DESCRIPTIVE CATALOGUE OF THE COLLECTION OF 
 ECCLESIASTICAL ART IN THE UNITED STATES 
 NATIONAL MUSEUM 
 
 BY 
 
 I. M. CASANOWICZ 
 
 Assistant Curator, Division of Old World Archeology, United States National Museum 
 
 
 
 No. 2287. — From the Proceedings of the United States National Museum, 
 Vol. 55, pages 605-649, Plates 60-97 
 
 Washington 
 
 Government Printing Office 
 
 1919 
 
\ 
 
DESCRIPTIVE CATALOGUE OF THE COLLECTION OF 
 ECCLESIASTICAL ART IN THE UNITED STATES 
 NATIONAL MUSEUM 
 
 BY 
 
 I. M. CASANOWICZ 
 
 Assistant Curator, Division of Old World Archeology, United States National Museum 
 
 No. 2287.~From the Proceedings of the United States National Museum, 
 Vo!. 55, pages 605-649, Plates 60-97 
 
 
 
 Washington 
 
 Government Printing Office 
 
 1919 
 
Digitized by the Internet Archive 
 in 2016 
 
 https://archive.org/details/descriptivecatal00casa_0 
 
DESCEIPTIVE CATALOGUE OF TFIE COLLECTION OF 
 ECCLESIASTICAL ART IN THE UNITED STATES NA- 
 TIONAL MUSEUM. 
 
 By I. M. Casanowicz. 
 
 Assistant Curator, Division of Old World Archeology, United States National Museum. 
 
 INTRODUCTION. 
 
 The collection of Ecclesiastical Art forms part of the section of the 
 History of Religions which is on exhibition in the old building of the 
 National Museum. It comprises church furnitures, as far as they 
 are embellished by art, appurtenances of the public worship, and 
 objects used in individual devotions and on special occasions, and is 
 obviously confined to the illustration of the ceremonies and usages 
 of the ritual branches of Christendom — that is, the Roman Catholic 
 and eastern churches. , Of the former the collection is quite repre- 
 sentative, occupying an alcove of three cases. Of the eastern churches 
 there is a small collection of the Greek Orthodox Church, mostly of 
 the Russian division of that denomination, and of the Armenian 
 Church, filling one case. Much material of the collection remains, 
 for lack of exhibition space, in storage. 
 
 The description is accordingly divided into — I. Ecclesiastical Art 
 of the Roman Catholic Church; II. Of the Eastern Church; and 
 III. Of the Armenian Church. 
 
 I. ECCLESIASTICAL ART OF THE ROMAN CATHOLIC CHURCH. 
 
 PARAPHERNALIA OF THE CHURCH SERVICES. 
 
 SERVICE OF THE MASS, 
 
 The service of the mass is, according to the teaching of the Catholic 
 Church, a perpetual repetition of the sacrifice of Christ on the cross. 
 The bread and wine are, by the words of consecration pronounced 
 by the priest, changed into the real body and blood of Christ (trans- 
 substantiation), and Christ thus offers himself each time anew 
 through the priest, his representative on earth, and is partaken of 
 in the communion. 
 
 The liturgy of the mass consists of extracts from the Scriptures 
 and prayers, some of which are always recited, while others vary 
 
 Proceedings U. S. National Museum, Vol. 55— No. 2287. 
 
 605 
 
606 
 
 PROCEEDINGS OF THE NATIONAL MV SEEM. 
 
 VOL. 55 . 
 
 according to the season or the purpose for which the mass is offered, 
 and is, in the larger portion of the Roman Catholic Church, in the 
 Latin language. 
 
 The requisites for the celebration of mass are: An altar, of which 
 at least the part of the table upon which the chalice and paten rest 
 during the service must be of stone, in which relics of the martyrs 
 are inclosed (with reference to Revelation vi, 9), and must be con- 
 secrated by a bishop. The altar is covered with three linen cloths 
 (symbolizing the linen cloths in which Christ’s body was shrouded, 
 as the altar represents his tomb), blessed by a bishop, or by a priest 
 empowered by him. Midway of the altar and fixed to its base is 
 the tabernacle, a small chest, more or less decorated, which holds 
 the consecrated hosts in their repositories, the cibory and pyx, for 
 the communion of the laymen and for the sick, and a light is always 
 kept burning in front of it. Upon the altar is a crucifix. Two 
 candles are lighted during a low mass, which is one recited by the 
 priest without chant, and six during a high mass, which is one 
 accompanied by music and incense and attended by a deacon and 
 subdeacon. 
 
 The sacred vessels used in the service of the mass are the chalice, 
 in which the wine, mixed with water, is consecrated, and the paten, 
 a small plate upon which the host, in form of a cake of unleavened 
 wheat bread, about 2 inches in diameter, rests during a portion of 
 the mass. The appurtenances of the chalice and paten are the 
 corporal, a square piece of cloth, upon which the host and chalice 
 are placed, and which when not in use is held in the burse, a case 
 covered with the same material as the priest’s vestments; the puri- 
 ficator, a piece of linen used for wiping out the chalice; the pall, a 
 stiff piece of linen, about 5 inches square, used to cover the chalice; 
 and the veil, a square piece of the same material as the priest’s 
 vestments, with which the chalice is covered before offertory and 
 after communion. 
 
 Mass may be celebrated only in the morning, and the celebrant 
 must be fasting. 
 
 1. High altar . — Made of wood and constructed in a combination 
 of Gothic, Renaissance, and Rococo st}des, and probably dates from 
 the seventeenth century. It is adorned with two oil paintings. 
 The lower represents the assumption of Mary into heaven. Mary, 
 in a blue cloak with yellow borders, is ascending to heaven surrounded 
 by fluttering cherubs, while underneath the apostles with uplifted 
 faces and raised hands are gazing after her. The Assumption of the 
 Virgin is the principal feast celebrated in her honor, and is observed 
 on August 15. The upper painting represents John the Evangelist 
 in a red cloak holding the chalice of the Lord’s Supper. Height, 15 
 
NO. 2287. COLLECTION OF ECCLESIASTICAL ART—CASANOWICZ. 607 
 
 feet; width, 7 feet 3 inches. — Hildesheim, Germany. (Cat. No. 207743, 
 U.S.N.M.) 
 
 2. Altar. — ^Made of wood and adorned with an oil painting repre- 
 senting the Holy Family — that is, Joseph, Mary, and the Infant 
 Jesus. Probably dating from the seventeenth century. Height, 
 7 feet inches; width, 4 feet 2\ inches. — Hildesheim, Germany. 
 (Plate 60, Cat. No. 207744, U.S.N.M.) 
 
 3. Altar cloth. — ^Made of linen, with lace borders and embroidered 
 edges. Length, 62 inches; width, 29 inches. — Italy. (Cat. No. 
 179015, U.S.N.M.) 
 
 4. Fragments of gilded carvings of an altar. — Including six oval 
 panel paintings, measuring each lOJ by 8J inches, representing the 
 Virgin Mary, the archangel Gabriel, and the four Evangelists. — ■ 
 Italy. (Cat. No. 179013, U.S.N.M.) 
 
 5. Bronze candlestick. — With a point on top upon which to stick 
 the candle. Height, 13 inches. — Italy. (Plate 61, fig. 1, Cat. No. 
 152230, U.S.N.M.) 
 
 6. Bishofs candlestick. — Made of white metal. Used to light the 
 bishop while reciting the prayers of thanksgiving after mass. Height, 
 2| inches; length, lOJ inches. — Italy. (Plate 61, fig. 2, Cat. No. 
 179034, U.S.N.M.) 
 
 7. Pair of candlesticks. — Made of wood, carved and gilded. Height, 
 12J inches. — Spain. (Plate 61, fig. 3, Cat. No. 178863, U.S.N.M.) 
 
 8-9. Altar lamps. — ^Made of white metal in chased work. In front 
 of the tabernacle of the altar in which a consecrated host is pre- 
 served a lamp filled with olive oil is always kept burning. It is 
 usually suspended by a chain from the ceiling of the church in front 
 of the tabernacle. — Italy. (Plate 62, figs. 1 and 4, Cat. Nos. 179022- 
 023, U.S.N.M.) 
 
 10. Large altar lamp. — Made of brass, hammered work. Diameter 
 of bowl, lOi inches. — Italy. (Cat. No. 179024, U.S.N.M.) 
 
 11. Large altar lamp. — Made of white metal, repousse work. 
 Diameter, 12 inches. — Italy. (Cat. No. 199026, U.S.N.M.) 
 
 12-13. Small altar lamps. — Made of white metal. — Italy. (Cat. 
 No. 179023, U.S.N.M.) 
 
 14. Altar lamp. — Made of brass. — ^Madrid, Spain. (Cat. No. 
 167082, U.S.N.M.) 
 
 15. Small lamp. — Made of brass, with loops for suspension. 
 Height, 8f inches; diameters, 2| and 2\ inches. — Italy. (Cat. No. 
 152235, U.S.N.M.) 
 
 16-17. — Censers or thuribles. — Made of white metal, openwork. 
 The censer consists of a cup or bowl, which is provided with a mov- 
 able pan for holding ignited charcoal, upon which the incense is put, 
 a lid or covering and four chains about 3 feet in length, three of 
 which unite the bowl to a circular disk, while the fourth is used for 
 
608 
 
 PROCEEDINGS OF THE NATIONAL MVSEVM, 
 
 VOL. 55 . 
 
 raising the lid to which one end of it is attached, the other passing 
 through a hole in the disk and terminating in a ring. Incense is 
 used at a solemn high mass, at vespers, benediction, at the obsequies 
 of the dead, and at certain other ceremonies and blessings. The 
 custom of burning incense in religious ceremonies is widespread. 
 Besides the fragrance, it is a symbol of prayer (see Psalms cxli, 2; 
 Revelation v, 8; viii, 3). — Italy. (Plate 62, figs. 2 and 3, Cat. Nos. 
 152233 and 179022, U.S.N.M.) 
 
 18. Censer. — ^Made of white metal. — ^Italy. (Cat. No. 179023, 
 U.S.N.M.) 
 
 19. Censer. — Made of brass. — Italy. (Cat. No. 179023, U.S.N.M.) 
 
 20. Censer. — Made of brass, openwork. — Italy. (Cat. No. 179025, 
 U.S.N.M.) 
 
 21-22. Incense boat. — Made of white metal, repousse work. Before 
 putting the incense from the boat, or nave, into the censer, the priest 
 makes the sign of the cross and pronounces a blessing over it. — 
 Italy. (Plate 63, figs. 1 and 4, Cat. Nos. 179021-2, U.S.N.M.) 
 
 23. Incense boat. — Made of white metal, chased and repousse work. 
 Height, 4J inches; length, 6i inches. — Italy. (Cat. No. 152234, 
 U.S.N.M.) 
 
 24-25. Holy water vessel and sprinMer. — The vessel is of white 
 metal with fluted sides in repousse work. The sprinkler is of brass. 
 On Sunday, at the beginning of high mass, the priest sprinkles the 
 people with water, into which salt has been thrown and over which 
 various prayers and benedictions have been pronounced, reciting 
 Psalm li, 9. The rite is therefore called Asperges, from the first word 
 of the verse in Latin. It is symbolical of the purification of the soul, 
 and it is also believed to be a means of grace, in virtue of the prayers 
 and blessings pronounced over the water by the priest. Height, 5 
 inches; diameters, 5J and 3 inches. — Italy. (Plate 63, figs. 2 and 3, 
 Cat. No. 152228, U.S.N.M.) 
 
 26-27. Chalice and paten. — ^Made of silver, gilded. The chalice is 
 in Renaissance style and is adorned with floral designs in chased work. 
 The chalice, or at least its cup, in which the wine is consecrated, and 
 the paten, upon which the host is placed, must be either of gold or 
 of silver gilded. They are consecrated with prayer and anointing 
 with the holy chrism, and after that must not be touched by a lay- 
 man. Height of the chalice, 8J inches; diameters, 5J and 3f inches; 
 diameter of the paten, 61 inches. — Italy. (Plate 64, figs. 1 and 3, 
 Cat. Nos. 179016-017, U.S.N.M.) 
 
 28. Pair of cruets with tray. — Made of glass. The stoppers of 
 the cruets are in the form of a cross. Used for holding, respectively, 
 the wine and water for the Eucharist. — Montclair, New Jersey. 
 (Cat. No. 239069, U.S.N.M.) Gift of Rev. Joseph Mendl. 
 
^0.22^1. COLLECTION OF ECCLESIASTICAL ART—CASANOWICZ. 609 
 
 29. Pair of cruets with tray. — The same as the preceding number. — 
 Kidgewood, New Jersey. (Cat. No. 239094, U.S.N.M.) Gift of Rev. 
 P. T. Carew. 
 
 30. Oihory. — Made of silver, gilded, in form of a chalice, only voider 
 and shallower in the cup, with a conical cover, surmounted by a 
 cross. In the cibory are reserved the smaller hosts for the ordinary 
 communicants and the sick. It is kept covered with a silken veil in 
 the tabernacle of the altar. Height, 7 inches; diameters, 2h and 2J 
 inches. — Italy. (Plate 65, fig. 1, Cat. No. 152227, U.S.N.M.) 
 
 31. Pyx. — Made of white metal in the same shape as the cibory, 
 only smaller. Used for carrying the sacrament to the sick. Height, 
 3§ inches; diameters. If and 1§ inches. — Italy. (Plate 65, fig. 4, Cat. 
 No. 179030, U.S.N.M.) 
 
 32. Brass vase. — Made in form of an amphora with a conical cover. 
 Probably used for holding the holy chrism, which is consecrated by 
 the bishop on Thursday of the Holy Week (^ ^Maundy Thursday^’), 
 and is used in the rites of baptism, confirmation, ordination, and 
 coronation; in the consecration of churches, altar stones, chalices, 
 and in blessing the baptismal water. The chrism of the Roman 
 Catholic Church consists of a mixture of oil and balsam. The chrism 
 of the Eastern Church contains, besides oil and balsam, 55 other 
 ingredients, among which are red wine, orange and rose water, mastic, 
 various gums, nuts, pepper, flowers, and ginger, and certain chemists 
 of Constantinople are officially appointed to prepare it.^ Height, 8} 
 inches; diameter, 3 inches.— Italy. (Cat. No. 179020, U.S.N.M.) 
 
 33-34. Silver cup and spoon. — Probably used for handing out the 
 holy chrism. Height of the cup, 3 inches; diameter, 14 inches. — • 
 Seville, Spain. (Plate 65, figs. 5 and 6, Cat. No. 167049, U.S.N.M.) 
 
 ALTAR LINEN TEXTILES. 
 
 35-36. Three corporals. — Made of linen, with lace borders and an 
 embroidered cross in the center. Upon the corporal the host and 
 chalice are placed during celebration of the mass. Dimensions, 11^ 
 by 9i inches to 17 by 14 inches. — Italy. (Cat. No. 179002, U.S.N.M.) 
 
 37-38. Two hurses. — Of green silk, with cross and borders of yellow 
 silk and gold brocade. The burse is used to hold the corporal when 
 not in use. Dimensions, 8j and 9J inches square. — Italy. (Cat. 
 No. 179002, U.S.N.M.) 
 
 39. Burse. — Of yellow silk brocade with green border. Dimen- 
 sions, 8 inches square. — Italy. (Cat. No. 179003, U.S.N.M.) 
 
 40. Burse. — Of black brocade, with cross and borders of v/hite 
 brocade. Dimensions, 8 inches square. — Italy. (Cat. No. 179004, 
 U.S.N.M.) 
 
 1 See Adrian Fortescue, Tlie Eastern Orthodox Church, London, 1916, p. 425. 
 
 62055— Proc.N.M.vol.55— 19 39 
 
610 
 
 PROCEEDINGS OF THE NATIONAL MVSEUM, 
 
 TOL. 55 . 
 
 41. Pall. — Made of linen, with a gold fringe, embroidered in silver 
 and gold, with figures of chalice, host, burning hearts, and the instru- 
 ments of the crucifixion. Used to cover the chalice. Dimensions, 
 5 inches square. — Italy. (Cat. No. 152232, U.S.N.M.) 
 
 42. Pall. — Made of linen, with lace fringe and red cross in the 
 center. — Italy. (Cat. No. 179005, U.S.N.M.) 
 
 43-47. Five puricators. — Made of linen, with lace borders and 
 embroidered cross in the center. Used for wiping out the chalice 
 after the communion. Dimensions, 5 to GJ inches. — Italy. (Cat. 
 No. 179007, U.S.N.M.) 
 
 48. Veil. — Of black brocade, with white borders and white cross 
 in the center. The veil is used to cover the chalice before the offer- 
 tory and after the communion. Dimensions, 18i inches square. — 
 Italy. (Cat. No. 179004, U.S.N.M.) 
 
 49. Veil. — Of black brocade, with borders of yellow silk. Dimen- 
 sions, 22f inches square. — Italy. (Cat. No. 179004, U.S.N.M.) 
 
 50. Veil. — Of purple silk, with borders of gold applique work and 
 
 a cross within a circle of the same stuff. Dimensions, 22 inches 
 square. — Italy. (Cat. No. 179005, U.S.N.M.) 
 
 51. Veil. — Of reticellar work in pale blue and white. In the center, 
 UTS, which is the abbreviation of the Latin words Jesus Tiominum 
 Salvator (Jesus Saviour of Mankind) , within a circle of rays, while the 
 edges are adorned with floral designs. Dimensions, 24 inches square. — 
 Italy. (Cat. No. 179006, U.S.N.M.) 
 
 52. Laver. — Made of brass, semicircular as to be fastened to the 
 wall, with a crane at the bottom. Before vesting for the celebration 
 of the mass the celebrant washes his hands in the sacristy to typify 
 purity of heart and outer reverence for the sacred presence. During 
 the mass he washes his hands after the offertory and communion 
 at the altar. Height, 19 inches; width, 12 J inches. — Italy. (Cat. 
 No. 179027, U.S.N.M.) 
 
 VESTMENTS OF THE MASS. 
 
 It is assumed by many authorities that the ecclesiastical vestments 
 were evolved by a natural process from the ordinary costume of a 
 Eoman citizen of the first or second century of the Christian era. 
 The vestments used in the celebration of the mass are: 
 
 (1) The cassock, a close-fitting robe reaching to the heels and but- 
 toned all the v/ay down in the front. It is the distinctive dress of 
 clerics worn by them in their homes and at all sacred functions, and, 
 in Catholic countries, at all times. The cassock of secular priests is 
 black; of bishops and archbishops, purple or violet; of cardinals, red; 
 of the pope, white. 
 
 (2) The amice or amict (from the Latin amicire, to cover, to clothe), 
 also called humeral (from the Latin humerus, shoulder), a piece of 
 linen, about 3 feet long by 2 feet wide, with a cross embroidered in 
 
^0.2287. COLLECTION OF ECCLESIASTICAL ziRT—CASANOWICZ. 611 
 
 the middle of the upper edge^ which the celebrant rests for a moment 
 on his head, kissing the cross, and then spreads it over his shoulders 
 with a prayer, binding it around the shoulders by means of strings 
 at the upper corners of the cloth. 
 
 (3) The alb, a loosely fitting shirt-like robe of white linen (hence 
 its name, from the Latin alhus, white), reaching from head to foot. 
 It is sometimes adorned with a border of lace or embroidery. It 
 typifies the purity of life. 
 
 (4) The girdle, or cincture, a linen cord, the two ends of which ter- 
 minate in large tassels, with which the priest binds the alb. It sym- 
 bolizes continence and self-restraint. 
 
 (5) The maniple, a strip of cloth about 2 feet long, embroidered with 
 three crosses, one in the middle and one at each of the extremities. 
 It is worn on the left wrist, to which it is attached by a pin or string, 
 hanging equally on both sides. It was originally a handkerchief or 
 towel, and gradually developed into an ornamental and symbolical 
 liturgical vestment. It signifies the rope with which Christ was 
 bound and the tears of penitence to be wiped off. 
 
 (6) The stole (also called orarium), a long band of cloth, put around 
 the neck and crossed on the breast^ being held in this position by the 
 girdle. It is also vmrn at the performance of any rite, as ministering 
 the sacraments or blessing persons and things. It is the symbol of 
 spiritual power and jurisdiction. It was perhaps developed from the 
 scarf used to protect the neck. 
 
 (7) The chasuble (from Latin casula, the diminutive of casa, hut, 
 because like a little house it covered the whole body). It is the outer 
 or upper vestment which is last assumed. It is elliptical in cut, open 
 on both sides and at the top, and as it is passed over the head to rest 
 on the shoulders it reaches to the knees in front and a few inches 
 lower behind. The material (gold cloth, brocade, silk, wool, linen) 
 and color of the casuble, stole, and maniple, as, also of the veil and 
 burse, must be the same. The color of these vestments varies ac- 
 cording to the season or the occasion of the mass. White or gold 
 cloth is employed on the joyous feasts of Christ and Mary; red is 
 used on Pentecost, in masses of the Holy Ghost, and of the apostles 
 and martyrs; green is the color of the season, when there is no special 
 feast; violet is used during Advent and Lent and on all penitential 
 occasions; and black is used in masses of the dead and on Good 
 Frida^y. 
 
 (8) The biretta, a stiff square cap with three or four prominences or 
 projecting corners rising from its crown, and sometimes with a tassel 
 in the middle where the corners meet. It is v/orn by the celebrant 
 when he approaches the altar to say mass, and is, like the cassock, 
 worn by the secular clergy generally. 
 
 The dalmatic (from Dalmatia, where the garment originated) is the 
 distinctive vestment of the deacon when he assists at high mass, the 
 
612 
 
 PROCEEDINGS OF THE NATIONAL MUSEUM. 
 
 VOL. 55 . 
 
 service of benediction, and at processions. It resembles the chasuble, 
 only it is not rounded at the extremities, but straight, and has wide 
 sleeves and marked with two stripes. It has to conform in color to 
 the vestments of the celebrant. The stole is worn by the deacon 
 over the left shoulder and joined on the right side. 
 
 The tunic, which is the vestment of the subdeacon, does not differ 
 much in form from the dalmatic. 
 
 Vestments of a mass celebrated by a bishop {pontifical mass). — The 
 bishop, possessing the plentitude of priesthood, wears, v\^hen cele- 
 brating a pontifical mass, the vestm^ents of all the ranks of the min- 
 istry. Peculiar to him are the rochet, a closely fitting garment of 
 linen with sleeves, which he wears over the cassock, gloves, sandals, 
 and the miter, a kind of a folding cap. It consists of two like parts, 
 each stiffened by a lining and rising to a peak. These are sewn to- 
 gether on the sides, but are united above by a piece of material that 
 can be' folded together. Two lappets vuth fringes hang down from 
 the back. According to the style, there is distinguished the Gothic 
 miter, v/ith straight lines and sharp point, and the Italian miter, with 
 greater height and curved lines. The bishop also w^ears a pectoral 
 cross, and a pontifical ring, and carries the crozier or pastoral staff, 
 the symbol of authority and jurisdiction. 
 
 53. Priests^ mass vestments. — Consisting of cassock, amice, alb, 
 cincture, maniple, stole, chasuble, and biretta. The maniple, stole, 
 and chasuble are made of red silk with floral designs in silver applique, 
 and come from Italy; the cassock is a gift of the Rev. John Fenlon, 
 St. Austens, Brookland, District of Columbia; the amice, alb, which 
 is adorned with a border of embroidered floral designs, the cincture 
 and biretta of velvet, are the gifts of the Rev. Joseph Mendl, Mont- 
 clair, New Jersey. (Plate 66, Cat. Nos. 178996 and 239066-068, 
 U.S.N.M.) 
 
 54. Priests^ mass vestments. — Consisting of alb, m.aniple, stole, 
 chasuble, and biretta. The maniple, stole, and chasuble, of flov^ered 
 croisson silk in white and light green, come from Italy, the alb, of 
 linen with lace border, and biretta, of velvet, are the gifts of the Rev. 
 P. T. Carew, Ridgewood, New Jersey. (Plate 67, Cat. Nos. 178997 
 and 239090-093, U.S.N.M.) 
 
 55. Manip>le of white croisson sillc. — Embroidered in silk. — Italy. 
 (Cat. No. 178999, U.S.N.M.) 
 
 56. Maniple of purple croisson silk brocade. — Italy. (Cat. No. 
 178999, U.S.N.M.) 
 
 57. Maniple of white satin brocade . — With borders and crosses in 
 silver and gold applique. — Italy. (Cat. No. 178999, U.S.N.M.) 
 
 58. Manijjle of croisson silk brocade. — Yfith borders and crosses in 
 yeliov/ silk brocade. — Italy. (Cat. No. 178999, U.S.N.M.) 
 
NO. 2287 . COLLECTION OF ECCLESIASTICAL ART—CASANOWICZ. 613 
 
 59. Maniple of green silk and silver brocade. — Italy. (Cat. No. 
 178999, U.S.N.M.) 
 
 60. Maniple of white croisson silk brocade. — With borders and 
 crosses in gold lace. — Italy. (Cat. No. 178999, U.S.N.M.) 
 
 61. Maniple of red satin. — With crosses of yellow silk bordered 
 with gold thread and the ends of the bars of the crosses terminating 
 in fleurs-de-lis. — Italy. (Cat. No. 179000, U.S.N.M.) 
 
 62. Maniple of Rosa silk brocade. — With borders and crosses in 
 yellow silk brocade. — Italy. (Cat. No. 179000, U.S.N.M.) 
 
 63. Maniple of black silk brocade. — With borders and crosses in 
 
 silver lace. — Italy. (Cat. No. 179000, U.S.N.M.) 
 
 64. Maniple of black silk brocade. — With crosses in yellow silk 
 brocade, and yellow silk fringes. — Italy. (Cat. No. 179001, U.S.N.M.) 
 
 65. Maniple of black velvet. — With borders and crosses of yellow 
 silk bordered with red silk. The four ends of the crosses terminate in 
 fleurs-de-lis. — Italy. (Cat. No. 179001, U.S.N.M.) 
 
 66. Philippine dalmatic. — Made of purple velvet, with rosettes ajid 
 other floral designs in gold applique, in form of a wide, loose robe with 
 an opening at the top for passing of the head. The usual form of the 
 dalmatic resembles that of the chasuble, only it is not rounded at 
 the extremities but straight. — Philippine Islands. (Plate 68, Cat. 
 No. 213406, U.S.N.M.) 
 
 67. Bishop’s miter. — Made of white silk, embroidered in gold and 
 set with stones. Dimensions, 16^ by 13 i inches. — Italy. (Plate 
 69, fig. 1, Cat. No. 179032, U.S.N.M.) 
 
 68. Bishop’s crozier. — Made of white metal. The crozier is the 
 pastoral staff of the bishop, symbolizing his authority and jurisdic- 
 tion. It is of metal, hollow, usually highly ornamented, with a hook 
 or curve on the upper end. An archbishop’s staff is surmounted by 
 a cross or crucifix; that of a patriarch bears a cross with two trans- 
 verse bars; and that of the pope bears a cross with three transverse 
 bars. Height, 6 feet 3 inches. — Italy. (Plate 69, fig. 2, Cat. No. 
 179031, U.S.N.M.) 
 
 69. Pectoral cross. — Made of silver, gilded. Pleight, 9 inches. — • 
 Italy. (Plate 69, fig. 3, Cat. No. 179033, U.S.N.M.) 
 
 70. Mozzetta (from Italian mozzo, Latin, mutilus, mutilated, cur- 
 tailed) . — A short, cape-shaped vestment of scarlet silk, open in front, 
 which can, however, he buttoned over the breast, covermg the 
 shoulder, with a little hood behmd. It is worn by the Pope, cardinals, 
 bishops, abbots, and others who do so by custom or papal privilege. — 
 Italy. (Cat. No. 211699, U.S.N.M.) 
 
 71. Altar bell.— Mside of brass. At various ]garts of the mass, 
 especially during consecration and elevation of the host and chalice, 
 a small bell is rung to attract the attention and excite the devotion 
 of those present. Height, 5J mches; diameter, 2J inches. — Spain. 
 (Cat. No. 178862, U.S.N.M.) 
 
614 
 
 PROCEEDINGS OF THE NATIONAL MVSEVM. 
 
 VOL. 55 . 
 
 72. Silver hell. — Adorned with three Greek crosses within ovals in 
 chased work. Height, If inches; diameter, If inches. — Seville, 
 Spain. (Cat. No. 167045, U.S.N.M.) 
 
 73. Wooden clapper. — During holy week, when music and joyous 
 sounds are excluded from the church, a wooden clapper or rattle is 
 used in place of a metal bell, to give the various signals to the con- 
 gregation. Measurements, 12 by 14 inches. — (Cat. No. 179054, 
 U.S.N.M.) 
 
 74. Osculatory. — A bronze plaque made in form of a facade of the 
 Italian Renaissance style, with the representation of the Ecce Homo 
 (Christ holding a scepter — <?ompare Matthew xxvii, 29), and the 
 word lerosolyma (Jerusalem); in the gable, a cherub, and below, a 
 floral design; with a handle on the back. The osculatory is an instru- 
 ment whereby the ‘‘kiss of peace’’ is given at a certain stage of the 
 celebration of the mass. Hence its name, from the Latin osculum, 
 kiss; it is also called pax, peace. In the primitive church the usage 
 was for the “holy kiss” to be given by the members of the congre- 
 gation promiscuously to one another. In the twelfth or thirteenth 
 century, for reasons of convenience, a substitute for the actual kiss 
 was introduced in the shape of a tablet, bearing the image of Christ, 
 or Mary, or of a saint, or of the crucifixion, and fitted with a handle, 
 which after being kissed by the celebrating priest, was passed to those 
 who were to receive the kiss of peace. It is rarely used at present. 
 Height, 54 inches; width, 34 inches. — Italy. (Plate 70, fig. 1, Cat. 
 No. 179045, U.S.N.M.) 
 
 75. Osculatory. — Gilt bronze plaque in form of a facade of the 
 Italian renaissance style, flanked by caryatids with a handle behind. 
 In the gable, God the Father giving the blessing; in the center, the 
 descent of the cross, with the Mater Dolorosa above it; below, a 
 cherub. Height, 6J inches; width, 4f niches. — Italy. (Plate 70, 
 fig. 2, Cat. No. 179046, U.S.N.M.) 
 
 76. Hourglass. — An hourglass was formerly kept on the pulpit to 
 regulate the duration of the sermon. Height, 64 inches; diameter, 3 J 
 inches. — Italy. (Cat. No. 152250, U.S.N.M.) 
 
 77-78. Vase and tray. — Made of white metal. Chased and repousse 
 work. Used for ablution by the bishop before and after celebration 
 of mass. Height of vase, 8 inches; diameters 3 and 24 inches; 
 diameters of the tray, 124 and 94 inches. — Italy. (Plate 65, figs. 2 
 and 3, Cat. No. 152228, U.S.N.M.) 
 
 SERVICE OF BENEDICTION. 
 
 The service of Benediction, or as it is more fully called. Benediction 
 of the Blessed Sacrament, is an afternoon or evening devotion. Its 
 main feature is the exposing of the Eucharist (the consecrated host) 
 upon the altar in an ostensory, which is surrounded with lights, in- 
 
NO. 2287. COLLECTION OF ECCLESIASTICAL ART—CASANOWICZ. 615 
 
 censed and adored. After the singing of certain hymns and litanies 
 the celebrant, clad in a cope and his shoulders enveloped in a humeral 
 veil, in which he wraps his hands, takes the ostensory and makes 
 with it the sign of the cross in silence over the kneeling congregation. 
 
 79-80. Cope, veil, and stole. — The cope is of yellow croisson silk, the 
 veil of v/hite and blue silk. The cope is a wide garment, reaching 
 nearly to the feet, open in front and fastened by a clasp, with a semi- 
 circular cape at the back. — Italy. (Plate 71, Cat. No. 152226, and 
 179008-9, U.S.N.M.) 
 
 81. Ostensory (from Latin ostendere, to show, to expose, also called 
 monstrance, from Latin monstrare, to show). — This consists of a disk 
 encompassed with sunbeams and surmounted by a cross, set upon a 
 long stem, which rests on a base like a chalice. In the center is in- 
 serted a lunette, a circular crystal case in which the host is placed for 
 exposition. The base and stem are of brass; the upper part is of 
 silver, gilded. Height, 20| inches; diameter, 10 and 4f inches. — 
 Italy. (Plate 64, fig. 2, Cat. No. 179018, U.S.N.M.) 
 
 82. Piece of carved ivory. — Cut in form resembling a heart. In 
 open work are the letters J H S (Jesus hominum Salvator), sur- 
 mounted by a cross. Above are perforations arranged to represent 
 a crown. Around the edge are incised diagonal or zigzag lines. Per- 
 haps used as an ecclesiastical badge. Dimensions, 4| by 4| inches. — 
 Italy. (Cat. No. 292307, U.S.N.M.) 
 
 83. Triptych. — ^Made in Gothic style, of wood, painted and gilded. 
 On the upper tire is represented Christ seated in the center, the right 
 hand raised in blessing, the^ left holding the Gospels, with angels’ 
 heads at his feet, and Mary and the angel of annunciation on the 
 sides. On the lower tire, in the center, is represented Mary holding 
 the Infant Jesus, attended by angels on either hand; while the two 
 side panels are occupied by St. Peter with the keys and St. Paul with 
 the sword, respective!}^, each holding the Gospel book. Height, 29 
 inches; width, 20| inches. — Italy. (Plate 72, Cat. No. 179038, 
 U.S.N.M.) 
 
 84. Triptych. — ^^lade of wood, carved, painted, and gilded. Pepre- 
 senting, in relief, the crucifixion. The shrine was used by mission- 
 aries on their journeys. Height, 17 inches; width, 27 J inches. — 
 Madrid, Spain. (Plate 73, Cat. No. 178761, U.S.N.M.) 
 
 85. Holy water fountain. — ^Made of white metal embossed with a 
 monogram and a crown. A vessel containing water mixed with salt 
 and blessed by a priest is placed at the entrance of churches and 
 houses. Catholics, on entering a church or a house, usually dip the 
 fingers into the vessel and make the sign of the cross. Pleight, 11 
 inches; width, 5J inches. — Italy. (Plate 74, fig. 1, Cat. No. 152237, 
 U.S.N.M.) 
 
616 
 
 PROCEEDINGS OF THE NATIONAL MUSEUM. 
 
 VOL. 55 . 
 
 86. Holy water fountain. — Made of porcelain. In the center is 
 
 painted a cross and I H S {Jesus hominum Salvator — ^Jesus Saviour of 
 Mankind). Height, 161 inches; width, 71 inches. — Vitaly. (Plate 74, 
 
 fig. 2, Cat. No. 152239, U.S.N.M.) 
 
 87. Holy water fountain. — ^Made of white metal. Embossed with 
 the figure of Mary. Height, 9| inches; width, 7 inches. — Italy. 
 (Plate 65, fig. 3, Cat. No. 152238, U.S.N.M.) 
 
 88. Holy water fountain. — ^Made of brass. The upper part is carved 
 to represent the crucifixion. Height, 71 inches; width, 31 inches. — 
 Italy. (Cat. No. 152236, U.S.N.M.) 
 
 89. Holy water fountain. — ^Made of brass. Height, 19 inches; 
 width, 121 inches. — Italy. (Cat. No. 179027, U.S.N.M.) 
 
 90. Holy water fountain. — ^]\lade of porcelain. Height, 9 inches; 
 width, 5 inches. — ^Italy. (Cat. No. 152240, U.S.N.M.) 
 
 91. Holy water fountain. — ^Made of porcelain. Height, 101 inches; 
 width, 71 inches. — ^Italy. (Cat. No. 152241, U.S.N.M.) 
 
 92. Almshox. — Eectangular iron box with a slit on top. Dimen- 
 sions, 5f by 4J by If inches. — Italy. (Cat. No. 179040, U.S.N.M.) 
 
 93. Brass hasin. — ^Adorned with a figure, which is seemingly a com- 
 bination of rosette and a star, in repousse work. Probably used for 
 receiving offerings. Diameter, 171 inches. — Italy. (Cat. No. 179028, 
 U.S.N.M.) 
 
 94. Brass hasin. — With an inscription in Gothic (?) characters and 
 a wheel-shaped figure in repousse and chased work. Diameter, 161 
 inches. — Italy. (Cat. No. 179029, U.S.N.M.) 
 
 LITURGICAL WORKS. 
 
 95. Missal (missale) on wooden stand. — Contains all the liturgy 
 required for the celebration of the mass throughout the year. It is 
 printed in Latin in red and black letters. The black letters consti- 
 tute the text of the missal, and the red its rubrics or directions in per- 
 forming the various actions of the mass. Height, 12 inches; width, 
 81 inches. — Italy. (Plate 75, Cat. No. 179011, U.S.N.M.) 
 
 96. Altar cards. — Printed on cardboard and set in carved, gilded 
 
 frames. Three cards, which contain certain portions of the mass 
 liturgy, for the reading of which it is not convenient to look into the 
 missal, are placed on the altar in an upright position, for the greater 
 convenience of the priest. Height, 161 12 inches; width, 171 
 
 and 101 inches. — Italy. (Plate 76, Cat. No. 179014, U.S.N.M.) 
 
 97. Manuscript of two parchment leaves of a missal. — With illumi- 
 nated initials. Dimensions, 20 by 14 inches. — Italy. (Cat. No. 
 179012, U.S.N.M.) 
 
 98. Canon of the mass {Canon Missae). — Containing that part of 
 the mass which is permanent and unchanging in its prayers and 
 ceremonies, hence the name, ^ ‘ canon — that is, rule, or fixed stand- 
 
no. 2287. COLLECTION OF ECCLESIASTICAL ART—CASANOWICZ. 617 
 
 ard. Printed in red and black characters at Venice in 1624. The 
 title-page is adorned with vignettes depicting the Acts of the Apostles, 
 while two full-page illustrations represent the Last Supper of Christ 
 with the Apostles, and the Trinity, and celebration of the Eucharist, 
 respectively. Bound in red Bussian leather, gold- tooled with the 
 archepiscopal arms of Venice. Height, i4-J inches; width, 10 inches. — 
 Venice* Italy. (Cat. No. 214725, U.S.N.M.) 
 
 99. AntipJionany {AnU'phonarium oMreviatum: videlicet dominicale 
 et fesiivum ) . — Contains hymns and psalms which are chanted alter- 
 nately by tv7o choirs. Printed in Latin in red and black letters at 
 Venice in 1547. Bound in sheepskin. Height, 14 inches; width, 
 9f inches. — Venice, Italy. (Cat. No. 288986, U.S.N.M.) Gift of 
 Miss Louise Salter Codwise. 
 
 100. Pontificate Romanum, — ¥7ith wooden stand. The pontifical 
 contains the ritual for the performance of rites and functions re- 
 served for a bishop, such as the consecration of churches, altars, 
 and sacred vessels ; the administration of the sacraments of confirma- 
 tion and ordination, as fixed by Pope Clement VIII (1592-1605). 
 Printed in Latin in red and black characters at Antwerp, Belgium, 
 in 1707. Bound in leather and covered with red velvet. With 
 gilt and tooled edges. Height, 6J inches; width, 4 inches. — Atrato 
 River, Colombia, South America. (Cat. No. 286447, U.S.N.M.) 
 Lent by Col. David duBose Gaillard. 
 
 OBJECTS OF VENERATION AND DEVOTION. 
 
 CEOSSES AND CRUCIFIXES. 
 
 The cross essentially consists of an upright and a transverse piece 
 placed upon one another in various forms; a crucifix is a cross with 
 a figure fixed on it. The cross was a common instrument of capital 
 punishment among the ancients. It was also and is still a most 
 common religious symbol of pre-Christian and non-Christian reli- 
 gions, and, like the triangle and other geometric figures, it is some- 
 times merely ornamental in origin with no symbolic significance. 
 In Christianity, on account of the death of Christ upon the cross, it 
 became the principal symbol of faith and emblem of salvation. 
 
 There are four principal types of the cross: 1. The Tau cross 
 
 {crux commissa) , from its form of the Greek Tau T, also called St. 
 Anthony’s cross, after the legend that St. Anthony (about 251-356) 
 exterminated the idols of Egypt with such a cross; it is the earliest 
 form of the cross. 2. The equilateral or Greek cross, where two 
 equal arms cross one another at right angles in the middle. 3. St. 
 Andrew’s cross {crux decussata) , when two shafts of equal length are 
 crossed diagonally in the middle X , so-called, because the Apostle 
 St. Andrew is supposed to have been martyred upon such a cross; 
 4. The Latin cross {crux iimrdssa, or capitata), in which the upright 
 
618 
 
 PROCEEDINGS OF THE NATIONAL MUSEUM. 
 
 VOL. 55 .. 
 
 is longer than the transverse beam and is crossed by it near the 
 top -j-. It is the form supposed to have been used in the crucifixion 
 of Christ. A variety of this cross is the Lorraine or Jerusalem 
 cross, with two transverse bars, the upper one shorter than the 
 lower so-called, because Godfrey de Bouillon, Duke of Lorraine, 
 when chosen by the Crusaders as the first king of Jerusalem (1099), 
 adopted this cross. It is also called the cardinal cross, because it 
 is one of the distinctive insignia of cardinals and archbishops. 
 
 101. Processional cross. — Made of bronze. With trefoil ends (cross 
 botone). From the four angles of the junction of the two beams 
 issue rays. Above is a tablet with the title: J N B J, the initials of 
 Jesus Nazar enus Bex Judaeorum (Jesus of Nazareth, King of the 
 Jews), the inscription Pilate is recorded to have placed upon the 
 cross of Christ (John xix, 19-20). With a socket for inserting a 
 pole. Church processions are always headed by a cross fastened 
 on a pole. Height, 33 inches. — From a church of San Domingo^, 
 Valley of Mexico. (Plate 77, Cat. No. 158316, U.S.N.M.) 
 
 102. Processional (?) cross. — Made of bronze, richly adorned in 
 chased and hammered work. At the ends are medallions repre- 
 senting, respectively: On top, God the Father holding in the left 
 hand a cross and with the right giving the blessing; to the right,. 
 Mary; to the left, probably John the Baptist; and below, John the 
 Evangelist, holding the cup of the Eucharist. The figure of Christ 
 was broken away. With a tang for inserting into a shaft. Height 
 12 inches. — Italy. (Plate 78, Cat. No. 152231, U.S.N.M.) 
 
 103. Ivory cross with appurtenances of the Passion. — The cross 
 proper rises from a post which is set into a base. Both the post 
 and the base have on their sides a sort of railing in open work. The 
 base rests upon a plinth and this again is placed on a platform. At 
 the corners of the base are tv/isted columns and on top of the corners 
 of the base as well as of the plinth and platform are carved vases. 
 The front and back are adorned with rosettes and clusters of grapes.. 
 The whole stands on rounded feet. 
 
 The objects connected with the Passion represented on this cross 
 are, beginning at the top, a pelican. From the habit of this bird 
 of storing food in the large pouch attached to its lower mandible for 
 the purpose of feeding its young, which it does by pressing the pouch 
 against the breast, arose the belief that it opened its breast with its 
 bill to feed its young with its own blood — a belief which seemed to 
 derive support from the red at the end of the bill, and thus the 
 pelican became a symbol of Christ’s love for his church. 
 
 Underneath is the tablet inscribed with the title, I N R I — Jesus 
 Nazarenus Rex Judaeorum (Jesus of Nazareth, King of the Jews — 
 John xix, 19-20). Upon the transverse beam are, at the right end 
 (of the plate) a winged sphinx, at the left a winged, horned griffin. 
 
1^0.229,1. COLLECTION OF ECCLESIASTICAL ART—CASANOWICZ. 619 
 
 To the right of the vertical beam a hand, and to its left a vase. 
 These, with the bundle or tuft fastened to a staff seen next to the 
 sphinx, may either refer to the episode of the alabaster vase with 
 precious ointment which Mary of Bethany poured upon the feet of 
 Jesus and dried them with her hair, shortly before the Passion 
 (John xii, 3), or to that of the washing of the feet of the disciples by 
 Jesus (John xiii, 4-5), while next to the griffin is the lance with which 
 Jesus’ side was pierced (Matthew xxvii, 49). On the front of the 
 transverse beam is in the center the crown of thorns (Matthew xxvii, 
 28), and to its sides the hammer and tongs, respectively, and a nail 
 at either side of them. Beneath the transverse beam are, in suc- 
 cession, the seamless coat of Jesus and the dice which the soldiers 
 used in castinglotsforit (John xix, 23-24) ; two swords (Luke xxii, 38 
 and 50); the lantern which the officials used in their search for Jesus 
 (John xviii, 3) ; and the handkerchief, or sudarium of Veronica. This 
 refers to the story that when Jesus passed her door, bearing his cross,. 
 Veronica, touched with compassion, wiped the drops of agony from 
 his face, and the features of Jesus were imprinted upon the cloth. 
 According to another account Veronica was the woman that was 
 healed by touching Christ’s robe (Matthew ix, 20-21). Desiring a 
 portrait of him, St. Luke thrice painted it. Then Jesus said to her,^ 
 ‘‘Unless I aid you, Luke’s art is in vain, for my face is only known 
 to him who sent me.” Afterwards, being at her house, he asked for 
 water to wash his face, and returned to her the napkin with the por- 
 trait. Five cities claim the possession of the genuine sudarium of 
 Veronica — Turin in Italy, Toulouse, Besan^.on, and Campiegne in 
 France, and Soriat in Spain (?). Veronica herself is honored by a 
 shrine at the right hand of the high altar of St. Peter’s in Rome, and 
 her festival is observed on the 4th of February. 
 
 Farther down, a cherub; skull and crossbones, emblematic of 
 Christ’s triumph over death and the grave, or it may be intended to 
 indicate Golgotha, the place of skulls (Matthew xxvii, 33). It is also 
 explained as the skull of Adam, according to the tradition that the 
 cross was placed on the resting place of the first father of mankind. 
 Upon a sort of platform underneath is placed the cock of St. Peter 
 (Matthew xxvi, 34 and 74). From the platform rise on staffs to the 
 right the cup of vinegar and to the left the sponge which was dipped 
 into it and reached up to Jesus on the cross (Matthew xxvii, 48). 
 Diagonally placed are the ladder for mounting up to the cross, and 
 the pillar, with the rope wound around it, with which Jesus was 
 bound to the pillar to be scourged (Matthew xxvii, 26). Lastly, 
 the vase and basin which rest on the base may either be intended for 
 the vessels whxh Jesus used in washing the feet of the disciples 
 (John xiii, 4-5), or for those in which the spices were brought to the 
 grave to anoint the body of Jesus (John xix, 39; Comp. Mark xvi, 1). 
 
620 * 
 
 PROCEEDINGS OF THE NATIONAL MUSEVM. 
 
 VOL. 55 . 
 
 Height, 18J inches. — From the old Mission Church at Jemez, New 
 Mexico. (Plate 79, Cat. No. 211877, U.S.N.M.) 
 
 104. Wooden cross. — Inlaid with straw to represent the instru- 
 ments of the Passion. Height, 21 inches. — From an old Spanish 
 church in Caboica, Senora, New Mexico. (Cat. No. 179041, U.S.N.M.) 
 
 105. Wooden cross. — Inlaid with straw in a lozenge pattern. 
 Height, 21 inches. — From an old Spanish church in Caboica, Senora, 
 New Mexico. (Cat. No. 179042, U.S.N.M.) 
 
 106. Wooden crucifix. — With the figure of Christ in mother-of- 
 pearl. Height, 3| inches. — Palestine. (Cat. No. 74617, U.S.N.M.) 
 
 107. Lorraine crucijix. — Made of silver, openwork. Pendant. 
 Height, 31 inches. — Nurnberg, Germany. — (Cat. No. 286813, 
 (U.S.N.M.) Lent by Miss Julia Halsted Chadwick. 
 
 108. Glass Consisting of cut crystals fixed to a frame of 
 
 brass rods. Pendant. Height, 3J inches. — Probably from Italy. 
 (Cat. No. 262158, U.S.N.M.) Lent by Mrs. G. Brown Goode. 
 
 109. Woodmen crucifi.x. — Inlaid with pieces of looking-glass. The 
 figure is of white metal and fastened to a chased metal plate. The four 
 ends are likewise encased in metal, terminating in trefoils (cross 
 hotone). Pendant. Height, 5J inches. — Spain. (Cat. No. 286814, 
 U.S.N.M.) Lent by Miss Julia Halsted Chadwick. 
 
 110. Wooden crucifix. — With the figure of Christ of brass. Over 
 the crossbeam is the title, 1 N R 1 (Jesus of Nazareth, King of the 
 Jews). At the four ends are medallions, representing, at the top, a 
 dove, symbol of the Holy Ghost (Matthew iii, 16) ; to the right, the 
 bust of Christ; to the left, the bust of Mary ; and below a lamb, symbol 
 of Christ (John 1, 29). Height, 44 inches. — Mexico. (Cat. No. 
 277743, U.S.N.M.). Lent by Major Harry S. Bryan. 
 
 111. Pectoral cross. — Made of brass, gilded. Hollow and chased 
 work. Height, 4 inches. — Italy. (Cat. No. 179117, U.S.N.M.) 
 
 112. Lorraine cross. — Made of brass, hammered work. Engraved 
 on one side, "‘San Antoni ora pro me’^ (St. Anthony, pray for me); 
 on the other, “ San Cornelia ora pro me’’ (St. Cornelia, pray for me). 
 Height, 3J inches. — Italy. (Cat. No. 179118, U.S.N.M.) 
 
 RELICS AND RELIQUARIES. 
 
 lielics are the remains of departed saints. They include (1) the 
 bodies or parts of the bodies of the venerated persons; (2) objects used 
 by them or connected with their death, such as clothes, vestments, 
 rosaries, tlie nails, lance, spear, or fragments of the true cross of 
 Christ, the girdle, veil of Mary, etc. ; and (3) objects connected with their 
 tomb or hallowed by contact with their bodies. .Relics are often car- 
 ried in solemn procession, and pilgrimages are made to the churches or 
 mouptsteries in which they are preserved. No church building can be 
 consecrated unless it contains relics. rielif|uaries are repositories of 
 
NO. 2287 . COLLECTION OF ECCLESIASTICAL ART—CASANOWICZ. 621 
 
 relics and are usually made of precious metals and adorned with 
 jewels, in form of a box, casket, or shrine. The veneration of 
 relics dates back to the early centuries of Christianity; in the fourth 
 century it was already widely spread. 
 
 113. Silver reliquary. — Made in form of an ostensory, encompassed 
 by sunbeams. Chased work. Behind the glass is seen a crosslet, 
 supposed to be made from a particle of the true cross. By the ^Mrue 
 cross’’ is meant the actual original cross upon which Jesus was cruci- 
 fied. It is believed by both the Roman Catholic and the Eastern 
 Church that the cross buried upon Golgotha was found in 326 A. D. 
 by the Empress Helena, mother of Constantine the Great, and the 
 church commemorates this event by appointing the 3d of May (in 
 the Eastern Church the 13th of September) as the annual festival of 
 the discovery of the cross {inventi crucis). Height, 8§ inches. — Se- 
 ville, Spain. (Cat. No. 166987, U.S.N.M.) 
 
 114. Reliquary. — Consisting of an oval metal frame. Behmd the 
 glass in front is a tiny cross set in a gilt frame of scroll design. An 
 inscription reads. Lignum S S. crucis D. N. J. C. (wood of the most 
 holy cross of our Lord Jesus Christ). On the back is the episcopal 
 wax seal, attesting to the genuineness of the relic. Diameters, 
 by 1| inches. — Probably from Italy. (Cat. No. 256893, U.S.N.M.) 
 Lent by Mrs. S. Brown Goode. 
 
 115. Relic of St. Anne, mother of Mary. — In an oval case of white 
 metal. On the back is in relief an effigy of Mary and the petition in 
 French, *^0 Mary, conceived without sin, pray for us who take their 
 refuge to thee.” Diameters, 1 inch by | of an inch. — Italy. (Cat. 
 No. 179058, U.S.N.M.) 
 
 116. Relic of St. Peter. — In an oval case of white metal, with the 
 episcopal seal. Diameters, IJ by IJ inches. — Italy. (Cat. No. 
 179061, U. S. N. M.) 
 
 117. Relics of St. Clement. — Consisting of two molar teeth in a brass 
 frame. St. Clement was the third bishop of Rome toward the end of 
 the first century. Diameters, 1| by 14 inches. — Italy. (Cat. No. 
 179060, U.S.N.M.) 
 
 118. Relics of Christ, Mary, St. Joseph, St. Francis a Paula {1416- 
 1507), St. Francis Xavier, 32 (1506-1552), St. Theresa (1515- 
 1582), and St. Aloysius Gonzaga (1568-1591). — In an oval brass case. 
 Diameters, 3 by 2J inches. — Italy. (Cat. No. 179062, L^.S.N.M.) 
 
 119. Relic of St. Charles Borromeo (1538-1584)’ — In an oval case of 
 white metal with the episcopal seal. St. Borromeo was Cardinal and 
 Archbishop of Milan. Diameters, II by 1 inch. — Italy. (Cat. No. 
 179059, U.S.N.M.) 
 
 120. Silver reliquary. — Oval containing relics of Mary, St. Joseph, 
 St. John of the Cross (1542-1591), and St. Theresa, framed by a floral 
 design in filagree work, studded with colored stones. With the epis- 
 
622 
 
 PROCEEDINGS OF THE NATIONAL MUSEUM, 
 
 TOL. 5& 
 
 copal seal. Height, 3 inches; width, 2J inches. — Italy. (Cat. No. 
 179037, U.S.N.M.) 
 
 121. Silver reliquary. — With miniature painting of Mary. Spanish 
 worlananship. Brought to New Mexico in 1783 by Padre Sanchez. 
 Diameters, 4 and 3 inches. — -Pueblo of Tesuque, New Mexico. (Cat. 
 No. 176080, U.S.N.M.) 
 
 122. Silver reliquary . — With miniature paintings. Height, 2\ inches; 
 width, 2 inches. — Madrid, Spain. (Cat. No. 178864, U.S.N.M.) 
 
 123. Sacred heart. — Model of a burning heart, made of brass. The 
 
 adoration of and devotion to the sacred heart of Jesus, as a noble part 
 of his person and a symbol of his love, became general and popu- 
 lar in the Catholic Church through Margaret ^larie Alacoque, a 
 French nun of the Visitation Order, w'ho lived in the seventeenth cen- 
 tuiy. Since 1856 a yearly feast in honor of the sacred heart is cele- 
 brated on Friday after the feast of Corpus Christi. Height, 2J 
 inches. — Italy. (Cat. No. 179063, U.S.N.M.) 
 
 IMAGES. 
 
 The cult of images is practiced both in the lloman Catholic and in 
 the Eastern Church. In the Poman Catholic Church both pictures 
 and statues are used, while the Eastern Church forbids statues. The 
 doctrine of the Roman Catholic Church concerning the veneration of 
 images, as formulated by the Council of Trent (1563), is that the 
 images of Christ, of the Virgin Mother of God, and of the saints are to 
 be had and retained particularly in temples, and that honor and ven- 
 eration are to be given them; not that any divinity or virtue is be- 
 lieved to be in them on account of vdiich they are to be worshiped, or 
 anything is to be asked of them, but because the honor vdiich is shovm 
 to tliem is referred to the prototypes which those images represent; in 
 such wise that by the images v^hich vm kiss, and before which we un- 
 cover the head and Imeel, we adore Christ and venerate the saints 
 whose likenesses they bear. The cult paid to imiages is designated 
 with the Greek word dulia (secondary veneration), in contradistincton 
 from latria (supreme worship), v^hich is allowed to be offered to God 
 only. 
 
 124. Jesus in Gethsemane. — Representing Jesus kneeling with the 
 cup in front of him (Matthew xxvi, 36). Carved in relief upon a piece 
 of limestone from the liver Jordan.— Jerusalem, Palestine. (Cat. 
 No. 76975, U.S.N.M:.) 
 
 125. Wooden figure of Clmst.— The long curled locks are held by 
 the crown of thorns of gilded brass ; behind the head rises a cruciform 
 halo of the same material; around the loins is a kind of apron, like- 
 vdse of gilded brass, with birds and flora] designs in respousse work, 
 vdiile undei it is a loin cloth of blue satin. In the haiids and feet, 
 vdiich latter are crossed over one anothei, are the holes of the nails, 
 
NO. 2287. COLLECTION OF ECCLESIASTICAL ART—CASANOWICZ. 623 
 
 and on the left side of the chest is the hole caused by the spear (John 
 xix, 34). The figure evidently was part of a ciucifix. Height, 12 
 inches. — Philippine Islands. (Plate SO, Cat. No. 213405, U.S.N.M.) 
 
 126. Wooden figure of Christ. — Similar to the preceding one. The 
 loin cloth consists of a piece of brocade, with gold applique. Height, 
 28 inches. — Philippine Islands. (Cat. No. 213405, U.S.N.M.) 
 
 127. Cloak of figure. — Made of red satin, with the letters J H S 
 {Jesus hominum Salvator — Jesus Saviour of Mankind) and fleurs-de-lis 
 in gold applique. — Philippine Islands. (Cat. No. 213-408, U.S.N.M.) 
 
 128. The Lord’s Supper. — Engraved on the shell of the peail oyster. 
 Measurements, 6 by 6 inches. — Bethlehem, Palestine. (Plate 81, 
 fig. 1, Cat. No. 74542, U.S.N.M.) 
 
 129. The Ascension. — Engraved on the shell of the pearl oyster. 
 Ai’ound the center repiesenting the Ascension are 12 medallions, 
 representing the apostles with their emblems, in the following order: 
 1, St. Petei with the keys; 2, vSt. Paul with the sword; 3, St. Matthew 
 with the pick; 4, St. James the Lesser with the club; 5, St. John 
 with the chalice; 6, St. James the Elder with the pilgrim’s staff; 
 7, St. Philip with the small cross; 8, St. Bartholomew^ with the book 
 and knife; 9, St. Andrew with his cross (the crux decussata, see above 
 p. 617); 10, St. Thomas with the architect’s square; 11, St. Matthias 
 with the ax; 12, St. Simon with the saw. Measurements, 6 by 6 
 inches. — ^Bethlehem, Palestine. (Plate 81, fig. 2, Cat. No. 74541, 
 U.S.N.M.) 
 
 130. Bust of Mary. — Made of terra cotta, painted and gilded. 
 Mary, the mother of Christ, is venerated in the Catholic Church as 
 the most exalted of created beings. She is called the ‘^Blessed 
 Virgin,” the ^‘Holy Virgin,” ^‘Our Lady” (Italian ‘^Madonna”), and 
 since the Council of Ephesus in 431 the designation ^‘Mother of God” 
 is formally applied to her. While the veneration paid to other saints 
 is termed dulia, she alone is entitled to hyperdulia, and her intercession 
 is invoked more than that of ail others. She is the patroness of many 
 countries, cities, and societies. In ecclesiastical art she occupies a 
 most important position, and all the chief events of her life have 
 formed the subjects of artistic representation. Height, 12 inches. — 
 Italy. (Cat. No. 179049, U.S.N.M.) 
 
 131. Virgin of the Pillar.” — Statuette made of brass, chiseled 
 work, representing Mary standing upon a pillar, holding in her left 
 arm the Infant Jesus, both crowned, with a halo of rays and stars. 
 This is a model of a celebrated statue of that name (Nuestra Senora 
 del Pilar) at Saragossa in Spain. Tradition asserts that the Virgin, 
 standing upon a pillar, appeared to St. James (San Jago), the apostle 
 and patron saint of Spain, when he was making a missionary pilgi’im- 
 age through Spain. Height, 7 inches. — Spain. (Cat. No. 178866, 
 U.S.S.N.M.) 
 
624 
 
 PROCEEDINGS OF THE NATIONAL MUSEUM, 
 
 VOL. 55 . 
 
 132. Virgin of the Pillar,” — ^Miniatm^e statuette of silver, gilded. 
 Height, 2| inches. — Spain. (Cat. No. 178865, U.S.N.M.) 
 
 133. Statuette of Mary. — Called Virgin of Good Friday.’’ Made 
 of brass, chiseled work. Height, 4^ inches. — Madrid, Spain. (Cat. 
 No. 178867, U.S.N.M.) 
 
 134. Bust of Mary. — Made of papier-mache, with a dome-shaped 
 crown. Height, 10 inches. — Italy. (Cat. No. 179052, U.S.N.M.) 
 
 135. “ Pieta.” — ^Mary holding the body of Christ. Statuette of 
 wood, painted. Height, 13 inches. — Italy. (Cat. No. 179048, 
 U.S.N.M.) 
 
 136. ‘‘Pieta.” — The same as the preceding one. Height, 12 
 inches. — Italy. (Cat. No. 179048a, U.S.N.M.) 
 
 137. Crown. — Made of bronze, gilded, and adorned with colored 
 stones. Dates from the seventeenth century. It decorated an 
 image of Mary, in the demolished church of St. Anna, the former 
 nunnery, Zbraslovski Dom, in Prague, Bohemia. Height, 5 inches; 
 diameter, 4 inches. — Prague, Bohemia. (Cat. No. 154776, U.S.N.M.) 
 
 138. Porcelain jjlague. — Bepresenting Mary, in relief. Dated 
 1795. Height, 13 inches; width, 9f inches. — Florence, Italy. (Cat. 
 No. 214721,' U.S.N.M.) 
 
 139. Porcelain plague. — Painted with three figures — Mary, crowned, 
 and two women performing the devotion of the rosar}^ before her. 
 Dated from the seventeenth century. Height, 9f inches; width, 10^ 
 inches. — Italy. (Cat, No. 152242, U.S.N.M.) 
 
 140. Silver medallion. — Representing, on one side, Mary with 
 the Infant Jesus; on the other, a burning heart pierced by a sword, 
 alluding to Luke ii, 35. Set in silver filigree. Measurements, If by 
 IJ inches. — Italy. (Cat. No. 179056, U.S.N.M.) 
 
 141. Miniature of Mary. — Painted on glass. Diameters, 2 and 
 If inches. — Spain. (Cat. No. 178869, U.S.N.M.) 
 
 142. Two jjrocessional banners. — Made of white metal. Embossed 
 on one side with the figure of Mary, holding in the right hand a 
 rosary, on the left arm the Infant Jesus; on the other side, with the 
 figure of St. Dominic, to whom the introduction of the rosa^ry in its 
 present form is ascribed, holding a lily, which is his emblem. Prob- 
 ably used at the feast of the rosary, vdiich is celebrated on the first 
 Sunday in October. Measurements, 10 by 7 inches. — Italy. (Plate 
 82, Cat. No. 179070-071, U.S.N.M.) 
 
 143. Silver medallion. — Representing, on one side, St. Peter; on 
 the other, St. Paul. Set in silver filigree. Diameter, IJ inches. — 
 Italy. (Cat. No. 179057, U.S.N.M.) 
 
 144. Mace of St. Sebastian. — Made of white metal, terminating 
 at the top in a statuette of the saint. St. Sebastian was, according 
 to traditioip a Roman soldier and Cliristian martyr, having been 
 shot to death about 288 A. D., by order of Diocletian. He is vener- 
 
NO. 2287. COLLECTION OF ECCLESIASTICAL ART—CASANOWICZ. 625 
 
 ated in the Catholic Church as patron of sharpshooters and pro- 
 tector from pestilence. He is usually represented as a fair youth 
 bound to a pillar or tree and riddled with arrows. The mace was 
 probably carried in procession on his festival, on the 20th of January. 
 Length, 2 feet 1 inch. — Italy. (Cat. No. 179068, U.S.N.M.) 
 
 145. Porcelain plaque representing St. Anthony of Padua. — St. 
 Anthony, born in Lisbon, Portugal, in 1195; died near Padua, Italy, 
 in 1231; was a Franciscan theologian and preacher to whom the per- 
 formance of many miracles are attributed. He was canonized by 
 Gregory IX in 1232, and his day in the Koman calendar is June 13. 
 He is especially invoked for the recovery of things lost. Diameters, 
 14 by 8J inches. — Italy. (Cat. No. 179035, L^.S.N.M.) 
 
 146. Porcelain plaque of the Sodality of St. Anthony of PoAua . — 
 Dated 1620. A sodality is a congregation or association consisting 
 of lay persons, meeting together at stated times, under ecclesiastical 
 direction for the performance of pious exercises. Diameters, 14 by 12 
 inches. — Italy. (Cat. No. 179036, U.S.N.M.) 
 
 147. St. Theresa. — Statuette of wood. St. Thereas (born 1515, 
 died 1582) was a Spanish nun of the Carmelite (Jrder, of which she 
 founded a reformed branch. She is famous as a writer of mystical 
 and ascetical works. She was canonized in 1622, and is also vener- 
 ated, next to St. James, as patron saint of Spain. Height, 21 
 inches. — Italy. (Cat. No. 179-047, U.S.N.M.) 
 
 148. St. Theresa. — Souvenir of the tercentenar}^ anniversary of 
 her death in 1582. Plaque of white metal bearing her image. Height 
 4J inches; width, 2 \ inches. — Madrid, Spain. (Cat. No. 167043, 
 U.S.N.M.) 
 
 PRINTS. 
 
 They are for the greater part representations of images or paintings 
 which are preserved and venerated in some church, mostly in Siena, 
 Italy. 
 
 149. Christ on the cross. — Print on paper. To the right stands 
 Adam in the attitude of adoration; to the left, a winged figure in 
 Corinthian helmet, holding in the right hand a lance and with the 
 left pointing to the crucified; belov/ lies Eve in sleep. A serpent is 
 biting the feet of Christ, in allusion to Genesis iii, 15. S§ by 6f 
 inches. — Italy. (Cat. No. 179079, U.S.N.M.) 
 
 150. The Holy Child of Cebu {Santo Nino de Cebu). — Print on paper. 
 
 ‘ ‘ The oldest miraculous image is the Holy Child of Cebu, reputed to 
 have been found on the shore of the island of Cebu in 1565. It is said 
 to be an image of the Holy Child Jesus. It is a wooden image 15 
 inches long, with ebon features, and is kept in a strong room in the 
 church of ‘the Holy Child, on the island of Cebu. lYhen exposed to • 
 view before the populace it has the honors of field marshal accorded 
 
 62055— Proc.N.M.vol.55— 19 40 
 
626 
 
 PROCEEDINGS OF THE NATIONAL MUSEUM. 
 
 VOL. 55 . 
 
 to it. During the annual feast held in its honor, January 20, pilgrims 
 from the remotest islands and from across the sea come to purify 
 their souls at the shrine of the Holy Child.” ^ 29J by 20 inches. — 
 
 Manila, Philippine Islands. (Cat. No. 205542, U.S.N.M.) 
 
 151. Madonna of the Olive. — Print on paper. Representing the 
 Madonna with the Infant Jesus, with cherubs fluttering over them. 
 Inscribed above in Latin, ‘^Like a green olive tree in the house of 
 God.” (Psalm iii; in the Catholic Bible, li, 8.) Below is stated, 
 in a colophon in Italian, that it is a ^‘representation of the miraculous 
 image of the Most Holy Mary of the Olive which is kept in the Church 
 of Picve Vecchia, which was carried in procession in Siena in 1820 
 with a relic of the veil of the same Virgin.” 11 by 8 inches. — Siena, 
 Italy. (Cat. No. 179080, U.S.N.M.) 
 
 152. Madonna- of Intercession. — ^Print on paper. Representing the 
 Madonna with the Infant crowned. The colophon in Latin states 
 that the original is preserved in a chapel of the metropolitan church 
 at Siena for the solemn supplication on Low Sunday — that is, Sunday 
 next after Easter {dominica in alhis, the Sunday of white garments, 
 from the white robes worn in early times by those who had been bap- 
 tized just before Easter). 14 1 by lOJ inches. — Siena, Italy. (Cat, 
 No. 179081, U.S.N.M.) 
 
 153. Madonna, crowned. — Print on paper. Surrounded by float- 
 ing cherubs and worshiped on one side by a monk, on the other by a 
 nun. The colophon states that it is a representation of the image 
 which is venerated in the Church of Insigne Collegiata of Provenzano. 
 It was crowned in 1681 and carried in procession on Low Sunday of 
 1850 with relics of St. Bernardine, St. Catherine, and others. 14| by 
 lOJ inches. — Siena, Italy. (Cat. No. 179082, U.S.N.M.) 
 
 154. Madonna of Good Counsel. — Print on paper. Representing 
 the Madonna with the Infant crowned, surrounded by cherubs. 
 Below is a mountain scenery with a church or citadel. The original 
 is, as the colophon states, venerated in the Church of St. Leonard in 
 Siena and was carried in procession on Low Sunday of 1833, together 
 with a relic of the veil of Mary and the relics of John the Baptist, St. 
 Jerome, St. Anthony of Padua, and St. Eurosia. 15 by 10 inches. — 
 Siena, Italy. (Cat. No. 179083, U.S.N.M.) 
 
 155. Madonna. — Print on paper. Representing the Madonna in 
 a columned shrine which is supported by two cherubs and surmounted 
 by a crown, orb, and cross which are held by two cherubs. The whole 
 is surrounded by aureole of rays and framed in a wide arch. Beneath 
 to the right is a female saint holding a lily stalk and a book; to the 
 left, a male saint holding a paten or tray. In the upper corners are 
 deer. It is a representation of the miraculous image of Holy Mary 
 of Insigne Collegiata of Provenzano in Siena. It was crowned No- 
 
 1 Rev. Curtin G. Roop in the Missionary Review, vol. 15 (September, 1902), p. 685. 
 
2287. COLLECTION OF ECCLESIASTICAL ART—CASANOWICZ. 627 
 
 vember 1, 1681, and carried with solemn pomp in procession with a 
 relic of the veil of Mary, the pallium of the patriarch St. Joseph, and 
 the relics of Saints Concittadio, Bernardino, Catherine, Ludovico, and 
 Cristina on Low Sunday of 1850. 23 by 18 inches.— Siena, Italy. 
 
 (Cat. No. 179084, U.S.N.M.) 
 
 156. Madonna of Grace. — Print on paper. Representing the Ma- 
 
 donna with the Infant, both crowned in a frame which is upheld by 
 two angels, while over it are floating three cherubs, and the whole is 
 inclosed in a wide arch. The inscription states that the original is 
 venerated in the chapel of Pope Alexander VII in the Sanesi Metro- 
 politana, and was carried in solemn procession on Low Sunday of 
 1860. 21 by 14| inches. — ^Siena, Italy. (Cat. No. 179085, U.S.N.M.) 
 
 157. Madonna. — Print on paper. Representing the Madonna with 
 Infant and a female saint on either side. The original is venerated in 
 the Church of the Servites (Servi Beatae Mariae Virginis, founded in 
 1240) at Siena and was carried in procession on Low Sunday of 1817. 
 11 J by 8J inches. — Siena, Italy. (Cat. No. 179086, U.S.N.M.) 
 
 158. Madonna of the Rosary. — Print on parchment. Representing 
 the Madonna with the Infant crowned, holding a rosary and cross, 
 respectively, and surrounded with 15 cameos depicting the 15 mys- 
 teries of the rosary (for which see below, p. 630). 3J by2J inches. — 
 Italy. (Cat. No. 179087, U.S.N.M.) 
 
 159. Madonna of the Rosary. — ^Print on paper. Representing the 
 
 Madonna with the Infant crowned, both holding rosaries, the Infant 
 also holding in the right haiid the terrestial orb surmounted by a 
 cross (symbolizing the subjection of the world to the cross). In the 
 corners are cherubs. The original is venerated in the Church della 
 Contrada della Chiocciola and was carried in procession on Low Sun- 
 day of 1870. 15J by 11 inches. — ^Italy. (Cat. No. 179090, U.S.N.M.) 
 
 160. Madonna of Devotion. — Print on paper. Representing the 
 Madonna with the Infant crowned within a portal of the renaissance 
 style. In the gable are a dove (symbol of the Holy Ghost) and four 
 cherubs in clouds from which rays issue, and surmounted by a crown 
 and cross which are supported by two cherubs. On the sides are 
 cheruhs holding lighted candelabra. The original is venerated by 
 the Venerable Society of Maria de Portico della di Fontegiusta and 
 was carried in procession, together with relics, on Low Sunday of 
 1818. llj by 8i inches. — Italy. (Cat. No. 179088, IT.S.N.M.) 
 
 161. Madonna with the Sword in Her Bosom. — Print on silk. In 
 
 allusion to Luke ii, 35. 7| by 6f inches. — Italy. (Cat. No. 179089, 
 
 U.S.N.M.) 
 
 162. Madonna of the Immaculate ConcejAion. — Print on paper. 
 Representing the Madonna crowned with a halo of stars and a scepter 
 in her right hand, standing in an arch v/ithin a portal of the renais- 
 sance style. In the gable are a dove and three cherubs in a circle of 
 
628 
 
 PROCEEDINGS OF THE NATIONAL MVSEEM. 
 
 VOL. r>5. 
 
 rays and surmounted by a crown which is held by two floating cher- 
 ubs. The original is venerated in the parochial Church of St. 
 Mamiliano in the Valli suburb of Siena, and was carried in procession 
 on Low Sunday of 1849 together with relics. 17J by 12J inches. — 
 Siena, Italy. (Cat. No. 179091, U.S.N.M.) 
 
 163. Satin 'print. — Containing, in Italian, a sonnet, commemo- 
 rating the annual festival of John the Baptist, celebrated by a society 
 named after him. 22 by 19J inches.- — Siena, Italy. (Cat. No. 
 152247, U.S.N.M.) 
 
 164. St. Dominic. — Print on silk St. Dominic, born at Cartha- 
 gena, Spain, in 1170, died at Bologna, Italy, in 1221, was the founder 
 of the order of the Dominicans or Preaching Monks in 1216. He is 
 represented with his emblem, the lily stalk. 13 by 9-^- inches. — 
 Italy. (Cat. No. 152248, U. S. N. M.) 
 
 165. St. Bernardine of Siena. — Print on paper. St. Bernardine, 
 1380-1444, was a member of the Minorites of St. Francis, a mission- 
 ary and reformer. He is often called the ‘^Apostle of Italy,” and is 
 one of the most popular saints of Italy, especially of his native city^ 
 Siena. 5f by 4J inches. — Siena, Italy. (Cat. No. 179097, U.S.N.M.) 
 
 166. St. Loyola. — Print on paper. From a print by Bolswert after 
 a painting by Bubens. St. Ignatius Loyola, born in Loyola, Spain^ 
 in 1491, died in Rome, Italy, in 1556, was the founder of the Society 
 of Jesus. 15J by lOJ inches. — Italy. (Cat. No. 179096, U. S. N. M.) 
 
 167. Suarez. — Print on paper. Francisco Suarez, born in Granada,. 
 Spain, in 1548; died in Lisbon, Portugal, in 1617, was a noted Jesuit 
 theologian and scholastic philosopher. 12 by 8J inches. — Italy. 
 (Cat. No. 179094, U.S.N.M.) 
 
 168. Plessis. — Colored print on paper. Joseph Octave Plessis,. 
 
 1763-1822, was bishop of Quebec from 1806 to 1822. 13J by O^- 
 
 inches. (Cat No. 179095, U.S.N.M.) 
 
 169. Twenty-four plates. — Depicting the revelations and visions of 
 Joannes de Malta, a native of the Provence, France, founder of the 
 order of the Trinitarians for the redemption of captives {ordo Sanctae 
 Trinitatis et de redemptione captivorum) in 1198. Printed in Paris, 
 France, in 1633, bound in vellum. 14f b^^ lOJ inches. (Cat. No. 
 28528, U.S.N.M.) 
 
 170. Theological disputation. — Print on paper. It was held in 
 
 Siena in November, 1781. 24 by 21 inches. — Siena, Italy. (Cat. 
 
 No. 179099, U.S.N.M.) 
 
 171. Philosophical disputation. — Print on paper. It took place at 
 
 Siena in April, 1790. 36J by 20J inches. — Siena, Italy. (Cat. No. 
 
 No. 179100, U.S.N.M.) 
 
 172. Bronze doors of the cathedral of Pisa. — Three leaves with one 
 of Italian text giving the histoiy and description. The bas-reliefs 
 of the doors, which depict the lives of Mary and Jesus, were executed 
 
NO. 2287 . COLLECTION OF ECCLESIASTICAL ART—CASANOWICZ. 629 
 
 by the Dominican Padre Domenico Partigiani and Angelo Serrano 
 after the designs of Giovanni da Bologna and others about 1602. 
 23 by 18 inches.- — Italy. (Cat. No. 179093, U.S.N.M.) 
 
 173. Wooden die for pictures of the Madonna. — Z\ by 2f inches. — 
 Italy. (Cat. No. 179064, U.S.N.M.) 
 
 174. Leaden Die for the Picture of Saint Romuald (about 
 950-1027) founder of the Gamaldolese order. — Oval, 24 by 1| inches. — • 
 Ital}^. (Cat. No. 179065, U.S.N.M.) 
 
 RELIGIOUS MEDALS. 
 
 Religious medals have the object to commemorate persons (Christ, 
 ^»Iary, saints, and angels) and historical events (dogmatic definitions, 
 miracles, anniversaries, dedications, etc.). They are issued by 
 various ecclesiastical authorities and by confraternities for badges 
 and decoration of their members. They are worn by the faithful 
 and believed to be, by reason of their having been blessed by a priest, 
 a means of grace and to possess protective virtues. 
 
 175. Out of about 350 of such medals in the collection of the 
 United States National Museum, 16 are reproduced on the plate. 
 They represent — 1, St. Benedict (480-543), founder of the order of 
 the Benedictines; 2, St. Joseph and the Infant Jesus; 3, the Virgin 
 with the Infant; 4, the Virgin, surrounded by rays; 5, Leo XIII, 
 Pope, 1878-1903; 6, the sacred hearts of the Holy Family (Jesus, 
 Mary, Joseph); 7, head of St. Anastasius, monk and martyr; 8, St. 
 Benedict; 9, St. Louis de Gonzaga (1568-1591), holding a crucifix 
 and a skull; 10, the Trinity; 11, the Holy Family; 12, St. Francis 
 of Assisi (1182-1226), founder of the order of Franciscans; 13, Virgin 
 and the Infant, enthroned; 14, arms of the Capuchins of Milan, 
 Italy, in 1856; 15, St. Joseph with the Infant; 16, the Virgin with the 
 Infant, crowned. — Italy. (Plate 83, Cat. No. 179077, U.S.N.M.) 
 
 VOTIVES. 
 
 Votive offerings are set up in churches or chapels as a thanks- 
 giving for some signal answer to prayer, resulting in the deliverance 
 from peril or the cure of disease. Usually a likeness of the part of 
 the body healed, in silver or some other material, is put up. The 
 custom was also in vogue among the ancient Greeks and Romans. 
 
 176. Votive offerings. — Made of silver foil. Consisting of models 
 of two hearts, an arm, a pair of e 3 "es, a pair of breasts, a praying 
 woman, and a child. ^ — Italy. (Cat No. 179069, U.S.N.M.) 
 
 177. Votive offerings. — Made of hollow wax. Representing a 
 pair of eyes, an arm, and the foot of a horse.^ — Seville, Spain. (Cat. 
 No. 167064, U.S.N.M.) 
 
 178. Votive offering. — Made of silver amalgam in form of a tower. 
 Height, 2J inches. — Potisi, Bolivia. (Cat. No. 179104, U.S.N.M.) 
 
630 
 
 PROCEEDINGS OF THE NATIONAL MV SEEM. 
 
 VOL. 55 . 
 
 ROSARIES. 
 
 The rosary (from the Middle Latin, rosarium, properly a garland 
 of roses) is a string of beads, generally formed into a circlet or loop, 
 used for keeping count of prayers or formulas repeated in religious 
 devotions. The materials of which it is made range from natural 
 berries or common wood to costly metals and precious stones. Such 
 devices to assist the memory in complex repetitions occur also among 
 the Hindus, Buddhists, and Mohammedans. In fact, it can be said 
 that some form or other of rosary is used by about three-fourths of 
 the world’s inhabitants. The Roman Catholic rosary in its present 
 form and the method of devotion performed with its aid is ascribed 
 to St. Dominic (1170-1231), the founder of the Dominican order, to 
 whom, according to legend, the Virgin Mary handed a rosary from 
 heaven as a weapon against heretics and infidels. But both the 
 practice of often repeating prayers and the employment of some 
 expedient for recording the number of repetitions can be traced to a 
 much earlier date.^ 
 
 The ordinary Catholic rosary consists of 150 small beads, divided 
 into decades by 15 larger beads. To these beads, forming a chaplet, 
 is usually attached a pendant, consisting of a crucifix, one large and 
 three small beads. The devotion begins with the invocation. ‘‘In 
 the name of the Father, the Son, and the Holy Ghost.” Then the 
 Apostles’ Creed is recited on the crucifix, a paternoster (the Lord’s 
 Prayer) on the larger bead, and three Ave Maria (Hail Mary) on the 
 three smaller beads, closing with the Gloria (Glory be to the Father, 
 to the Son, and to the Holy Ghost”). This forms the introduction 
 to the rosary proper. Then follow decades of aves, counted by the 
 smaller beads, each decade preceded by a paternoster, for which a 
 larger bead is used, and followed by a gloria. The 150 aves cor- 
 respond to the number of Psalms, hence from an early period the 
 devotion was called ‘^Our Lady’s Psalter.” For each decade a 
 subject, or mystery,” in the life of Christ and Mary is set for medi- 
 tation, the 15 mysteries being divided into five joyful, five sorrowful, 
 and five glorious. The five joyful mysteries are: The annunciation 
 (Luke i, 26), the visitation (Luke i, 39), the nativity (Luke ii), the 
 presentation (Luke ii, 21), and the finding in the temple (Luke ii, 
 41). The five sorrowful mysteries are: The agony in Gethsemane 
 
 (Matthew xxvi, 36), the scourging (Matthew xxvii, 26), the crowning 
 with thorns (Matthew, xxvii, 29), the carrying of the cross (John 
 xix, 17), and the crucifixion (Matthew xxvii, 35). The five glorious 
 mysteries are: The resurrection (Matthew xxviii), the ascension 
 
 (Luke xxiv, 50), the descent of the Holy Ghost (Acts ii), the assump- 
 
 1 For a fuller discussion of the subject see The collection of rosaries in the United States National Museum, 
 by I. M. Casanowicz, Pro.c. U. S. Nat. Mus., vol. 36, pp. 333-360, with pis. 21-30, Washington, Government 
 Printing Office, 1909. 
 
22^1. COLLECTION OF ECCLESIASTICAL ART—CASANOWICZ. 631 
 
 tion of Mary into heaven, and the coronation of Mary in heaven 
 (the two last mysteries are accepted on the authority of tradition). 
 The rosary most in use, however, consists of five decades for the aves 
 and five larger beads for the paters, called the ^desser rosary.” 
 Otherwise it is arranged in the same way and recited in the same 
 manner and order as the ^‘greater” or ^duH” rosary. Tlie entire 
 devotion of 15 decades may be said on it by counting it three tim.es. 
 
 Besides this Dominican rosary,” which is used in common by 
 all Catholics, there are other varieties of chaplets used by particular 
 religious bodies or for special devotions. So the chaplet of St. 
 Bridget of Sweden (about 1303-1373), which consists of 63 beads 
 for the aves, to commemorate the 63 years which Mary is supposed 
 to have lived; the crown of our Lady, in use among the Francis- 
 cans, has 72 aves, based on another tradition of Mary’s age; and 
 others more. 
 
 The Feast of the Rosary is observed on the first Sunday in October 
 as the anniversar}^ of the victory of the Christians over the Turks 
 in the naval battle at Lepanto, near the Eohinades Islands, on 
 October 7, 1571, which is attributed to the power of the devotion 
 of the rosary. 
 
 Rosaries are usually blessed with prayers and holy water by some 
 duly authorized ecclesiastical person and become thereby sacramen- 
 tals — that is, instruments of grace. 
 
 179. Eosary of mother-of-yearl . — ^The full or greater Dominican 
 rosary. The 15 decades are divided b}^ the insertion in two places 
 of four extra beads, one large and three small ones, into three divi- 
 sions of five decades each. The chain on vrhich the beads are strung, 
 as also the figure of Christ on the crucifix, are of German silver. 
 Length, 7 feet. — Italy. ( ?) (Plate 84, Cat. No. 288983, U.S.N.M.) 
 Gift of Miss Louise Salter Codwise. 
 
 180. Rosary . — Made of the seeds of the Virginia fringe tree. 
 (CJiioantlius virginica) . The lesser Dominican rosary of five decades 
 The cross is of olive vnod from Mount Olive, bound in Japanese 
 silver. Of the same metal are also the figure of Christ and the chain 
 on which the beads are strung. Length, 53 inches. — Washington, 
 District of Columbia. (Plate 85, Cat. No. 275575, LT. S. N. M.) Gift 
 of Frederick J. Braendle. 
 
 181. Rosary . — Made of the Kentucky coffee beans (Gymnocladus 
 dioica). The lesser Dominican rosary of five decades. The cross of 
 olive wood is bound in Japanese silver. Of tlie same metal is the 
 figure of Christ and the other appurtenances of the crucifix — nameJy 
 the title (/ N R I) and the rhomb-shaped nimbus above the figure, 
 the skull and crossbones (for the significance of wiiich see above 
 p. 619) underneath, and the crown of thorns on the back of the 
 
632 
 
 PROCEEDINGS OF THE NATIONAL AIUSEUM. 
 
 VOL. 55 . 
 
 crucinx. Lengthy 71 inches. — Washington, District of Columbia. 
 (Cat. Mo. 302930, U.S.N.M.) Gift of Frederick J. Braendle. 
 
 182. Rosary. — Made of ebony beads. The full or greater Domini- 
 
 can rosary of 15 decades. The cross, which is of the same material 
 as the beads, is bound in silver-plated nickel, with the figure of 
 Christ on one side, amd a crown of thorns with a burning heart inside 
 of it, of the same metal, on the other. Length, 6 feet inches. — 
 
 Italy. (Cat. No. 179075, U.S.N.M.) 
 
 183. Rosary. — Made of glass and composition beads. The full 
 or greater Dominican rosary of 15 decades. The beads for the aves 
 are of glass, while those for the paters, as also the three introductory 
 beads, are of composition. Length, 4 feet 4 inches. — Italy. (Cat. 
 No. 179075, U.S.N.M.) 
 
 184. Rosary. — ^Made of mahogany beads. The lesser Dominican 
 rosary of five decades. On each of the beads are carved four sets 
 of double circles, or ^^eyes.^’ The cross (in place of a crucifix) 
 is likewise formed of beads. Length, 5 feet 3 inches. — Italy. (Cat. 
 No. 179075, U.S.N.M.) 
 
 185. Rosary. — Made of olive-wood beads, carved with intersecting 
 circles. The lesser Dominican rosary of five decades. In place 
 of the crucifix is a bronze medal, three-fourths of an inch in diameter, 
 with the bust of Pius IX and the date 24 (the number of years of 
 his reign) on the obverse; on the reverse is the figure of the Pope, 
 in full pontificals, on his throne, attended by cardinals, and the 
 Latin inscription, Ecumenical Council, 1869,’^ referring to the 
 Vatican Council which was opened in that year. This rosary was 
 blessed by Pius IX in 1873. Length, 37 inches. — Rome, Italy. 
 (Plate 86, fig. 1, Cat. No. 168294, U.S.N.M.) Collected by Gen. 
 John A. Halderman. 
 
 186. Rosary. — Made of ivory beads. The lesser Dominican 
 rosary of five decades. The beads for the aves are faceted, while 
 the pater beads are barrel-shaped. In place of the crucifix is a 
 
 ^copper medal, 1^ inches in diameter, having on the obverse the 
 image of the Virgin with the Infant Jesus crowned; on the reverse, 
 a much effaced Latin inscription. Length, 40 inches. — Italy. 
 (Plate 86, fig. 2, Cat. No. 179075, U.S.N.M.) 
 
 187. Rosary. — Made of Job^s tears. The lesser Dominican rosary 
 of five decades. The cross of ebony is bound in brass and has the 
 same appurtenances as the one described under No. 182. Length, 
 33 inches. ^ — ^Italy. (Plate 86, fig. 3, Cat. No. 179075, U.S.N.M.) 
 
 188. ifomry.— Made of composition. Consisting of seven sets, 
 each having seven beads. This rosary is used in honor of the seven 
 sorrows of Mary — namely, the prophecy of Simon (Luke ii, 35); 
 the flight into Egypt (Matthew ii, 13); the losing of Jesus in the 
 temple (Luke ii, 48); seeing Jesus carrying the cross (John xix, 17); 
 
NO. 2287. COLLECTION OF ECCLESIASTICAL ART—CASANOWICZ. 633 
 
 standing under the cross (John xix, 25); the piercing of Jesus’ side 
 with the lance (John xix, 34); and the lowering of Jesus’ body into 
 the sepulcher (Matthew xxvii, 60). In place of the pater beads 
 are seven brass plaques, representing each on one side, Mary with 
 seven swords piercing her heart; on the other, the incidents in Christ’s 
 life enumerated above. The cross is formed of brass. Length, 33 
 inches. — Italy. (Plate 86, fig. 4, Cat. No. 179075, U.S.N.M.) 
 
 189. Rosary. — Made of blue glass beads. The lesser Dominican 
 rosary of five decades. The five pater beads are of the seeds of the 
 Abrus 'precatorius (called ^Tn*abs’ eyes,” or jumble beads”). In- 
 closed in an egg-shaped box of bone. Length, 12 inches ; diam.eters 
 of the box, If inches. — Madrid, Spain. (Plate 86, fig. 5, Cat. No. 
 167020, U.S.N.M.) 
 
 190. Rosary. — Of green glass beads. The lesser Dominican rosary 
 of five decades. In place of the crucifix is an oval brass plaque bear- 
 ing the image of the Virgin of Guadelupe of Mexico. The paters are 
 marked by double beads of the same size and color as those of the 
 aves. Length, 26 inches. — Mexico. (Cat. No. 179075, U. S. N. M.) 
 
 191. Rosary. — Of wooden beads, painted black. The lesser 
 Dominican rosary of five decades. Worn at the girdle by members 
 of the Fraternity of Misericordia {Arcicor^froiernita de Santa Maria 
 della, Misericordm) in Italy. Length, 50 inches. — Pisa, Italy. 
 (Cat. No. 153893, U.S.N.M.) 
 
 192. Rosary. — Made of composition. The Franciscan rosary of 
 seven decades. This rosary is used for the devotion in honor of the 
 seven mysteries in the life of Mary — namely, the conception (Luke i, 
 26) ; the visitation (Luke i, 39) ; the nativity (Luke ii) ; the adoration of 
 the magi (Matthew ii); the presentation (Luke ii, 21); the finding in 
 the temple (Luke ii, 41); and the apparition after the resurrection to 
 Mary. The rosary is provided with tv/o rings for suspending from 
 the girdle. Length, 6 feet, 8 inches.— Italy. (Plate 87, fig. 1, Cat. 
 No. 179075, U.S.N.M.) 
 
 193. Rosary. — Of black glass beads. The lesser Dominican rosary 
 of five decades. An oval bronze medal. If and If inches in diameter, 
 which takes the place of the crucifix, has on one side the bust of St. 
 Ignatius Loyola (1491-1556), the founder of the Society of Jesus, 
 on the other, the figure of St. John of Nepomuk, the patron saint of 
 Bohemia, who was martyred in 1393. The rosary is provided with 
 two rings to be suspended from the girdle. Length, 55 inches. — 
 Italy. (Plate 87, hg. 2, Cat. No. 179075, U.S.N.M.) 
 
 194. Rosary. — Of wooden beads. Used in the devotion of the 
 crown of our Lord. Consists of 33 beads for the paters, to com- 
 memorate the years of Christ’s life on earth, and five for the aves, 
 in honor of the five vvoimds. The crucifix is substituted by a brass 
 medal, 14 inches in diameter, engraved with the instruments of the 
 
634 
 
 PROCEEDINGS OF THE NATIONAL MUSEUM, 
 
 VOL. 55 . 
 
 passion and the Latin words, ^‘The passion of Christ save us, the pas- 
 sion of Christ comfort me.'’ Between the ave beads is inserted a 
 piece of bone, IJ inches high, carved with the faces of Christ and 
 Mary, and a skull. Length, 47 inches. Italy. (Plate 87, fig. 3, 
 Cat. No. 179075, U.S.N.M.) 
 
 195. Rosary. — Made of composition beads. Consisting of three 
 sets of nine beads each, separated by an oval brass plaque, which 
 has on one side a representation of the Trinity, on the other, the 
 Gloria in Latin. Length, 21 inches. — Italy. (Plate 87, fig. 4, Cat. 
 No. 179075, U.S.N.M.) 
 
 RELIGIOUS ORDERS. 
 
 196. Jlahit of a Benedictine monk. — Consisting of a cassock, a 
 scapular (that is, a piece of cloth passing over the head and hanging 
 down over the shoulders), and a cowl. The order of Benedictine 
 monks was founded by St. Benedict of Nursia, Italy, in 529. It was 
 the first monastic order established in the Occident, and its organiza- 
 tion became the model upon which ail the monasteries of the western 
 church were formed. Common to all monastic orders are the three 
 vows of obedience, chastity, and poverty. The Benedictine monks 
 w’^ere bound by their rule to cultivate the land and to read and copy 
 manuscripts. — Italy. (Cat. No. 154312, U.S.N.M.) 
 
 197. Hahit of Dominican monk. — Consisting of a cassock, scapular, 
 and cowl of white wool. The Dominican order was founded by St. 
 Dominic, called de Guzman, in 1204. Its chief original purpose 
 was to preach, especially to infidels and heretics. It is, therefore, 
 called tlie ^‘preaching order.” The Dominicans are also called 
 Black Friars, because of the black cloak worn by them out of doors. — 
 Italy. (Cat. No. 154312b, U.S.N.M.) 
 
 198. Habit of a Caimcliin monk. — Consisting of upper garment, 
 cowl of brown cloth, and rope girdle. The Capuchins are a branch 
 of the Franciscan order, established by Matteo di Bassi, of Urbino, 
 in 1526. They derive their name from the long-pointed capuche, or 
 cowl, which is the distinguishing mark of their dress. Their regula-’ 
 tions oblige them to live by begging, and not to use gold, silver, or 
 silk, even in the decoration of their churches and altars. — Italy. 
 (Cat. No. 154312, U.S.N.M.) 
 
 199. Costume of th e Fraternity of the Misericordia. — Consisting of a 
 loose hooded cassock of black stuff, held by a girdle from which a 
 rosary is suspended, and a broad-brimmed felt hat. The Fraternity 
 of the Misericordia {Pia Arciconfraternita de Santa Maria della 
 Misericordm) is believed to have been instituted in 1244 and is 
 surviving to the present day in many cities and towns of Italy. 
 Besides taking care for the burial and the performance of the funeral 
 rites of the dead and friendless its members also discharge the func- 
 tion of an ambulance corps, dealing with accidents as they occur and 
 
NO. 2287 . COLLECTION OF ECCLESIASTICAL ART—CASANOWICZ. 635 
 
 carrying the sick to the hospitals. Its membership is recruited from 
 all ranks of society, and the active work is carried on by the members 
 in person. The funds needed for the work is obtained by mute 
 appeals of the members in public places and at the doors of churches, 
 for which they hold out an aim box and from the fees of the member- 
 ship. When on duty the members wear a costume of the cheapest 
 material which completely envelopes and disguises them; even the 
 face is hidden by a covering in which only two holes are left for the 
 eyes. — Pisa, Italy. (Plate 88, Cat. No. 153893, U.S.N.M.) 
 
 200. Devotions in Honor of the Stigmata and Festival of St. Francis 
 of Assisi. — Printed in 1740 at Pome. St. Francis, born 1182, died 
 1226, in ^issisi, Italy, was the founder of the Franciscan order. 
 According to tradition he received, in 1224, while absorbed in prayer 
 and contemplation on Monte Alverno, the stigmata of Christ— that is, 
 an imitation of the wounds of Christ was miracuously impressed upon 
 his body. He was canonized in 1228. — Rome, Italy. (Cat. No. 
 2:14724, U.S.N.M.) 
 
 201. Disciplinary girdle. — Made of wire. It is sometimes worn by 
 monks and other devout persons as a means of mortification and of 
 subduing the passions. Length, 3 feet. — Italy. (Plate 89, fig. 1, 
 Cat. No. 179067, U.S.N.M.) 
 
 202. Disciplinary scourge . — Made of twisted wire. They are em- 
 ployed by monks and other devout persons as a means of mortifi- 
 cation and of subduing the passions. — Italy. (Plate 89, fig. 2, 
 Cat. No. 152252, U.S.N.M.) 
 
 SCAPULAKS, 
 
 Scapular (from middle Latin scapularis, pertaining to the shoulders, 
 Latin scapulae j shoulder blades, shoulders), is primarily the name 
 given to a portion of the monastic habit in certain religious orders, 
 consisting of a long narrow strip of cloth which passes over the head, 
 covering the shoulders and hanging down in front and behind. With 
 the growth of fraternities of lay people affiliated with the religious 
 orders the practice grew up among devout persons of wearing under 
 the ordinary dress a small scapular consisting of two little pieces of 
 cloth adorned with a picture of the Virgin, a cross or some other 
 religious symbol and joined by strings, in honor of Mary. Certain 
 religious obligations and exercises and sundry spiritual privileges, 
 such as indulgences, are attached to the wearing of it. The scapular 
 was brought into use in the thirteenth century by St. Simon Stock, 
 an Englishman, general of the Carmelite Order. 
 
 203. Scapular. — Consisting of two pieces of brown cloth, measuring 
 by 3J inches, one of which is embroidered with a shield, crown, 
 
 and crosses; the other with a pelican, the S 3 ^mbol of Christ (see 
 above, p. 618), and connected b}^ strings. — Italy. (Cat. No. 179072, 
 U.S.N.M.) 
 
636 
 
 PROCEEDINGS OF THE NATIONAL MVSEVM. 
 
 VOL. 55 . 
 
 204. Scapular. — Consisting of two pieces of cloth, stamped with 
 the figures of Mary and other saints, and connected by strings. 
 Measurements, 2 by If inches. — Italy. (Cat. No. 179073, U.S.N.M.) 
 
 205. Scapular. — Consisting of two pieces of brown cloth, measuring 
 2f by IJ inches, stamped with the figure of Mary crowned, with the 
 infant Jesus, both holding scapulars, with cherubs above and below 
 and the words Na. Sa. del Carmen, our Lady of Carmen ( ? Carmel). — 
 Italy. (Cat. No. 179074, U.S.N.M.) 
 
 206. Scapular. — Consisting of two pieces of cotton cloth, measuring 
 24 by 2 inches, one of which is stamped on one side with the figure 
 of Christ with a burning heart; on the other, with the figure of a saint 
 and an ostensory. The other is stamped on one side with the figure 
 of Mary with a burning heart; on the other, with *the figure of a 
 female saint. — Manila, Philippine Islands. (Cat. No. 216990, 
 U.S.N.M.) 
 
 MISCELLANEOUS. 
 
 207. Fish. — Made of metal. On one side is a Greek cross, on the 
 other the Christ monogram in relief. With a chain for suspension. 
 The form of a fish was a favorite symbol on the early Christian 
 monuments, alluding to the waters of baptism; also because the 
 initial letters of the Greek word for fish contained the confession 
 ^Mesus Christ, Son of God, Saviour.’’ Length, 9 inches. — Italv. 
 (Cat. No. 179010, U.S.N.M.) 
 
 208. Olive palm. — Palm leaf combined with an olive branch. In 
 some churches in Italy it is blessed by the priest on Palm Sunday 
 and sold at the church door. Protective properties are attributed to 
 it, and it is kept over the bed till the following year. This specimen 
 w^as blessed at the Santa Felicita Church in Florence, in 1892. Length, 
 2 feet 5 inches. — ^Fiorence, Itah^ (Cat. No. 179076, U.S.N.M.) 
 
 209. Certificate of indulgence. — Manuscript written on vellum. 
 Granted by Pope Alexander VIII (1689-1691), on March 20, 1690, to 
 the Church of the Fraternity of Holy Intercession, in Siena, Italy. 
 Indulgences are granted by the Roman Catholic Church for the re- 
 mission of the temporal punishment due to sin, after the removal of 
 guilt and eternal punishment of sin in the sacrament of penance, and 
 which must be discharged either in this life or after death in purgatory. 
 The recipient must be in a state of grace, and has to perform certain 
 good works, as giving of alms, fasting, attending mass, making 
 pilgrimages, etc. By way of intercession, indulgences may be applied 
 by the recipient to shorten the sufferings of souls in purgatory. 
 Measurements, 154 bv 54 inches. — Siena, Italy. (Cat. No. 214723, 
 U.S.N.M.) 
 
 210. Poppad hull. — Manuscript, vuitten on parchment, dated 1781, 
 with a leaden seal, Iiaviiig on one side the busts of SS. Peter and Paul; 
 on the other, the name Pius VII (Pope 1775-1799), attached by a 
 
NO. 2287 . COLLECTION OF ECCLESIASTICAL ART—CASANOWICZ. 637 
 
 cord of yellow silk. A bull is a document issued by a pope. The 
 name is derived from the Latin hulla, a bubble floating upon water; 
 then a boss, a circular plate. In course of time it came to be applied 
 to the leaden seals with which papal and royal documents were 
 authenticated in the Middle Ages, and by a further development the 
 name from designating the seal was eventually attached to the docu- 
 ment itself. The seal has always on one side a representation of the 
 Apostles Peter and Paul on the other the name of the reigning Pope, 
 and is attached by a silken cord if it be a “buU of grace, and by one 
 of hemp if a ^Tull of justice.’’ Measurements of the parchment, 26| 
 by 32 inches; diameter of the seal, If inches. — Italy. (Cat. No. 
 179078, U.S.N.M.) 
 
 211. Leaden stam]) of Pius If Poj^e Hd 8-1464. — On one side are 
 represented the heads of SS. Peter and Paul; on the other is the 
 name Pius Papa II. Diameter, 1^^ inches. — Italy. (Cat. No. 179105, 
 U.S.N.M,) 
 
 212. Leaden stamp of Clement Xf Pope 1700-1721 . — On one side 
 are the busts of SS. Peter and Paul, with a cross between them; on the 
 other, Clemens Papa XI, with a rayed cross above. Diameter, 
 inches. — Italy. (Cat. No. 179106, U.S.N.M.) 
 
 213. Leaden stamp of Clement XIII, Pope 1758-1769. — On one side 
 are the busts of SS. Peter and Paul, with a cross between them; on 
 the other, Clemens Papa XIII, with a rayed cross above. Diameter, 
 If inches. — Italy. (Cat. No. 179107, U.S.N.M.) 
 
 214. Pontifical album.. — Consisting of 12 colored pictures, showing 
 the Roman Catholic hierarchy and papal attendants. — Rome, Italy. 
 (Cat. No. 179103, U.S.N.M.) 
 
 215. Pontifical album. — Consisting of 12 colored pictures, showing 
 the officials and attendants of the papal court.— Rome, Italy. (Cat. 
 No. 179104, U.S.N.M.) 
 
 216. Wooden cas^.— Gilded and decorated with the papal arms. 
 Height, 9i inches; length, 12 inches; diameter, 51 inches. — Italy. 
 (Cat. No. 152243, U.S.N.Mi) 
 
 217. Wooden oval tablet. — Carved round the edge with leaf pattern, 
 and in the center with the letters J H S (Jesus Jiominum salvator — 
 Jesus Saviour of Mankind) in relief. Diameters, 15 and 11 inches. — 
 Italy. (Cat. No. 179066, U.S.N.M.) 
 
 218. Terra-cotta candlestick. — From the shaft in the center branch 
 out four arms. With fine moldings. Height, 9^ inches; diameter 
 of the base, 7^ inches.- — Italy. (Cat. No. 152245, U.S.N.M.) 
 
 219. Terra-cotta lamp. — In the center of the top is the Christ 
 monogram IK. in relief, while round the edge are circles, enclosins:: 
 each a cross, alternating with loops. Height, IJ inches; length, 4J 
 inches. — From the Catacombs of Rome, Italy. (Cat. No. 152246, 
 U.S.N.M.) 
 
638 
 
 PROCEEDINGS OP THE NATIONAL MVSEVM. 
 
 VOL. 55 , 
 
 220. Terra-cotta lamjL — On the top the Christ monogram in beaded 
 characters. Height, 1% inches; length, 4-J- inches. — From the Cata- 
 combs of Rome, Italy. (Cat. No. 152246, U.S.N.M.) 
 
 221. Terra-cotta lamp. — On top dove holding an olive branch, the 
 symbol of peace, in its bill, surmounted by a winged caduceus (the 
 staff of Mercury). Height, 1|: inches; diameter, 2| inches. — From 
 the Catacombs of Rome, Italy. (Cat. No. 152246, U.S.N.M.) 
 
 222. Delftware f ask. — Decorated with the letters J H S (Jesus 
 Saviour of Mankind). Height, 74 inches; diameter, 6 inches. — 
 Italy. (Cat. No. 152244, U.S.N.M.) 
 
 223. Jug. — Of Guadalupe ware. Used b}" pilgrims to the shrine of 
 
 Guadalupe, near the City of Mexico, to carry away holy water. 
 Height, 11 inches. — Guadalupe, Mexico. (Cat. No. 179102, 
 
 U.S.N.M.) 
 
 224. Two corner fixtures. — Made of brass, openwork. Perhaps 
 used for the corners of the binding of a missal or the Gospels. Meas- 
 urements, 54 by 4 inches. — Spain. (Cat. No. 178868, U.S.N.M.) 
 
 225. Panel painting. — Representing the Virgin and Infant in the 
 sky, and below some worshippers. Signed, P. G. R. 1711. Height, 
 7% inches; width, 11 inches. — Italy. (Cat. No. 164846, U.S.N.M.) 
 
 226. Church lantern. ( ?) — Made of wood, carved, painted, and 
 gilded. Triangular. The columns of the three angles are carved in 
 the form o’f caryatides, overtopped by a sort of cupola, terminating 
 in a knob. Height, 24 inches; width, 114 inches. — Italy. (Cat. 
 No. 179039, U.S.N.M.) 
 
 227. Parasil {umhrellino). — The cover is of blue cotton, with 
 trimmings and fringes of yellow silk. Perhaps used to hold over the 
 ostensory when carried in procession. Height, 30 inches. — Italy. 
 (Cat. No. 179019, U.S.N.M.) 
 
 II. ECCLESIATICAL ART OF THE EASTERN CHURCH. 
 
 The Eastern Church, also called the Greek Catholic, the Orthodox 
 Greek, or, briefly, the Orthodox Church, its full title being the Holy 
 Oriental Orthodox Apostolic Church, is that branch of the Christian 
 clmrch which predominates in eastern Europe and western Asia. 
 The dissolution of union (schism) between the eastern and western 
 parts of the Christian church became definite in 1054, when legates of 
 the Roman pontiff deposited on the great altar of the church of St. 
 Sophia at Constantinople the sentence of excommunication against 
 Caerularius, the patriarch of Constantinople. It was brought 
 about by political and hierarchical, as well as dogmatical and cere- 
 monial differences w]iich arose between western and eastern Christen- 
 dom, with their representative seats at Rome and Constantinople, 
 in the preceding centuries of the church. 
 
NO. 2287 . COLLECTION OF ECCLESIASTICAL ART—CASANOV^'ICZ. 
 
 639 
 
 The Greek Catholic Church has, in common with the Eoman 
 Catholic Church, the doctrines of seven sacraments, namely; bap- 
 tism, chrism (confirmation), penance (preceded by confession), 
 eucharist (the Lord's supper), ordination, marriage, and extreme 
 unction; besides the sacrifice of the mass; the religious veneration 
 of Mary, the saints, images, relics, and the cross; the hierarchical 
 degrees; and monasticism. 
 
 Its peculiar tenets are mainly as follows: It adheres only to tlie 
 decrees of the first seven ecumenical councils. It teaches the pro- 
 cession of the Holy Ghost from the Father alone. It denies the 
 dogmas of the immaculate conception of Mar}^ and of the supremacy 
 and infallibility of the Homan pontin, and rejects the doctrine of 
 purgatory, of works of supererogation, and indulgences, but prays 
 for the dead that God would have mercy on them on the day of 
 judgment. 
 
 Its ritual and ceremonial differences from those of the VvTstern 
 Church are chiefly the following: Baptism is administered b}^ three- 
 fold immersion; chrism (confirmation) is conferred immediately after 
 baptism and by a priest (not by a bishop) ; in communion both bread 
 and wine are given to the laity and even to infants, the bread being 
 put into the wine; anointing (extrem^e unction) is performed on the 
 sick, not the dying; and fasts are kept on Wednesday and Friday. 
 
 The clergy of the Greek Catholic Church are divided into two 
 classes — the black clergy (so called from their dress), or monks, and 
 the vrhite, or secular clergy. The former live in celibacy, and from 
 among them are chosen the higher hierarchical grades — that is, the 
 patriarchs, metropolits, archbishops, and bishops. The lower 
 secular clergy, comprising popes (priests), deacons, subdeacons, and 
 readers, must be married before receiving orders, but can not marry 
 a second time. 
 
 The churches of the Greek Catholic Church are mostly built in 
 form of a cross. In Russia they are generally crowned with one or 
 more cupolas of a bulbous shape, which are surmounted by a cross. 
 Sometimes there is a belfry standing separate from the church. The 
 altar space, which usually faces east, is divided from the main body 
 of the church by a board partition, called iconostas (image stand), 
 which is covered with imiages of Christ and the saints, and contains 
 three doors. The service is performed behind this screen, and only 
 at certain stages are the middle doors, called the “sacred," or “royal 
 gates," opened. There are no benches in the churches, the people 
 standing during service. No organ or any other instrumental 
 music is permitted, but the mass is generally accompanied by choral 
 singing, and the choirs are composed entirely of men and boys. 
 
 The Orthodox Church consists at the present of 16 separate in- 
 dependent branches, who profess the same faith, use the same liturgy 
 
640 
 
 PROCEEDINGS OF THE NATIONAL MUSEUM. 
 
 VOL. 55 . 
 
 (though in different languages), and are in commimion with one 
 another. They are: 1-4, the patriarchates of Constantinople, Alex- 
 andria in Egypt, Antioch in Syria, and Jerusalem in Palestine; 5, 
 Cyprus: 6, Russia; 7, Carlowitz; 8, Hermannstadt (both in Austria- 
 Hungary); 9, Czernowitz in the Bukovina; 10, Bosnia and Herze- 
 govina; 11, Serbia; 12, Montenegro; 13, Bulgaria; 14, Rumania; 15, 
 Greece, and 16, Mount Sinai, consisting of only the monastery. 
 
 THE RUSSIAN ORTHODOX CHURCH. 
 
 Russia received its Christianity in the tenth century, under Olga 
 and Vladimir the Great (984-1015), from Constantinople. The 
 Russian Church entirely agrees in doctrine and ritual with the other 
 branches of the Orthodox Church, while in administration it is dis- 
 tinct. At first under the jurisdiction of the patriarch of Constan- 
 tinople, it became in 1589 mdependent, establishing its own patriarch 
 in Moscow. Peter the Great (1689-1725) abolished the patriarchate 
 and set up the Holy Directing Synod in 1721 to rule the church of 
 Russia.^ 
 
 The church in Russia is administered by 86 bishops, of whom 3, 
 those of Kiev, Moscow, and Petrograd, are always metropolits, and 
 14 are archbishops. There are 481 monasteries for men and 249 
 convents for nuns. In America the Russian Church is represented 
 by an archbishop of Aleutia and North America with two suffragans, 
 the bishops of Alaska (with residence in San Francisco), and 
 Brooklyn. 
 
 There are in Russia a great number of sects, most of which ac- 
 knowledge the doctrinal basis of the oriental church, but reject the 
 liturg}^ of the Russian Church as changed by the patriarch Nicon 
 (1654). The}^ are called by the state church Rascolniki (separa- 
 tists), while they call themselves Starnovyertzi (of the old faith). 
 
 228. Russian cover for altar table . — Made of purple croisson silk, 
 with a cross in the center. The sanctuary in an eastern chm*ch is 
 separated from the main body of church by the image screen (iconos- 
 tas), and the laity is not allowed there. In the middle, before the 
 “royal gates,” stands the altar, called “throne,” a solid square 
 stone, covered with a linen cloth down to the ground all around. 
 Over the linen cloth is laid a covering of some rich material, repre- 
 senting the “glory of God.” Besides the “tlmone” is another table, 
 called the “altar of sacrifice” (p'rotJiesis) , on which are the sacred 
 vessels used in the celebration of the mass. These consist of the 
 chalice, paten, which is much larger and deeper than the one used 
 in the Roman Catholic Church; the star — that is, a cross of bent 
 metal which stands over the paten holding the veils which cover the 
 paten and chalice; a spoon for giving communion to the people, a 
 
 i Since the revolution of 1917 the patriarchate of Moscow has been restored. 
 
yo. 2287. COLLECTION OF ECCLESIAi^TICAL ART—CASANOWICZ. 641 
 
 Imife in form of a lance, in allusion to tlie lance which pierced the 
 side of Christ (John xix, 34), with which the bread for the Eucharist 
 is cut up; and two fans, made of a long handle and a flat representa- 
 tion of a seraph with six wings (Isaiah vi, 2), which the deacon 
 washes over the sacrament. Length, 37i inches; width, 34 inches. — 
 Nizhni Novgorod, Russia. (Cat. No. 154785, U.S.N.M.) 
 
 229. Russian cover for altar table. — Made of striped silk, with two 
 crosses in silver applique. Length, 6 feet 2 inches; width, 2 feet 
 1 inch. — Nizhni Novgorod, Russia. (Cat. No. 154788, U.S.N.M.) 
 
 230. Old Russian Church candlestick. — Made of brass. The back^ 
 somewhat in form of a harp, terminates on the end in three flames, 
 arranged in the form of a cross. From the back, which was fastened 
 to the wall, run out five arms in a semicircle. Height, 13 inches; 
 width, 12J inches 9 inches.- — Washington, D. C. (Cat. No. 251899, 
 U.S.N.M.) 
 
 231. Russian- funerary pall. — Made in form of a cross, with the 
 four ends, or wings, to hang down the sides. The center, or top cover, 
 is of yellow silk; the ends are of black velvet. On each of the narrow 
 ends is a double cross of cream colored silk sewed on. On the wide 
 ends is in each corner a skull and crossbones of the same material and 
 workmanship as the crosses on the narrow ends, while in the center 
 of each is a painted oval representing the angel announcing the 
 resurrection of Christ to the two Marys at the tomb (Matthew 
 XXVIII, 1-6). Length, 10 feet 4 inches; width, 6 feet 4J inches.— 
 Nizhni Novgorod, Russia. (Cat. No. 179110, U.S.N.M.) 
 
 ECCLESIASTICAL VESTMENTS. 
 
 The full canonicals of a Greek Catholic priest are: 1, stoicJiarion, a 
 loose shirtlike garment with wide sleeves and reaching to the feet, 
 of any stuff or color, corresponding to the Roman Catholic alb; 2, 
 epimanikia, cuffs, made of silk or brocade and reaching about half- 
 way from the wrist to the elbow; 3, epitrachelion, corresponding to 
 and resembling the Latin stole, only instead of being thrown around 
 the neck, the head is put through a hole in the upper end and it 
 hangs down in front nearly to the feet; 4, zone, girdle; and 5, 
 phaenolion, chasuble, a bell-shaped garment with short wide sleeves, 
 with a hole through which the head is put, reaching to the feet be- 
 hind and at the sides and usuall}^ scooped out in front. Priests of a 
 higher rank (Protopopes in Russia) wear in addition, the epigonation^ 
 a rhomb or lozenge-shaped piece of stiff brocade, about 12 inches in 
 length, suspended from the girdle at the right side, symbolizing 
 the sword of the Spirit. The priesPs every-day attire is a cassock 
 of any sober color. 
 
 The bishop’s liturgical vestments are generall}^ more ornamental 
 than those of a priest, being embroidered with crosses and figures 
 62055 — Proc.N.M.vol.55 — 19 41 
 
642 
 
 PROCEEDINGS OF THE NATIONAL MUSEUM. 
 
 VOL. 55 . 
 
 of the Virgin and of saints. His stoicharion has red and vmite bands 
 running from the shoulders to the feet, and embroidered at the 
 bottom. The e’pitraclielion is worn around the neck and hangs down 
 in the front. In place of the phrienolion the bishop wears a saJclcos, a 
 tunic of puce-colored satin reaching to below the knees, with short 
 sleeves, divided up the sides which are joined by bows of ribbons- or 
 clasps. Over this comes the omophorion, a wide band of silk or 
 velvet passed round the neck, one end hanging down from the left 
 side in front, the other behind, and kept in its place with ornamental 
 pins. The pontifical miter is a high hat which swells out toward the 
 top and is spanned diagonally by two hoops; on the highest point 
 of the dome-shaped top is a cross, either standing upright or placed 
 flat. The bisho]) also wears a pectoral cross and a medallion with 
 the image of the Virgin and Infant, called the panagia or enkolpion, 
 and carries a pastoral staff or crozier {dilmnilcion) . 
 
 The deacon wears the stoicharion, the epimaniJcia, and the epi- 
 trachdion, called orarion, which hangs from the left shoulder, to 
 which it is pinned, straight to the ground before and behind. 
 
 232. Russian priests^ phaenolion. — ^Made of heavy gold brocade, 
 with a Greek cross in gold applique, lined with silver applique, on 
 the back. — Nizhni Novgorod, Russia. (Plate 90, Cat. No. 154783, 
 U.S.N.M.) 
 
 233. Russian priests' phaenolion. — Made of gold and purple silk 
 brocade, with Greek cross in gold and silver applique on the back.— 
 Nizhni Novgorod, Russia. (Cat. No. 154784, U.S.N.M.) 
 
 234. Pastoral staff of a Greek Catholic lishop. — Made of copper 
 tubes, silvered, terminating at the top into two serpents bent into a 
 handle, giving it the appearance of an anchor, the emblem of hope, 
 vvfith a cross surmounting an orb between them. The handle and 
 the cross are gilded. Height, 5 feet 2 inches.^ — Constantinople, 
 Turkey. (Plate 91, fig. 1, Cat. No. 154797, U.S.N.M.) 
 
 235. Costume of a Greek Catholic monlc. — Consisting of — 1, inner 
 coat; 2, soutana; 3, outer coat; 4, gircUe; 5, shoes with goloshes; 6, 
 cylindrical hat, called Kalemaukion, without a brim below, but with 
 a narrow rim at the top. It is worn by all ecclesiastics with the 
 other vestments out of doors and in processions. — Constantinople, 
 Turkey. (Plate 92, fig. 1, Cat. No. 154773, U.S.N.M.) 
 
 RUSSIAN ICONS AND CROSSES. 
 
 The Greek Orthodox Church does not admit sculptured figures 
 into the churches (though they often have numerous statues upon 
 the outside), perhaps because they are reminiscent of the Greek gods. 
 The eastern icon — that is, image of Christ, Mary, the angles, and 
 saints — is alwa}~s fiat; a painting, mosaic, or bas-relief. To imitate 
 an effect of sculpture in the painted pictures placed upon the iconostas 
 
^0.22^1. COLLECTION OF ECCLESIASTICAL ART— CAS AN OW 1C Z. 643 
 
 or the screen which divides the sanctuary from the main body of the 
 churchy the icon, which is generally painted upon wood, is covered, 
 excepting the face and hands, with a raised relief of silver, gold, or 
 pearls, and precious stones, showing all the details and curves of the 
 drapery, clothing, and halo around the flat painted face and hands 
 of the icon. In many Russian churches not only all the waU space 
 but the surface of the columns as well is covered with pictures repre- 
 senting scenes from the Bible or the lives of the saints or religious 
 heroes. Before the icons candlesticks or large lamps are lighted. 
 In the homes such a picture is usually put up in the corner of a room, 
 and before it a lamp burns and devotions are performed. Devout 
 persons wear on a little chain around the neck a small cross or sacred 
 image given them on the day of baptism. 
 
 The cross usually seen in the Russian Church is three-barred, of 
 which the upper bar represents the title of the cross (John xix, 19); 
 the second, the arms; and the lowest, which is always inclined at an 
 angle, the foot rest {suppedaneMin) , on the assumption that one foot 
 of Christ, when suffering, was drawn higher than the other. 
 
 There are in the museum^s collection over 300 icons and crosses, 
 the larger part of brass. A selection from them will be noted below. 
 
 236. Russian icon, Mai^y with infant. — Covered with a silver gilt 
 plate of chased work to represent the clothing, with apertures for 
 faces and hands. Studded with fresh-water pearls, emeralds, ruby 
 spinels, and garnets, which date from the eleventh to the fourteenth 
 century, as they are all drilled and were used for some other purpose 
 before they were put in the frame of the icon. The pictures on the 
 folding doors, representing scenes from the lives of Christ and Mary, 
 were painted by the artist who designed and decorated the cathedral 
 of Nizhni Novgorod, about 1645. Height, 13i inches; width, 171, 
 inches. — Nizhni Novgorod, Russia. (Plate 93, Cat. No. 154779 
 U.S.N.M.) 
 
 237. Russian icon, Mary with infant. — Painted on wood. Height, 
 6J inches; width, 4| inches. — Nizhni Novgorod, Russia. (Cat. No. 
 154778, U.S.N.M.) 
 
 238. Miniature of Christ and Mary. — Oval, painted on porcelain. 
 Christ is represented in half figure, with long hair falling behind, face 
 slightly turned to the left, and hands folded on the bosom. He is 
 covered with a green cloak which leaves his bosom and left arm free. 
 Mary’s minute bust is above, with red garment down over her head. 
 She is represented with hands extended rising above the clouds or 
 looking down from heaven. The porcelain is set in a silver gilt frame, 
 which is provided with a loop for suspension, indicating that it v/as 
 worn as a medallion. An inscription in Russia reads, ‘‘Moscow, 
 April 13, 1796.” Diameters, 2f and lyl inches. (Cat. No. 293052, 
 
644 
 
 PROCEEDINGS OF THE NATIONAL MV SEEM. 
 
 VOL. of). 
 
 U.S.N.M.) Gift of Abraham Burnstine, Washington, District of 
 Columbia. 
 
 239. Miniature head of Christ. — Painted on wood from the cabin 
 built by Peter the Great (1682-1725) and lacquered. Height, 
 inches; width, 1| inches. — Russia. (Cat. No. 281569, U.S.N.M.) 
 Bequest of Homer N. Lockwood. 
 
 240. Russian icon, the Holy Family. — Painted on wood. Height, 
 2f inches; width, 2J inches. — Nizhni Novgorod, Russia. (Cat. No. 
 154777, U.S.N.M.) 
 
 241. Russian icon, Cosmas and Damianus. — Painted on wood. 
 Cosmas and Damianus were two brothers who died as martyrs in the 
 persecution of the Christians under the Roman Emperor Diocletian 
 (303-311 A. D.). Height, 8f inches; width, 6J inches. — Nizhni 
 Novgorod, Russia. (Cat. No. 154781, U.S.N.M.) 
 
 242. Russian icon. — Consisting of a brass triptych. In the center 
 is the Virgin with the Infant; above, God the Father; in the two 
 wings, scenes from the life of Christ. — Nizhni Novgorod, Russia. 
 (Plate 94, fig. 1, Cat. No. 179-120, U.S.N.M.) 
 
 243. Russian icon. — Made of brass. In the center Christ seated, 
 holding in the left hand the Gospels and with the right giving the 
 blessing, surrounded by the Twelve Apostles. Above in a shield, God 
 the Father, holding in his left hand the orb, surmounted by a cross, 
 and with the right hand giving the blessing, and beneath the shield 
 the dove, s 5 unbol of the Holy Ghost, and the whole surmounted by 
 six seraphim, each with six wings (Isaiah vi, 2). — Nizhni Novgorod, 
 Russia. (Plate 94, fig. 2, Cat. No. 179113, U.S.N.M.) 
 
 244. Russian cross. — Made of brass. Representing, in relief, the 
 crucifixion. On top, God the Father and the dove (as in the pre- 
 ceding); under the third oblique bar (the suppedaneum) a skull 
 and cross bones.* — Nizhni Novgorod, Russia. (Plate 94, fig. 3, Cat. 
 No. 179111, U.S.N.M.) 
 
 245. Russian icon. — Consisting of a brass tetraptych, representing 
 in 20 compartments, in relief, scenes from the life of Christ. — Russia. 
 (Plate 95, Cat. No. 211164, U.S.N.M.) 
 
 LITURGICAL BOOKS. 
 
 The liturgies used in the orthodox communities belong to the 
 Byzantine rite. This rite comprises three liturgies — that of St. 
 John Chrysostom, patriarch of Constantinople (died 407); that of St. 
 Basil the Great, bishop of Caesarea in Cappodocia, Asia Minor 
 (died 379) ; and that of St. Gregory Dialogos (Pope Gregory I, 590- 
 604), also called the liturgy of the presanctified. The two latter are 
 used only on special days, while that of St. Chrysostom is the ordinary 
 liturgy. While the ritual is the same in aU the branches of the 
 Orthodox Church, the language in v/hich it is recited is that of each 
 
NO. 2287. COLLECTION OF ECCLESIAi^T ICAL ART—CAFANOWICZ. 645 
 
 people, only usually in the archaic form. Thus, in the Greek-speaking 
 communities it is the old Greek; among the Slavs it is old Slavonik; 
 Rumanian is used by the church of that country and the Rumanians 
 in Hungary; while Syriac is the church language in some parts of 
 S3^ria. 
 
 246. Manual of the services of the Orthodox Church. — Containing a 
 description of the services, rites, and ceremonies of the Greek Ortho- 
 dox Chm’ch, Muth illustrations. Compiled by Archpriest D. Sokolof 
 Translated from the Russian. Printed in New* York and Albany, 
 1899. — Sitka, Alaska. (Cat. No. 259114, U.S.N.M.) Gift of Rev. 
 A. P. Kashevaroff. 
 
 247. The divine liturgies of our fathers among the Saints John 
 Chrysostom and Basil the Great, with that of the Presanctified. — Edited 
 with Greek text by J. N. W. B. Robertson. Printed in black and red 
 letters. The black letters contain the text of the liturgies, while the 
 red the rubrics or directions in performing the various actions of the 
 service, with a colored plate, representing the crucifixion. London, 
 1894. — Sitka, Alaska. (Cat. No. 259107, U.S.N.M.) Gift of Rev. 
 A. P. Kashevaroff. 
 
 248. Octoechos, or Booh of Eight Tones. — Containing the com- 
 memorations, or collects, for each day of the week — namely: Sunday 
 of the resurrection, Monday of the angels, Tuesday of John the Bap- 
 tist and the other prophets, Wednesday of Mary, Thursda}^ of the 
 apostles and St. Nicholas, Friday of the cross, and Saturday of the 
 saints. They are sung in eight varied tones, covering a cycle of eight 
 weeks, hence the name Octoechos. Translated from the Slavic by 
 Prof. N. Orloff. Printed in London, 1898. — Sitka, Alaska. (Cat. 
 No. 259109, U.S.N.M.) Gift of Rev. A. P. Kashevaroff. 
 
 249. Horologion, or Boole of Hours. — Containing the daily devo- 
 tions for the stated or canonical hours. Translated from the Slavic 
 by Prof. N. Orloff. Printed in London, 1897. — Sitka, Alaska. (Cat. 
 No. 259681, U. S.N.M.) Gift of Rev. A. P. Kashevaroff. 
 
 250. Trehnih, or Booh of Needs. — Containing the prayers and serv- 
 ices performed on various occasions, such as churching of a woman, 
 baptism, confession, marriage, visiting the sick, bmial. Translated 
 from the Slavic by S. V. Shann. Printed in London, 1894. — Sitka, 
 Alaska. (Cat. No. 259108, U.S.N.M.) Gift of Rev. A. P. Kashev- 
 aroff. 
 
 III. ECCLESIASTICAL ART OF THE ARMENIAN CHURCH. 
 
 The territory which once formed the Kingdom of Armenia, is the 
 tableland situated between Asia Minor and the Caspian Sea, inclosed 
 on several sides by the ranges of the Taurus and Anti-Taurus, and 
 partly traversed by other mountains, the highest of which is the 
 volcanic peak of the Ararat mentioned in the Old Testament. The 
 
646 
 
 PROCEEDINGS OF THE NATIONAL MUSEEM. 
 
 VOL. 55 . 
 
 Armenian people appear in history about the middle of the sixth cen- 
 tury B. C. The last refuge of Armenian independence was destroyed 
 by the Mamelukes in 1375, and the country is now divided between 
 Turkey, Russia, and Persia. 
 
 The establishment of Christianity in Armenia is ascribed to St. 
 Gregory the Illuminator, the apostle of Armenia. Certain is that 
 Christianity at an early date passed from Syria over into Armenia, 
 and that the Bible was translated into Armenian in the fifth century. 
 
 The Armenian Church agrees in many doctrines and practices with 
 the Greek Orthodox Church. It teaches the procession of the Holy 
 Ghost from the Father only, but maintains the formula of one nature 
 in Christ (monopJiysitism). Baptism is performed by partially im- 
 mersing and then thrice pouring w'ater on the head of the person. 
 Confirmation is performed by the priest at baptism. The Lord^s 
 Supper is administered in both kinds, the broken bread or wafer 
 (unleavened) being dipped in undiluted wine and laid on the tongue 
 of the fasting communicant. Like the Roman Catholic Church the 
 Armenian Church professes belief in seven sacraments, in transub- 
 stantiation, and adores the host in mass, but rejects the doctrine of 
 purgatory, though prayers are offered for the dead. It venerates the 
 cross, the saints and their pictures, and insists on the perpetual 
 virginity of Mary. The church services are performed in the an- 
 cient Armenian language. 
 
 There are kept by the Armenian Church 105 fast days, when no 
 animal food can be eaten; 14 great feast days observed more strictly 
 than Sunday; and more minor feasts than days of the year. 
 
 The clergy of the Armenian Church is divided into nine grades or 
 orders: The catholicos, who is at the head of the entire hierarchy 
 with his seat at Etchmiadzin, near Erivan, the capital of Russian 
 Armenia; patriarchs; archbishops; bishops; priests; deacons; sub- 
 deacons; porters; readers; exorcists; and candle lighters. The priests 
 are divided into two classes — the doctors or teachers (vartaheds) , who 
 must live in celibacy; and the parish priests, who must marry before 
 attaining the rank of subdeacon. Besides the secular clergy there 
 are also monks in the Armenian Church. 
 
 Armenian church buildings are usually small and have massive 
 walls, sometimes 7 or 8 feet thick, and very small windows. They 
 are square and are adorned with a polygonal tower terminating in a 
 short spire. 
 
 251. Costume of an Armenian junest. — Consisting of — 1, tunic; 2, 
 sou tana; 3, girdle; 4, shoes with galoshes; 5, cylindrical hat of blue 
 velvet, with waul ted and fluted top. — Constantinople, Turkey, 
 (Plate 92, fig. 2, Cat. No. 154774, U.vS.N.M.) 
 
 252. Armenian patriarchs sta,f. — Made of copper, silvered, ter- 
 minating in a gilded orb surmounted by a cross. Height, 5 feet 9 
 
^0.22^1. COLLECTION OF ECCLESIASTICAL ART—CASANO WICZ. 647 
 
 indies. — Constantinopie, Turkey. (Plate 91, fig. 2, Cat. No. 154796, 
 U.S.N.M.) 
 
 253. KscJioiz. — Made of white metal. A musical instrument in 
 form of a rayed circle, somewhat like the halo round the head of a 
 saint, with 10 gilded globular tinklers attached on the edge. In the 
 middle of the circle is a six-winged seraph (Isaiah vi, 2) . At certain 
 parts of the celebration of the mass this instrument is shaken with the 
 object, as the ringing of the altar bell in Roman Catholic churches, 
 to excite the attention and devotion of the congregation. Height, 
 19 inches; diameters, II 4 and 9J inches. — Constantinople, Turkey. 
 (Plate 96, fig. 1, Cat. No. 154799, U.S N M.) 
 
 254. Cross ofhenediciicn. — Made of white metal. Used when giving 
 the blessing to the congregation by an ecclesiastic. The Armenian 
 cross differs from the Latin cross b}^ the arms being nearer the top 
 and much shorter. Height, 9^ inches; width, 51- inches. — Constan- 
 tinople, Turkey. (Plate 96, fig. 2, Cat. No. 154798, Pl.S.N.M.) 
 
 255. Flute. — Used for accompanying the chanting of the mass in 
 the Armenian Church. The Armenian Church makes no use of the 
 organ. Length, 31 inches. — Constantinople, Turkey. (Plate 97, fig. 
 1, Cat. No. 154802, U.S.N.M.) 
 
 256. Triangle. — Used during the service of the mass in the Arme- 
 nian Church. Height, 7 inches; base 6 inches. — Constantinople, 
 Turkey. (Plate 97, fig. 2, Cat. No. 154805, U.S.N.M.) 
 
 257. Double hell. — Made of white metal. Used at the conclusion 
 of the service of the mass in the Armenian Church. Height, 8 inches; 
 diameters, 3| and 3 inches. — Constantinople, Turkey. (Plate 97, fig. 
 3, Cat. No. 154801, U.S.N.M.) 
 
 258. Cymbal. — Used in the service of the mass in the Armenian 
 Church. It is struck with a hammer, and the secret of its manufac- 
 ture is said to be known to but one artisan in Constantinople. Diam- 
 eter, 15 inches. — Constantinople, Turkey. (Plate 97, fig. 4, Cat. No. 
 154803, U.S.N.M.) 
 
 259. Pair of cymbals. — Called by the Armenians Dzindzgha. Used 
 in the service of the mass in the Armenian Church. Diameter, 11 
 inches. — Constantinople, Turkey. (Cat. No. 154804, U.S.N.M.) 
 
 MODELS OF ECCLESIASTICAL EDIFICES. 
 
 260. Models of the cathedral, the baptistery, the Campanile or Leaning 
 Tower, ami the Campo Santo of Pisa, Italy. — Made of alabaster and 
 mounted upon a tablet of black marble. The cathedral (duomo) v/as 
 begun in 1063 (or 1067) and consecrated in 1118. It is a basilica of 
 the rom^anesque style of architecture. Its plan is a Latin cross, 311 
 feet long, IO 64 feet across the nave, and four aisles, 237 feet across 
 the transept, and 91 feet high, to the wooden ceiling of the nave. 
 Over the apse is a semidome. The facade has five superposed tiers 
 
648 
 
 PROCEEDINGS OF THE NATIONAL MUSEUM. 
 
 VOL, 55 . 
 
 of arcades with small columns, and a similar arcade is carried round 
 the edifice under the roof. The baptistery which stands in front of 
 the cathedral, erected between 1154 and 1350, is a circular structure 
 with a dome, surmounted by a statue of John the Baptist. It also 
 has two tiers of superposed arcades. Its height is 180 feet; the diam- 
 eter inside is nearly 100 feet, outside 107 feet, so that the walls are 
 about 8 feet thick. The dome is 60 feet in diameter and is supported 
 on four piers and eight pillars. The campanile or leaning tower was 
 in process of construction one hundred and seventy-odd years, 1174- 
 1350. It is a cylindrical structure in eight stories. The lower story, 
 which is solid, has a height of 35 feet and is adorned with 15 three- 
 quarter columns. The six stories above this average 20 feet in 
 height, and are surrounded with an open arcade. The whole is 
 crowned with a similar circular tower, 27 feet high, in which the 
 bells are hung. The entire height is thus 182 feet. The diameter at 
 the base is 52 feet. The tower, in consequence of the giving away 
 of the foundations before the fifth story was reached, leans 11 feet 
 2 inches out of the perpendicular, and adding the 1 foot 10 inches of 
 the projecting cornice, it overhangs the base by 13 feet. 
 
 The Campo Santo, or burial place, was begun in 1278 and com- 
 pleted in 1464. It is an oblong building with a square tower in front, 
 surmounted by a cupola. It contains among others the tomb of 
 Henry VII, Emperor of Germany 1308-1313. It is a veritable 
 museum of medieval painting and sculpture. Height of the bap- 
 tistery of the model, 2J inches. — Pisa, Italy. (Cat. No. 257751, 
 U.S.N.M.) Gift of Mrs. Charlotte Emerson Main. 
 
 261. Model oj a church in Borgund, Norway. — Made of wood. The 
 church is a wooden structure, with many pinnacles, giving it the 
 aspect of a Chinese pagoda and suggesting the house of seven 
 gables.’^ This style of church architecture was at one time very 
 common in Norway, but is fast disappearing. Height, 8 inches; 
 length, 7|- inches; width, 5J inches. — Norway. (Cat. No. 249675, 
 U.S.N.M.). Gift of Miss Eliza R. Scidmore. 
 
 262. Model of the tahernacle of the Church of Jesus Chidst of Latter 
 Day Saints in Salt Lalce City, Utah. — Made of wood. The tabernacle, 
 built in 1864-1867, is in the shape of an oval or ellipse, 250 feet long, 
 150 feet wide, and 80 feet high. It is covered with a wooden roof 
 with iron shingles, resembling a turtle sheU, which rests upon 44 
 buttresses of sandstone, but unsupported by pillars or beams, so that 
 the interior presents one of the largest unsupported arches in the 
 world. Between the buttresses are 20 large double doors opening 
 outward and affording speedy egress. Inside the building is sur- 
 rounded by a gallery, except at the west end where there are a plat- 
 form for speakers, seats for the choir, and one of the largest organs, 
 comprising 500 pipes. The building which is used for public religi- 
 
NO. 2287. COLLECTION OF ECCLESIASTICAL ART—CASANOWICZ. 649 
 
 ous services on Sunday afternoons, for lectures, sacied concerts, and 
 other meetings, has a seating capacity for 8,000 people, but can 
 accommodate about 10,000, and is well adapted for speaking and 
 hearing. It is said that a pin dropped at one end of the hall may be 
 heard distinctly at the other end, over 200 feet away. The model 
 shows the arrangement of the interior in detail and also the organ. 
 Height, 31 inches; length, 7 feet; width, 4 feet 2 inches.- — Salt Lake 
 City, Utah. (Cat. No. 258396, U.S.N.M.) Gift of the committee 
 of the Church of Jesus Christ of Latter Day Saints. 
 
 263. Temple of the Church of Jesus Christ of Loiter Day Saints in 
 Salt LoJce City, Utah. — Made of j^laster of Paris. The temple is 
 built mainly of gray granite, quarried from the Wasatch Mountains, 
 and it required 40 years (1853-1893) for its construction. It is 186 
 feet long from east to west and 99 feet wide. The walls are 6 feet 
 thick. At each corner are three pointed towel's, the loftiest of wliich, 
 in the center of the eastern or prmcipal facade, is 210 feet high, and 
 is surmounted by a gilded copper statue, 12 feet 6 inches high, of the 
 angel Moroni. The temple is used for the achninistration of ordi- 
 nances, as baptism, marriage, ordination, also for theological lectures, 
 preaching, prayer, etc. Height, 5 feet 4 inches; length, 5 feet 3 in- 
 ches; width, 3 feet 4 inches.- — Salt Lake City, LTah. (Cat. No. 
 258397, LhS.N.M.) Gift of the committee of the Church of Jesus 
 Christ of Latter Day Saints. 
 

 
 
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 Roman Catholic Altar from Germany 
 
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 PROCEEDINGS, VOL. 55 PL. 61 
 
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 For description see page 607 
 

 
 
 
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 PROCEEDINGS, VOL. 55 PL. 62 
 
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 PROCEEDINGS, VOL. 55 PL. 63 
 
 Incense Boats (I and 4), Holy Water Vessel (2), and Sprinkler (3) 
 
U. S. NATIONAL MUSEUM 
 
 PROCEEDINGS, VOL. 55 PL. 64 
 
 Paten (I) and Chalice (3) and Ostensory (2). 
 
 For description see pages 608 and 615. 
 
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U. S. NATIONAL MUSEUM 
 
 PROCEEDINGS, VOL.f55 PL. 65 
 
 CiBORY (I j,^TRAYi(2), Urn (3), Pyx (4), and Cup (5) and Spoon (6) for Holy Chrism. 
 
 For description see pages 609 and 614 , 
 
U. S. NATIONAL MUSEUM 
 
 PROCEEDINGS, VOL. 55 PL. 66 
 
 Maniple (I), Chasuble (2), and Stole (3). 
 
 For description see page 612 
 
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U. S. NATIONAL MUSEUM 
 
 PROCEEDINGS, VOL. 55 PL. 67 
 
 Stole (I), Chasuble (2), and Maniple (3). 
 
 For description see page 612, 
 

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 .I"- 
 
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Purple Velvet Dalmatic from the Philippines. 
 
 For description see page 613, 
 
U. S. NATIONAL MUSEUM 
 
 PROCEEDINGS, VOL. 55 PL. 69 
 
 Bishop’s Miter (I), Crozier (2), and Pectoral Cross (3) 
 
 For description see page 613. 
 
U. S. NATIONAL MUSEUM 
 
 PROCEEDINGS, VOL. 55 PL. 70 
 
 OSCULATORIES FROM ITALY. 
 For description see page 614. 
 
U. S. NATIONAL MUSEUM 
 
 PROCEEDINGS, VOL. 55 PL. 71 
 
 Cape and Stole. 
 
 For description see page 6!5. 
 
U. S, NATIONAL MUSEUM 
 
 PROCEEDINGS, VOL. 55 PL. 72 
 
 Wooden Triptych in Gothic Style. 
 
 For description see page 615. 
 
U. S. NATIONAL MUSEUM 
 
 PROCEEDINGS, VOL. 55 PL. 73 
 
 Wooden Triptych from Madrid, Spain 
 
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U. S. NATIONAL MUSEUM 
 
 PROCEEDINGS, VOL 55 PL. 74 
 
 Holy Water Fountains from Italy 
 
 For description see pages 616 and 616 . 
 
U. S. NATIONAL MUSEUM 
 
 PROCEEDINGS, VOL. 55 PL. 75 
 
 An Italian Missal. 
 
 For description see page 616 . 
 
U. S. NATIONAL MUSEUM 
 
 PROCEEDINGS, VOL. 55 PL. 76 
 
 AiSeries of Altar Cards from Italy. 
 
U. S. NATIONAL MUSEUM 
 
 PROCEEDINGS, VOL. 55 PL. 77 
 
 Processional Cross from Mexico. 
 
 For description see pace 618 . 
 
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U. S. NATIONAL MUSEUM 
 
 PROCEEDINGS, VOL. 55 PL. 78 
 
 Processional Cross from Italy. 
 
 For description see page 618. 
 

U. S. NATIONAL MUSEUM 
 
 PROCEEDINGS, VOL. 55 PL. 79 
 
 Ivory Cross with Appurtenances of the Passion. 
 
 For description see page 619. 
 
U. S. NATIONAL MUSEUiVi 
 
 PROCEEDINGS, VOL. 55 PL. 80 
 
 Wooden Figure of Christ from the Philippines. 
 
 Fori orscRiPTiON see page 622. 
 
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U. S. NATIONAL MUSEUM 
 
 PROCEEDINGS, VOL, 55 PL. 
 
 81 
 
 Engraved Shells Showing the Lord’s Supper and the ascension 
 
U. S. NATIONAL MUSEUM 
 
 PROCEEDINGS, VOL. 55 PL. 82 
 
 Processional Banners Made of White Metal. 
 
U. S. NATIONAL MUSEUM 
 
 PROCEEDINGS, VOL. 55 PL. 83 
 
 Religious Medals from Italy. 
 
 For description see page 629 
 
U. S. NATIONAL MUSEUM 
 
 PROCEEDINGS, VOL. 55 PL. 84 
 
 Rosary of Mother-of-Pearl. 
 
U. S. NATIONAL MUSEUM 
 
 PROCEEDINGS, VOL. 55 PL. 85 
 
 Rosary Made of Seeds of the Virginia Fringe Tree. 
 
 For description see page 63 
 
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 'X 
 
 i 
 
u. S. NATIONAL MUSEUM 
 
 PROCEEDINGS, VOL. 55 PL. 86 
 
 For description see pages 632 and 633. 
 
U. S. NATIONAL MUSEUM 
 
 PROCEEDINGS, VOL. 55 PL. 87 
 
 Roman Catholic Rosaries. 
 
 For description see pages 633 and 634. 
 

U. S. NATIONAL MUSEUM 
 
 PROCEEDINGS, VOL. 55 PL. 88 
 
 Costume of the Fraternity of the Misericordia. 
 
 For description see page 634, 
 
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U. S. NATIONAL MUSEUM 
 
 PROCEEDINGS, VOL. 55 PL. 89 
 
 For description see page 635. 
 

 
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U. S. NATIONAL MUSEUM 
 
 PROCEEDINGS, VOL. 55 PL. 90 
 
 Gold Brocade Phaenolion of a Russian Priest 
 
 For description see page 642, 
 
u. vS. NATIONAL MUSEUM 
 
 PROCEEDINGS, VOL, 55 
 
 PL. 91 
 
 Pastoral Staffs. 
 
 For description see pages 6^2 and 646. 
 
U. S. NATIONAL MUSEUM 
 
 PROCEEDINGS, VOL. 55 PL. 92 
 
 Headgear Worn by Priest 
 

U. S. NATIONAL MUSEUM 
 
 PROCEEDINGS, VOL. 55 PL. 93 
 
 Russian Icon of Mary and Infant. 
 
 For description, see page 643, 
 
U. S. NATIONAL MUSEUM 
 
 PROCEEDINGS, VOL. 55 PL. 94 
 
 Brass Icons of the Russian Church 
 
 For description see page 644. 
 
U. S. NATIONAL MUSEUM 
 
 PROCEEDINGS, VOL. 55 PL. 95 
 
 Brass Tetraptych of the Russian Church. 
 
U. S. NATIONAL MUSEUM 
 
 PROCEEDINGS, VOL. 55 PL. 96 
 
 Paraphernalia of the Armenian Church. 
 
 For description see page 647 . 
 
U. S. NATIONAL MUSEUM 
 
 PROCEEDINGS, VOL. 55 PL. 97 
 
 Musical Instruments of the Armenian Church. 
 
 For description see page 647,