 
 by Angels. 
 
 Susanna. M. d. 290. Sword and Palm. 
 
 Tuecta. GVM. First of Greek Church. Loose Mantle of 
 dark brown or grey or violet. With a palm. 
 
 VERONICA (meaning True Face). Always shown holding a 
 Cloth or Veil bearing the image of Our Lord. Several 
 legends exist as to how this famous saint was given the 
 miraculous Portrait of Christ. She was contemporary 
 with the Saviour. 
 
 e) Nuns 
 (See Plates XXXVI and XX XVII) 
 1) Black Habit 
 
 SS. Bripcet oF IRELAND. d.?. Abbess of Kildare. Aug. Pas- 
 toral Staff and Lamp. 
 
 149 
 
 BripGET OF SWEDEN. 
 grim’s Staff. 
 
 FRANCESCA Romana. d. 1440. Ben. Angel with Book. 
 
 Hitpa oF Wuirtsy. d. 680. Ben. Rich Robe over Habit. 
 
 Monica. d. 387. Mother of St. Augustine. Generally de- 
 picted as the first nun, though it 1s doubtful whether 
 there were any true monastic orders, as such, until the 
 6th Century when the Benedictine Order was founded. 
 St. Monica is shown as an Augustinian nun. White veil 
 and generally with her Son. 
 
 Orritta. d. 720. Ben. Crozier and palm, or a book with her 
 two eyes on It. Do not mistake for St. Lucia. 
 
 ScHotastica. d. 543. Sister of St. Benedict. 
 Nun. Dove and Lily. 
 
 Mopwena. d. 1387. Ben. Crozier and White Veil. 
 
 WALBURGA. d. circa 778. Ben. Crozier and Flask. 
 
 WERBURGA. d. circa 708. Ben. Crozier and Book. 
 
 FMO. d. 1373. Br. Crozier or Pil- 
 
 First Ben. 
 
 2) Brown Habit, with small cape, veil, and knotted rope round 
 waist. Barefooted. 
 
 SS. CATHERINE OF Botoena. d. 1463. PC. Palette and Brushes. 
 
 Ciara. d. 1253. FMO. Founder of “ Poor Clare” nuns. Cross, 
 Lily and Pyx. 
 
 ISABELLA OF FRANCE. d. 1270. Sometimes crowned. PC. 
 Sister of St. Louis. Distributing alms. 
 
 3) Brown with White Cloak. (See Page 132.) 
 
 SS. Marra MappAaLena DEI Pazzi. d. 1607. Carm. Only in 
 very late pictures. 
 
 THERESA. d. 1582. Carm. Kneeling. Flaming arrow in 
 Breast. Sometimes a dove. 
 
 4) Grey. 
 SS. Clara (See Section G.e.2) 
 
 Note: After about 1400 the members of the Franciscan 
 order changed the color of their order from Grey to Brown 
 so that in most pictures of the 15th Century and after, the 
 above saints are depicted in Brown instead of Grey. Bare- 
 footed monks or nuns are always Franciscans or one of the 
 branches of that order or Carmelites. (See page 134.) 
 MarGARET OF Cortona. d. 1297. F. Young and beautiful 
 
 with cord girdle and dog. Very popular in Italy only. 
 Pastoral Staff and Books. 
 Rosa oF ViITERBO. 3rd Order of Fr. Chapter of Roses. 
 
 5) Grey with Black Cloak. 
 
 S. UmittA. Real name was Rosana, Wife of Ugolotto 
 Oaccianemici of Faenza. In two small works by that very 
 rare artist, Buffalmaco, friend of Giotto and Boccaccio, 
 she Is seen with her husband persuading him to take the 
 monastic habit. 
 
 6) White or Black Cloak over White Robe with White Veil. 
 
 SS. Acngs oF Monte Putciano. d. 1317. Dom. 
 
 CATHERINE OF SIENA. d. 1380. Dom. With the Stigmata, or 
 fainting as she receives them. 
 
 Rosa or Lima. Dom. (See Section G.a.) 
 
 
 
 
 
 
 
 
 
 
 
 f) Ricuty DressEp 
 
 SS. AFra OF Brescia. d. circa 122. VM. Generally in groups 
 of Brescian Saints, e. g., SS. Jovita, Faustino, Bishop 
 Apollonius. 
 
 Anastasia. M. d. 304. Stake, Faggots, and Palm. 
 
 BarBarRA. With Tower or Chalice. (See section G.a.) 
 
 CATHERINE OF ALEXANDRIA. (See section G.a.) 
 
 CeciL1A. (See section G.a.) 
 
 CurisTINA. (See section G.a.) 
 
 Justina of AntiocH. VM. d. 304. Unicorn and Palm. (See 
 
 age 30.) 
 
 Een Gree pial wad Janclin-or Lyng or 
 sitting in a Sarcophagus. 
 
 Juria. VM. d. 5th cent. Young and beautiful. Often with 
 St. Afra of Brescia, or St. Celsus. 
 
 Lucia. LVM. d. 303. Eyes on a platter or skewer. Poniard 
 in her neck. Palm. 
 
 MarGARET OF ANTIOCH. VP and M. (See section G.a.) 
 
 Martina. VM. d. very early. Two-pronged Fork with barbs. 
 Young and beautiful. 
 
 Mary MAGDALENE, sometimes. (See Pages 68-73.) 
 
 PETRONILLA, daughter of St. Peter. (See Section G.d.) 
 
 Ursuta. (See section G.a.) 
 
 H HERMIT SAINTS 
 (See Plate XXIV and Pages 114-119.) 
 
 SS. AntHony oF Ecypt. d. 357. Founder of Monachism. 
 Crutch with T-shaped handle. Pig. Aspergill. Bell. 
 Flames under foot. Often a T on shoulder of his habit. 
 St. Anthony is usually represented in a monastic habit with 
 a hood. 
 
Epurem. FGC. Hermit of Edessa, Syria. 
 
 Jos (Giobbo). Found only in Venetian pictures under guise 
 of St. Onofrio (see Index). 
 
 Gites OF EpInBuRGH. d. 725. In monastic habit, with hind 
 wounded by an arrow. Sometimes it goes through St. 
 Giles’ hand. He is often in a cave. 
 
 Hirarion. Contemporary with Julian the Apostate. Riding 
 on an Ass, in the Campo Santo frescoes in Pisa. 
 
 JerRoME. The Great Doctor of the Church (see under Car- 
 dinals) is more frequently shown in art as a semi-nude 
 hermit, in the desert, with the Skull and Crucifix and the 
 Lion which is his special attribute (see Plate XXIV and 
 Chapter VIII). 
 
 Macarius. d. 394. Very old and bent, with skull, and crutch. 
 
 Onorrio. Represented as very old and emaciated with long 
 matted beard. Naked, save for a leafy branch girded 
 about his loins. Sometimes money lies at his feet to indi- 
 cate his scorn of it. (See SS. Jerome and Onofrio, in 
 Marco Basaiti’s “‘ Meditation on the Passion,” attributed 
 to Carpaccio, in the Metropolitan Museum.) 
 
 PauL THE Hermit. d. 3rd century. Old, very emaciated, 
 semi-nude with palm-leaf girdle. White hair and beard. 
 Palm tree nearby. (Very much like St. Onofrio. See 
 Page 114.) 
 
 Procopius. d. 304. Relinquished crown of Hungary to be- 
 come a Hermit. A Hind is his attribute, but without an 
 arrow, as in portrayals of St. Giles. 
 
 Ranieri. d. 1161. Eight pictures of his life and career by 
 Simone Memmi (Martini) and Antonio Veneziano are in 
 the Campo Santo in Pisa. 
 
 J MISCELLANEOUS SAINTS (MALE) 
 
 SS. ACHILLEUS AND Nereus. MM. d. c. 260. Secular costume 
 bearing palms, one on each side of Flavia Domatilla, 
 whom they dissuaded from marrying Aurelian. 
 
 Ceisus AND Nazareus. MM. Always represented together. 
 Ce.sus, young. Nazareus, old. Carry swords and palms 
 of martyrdom. (See Titian’s masterpiece in the church 
 of these saints in Brescia.) 
 
 Curysantuus. M. d. 257. With St. Daria. 
 
 Crain. M. d. 3rd century at Rouen. Window in Church 
 of St. Maclou, Rouen. Headless. 
 
 Cosmo AND Damian. MM. d. 301. As doctors with Red Robes 
 and Puffed Caps. Always together. Patrons of the 
 Medici Family. (See Plate XXIX.) 
 
 CRISPIN AND CrISPINIAN. MM. d. 300 or 287. Awl and Shoe- 
 maker’s knife. Frequently seen in Flemish and Bur- 
 gundian art. 
 
 Cyri_ AND Metuonius. Always represented together. CyriL 
 with a book, Meruopius with a picture in a frame. 
 
 ELEAZAR, Count oF SABRAN. d.c. 1310. Sheaf of Papers with 
 red wax seals hanging from them. With St. Delphine, 
 his wife. 
 
 GERVASIUS AND Prorasius. MM. d. 69. St. Gervais et St. 
 Protais in French. Almost always shown together in 
 narrative pictures, with St. Ambrose. 
 
 Hippotytus. M. d. 248. Bunch of Keys, as Jailer of St. 
 Lawrence. 
 
 JULIAN oF Rimini. M. d. ?. Young, graceful, in courtier’s 
 dress. (See picture by Lorenzo di Credit. Plate X XIX.) 
 
 Omosuono. Merchant of Cremona. In picture by Bart. 
 Montagna in the Berlin Gallery, he is shown with long 
 fur-trimmed robe down to his feet, held in at waist, giving 
 alms to a beggar at his feet. (See Plate XX XIII.) 
 
 Pancras. M. d. 304. Beautiful boy of 14. Rich secular 
 dress with Sword and Palm. 
 
 PANTALEON. M. d. 4th century. Physician’s robe, with olive 
 branch or palm or both. Asa martyr he is depicted much 
 like St. Sebastian, save for a sword imstead of arrows. 
 Young and handsome. 
 
 Peter Exorcistus and Marceciinus. MM. 
 Priestly robes, with palms. Always together. 
 
 Puocas. M. d. 303. As gardener with spade. 
 
 SEBASTIAN. M. d. 288. Velvet cap. Arrow in hand. (See 
 Section L.) 
 
 Virus. M. d. 303. Very young. One of the 14 Patron Saints 
 of Germany. Many attributes: Orb. Palm. Cauldron. 
 Lion. Wolf. Cock. (See Plate XX XVII.) 
 
 Yves oF Brittany. d. 1303. Patron of all European lawyers. 
 As a priest, giving his secular clothes to the people. 
 
 ol, 2Y0yip 
 
 K MONKS AND FRIARS 
 (See Illustrations, Chapter XII.) 
 a) Black Habit. (See Plate XXXV.) 
 
 SS. AUGUSTINE OF CANTERBURY. d. 604. Ben. Generally shown 
 as an Archbishop. (See section C.) 
 
 Benepicr. FMO. d. 543. Ben. Bearded (not in Flemish and 
 German pictures). Pastoral Staff, Mitre, Aspergill, Raven, 
 Broken Sieve and of course a Book. 
 
 BeENeEpict oF ANIAN. d. 821. Ben. Converted St. William 
 of Aquitaine, grandfather of Eleanor, wife of Henry 
 Plantagenet of England. Better known under French 
 name of Saint Benoit d’Aniane. 
 
 BERNARD OF MeEnTHON. d. 1008. Founded the famous Swiss 
 monastery of St. Bernard, with its life-saving dogs. 
 
 CLoup (pron. Cloo). d. 560. Ben. Grandson of Queen Clo- 
 tilda. (See Sect. G.a.) 
 
 Dunstan. (See section C.) d. 988. Ben. In drawing by himself 
 he is shown as a Benedictine Monk. 
 
 Fevix oF Vators. FMO. d. 1212. Co-founder of Trini- 
 tarians. As Augustine Hermit near a fountain at which 
 a deer is drinking. 
 
 FRANcIS Xavier. d. 1550. Jes. Famous Missionary who 
 converted 200,000 to Christianity in Japan. Only in late 
 pictures. 
 
 Francis Boreia. d. 1572. Jes. Third General of the Order. 
 
 Gites oF Epinpurcu. d. 725. Hermit. Generally shown in a 
 Benedictine habit. (See section H.) 
 
 GuTHLAC OF Croypon. d. 714. Ben. Whip (of St. Bar- 
 tholomew). 
 
 IGnatius Loyora. FMO. d. 1556. Founder of Jesuit Order. 
 
 Seventeenth Century pictures only. “‘Monogram”’ of his 
 order IHS (see Index). 
 
 Joun Nepomuck. d. 1383. Aug. Five stars. Padlock on 
 mouth or in hand. 
 
 LEONARD. (See section F.) Only rarely shown as a Ben. 
 monk. 
 
 LieEvEN or Livin. d.656. Ben. Tongue held by pincers. 
 
 Louis Gonzaca. d. 1591. Jes. No attribute but always 
 shown as very young. He died at 23 years of age. 
 
 Maurus. d. 584. Ben. Censer or Book. Introduced the 
 Ben. order into France at Glanfeuil (now St. Maure-sur- 
 
 Loire). 
 Neor. d. 878. Ben. Aged with beard. Pilgrim’s staff and 
 
 wallet. 
 
 NicuHoLtas oF ToLentTiINno. d. 1309. Aug. Star on Breast 
 and Crucifix entwined with Lilies (see Plate III). 
 
 Nitus oF Grotto Ferrata. d. 1002. Ben. Generally shown 
 in a narrative manner, e. g., curing the epileptic boy, by 
 Domenichino at Grotto Ferrata. 
 
 Puitie Benozzt. FMO. d. 1285. 
 viti”’ (Servants of the Virgin). 
 
 Puitip Nert. FMO. d. 1595. Founder of the Order of 
 Oratorians. Only in very late pictures. Canonised 1n1622. 
 
 Pracipus. M. d. 584. Ben. or as a deacon (see Section F). 
 Only in pictures with St. Benedict. 
 
 Founder of the ‘‘Ser- 
 
 STANISLAS KortzKa. d. 1589. Jes. On couch with angel by 
 his side. Very young. 
 
 WILLIAM oF AQuiITAINE. d. 813. Ben. Grandfather of 
 Eleanore of Aquitaine, wife of Henry Plantagenet of 
 England. Shield with 3 fleurs-de-lys and three crescents 
 or as a Ben. laying aside his cuirass and helmet. 
 
 b) Brown Habit (all Franciscans in later pictures; see note in 
 section Ge4). (See Plate XXXVI.) 
 
 SS. BERNARDINO OF SIENA. F.M.O. d. 1444. Fr. Founder of 
 the ‘“Osservanti”’, Reformed Franciscans. Tablet with 
 IHS and Rays or 3 Mitres. Or a hill of 3 mounds with a 
 banner bearing a Cross. Always thin and emaciated. 
 
 (See Plates XX XIII and XXXVI.) 
 
 FeLix oF Cantaticio. d. 1587. First Capuchin Saint. Only 
 in 17th century Spanish art. Large Sack with two ends 
 slung over his shoulder. Or with Child Christ giving him 
 a loaf of bread (Murillo). Dark brown tunic, peaked 
 hood and bare feet. 
 
 Francis oF Assist. FMO. d. 1226. Founder of Franciscan 
 Order. Stigmata. Crucifix or Cross. Lily. Lamb. Skull. 
 Three maidens. Feeding the Birds, etc. In Grey im all 
 early pictures. 
 
 Francis DE Paute. d. 1507. Fr. Modified as Hermits of 
 St. Francis or Freres Minimes. Very old with long grey 
 beard. Only in late art e. g. Tiepolo (1692-1769). 
 
 JoHN CapistRANo. d. 1456. Fr. Tramples a Turk beneath 
 his feet and holds a Banner and Cross. Crucifix is his 
 special attribute. 
 
 PETER oF ALCANTARA. d. 1562. Fr. Canonised in 1669. 
 Walking with lay brother on sea. Star over his head. 
 
 
 
 
 
c) Brown with white cloaks. (See Plate XXXVI; Nuns.) 
 SS. AnceLus. M. d. 1225. Carm. Martyr’s Palm. Some- 
 
 
 
 times red and white roses issuing from his mouth. Only 
 
 in late works. 
 
 JUAN DE LA Cruz (JOHN OF THE Cross). d. 1591. First bare- 
 footed Carmelite. With 4 books written by him. Crucifix 
 and Lilies. Only in very late pictures. 
 
 d) Grey. (See Plate XXXVI; 3). 
 
 SS. ANTHONY OF Papua. d. 1231. Fr. Lily and Crucifix. Some- 
 times with Infant Christ on his book. 
 
 Francis oF Assisi. (See Section K.b.) 
 
 Juan pe Dios. FMO. d. 1550. Founder of the Brothers of 
 Charity. Hospital of St. Jean de Dieu (Paris, etc.). 
 Pomegranate and Cross. 
 
 e) Grey with black cloak. (See Plate XXXIX). 
 
 St. GIovaANNI GUALBERTO. FMO. d. 1073. Founder of Vallom- 
 brosan Order (Reformed Ben.) (See Plates VI and 
 XXXIX). 
 
 f) All white. Plain. (See Pages 122, 124.) 
 
 BERNARD DE CLairvAux. FMO. d. 1153. Founder of Cister- 
 cians (Reformed Benedictines). Preached the second 
 Crusade in 12th century. Sometimes wears the mitre and 
 crozier as Abbot of Clairvaux. Considered the greatest 
 man of his day. Sometimes carries his book “‘Missus 
 est’’ with three Mitreson it. Famous picture by Filip- 
 pino Lippi (see Page 124 and Section A). 
 
 BERNARD Protomer. FMO. d. 1348. Founder of Olivetans. 
 Olive Branch. 
 
 Bruno. FMO. d. circa 1100. Carth. Hands crossed over bosom. 
 
 HERMANN-JOSEPH. d. 1236. Prem. His dream of espousal to 
 the Virgin, whence he acquired his second name of Joseph. 
 
 Hucu oF GrReNosLe. d. 1132. Left his Bishopric to become 
 a Carthusian under St. Bruno. Tortoise. 
 
 Romuatpo. FMO. d. 1027. Founded Order of Camaldoli 
 (Camaldolese). Habit of his order. Full white beard and 
 T-shaped crutch. (See Page 122.) 
 
 g) White with Cross of Red and Blue. 
 
 Sr. JoHN DE Matua. FMO. d. 1213. Founder of the Trinita- 
 rians (Parent institution called Mathurins). Red and 
 Blue Cross on breast. Two fettered captives with angel 
 in vision. Do not confuse with the deacon, St. Leonard. 
 
 h) White with another badge (see Plate XX XIX and Page 130). 
 
 Sr. Peter Norasco. FMO. d. 1258. Founded Order of “‘Our 
 Lady of Mercy.”’ (From Aug.) Very old. White habit 
 with shield of King James, “‘el Conquistador,” on breast, 
 the badge of his order. 
 
 i) White with Blue Cap. (See Page 126.) 
 
 Str. LorENzo GiusTINIANi. d. 1455. Aug. First Patriarch of 
 Venice. No regular attribute. Only canonised in 1690 
 but treated as Saint for two centuries before. (Famous 
 pictures by Gentile Bellini in S. Maria dell’Orto Church, 
 Venice, and by Pordonone in the Accademia.) 
 
 k) White with Black Cloak. (See Pages 130, 131.) 
 
 SS. AtBErRTus Macnus. Master of St. Thomas Aquinas (see 
 below). Only seen with his famous pupil, e. g., Fra 
 Angelico’s Coronation, in the Florence Academy. 
 
 Dominick. FMO. d. 1221. Founded Dominican Order. 
 Instituted use of Rosary. Lily. Crucifix. Star on or over 
 his head. Dog. Book. 
 
 Hyacintu. d. 1257. Dom. Not canonised until 1594. There- 
 fore only seen in very late pictures, particularly in 
 Paris Churches. Crucifix and Pyx. 
 
 Peter Martyr. M. d. 1252. Dom. Gash or knife in head. 
 Distinguished by dress from Archbishop St. Thomas a 
 Becket. (See Plate XXXVII and Page 131.) 
 
 RAYMOND OF PENAFoRTE. d. 1275. Dom. Third Gen. of 
 Order. Kneeling on his mantle as a raft, or scene shown 
 in background. 
 
 St. THomas Aguinas. d. 1274. Dom. “The Angelic Doc- 
 tor.’ Third great saint of the order. Sun on Breast, and 
 book shedding rays (See Plate XX XV and Page 131). 
 
 VincENT Ferraris. d. 1419. Dom. Crucifix. Frequently has 
 Wincs as symbols of his divine mission (See Winged 
 Saints). 
 
 NUDE OR SEMI-NUDE (MALE) 
 (See also ““HErmiTs.”’) 
 (See Pages 87-91.) 
 SS. Avexis. d. 400. Patron of Pilgrims and Beggars. Staff 
 and Letter in his hand. 
 
 CHRISTOPHER. M. d. 364. Giant fording stream, in short 
 loose garment, carrying the Christ child on his shoulder. 
 Palm tree or heavy pole as staff. (See Page 91) 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 L 
 
 151 
 
 JOHN THE Baptist. Light reed Cross. Camel hair garment 
 Lamb. (See Chapter VII and Index.) 
 
 SeBasTIAN. M. d. 288. Attached to a tree, with arrows 
 driven into his flesh. Sometimes in rich costume holding 
 an arrow in his hand. This is rare. (See Plate XXVIII 
 and Page 88). 
 
 M PILGRIMS 
 
 (See Pages 88 and go.) 
 
 SS. James Masor (see Section B, Apostles). 
 
 Patrick. d. 464. Apostle of Ireland. When not represented 
 as a Bishop, wears a hooded gown with girdle and a pil- 
 grim’s staff and wallet. Standard with Cross and Book. 
 Serpent beneath his foot. Or as on Page 120. 
 
 Rocu. d. 1327. Showing ulcer on his thigh. Cockleshell in 
 hat. Staff and wallet. Frequently a dog. (See Plate 
 XXIX and Page 88.) Patron against sickness, particu- 
 larly plagues and epidemics. 
 
 SEBALD OF NuREMBURG. d. 770. Carries a model of the 
 Church of Nuremburg, built in his honor. Most dis- 
 tinguished of German Saints. 
 
 N POPES 
 
 (See Plate XXIV and Pages 77-79.) 
 
 SS. Ctement. M. d. 100. Third Bishop of Rome. Anchor. 
 
 Fapian. M. d. 250. Dove. Palm. (Do not confuse with St. 
 Gregory.) (See Plate XXVII.) 
 
 Grecory. d. 604. Instituted the celibacy of the Clergy and 
 the Gregorian chants. Abolished slavery and persecution 
 of prisoners. 
 in his hand. 
 
 Perer. M. d.67. First Bishop of Rome, the Saint of Saints. 
 Prince of the Apostles. Frequently shown as a pope (see 
 pete XX) with the Keys and Book. Sometimes with a 
 ish. 
 
 SyLvEsTER. d. 335. Bull crouching at his feet. Sometimes a 
 small dragon, or a tablet with portraits of SS. Peter and 
 Paul. (Plate V.) 
 
 oO 
 
 Dove near his ear and book (his Homilies) 
 
 ROYAL OR DUCAL SAINTS (MALE) 
 (See Plates XX XVII and XX XVIII.) 
 
 SS. Lupo, with SS. Alexander, Grata and Adelaide, in Ber- 
 gamese pictures. 
 
 BaAvoON OF GHENT. d. 657. Falcon. Often shown as a Hermit. 
 
 CASIMIR OF PoLaNp. d. 1483. Spurned Crown at his feet. 
 
 CHARLEMAGNE, EMPEROR OF FRANCE, ITALY AND GERMANY. 
 d. 814. Book (Scriptures, which he caused to be correctly 
 translated). 
 
 FERDINAND OF CasTILE. d. 1152. In armor with crown and 
 sceptre near him. He expelled the Moors from Spain. 
 
 Henry oF Bavaria. d. 1024. In armor, crowned. Model of 
 the Cathedral of Bamberg in hand. 
 
 Louis oF France. d. 1270. King Louis IX. Brought the 
 true Crown of Thorns to France and built the famous 
 Sainte Chapelle in Paris to house it and a portion of the 
 True Cross. In royal robes with embroidered fleurs-de-lys, 
 and Crown of Thorns in hand. 
 
 Louis oF ToutouseE (see Bishops). Royal blue Cope with 
 fleurs-de-lys, with Crown at his feet. 
 
 Miniato. M. d. 250. Prince of Armenia. T-shaped Cross. 
 Scarlet robe. Javelins, lily, and palm. 
 
 Oswa.p. d. 642. Carries a Cross. St. Cuthbert (see Section 
 D) sometimes carried the crowned head of St. Oswald, 
 whose remains were buried in the Cathedral of Durham. 
 
 SIGISMOND. d. 525. Cousin of Queen Clotilda. (See Plate 
 XXXVII.) 
 
 STEPHEN OF Huncary. d. 1038. First Christian King of 
 Hungary. In armor with his crown. Or with standard 
 with the Cross and sword. 
 
 WENCESLAS OF BoHemiA. M. d. 938. With shield and stan- 
 dard bearing black Imperial Eagle and palm. (Plate 
 XXXVI.) 
 
 WARRIOR SAINTS (IN ARMOR) 
 
 (See Pages 86, 115, and Plate XX XVII, etc.) 
 
 SS. ALExaNDER. M. d. 251. Palm. Generally with SS. 
 Adelaide and St. Grata 
 
 Aprian. M. d. 290. Anvil. 
 
 Epnesus. M. d. circa 304. In fresco of Campo Santo, Pisa. 
 Angelic Horseman (St. Michael) hands him a banner with 
 white cross on red field. (Banner of Pisa.) 
 
 Eustace. M. d. 118. Stag with Crucifix between its horns. 
 Do not confuse with St. Hubert. 
 
 Ferice. M.d. 304. Ina “Coronation of the Virgin” by Sam- 
 
 macchini in the Bologna Gallery, he is shown with his 
 
 invariable companion, St. Naborre, in complete armor. 
 
 P 
 
FERDINAND OF CASTILE (see Royal Saints). 
 
 Fiorian. M. d. circa 306. Mill-stone, or throwing water on 
 a house afire. Rarely in Italian art. 
 
 GeEorGE OF Cappapocia. M. d. 303. The Great Martyr. 
 Patron of England and Russia (pre-Revolution). Dragon 
 and broken lance, or with sword. Sometimes on horse- 
 back. White banner with red cross. 
 
 GerEON. M. d. 286. Officer of the Theban Legion. Much 
 venerated in Germany. Famous church of St. Gereon at 
 Cologne. Standard and palm. 
 
 Henry oF Bavaria (see Royal Saints). 
 
 HeErRMENGiILbDus. M. d. 586. Cross. Blue cuirass and scarlet 
 mantle. Picture of his apotheosis by Herrera. 
 
 JAMES THE GREAT, OR Masor. M. The Apostle. Sometimes 
 shown in armor leading the Spanish host at Alveida. 
 Saint Jago, or Santiago, is still the Spanish battlecry. 
 
 Joun. M. d. 362. Always shown with his brother, St. Paul, 
 as Roman soldiers. Sword. 
 
 Leopotp oF Austria. d. 1136. Rosary in his hand. Crown 
 as a Royal Saint. 
 
 Lonoinus. M. d. 45. The Centurion who pierced the side 
 of Christ. Lance. Patron of Mantua. Famous picture 
 by Mantegna in the Louvre. (See also Plate XV). 
 
 MartTIN oF Tours. Armor, covered with a cloak, which he is 
 seen dividing with a beggar. (See Section D.) 
 
 Maurice. M. d. 286. Commander of the martyred Theban 
 Legion. Banner with spread eagle. Red Cross on breast. 
 Sword and palm. Sometimes dark-skinned as a Moor. 
 
 MicHaeEL. The Archangel. See Saints with Wings. 
 
 Nasor. M. d. circa 303. Picture by Sammachini in Bologna 
 shows him with St. Felix. Died for the faith in Diocletian 
 persecution c. 303. 
 
 Procutus. M. Head in both hands. Axe in band. 
 Quintin. M. Huge iron Spit upon which he was impaled. 
 
 Quirinus. M. d. circa 272. Horse. Hawk. Shield with 9 
 balls in it. Palm. 
 
 STEPHEN OF HunGary. See Royal Saints. 
 
 Tueopore. M. d. 300. Armed Knight on horseback. Young 
 and beautiful. 
 
 Tueonestus. M. d. 286. Another of the Theban Legion, 
 
 Torre. M. d. 70. Roman warrior. Banner with Red Cross 
 and sword. Do not confuse with St. George. 
 
 Vicror oF MarseiLies. M. d. circa 304. As a Roman sol- 
 dier. Millstone. 
 
 Vicror oF Miran. M. d. 303. Horseback as a Roman 
 soldier or with oven throwing out flames. 
 
 VITALIS OF RAVENNA. M. d. circa 62. On a white charger 
 with standard of victory. Or as soldier with martyr’s 
 crown. 
 
 WiLuraM OF AguiTAINE. d. 812-813. Laying aside his helmet 
 and cuirass. Breviary on ground. Behind him shield 
 with 3 fleurs-de-lys and three crescents. 
 
 SAINTS WITH WINGS 
 (See Pages 52-55) 
 
 Q 
 
 The ANGELS. 
 
 ARCHANGEL GABRIEL with a Lily. 
 
 ARCHANGEL MICHAEL with Sword and Scale. 
 
 ARCHANGEL RAPHAEL with young Tobias. 
 
 Sr. VINCENT FERRARIS over a Dominican Robe, as symbols of 
 his fervor. 
 
 THE SAINTS WHO APPEAR IN ART CLASSIFIED ACCORDING 
 
 TO THEIRSBIVERS*GATEG@ RI Es 
 
 
 
 THE ARCHANGELS (Treated as Saints). 
 St. Michael. St. Gabriel. St. Raphael. 
 
 Tue EVANGELISTS. 
 SS. Matthew, Mark, Luke, and John. 
 
 Tue APOSTLES. 
 
 SS. Peter, Paul, Andrew, James the Mayor, 
 Philip, Bartholomew, Thomas, James the Minor, 
 Simon and Jude, Matthias (Judas Iscariot, 
 though ranking as an Apostle, is, of course, not 
 classed among the Saints). St. Barnabas, though 
 not strictly speaking an Apostle, 1s considered 
 by the Church as one of the Apostolic Group. 
 
 Tue Docrors OF THE CHurcH. (See Page 75). 
 
 Tue Hoty Famity. 
 The Virgin Mary (Dei Genetrix), SS. John the 
 Baptist, Joseph, Anne, Elisabeth, Joachim, and 
 
 CONTEMPORARIES OF Our LorpD, AND THE BLESSED 
 PENITENTS. 
 SS. Mary Magdalene, Martha, Lazarus (brother 
 of the two former Saints, he whom Christ 
 raised from the dead), Maximian, Marcella, 
 Mary of Egypt, Mary the Penitent, Thais, and 
 Pelagia. 
 
 (See 
 
 THE Patron SAINTS OF CHRISTENDOM. 
 Page 86) 
 
 Tue VirGIN PATRONESSES OF CHRISTENDOM: 
 SS. Catherine of Alexandria, Barbara, Ursula, 
 Margaret of Antioch. 
 
 THE First OF THE EarLy Martyrs: 
 
 SS. Stephen, the Protomartyr, Lawrence, Hippo- 
 Iytus, Vincent and Vitus. 
 
 152 
 
 THE GREEK MARTYRS: 
 
 SS. Thecla, Euphemia, Pantaleon, Dorothea, 
 Justina and Cyprian, Apollonia. 
 
 THE Four GREAT VIRGINS OF THE LATIN CHURCH: 
 SS. Cecilia, Agnes, Agatha, Lucia. 
 
 Tue Roman Martyrs (in alphabetical order): 
 
 SS. Aglae, Achilleus and Nereus (together), 
 Alexis, Anastasia and Chrysogonus (together), 
 Balbina, Bibiana, Cesareus, Clement, Chrysan- 
 thus and Daria (together), Eugenia, Felicitas and 
 her Seven Sons, John and Paul (together), Mar- 
 tina, Pancras, Peter and Marcellinus (together), 
 Prisca, Sabina, Susanna, Veronica. 
 
 Martyrs OF NorTHERN AND CENTRAL ITALY, 
 FRANCE AND SPAIN (in alphabetical order): 
 
 SS. Adelaide, Afra of Augsburg, Afra of Brescia, 
 Alexander of Bergamo, Ansano of Siena, Celso of 
 Milan (and Nazzaro), Christina (and Justina), 
 Crispin, Crispianus, Ephesus (and Torpé), Eu- 
 lalia, Faustino (and Jovita) of Brescia, Felice 
 (and Naborre), Filomena, Fina of San Gemignano, 
 Gervasius (and Protasius) of Milan (and their 
 father, Vitalis of Ravenna), Grata, Jovita (and 
 Faustino) of Brescia, Julia, Julian of Rimini, 
 Justina of Padua, Justina (and Rufina), Leocadia, 
 Lupo, Miniato of Florence, Naborre (and Felice), 
 Nazzaro (and Celso) of Milan, Panacea, Potitus 
 of Pisa, Protasius (and Gervasius) of Ravenna, 
 Reparata, Rufina (and Justina), Torpé (and 
 Ephesus), Vitalis of Ravenna. 
 
eee lin res ANS LISTED ALPHABETICALLY, WITH 
 iiibeoc Noe Ww TO BEAR THEM IN SACRED ART 
 
 Note: Costumes are not treated as attributes for the purpose of this list. 
 
 They are used in a special 
 
 classification on pp. 145-152. For other mentions of Saints, see the General Index and Index of Saints. 
 
 
 
 ANCHOR 
 
 ANGEL, with boy carrying 
 fish. 
 
 — or man, accompanied by, 
 
 ANGEL, accompanied by. 
 
 — performing such acts as: 
 crowning her with roses. 
 holding arrow, flame- 
 
 tipped. 
 — basket of apples and 
 roses. 
 — book. 
 comforting captives. 
 holding organ, with 
 
 — pyx. 
 
 — shield of three fleur-de- 
 lys. 
 
 ploughing. 
 
 ANGELS, surrounded by 
 —, buried by, 
 
 ANVIL. 
 ARMOR. 
 
 ArRRoOw in breast. 
 — flaming in breast. 
 — im hand. 
 
 —piercing doe or hart or 
 
 bind. 
 Arrows, pierced by. 
 ASPERGILL. 
 Ass, riding an. 
 Aw t or shoemaker’s knife. 
 
 AXE. 
 
 — in hand. 
 
 — in head. 
 
 — Lictor’s (fasces). 
 
 Baa, large, over shoulder. 
 (See Purse.) 
 
 Batts of gold, three. 
 
 BANNER (symbol of victory). 
 
 — red, with white cross. 
 
 — white, with red cross. 
 
 — with black spread eagle. 
 
 = =— CrOss. 
 
 Clement. 
 
 Archangel Raphael. 
 
 Matthew; Stanislas Kotzka. 
 
 Rosalia of Palermo. 
 Theresa. 
 
 Dorothea of Cappadocia (cir- 
 clet of roses on head). 
 
 Francesca Romana. 
 
 John de Matha. 
 
 Cecilia. 
 
 Bonaventura. 
 
 Clotilda. 
 
 Isidore. 
 
 Sabina (crowned). 
 Catherine of Alexandria. 
 
 Adrian. 
 See Pave 141. 
 
 Ursula. 
 
 Theresa. 
 
 Christian; Edmund (always 
 crowned); Sebastian (rare) 
 Ursula; Christina. 
 
 Giles of Edinburgh (as her- 
 
 mit). 
 Sebastian; Pantaleon. 
 Anthony of Egypt; Benedict. 
 Hilarion. 
 Crispin and Crispianus. 
 
 Matthias (in German pic- 
 tures); Proculus. 
 
 Peter Martyr. 
 
 Martina. 
 
 Felix of Cantalicio. 
 
 Nicholas of Myra. 
 
 Gereon; Julian of Rimini; 
 Patrick; Stephen of Hun- 
 gary; Vitalis of Ravenna, 
 Liberale; and, at times, all 
 martyr-saints. 
 
 Ephesus (handed to him by 
 St. Michael). 
 
 George, and many other war- 
 rior saints at times; Repa- 
 rata; Torpe; Ursula. 
 
 Maurice; Wenceslas of Po- 
 land. 
 
 Giles of Edinburgh. 
 
 153 
 
 BASKET, with 3 apples and 3 
 roses. 
 
 Beasts, wild, surrounded by. 
 
 BeEp, iron, holding. 
 
 BEEHIVE. 
 
 BecGar, dividing cloak with. 
 — kneeling at feet. 
 
 —s, giving alms to. 
 — — clothes to a. 
 
 BELL. 
 
 Back Face (see also Moor). 
 
 Brier in background. 
 
 BLACKSMITH with anvil, ham- 
 mer, tongs and bellows. 
 
 Bones, two human, carrying. 
 
 Book. holding a. 
 (generally the Gospel) 
 
 — pierced by sword. 
 — shedding rays. 
 
 Books, trampling, under feet. 
 
 Bort e or flask. 
 — on the end of a staff. 
 
 Box, ointment, alabaster, 
 (pyx). 
 
 BraNcH encircling loins. 
 
 — olive, in hand. 
 
 BreabD, lap full of, and roses. 
 
 Breasts, female, severed, on 
 a platter or held in hand. 
 
 Buitpincs in hand (with 
 high campanile). 
 
 — — — (Cathedral of Bam- 
 berg). 
 
 — — — (church). 
 
 — — — (Church of Nurem- 
 berg with two towers). 
 
 — — — (monastery). 
 
 — in background. 
 
 Butt, crouching at feet. 
 
 Dorothea of Cappadocia. 
 
 Euphemia; Ignatius of An- 
 tioch; Thecla. 
 
 Faith; Lawrence (gridiron). 
 
 Ambrose; Bernard of Clair- 
 
 vaux. 
 
 Martin of Tours. 
 
 Elisabeth of Hungary; Juan 
 de Dios; Omobuono. 
 
 Elisabeth of Portugal. 
 
 Thomas of Villanueva. 
 
 Anthony of Egypt (the her- 
 mit); Pol de Leon. 
 
 King of Ethiopia (in pictures 
 of the Adoration of the 
 Magi); Maurice; Victor. 
 
 Lazarus. 
 
 Eloy. 
 
 Ambrose. 
 
 Not distinctive. AII the 
 Apostles, Doctors of the 
 Church and numerous 
 
 other Iearned saints. Look 
 for more distinctive em- 
 blems. 
 
 Boniface. 
 
 Thomas Aquinas. 
 
 Cyprian of Antioch. 
 
 Omobuono. 
 James the Great, and other 
 Pilgrims (See Page 151). 
 
 Mary Magdalene; Cosmo and 
 Damian. 
 
 Jerome; Paul the Hermit. 
 Onofrio. 
 
 Bernard Ptolomei; Pantal- 
 eon. 
 
 Elisabeth of Hungary. 
 
 Agatha. 
 
 Petronius (see Plate VI). 
 
 Henry of Bavaria and Cune- 
 gunda, his wife. 
 
 Several Popes who con- 
 structed famous churches; 
 Cunibert. 
 
 Sebald. 
 
 Anthony (rare); Jerome. 
 Benedict or Bennet Biscop. 
 
 Sylvester. 
 
EMBLEMS 
 
 CANDLE, lighted. 
 — on head or in hand. 
 
 Captive kneeling at feet, 
 
 With, 
 
 CARDINAL ’s Hart. 
 
 CARPENTER’S or builder’s 
 square. 
 
 CAULDRON OF OIL. 
 
 CENSER. 
 
 CHAIN or fetters. 
 CHALICE. 
 
 CHASUBLE full of stones. 
 
 CuiLp, Curist-, Giving him 
 head. 
 
 — — in arms or on a book. 
 
 — — on a full-blown rose. 
 
 — digging by sea-shore, With, 
 
 — in arms or at feet, With, 
 
 — Nursing, 
 — on his shoulders, walking 
 through water. 
 
 CHILDREN, With, 
 — Three, in a tub. 
 
 CuHuRCH in hand. 
 Crus, Fuller’s, 
 
 Coats, Live, 
 
 Cock. 
 
 COCKLESHELL in hat. 
 CoLumn, Bound to, 
 Comes, Iron, 
 Convert, Baptising, 
 Cow, With, 
 
 Cripp.Es, Surrounded by, 
 
 Cross. 
 
 — large. 
 
 — transverse. 
 
 — at the end of a staff or 
 crozier. 
 
 — black on white. 
 
 — blue and red on breast. 
 
 — red, on breast. 
 
 Crown, Wearing, 
 
 — at feet or side. 
 
 SAINTS 
 
 Genevieve; Gudula. 
 Erasmus or Elmo. 
 
 Leonard; Radegunda. 
 
 (See Hart.) 
 
 St. Thomas. 
 
 John the Evangelist; Vitus. 
 Seven Maccabean Youths 
 (See Plate IX). 
 
 Maurus. 
 
 (See FETTERS.) 
 (See Cup.) 
 (See STONES.) 
 
 Felix of Cantalicio. 
 
 Anthony of Padua. 
 
 Rosa of Lima. 
 
 Augustine of Hippo. 
 
 Brice; Marina; Vincent de 
 Paule. 
 
 Genevieve of Brabant. 
 
 Christopher. 
 
 Elisabeth of Hungary. 
 Nicholas of Myra. 
 
 (SEE BurLpINGs.) 
 James Minor. 
 Brice. 
 
 Vitus. 
 
 Roch; all pilgrims. 
 Bibiana. 
 
 Blaise. 
 
 Boniface. 
 Perpetua. 
 
 Filomena; Elisabeth of Hun- 
 gary. 
 
 Clara; Hermengildus; John 
 Gualberto; Juan de Dios; 
 Margaret of Antioch; Min- 
 lato. 
 
 Oswald; Helena. 
 
 Andrew. 
 
 Philip. 
 
 Appollinaris. 
 John de Matha. 
 Maurice. 
 
 See Pages 147 and 151, Sec- 
 tions Ga., O., P. 
 
 Casimir of Poland; Louis of 
 Toulouse; Procopius (as 
 hermit); Ferdinand of Cas- 
 tile. 
 
 154 
 
 EMBLEMS 
 
 — Long veil under, wearing, 
 
 — martyr’s, wearing, 
 — of roses. 
 
 — of thorns. 
 
 — — — in hand. 
 
 Crowns, Three, embroidered 
 on robe. 
 
 CROZIER. 
 
 CRUCIFIX. 
 
 — entwined with lilies. 
 
 CRUTCH. 
 
 — sometimes with a bell sus- 
 pended from it. 
 
 — T-shaped. 
 
 Cup. 
 
 — broken. 
 
 — — (or pitcher). 
 
 — and sponge with drops of 
 blood. 
 
 — and water (chalice). 
 
 — with serpent (chalice). 
 
 DAGGER. 
 — in back or throat. 
 — in breast. 
 
 Demon, Bound With, 
 
 — at feet, With, 
 
 — trying to blow out a lan- 
 tern, With, 
 
 Devit, Holding, by nose. 
 
 Disu, Beggar’s, holding, 
 — Eyes on, 
 
 Doe. 
 
 Doe. 
 — at feet. 
 — with a torch In its mouth. 
 
 Dove. 
 
 — on shoulder. 
 
 Dracon at feet, With, 
 
 — Small, its mouth bound 
 with threads. 
 
 SAINTS 
 Adelaide; Elisabeth of Hun- 
 gary. 
 See INDEx. 
 Cecilia; Dorothea of Cappa- 
 docia; Rosalia of Palermo. 
 Catherine of Siena; Rosa of 
 Lima; Theresa. 
 Louis (Louis IX of France). 
 
 Charlemagne. 
 
 All popes, bishops, abbots or 
 abbesses, at times. 
 
 Dominick (at times); Francis 
 of Assisi; Francis Xavier; 
 Hyacinth; Jerome; John 
 Capistrano; John de Ia 
 Cruz; Mary Magdalene; 
 Rosalia of Palermo; Vin- 
 cent Ferraris; all hermits. 
 
 Nicholas of Tolentino. 
 
 Macarius. 
 Anthony of Egypt. 
 
 Romualdo. 
 
 Thomas Aquinas. 
 
 Donato of Arezzo. 
 Benedict. 
 
 Pudentiana and Praxedes. 
 
 Barbara. 
 John the Evangelist. 
 
 Romulo. 
 Lucia; Bibiana; Peter Martyr 
 Justina of Padua. 
 
 Bernard of Clairvaux; Dun- 
 stan. 
 
 Catherine of Alexandria; 
 Norbert. 
 
 Gudula;- Geneviéve. 
 
 Dunstan. 
 
 Alexis. 
 
 Lucia. 
 (See H1Np.) 
 
 Roch. 
 Margaret of Cortona. 
 Dominick. 
 
 Cunibert; Fabian; Gregory; 
 Scholastica; Theresa 
 (sometimes). 
 
 Basil (no mitre). 
 
 George; Margaret of Anti- 
 och; Martha of Bethany; 
 Mercuriale; Romain; Theo- 
 dore. 
 
 Sylvester (Plate V). 
 
EMBLEMS 
 EAGLE. 
 EaseEL and brush. 
 
 Eyes on a dish. 
 — two, on a book. 
 
 Face of Curist on a napkin. 
 Facots. 
 FALCON. 
 
 Fetrers and chains. 
 —  — — in hand. 
 
 FINGER on lip. 
 Fire nearby or in_ back- 
 ground. 
 
 — throwing water on burn- 
 ing house. 
 
 Fisu. 
 — at feet. 
 
 — suspended from crosier. 
 — with a key in its mouth. 
 
 FLaMeE of fire from oven. 
 — — — inhand or on breast. 
 — — — under foot. 
 
 FLAMING HEarT. 
 
 FLEUR-DE-Lys embroidered 
 on Bishop’s robes. 
 
 — — — royal robes. 
 
 — on shield (gq. v.). 
 
 FLowe_ers, three. 
 
 Fork, two-pronged. 
 
 FounrTAIN. 
 G.iass of wine. 
 
 G.LoseE and cross. 
 Goose. 
 GRIDIRON. 
 
 Harr, covered by her own, 
 
 HALBERD. 
 
 Harp. 
 
 Harrow. 
 
 Hart. 
 
 Hart, Cardinal’s, hanging on 
 a tree, or at feet, or wearing 
 
 — — nearby, or wearing, 
 
 Hawk. 
 
 SAINTS 
 
 John the Evangelist; Prisca; 
 Augustine. 
 
 Luke. 
 
 Lucia. 
 Ottilia. 
 
 Veronica. 
 Anastasia. 
 Bavon. 
 
 Leonard. 
 
 Balbma. 
 
 John Nepomuck; Peter Mar- 
 Vales 
 
 Anthony. 
 
 Florian. 
 
 Peter; Ulrich; any Apostle or 
 Bishop at times. SEE INDEX 
 
 Corentin of Brittany. 
 Zeno. 
 Benno. 
 
 Victor of Milan. 
 Anthony of Padua. 
 Anthony of Egypt. 
 
 (See HEART.) 
 
 Louis of Toulouse. 
 
 Louis (Louis IX of France). 
 Clotilda. 
 
 Hugh of Lincoln. 
 
 Martina. 
 
 Alban. 
 
 Donato. 
 
 Charlemagne. 
 Martin of Tours. 
 
 Lawrence. 
 
 Agnes (nude); Mary Magda- 
 lene. 
 
 Jude or Thaddeus. 
 Dunstan. 
 
 Frediano of Lucca. 
 
 (See Hinp.) 
 
 Bonaventura. 
 
 (See Page 147, E.) 
 
 Jerome. 
 
 Quirinus the Tribune. 
 
 155 
 
 EMBLEMS 
 
 Heap, carrying own, 
 
 — carrying St. Alexander’s, 
 — — St. Oswald’s, 
 
 — — upper part of a, 
 
 — gashed. 
 
 — of Maximian under feet. 
 
 — severed, seated. 
 
 Heart, crowned by thorns. 
 
 — flaming, or transfixed by 
 an arrow. 
 
 — with I.H.S. 
 
 —— seven arrows 
 rows of Mary). 
 
 (7 sor: 
 
 Hinp. 
 
 — pierced by an arrow. 
 — small, in arms. 
 
 — (See also Srac.) 
 
 Horse. 
 — -back, on. 
 
 — — — (white). 
 —s, torn by wild. 
 — with three legs. 
 
 I.H.S. in the sky or on a tab- 
 let borne by Angels. 
 
 — on heart. 
 
 — on a tablet surrounded by 
 
 rays. 
 
 INSTRUMENTS, surgical. 
 — musical. 
 
 JAVELIN at feet. 
 — with the point reversed. 
 
 Ss 
 
 Keys. 
 — at girdle. 
 
 KNiFeE in head. 
 
 — large. 
 — shoemaker’s, or awl. 
 
 LaBARUM or Standard of the 
 Cross. 
 
 LAMB. 
 
 LAmp. 
 
 LANCE. 
 
 Lec, Brack, Attaching. 
 
 Letter in hand, pilgrim 
 
 with. 
 
 SAINTS 
 
 Alban; Clair; Denis (always 
 as Bishop, p. 27); Procu- 
 lus; Valerie; Cheron; Ro- 
 main. 
 
 Grata. 
 
 Cuthbert. 
 
 Nicaise. 
 
 Peter Martyr (as a Domini- 
 can friar); Thomas a Beck- 
 et: 
 
 Catherine of 
 (Plate V). 
 
 Regulus (statue at Lucca). 
 
 Alexandria 
 
 Ignatius Loyola (only late 
 pictures). 
 
 Augustine. 
 
 Theresa. 
 The Madonna; 
 
 Ireland. 
 
 Bridget of 
 
 Procoptus. 
 Giles. 
 Hubert (as Bishop). 
 
 Quirinus. 
 Paulinus; Theodora (Armed 
 Knight); James Major. 
 
 Vitalis of Ravenna. 
 Hippolytus. 
 Eloy of Noyon. 
 
 Ignatius Loyola. 
 Theresa. 
 Bernardino of Siena. 
 
 Cosmo and Damian. 
 
 Lambert (as Bishop). 
 Filomena. 
 Miniato. 
 
 Peter; Hippolytus. 
 Martha of Bethany. 
 
 ~o7 
 
 Peter Martyr; Thomas 
 
 Becket. 
 Bartholomew. 
 Crispin and Crispianus. 
 
 Constantine. 
 
 Agnes; Francis of Assisi 
 (rare); John the Baptist. 
 
 Bridget of Ireland; Lucia. 
 
 George of Cappadocia; Lon- 
 ginus; Matthias (in Italian 
 pictures). 
 
 Cosmo and Damian. 
 
 Alexis. 
 
EMBLEMS 
 
 Lay 
 
 — Rod bearing, 
 
 LiLIEs entwining a Crucifix. 
 
 LIon or lions. 
 
 Loaves of bread, three, 
 
 MANTLE as a raft, kneeling 
 on, (or in background), 
 
 MILLSTONE. 
 
 Mirtres, Three, 
 —— ona book or at feet. 
 
 Mopbet oF BuiILpDING. 
 Money at feet. 
 
 Moor, in armour. 
 —-—-—or with eagle on 
 banner and shield. 
 
 MuLE, Kneeling with, 
 
 Musica INSTRUMENTS. 
 
 OrGAN, Playing, 
 OTTER by side. 
 
 Ox, winged, or not. 
 — at feet. 
 
 PaDLock on lips. 
 
 PALETTE and brushes. 
 
 Pam in hand. 
 PALM-TREE as staff. 
 
 Papers, Sheaf of, with red 
 seals hanging from them. 
 
 Picture in frame. 
 Pincers, Holding a tooth. 
 —-— tongue in, 
 
 — — devil’s tongue with, 
 PLANETA. 
 
 PLOUGHSHARES, Walking 
 over, 
 
 SAINTS 
 
 Anthony of Padua; Casimir 
 of Poland; Catherine of 
 Siena (in white nun’s 
 habit); Clara (as a Poor 
 Clare nun); Dominick; Eu- 
 phemia; Filomena; Francis 
 of Assisi; Francis Xavier 
 (only in late pictures); 
 Muiniato; Scholastica; Juan 
 de la Cruz. 
 
 Joseph, husband of the Vir- 
 gin Mary. 
 
 Nicholas of Tolentino. 
 
 Euphemia; Jerome; Mark; 
 Prisca; Vitus; Ignatius. 
 
 Mary of Egypt (old with 
 long hair). 
 
 Raymond of Pefiaforte. 
 Christina; Florian; Quirinus; 
 Victor of Marseilles. 
 
 Bernardino of Siena. 
 Bernard of Clairvaux. 
 
 (See BuILDINGS.) 
 Onofrio (sometimes). 
 Victor of Milan. 
 Maurice. 
 
 Anthony of Padua. 
 
 Cecilia (Should be an organ) 
 or Angels. 
 
 Cecilia. 
 Cuthbert of Durham. 
 
 Luke. 
 Sylvester. 
 
 John Nepomuck; Raymond. 
 
 Catherine of Bologna; Luke 
 (painting). 
 
 All Martyrs. 
 Christopher. 
 
 Eleazar of Sabran. 
 
 Methodius (with St. Cyril); 
 Luke. 
 
 Apollonia of Alexandria. 
 
 Lieven. 
 
 Dunstan. 
 
 Benedict or Bennet Bishop. 
 
 Cunegunda of Bavaria. 
 
 156 
 
 EMBLEMS 
 
 Poe, Heavy, as a staff. 
 POMEGRANATE. 
 
 Pots, Earthenware. 
 — of gold, Finding, 
 
 Purse or bag. 
 Pyx (see also Box). 
 
 RAVEN. 
 
 — sometimes on a millstone. 
 — with a loaf in its beak. 
 
 RING. 
 
 Rope around neck. 
 Rosary in hand. 
 
 Roses, Chaplet of, , 
 — Crown of, or in hand. 
 — — — red and white. 
 — fallmg from mouth. 
 
 — red and white, in lap. 
 
 Rute, builder’s or carpen- 
 ter’s, 
 SARCOPHAGUS, Sitting in, 
 
 SAw. 
 
 SCALES. 
 
 Sea, Walking over, or in 
 background, 
 
 Sea, Walking over, or in 
 background, 
 
 SERPENTS at side or feeding 
 from basket. 
 
 — beneath feet. 
 
 — issuing from chalice. 
 
 SEVEN youths surrounding 
 her. 
 
 SHEARS. 
 SuHeep, Flock of, 
 
 SHIELD. 
 
 — with fleur-de-lys. 
 
 — — 3 — and 3 crescents. 
 
 — — g balls in it. 
 
 — of King James of Spain, 
 (El Conquistador) on 
 breast of white habit. 
 
 SieVE, broken. 
 
 Skin, Carrying own, 
 
 SKULL. 
 
 SLAVES around him. 
 
 SAINTS 
 Christopher. 
 
 Juan de Dios. 
 
 Justa and Rufina. 
 Enurchus. 
 
 Matthew. 
 Clara; Mary Magdalene. 
 
 Paul the Hermit of Thebes 
 or Elijah. 
 
 Vincent. 
 Benedict, Paul, Anthony and 
 Jerome, as hermits. 
 
 Edward the Confessor. 
 
 Charles Borrommeo. 
 Leopold of Austria. 
 
 Rosa di Viterbo. 
 Dorothea of Cappadocia. 
 Cecilia. 
 
 Angelus the Carmelite. 
 Flisabeth of Hungary. 
 
 Thomas. 
 
 Filomena. 
 
 Simon Zelotes (see page 59) 
 Archangel Michael. 
 
 Ambrose, (or Augustine, by 
 error.) 
 
 Raymond of Pefiaforte. 
 
 Verdiana. 
 
 Patrick. 
 John the Evangelist. 
 
 Felicitas; or the Seven Mac- 
 cabees and their mother. 
 
 Agatha. 
 Geneviéve of Paris. 
 
 Wenceslas of Bohemia; Al- 
 bert of Vercilli, and warrior 
 saints, at times. 
 
 Clotilda. 
 
 William of Aquitaine. 
 
 Quirinus. 
 
 Peter Nolasco. 
 XXXIX.) 
 
 (See Plate 
 
 Benedict. 
 Bartholomew. 
 
 Jerome (or any other dwellers 
 in the desert); Macarius; 
 Mary Magdalene. 
 
 Leonard. 
 
EMBLEMS 
 SPADE. 
 
 SPEAR (see also LANCE). 
 
 SPIDER Over a Cup. 
 SPIKES, iron. 
 Spit, huge iron, 
 
 SQUARE, carpenter’s, 
 
 STAG; 
 — with crucifix between its 
 horns. 
 
 STAKE, bound to, 
 STANDARD 
 
 Srar, Holding, 
 
 — on breast. 
 
 — — forehead. 
 
 — over head. 
 
 —s, five around head. 
 
 STIGMATA. 
 
 STONES. 
 
 — Chasuble full of, 
 SwaAN. 
 
 Sworp (not distinctive) 
 
 — at feet. 
 
 — Book pierced by, 
 — Holding, by point. 
 — in bosom. 
 
 — Leaning on, 
 
 — or axe in head. 
 
 — — neck. 
 
 Sworps, Two. 
 
 T, Large, on shoulder or 
 breast. 
 
 TABLET, with portraits of SS. 
 Peter and Paul. 
 
 Toncs 
 TORTOISE 
 Tower with three windows. 
 
 TREE, Asleep under, with two 
 maidens. 
 
 — Bound to a, 
 
 — coming into leaf. 
 
 — Oak, foot on fallen, 
 
 — Palm- (as staff). 
 
 Two Men in red robes and 
 caps. 
 — — — armour. 
 
 UNICORN at feet. 
 
 SAINTS 
 
 Phocus of Sinope as gardener; 
 Christ in the Garden. 
 
 Longinus; Margaret of An- 
 tioch; Thomas (sometimes) ; 
 George. 
 
 Norbert. 
 Cassian. 
 Quintin. 
 Thomas. 
 
 Julian Hospitator. 
 Eustace; Hubert (as hunts- 
 man). 
 
 Anastasia. 
 (See BANNER.) 
 
 Swidbert. 
 
 Nicholas of Tolentino. 
 Dominick. 
 
 Peter of Alcantara. 
 John Nepomuck. 
 
 St. Francis of Assisi; Cath- 
 erine of Siena. 
 
 Gaudenzio; Stephen. 
 Alphege. 
 
 Hugh of Lincoln. 
 
 Alban; Barbara; Catherine; 
 Cecilia (sometimes); Do- 
 nato; George of Cappa- 
 docia; John; Maurice; Mi- 
 chael the Archangel; Pan- 
 cras; Paul; Stephen of 
 Hungary; Susanns, etc. 
 
 Pantaleon of Nicomedia. 
 
 Boniface. 
 
 Matthias. 
 
 Justina. 
 
 Menna. 
 
 Peter Martyr. 
 
 Lucia. 
 
 Paul (sometimes). 
 
 Anthony of Egypt. 
 
 Sylvester. 
 
 Dunstan. 
 Hugh of Grenoble. 
 Barbara. 
 
 Ethelreda. 
 
 Sebastian. 
 
 Zenobia of Florence. 
 Boniface. 
 Christopher. 
 
 Cosmo and Damian. 
 
 John and Paul (brothers). 
 
 Justina of Antioch. 
 
 EMBLEMS 
 
 VASE or box of ointment. 
 VEIL bearing image of Christ. 
 — Givimg to St. Paul. 
 
 — Long, under crown. 
 
 WATERSPOUT. 
 
 WHEEL, small. 
 — spiked. 
 
 WHIP. 
 WINDLASS. 
 
 WINGS. 
 
 WOLFE. 
 
 Wounp, Pointing to, in his 
 thigh. 
 
 —in neck, rays streaming 
 from it. 
 
 Youtus, Seven, surrounded 
 
 
 
 SAINTS 
 Mary Magdalene. 
 
 Veronica. 
 
 Plautilla (not a Saint). 
 
 Adelaide; Elizabeth of Hun- 
 gary. 
 
 Swithin. 
 
 Erasmus. (See Page 17.) 
 
 Catherine of Alexandria. 
 Guthlac. 
 Erasmus. 
 
 (See Page 7.) 
 
 The Archangels; Vincent Fer- 
 raris. 
 
 Vitus. 
 Roch. 
 Lucia. 
 
 Felicitas; the Mother of the 
 Maccabean Youths. 
 
 THIS BEAUTIFULLY-BALANCED NATIVITY AND ADORATION OF 
 THE SHEPHERDS, ATTRIBUTED TO THE GERMAN SCHOOL, IS, WE 
 THINK, A WORK OF A CERTAIN FLEMISH DISCIPLE OF FILIPPINO 
 LIPPI, BY NAME, JAN HEMMELINCK, BORN IN 1479, AT BRUGES, 
 WHERE HE EXECUTED SOME PICTURES, INCLUDING AN ADOR- 
 ATION OF THE SHEPHERDS, FOR THE HOSPITAL OF ST. JOHN. 
 THIS REMARKABLY LOVELY PICTURE, SO FULL OF DASH AND 
 JOYOUSNESS, IN THE CELESTIAL GROUP, AND AT THE SAME 
 TIME DEEP REVERENCE AMONG THOSE ON EARTH, REMINDS ONE 
 CLOSELY AGAIN OF FILIPPINO’S MASTER, BOTTICELLI’S, NATIV- 
 ITY, IN THE NATIONAL GALLERY, AT LEAST AS REGARDS THE 
 
 SPIRIT OF THE WORK. 
 
 (Courtesy of the Ebrich Galleries.) 
 
PLATE XLVI THE SAINTS IN ART 
 
 ee 
 
 1) “Christ’s Descent into Hell,” an engraving by Andrea Mantegna. Note the symbolism in the shattered door, and the 
 Cross to withstand the assault of the hosts of evil. 2) Hieronymus Bosch (1450-1516), was, with Herri met de Bles, the 
 best-known Flemish painter of Paradise and Hell pictures. 3) ‘‘The Pilgrims of Emmaus” by Rembrandt (1606-1669) in 
 the Louvre. 4) “The Death of the Virgin,” by Hugo van der Goes, in the Bruges Museum. 5) “Paradise,” by Giovanni di 
 Paolo (1403-1482), in the Siena Academy. 6) ‘‘The Last Judgment,” by Fra Angelico, in the Florence Academy. On either side 
 of Our Lord is a seated company of Saints. Note the tombs in the centre dividing the Blessed and the Damned. 7) Michel- 
 angelo’s great work (see Page 61) in the Sistine Chapel. 8) The same subject by Lucas van Leyden (1494-1533) at Leyden. 
 
 
 
CHRONOLOGICAL LIST OF THE 
 
 BISHOPS OF ROME AND POPES 
 
 A.D 
 Peter. 
 Linus. 
 Cletus. 
 Clement. 
 Anacletus. 
 Evaristus. 
 Alexander. 
 Sixtus I. 
 Tilesphorus. 
 Hyginus. 
 Pius I. 
 Anicetus. 
 Soter. 
 Eleuthertus. 
 Victor. 
 Zephyrinus. 
 Calixtus. - 
 Urban. 
 Pontian. 
 Anterus. 
 Fabianus. 
 Cornelius. 
 Lucius. 
 Stephen. 
 Sixtus IT. 
 Dionysius. 
 Felix. 
 Eutychian. 
 Caius. 
 Marcelinus. 
 Marcellus. 
 Eusebius. 
 Melchiades. 
 Sylvester. 
 
 65 St. 
 65-76 ~ 
 76- 89 “ 
 89-100 “ 
 
 100-109 
 
 109-109 
 
 109-119 
 
 119-128 
 
 128-139 
 
 139-142 
 
 142-157 
 
 157-168 
 
 168-176 
 
 176-192 
 
 192-202 
 
 202-218 
 
 218-223 
 
 223-230 
 
 230-235 
 
 235-236 
 
 236-250 
 
 251-252 
 
 252-253 
 
 253-257 
 
 257-258 
 
 259-269 
 
 269-275 
 
 275-283 
 
 283-296 
 
 296-304 
 
 308-310 
 
 310-310 
 
 311-314 
 
 314-335 
 
 336-336 “ Mark. 
 
 337-352 Julius. 
 
 352-366 Liberius. 
 
 366-384 St. Damasus. 
 
 385-398 ‘“‘ Sericius. 
 
 399-402 Anastasius. 
 
 402-417 Innocent I. 
 
 417-418 Zozimus. 
 
 418-422 Boniface. 
 
 422-432 Celestine. 
 
 432-440 Sixtus III. 
 
 440-461 ‘ Leo “The Great” 
 
 461-468 ‘ Hilary. 
 
 468-483 ‘‘ Simplicius. 
 
 483-492 “‘ Felix II. (or III?) 
 
 492-496 “‘ Gelasius. 
 
 496-498 “‘ Anastasius. 
 
 498-514 Symmachus. 
 
 514-523 Hormisdas. 
 
 23-526 St. John I. 
 
 526-529 Felix III. (or IV.) 
 
 529-531 Boniface II. 
 
 $32-535 John II. 
 
 535-536 Agapetus. 
 
 536-538 St. Sylverius. 
 
 538-555 Vigilius. 
 
 555-559 Pelagius I. 
 
 559-572 John III. 
 
 573-577 Benedict I. 
 
 ‘ 
 
 c 
 
 A. D. 
 577-590 Pelagius II. 
 590-604 St. Gregory “the 
 604-605 Sabinian. [Great.” 
 606-606 Boniface III. 
 607-614 Boniface IV. 
 614-617 Deusdedit 
 617-625 Boniface V. 
 626-638 Honorius I. 
 640-640 Severinus. 
 640-642 John IV. 
 642-649 Theodorus. 
 649-655 St. Martin. 
 655-658 Eugenius I. 
 658-672 Vitalian. 
 672-676 Adeodatus. 
 676-679 Domnus. 
 679-682 St. Agatho. 
 682-683 “ Leo II. 
 684-685 Benedict II. 
 685-686 John V. 
 686-687 Conon. 
 687-701 Sergius. 
 701-705 John VI. 
 705-707 John VII. 
 708-708 Sisinnius. 
 708-715 Constantine. 
 715-731 St. Gregory II. 
 731-741 Gregory III. 
 741-752 St. Zachary. 
 752-752 Stephen II. 
 752-757 Stephen III. 
 757-767 Paul I. 
 768-772 Stephen IV. 
 772-795 Adrian. 
 795-816 Leo III. 
 816-817 Stephen V. 
 817-824 Paschal. 
 824-827 Eugenius II. 
 827-827 Valentine. 
 828-844 Gregory IV. 
 844-847 Sergius II. 
 847-855 St. Leo IV. 
 855-858 Benedict III. 
 858-867 Nicholas I. 
 867-872 Adrian IT. 
 872-882 John VIII. 
 882-884 Martin II. 
 884-885 Adrian III. 
 885-891 Stephen VI. 
 891-896 Formosus. 
 896-897 Stephen VII. 
 897-898 Romanus. 
 898-898 Theodorus II. 
 898-900 John IX. 
 900-903 Benedict IV. 
 903-905 Leo V. 
 905-911 Sergius III. 
 g11-913 Anastasius III. 
 913-914 Lando. 
 914-928 John X. 
 928-929 Leo VI. 
 929-931 Stephen VIII. 
 931-936 John XI. 
 
 UP TO THE END OF THE SIXTEENTH CENTURY 
 
 A. D. 
 936-939 Leo VII. 
 939-943 Stephen IX. 
 943-946 Martin III. 
 946- 956 Agapetus II. 
 956- 964 John XII. 
 964- 964 Leo VIII. 
 964- 965 Benedict V. 
 965- 972 John XIII. 
 972- 974 Benedict VI. 
 974- 975 Domnus II. 
 976- 984 Benedict VII. 
 984- 985 John XIV. 
 986- 996 John XV. 
 996- 999 Gregory V. 
 999-1003 Sylvester IT. 
 
 1003-1003 John XVII. 
 
 1004-1009 John XVIII. 
 
 1009-1012 Sergius IV. 
 
 1012-1024 Benedict VIII. 
 
 1024-1033 John XIX. 
 
 1033-1044 Benedict IX. 
 
 1045-1046 Gregory VI. 
 
 1046-1047 Clement II. 
 
 1048-1048 Damasus IT. 
 
 1049-1054 St. Leo IX. 
 
 1055-1057 Victor II. 
 
 1057-1058 Stephen X. 
 
 1058-1061 Nicholas II. 
 
 1061-1073 Alexander II. 
 
 1073-1085 St. Gregory VII. 
 
 1086-1087 Victor III. 
 
 1087-1099 Urban II. 
 
 1099-1118 Paschal II. 
 
 1118-1119 Gelasius II. 
 
 1119-1124 Calixtus II. 
 
 1124-1130 Honorius II. 
 
 1130-1143 Innocent II. 
 
 1143-1144 Celestine II. 
 
 1144-1145 Lucius II. 
 
 1145-1153 Eugenius III. 
 
 1153-1154 Anastasius IV. 
 
 1154-1159 Adrian IV. 
 
 1159-1181 Alexander III. 
 
 1181-1185 Lucius III. 
 
 1185-1187 Urban III. 
 
 1187-1187 Gregory VIII. 
 
 1187-1191 Clement III. 
 
 1191-1198 Celestine III. 
 
 1198-1216 Innocent III. 
 
 1216-1227 Honorius III. 
 
 1227-1241 Gregory IX. 
 
 1241-1241 Celestine IV. 
 
 1243-1254 Innocent IV. 
 
 1254-1261 Alexander IV. 
 
 1261-1265 Urban IV. 
 
 1265-1268 Clement IV. 
 
 1271-1276 Gregory X. 
 
 1276-1276 Innocent V. 
 
 1276-1276 Adrian V. 
 
 1276-1277 John XX. or XXI. 
 
 1277-1280 Nicholas III. 
 
 1281-1285 Martin IV. 
 
 1285-1287 Honorius IV. 
 
 159 
 
 A. D. 
 1288-1292 Nicholas IV. 
 1294-1294 St. Peter Celestine 
 
 V. (last Pope canonized). 
 1294-1303 Boniface VIII. 
 
 The following Popes sat at 
 Avignon in France: 
 1303-1304 Benedict XI. 
 1305-1314 Clement V. 
 1316-1334 John XXII. 
 1334-1342 Benedict XII. 
 1342-1352 Clement VI. 
 1352-1362 Innocent VI. 
 1362-1370 Urban V. 
 1370-1378 Gregory XI. 
 
 THE “GREAT ScHIsM”’ 
 The following Popes sat at 
 Rome while others sat at 
 Avignon: 
 1378-1389 Urban VI. 
 1389 Boniface IX. 
 
 Contemporary Popes at 
 Avignon: 
 
 1378-1394 Clement VII. 
 1394-1398 Benedict XIII. 
 
 In 1413 Benedict XIII was 
 restored, but deposed in 1417 
 when Clement VIII. was 
 elected but not acknowledged. 
 
 1389-1404 Boniface IX. At 
 Rome. 
 1404-1406 Innocent VII. 
 1406-1409 Gregory XII. 
 1409-1410 Alexander V. 
 1410-1415 John XXIII. 
 1417-1431 Martin V. 
 1431-1447 Eugenius IV. 
 1447-1455 Nicholas V. 
 1455-1458 Calixtus ITI. 
 1458-1464 Pius II. 
 1464-1471 Paul II. 
 1471-1484 Sixtus IV. 
 1484-1492 Innocent VIII. 
 1492-1503 Alexander VI. 
 1503-1503 Pius III. 
 1503-1513 Julius II. 
 1513-1521 Leo X. 
 1522-1523 Adrian VI. 
 1523-1534 Clement VII. 
 1534-1549 Paul III. 
 1550-1555 Julius III. 
 1555-1555 Marcellus II. 
 1555-1559 Paul IV. 
 1559-1565 Pius IV. 
 1566-1572 St. Pius V. 
 1572-1585 Gregory XIII. 
 1585-1590 Sixtus V. 
 1590-1590 Urban VII. 
 1590-1591 Gregory XIV. 
 1591-1591 Innocent IX. 
 1592-1605 Clement VIII. 
 
 
 
babe GEV AN| THE SAINTS IN ART 
 
 \ A CANES 
 \ y, \ A \ : \ “ _ \\ \\\ ‘ 
 
 ie 
 ae 
 
 % 
 y ‘ 
 ) y faerie = opt euieientnese wali 
 aa ) RENT NCTATANAT at Wate aoa a a 
 
 
 
 page 42). 
 with 16th century costumes. 3) The Tiburtine Sibyl (see page 142), by Baldassare Peruzzi in the Fontegiusta Church at Siena. 
 4) An example of the large polyptych altar-pieces which, in Italian gallery catalogues are called ‘‘Ancona.” 5) Elijah in the 
 Desert; a drawing by Ferdinand Bol (1616-1680). (In the Collection of Mr. George Cotils.) 6) The Erithraan Sybil (see page 
 142), by Michelangelo, in the Sistine Chapel. 7) Judith with the head of Holophernes; by Cristofano Allori (1577-1621) in 
 the Pitti Palace. 8) Same subject as No. 3, by Roger van der Weyden, in Berlin. (See Plate XLII). 
 
Pee Peale OSTRATIONS 
 
 
 
 ABRAHAM AND ISAAc, by Rembrandt, 162. 
 
 ADAM AND Eve, expelled from the Garden 
 of Eden, by Masaccio, 160. 
 
 A.micuty, THE (See also “Trinity’’), 10, 31, 
 32 
 
 Ancona, 160. 
 
 ANGELS, 52, 53, 54, 55. 
 
 ANNUNCIATION, THE: 
 By Niccolo di Alunno, 38; Herri met de 
 Bles, 38; Lorenzo di Credi, 38; Melozzo da 
 Forli, 38; Francia, 15; Italian School, 15th 
 Century, 38; Fra Lippo Lippi, 38; Carlo 
 Maratta, 38; Cosimo Rosselli, 38; Martin 
 Schéngauer, 52. 
 
 ARCHANGELS, THE (Together and Sepa- 
 rately), 20, 52, 53. 
 
 ASSUMPTION OF THE BLESSED VIRGIN, by 
 Prudhon, 40. 
 
 CALLING OF THE SONS OF ZEBEDEE, by Marco 
 Basaiti, 143. 
 
 Curist (Not as a Child). (See also “ Pietd,” 
 
 Coronation, Last Judgment, Trinity, ‘Sta- 
 bat Mater,” Last Supper, Crucifixion, 
 “Noli me Tangere.” 
 As Orpheus (Catacombs), 8; in ancient 
 Mosaic, 8; with arms extended in form of 
 the Cross (Fra Angelico), 18; bearing a 
 “tau” Cross (on the Via Dolorosa), 18; 
 with SS. Andrew and Longinus (Man- 
 tegna), 20; in a transomed “‘mandorla,”’ 24; 
 as “Referee” in a struggle between an 
 angel and a devil for a man’s soul, 26; as 
 Seraph, bestowing the Stigmata upon St. 
 Francis (Giotto), 31; on early Byzantine 
 coins, 34; receiving the Soul of his Mother, 
 40; with the Blessed Virgin, both en- 
 throned (Orcagna), 42; with the Four 
 Evangelists (Fra Bartolommeo), 57; bap- 
 tism of (Roger van der Weyden), 66; 
 baptism of (Master of St. Severin), 66; 
 baptism of (Joachim Patinir 141); leading 
 the Magdalene to repentance (Paul 
 Veronese), 71; presiding at the “ Disputa” 
 (Raphael), 78; ‘Meditation on the 
 Passion,” so-called, (Basaiti), 119; in- 
 spires St. Thomas Aquinas, 121; descends 
 into Hell (Mantegna), 158; disputing with 
 the Doctors (Luini), 141; the same 
 (Mazzolino), 141; in the Garden of 
 Gethsemane (Correggio), 146; the same 
 (Basaiti), 146; bound to the column (Le 
 Sueur), 146; on the way to Calvary 
 (Ridolfo Ghirlandajo), 146. 
 
 CORONATION OF THE VIRGIN Mary: 
 
 By Fra Angelico (Louvre), 42; Do. (San 
 Marco), 117; Borgognone, 42; Niccolo di 
 Buonaccorso, 50; Raflfaellino dei Carli, 20; 
 Enguerrand Charonton, Frontispiece; 
 Jacobello del Fiore, 55; Fra Lippo Lippi, 
 42; Moretto da Brescia, 42; Pinturicchio, 
 116; Raphael (with the 12 Apostles), 40; 
 Lo Spagna, 42; Ant. Vivarini and Giovanni 
 d’Alemagna, 10. 
 
 Cross AND CrRucrFrx, VARIOUS FoRMS OF, 
 18, 24. 
 
 CRUCIFIXION (other than the “Stabat Mater’’): 
 Fra Angelico, 118;.Gerard David, 146; 
 Gerard van der Meire, 148; Antonella da 
 Messina, 148; Mantegna, 148. 
 
 CRUCIFIXION OF St. Putip (see Sf. Philip), 
 148. 
 
 DESCENT FROM THE Cross, by Sodoma, 148. 
 DEVIL: 
 Fighting for Soul of Dead Man, 26; for 
 Soul of a Child, 35; for Souls of Humans 
 (Triumph of Death, at Pisa), 112, 113. 
 Docrors OF THE CHURCH, THE (as a group), 
 74, 77, 78, 80. 
 Draucut or FisHes, THE Mrracutous, by 
 Raphael, 146. 
 
 
 
 Ficce Homo, by Correggio, 146. 
 
 Ecce Homo, “‘ Eucharistic,” so-called, 18. 
 
 Ecypt, THe Fiicut Into, by Joachim Pati- 
 nir, 139. 
 
 Ecypt, THE Rest In (/] Reposo), by Andrea 
 del Sarto (Madonna del Sacco), 139. 
 
 ELIJAH IN THE DESERT, by F. Bol, 160. 
 
 Bien THe Four (5 illustrations), 
 DOS: 
 
 ade Vision of (Raphael-Giulio Romano), 
 ne 
 
 FATHERS OF THE CHURCH (See Doctors of the 
 Church). 
 
 FEAST AT THE HOUSE oF Simon, by Paul 
 Veronese, 143. 
 
 Gop THE FATHER (See Almighty, The). 
 Immaculate Conception (Murillo), 40. 
 
 JAPANESE Gop, AmmpA, 24. 
 
 Jesus Curist (See Christ). 
 
 Joacuim DRIVEN FROM THE TEMPLE, by 
 Quentin Matsys, 137. 
 
 JupirH AND HOLopHERNES, by Cristofano 
 Allori, 160; by Botticelli, 162. 
 
 Kuanyin, Chinese Goddess, or “Chinese 
 Madonna,” 12. 
 
 Labarum, 8. 
 
 Lams OF Gop, CurisT AS, 8. 
 
 Last JUDGMENT: 
 By Roger van der Weyden, 10; Jan Pre- 
 vost, 20; Michelangelo, 61, 158; Fra An- 
 gelico, 158; Lucas van Leyden, 158; Tinto- 
 retto, 162. 
 
 LAST SUPPER: 
 By Domenico Ghirlandajo, 60; Leonardo 
 da Vinci, 60; Dirk Bouts, 64. 
 
 MADONNA AND CHILD: 
 By Albertinelli (with St. Jerome), 74; 
 Andrea del Sarto, 45, 114, 133, 139; Bacchi- 
 acca, 51; Fra Bartolommeo, 45; Jacopo 
 Bellini, 47; Boccaccino, 47; P. Bordone, 
 80; Borgognone, 76; Botticelli (Magnificat), 
 36; (with the two SS. John), 65; Botticini, 
 45; (attributed to Filippino Lippi), 45; 
 Byzantine, 12th Century, 44; Correggio 
 (Mystic Marriage), 97; (Mater Pia), 51; 
 (with St. Sebastian), 47; Lorenzo Costa, 
 87; Lorenzo di Credi (with SS. Nicholas 
 of Myra and Julian of Rimini), 90; Peter 
 Cristus, 100; Crivelli (with instruments of 
 the Passion), 45; (with Seven Saints), 76; 
 Gerard David, 47; Duccio di Buoninsegna, 
 47; Albert Diirer (“‘With the Monkey’’), 
 47; Gentile da Fabriano, 47; Pier Francesco 
 Fiorentino, 45; Francia (with SS. Augus- 
 tine and Monica), 76; Agnolo Gaddi, 89; 
 Giorgione (Castelfranco Madonna), 49; 
 Giovanni d’Alemagna, and Ant. Vivarini, 
 80; Ercole Roberti, 87; Guido da Siena, 43; 
 Holbein (Madonna of the Meyer Family), 
 13; Isenbrandt, 47; Fra Lippo Lippi, 45; 
 Bernardino Luini, 117; Andrea Mantegna, 
 73; Masaccio, 45; Master of the Holy Fam- 
 ily (Heilige Sippe), 105; Mazzolino (with 
 the Almighty), 10; Memlinc (Canon van 
 der Paele Madonna), 17; 49; (Mystic Mar- 
 riage), 97; Michelangelo (Statue), 51; 
 Bartolommeo Montagna (with SS. Omo- 
 buono and Francis), 111; Moretto (with 
 the four Doctors), 74; (with St. Nicholas of 
 Myra), 95; Marco d’Oggione (with St. 
 Bernardino of Siena), 119; Pinturicchio, 
 79; Pisanello (with SS. Anthony and 
 George), 115; Procaccino, 45; Raphael 
 (Madonna da Foligno), 116; (Madonna del 
 Baldacchino), 78; (with the Blue Diadem), 
 67; (Sistine Madonna), 51; Madonna del 
 Pesce), 53; (Canigiani Madonna), 45; 
 
 161 
 
 
 
 
 
 (Belle Jardiniére), 45; Guido Reni, 112; 
 Romanino, 88; Lorenzo da San Severino 
 (Mystic Marriage of St. Catharine of 
 Siena), 97; Girolamo da Santa Croce, 94; 
 Luca Signorelli, 53; Andrea Solario (Vierge 
 au Coussin Vert), 51; Cosimo Tura, 78; 
 Jan Van Eyck, 51; Paul Veronese, 47; 
 Vivarini, 49, 127. 
 
 Mact, ADORATION OF: 
 By Herri met de Bles, Frontispiece; 139; 
 Jean de Mabuse, 48. 
 
 MARRIAGE AT CANA, by Paul Veronese, 143. 
 MASSACRE OF THE INNOCENTS, by Matteo di 
 Giovanni, 139; by Peter Brueghel, 160. 
 
 Mater Dolorosa, 36. 
 
 Monk OF THE ORDER OF Mercy (Don 
 Miguel del Pozo), by Zurbaran, 135. 
 
 Mosss, by Michelangelo, 162. 
 
 Nativity: by Guido Reni, 136; by Fra Lippo 
 Lippi, 139; by Piero della Francesca, 139; 
 by Yvette Howlett, 140; by Geertgen tot 
 Sint-Jans, 140; by Jan Hemmelinck, 157. 
 
 Niupus, 8 and passim. 
 
 Nole me Tangere, by Lorenzo di Credi, 68; 
 Titian, 68; Jacob Cornelisz, 72. 
 
 PaRADISE, by Giovanni di Paolo, 158; by 
 Hieronymus Bosch, 158. 
 Pieta: 
 By Giovanni Bellini, 10; Mantegna, 10; 
 Lorenzo Monaco, 18; Perugino, 36. 
 Pixcrims oF Emmaus, by Rembrandt, 158. 
 Pore Honorrus III Conrirms THE RULE 
 OF ST. Francis, by Domenico Ghirlandajo, 
 WAL AE, IBS) 
 
 RAISING OF 
 Ouwater, 143. 
 RESURRECTION, by Orcagna, 148. 
 
 (Continued after ‘“Saints’’) 
 
 Lazarus, by Albert van 
 
 SAINTS: 
 
 ADALBERT, OR ALBERT, OF VERCELLI, 133. 
 
 AGNES, 26, 31, 104, 105, 106. 
 
 AMBROSE, 78, 81, 82. 
 
 ANDREW: 
 His Cross, 10; by Masaccio, 20; Mantegna, 
 20; German stained glass, 63. 
 
 ANTHONY OF EGyPT: 
 With St. Paul the Hermit, 114; with St. 
 George, 115; Temptation of, 115; en- 
 throned as Abbot, 117; with pig and bell, 
 ie ; leading band of hermits (van Eyck), 
 107; 
 
 ANTHONY oF Papua, 123, 135. 
 
 APOLLONIA, 111. 
 
 AUGUSTINE (8 illustrations), 76, 78, 82, 125. 
 
 BARBARA, 93, 96, 99, 100, 104. 
 BARTHOLOMEW, 106. 
 Benepicr, 121, 122. 
 Benepict, DEATH oF, 123. 
 BERNARD OF CLAIRVAUX, 124. 
 BERNARDINO OF SIENA: 
 With three mitres, 123; with tablet, IHS, 
 123; with Madonna and Child, 129. 
 Bruno, 124. 
 
 CATHERINE OF ALEXANDRIA (25 illustra- 
 tions), 24, 93, 96, 97, 98, 99. 
 
 CATHERINE OF SIENA, 97, 121, 132, 133. 
 
 Cecr1t1A, 16, 104, 105, 106. 
 
 CHAD oF LICHFIELD, 121. 
 
 CHRISTOPHER, 24, 90, 91, 92. 
 
 CxarA (3 illustrations), 127, 135. 
 
 Cosmo AND DamtAn, 89, 90, 93. 
 
 DENIS, 27. 
 Dominick, 26, 31, 123, 130, 131. 
 
 EDWARD THE CONFESSOR, 133. 
 ELISABETH OF Huncary, 22, 123, 135. 
 Erasmus, 17, 110. 
 
PLATE XLVIUI THE SAINTS IN ART 
 
 Sot cewese ee: 
 
 | 
 
 
 
 1) Michelangelo’s famous statue, the ‘‘ Moses”’ in S. Pietro-in-Vinicole, Rome. 2) ‘Samson and Delilah:” a characteristic 
 pen-drawing by Van Dyck, even to the faulty drawing of Delilah’s arm. (Jn the Collection of the Author.) 3) Preliminary 
 drawing, in wash, by Tintoretto, for his celebrated ‘‘Last Judgment,” in the Madonna dell’Orto Church in Venice. The curious 
 figures whose limbs are turning into trees, are the suicides, following the “Inferno” by Dante. (J the Collection of the 
 Author.) 4) Botticelli’s “Judith and Holophernes” in the Uffizi Gallery. 5) ‘‘Abraham and Isaac;’’ by Rembrandt, in the 
 Munich Gallery. 
 
Francis OF Assisi, 31, 121, 123, 127, 129, 
 1355135. 
 
 GerorGE, 15, 17, 24, 86, 87, 93. 
 
 GUALBERTO, JOHN, with His Brother’s Mur- 
 derer, by Lorenzo di Niccolo, 26. 
 
 GUALBERTO, JoHN, Watching His Follower, 
 Peter Igneus, walk through fire, by Andrea 
 del Sarto, 135. 
 
 GUALBERTO, JOHN, in the habit of the Val- 
 lombrosan Order, by Fra Angelico, 135. 
 
 GREGORY THE GREAT,/9. 
 Mass of St. Gregory, 80; Miracle of the 
 Brandeum, 80; appearing to St. Fina on 
 her deathbed, 80. 
 
 HELENA, THE VISION oF, 128. 
 
 HELENA DISCOVERS THE ‘‘TRUE’’ Cross, 
 133. 
 
 HuBeErtT oF Li&kGE, AS ABsor, 24. 
 
 James Mayor, 62. 
 
 Jerome (10 illustrations), 74, 75, 78, 118. 
 
 JOHN THE Baptist (15 illustrations), 65, 67, 
 68, 69, 125, 126. 
 
 Joun CuHrysostoM, 84. 
 
 JoHN THE EVANGELIST, 57, 63. 
 
 Joun or Gop (St. Juan de Dios), 133. 
 
 Justina oF ANTIOcH, 30. 
 
 LAWRENCE, 93. 
 Lorenzo GIUSTINIANI, 126... 
 Lucy or Lucta, 104, 105, 108, 111. 
 
 MarGareEt oF ANTIOCH, 96, 103. 
 
 Mary or Ecyprt (Hermit), 117. 
 
 Mary Macpatene™ (16 illustrations), 68-73. 
 MarrtTHew, 63. 
 
 MAauvRIcE, OF THE THEBAN LEGION, 111. 
 
 
 
 MICHAEL, THE ARCHANGEL: 
 By Roger van der Weyden, 10; Memlinc, 
 53; Perugino, 52; Greek mosaic, 53. 
 Monica, 125, 127. 
 NICHOLAS OF Myra, or Bart, 90, 93, 95. 
 NIcHOLAS OF TOLENTINO, 18, 125. 
 
 Onorrio, Hermit, 119. 
 
 Patrick: As Primate of Ireland, 120; as 
 Pilgrim to Tara, 120. 
 
 PAUL THE APOSTLE (3 illustrations), 61, 63. 
 
 PAuL THE Hermit (2 illustrations), 114. 
 
 PETER, 63. 
 
 PETER Martyr, 127, 131, 132. 
 
 PETRONIUS, 26. 
 
 PHILIP, CRUCIFIXION oF, 148. 
 
 Roca, 88, 90. 
 
 RopriGcuEz, 130. 
 
 RoMUALDO, 122. 
 
 SEBASTIAN (7 illustrations), 53, 87, 88. 
 
 SHEPHERDS, ADORATION OF, by Pietro di 
 Domenico, 141. 
 
 SIGISMOND OF BuRGUNDY, 127. 
 
 SIMON ZELOTES, 59. 
 
 STEPHEN (2 illustrations), 111. 
 
 SYLVESTER, 24. 
 
 THomas Agutnas, 121, 131. 
 
 Ursuta, 101, 102. 
 Wares are 
 WENCESLAS OF BoHemtA, 127. 
 
 SAMSON AND DELILAH, by Van Dyck, 162. 
 “Stabat Mater,” by Martin Schéngauer, 14. 
 
 
 
 SyBiLs, THe: The Tiburtine Sybil, by Lucas 
 van Leyden, 141; by Baldassare Peruzzi, 
 160; by Roger van der Weyden, 160; the 
 Erithrean Sybil, by Michelangelo, 160. 
 
 SYMBOLS, EARLY CHRISTIAN, 8. 
 
 THREE WISE MEN (See Magi). 
 
 TRANSFIGURATION, THE, by Giovanni Bel- 
 lini, 146. 
 
 TRINITY, THE Hoty (10 illustrations), 31, 33, 
 42, 57, 68, 148. 
 
 ‘““TrIuMPH OF DEATH,” in Pisa, 112, 113. 
 
 “TRUE Cross,” INVENTION OF, OR FINDING 
 OneZON iso: 
 
 VIRGIN, BiRTH OF THE, by Domenico Gher- 
 landajo, 137. 
 
 VIRGIN, EDUCATION OF THE, by Murillo, 137; 
 16th Century Stone Statue, 137. 
 
 VirGIN, MARRIAGE OF THE, by a 15th Cen- 
 se Burgundian Master, 137; by Raphael, 
 
 39. 
 
 VIRGIN, PRESENTATION OF, by Titian, 137; 
 by the Master of the Lyversberg Passion, 
 137; by some 14th Century Florentine, 138. 
 
 VircIn Mary, THE, WITHOUT THE CBHIID: 
 (See also Coronation, Annunciation, As- 
 sumption, Immaculate Conception, Staba 
 Mater, Mater Dolorosa, Picté). 
 
 As Second Eve, 23; as Queen of Heaven, 
 35; with the Maccabean martyrs, 36; 
 Reading Madonna from Van Eyck’s ‘‘ Ad- 
 oration of the Lamb,” 36; Virgin of San 
 Venango, 36; Death of, 40, 158; enthroned 
 with Christ, 42;as Our Lady of Mercy, 101. 
 
 VIRGINS OF THE LATIN CHURCH, THE Four 
 
 GREAT (Together), 104. 
 
 
 
 
 Wahoos CONSULTED IN THE PREPARATION OF THIS BOOK 
 
 every Sainte’s festivity; by a Catholic Priest (John Wilson), 
 12 mo. Permissu Superiorum, Anno 1608. 
 
 ERRATA AND ADDENDA 
 
 TABLE OF CONTENTS. Add “List of Works Consulted in 
 the Preparation of this Book,” page 163. 
 
 PLATE I, Pace 8, Caption. End of Second Line:—For “Ma- 
 saccios” read ‘‘Masaccio.” 
 
 PAGE 16. Caption:—For “Peter,” read “Augustine.” A study 
 for this picture by Raphel shows the personage on the right 
 of St. Cecilia with a mitre, which conclusively proves that he 
 does not represent St. Peter, who wears the papal tiara if any 
 head-dress. : 5 
 
 PAGE 21. Top of First Column. There are exceptions to this 
 rule, e. g., St. Erasmus, Bishop of Formia, on page 17. 
 
 PLATE V, Pace 24, Fig. 7. Hand-printed note. For “Bishop’s” 
 read ‘‘Abbot’s robes.” 2 
 
 PAGE 36. Caption:—Before “Scourging” insert “The Crowning 
 
 ’ with Thorns,” 
 PLATE XII, Pace 42, Fig. 5. Delete comma after “Andrea.” 
 PLATE XVI, Pace 51. Caption. Sixth Line. For “Placentia” 
 (Latin form) read “Piacenza” (Italian form). 
 Fifth line: “Whence the name,” should read ‘Namesake of 
 St. Sixtus—San Sisto, after whom the Church was named.” 
 
 PLATE XXIV, Pace 74. Caption for Fig. 1. For “Crucifixion” 
 read “Christ Crucified” (Christ en Croix). 
 
 PLATE XXXI, Pace 96. End of Caption. Add (Courtesy of 
 Wildenstein & Co.). 
 
 PAGE 100. Second Column. For (Plate) read (Plate XVI). 
 
 - INDEX GENERAL. Add, in their alphabetical position: 
 Belle Jardiniére (see under MADONNA PictuRES). 
 Sistine Madonna, 51 (see also MADONNA, SISTINE). 
 INDEX OF SAINTS. St. Andrew, add “zo.” St. Lawrence, 
 delete “20.” 
 INDEX OF ARTISTS. Add Niccotd pi Buonaccorso, 50. 
 Note also that Niccold da Foligno and Niccold d’Alunno 
 were one person. euls 
 INDEX OF ARTISTS. Add Prert, Grutro (see Romano, Giulio) 
 Romano, Grutio, Giulio Pippi, called, 57. 
 INDEX OF PRIVATE COLLECTORS AND DEALERS. 
 Ehrich Galleries, add “Frontispiece” and 157. 
 Platt, Dan Fellowes, Esq., add “43.” 
 Wildenstein & Co., add “96.” 
 
 ves of the most renowned Saints of England, Scotland, and 
 [reland, by Rev. F. Jerome Porter. Douay, 1632. 
 
 ages de tous les Saincts et Saintes de l’'annee, Les suivant le 
 Martyrologie Romaine, faictes par Jacques Callot et mises 
 2n Iumiere par Israel Henriot, Paris, 1636, 4to. 
 
 e Lives of Saints compiled from authentic records of 
 Church History. 4 vols., 4to. 1720. 
 
 age der Heiligen. I. von Radowitz, 8 vo. Berlin, 
 1834. 
 
 gende der Heiligen auf jeden Tag des Jabres nebst der An- 
 vendung auf die Glaubens-und Sittenlebre. Plates, 4 vols. 
 gto. Augsburg, 1836. 
 
 2 Attribute der Heiligen, 8 vo. Hanover, 1843. 
 
 stoire de la Vie des Saints des Péres et des Martyres, d’aprés 
 Godescard, Croiset, les Bollandistes, etc. Publiée sous les 
 vuspices du Clergé de France; ornée de plus de 400 Gravures, 
 1 vols., royal 8 vo. Paris, 1845. 
 
 Rational Illustration of the Book of Common Prayer of 
 che Church of England, by the Rev. Chas. Wheatly, M. A. 
 Reprinted. Oxford, 1846. 
 
 ly Men of Old; being sort notices of such as are named in 
 she Calendar of the English Church, 18 mo., 1849. Ele- 
 mentary. 
 
 2 Himmelsrosen. Fine Galerie der Heiligen der Romisch 
 <atholischen Kirche mit deren Leben und Werke nebst 
 edesmaligem Schlussgebete, Band 1, 2. Wien, 1849. 
 »mentary History of Art, by N. d’Anvers. Scribner and 
 Welford, New York, 1889. 
 
 scbichte der Maleret, von Dr. Adolph Gorling. E. A. 
 seeman, Leipzig, 1866. 
 
 ort History of Art, by Julia B. de Forest. Dodd, Mead & 
 co., New York, 1881. 
 
 story of Italian Painting, by Crowe and Cavalcaselle. 
 
 cred Symbols in Art, by Elisabeth E. Goldsmith. G. P. 
 >utnam’s Sons, Knickerbocker Press, New York and 
 _ondon, 1912. 
 
 e Saints in Art, by Margaret E. Tabor, E. P. Dutton & Co., 
 79 Fifth Avenue, New York. 
 
 well as the Holy Bible; the Encyclopedia Britannica (11th 
 sdition); and numerous other books on art, religion and 
 ustory. 
 
PLATE XLVIII THE SAINTS IN ART 
 
 Ai 
 Na 
 
 1) Michelangelo’s famous statue, the ‘‘ Moses”’ in S. Pietr 
 pen-drawing by Van Dyck, even to the faulty drawing of L 
 drawing, in wash, by Tintoretto, for his celebrated ‘“‘Last Juc 
 figures whose limbs are turning into trees, are the suicid | 
 Author.) 4) Botticelli’s “Judith and Holophernes” in the Uffizi Gallery. 5) **Abranami auu isaac, 
 Munich Gallery. 
 
 a wh 
 
 
 
FRANCIS OF ASSIST, 
 USS 30. 
 
 GeorcE, 15, 17, 24, 86, 87, 93. 
 
 GUALBERTO, JOHN, with His Brother’s Mur- 
 derer, by Lorenzo di Niccolo, 26. 
 
 GUALBERTO, JOHN, Watching His Follower, 
 Peter Igneus, walk through fire, by Andrea 
 del Sarto, 135. 
 
 GUALBERTO, JOHN, in the habit of the Val- 
 lombrosan Order, by Fra Angelico, 135. 
 
 GREGORY THE GREAT,79. 
 Mass of St. Gregory, 80; Miracle of the 
 Brandeum, 80; appearing to St. Fina on 
 her deathbed, 80. 
 
 HELENA, THE VISION oF, 128. 
 
 HELENA DISCOVERS THE ‘‘TRUE”’ 
 133. 
 
 HusBert or Li&kce, as ABgort, 24. 
 
 Streiegi 23.127, 129; 
 
 Cross, 
 
 James Mayor, 62. 
 
 JEROME (10 illustrations), 74, 75, 78, 118. 
 
 JOHN THE Baptist (15 illustrations), 65, 67, 
 68, 69, 125, 126. 
 
 Joun CHRYSOSTOM, 84. 
 
 JOHN THE EVANGELIST, 57, 63. 
 
 JoHN or Gop (St. Juan de Dios), 133. 
 
 JusTINA oF AnrtiocH, 30. 
 
 LAWRENCE, 93. 
 LORENZO GIUSTINIANI, 1206. 
 Lucy or Lucta, 104, 105, 108, 111. 
 
 MARGARET OF ANTIOCH, 96, 103. 
 
 Mary or Ecypr (Hermit), 117. 
 
 Mary Macpatene (16 illustrations), 68-73. 
 MATTHEW, 63. 
 
 MAuvRICE, OF THE THEBAN LeEGion, 111. 
 
 
 
 
 
 MICHAEL, THE ARCHANGEL: 
 By Roger van der Weyden, 10; Memlinc, 
 53; Perugino, 52; Greek mosaic, 53. 
 Monica, 125, 127. 
 Nicuoras oF Myra, or Bart, 90, 93, 95. 
 NiIcHoLAS OF TOLENTINO, 18, 125. 
 
 ONoFRIO, Hermit, 119. 
 
 Patrick: As Primate of Ireland, 120; as 
 Pilgrim to Tara, 120. 
 
 PauL THE APOSTLE (3 illustrations), 61, 63. 
 
 PAUL THE Hermit (2 illustrations), 114. 
 
 PETER, 63. 
 
 PETER Martyr, 127, 131, 132. 
 
 PETRONIUS, 26. 
 
 PHILIP, CRUCIFIXION oF, 148. 
 
 Roca, 88, 90. 
 
 Ropricuez, 130. 
 
 RoMUALDO, 122. 
 
 SEBASTIAN (7 illustrations), 53, 87, 88. 
 
 SHEPHERDS, ADORATION OF, by Pietro di 
 Domenico, 141. 
 
 SIGISMOND OF BuRGuUNDY, 127. 
 
 Simon ZELOTES, 59. 
 
 STEPHEN (2 illustrations), 111. 
 
 SYLVESTER, 24. 
 
 THomas Aguinas, 121, 131. 
 
 Ursuta, 101, 102. 
 Vitus, 127. 
 WENCESLAS OF BouemtA, 127. 
 
 SAMSON AND DELILAH, by Van Dyck, 162. 
 “Stabat Mater,” by Martin Schéngauer, 14. 
 
 
 
 SyBILS, THe: The Tiburtine Sybil, by Lucas 
 van Leyden, 141; by Baldassare Peruzzi, 
 160; by Roger van der Weyden, 160; the 
 Erithrzan Sybil, by Michelangelo, 160. 
 
 SYMBOLS, EARLY CHRISTIAN, 8. 
 
 THREE WISE MEN (See Magi). 
 
 TRANSFIGURATION, THE, by Giovanni Bel- 
 lini, 146. 
 
 TRINITY, THE Hoty (10 illustrations), 31, 33, 
 42, 57, 68, 148. 
 
 ““TRIUMPH OF DEATH,” in Pisa, 112, 113. 
 
 “TRUE Cross,” INVENTION OF, OR FINDING 
 oF, 20, 135. 
 
 VIRGIN, BIRTH OF THE, by Domenico Gher- 
 landajo, 137. 
 
 VIRGIN, EDUCATION OF THE, by Murillo, 137; 
 16th ‘Century Stone Statue, 137. 
 
 VIRGIN, MARRIAGE OF THE, by a 15th Cen- 
 ay Burgundian Master, 137; by Raphael, 
 
 VIRGIN, PRESENTATION OF, by Titian, 137; 
 by the Master of the Lyversberg Passion, 
 137; by some 14th Century Florentine, 138. 
 
 VircIN Mary, THe, WITHOUT THE Curr: 
 (See also Coronation, Annunciation, As- 
 sumption, Immaculate Conception, Staba 
 Mater, Mater Dolorosa, Pictd). 
 As Second Eve, 23; as Queen of Heaven, 
 35; with the ’Maccabean martyrs, 36: 
 Reading Madonna from Van Eyck’s “Ade 
 oration of the Lamb,” 36; Virgin of San 
 Venango, 36; Death of, 40, 158; enthroned 
 with Christ, 42;as Our Lady of Mercy, 101. 
 
 VIRGINS OF THE LATIN CHURCH, THE Four 
 GreEAT (Together), 104. 
 
 WORKS CONSULTED IN THE PREPARATION OF THIS BOOK 
 
 
 
 Iconographie Chrétienne, par M. Didron, Secrétaire du Comité 
 Historique des Arts et Monuments, 4to. Paris:I[mprimerie 
 Royale, 1843. 
 
 Annals of Virgin Saints, by a Priest of the Church of England, 
 12 mo., 1846. 
 
 Legends of the Madonna, by Mrs. Jameson, 1860. 
 Sacred and Legendary Art, by Mrs. Jameson, 2 vols., 1848. 
 
 Legends of the Monastic Orders as represented in the Fine 
 Arts, by Mrs. Jameson, 1850. 
 
 Emblems of Saints by which they are distinguished in Works 
 of Art; in two parts, by Rev. F. C. Husenbeth, 12 mo., 1850. 
 
 Saints and Festivals of the Christian Church, by H. Pomeroy 
 Brewster, Frederick A. Stokes Co., New York. 
 
 Christian Symbolism, by Mrs. Henry Jenner (“Little 
 Books on Art” series), A. C. McClurg & Co., Chicago, 1910. 
 
 Legendary and Mythological Art, Handbook of, by Clara 
 Erskine Clement, Riverside Press, 1874. 
 
 Calendar and Prayer Book, illustrated. Anonymous; James 
 Parker & Co., Oxford and London, 1870. 
 
 Catholic Dictionary, by Addis and Arnold. Catholic Publica- 
 tion Society, New York, 1884. 
 
 “*The Golden Legend,” printed by Wynkin de Worde, from 
 the Latin of Jacobus de Voragine, a work not only trans- 
 lated into English, but also into French and German, and 
 anciently held in such high estimation as to be commonly 
 read in churches. James de Voragine (so called from the 
 place of his birth in the state of Genoa), a celebrated 
 Dominican friar in the thirteenth century, was born about 
 1230, and became provincial of his Order and Archbishop 
 of Genoa. His best-known work was the above-mentioned 
 collection of the legends of the saints, called Legenda 
 Aurea. The first of many early editions was printed at 
 Bologna, 1470, fol.; an Italian translation was printed at 
 Venice, in 1476, fol.; .; and a French one by Batallier, at 
 Lyons, i in the same year, fol. There is also a modern edition; 
 Jacobi a Voragine Legenda Aurea, vulgo historia Lom- 
 po dicta; recensuit Dr. T. Graesse; 8 vo., Dresden, 
 1846 
 
 The English Martyrologe conteyning a summary of the lives 
 of the glorious and renowned Saintes of the three Kingdoms, 
 England, Scotland, and Ireland, collected and distributed 
 into monthes after the forme of a Calendar according to 
 
 163 
 
 every Sainte’s festivity; by a Catholic Priest (John Wilson), 
 12 mo. Permissu Superiorum, Anno 1608. 
 
 Lives of the most renowned Saints of England, Scotland, and 
 Ireland, by Rev. F. Jerome Porter. Douay, 1632. 
 
 Images de tous les Saincts et Saintes de l’annee, Les suivant le 
 Martyrologie Romaine, faictes par Jacques Callot et mises 
 en Jumiere par Israel Henriot, Paris, 1636, 4to. 
 
 The Lives of Saints compiled from authentic records of 
 Church History. 4 vols., 4to. 1729. 
 
 AE der Heiligen. I. von Radowitz, 8 vo. 
 1834. 
 
 Legende der Heiligen auf jeden Tag des Jabres nebst der An- 
 wendung auf die Glaubens-und Sittenlebre. Plates, 4 vols. 
 4to. Augsburg, 1836. 
 
 Die Attribute der Heiligen, 8 vo. Hanover, 1843. 
 
 Histoire de la Vie des Saints des Péres et des Martyres, d’aprés 
 Godescard, Croiset, les Bollandistes, etc. Publiée sous les 
 auspices du Clergé de France; ornée de plus de 400 Gravures, 
 4 vols., royal 8 vo. Paris, 1845. 
 
 A Rational Illustration of the Book of Common Prayer of 
 the Church of England, by the Rev. Chas. Wheatly, M. A. 
 Reprinted. Oxford, 1846. 
 
 Holy Men of Old; being sort notices of such as are named in 
 the Calendar of the English Church, 18 mo., 1849. Ele- 
 mentary. 
 
 Die Himmelsrosen. Fine Galerie der Heiligen der Romisch 
 Katholischen Kirche mit deren Leben und Werke nebst 
 jedesmaligem Schlussgebete, Band 1, 2. Wien, 1849. 
 
 Elementary History of Art, by N. d’Anvers. Scribner and 
 Welford, New York, 1889. 
 
 Geschichte der Malerei, von Dr. E. A. 
 Seeman, Leipzig, 1866. 
 
 Short History of Art, by Julia B. de Forest. Dodd, Mead & 
 Co., New York, 1881. 
 
 History of Italian Painting, by Crowe and Cavalcaselle. 
 
 Sacred Symbols in Art, by Elisabeth E. Goldsmith. G. P. 
 Putnam’s Sons, Knickerbocker Press, New York and 
 London, 1912. 
 
 The Saints in Art, by Margaret E. Tabor, E. P. Dutton & Co., 
 679 Fifth Avenue, New York. 
 
 As well as the Holy Bible; the Encyclopedia Britannica (11th 
 edition); and numerous other books on art, religion and 
 history. 
 
 Berlin, 
 
 Adolph Gorling. 
 

 
 
 
 
 
 GENERAL INDEX; 
 
 
 
 NoTE: The figures in Italics indicate pages on 
 which the subject is ILLUSTRATED. 
 
 The Capital and Small Letters refer to Corre- 
 
 sponding Sections in the Tables on Pages 145-152. 
 
 All Attributes and Symbols are listed on Pages 
 
 153-157, in addition to descriptions in Chapter III, 
 
 and passing mentions throughout the book, in- 
 dicated in the GENERAL INDEX. 
 
 
 
 
 
 GENERAL 
 INDEX 
 
 AARON, 29, 31, 46 
 
 ABBESS, ST. CLARA AS, 135 
 
 ABBESSES, THE ENGLISH, 122 
 
 ABBEYS IN ENGLAND, FAMOUS 
 OLD, (SEE BENEDICTINE, 118) 
 
 ABENDMAHL=LAST SUPPER 
 (German) 
 
 ABESHAG, 46 
 
 ABRAHAM, 9, 52, 136, 142, 162 
 
 ADAM AND EVE, 142, 160 
 
 “ADORATION OF THE LAMB” 
 (GHENT), 35, 36, 55, 104, 113, 117 
 
 ADORATION OF THE MAGI, 
 Frontisniece, 15, 34, 48, 55,111, 138, 130 
 
 Ans ge OF THE SHEPHERDS, 
 
 AIX! Th “CHAPELLE, COUNCIL OF, 
 
 119 
 
 ALFONSO II OF ESTE-FERRARA,. 30 
 
 ALMIGHTY <THE, i, fost 125 122, 
 Pee Uh ehh CHaprer IV. passim (pp. 
 32-34), (SEE ALSO. ILLUSTRATIONS, 
 List) OF); 36,0395 Ales 3575, 004 nO, 
 70, 83, IOI, 141 
 
 AMETHYST, 32 
 
 ANACHRONISMS, 75 
 
 ANANIAS OF DAMASCUS, 62 
 
 ANARGYRES (See SS. COSMO AND 
 DAMIAN) 
 
 “ANATOMY LESSON” (Rembrandt), 
 
 10 
 
 ANCHOR, 8, 19, 84 
 
 ANCHORITES, 172 
 
 ANCONA, 27, 160 
 
 “ANGELIC DOCTOR,” 16, 75, 134 
 
 ANGELS, 00 2Ose Sis 33550) Rolin ele 
 47, 55; 58, 10, fi, 78, 19, 00, 107, 212, 
 T13e 123) 1305 O. 250, LOON TOs 
 
 ANNUNCIATION 15, 16, 23, 27, 29, 
 34, 37, 38, (SEE List or ILLUSTRA- 
 TIONS), 39, 46, 48, 52, 138, 142, 
 (SYBILS) 
 
 ANNUNCIATION TO JOACHIM, 
 (See JOACHIM AND ANNA) 
 
 APOCALYPSE, 27, 30, 41 
 
 APOCALYPSE, WOMAN OF THE, 41 
 
 APOCALYPTIC LAMB, 27 
 
 APOSTLES, 7, ro, 11, 19, 20, 23, 25, 4o, 
 42, 43, 46, CHapTerR VII, pp. 56-64 
 (SEE ALSO List or ILLUSTRATIONS), 
 65, 69, 106, 115, 776, 125, By 152 
 
 APOSTLES’ CREED, 58, 60 
 
 APOTHECARY SAINTS (Sze SS. 
 COSMO AND DAMIAN) 
 
 APPLE, 19, 29, 46 
 
 ARCHBISHOP, 76, 82 
 
 AREOPAGITE, ST. DIONYSIUS 
 THE (See DIONYSIUS) 
 
 AREOPAGUS, COUNCIL OF THE, 48 
 
 ARIANS, 77 
 
 ARIUS, 95 
 
 ARISTOTLE, 16 
 
 ARK, 29 
 
 ARMIOR, 16, 17 
 
 ARROWS, 15, 80, 84 (See SS. UR- 
 SULA AND SEBASTIAN) 
 
 ARTHUSIA, THE LADY, 85 
 
 ASCENSION, 61 
 
 ASCETICISM, (See MONASTICISM) 
 
 114 
 ASPERGILL (See ST. ANTHONY 
 ASS (See NATIVITY), 29 
 
 
 
 OF EGYPT) 
 
 
 
 
 
 
 
 
 
 ATTRIBUTES, CuHapter II, and 
 passim, PAGES 145-161 
 
 AUGUSTINIAN HERMITS, 1177 
 
 AUGUSTINIANS, ORDER OF, 17, 
 18, 77, 83, 116-120, 125-130 
 
 AUREOLE (See NIMBUS) 
 
 AUSTIN CANONS (See AUGUS- 
 TINIAN) 
 
 AVE MARIA PLENA GRACIA, 52 
 
 AVERROES, 121 
 AXE, 19 
 
 BAGHDAD, CALIPH OF, 95 
 
 BAGS OF GOLD, aes 03-05 
 
 BALLS, THREE, 9 
 
 BAMBINO—CHILD *CHRIST 
 
 BANNER, 19 
 
 BAPTISM OF CHRIST widens cymeeos 
 32, 54, 66, 67, 140, rar 
 
 BARI (See ST. NICHOLAS OF MYRA) 
 
 BASIL, EMPEROR OF BYZANTIUM, 
 32 
 
 BATHSHEBA, 46 
 
 BEATRICE DEI PORTINARI, 72 
 
 “BEASTS,” THE FOUR (OF DHE 
 EVANGELISTS), 56-64, passim 
 
 BEEHIVE, 75, 78 
 
 BELL-TOWER, 19, 26 
 
 BENEDICTINES, 18, 19, 51, 85, 114- 
 125 (ILLUSTRATED) 
 
 BERENSON, BERNHARD, Critic, 74 
 
 BERTHOLD THE CRUSADER, 134 
 
 BIRDS, 46, 69 
 
 BISHOPS, 25, 53, 01, 74,7 
 
 BISHOP, GREEK, ides 
 BISHOP) 
 
 BISHOP OF CENEDA, 43 
 
 BLACK ROBES, (SEE PAGES 114-136, 
 149, 150) 
 
 BLACK COLOR, 32 
 
 BLACK LEG, oo 
 
 BLACK FRIARS, 134 
 
 BONES, HUMAN, CARRYING (See 
 ST. AMBROSBE), 75 
 
 BOOK (or epee 15; 19; 46, 56 
 eb seq; 1115153: 
 
 phan Bevis, MIRACLE OF THE, 
 0, 84 
 
 BREAST, FEMALE, SEVERED, 104 
 (See ST. AGATHA) 
 
 “BROTHER OF OUR LORD,” 59 
 
 BUDDHIST MONKS, 114 
 
 BUILDER’S SQUARE, 59 
 
 BULL, 85 
 
 BURIAL OF OUR LORD (See 
 CHRIST N37 
 
 BYZANTINE (DIVERS), 12, 26, 63, 75 
 
 BYZANTINE COINS, 34 
 
 BYZANTINE cease (12TH 
 CENTURY), 4 
 
 BYZANTIUM, ir 32, 84 
 
 rune ST., CATACOMBS OF, 
 8, 11540, 
 CALVARY, THE ROAD TO, 36 
 CAMALDOLESI, ORDER OF THE, 
 r18, 119, 122, 124 
 CAMEL-HAIR TUNIC, 65-73 passim 
 CANA, MARRIAGE AT, 14. 140, 143 
 CANDELABRUM, CANDLESTICK, 
 7-BRANCHED, 19, 53, 57 
 CANONS, 
 (See REGULAR——) 
 (See MINOR——) 
 CAPUA, MOSAICS AT, 33 
 CARBUNCLES (See RUBIES) 
 CARDINAL, 7, 74, 75, 77, 78 
 CARMELITE ORDER, 42, 118, 119, 
 120, 127, 134: BAREFOOTED 
 CARMELITES, 134 
 
 GREEK 
 
 INDEX OF SAINTS; 
 
 
 
 
 
 
 
 
 
 CARTHUSIAN ORDER, 7, 9, 100, 
 118-124, 125. 
 
 CATACOMBS, 8, 9, 11, 28, 103 
 
 CATHEDRAL BUILDERS, 118 (See 
 AUGUSTINIAN CANONS) 
 
 CATHEDRALS, FAMOUS, 
 (See BENEDICTINES) 
 (See AUGUSTINIANS) 
 
 CATHERINE, ST., MYSTIC MAR- 
 RIAGE OF, 47, 06, 97, 08 
 
 CAULDRON, 36, 56 
 
 CAXTON, 119 
 
 CEDAR OF LEBANON, 46, 47 
 
 CELIBACY OF CLERGY, 83 
 
 118-120, 
 
 CENACOLA=LAST “SUPPER 
 (Italian) 
 
 CENE, *LA=LA ST SUPP RR 
 (French) 
 
 CENOBITES, 113, 114, 126 
 
 CENTAUR, 113 
 
 aibens HOUSES OF ORDERS, 
 
 12 
 
 CHARLEMAGNE, 42 
 
 CHASSE DE STE. URSULE, 95 
 
 CHASUBLE, 130 
 
 CHERUB, 19, 37, 41, 43, 48-55, passim 
 
 CHILD CHRIST, 24, 30, 39, 46 
 
 CHILDREN, THREE, IN VAT, 90, 95 
 
 CHRIST, passim, 7-148 (See also Bap- 
 TIsM and [1st OF ILLUSTRATIONS.) 
 
 CHRIST, LIFE OF, SCENES FROM 
 THE, AND THE wa 140 (a— 
 hh), 741, 143, 146, 1 
 
 CHRISTIANS: Wats. B69) U1 
 
 CHURCH (MODEL), 19 
 
 CHURCHES, FAMOUS, 118-120 
 
 CHURCHES, THE SEVEN, OF 
 ASIA MINOR, 56 
 
 CIRCLE, 30; 34, 53, 57 
 
 CISTERCIAN ORDER, 1178-124, 125 
 
 CLEOPHAS, 62 (See MARY CLEO- 
 PHAS) 
 
 CLOSED GATE, 46 
 
 CLUB, FULLER’S, 59 
 
 CLUNIACS, 124 
 
 COLORS, SYMBOLISM OF, 30 
 
 COLUMBUS, CHRISTOPHER, 132 
 
 CONON, PRINCE, 101, 102 
 
 CONQUISTADOR, EL, ARMS OF 
 ee also ST. JAMES MAJOR) 130, 
 
 CONSTANTIA, EMPRESS, 84 
 
 CONSTANTINE, EMPEROR, Le 
 DLS 325.0% 89, 95, 106, 128 
 
 CONTI, SIGISMONDO, 115, 116 
 
 CONTRACT FOR A “ CORONA- 
 TION” 7,9 
 
 COPE, BISHOP’S, 17, 61, 82, 83, 04 
 
 CORONATION OF THE VIRGIN, 
 FRONTISPIECE, 7, 10, 14, 20, 22, 
 23, 28, 29, 32, 34, 35, 40, 41, 42, 43, 
 46, 50, 55, 58, 77, 104, 115, 116, 117 
 
 “CORONATION,” CONTRACT FOR 
 A (See CONTRACT) 
 
 CORONET OR CROWN ON MITRE, 
 
 118 
 COUNCIL OF ATIX-LA-CHAPELLE, 
 119 
 
 COUNCIL OF EPHESUS, 13 
 
 COUNCIL OF NICE, 95 
 
 CRESCENT, MOON’S, 4o, 41 
 
 CROSS, passim, 7-155. (SEE ALSO LIST 
 OF ILLUSTRATIONS) 
 
 CROSS, ST. ANDREW’S, 18, 20, 21, 59 
 
 CROSS, GREEK, 17, 18, 20, 21, 56, 
 102 
 
 CROSS, LATIN, 78, 19, 20, 21 
 
 CROSS, MALTESE, 28, 56 
 
 CROSS, OUR LORD UPON THE, 23 
 
 CROSS, PAPAL, 18 
 
 CROSS, PATRIARCHAL, 18 
 
 CROSS POTENT, 78, 21 
 
 CROSS, REED, 23, 66, 67, 68 
 
 CROSS, RUSSIAN, r+ 
 
 CROSS, TAU, 78, 21, 59, 6r, 112 
 
 CROSS, THE “TRUE 19, 205 ren 
 (VISION OF ST. HELENA); 133 
 
 CROSS WITH 5 RUBIES, 17 
 
 CROSS, X-SHAPED (See CROSS, 
 ST. ANDREW’S) 
 
 CROSSE POMME, 18 
 
 CROWN, 22, 26, 29, 35 
 
 CROWN OF FLOWERS, or FRUIT, 
 
 22 
 CROWN OF MARTYRDOM, 37, 53, 
 86-110 passim 
 CROWN OF THORNS, 22, 23 
 CROWN, TRIPLE, (See POPE) 
 CROZIER, BISHOP’S or ABBOT’S, 
 22 
 
 164 
 
 INDEX“ OF SAK Wot 
 QUOTED; INDEX OF MUSEUMS AND GALLERIES MENTIONED; 
 INDEX OF ECCLESIASTICAL, BULEDINGS= CONTA ii 
 PICTURES NAMED; INDEX OF PRIVATE. COLEEGTORS#a= 
 DEALERS MENTIONED; WORKS CONSULTED; AND ERRAA 
 
 
 
 
 
 
 
 
 
 CRUCIFEXS 78) 19529) 23n 33h 13 
 
 CRUCIFIX ENTWINED WITH 
 LILIES, 78 
 
 CRUCIFIXION (See also PASSION), 
 14, 15, 21, 36, 37, 49, 56, 62, 70, 74, 
 116. 118, 146, 148 
 
 CRUSADES, 22, 102, 134 
 
 DALMATIC, 108, rrz 
 
 DANIEL, 46, 58 
 
 DANTE ALIGHIERI, 72 
 
 DAVID, KING, 31, 42, 46 
 
 “DEAD eee THE” (MAn- 
 TEGNA), I0, 
 
 DECADANCE IN ART, MEANING 
 
 3 
 
 DECIUS, EMPEROR, 107 
 
 DET OF 
 
 DEMON (See DEVIL.) 
 
 DE MORIBUS CLERICORUM, 126 
 
 DESCENT FROM THE CROSS, 36, 
 
 37, 120 
 
 DE TRINITATE, 76, 77, 83 
 
 DEVIL, 26, 35, 85, 91, 103 TIT 
 
 DEVOTIONAL PICTURES (See 
 CHAPTER II and passim) 
 
 DIAMOND, 30 
 
 DIANA, 13 
 
 DIOCLETIAN, EMPEROR, 25, 63, 
 88, 89, 107, 108 
 
 NEE THE AREOPAGITE, 
 
 “DISPUTA” (RAPHAEL), 78 
 
 DOCTOR OF GRACE, 76, 83, 125 (See 
 also ST. AUGUSTINE) 
 
 DOCTOR MELLIFLUUS (ST. BER- 
 NARD), 125 
 
 DOCTORS OF THE CHURCH, 10, 
 11, 57, 61, 73-86, 126 
 
 DOCTORS, "THE HEBREW, 56, 79 
 
 DOLPHINS, 23, 25 
 
 DOM or DON, 119 
 
 DOMINICAN ORDER, 14, 22, 30, 43, 
 15, 07,08, F10, 117, LT6-130 
 
 DOMINICK, ST., THIRD ORDER 
 
 OF, 98 
 
 sae 22 13; 07, 29). 28; 430 ise 0G, 
 Il 
 
 DOVE, Cuapter IV passim (See List 
 of Illustrations.) See HOLY 
 GHOST), 23, 38, 39, 46, 67, 70, 84 
 
 DOVES, SEVEN, 34 
 
 DOVES, TWELVE, 58 
 
 DRAGON, 23, 24, 25, 85, 93, ro3 
 
 DUKE FEDERIGO DA MONTE- 
 FELTRE OF URBINO, 64 
 
 DUNS SCOTUS, 41 
 
 DURANDUS, 58 
 
 EAGLE, oe 56-64 eee 77, 78, 82 
 
 EARLIEST SYMBOLS IN 
 CHRISTIAN ART, 23 
 
 EAR OF WHEAT, 25, 30, 46 
 
 ECCE AGNUS DEI, 27, 67 
 
 ECCE HOMO, 36 
 
 yr Pane ‘RU CHAR IST IG?” 
 0, 18 
 
 EGLINTON, GUY, Critic, 7 
 
 EGYPTIANS, BA i] 
 
 EGYPT, FLIGHT INTO, 1309, 140 
 
 —REST IN, 139, 140 
 
 —RETURN FROM, 140 
 
 ELIJAH, eae ee 160 
 
 EMERALD 
 
 eri SUPPER AT, 14, 98, 142, 
 
 ENAMEL, 29 
 
 ENCLOSED GARDEN, 46, 47 
 
 ENTOMBMENT, 36 
 
 EPISCOPAL ROBES (See BISHOP) 
 
 ESSENES, 114 
 
 ESTHER, 46 
 
 ETHEREUS (See CONON, PRINCE) 
 
 EUCHARIST, 25, 30, 62, 64, 84 
 
 EUGENIUS, 28 
 
 EVANGELISTS (See also each name), 
 10, 27, 30, 31, 33, 43, 55, 56-64, 73, 
 77, 80, 106. (See also List or ILtus- 
 TRATIONS.) 
 
 EVE, THE SECOND, 23, 35, 46 
 
 EYES ON DISH (See ST. LUCIA) 
 
 EZEKIEL, 46, 56, 57, 58 
 
 FATHERS OF THE CHURCH (See 
 DOCTORS) 
 
 FISH, 8, 11. 19) 20, 23; 25,625034 
 
 FISH: WHY USED’ AS SYMBOL 
 FOR CHRIST, 11 
 
FLEUR DE LYS, 27 
 See SS. LOUIS OF TOULOUSE 
 LOUIS OF FRANCE 
 CLOTILDA 
 WILLIAM OF AQUITAINE 
 FLOWERS, 25 
 “FOUNTAIN SEALED,” 46, 47 
 FRA, THE TITLE=F RIAR 
 FRANCISCAN ORDER, 39, 41, 42 
 67, 76, 98, 116-121, 123, 127-135 
 FRATI =FRIARS 
 FRUIT, 25 
 
 GABRIEL, ARCHANGEL 
 ARCHANGEL GABRIEL) 
 GARTER, ORDER OF THE, 88 
 GENEVIEVE OF BRABANT, 85 
 GIDEON, 46 
 SEVEN, 
 
 (See 
 
 GIFTS OF THE SPIRIT, 
 
 LE 
 LEATHER THONG (See AUGUS- 
 TINIANS) 
 ROPE, KNOTTED (See FRAN- 
 CISCANS) 
 GLASTONBURY ABBEY, 118 
 GLORIA IN EXCELSIS, 46, 55 
 GLORY, 24, 25, 26, 29 
 (See AL- 
 
 GOD THE FATHER 
 MIGHTY) 
 
 GOD THE SON, CwHaprTer IV passim. 
 (See also List of Illustrations) 
 
 GODEFROI DE BOUILLON, 88 
 
 GOLD, 30 
 
 GOLDEN LEGEND, 57 
 
 GOSPEL, 25, 26, 53, 70, 71, 
 
 GOTHIC CATHEDRA Bs 
 CATHEDRALS) 
 
 GRAPES, 25, 47 
 
 GREAT SCHISM, THE, 134, 158 
 
 GREEK BISHOP, 21, 75, 85 
 
 GREEK CHURCH, 75 
 
 GREEN, 30 
 
 GREGORIAN CALENDAR, 83 
 
 GREGORIAN CHANTS, 83 
 
 GREGORY, ST.; MASS OF, 26, 80, 84 
 
 —HOMILIES OF, 84 
 
 —SUPPER OF, 84 
 
 —BRANDEUM, MIRACLE OF, 84 
 
 GREGORY II. 11, 12 
 
 GREGORY VII, POPE, 59 
 
 GREY, 32 
 
 GRIDIRON, 617 
 
 (See 
 
 HABIT, MONASTIC, 26, 76, 83, (See 
 Under Name of Each Order, Pages 
 122-136) 
 
 HABIT, NUN’S, 07, 98, 118-136 
 
 HALBERD, 59 
 
 HAROUN-AL-RASCHID, 95 
 
 eae ha SS. GILES, PROCOPIUS, 
 ZoAN 2 
 
 HEAD, 25, 27 
 
 HEAD-DRESS, 75 
 
 HEART CROWNED WITH THORNS, 
 
 25 
 
 HEART, FLAMING, 25 
 
 HEAVEN, 59 
 
 HELL, 9, 32, 59, 142 
 
 HENRY IV., EMPEROR, 25, 128 
 
 HERMITS, 70, 77, 85, 91, 06, 08, 112- 
 II4, 17, IIQ 
 
 HIND 
 
 HOLY FAMILY, 44, 47, 65 
 
 HOLY GHOST, "CHAPTER IV., passim, 
 Io, 39, 41, 46, 66, 85 
 
 HOLY ‘TRINITY (See TRINITY 
 BOLE. 
 
 HOMER 
 
 HOMILIES (or St. GREGORY), 84 
 
 HORUS, 13 
 
 HYPATIA, 13 
 
 2 enue PETER, Vallombrosan 
 
 on 
 
 THS= JES(US), 32, 34, 124 
 
 ILIAD, 9 
 
 IMMACULATE CONCEPTION, 27, 
 30, 39, go, 41, 46, 48 
 
 INFANT, 2 
 
 INFANT CHRIST, 25, 44 
 
 INFANT, NAKED, 26 
 
 “IN HOC SIGNO VINCES,” 21 
 
 ad Ore e MASSACRE OF THE, 
 108, 16 
 
 INQUISITION, ony 41 
 
 NERS 23.432. 
 
 ISABELLA, OULEN OF SPAIN, 132 
 
 ISATAH, 46, 58 
 
 ISIS, om 13 
 
 JAMESON, MRS., 39, 75, 94, 99 
 
 JAPANESE CHRISTIANS, 136 
 
 JEREMIAH, 58 
 
 JEROME, ST.. THE VISION OF, 79 
 
 —THE TEMPTATION OF, 79 
 
 —THE LAST COMMUNION OF, 81 
 
 JERONYMITES, 53, 1728, 120 
 
 JERUSALEM, 7, 46 
 
 —ARMS OF, 18 
 
 —FIRST KING OF, 88& 
 
 JESUIT ORDER, 25, 128, 134 
 
 JEWS, 29, 61 
 
 ora ae ANNA, LEGEND 
 
 62, 136 
 
 JOSEPH OF ARIMATHEA, 118 
 
 JUDAS ISCARIOT, 78, 19, 32, 59-64 
 assim 
 
 JUDITH, 46, 142, 160, 162 
 
 
 
 JULIAN THE APOSTATE, 28, 75 
 JUSTINIAN, EMPEROR, 11, 108 
 
 KEY, 57, 59, 61, 62, 82, 85 
 
 KINGS OF COLOGNE, THE THREE 
 (See ADORATION OF THE MAGI) 
 
 KNIFE. LARGE, 59, 61, 106 
 
 KUAN-YIN, 12 
 
 KWANNON, 12 
 
 LABARUM, 8, 32 
 
 LAMB, &, 9, 26, 27, 29, 65-69, 104, 
 105, 106 
 
 LAMP, 27 
 
 LANCE, 15, 20, 40, 59 
 
 LANTERN, 27 
 
 LAST JUDGMENT, ro, 14, 20, 21, 
 23, S053, 59,08 142, 050, 702 
 
 LAST SUPPER, 56, 59, 60, 62, 64, 69, 
 
 84, 120 
 LATIN CHURCH, 7 
 LATIN FATHERS mee DOCTORS 
 OF THE CHURCH) 
 LAZARUS, 69, 70, 72, 140. 143 
 LEG, BLACK, 90 
 LEGENDA AUREA, 57 
 LEO THE ISAURIAN, BYZANTINE 
 EMPEROR, 12, 34 
 TG 5 152.53 520)02) 92, Go 40. O77 
 LION, 27, 28, 53, 54-56 passim, 74, 
 UBD th hy cere WIE 
 LION OF JUDAH, 27 
 LORD’S SUPPER 
 SUPPER) : 
 LUCREZIA BORGIA, 30 
 
 MACCABEAN YOUTHS, 36, 37 
 
 MADONNA, passim, 6-152. (See also 
 List oF ILLUSTRATIONS and “VIR- 
 GIN MARY.” See CHAPTERS II and 
 V especially) 
 
 MADONNA *ENTHRONED, ora LN: 
 TRONO” (See MADONNA) 
 
 MADONNA PICTURES, FAMOUS 
 NAMED, (Text Mentions. (See 
 also List oF ILLUSTRATIONS) 
 
 MADONNA pet BALDACCHINO, 54 
 
 —OF THE BLUE DIADEM, 43 
 
 —oF THE CANEGIANI FAMILY, 45 
 
 —or CANON VAN DER PAELE, 17 
 
 —DEL CARDELLINO, 46, 69 
 
 —DEL CARMINE, 134 
 
 —OF CASTELFRANCO, 49 
 
 —or CHANCELLOR ROLLIN, 17 
 
 —OF THE COLONNA FAMILY, 43 
 
 —OF THE ESTERHAZY FAMILY, 43 
 
 —pa FOLIGNO, 115, 120 
 
 —OF THE GREEN CUSHION, 34, 43 
 
 —or THE MAISON D’ORLEANS, 43 
 
 —oOF THE MEYER FAMILY, 48 
 
 —DELLA MISERICORDIA, 101 
 
 —wWITH THE MONKEY, 47 
 
 —ORANS, 35 
 
 DEL PESCEH, 53 
 
 —RUCELLAI, 120 
 
 —pDEL SACCO, 129 
 
 —wiTH ST. SEBASTIAN, 47 
 
 —SISTINE, 48, 85, 100 
 
 —BELLE JARDINIERE, 43, 69 
 
 MADRE _ SERAFICA, (See Sila 
 CLARA, also ST. THERESA 
 
 MAGDALENES, READING, 71, 73 
 
 MAGI, or THREE KINGS, 111 (See 
 ADORATION OF) 
 
 MAGNIFICAT, 35, 36, 65 
 
 MANDORLA, 24, 28, 29, 35 
 
 MARTYRDOM (See also CROWN 
 OF), 23, 26, 30, 56-62 passim, 86-111 
 passim 
 
 MARTYRS, 7, 101, 102, 108, 109, 152 
 (See VIRGIN PATRONESSES; 
 VIRGINS, THE FOUR GREAT) 
 
 MARTYRS, GREEK, 103, 152 
 
 MARY Sntne i 62, 70, 116, 178 
 
 MARY SALOME, 7 70 
 
 MASSACRE OF THe INNOCENTS, 
 138, 730, 160 
 
 MASSACRES OF THE CHRISTIANS, 
 2 
 
 ecire AMABILIS, 35, 43, 45, 46, 
 
 67 
 MATER DOLOROSA, 32, 35, 36, 37 
 MATER PIA, 43, 45 
 MATURINS, 130 
 MAXENTIUS, VICTORY OVER, 21 
 MAXIMIAN, EMPEROR, 25, 89, 98 
 MEDICI, THE, 16, 89, 116 
 MEDITATION ON THE PASSION 
 (BASAITI), 79, 113, rro 
 ae ORDERS, 
 131-13. 
 MESSIAH, 67 
 MIGUEL DEL POZO, DOM, 135 
 MINIMES, ORDER OF, 132 
 MINOR CANONS, 118, 126 
 MINORITES, 66, 67 
 MINSTERS, FAMOUS, 120 
 MIRROR, 46 
 MISERICORDIA FRATERNITY, 73 
 MISSIONARIES, CATHOLIC, 22 
 MISSIONS ON AMERICAN CONTI- 
 NENT, 132 
 MESS OS) ES bat) 2s 
 MITHRAISM AND MITHRAS, 28, 83 
 MITRE, BISHOP’S, 17, 22, 61 
 —CORONET a CROWN ON, 118 
 —THREE, 12 
 MODEL OF BOLOGNA (WITH 
 CAMPANILE), 19, 26, 109, 112 
 —OF A CHURCH, 19, 75, 106 
 —OF A TOWER, 77, 93, 97, 99 
 
 (See LAST 
 
 119, 120, 
 
 165 
 
 MONASTERIES, FAMOUS, 118-120 
 
 MONASTIC ESTABLISHMENTS, 72 
 
 MONASTIC HABIT (See HABIT, 
 MONASTIC) 
 
 MONASTIC ORDERS, THE, 112-136, 
 passim (SEE UNDER NAMES OF 
 ORDERS) 
 
 —SPLENDID WORK OF, 115 
 
 —EFFECT OF, IN ARTS AND LIT- 
 ERATURE, 115 
 
 MONASTIC PICTURES, 23, 115-136 
 
 fo FIVE CATEGORIES OF, 1175- 
 
 MON ASTICISM, PRINCIPLES OF, 
 112, 113, 114 
 
 MONASTICISM, FATHER OF (See 
 ST. ANTHONY OF EGYPT) 
 
 MONASTICISM IN THE WEST, 
 FATHER OF(ST. JEROME), 81, 113 
 
 MONEY-BAG, 59, 
 
 MONKS, 114-136 and throughout book 
 
 MONOPHYSITES, 13 
 
 MONTE Conse, er 
 
 MOON, 10, 33, 40, 
 
 MORELLI, SIOVANN: T (Art CRITIC), 
 
 MOSAICS, 26, 36, 53, 54, 63 
 
 MOSES, 9. 29, 46, 121, 142, 162 
 
 “MOTHER AND CHILD” MOTIVE 
 IN ART, 12 
 
 MOTHER OF GOD, 13, 34 
 
 MOUNT OF OLIVES, 9, 125 
 
 MOUNT SINAI, 98, 99 
 
 MUSIC & MINSTRELSY, PATRON- 
 ESS OF, 46 
 
 MYSTIC MARRIAGE OF ST. CATH- 
 ERINE (See CATHERINE in Gen- 
 eral Index) 
 
 ot ee THE CRUCIFIXION), 
 18, 19 
 
 NARRATIVE PICTURES, Chapter 
 Il and passim 
 NATIVITY, Frontispiece, 15, 29, 32, 
 
 46, 48, 136, 138, 130, 140, I4I 
 NERO, EMPEROR, 108 
 NESTORIANS, 39, 75 
 NESTORIUS. 13 
 NICENE CONFERENCE, 12. 95 
 NICHOLAS, ST., SOCIETY OF NEW 
 
 YORK, 94 
 ae 8, 9, 23, 24, 27, 28, 29, 30, 
 
 NOLL ME TANGERE, 68, 69, 72 
 
 NUNS (See also Page 149), 97 
 
 pee AN 118, 119, 126, 127, 
 2 
 
 —BENEDICTINE, 122 
 
 —CARMELITE, 132 
 
 —DOMINICAN, 121 
 
 —FRANCISCAN (POOR CLARES), 
 98, 127, 129, 132 
 
 —OLIVETANS, 125 
 
 —VALLOMBROSAN, 124 
 
 (ECUMENICAL COUNCIL OF CON- 
 STANCE, 89; OF NICE, 12, 95. 
 
 OFFERO (See ST. CHRISTOPHER), 
 91 
 
 OLD TESTAMENT, 19, 46, rrz, 142 
 (Picture Subjects) 
 
 OLIVE, 29, 46 
 
 OLIVETANS, 125 
 
 ORATORIANS, 119, 125 
 
 ORB, 25, 29, or 
 
 ORGAN, 16, 103, 104, 105, 106 
 
 ORMAZD, 28 
 
 ORPHEUS, CHRIST AS, 8, 11 
 
 OSSERVANTI, ORDER OF, 132 
 
 OUR LADY OF MERCY, ORDER 
 OF, 130, 156 (SHIELD) 
 
 OX, 29, 56-64 passim, 77, 85 
 
 PADLOCK, 130, 156 
 
 PADRE SERAFICO (See ST. FRAN- 
 CIS OF ASSIST) 
 
 PAGAN GODS, 30, 54, 55 
 
 PAGAN SYMBOLS, 8, 9 
 
 PAGANISM, 46 
 
 PALLIUM, 32, 76, 82, 126 
 
 PALM, 26, 28, 29 
 
 PALM TREE, 24, or, 92 
 
 PAPAL ROBES (See POPE) 
 
 Lye T1423. 50554. 1565057, 
 142 
 
 PASSION (See CHRIST, LIFE OF) 
 
 PASSION, ACCESSORIES OF, 18, 19 
 footnote, 22, 45, 84 
 
 PASTORAL MADONNAS, 46 
 
 PATRON SAINTS, 16, 17, 23, 25, 27, 
 39,58, 86-111 passim, 133 and through - 
 out the book. Almost all Saints are 
 patrons. eee iesteatious: 
 
 PAUL V, POP 
 
 PEACOCK, tes 
 
 PEACOCK’S FEATHER, 100 
 
 PEAR, 29, 46 
 
 PELICAN, 18, 29 
 
 “PENANCE OF ST. JOHN CHR YSOS- 
 TOM,” 85 
 
 PENITENTS, THE BLESSED, 73, 
 108, 152 
 
 PEREZ, JUAN, 132 
 
 PERSECUTORS OF CHRISTIANS, 
 
 25 
 PICO DELLA MIRANDOLA, 7 
 PIBETA+S, 970, 76,019:°212529) 35536, 
 ons ms 56 
 PIG Sec ANTHONY OF EGYPT) 
 PILGRIM’S STAFF, 59, 62 
 
 
 
 PILGRIMS OF EMMAUS (See 
 EMMAUS, SUPPER AT,) 
 PLATO, 16 
 
 POMEGRANATE, 29, 46 
 
 POOR CLARE NUNS (See NUNS) 
 POPE, 7, 9, 74, 75, 84 
 
 POPE CELESTIN II, 34 
 
 POPE FELIX, 7, 89 
 
 POPE HONORIUS I, 106 
 
 POPE HONORIUS III, 130 
 
 POPE SYMMACHUS, 106 
 
 POPE URBAN II (See ST. URBAN), 95 
 POPES, CANONISED (See p. 159), 
 
 77, 89 
 
 PORTINARI ALTAR-PIECE, 72 
 
 PREMONSTRATENSIANS, 128, 129 
 132 
 
 PRESENTATION IN THE TEMPLE 
 (See VIRGIN, PRESENTATION 
 
 OF) 
 
 PRINTING PRESS, FIRST, IN 
 ITALY, 119 
 
 PRINTING PRESS, FIRST, IN 
 
 ENGLAND, 119 
 PROPHETS, 7, 43, 58 
 PROTO-MARTYR, THE, ST. STE- 
 PHEN, 108, rrz 
 —THE ENGLISH, ST. ALBAN, 145 
 PURGATORY, 9, 30 
 PURPLE (See VIOLET) 37 
 PURSE, 59 
 PYX, 68, 69, 70, 71, 72, 73 
 
 QUEEN OF HEAVEN (Regina Coeli 
 Bop AS ee 
 
 RAVEN, 113 
 
 READING MAGDALENES 
 MAGDALENES) 
 
 RED, 30 
 
 RED FRIARS, 130 
 
 REGINA ANGELORUM (QUEEN 
 OF ANGELS), 14, 35 
 
 CENT: See (QUEEN OF HEA- 
 VE 
 
 REGINA VIRGIN UM (QUEEN OF 
 VIRGINS), 35 
 
 REGULAR CANONS, 119 
 
 RELIQUARY (See ST. URSULA) 
 
 RENAISSANCE ART, 25, 55 
 
 RENAISSANCE GARDEN, 46 
 
 RESURRECTION, 30, 32, 36, 53, 56, 
 69, 115 
 
 ROBE, BLUE VELVET, WITH 
 FLEUR DE LYS, 22 
 
 ROMANS, 9, 11 
 
 ROSES, 30, 46, 55 
 
 ROYAL SAINTS, 124, 125, 126, 133, 
 G.a.O (See also SS. Louis oF FRANCE, 
 Louis oF TOULOUSE, CLOTILDA, 
 WILLIAM OF AQUITAINE) 
 
 RUBY, 19, 30 
 
 RUINED ABBEYS, FAMOUS (See 
 ABBEYS) 
 
 RUPERTUS, 58 
 
 RUTH, 46 
 
 SABINELLA, QUEEN, 06 
 
 SACRA CONVERSAZIONE, 14 
 
 SAINTS (See INDEX OF SAINTS) 
 
 SAINTS, Ce er alae: OR “IN 
 GLORY, 23°16;.26; 06 
 
 SAINTS, CALENDAR’ OF, 88, 102, 108 
 
 SALOME (See also MARY SA- 
 LOME), 62 
 
 SALUTATION OF ELISABETH, 67, 
 
 SALVE REGINA, MATER MISERI- 
 CORDIZ, 46 
 
 SAMSON AND DELILAH, 142, 162 
 
 SAN SISTO, MADONNA DA, 48, 51, 
 
 85, 119 
 SANCTA DEI GENETRIX, 44 
 SANT ’IAGO (See ST. JAMES MAJOR) 
 SAPPHIRE, 30 
 SARCOPHAGUS, FIFTH CENTURY, 
 
 20 
 SATAN, 30 
 SAUL OF TARSUS (See ST. PAUL) 
 SAUL (See ST. PAUL), 108 
 SAUL, KING, 31 
 SAVONAROLA, 120 
 SAW, 59 
 SCOURGE, 75, 76, 77, 82 
 SCOURGING, THE, 36 
 SERAPH, 28, 37, 41, 43, 48-55 oe 
 
 (See 
 
 SERAPHIC DOCTOR (See 
 BONAVENTURA) 
 
 ——FATHER (See ST. FRANCIS OF 
 ASSIST) 
 
 ——MOTHER (See ST. CLARA) 
 —ORDER (FRANCISCANS), 76 
 SERPENT, 25, 29, 46 
 
 SERPENT, BRAZEN, 29 
 SERVITES, or SERVITI, 129 
 
 SEVEN - BRANCHED CANDLE- 
 STICK, 56, 57 
 
 SEVEN CHURCHES, 19, 56 
 
 SHELL, 29 
 
 SHEEP, 29 
 
 SIBYLS, THE, 141, 142, 160 
 
 SIMON CALLED PETER (See 
 ST. PETER) 
 
 SIMON THE LEVITE, FEAST AT 
 THE HOUSE OF, 69, 140, 143 
 
 SIXTUS IV, POPE (Misprinted IX, on 
 page 39), 39, 5r, 85. 162 
 
 SKIN, OWN, IN HAND, 59, 61 
 
 SK Vis 2970 8t, Soy Lh DLS 
 
 SOLOMON, KING, 31 
 
SORROWS, THE SEVEN, 35, 36 
 SOUL, 26, 27; 40,46, 53, 172, 773 
 SPADE, 72 
 
 SPEAR (See ee 
 
 SQUARE, 30, 
 
 STABAT MATER, TAS DA OD OU Lo7 
 
 56 
 STAG (See HART or HIND), 30 
 STAR, 26, 30, 31, 128, 157 
 —OF THE SEA (Stella Maris), 46 
 —MORNING, 46 
 —IMMOVABLE, 46 
 — OF JACOB, 46 
 STARS, THE SEVEN, 35, 57 
 STIGMATA, 22, 37 
 STONE or STONES, 74, 08, 111 
 SUBIACO, 118, 119 
 SUN, 10, 30, 33, 41, 46 
 SWORD (See also ST. PAUL), 30, 
 57, 60, 62, 63, 08, 144, 157 
 SWORDS, SEVEN, 35 
 SYLVIA, THE LADY, 83, 85 
 SYMBOLS, (8), 9, CHAPTER III, and 
 passim, TABLES pp. 157-161 
 
 TAPER, 27 
 
 TE DEUM, 77 
 
 ber rpee nok (See THIRD ORDERS) 
 2 
 
 TETRAMORPH, 30, 37 
 
 THEBAN LEGION, 82 
 
 THEODORA, THE LADY, 89 
 
 THEODOSIUS, EMPEROR, 8, 28, 77, 
 78, 81, 85, 91 
 
 THEOPHILUS THE MONK, 119 
 
 THERAPEUTA, 114 
 
 THIRD ORDERS: 
 
 or ST. FRANCIS, 129 
 
 or ST. DOMINICK, 129, 134 
 
 THORNS, CROWN OF, 27 
 
 TIARA, PAPAL (See POPES) 
 
 TOBIAS, Ae SY: BE AGE 
 
 TOLLE LEGE, 1% 
 
 TONDO=CIRCULAR PICTURE, 35 
 
 TOWER, WITH THREE WINDOWS. 
 ST. BARBARA’S, 93, 96, 97, 99, r00, 
 
 104 
 
 TOWER OF DAVID, 46, 47 
 
 TRAJAN, EMPEROR, So, 84 
 
 TRES SAINTE DEMOISELLE PE- 
 CHERESSE, LA, 70 
 
 TRIANGLE, 30, 37, 32, 34 
 
 TRINITARIANS, ORDER OF, 17, 
 130 (See MATURINS, or RED 
 FRIARS) 
 
 TRINITY, THE “BUBENHOVEN,” 
 
 33, 34 
 
 TRINITY, HOLY, Frontispiece, 7, 9, 
 12, 14, 17, 23, 25, 28, 30, 53, 08, 76, 
 83, 99, r4z 
 
 “TRIUMPH OF DEATH” (PISA), 
 Tiers iS) 
 
 
 
 
 
 UNICORN, 30 
 
 URBINO, See DUKE, etc. 
 
 URSULE, STE., CHASSE DE (See 
 CHASSE) 
 
 VALLOMBROSAN ORDER, 178, 119, 
 
 124, 135 
 VENANTIUS FORTUNATUS, 59 
 VIOLET, 32, 37 
 VIRGIN, ASSUMPTION OF, 30, 40, 
 41, 48, 115, 118, 124, - 
 aaa EL OF, 136, 13 
 ——CORONATION ‘OF (See CORO- 
 NATION) 
 —DEATH OF THE, 40, 142, 158 
 ——EDUCATION OF, 137 
 ——MARRIAGE OF, 137, 138, 1390 
 —PRESENTATION OF, 15, 136, 
 
 137, 138 
 
 VIRGIN MARY (See also MADONNA; 
 VIRGIN; IMMACULATE CON- 
 CEPTION; PIEDA a SLA BAL 
 MATER; MATER DOLOROSA) 
 
 VIRGIN OF SAN VENANZIO, 36 
 
 VIRGIN MARTYRS (See VIRGIN 
 PATRONESSES, VIRGINS OF 
 THE LATIN CHURCH, MAR- 
 TYRS, GREEK 
 
 VIRGIN PATRONESSES, THE, 86, 
 
 95-105 
 
 VIRGINS, ELEVEN THOUSAND, 
 IOI, 102 
 
 VIRGINS OF THE LATIN CHURCH, 
 THE FOUR GREAT, 86, 99, 103-109 
 
 VIRGO GLORIOSA (THE VIRGIN 
 GLORIOUS), 35 
 
 VIRGO INTER VIRGINES (VIRGIN 
 OF VIRGINS), 35 
 
 VIRGO SAPIENTISSIMA (MOST 
 WISE) or SAPIENTIZ (OF WIS- 
 DOM), 35, 36, 89 
 
 VISION OF ST. HELENA, 127 
 
 VISITATION, THE, 67, 138 
 
 VORAGINE, JACOBUS DE, 57 
 
 VOTIVE PICTURES, Carter II and 
 
 assim 
 VOX CLEMENTIS IN DESERTO, 67 
 
 WELBECK ABBEY, 128 
 
 WELL OF LIVING WATERS, 46 
 
 VOTIVE PICTURES, Cuwarter II 
 passim 
 
 WARRIOR SAINTS, 30, 109, 151 
 
 WESTMINSTER ABBEY, 119 
 
 WHEEL, SPIKED, 22, 25, 03, 95, 96, 
 DOS ert 
 
 
 
 
 
 
 
 WHITE, 30 
 WINDLASS, 17 
 ee NUDE, HOLDING CHILD, 
 
 WOMEN AT THE SEPULCHRE, 
 THE THREE. 53 
 
 Se ae OF CHRIST, 19 Footnote, 
 5 
 
 YELLOW GARMENTS, 30, 59, 61 
 
 ZACHARIAS, 65 
 ZEBEDEE, SONS OF, 59, 62, 140, 143 
 
 SAINTS 
 
 ABBONDIO, D 
 
 ACHILLEUS AND NEREUS, J, 152 
 ADELAIDE OF BERGAMO, G.a. 152 
 ADELAIDE OF GERMANY, Gaa. 
 ADRIAN, 11, 109, 144, P 
 
 Spe OF AUGSBURG, 109, 144, Gf. 
 
 AFRA OF BRESCIA, G.f. 152 
 
 AGLAE, 152 
 
 AGATHA, 11, 86, 104, 107, 108, 109, 110, 
 144, Gd. 152 
 
 AGNES, 26, 27, 31, 42, 86, 104, I05, 
 106, 108, 144, Ga. 152 
 
 AGNES OF MONTE PULCIANO, 134, 
 
 e.6 
 
 AGRICOLA, 7 
 
 ALBAN, 122, 144, A 
 
 sarriicrs OF VERCELLI, 109, 127, 
 134, 
 
 ALBERTUS MAGNUS, 134, Kk 
 
 ALEXANDER OF BERGAMO, 109, 
 144, P. 152 
 
 ALEXIS, L, 152 
 
 ALPHEGE, 144, C 
 
 AMADEUS, 109 
 
 AMBROSE, 16. 28, 60, trD 915110956 
 
 ANASTASIA, 108, G.f. 
 
 ANATOLIA, 108 
 
 ANDREA CORSINI, 134, D 
 
 ANDREW, 21, 22, 25, 58-64 passim, 
 109, 110, 144, B. 152 
 
 ANGELO, 134, 144, K.c. 
 
 ANIANUS, D 
 
 ANNA OF ANCONA, 109 
 
 ANNE, 33, 44, 62, 127, 152 
 
 ANSANO, 110, 152 
 
 ANSCHARIUS, 109 
 
 ANTERUS, 85 
 
 ANTEONY OF EGYPT, 16, 21, 23, 32, 
 42, 90, 91, 94, 110, 712, 775, 1167777, 
 126, H 
 
 ANTHONY OF PADUA, 11, 52, 91, 109, 
 TO; Fig 770, 1276 1S es 
 
 ANTONINO, 110, 134, C 
 
 APOLLINARIS, 108, 110, D 
 
 APOLLONIA, 11, 82, 110, zzz, 144, 
 
 G.d. 152 
 
 ARCHANGEL GABRIEL, 7, 15, 20, 
 25, 27,29, 38, 39, 48-55 passim, 58, 
 15280: 
 
 ARCHANGEL MICHAEL,7, 10, 20, 
 23, 25, 33, 42, 48-55 passim, 52, 53) 
 58, 83, 86, 109, 124, Opptogs 
 
 Che eed RAPHAEL 20, 25, 52, 
 
 58, Q, 152 
 ARCHANGEL URIEL, 52, 55, 58 
 ARCHANGELSS DHE: 120.8 525 oon 
 
 5550 
 
 ARNOLD, 110 
 
 ATHANASIUS, 75, D 
 
 AUGUSTINE OF CANTERBURY, 
 84,122, D., Ka. 
 
 AUGUSTINE OF HIPPO, 11, 19, 24, 
 25 ,61, 74-82, 83, 84, 94, 117, 118, 119 
 (Rule of): 125-128, D 
 
 BALBINA, G.d. 152 
 
 BARBARA, 11, 22, 47, 51, 86, 93, 90, 97, 
 99, 100, 109, 110, 117, 144, G.a; G.f 
 152 
 
 BARNABAS, 60-64 passim, 83, B. 152 
 
 BARTHOLOMEW, 58-64 passim, 106, 
 144, B. 152 
 
 BASIL THE GREAT, 75, D 
 
 BAVON, 110, 122, O 
 
 BENEDICT, 23, 42, 114-126 (see also 
 Tllustrations) 
 
 BENEDICT OF ANIAN, 122, K.a. 
 
 BENEDICT BISCOP, 122 
 
 BENNO, 25, 124, D 
 
 BERNARD OF CLAIRVAUX, 41, 44, 
 40,110; A19 F245 125, An Kf. 
 
 BERNARD OF MENTHON, Kas 
 
 BERNARD PTOLOMEI, 125, K.f. 
 
 BERNARDINO DA FELTRE, III 
 
 BERNARDINO OF SIENA, 15, 37, 39, 
 rhe ulin wap Bee, EeyA) SVE aro: 
 131, K.b. 
 
 BERNARDO DEGLI UBERTI, 124, E 
 
 BIBIANA, 144, G.d. 152 
 
 BLAISE (BLASIUS) 11, 57, 110, D. 
 
 BONAVENTURA, 20, 22, 41, 116, 
 131, E 
 
 BONIFACE, 110, 124, D 
 
 BRICE, D 
 
 BRIDGET OF IRELAND, 27, 109, 
 
 120,G.e. 12 
 BRIDGET OF SWEDEN, 130, G.e.1. 
 BRUNO, 78, 119, 124, 125, A., K.f. 
 
 CANUTE, 109 
 
 
 
 
 
 
 
 
 
 CASIMIR OF POLAND, 124, O 
 
 CASSIAN, 108, 144, D 
 
 CATHERINE OF ALEXANDRIA, 
 Wdindieion 198 22a See 72 ear 
 40, 76, 79, 80, 82, 84, 86, 91, 93, 95- 
 99, 108, 109, rrr, rr4, 144, G.a., G-E., 
 
 152 
 
 CATHERINE OF BOLOGNA, (Cate- 
 rina dei Vigri), 98, G.e.2 
 
 CATHERINE OF SIENA, 22, 27, 73, 
 07,98, 110, r2r, 132, 133, 134, G.e.6 
 
 CECILIA, 11, 76530; 425 55;).86) 1/035 
 104-106, 108, 110, 128, G.a; G.f. 152 
 
 as AND NAZAREUS, 114, 144, 
 ioe, 
 
 CESAREUS, 152 
 
 CHAD OF LICHFIELD, 221, 122, D 
 
 CHARLEMAGNE, O 
 
 CHARLES BORROMMEDO, 125, E 
 
 CHERON, D 
 
 CHRISTINA, 108, 110, 144, Ga. Gf. 
 
 CHRISTOPHER, 24, 86, 90, OI, 92, 
 109, 110, L. 
 
 CHRYSANTHUS, 108, J. 152 
 
 CHRYSOGONUS, 108, 152 
 
 CLAIR, J 
 
 CLARA, 14, 23, 42, 109, 127, 129, 132, 
 135, G.e.2 
 
 CLARA OF MONTEFALCO. 120 
 
 CLEMENT OF ALEXANDRIA, 59. 
 
 CLEMENT OF ROME, POPE, 19, 84, 
 108, 110, 144, N., 152, 158. 
 
 CLOTILDA, 124, G.a. 
 
 CLOUD, 110" Kas 
 
 COLOMAN, 109 
 
 CORNELIUS, POPE, 108, rr7, 158 
 
 COSMO AND DAMIAN, 8, 16, 17, 
 86, 80, 91, 93, 110, 116, r78, 144, J. 
 
 COSTANZO, 110, D 
 
 CRISPIN AND CRISPINIAN, 110, 
 144, J: 152 
 
 CRISPINA, 108 
 
 CUNEGUNDA, 109, 119, 124, G.a. 
 
 CUNIBERT, D 
 
 CUTHBERT, 122, D 
 
 CYPRIAN OF ANTIOCH, 108, 177, 
 144, C; D. 152 
 
 CYRID 13521, 34507552) 
 
 CYRIL AND METHODIUS, J 
 
 DARIA, 108, 152 
 
 DAVID, 109 
 
 DEMETRIUS, 108 
 
 DENIS, 25, 27, 48, 109, 144, D 
 
 DIEGO OF ALCALA, 132 
 
 DOMINICK, 14, 16, 22, 26, 27, 30, 37, 
 425 70; 83" 109) 1105 Wlo;e s77-137, 
 132, K.k. 
 
 DONATO, 109, 144, D, 152 
 
 DOROTHEA OF CAPPADOCIA, 104, 
 105, 109, rz8, 144, G.a. 152 
 
 EBBA, 122 
 
 EDWARD THE CONFESSOR, 88, 133 
 
 ELEAZAR OF SABRAN, 132, J 
 
 ELISABETH, 44, 45, 65, G.d. 152 
 
 ELISABETH OF HUNGARY, 22, 30, 
 109, 123, 130, 132, 735, 135, G.a. 
 
 ELIZABETH OF PORTUGAL, G.a. 
 
 ELOY or ey 109, 110, D 
 
 ENURCHUS, 
 
 ho AND TORPE, 110, 144, 
 
 152 
 
 EPHREM, H 
 
 ERASMUS, 17, 110, rrz, 144, D 
 
 ERCOLANO, 110, D 
 
 ERIC, 109 
 
 ETHELBERT, 110 
 
 ETHELREDA, 122, G.a. 
 
 EUGENIA, 108, 152 
 
 EULALIA, 23, 108, 109 
 
 EUPHEMIA, 27, 108, 110, 144, G.a. 152 
 
 EUSEBIUS, 110 
 
 EUSTACE, 11, 25, 110, 144, P 
 
 FABIAN Vou Se) 80, 84, 85, N 
 
 FAITH, 144 G.d 
 
 peer AND JOVITA, 109, 144, 
 
 5 kee 
 
 FELICE anp NABORRE, P., 152 
 
 FELICITAS, 36, 110, 144, G.a. 152 
 
 FELIX, P 
 
 FELIX OF CANTALICIO, 132, K.b. 
 
 FELIX OF VALOIS, 130, Kaa 
 
 FERDINAND OF CASTILE, 124, O 
 
 FERMO, 110 
 
 FILOMENA, G.d., G.f. 152 
 
 FINA, 80, 84, G.d. 152 
 
 FLORIAN, 23, 144, P 
 
 FRANCESCA ROMANA, 125, G.e. 
 
 FRANCIS OF ASSISI, 175, 15, 16, 
 20, 22: 23,20; 21,020) Giws0, 41,42) 
 44, 47, 40, 52, 76, 83, 90, 91, 109, rrr, 
 115, 116-135, Kb, ro, Kd. 
 
 —_—__————————_ AND DOMI- 
 NICK, MEETING OF, 123 
 
 FRANCIS BORGIA, 136, K.a. 
 
 FRANCIS DE PAULA, 129, 132, K.b. 
 
 FRANCIS DE SALES, D 
 
 FRANCIS XAVIER, 20, 136, K.a. 
 
 FREDIANO, 16, 110, D 
 
 FRIDESWIDE, 110 
 
 GABRIEL, See ARCHANGEL GA- 
 BRIEL 
 
 GALL, 109 
 
 GAUDENZIO OF NOVARA, D 
 
 GAUDENZIO OF RIMINI, 110, 144, 
 
 D 
 GELASIUS, POPE, 88, 102 
 
 166 
 
 
 
 
 
 
 
 
 
 GEMIGNANO, 116, 
 
 GENEVIEVE OF BRABANT, &5,G.d. 
 
 GENEVIEVE OF PARIS, a7. 109, 
 110, G.b. 
 
 GEORGE, 15, 17, 19, 23, 24, 39, 42, 55, 
 82, 88, 91, 100, 102, 103, 109, 110, 
 115, 144, P.. 152 
 
 GEORGE CATAPHRACTUS, 109 
 
 GEREON, 109, 110, P 
 
 GERMAIN OF AUXERRE, 28, 110 
 
 GERTRUDE, 110 
 
 pero ide ee AND PROTASIUS, 75, 
 109, 110 
 
 GILES [Ok EDINBURGH, 11051125 
 225 
 
 GRATA OF BERGAMO, 25, 109, G.a. 
 152 
 
 GREGORY THE GREAT, FOPE, 7, 
 9, 10, 34, 74-80, 83-85; 110, 122, N 
 
 GREGORY NAZIANZEN, 75 
 
 GUALBERTO, JOHN, or JUAN, or 
 GIOVANNI, 19, 22, 26, 124, 135, K.e. 
 
 GUDULA, 27, 109, 113; zr7; Gre: 
 
 GUTHLAC OF CROYDON, 122, K.a. 
 
 HEDWIGA, 109 
 HELENA, 19, 20, 122, 128, 133, G.a. 
 Bee OF BAVARIA, 109, 119, 124, 
 
 HERMANN-JOSEPH, 129, Kf. 
 
 HERMENGILDUS, P 
 
 HILARION, H. 
 
 HILDA OF WHITBY, 122, G.e. 
 
 HIPPOLYTUS, 108, 110, 144, J, 152 
 
 HUBERT, 24, 25, 110, D 
 
 HUGH OF GRENOBLE, 7, 9, 110, 
 124, D, K.f. 
 
 HUGH OF LINCOLN, 124, D 
 
 HYACINTH, 134, K.k. 
 
 IGNATIUS OF ANTIOCH, 144, D 
 IGNATIUS LOYOLA, 25, 134, K.a. 
 ILARIO or HILARY, 110, H 
 ILDEFONSO, 39, 110, 122, C 
 ISABELLA OF FRANCE, G.e.2 
 ISIDORE, 110, D 
 
 JAMES OF COMPOSTELLA (See 
 JAMES MAJOR) 
 
 JAMES MAJOR, 58-64, passim, 78, 80, 
 84, 86, 87, 109, 140, 143, B.,M., P., 152 
 
 arene cs 58.64, passim, 140, 
 
 152 
 
 JANUARIUS, 110, D 
 
 JEROME, 15, 19, 20, 22, 27, 37, 41, 47, 
 52 aoe 73-80, 82, 83, 85, 87, 08, 99, 
 112-135 (see also INDEX of ILLUSTRA- 
 TIONS), 179, E., H. 
 
 JOACHIM, 127, 152 
 
 JOB (GIOBBO), H 
 
 JOHN THE BAPTIST) (.2%.036; i : 
 39, 42, 43, 44, 45.47, 52, CHAPTER II, 
 65-69 passim, 82, 83, 87, 90, OI, 93; 
 97,-109, 110; 115, 776, Tre pres 5 zs, 
 138, r4z, 152 
 
 JOHN THE EVANGELIST, 20, 14, 15, 
 16, 23, 29, 36, 37, 44, 56-64 passim, 
 65, 84, 97, 103, 108, 109, 116, 778, rar, 
 133, B., 152. 
 
 JOHN CAPISTRANO, 132, K.G. 
 
 JOHN CHRYSOSTOM, sf Se 85, D 
 
 JOHN DE MATHA, 130, K 
 
 JOHN Be Taue (not the eee 
 108, P 
 
 JOHN NEPOMUCK, 109, 128, 130, 
 
 JOHN PORT-LATIN, 110 
 
 JOSEPH, 27, 30, 36, 44, 45, 47, 110, 
 152 
 
 JOVITA (See FAUSTINO) 
 
 JUAN DE DIOS, 132, 133, K.d. 
 
 JUAN DE LACRUZ. 134 
 
 JUDE (or THADDEUS), 59, B, 152 
 
 JULIA, 109, rr4, Gf. 152 
 
 Mee OF RIMINI, go, 95, 109, 115, 
 144 152 
 
 JULIAN HOSPITATOR, 25, 110 
 
 Moyet oF ANTIOCH, 30 , 47, 108, 
 144, 
 
 JUSTINA oF PADUA, 93, 110, 144, 
 G.a. 152 
 
 JUSTINA AND RUFINA OF 
 SEVILLE, 110, 144, G.a, 152 
 
 JUSTINUS, 108 
 
 LAMBERT, 110, D 
 
 LAWRENCE, 7, 11, 20, 21, 42, 61, 
 76, 83, 91, 93. 102, 108, 110, 116, 
 Tr7, 120144 B52 
 
 LAZARUS, 110, 142, r43, D, 152 
 
 LEANDER, 110, D 
 
 LEO THE GREAT, 75 
 
 LEOCADIA, 110, 152 
 
 LEONARD, 17, 110, Fe Ka; 
 
 LEOPOLD OF ‘AUSTRIA, 100, 124, O 
 
 LIBERALE, 40, 109, 110 
 
 LIEVEN, Ka. 15 
 
 LONGINUS, 15, 20, 21, 49, 109, 110, 
 
 140, O 
 LORENZO GIUSTINIANI, 126, 128, 
 
 Raat 
 
 LOUIS BELTRAN, 132 
 
 LOUIS GONZAGA, 136, K 
 
 LOUIS OF FRANCE (LOUIS IX.), 
 22, 109, 110, 131, O 
 
 LOUIS OF TOULOUSE, 20, 22, 41, 42, 
 44, 76, 83, 88, 103, 116, 127, 128, 131, 
 14, DiaO): 
 
 LUCIA, the Bs 104, 107, 108, 110, 111, 
 144, Gs 
 
LUDMILLA, 109 
 
 LUKE, 10, 29, 39, 56-64 passim, 85, 
 110, r2r, B. 152 
 
 LUPO, O, 152 
 
 MACARIUS, 112, H 
 
 MAGNUS. 28 
 
 MARCELLA, 110, 152 
 MARCELLINUS, J 
 
 MARGARET OF ANTIOCH, 23, 72, 
 
 Bo, 9055 1027-703; 109; G.a.,, 144, 
 G.f., 152 
 MARGARET OF CORTONA, 110, 
 
 132, G.e., 4 
 
 MARGARET OF SCOTLAND, 102 
 
 MARIA MADDALENA DEI PAZZI, 
 134, G.e., 3 
 
 MARINA, G.c. 
 
 MARK, 70, 28, 53, 56-61 passim, 75, 86, 
 91, 110, rr4, 116, 118, 121, 144, B, 152 
 
 MARTHA OF BETHANY, 23, 60, 70, 
 110, 140, 152 
 
 MARTIAL OF LIMOGES, D 
 
 BEATIN OF TOURS, 102, 109, 110, 
 
 MARTINA, 19, G.d. 152 
 
 MARY, 109 
 
 MARY MAGDALENE, 7, 16, 23, 29, 
 32, 36,42, 49. 68-73 passim, 76, 79, 83, 
 86, 95, 105, 109, 110, 114, 116, rz7, 
 Trss1400 (Gres Gls 152. 
 
 MARY OF AQUISGRANA, 109 
 
 MARY OF EGYPT, 113, 117, G.c. 152 
 
 MATHURIN, 110 
 
 MATTHEW, 70, 19, 25, 30, 56-64 passim, 
 87, 121, 144, B. 152 
 
 MATTHIAS, 58-6: passim, B, 152 
 
 MAURELIUS, 144, D 
 
 MAURICE, 82, 109, 110, rrr, 144, P 
 
 MAURUS, 118, 122, K.a. 
 
 MAXIMILIAN, 109 
 
 MAXIMIN, 70, 72, 152 
 
 MAXIMUS, 103 
 
 MERCURIALE, D 
 
 MICHAEL, ARCHANGEL 
 ARCHANGEL MICHAEL) 
 
 MINIATO, 110, 144, O, 152 
 
 MODWENA, il Ge 
 
 MONICA, 76, Mile aSos O55. L164 12,0, 
 ea SAT e 7 128, G.e. 1 
 
 NABORRE (See FELICE) 
 
 NEOT. K.a. 
 
 NICAISE, D 
 
 NICHOLAS OF MYRA, ST., 47, 86-90, 
 92, 93-95, 102, 104, 108, 109, 110, D 
 
 NICHOLAS OF TOLENTINO, ST., 
 Powee 2h fo, 83; 125, 126, K.a. 
 
 NILUS OF GROTTO FERRATA, K.a. 
 
 NORBERT, C 
 
 OLAF, 109 
 
 OMOBUONO, WOVr7r7, J. 152 
 ONOFRIO, 44, 143, rary, 109) 
 OSWALD, 25-0 
 
 OTTILIA, 110, 124, G.e.i. 
 
 PANCRAS, 108, J. 152 
 
 PANTALEON, 144, J. 152 
 
 PATRICK, 109, 120, 126, C. M. 
 
 PAUL, 7, 11, 16, 48, 50, 74, 84, 98, 
 101, 108, 110, rar, 144, B. 152 
 
 apes THE HERMIT, 112, 113, rr4, 
 
 126, H 
 
 PAULINA, 108 
 
 PAULINUS, Cc 
 
 PEDRO GONZALES, 134 
 
 PELAGIA, 108 
 
 PERPETUA, 108, G.d. 
 
 PHP Roe cond, tt. note, 25, 30, 47, 
 49, 50, 58-64 passim, 76, 78, 79, 82, 
 84, 85, 86, 04, 101, 107, 109, 110, r74, 
 142, 144, B. N. 152 
 
 PETER OF ALCANTARA ,132, K.b. 
 
 PETER OF CLUNY, 124 
 
 PETER EXORCISTUS, J 
 
 PETER MARTYR @2, 83, 90, 91, 115, 
 Ji7 er tor, 132, 134,144; Kok. 
 
 PETER NOLASCO, 130, K.h. 
 
 PETER REGALATO, 132 
 
 PETRONILLA, G.d., G-f. 
 
 PETRONIUS, 16, 19, 26, 99, 109, D 
 
 PHILIP (THE APOSTLE), 58- 64, 144, 
 148, B. 152= 
 
 PHILIP (THE DEACON), F 
 
 PHILIP BENOZZI, 129, K.a. 
 
 PHILIP NERI, 119, 125, K.a. 
 
 PHOCAS, J. 
 
 PLACIDUS, 122, F.K.a. 
 
 PLAUTILLA, G.d. 
 
 POLYCARP, 108 
 
 POTITUS, 144, P, 152 
 
 PRAXEDES anp PUDENTIANA, 
 
 G.d. 
 PRISCA, 23, 144, G.d. 152 
 PROCOPIUS, 25, 109, H. 
 PROCULUS, 109, 144, D. P 
 PUDENTIANA (See PRAXEDES) 
 
 QUENTIN or QUINTIN, P. 
 QUIRINUS, D. R. 
 
 RADEGUNDE, 130, G.a. 
 RANIERI, 110, rz2, H. 
 OND OF PENAFORTE, 134, 
 
 RAYMOND NONNATUS, 130, E. 
 REGULUS, D. 
 
 REPARATA, 110, G.a. 152 
 ROCH, 47, 86, 88, 89, 90, 110, M. 
 RODRIGUEZ, 130 
 
 (See 
 
 ROMAIN or ROMANO, D 
 
 ROMOLO, 110, 124, 128, D 
 
 ROMUALDO, 122, K.f. 
 
 ROSA OF LIMA, 134, G.a.; G.e. 6 
 
 ROSA OF VITERBO, 132, G.e. 4 
 
 poeAtLS OF PALERMO, 109, 
 ide 
 
 SABINA, 108, 144, G.d. 152 
 SCHOLASTICA, 23, 119, 122, G.e. 1 
 SEBALD, 110, 124, M 
 
 128, 
 
 80, 82, 83, 84, 86-89, 96, 97, 
 108, 109, 110, 144, J.L. 
 
 SECUNDUS, 109 
 
 SERICIUS, POPE, 101 
 
 SIGISMOND OF BURGUNDY,727, O 
 
 SIMON ZELOTES, 58-64, 83, B. 152 
 
 STANISLAS, 110 
 
 STANISLAS KOTZKA, 136, K.a 
 
 STEPHEN, 7, 10, 42, 61, 76, 83, 108, 
 110, rrr, 144, F. 152 
 
 SUSANNAH, G.d. 152 
 
 SWIDBERT, D 
 
 SWITHEN, D 
 
 SYLVESTER, 23, 24, 85, N 
 
 SYRICUS, 109 
 
 SYRUS, D 
 
 THADDEUS (See JUDE), 59, B 
 
 THECLA, 144, G.d. 152 
 
 THEODORE, 82, 110, P 
 
 THEONESTUS, 110, P 
 
 THERESA, G.e 3 
 
 THOMAS, 58-64 passim,110 144,B.152 
 
 THOMAS A BECKET, C 
 
 THOMAS AQUINAS, 16, 19, 23, 26, 
 30, 41, 42, 75, 116, 117, 118, 2A 
 123, 131, 134, K.k. 
 
 THOMAS OF VILLANUEVA, 126 
 
 TIBURTIUS, 103 
 
 TORPE, 110, P 
 
 ULRICH, 25, 109, D 
 
 UMILTA, 124, G.e. 5 
 
 URBAN, 103 
 
 URSINUS, 108 
 
 URSULA, 16, 22, 42, 86, 99, 100-102, 
 109, 110, 144, G.a., G.f. 152 
 
 VALENTINE, 110 
 
 VALERIA, 108 
 
 VERDIANA, 110 
 
 VERONICA, 78, 19, 140, 146, G.d. 152 
 
 VICTOR OF MARSEILLES, 144, P 
 
 VICTOR OF MILAN, 110, P 
 
 VICTORIA, 108 
 
 VINCENT, 108, 110, 144, F. 152 
 
 ee FERRARIS, 22, 52, 134, 
 :k., 
 
 VINCENTIA, 108 
 
 VITALIS OF RAVENNA, 108, P. 152 
 
 VITUS, 109, 110, 127, 144, J. 152 
 
 WALBURGA, 124, G.e.1 
 
 103, 
 
 
 
 WENCESLAS OF BOHEMIA, 109, 
 124, 127,O0 
 
 WERBURGA, 122, G.e.1 
 
 Mi eae OF AQUITAINE, 110, 
 
 Kae, 
 WINIERED, 110 
 
 YVES OF BRITTANY, 110, 132, J 
 ZENO, 25, 110, D 
 
 
 
 ZENOBIUS, 15, 24, 74, 79, 98, 110, 
 ington, 10) 
 
 ZITA, 110 
 
 year MARIOTTO, 74, 
 9, 98 
 
 ALEMAGNA, GIOVANNI D’, zo, 32, 
 Phi hy (ile 80 
 
 ALEMANNUS, JOHANNES (See 
 
 ALEMAGNA, GIOVANNI D’) 
 ALLORI, CRISTOFANO, 160 
 h/ ANDREA DEL SARTO, 45, 56, 65, 
 69, 76, a ee II4, 124, 129,133; 
 135, 139, 1 
 VY ANGEL ito? oe Sets toes, 
 30, 41, 42, 43, 46, 54, 55, 62, 64, 75, 
 90, 1, 104, 116, aie 118, 119, 120, 
 23% 124, Tigre 134, eS py 58 
 ANTONELLO DA MESSINA, 79, 148 
 AVIGNON, SCHOOL OF, 77 
 
 BACCHIACCA, Francesco Ubertini, 
 called, 51, 105 
 
 BARTOLO DI PREDI, L527 
 
 BARTOLOMMEO, Fra, 165333099; 
 43, 45, 54, 57, 69, 119, 120, 142 
 
 / BASAITI, MARCO, 79, 82, 113, 179, 
 140, 143, 146 
 
 BATONI, POMPEO, 71, 73 
 
 BELLINI, GENTILE, 47 
 
 BELLINI, GIOVANNI, 10, 26, 37, 47, 
 
 EY Si 127, 146 
 
 j BELLINI, JACOPO, 4 
 
 BENVENUTO DI GIOVANNI, 32 
 
 BICCI DI LORENZO, 90, 95 
 
 BLES, HERRI Met DE, Frontispiece, 
 
 fe3s, 138, 139, 140, 
 BOCCACCINO, BOCCACCIO, 47 
 
 BOL, FERDINAND, 160 
 
 y BOLOGNESE SCHOOL (General), 109 
 
 
 
 
 
 SEBASTIAN, 11, 15, 39, 44, 40, 53, 76, 
 
 BONFIGLI, BENEDETTO, 35 
 ’ BONVICINO, ALESSANDRO 
 l[, . MORETTO) 
 
 BORDONE, PARIS, 80, 84 
 Y BORGOGNONE, AMBROGIO, 42, 76, 
 
 82 
 
 BOSCH, HIERONYMUS (JEROME), 
 138, 142,158 
 
 BOTTICELLI, SANDRO, 15, 30, 35, 
 30, 43, 44, 54, 56, 65, 68, 81, 83, 136, 
 139, 102 
 
 BOTTICINI, FRANCESCO, 43, 45, 
 46, 49, 52, 08, 83, 127, 134 
 
 BOUTS, DIRK, or THIERRY, 64, 
 
 144 
 BRUEGHEL, PETER, THE ELDER, 
 138, 160 
 BRUYN, BARTEL, 36 
 BUFFALMACO, 124 
 BURGKMAIER, HANS, 100 
 
 CALLISTO DA LODI, 107 
 CALLOT, JACQUES, 85 
 CAMPAGNOLA, GIULIO, 68 
 , CANO, ALONZO, o2 
 fr CARACCI, ANNIBALE, 84 
 h Eee Tair: MICHELANGELO 
 , 144 
 CARDI DA CIGOLI, LUDOVICO, 71, 
 
 73 
 Y CARIANI, GIOVANNI, 127 
 vy CARPACCIO; VITLORE, 16, 17, ror; 
 102, 119, 136 
 CATENA, VICENZO, 74, 79 
 CHARONTON, ENC VERRAND 
 Frontispiece, 7, 9, 
 CIGOLI, LUDOVICO CARDI DA 
 (See CARDI) 
 * CIMA DA CONEGLIANO, 16, 44 
 * CIMABUE, 12, 14. 44, 120 
 COLOGNE SCHOOL (General), 100 
 CONINXLOO, 46 
 CONTARINI, GIOVANNI, 74 
 CORNELISZ OF AMSTERDAM, 
 JACOB, 72 
 ~ CORREGGIO, 28, 43, 47, 48, 51, 71, 
 73, 97, 146 
 COSSA, FRANCESCO, 48 
 COSTA, LORENZO, 16, 22, 26, 87 
 COYPEL, NOEL, 62 
 CRANACH, LUCAS, 96 
 ’ CREDI, LORENZO DI, 38, 39, 68, 90, 
 95 
 Y CRISTUS, PETER, 51, 66, 90 
 v CRIVELLI, CARLO, 8, 45, 48, 59, 63, 
 OORT LALO 707 7S) S201 gO 
 
 v DADDI, BERNARDO, 93, 96 
 DARET, JACQUES, 67 
 DARIO DI GIOVANNI, 123 
 eee BEROED: 17, 2022547 00; 
 Tog 
 DE Bris, HERRI MET (See BLES) 
 DOLCI, CARLO, 105, 107 
 DOMENICHINO, 81, 106, 124 
 DOMENICO DI BARTOLO, 35 
 DONATELLO, 73 
 v DUCCIO DI BUONINSEGNA, 12, 14, 
 44, 47, 53, 120 
 DURER, pares DoS A Tors 
 74, 79, 83, 85, 87, 
 DUTCH SCHOOL, SEARLY (16TH 
 CENT.) (Genera!) 58, 82 
 
 \ era a SCHOOL (General), rzr, 
 
 FISCHEL, OSKAR, Critic, 84 
 FLEMISH SCHOOL (General), 17, 26, 
 44, 58, 69, 82, 124 
 v FLORENTINE SCHOOL (General), 
 117 
 Y FOPPA, VINCENZO, 138 
 FOUQUET, JEAN, rrr 
 ’ FRANCIA, tb, Francesco Raibolini, 
 called, 15, 39, 76, 83 
 FRENCH SCHOOL (General), 77, 124 
 FURINI, FRANCESCO, 73 
 
 GADDI, AGNOLO, 16, 89, 138 
 
 GADDI, TADDEO, 15, 39, 136 
 
 ae Benvenuto Tisi, called, 
 76, 83, 126 
 
 GEERTGEN TOT SINT JANS, 21, 
 67, 138, r4z 
 
 - GENTILE BA FABRIANO, 41, 47 
 
 GERMAN SCHOOL (General), 70, 14, 
 18, 26,45, 58, 59, 63, 88, 96, 100, 124 
 
 GHIRLANDAJO, DOMENICO, 56, 
 59, 62, 79, 80, 84, 121, 136, 137, 138 
 
 GHIRLANDAJO, RIDOLFO, 136, 146 
 
 GIAMBONO, 37 
 GIORGIONE, 44, 4o 
 
 Y GIOTTIESCHI,) 77157138 
 
 GIOTTO, 8, 11, 12, 14, 29, 31, 41, 42, 
 62, 64, 99, 120, 136, 142 
 
 GIOVANNI DELLA CHIESA, 24, 25 
 
 GIOVANNI DI PAOLO, 83, 125, 126, 
 128, 142, 158 
 
 GIROLAMO DAT LIBRI, 15, 44 
 
 GODEFROI DE CLAIRE, 29 
 
 GOSSAERT, JAN (J. DE MABUSE), 48 
 
 GOZZOLI, BENOZZO, 55, 131, 134 
 
 GRECO, EL, 737 
 
 GRUN, HANS BALDUNG, 27, 59 
 
 GRUNEWALD, MATTHIAS, 117 
 GUERCINO, 71, 84 
 GUIDO DA SIENA, 12, 43 
 
 HOLBEIN, HANS, 173, 24, 48, 88, 99, 
 123 
 
 (See 
 
 
 
 
 
 
 
 
 
 167 
 
 
 
 HOLLAR, WENCESLAS, 122 
 HOWLETT, YVETTE, 140 
 
 ISENBRANDT, ADRIAN, 47 
 ITALIAN SCHOOLS, CENTRAL, 44 
 
 v ITALIAN SCHOOLS, NORTH, 36, 44 
 
 JACOBELLO DEL FIORE, 41, 43, 50, 
 
 55 
 JACOPO DEL SELLAJO, 30 
 JUSTUS OF GHENT, 64 
 
 LEONARDO DA VINCI, 29, 32, 43, 
 54, 56, 59, 60, 74, 120 
 LE SUEUR, EUSTACHE, 125, 146 
 
 “ LIPPI, FILIPPINO, 45, 46, 124, 148 
 {MABE 
 
 Fra LIPPO; 28, 39, 41, 
 A591, 09, LOLs LOZ, LiOlernso 
 
 LOMBARD SCHOOL (General), 16 
 
 LORENZETTI, AMBROGIO, 16 
 
 LORENZO MONACO, 18, 19, 29, 119, 
 124 
 
 LORENZO DI NICCOLO, 26, 107 
 
 LOTTO, LORENZO, 43 
 
 LUCAS VAN LEYDEN, 103, 112, r47, 
 
 142, 158 
 LUINI, BERNARDINO, 29, 
 117, 138, 140, r4z 
 
 MABUSE (Maubeuge), JEAN DE, 45 
 (See GOSSAERT) 
 
 MACRINO D’ALBA, 23 
 
 MANTEGNA, 10, 20, 21 footnote, 27, 
 37, 87, 92, 138, 148, 158 
 
 MANTUAN SCHOOL (General), 25 
 
 MARA'ITA, CARLO, 16, 38, 39 
 
 MARCANTONIO, RAIMONDI, 52, 
 
 55, 146 
 MARIETTO DI NARDO, 24 
 MARTINI, SIMONE, 127 
 MASACCIO, 8, 17, 28, 33, 40, 99, 142, 
 
 42, 
 
 54, 90, 
 
 148, 160 
 MASOLINO, 8, 28, 93, 99, 142 
 MASTER OF THE “BAMBINO 
 VISPO,”’ 4o, 41 
 
 MASTER OF THE BARTHOLOMEW 
 ALTAR, 103, 104, 106 
 
 MASTER OF “THE DEATH OF 
 MARY”, 21, 138 
 
 MASTER OF FLEMALLE (MAITRE 
 
 DE ), 67 
 MASTER OF THE ‘ HOLY FAMILY,” 
 
 105 
 
 MASTER OFF OLE Linke (OF 
 MARY,” 21, 46 
 
 MASTER OF “THE LIFE OF ST. 
 CECILIA,” 096 
 
 MASTER OF THE LYVERSBURG 
 PASSION, 137 
 
 MASTER OF sT. SEVERIN, 66 
 
 MASTER OF THE “VIRGO INTER 
 VIRGINES,”’ 21 
 
 MATSYS, QUENTIN, 37, 46, 56, 136, 
 
 
 
 fi. 137, 144 
 ' MATTEO DI oe 138, 130 
 
 MAZZOLINO, 10, 140, 
 ere WILHELM ae COLOGNE, 
 
 MEISTER VON MESSKIRCH, 33, 34 
 MELONI, MARCO, 79 
 MELOZZO DA FORLI, 38, 39 
 MEMLINC, HANS, 17, 44, 48, 40 .53, 
 006, 97, 99, 100-102, 117, 127, 142 
 MEMMI, See MARTINI 
 MICHELANGELO, 21, 33, 51, 53, 54; 
 59, 61, 84, 92, 142, 158, 160, 162 
 MILANESE SCHOOL (General), 29, 81 
 MORETTO OF BRESCIA, 16, 30, 41, 
 42, 74, 84, 04, 98, 99, 102, 104, 107 
 MORTO DA FELTRE, 93 
 MURANO SCHOOL (General), 32 
 MURILLO, ESTEBAN, 4o, 41, 54, 
 130, 132, 133, 135 
 
 NEGROPONTE, Fra ANTONIO DA, 
 119 
 
 NICCOLO D’ALUNNO, 385 
 
 NICCOLO DA FOLIGNO, 35 
 
 NICCOLO DI LORENZO, 19 
 
 OGGIONE, MARCO D’, 129 
 
 ORCAGNA, ANDREA, 42, 87, 142, 148 
 
 OUWATER, or OUDEWATER, 
 ALBERT VAN, 143 
 
 PACHECO, FRANCISCO, 41 
 PADUAN SCHOOL (General), 25 
 
 PALMA VECCHIO (JACOPO 
 PALMA), 100 
 PARENTINO (or PARENZANO), 
 
 BERNARDO, 79 
 PATINIR, JOACHIM, 139, 141 
 nares PIETRO, 36, 37, 52, 83, 
 88, 124, 138 
 PERUZZI, BALDASSARE, 160 
 PESELLINO, FRANCESCO, 91 
 PETER ALEMANUS, 3 
 Cine FRANCESCO SORENTINO, 
 
 PIERO hae FRANCESCA, 64, 
 138, 13 
 
 PIETRO DI DOMENICO, 138, r4r 
 
 PIETRO ee GIOVANNI D'AM- 
 BROGIO, o 
 
 PI OReCaIO, BERNARDO, 17, 
 23. 41,43, 70% 1 115, 116, 122 
 
 PISANELLO, VITTORE, 115 
 POLLAJUOLO, ANTONIO, 84, or, 92 
 
 PORDENONE, GIOVANNI, 126, 128 
 
 POURBUS, FRANCOIS, 80 
 
 PREVOST, JAN, 20, 142 
 
PROCACCINI, GIULIO, 45 
 PRUDHON, PIERRE PAUL, 41 
 
 RAFFAELLINO DEI CARLI, 20, 22? 
 
 41 
 
 RAPHAEL SANZIO, 15. 16, 23, 32, 36, 
 39, 40, 41, 43, 48, 57, 52, 53, 54, 55 
 See List oF ILLUSTRATIONS, 57, 58, 
 6331 /65,00%, 07, 70, G5, 60" LOO mOss 
 104. 115, 716, 119, 120, 138, 130, 140, 
 
 I4 
 REMBRANDT VAN RYN, HAR- 
 MEN, 10, 142, 158, 160, 162 
 RENI, GUIDO, 41, 73, 77, 112, rr4, 136 
 RIBERA, JOSE DE, Se 106, 132 
 ROBERTI, ERCOLE, 8 
 ROMANINO, GIROLAMO, 88 
 ROSSELLI, COSIMO, 38, 49 
 RUBENS, PETER PAUL, RSS, Meee fe 
 82, 105, 120, 140 
 
 SACCHI, ANDREA, 80, 84, 122, 124 
 SACCHI, PIER FRANCESCO, 77 
 
 SAN SEVERINO, LORENZO DA, 97 
 SANTA CROCE, GIROLAMO DA, 87, 
 
 88, 04, 95 
 
 SANTI, GIOVANNI, 37, 79 
 
 SASSETTA, STEPHANO DI GIO- 
 VANNI, 129 
 
 SCHONGAUER, MARTIN, 14, 52, 
 
 138 
 
 SEBASTIANO DEL PIOMBO, 107 
 
 SIGNORELLI, LUCA, 53, 73, 124, 142 
 
 SODOMA, IL, Giovanni Bazzi, called, 
 53, 133, 134, 148 
 
 SOLARIO, ANDREA, 34, 43 
 
 SPAGNA, LO, 42 
 
 Stray ak f aaeene (General), 31, 41, 
 6. 
 
 SPINELLO "ARETINO, 7I, 124 
 
 arty ae GIANBATTISTA, 20, 107, 
 Tg25 13. 
 
 TINTORETTO, IL, Jacopo Robusti, 
 open 69, 91, 92, 97, 103, 106, 142, 
 
 162 
 TISI, BENVENUTO, 23 
 TITIAN, 14, 65, 66, 68, 91, 132, 137, 
 138, 140, 142 
 TOM RING, LUDGER, 13 
 TRAINI, FRANCESCO, 172, 113, 121 
 TURA, COSIMO, 37, 78, 82, 83 
 
 UMBRIAN SCHOOL (General), 65 
 
 VAN DER GOES, HUGO, 72, 158 
 
 VAN DER MEIRE, GERARD, 148 
 
 VAN DER WERFF, ADRIAN, 73 
 
 VAN DER WevpeN. ROGER, 10, 
 21, 66, 80, 142, 16 
 
 VAN DYCK, ANTHONY, 69, 83, 129, 
 
 162 
 VAN EYCK, JAN, 17, 517, 82, 96, 104, 
 ATS Lee. 
 VAN EYCK BROTHERS, 35, 36, 55 
 VAN ORLEY, BAREND, 21, 128 
 VAN SCOREL, JAN, 70 
 VASARI, GIORGIO (Historian, Critic 
 and Painter), 84, 92, 120 
 VECCHIETTA, LORENZO, 74, 121 
 VELASQUEZ, DIEGO, 29, 41, 112 
 VENETIAN SCHOOL (General), 44, 
 
 60, 75 
 VEROCCHIO, ANDREA, 25, 32, 52, 54 
 VERONESE, PAUL, 14, 19, 47, 69, 
 71, 84, 117, 128, 140, 143 
 VITI, TIMOTEI, 39, 70, 73, 105 
 VIVARINI, ALVISE, 40, 127 
 Viv AREY ANTONIO, 32, 41, 58, 77, 
 ) 
 VIVARINI, BARTOLOMMEDO, 82 
 VON CORNELIUS, ro 
 VOUET, SIMON, 90 
 
 WHALL, CHRISTOPHER, 121 
 ZAGANELLI DA COTIGNOLA, 111 
 ZENALE, BERNARDINO, 107 
 
 ZURBARAN, FRANCISCO DE, 125, 
 I35 
 
 MUSEUMS 
 
 and GALLERIES 
 
 
 
 AMSTERDAM: 
 RIJKSMUSEUM, 70 
 
 ANTWERP MUSEUM, 21, 51, 56, 144, 
 148 
 
 BERLIN MUSEUM, 21, 37, 43, 44, 
 45, 46, 40, 56, 65, 00, 67, 68, 72, 70, 
 78, 80, 82, 84, 87, 88, 100, ror, 102, 
 104, 105, 107, rrr, 112, rr4, 123, 134, 
 135, 138, 143, 146, 160 
 
 BOLOGNA MUSEUM (PINACO- 
 TECA) 15.6 16; 220 7041155, 7O;eoos 
 104 
 
 BRESCIA: 
 
 MARTINENGO GALLERY, 41, 95 
 
 BRUGES: 
 
 HOSPITAL OF ST. JOHN, 906, 97, 
 100, ror, 102, I17 
 
 MUNICIPAL MUSEUM, Ae Omees 
 47, 121, 
 
 BRUSSELS MUSEUM, 2ON1S65 237 
 
 
 
 
 
 CAEN (FRANCE) MUSEUM, 138 
 CHANTILLY: 
 CONDE MUSEUM, 43, 129 
 COLOGNE 
 WALLRAF- RICHARTZ MUSEUM, 
 21, 105 
 
 DARMSTADT GALLERY, 13 
 DRESDEN GALLERY, 47, 48, 51, 712, 
 
 06, 138 
 DUBLIN GALLERY, 91 
 
 FLORENCE: 
 ACADEMY, 32, 36, 37, 41, 42, 52, 
 64, 65, 83, 91, 107, 127, 134, 135, 
 
 158, 
 
 ALLESSANDRO PALACE, 93 
 
 PITTI PALACE, 43, 45, 46, 54, 57, 
 58, 71, 76, 78, 83, 107, 160 
 
 RICCARDI PALACE, 55 
 
 UFFIZI GALLERY, 29, 35, 36, 38, 
 39, 41, 43, 51, 55, 64, 72, 124, 133; 
 138, 142, 162 
 
 FRANKFORT: 
 STAZDEL INSTITUTE, 74 
 
 HAGUE, THE, 
 MAURITZHUIS, 10 
 
 LEYDEN MUNICIPAL GALLERY, 
 
 158 
 LONDON: 
 
 BRITISH MUSEUM, 58 
 
 NATIONAL GALLERY, 10,19,26,38, 
 39, 41, 42, 68, 71, 73, 74, 70, 78, 
 79, 83, 84, 90, OI, cis UTS, 127, 120, 
 138, EGO) LAT, of 46, 
 
 VICTORIA & ALBERT MUSEUM, 
 140, 146 
 
 MADRID: 
 ACADEMY OF FINE ARTS, 135 
 ESCURIAL, 53, 142 
 PRADO, 53, 67, 137, 138, 142 
 MILAN: 
 AMBROSIANA LIBRARY, 17 
 BRERA, 10, 37, 39, 44, 48, 59, 74, 77, 
 79, 117, 136, 138, 130, 143 
 MODENA GALLERY, 79 
 MUNICH GALLERY, 24, 37, 45, 60, 
 09, 103, 104, ro6, rrr, 123, 128, 133, 
 137, 142, 162 
 
 NEW YORK: 
 METROPOLITAN MUSEUM OF 
 ART, 13, 15,16, 37, 43, 44, 45, 47, 51, 
 S56; 72, 13s 19,1 91,200,107, 92, 07. 
 07, 113, 116; 715,270, 0130, a0) 
 137. 
 
 OXFORD: 
 BODLEIAN LIBRARY, 90 
 
 PALERMO: 
 CAPELLA PALATINA, 53 
 MUSEUM, 46 
 
 PARIS: LOUVRE, 14, 16, 22, 23, 31, 34, 
 39, 40, 41, 42, 43, 45, 46, 40, 51, 58, 
 68, 69, 74, 79, 86, 88, 90, 91, 95, 90, 
 07, 98, 703; 104, T7717, 737, 134, 138; 
 140, 142, 143, 144, 146, 158 
 
 PERUGIA: 
 CATHEDRAL, 53 
 LIBRARY, 52 
 
 PISA: 
 
 ace, SANTO, 172, 113 
 RUDOLPHINUM, 138 
 
 ROME: 
 BORGHESE PALACE, 36, rrr 
 COLONNA GALLERY, 35 
 CORSINI GALLERY, 16, 38, 39 
 VATICAN, 16, 40, 41, 42, 43, 71, 
 74. 78s-Sly LIZ, 115, 720, T22. (see 
 also SISTINE CHAPEL), 140 
 
 SAN GEMIGNANO: 
 
 PALACE OF THE PODESTA, 122 
 SEINA: 
 
 ACADEMY, 27, 139, 141, 142,148,158 
 
 PUBLIC LIBRARY, 1217 
 STUTTGART GALLERY, 16 
 
 TODI: 
 PALAZZO PUBBLICO, 42 
 TURIN GALLERY, 30 
 
 VENICE: 
 
 ACADEMY, 16, 20, 37, 41, 42, 43, 
 44, 47, 48, 50, 58, 66, 80, 87, 93, 
 TOF, 102; 126, 127, 128; 1365 1975, 
 138, 140, 141, 143, 146 
 
 CORRER MUSEUM, 37 
 
 DUCAL PALACE, 97, 103 
 
 VERONA: 
 CIVIC MUSEUM, 45 
 VIENNA: 
 
 ALBERTINA, 21 
 
 BELVEDERE, 30, 81, 82 
 
 IMPERIAL GALLERY, 33, 48, 40, 
 129, 138, r4r, 160 
 
 LICHTENSTEIN, 112 
 
 WASHINGTON, D.C.: 
 U. S. NATIONAL MUSEUM, 24 
 WORCESTER (MASS.): 
 MUSEUM, 19, 26 
 
 
 
 CATHEDRALS 
 ChieRGriEs 
 
 INSTITUTIONS 
 
 
 
 ANTWERP CATHEDRAL, 120, 140 
 ASSISSI: LOWER CHURCH, 11 
 
 BEVERLEY MINSTER, 120 
 BOLOGNA 
 
 st DOMENICO, 120 
 
 S. PETRONIO, 87 
 BRESCIA: 
 
 S. AGNESE, 107 
 
 S. CLEMENTE, 16, 84, 98, 99, ro4 
 BRUGES: 
 
 NOTRE DAME, 38 
 
 SAINT-SAUVEUR, 80, 148 
 
 CAGLI: 
 
 S. DOMENICO, 37 
 CASTELFRANCO, 44 
 CITEAUX, 119 
 CLAIRVAUX, 119 
 CREMONA: 
 
 ST. AGOSTINO, 83 
 
 S. SIGISMONDO, 120 
 
 DANTZIG: 
 S. MARIA, 53 
 
 FIESOLE: 
 S. ANSANO, 30 
 SAN MARCO, 43, 116, 178, 131 
 FLORENCE: 
 ANNUNZIATA, 129, 139, 140 
 MADONNA DEL CARMINE 
 EO CHAPEL), 120, 
 138, 16 
 OGNISSANTI REFECTORY, 56, 
 59, 62, 76, 79 
 o7 CROCE, 29, 64, 120; (BARON- 
 CELLI CHAPEL, 136) 
 S. GEMIGNANO, 80, 84 
 S. MARIA NOVELLA, 17, 38, 120, 
 136, 137, 138, 148 
 S. MINIATO, 92, 138 
 S. SALVI, 56, 119 
 
 S. TRINITA, 119, 121 
 
 GHENT: 
 ST. BAVON, 35, 36, 55, 96, ro4, 113, 
 
 ZLZ. 
 GRENOBLE: 
 GRANDE CHARTREUSE 119 
 
 LODI, 24, 25 
 LOUVAIN: 
 ST. PIERRE, 64 
 
 MARSEILLES: 
 ST. VICTOR, 21 
 
 MILAN: 
 S. MARIA DELLE GRAZIE, 60, 120 
 S. SIMPLICIANO, 42 
 
 MUNICH: LUDWIGSKIRCHE, 10 
 
 ORVIETO CATHEDRAL, 142 
 
 PADUA: 
 ARENA, 136 
 EREMITANI, 92, 120 
 PARIS: 
 _ SAINTE-CHAPELLE, 22 
 ST. VINCENT-DE-PAULE, 108 
 PAVIA: 
 CERTOSA, 119 
 S. AGOSTINO, 120 
 PERUGIA: 
 S. FIORENZO, 35 
 
 PISA: 
 S. CATERINA, r21 
 
 RAVENNA, 11, 21, 33, 54 
 S. AGATHA, 54 
 S. APOLLINARE-IN-CLASSE, 21 
 S. APOLLINARE NUOVO, 108 
 S.VETALES LL 
 ROME: 
 ARA-COELT, 120 
 CERTOSA, 119 
 S. AGNESE, 104 
 S. CLEMENTE, 58, 03, 98 
 SS. COSMO E DAMIANO, 8, 58 
 e LORENZO, 75 
 S. LUIGI DEI FRANCESI 
 (St. Louis of France), 144 
 SS. MARIA-SOPRA-MINERVA, 120 
 S. MARIA DELLA VALLICELLA, 
 119 
 S. PIETRO-IN-VINICOLE 162 
 Sea CHAPEL, /215732,,.59; 102, 
 
 160 
 
 ST: Torn LATERAN, 36 
 SEVILLE CATHEDRAL, 130 
 SIENA: 
 
 DELLA FONTEGIUSTA, 160 
 
 REFUGIO, 35 
 
 S. AGOSTINO, 138 
 
 S. DOMENICO, 133 
 
 S. FRANCESCO D’ASSISI, 127 
 
 TREVIGLIO: 
 S. MARTINO, 107 
 
 168 
 
 
 
 VENICE: 
 DELLA SALUTE, 91 
 GESUATI, CH. OF THE, or 
 
 MADONNA OF THE ROSARY, 
 
 132 
 MADONNA DELL’ORTO, 92, 106, 
 142, 162 
 S. AMBROGIO CHAPEL OF THE 
 FRARI, 82 
 SS. GIOVANNI E PAOLO, 132 
 S. MARIA FORMOSA, 100 
 es ROCCO, 89 
 ZACCHARIAS, 79 
 VERONAS 
 S. ZENO, 148 is 
 VILLENEUVE-LES-AVIGNON 
 CARTHUSIAN MONASTERY, 
 Frontispiece, 8, 41 
 
 PRIV A 
 COLLECTORS 
 
 and DEALERS 
 
 CATHOLINA LAMBERT, 02, 96, 135 
 COTILS, GEORGE, Esq., 55, 160 
 
 DE BLES, Major ARTHUR, go, 124, 
 
 143, 162 
 DUKE OF NORFOLK (Castle How- 
 ard), 48 
 
 EHRICH GALLERIES, 24, 26, 36, 37, 
 40, 45, 51, 77, 87, 04, 105, 120, 131, 
 133, 135, 130, 137, 1 
 
 FRIEDSAM, Colonel MICHAEL, 83, 
 125 
 
 GOLDSCHMIDT GALLERIES, 63 
 
 ei ane EMINENCE CARDI- 
 
 I 
 
 HENNIKER -HEATON, RAYMOND, 
 Esq., 19 
 
 JOHNSON COLLECTION, PHILA- 
 DELPHIA, 139 
 
 KAHN, OTTO, Esa., 16, 4. 
 KAUFMANN COLL ECHION, Berlin, 
 1 
 KENNEDY & CO., 68, 79, 85, 115 
 rR GALLERIES, 74, 
 TIL, P2302 
 KNOEDLER & CO., 47, 52 
 
 LEHMANN, PHILIP, Esq., 50 
 O’MALLEY’S BOOKSTORE, Inc., 120 
 
 PARISH WATSON & CO. 
 PLATT, DAN FELLOWES, Esa., 32, 
 90, 105 
 
 SALOMON COLLECTION, &8& 
 hie Wren Captain E. 
 ¥5 90, 9 
 SUTTON, Rev. ARTHUR (Brant 
 Broughton), 49 
 
 THAW, Mrs. BENJAMIN, 46 
 WANTAGE, The Lady, 90, 124 
 
 WEBER COLLECTION, Hamburg, 60 
 WILDENSTEIN & CO., 62 
 
 
 
 ERRORS AND 
 
 OMISSIONS 
 
 (Provisional) 
 
 
 
 Page 28. Foot of 2nd Column. For MAs- 
 OLINo (1403-1440) read (1383-1445), 
 
 Page 39. Foot of 2nd Column: For Srx- 
 tus IX, read Sixtus IV. 
 
 Page 40. Caption: For 5), read 4) 
 
 Page 47. Caption: For 7) and 8), read 
 8) and 9) 
 
 Page 34. Top of 2nd Column: “I can 
 RECALL NO EXAMPLE IN ITALIAN ART” 
 is an incomprehensible error, for there 
 are three examples in this book, on 
 Pages 53 (Signorelli); 68 (Botticini) ; 
 and 76 (Andrea del Sarto.) And there 
 are numerous examples in every im- 
 portant gallery in the world !! 
 
 Page 49. Fig. 3: Sr. LIBERALE, as 
 the saint on the left is generally 
 called, is more likely St. George in 
 armor and with a banner, but with- 
 out his usual dragon. 
 
7 1 ow a a 
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