San Ludovico), A. D. 1297. embroidered on
Aug. 19. bishop’s robes. Sometimes
Franciscan habit. Mitre.
Crown and sceptre at his
feet.
ST. LUCY, A. D. 303. Dec. Lamp. Eyes on salver.
13. Patron saint of Syracuse Sword in her neck or wound
and against diseases in neck from which stream
of the eye. rays of light. Palm. Awl.
ST. LUKE, Evangelist. Oct. 18. Ox (winged). Book. Portrait
Patron saint of painters. of the Virgin.
ST. MARCELLA or MARTILLA,
A. D. 68. The handmaid
of Mary and Martha.
ST. MARCELLINUS and ST. Represented together in art,
PETER EXORCISTA, A. D. bearing their palms.
304. June 2. Two priests
who were persecuted and
suffered martyrdom together.
ST. MARGARET of Antioch, Dragon under her feet. Cross.
A. D. 306. July 20. Crown. Palm.
ST. MARGARET of Cortona, Checkered habit. Cord as
A. D. 1297. girdle. Dog at her feet.
ST. MARK the Evangelist, Lion, generally winged. Bishop’s
A. D. 68. April 25. Patron robes. Book.
saint of Venice.
ST. MARTHA of Bethany, A. D. Pot of holy water. Asperges.
84. July 29. Patron saint Dragon bound at her feet.
of cooks and housewives. Bunch of keys. Skimmer
or ladle in her hand. When
with the Magdalene plainly
dressed in blue, dark brown,
or grey.
ST. MARTIN of Tours, A. D. Bishop’s robes. Beggar at
397. Nov. 11. Patron feet or as soldier dividing
saint of Tours, Lucca, and his cloak with beggar.
penitent drunkards. Goose at his side. (This
attribute alludes to the
season of his festival, called
Martinmastide, when geese
are killed and eaten.)
ST. MARY of Egypt, A. D. Old, wasted, with long hair,
433. April 2. grey or black. Three small
loaves.
ST. MARY MAGDALENE, A. D. Long, fair hair. Box of
68. July 22. Patron saint ointment. Skull. Crucifix.
of Provence, Marseilles, and
of penitent women.
ST. MATTHEW, Apostle and Angel or man. Book or pen.
Evangelist, A. D. 90. Sept. Purse or money-bag.
21.
ST. MATTHIAS, Apostle. Feb. Lance or axe.
24.
ST. MAURICE (_Ital._ San St. Maurice is represented in
Maurizio), A. D. 286. armour, palm in one hand,
Sept. 22. Patron saint of the standard in the other.
Savoy, Mantua, and Austria. Sometimes as a Moor, his
This saint was commander name signifying “a Moor.”
of the Theban Legion of the In Italian art he bears a
Roman Army, numbering large red cross—badge of the
6666 soldiers, all Christians. Sardinian Order of St.
These were slain to a man Maurice—on his breast. St.
by order of Emperor Maximin Gereon is in armour, and
for refusing to enter bears the standard and palm.
into battle against other Sometimes the Emperor
Christians. The place Maximin is portrayed prostrate
where the martyrdom occurred under his foot, expressing
has since been called spiritual victory
St. Maurice. St. Gereon over tyranny.
was another of the Theban
Legion, who, with his comrades,
suffered martyrdom
in Cologne. St. Gereon
and St. Maurice are most
honoured in Germany.
ST. MAURUS, A. D. 584.
Jan. 15. _See_ ST. BENEDICT.
ST. MICHAEL the Archangel. Winged. In armour. Sword.
Sept. 29. Spear. Shield. Dragon
under his foot. As Lord of
souls, holding the balance.
ST. MINIATO, A. D. 254. Scarlet robe. Crown. Palm.
Javelins. T-shaped cross.
ST. MONICA, A. D. 387. May
4. Mother of St. Augustine.
ST. NATALIA, wife of ST.
ADRIAN and one of the great
martyrs of the Greek Church.
ST. NAZARIUS and ST. CELSUS, Always represented together,
A. D. 69. July 28. Two St. Nazarius old, St. Celsus
martyrs of Milan. young. Each bears the
palm and sword.
ST. NICHOLAS of Myra or Bishop’s robes. Three balls.
Bari, A. D. 326. Dec. 6. Anchor. Three children in
Patron saint of Russia, a tub. Ship.
Freiberg, Venice, of children,
sailors, merchants, and
against robbers.
ST. NICHOLAS of Tolentino, Augustine habit. Star on his
A. D. 1309. Sept. 10. breast. Gospel. Crucifix
wreathed with a lily.
ST. NORBERT, A. D. 1134. Bishop’s robes. Sacramental
May 6. Founder of the Order cup with spider over it.
of Premonstratensians. Sometimes demon bound.
ST. OMOBUONO. Patron saint Loose tunic trimmed with
of Cremona, of tailors, and fur. Fur cap. Is seen
all good citizens. Noted distributing food and alms
for his charity. to the poor. Sometimes
wine flasks stand near him
in allusion to the legend
that after giving his own
provisions to some starving
pilgrims, he filled the empty
wine flasks with water which
poured out wine, and angels
filled his wallet with bread.
ST. ONOFRIO, fourth or fifth Old, wasted, long grey hair
century. June 12. A and beard. A leafy branch
hermit of Thebes who dwelt encircles his loins. Stick
alone in a cave for sixty in his hand.
years and never spoke except
to pray.
ST. OTTILIA, A. D. 720. Dec. Abbess of the Benedictine
13. Patron saint of Alsace Order. Crozier or Palm.
and Strasburg and against Book upon which rest two
diseases of the eye. She eyes.
was the blind daughter of the
Duke of Alsace and built the
convent of Hohenburg.
ST. PANTALEON, fourth century. Young. Beardless. Wears
July 27. Patron loose robe. Palm. Olive.
saint of physicians. Was As martyr bound to an olive
the favourite physician of tree. Sword at his feet.
Emperor Galerius Maximian.
Martyred for his faith.
ST. PATRICK, A. D. 464.
March 17. Apostle and
patron saint of Ireland.
ST. PAUL the Apostle, A. D. Sword. Sometimes two swords.
65. June 29. Book. Scroll. Next to
Virgin or Saviour enthroned.
ST. PAUL the Hermit of Thebes, Very old, half naked. Long
A. D. 344. hair and beard. Raven.
ST. PETER the Apostle, A. D. Keys. Fish. Cross. Cock.
65. June 29.
ST. PETER of Alcantara, A. D. Often represented thus, or
1562. A Franciscan monk with dove hovering over his
who through faith was able head.
to walk on the water.
ST. PETER EXORCISTA. _See_
ST. MARCELLINUS.
ST. PETER MARTYR, A. D. Dominican habit. Gash in
1252. April 28. his head or blood flowing
from it. Sometimes sword
or axe. Palm.
ST. PETER NOLASCO, A. D. Old. White habit; on his
1258. Jan. 13. Founder of breast the arms of King
the Order of Our Lady of James of Aragon, the badge
Mercy, for the redemption of the Order.
of captives.
ST. PETRONILLA, first century.
May 31. The daughter of
St. Peter.
ST. PETRONIUS, A. D. 430. Bishop’s robes. City of Bologna
Oct. 4. Bishop and patron in his hand.
saint of Bologna.
ST. PHILIP, Apostle. May 1. Staff or crozier surmounted
Patron saint of Luxembourg by a cross, or small cross
and Brabant. in his hand.
ST. PHILIP BENOZZI, A. D.
1285. Aug. 23. Chief
saint of the Order of the
Servi.
ST. PHILIP NERI, A. D. 1595.
May 26. Founder of the
Order of the Oratorians.
ST. PHOCAS of Sinope. Martyr. Found in Byzantine art. As
Greek patron saint of gardens gardener. Spade.
and gardeners.
ST. PLACIDUS, A. D. 584. Jan.
15. _See_ ST. BENEDICT.
ST. POL or PAUL DE LÉON, Bell. Sometimes loaf and
A. D. 573. March 12. First cruse. Driving dragon into
Bishop and patron saint of the sea.
Léon and founder of the
cathedral at St. Pol-de-Léon,
Brittany.
SS. PRAXEDES and PUDENTIANA,
A. D. 148. July 21
and May 19. The daughters
of a Roman patrician named
Pudens, with whom St.
Peter lodged. They were
Christians, and during the
first persecution they ministered
to the tortured ones,
sheltering them in their
own home. They themselves
escaped martyrdom.
ST. PRISCA, A. D. 275. Jan. Lion. Palm. Eagle.
18. A Roman virgin who
was denounced as a Christian
when but thirteen and
thrown to the lions. These,
instead of attacking her,
humbly licked her feet. She
was then taken and beheaded.
An eagle guarded
her body until it was buried.
ST. PROCOPIUS, A. D. 1053.
July 4. A King of Bohemia
who gave up his crown and
became a hermit. His story
is similar to St. Giles’s.
ST. PROCULUS, A. D. 303. Soldier, axe in his hand.
Military patron saint of Sometimes an angel holds
Bologna. One of the warrior the axe. Sword. Carrying
saints who slew with a head in both hands.
an axe an officer sent to
enforce the imperial edict
against the Christians and
was then himself immediately
beheaded.
ST. RANIERI, A. D. 1161.
July 17. Patron saint of
Pisa.
ST. RAPHAEL the Archangel. Winged. Wallet. Staff.
Guardian angel of travellers. Sword. Casket (with fishy
charm). Pilgrim’s garb.
ST. RAYMOND DE PEÑAFORTE, Dominican habit. Gliding
A. D. 1275. Jan. 23. A over the sea on his mantle.
Spanish nobleman who entered
the Order of St.
Dominick. He is said to
have safely crossed the sea
on his mantle, setting his
staff in the middle with the
corner of the cloak for a sail.
ST. REPARATA, third century. Crown. Palm. Sometimes a
Patron saint of Florence banner with red cross on a
before 1298. white ground. Difficult
to distinguish from St. Ursula
unless latter has arrow.
ST. ROCH, A. D. 1327. Aug. Pilgrim’s habit. Wallet.
16. Patron saint of prisoners Cockleshell. Staff. Dog.
and the sick, especially Often pointing to wound
the plague-stricken. in his leg.
ST. ROMAIN, A. D. 639. Oct.
23. Bishop of Rouen under
Clovis I. Considered the
Apostle of Normandy. The
dragon legend is related of
him also.
ST. ROMUALDO, A. D. 1027. White habit. Long white
Feb. 7. Founder of the beard. Crutch.
Order of the Camaldolesi,
reformed Benedictines.
ST. ROMULO, first century.
July 23. Convert of St.
Peter and first Bishop of
Fiesole. Martyred under
Nero.
ST. ROSA DI VITERBO, A. D. Franciscan habit. Chaplet of
1261. May 8. roses.
ST. ROSALIA of Palermo, A. D. Brown tunic. Hair loose.
1160. Crucifix. Angels crowning
her with roses.
ST. SABINA, second century. Palm. Crown. Richly
Aug. 29. A Roman matron dressed.
martyred in the time of the
Emperor Hadrian.
ST. SCHOLASTICA. _See_ ST.
BENEDICT.
ST. SEBALD or SIWARD, A. D. Pilgrim’s dress. Shell in his
770. One of the early hat. Rosary. Staff.
German saints, especially Wallet. In one hand his
venerated in Nuremberg. church with its two towers.
ST. SEBASTIAN, A. D. 288. Pierced by arrows. Bound
Jan. 20. Patron saint against to a tree or column. Angel
plague and pestilence. with palm and crown.
ST. SIMON and JUDE or St. Simon the saw. Thaddeus
THADDEUS. Oct. 28. the halberd.
ST. STEPHEN. Protomartyr. Stones. Deacon’s robes.
Dec. 26. Palm.
ST. SWITHIN, A. D. 862. July
2. Bishop of Winchester
and preceptor of Alfred the
Great. He desired to be
buried among the poor outside
the church. When his
clergy, however, on July
15th, wishing to do him
honour, attempted to remove
his body to a magnificent
tomb inside the church, the
rain fell in such torrents
they were unable to proceed.
The storm continued forty
days. Then, the clergy
saw it was a sign, and left
the saint’s body undisturbed.
ST. SYLVESTER, A. D. 335. Pontifical robes. Mitre.
Dec. 31. Bishop and Patriarch Sometimes triple tiara.
of Rome. Always Small dragon, its mouth
associated with the conversion bound with threads. Bull
of Constantine. crouching at his feet.
Sometimes holding or pointing
at the portraits of St. Peter
and St. Paul.
ST. THECLA, first century. Young. Palm. Wild beasts.
Sept. 23. Patron saint of
Tarragona. A Greek virgin
and martyr who was a convert
of St. Paul.
ST. THEODORE, A. D. 306. In armour. Dragon under
Nov. 9. Formerly patron his feet.
saint of Venice.
ST. THERESA, A. D. 1582. Corpulent. Infirm. Flame-tipped
Oct. 17. Patron saint of arrow in her breast.
Spain and founder of the Dove. Angel.
Scalzi, a reformed order of
the Carmelites.
ST. THOMAS, Apostle. Dec. Builder’s rule or square.
21. Patron saint of Parma Lance.
and Portugal, and of
builders and architects.
ST. THOMAS AQUINAS, A. D. Dominican habit. Books.
1274. March 7. Pen. Sacramental cup.
Sun on his breast within
which is sometimes a human
eye. Dove.
ST. THOMAS À BECKET of Blood flowing from his head.
Canterbury, A. D. 1170. Bishop’s robes or Benedictine
Dec. 29. habit.
ST. THOMAS of Villaneuva, At his canonisation it was
A. D. 1555. Sept. 17. ordained that he should be
Archbishop of Valencia, represented with an open
called the Almoner because purse in his hand instead
of his charities. of a crozier.
ST. TORPÈ or TROPÈS, A. D. Roman soldier. White banner
70. May 17. with a red cross.
ST. URSULA, A. D. 237 or Crown. Arrow. Pilgrim’s
383, or 451. Oct. 21. Patron staff surmounted by a white
saint of teachers and banner with the red cross.
young girls. Dove. Mantle sheltering
virgins.
ST. VERONICA. There is an Always represented in art
old tradition that when displaying the sacred napkin.
Jesus was on his way to
Calvary, staggering under
the weight of his cross,
he met a woman who,
filled with compassion,
wiped the drops of agony
from his face with a napkin,
or as some say with her
veil. And the face of Christ
was miraculously printed on
the cloth. The name of
_Vera Icon_, the true image,
was given to this, and the
cloth was called the _Sudarium_
(_Fr._ Le Sainte Sudaire;
_Ital._ Il Sudario).
In time the name of the
cloth was given to the
woman of whom the legend
is related. The festival of
St. Veronica occurs on
Shrove Tuesday.
ST. VICTOR of Marseilles, A. D. In armour. Millstone.
303. July 21. A Roman
soldier who suffered martyrdom
under Diocletian, being
crushed by a millstone and
then beheaded.
ST. VINCENT. Deacon and Young. Deacon’s dress
Martyr, A. D. 304. Jan. Palm. His peculiar attributes
22. Patron saint of Lisbon, a crow or raven
Valencia, Saragossa, Milan, sometimes perched upon a
and Chalons. millstone. Difficult to
distinguish from St. Laurence
and St. Stephen.
ST. VINCENT FERRARIS, A. D. Dominican habit. Crucifix.
1419. April 5. Sometimes represented with
wings, symbolising
inspiration.
ST. VINCENT DE PAULE, A. D. Franciscan habit. Infant in
1660. July 19. Founder his arms. Sister of Charity
of hospitals for deserted kneeling at his feet.
children and of the Order
of Sisters of Charity.
ST. VITUS, A. D. 303. June Palm. Lion. Cock. Wolf.
15. Patron saint of Bohemia, Caldron of oil. Young
Saxony, and Sicily, and beautiful.
of dancers and actors,
against nervous diseases and
late rising (hence the _cock_
as an attribute).
ST. WALBURGA, A. D. 728. Benedictine habit. Crozier
May 1. Niece of St. Boniface as abbess. Vial or flask
and accompanied him to in her hand.
Germany and became abbess
of a Benedictine convent
at Heidenheim. The night
of her festival is the famous
_Walpurgisnacht_ referred to
in _Faust_.
ST. ZENO, A. D. 380. April Bishop’s robes. Fish suspended
12. Patron saint of Verona. from his crozier.
ST. ZENOBIO, A. D. 417. May Scenes from his life are
25. Bishop of Florence. frequently represented in
Florentine art. He has no
particular attribute.
III.—HISTORICAL AND DEVOTIONAL SUBJECTS
The sacred subjects as represented in art become _historical_
when they record any event or story of the Bible, or express the
actions, miracles, or martyrdoms of saints. Yet a story may become a
_symbol_—thus the Last Supper may be treated as an event, or it may
express the symbol of our redemption.
Devotional pictures are those in which no action or event takes place,
and where the sainted personages are represented solely in their sacred
character, whether standing singly or grouped with others. Such a group
is called in Italian a _sacra conversazione_—meaning a society in which
there is communion. The most important of these devotional subjects are
those in which the whole celestial hierarchy are represented, such as
the _Paradiso_ so often met with in ecclesiastical decoration, where
Christ sits enthroned in glory; the Coronation of the Virgin, the old
and accepted symbol of the triumph of the Church; the Last Judgment,
from the Apocalypse, and the Adoration of the Lamb. The order of
arrangement in these pictures was fixed and absolute, having been early
decided by the Church authorities. The Virgin Mary and John the Baptist
come first after the Trinity; then in their order the evangelists,
patriarchs, prophets, the apostles, the fathers, the bishops, martyrs,
monks, and nuns.
This order might sometimes be varied in order to exalt a favourite
saint, as when sometimes St. Augustine is enthroned, with St. Peter
and St. Paul on each side; or St. Barbara is represented enthroned,
attended by Mary Magdalene and St. Catherine. Frequently the patron
saint of the votary or the locality is represented enthroned, and other
saints (of a superior rank under other circumstances) are here placed
on each side or lower down in the picture, and become accessories. In
these pictures the donor is frequently introduced kneeling before his
patron saint, sometimes accompanied by his wife and family. And to show
his lowliness and self-abasement, he is often so small as to be out of
all proportion with the other figures in the picture.
A bishop kneeling among a group of saints is usually the donor of
the picture. When he stands with other saints, he is one of the
bishop-martyrs or patrons. There are some hundreds of these, and they
are the most difficult to distinguish of all the pictured saints.
The _anachronisms_ found in many of the devotional pictures where those
saints and sacred personages who lived at widely different times are
found grouped together, is explained by the spiritual conception that
there is no such thing as time in heaven. So that that which at first
seems so incongruous, as to excite derision and pity for the mistakes
and ignorances of an earlier age, was instead in the highest degree
significant of the immortal life and eternal youth of those blessed
ones, who “belong no more to our earth, but to heaven and eternity.”
In the sacred subjects that come under the head of _historical_, some
are scriptural, portraying scenes from the Old or New Testament, while
others are purely legendary in character.
The historical subjects from the lives of the saints represent usually
some miracle they have performed or some scene from their martyrdom.
The martyrdoms found everywhere in all countries are those of St. Peter
and St. Paul, St. Stephen Protomartyr, St. Laurence, St. Catherine, and
St. Sebastian.
IV.—GENERAL SYMBOLS
“A symbol is an exterior formula, the representation of some dogma
or belief. The _lamb_ is the symbol of Christ, for the sacred texts
relating to the Divine lamb oblige us to receive it as the necessary
and dogmatical representation of Christ. A _figure_, on the other hand,
is an arbitrary representation of any idea. The figure is not imposed
by sacred dogma, but results simply from the free use of the human
mind.... We are required to receive a symbol, but may be persuaded to
admit a figure; the first demands our faith, the second fascinates
the mind. The _lion_, _cross_, and _lamb_ are the sole symbols of
Christ, but he has been figured by the pelican and the fish.”—Didron’s
_Christian Iconography_.
The =Nimbus=, =Aureole=, or =Glory= that is used in Christian art
to distinguish holy personages was used by the pagans, who not only
employed it as an attribute of divinity, but often gave it to the
Emperors of Rome and the Kings of Eastern Europe and Asia. It expressed
the radiance believed to emanate from the Divine Essence.
The glory around the head is the nimbus or aureole. The _oblong
glory_ surrounding the whole person (called in Italian the
_Mandorla_—almond—from its form) is used only in connection with
figures of Christ and the Virgin, or with saints as they are seen
ascending into heaven.
When used to represent one of the three divine persons of the Trinity,
the glory is often cruciform or triangular. A _cruciform nimbus_ is a
nimbus stamped with a cross, and although appropriate to the Deity,
belongs peculiarly to Christ.
The =Triangle=, the emblem of the Divine Trinity, denotes three of the
inseparable attributes of the Deity: to be; to think; to speak.
The =Square= was a geometrical symbolic figure used to indicate the
earth; the circle was the symbol of heaven. Thus eternity was shown by
a circle, life by a square, and the eternity of life by a square within
a circle.
The _Square Nimbus_ indicates that the person was living at the time
the picture was painted.
From the fifth to the twelfth century the nimbus was shaped like a disc
or plate over the head. During the thirteenth and fourteenth centuries
it was a broad golden band behind the head, consisting of circle within
circle, frequently ornamented with jewels. The custom prevailed at this
time (especially in Germany) of inscribing the saint’s name within the
edge of the nimbus above his head. From the fifteenth century, the
nimbus became a bright fillet over the head, and its use was abandoned
in the seventeenth century.
In pictures, the nimbus or aureole is always golden, the colour of
light.
The =Fish=[1] (usually a dolphin, which had also a sacred significance
among the pagans,) was the earliest of the Christian emblems. It was
used, partly because the Greek word for fish forms the anagram of the
name of Jesus Christ; and as a symbol of water and the rite of baptism;
also in reference to the passage in the Gospel: “Follow me, and I will
make you fishers of men.” When given to St. Peter the fish signifies
his occupation as a fisherman, his conversion to Christianity, and
his vocation as an apostle—a fisher of men. It is also given as an
attribute to bishops who were celebrated for the number of their
conversions and baptisms.
[Illustration: _a_ _b_ _c_ _d_]
The =Cross=. About the tenth century the fish was superseded by the
cross, which became the universal symbol of the Christian faith.
The Latin cross (_a_), that upon which Christ was believed to have
suffered, is the form usually given to a saint. But other crosses are
used, having the same signification; as the Greek cross (_b_), in which
the arms are all the same length; the transverse cross (_c_), on which
St. Andrew is supposed to have died; the Egyptian cross (_d_), often
given to St. Philip the Apostle, was the form also of the crutch of St.
Anthony and was embroidered on his cope or robe, hence it is called St.
Anthony’s cross.
The double cross on the top of a staff instead of a crozier belongs
only to a pope. The staff with a single cross is borne by the Greek
bishops. Often the cross was made of gold or silver, the five wounds of
Christ being indicated by a ruby or carbuncle at each end and in the
centre. Not until the sixth century did the cross become a crucifix,
no longer a symbol, but an image.
The =Lamb= has been the peculiar symbol of the Saviour, as the
“sacrifice without blemish,” from the earliest times. The lamb is also
the general symbol of modesty, innocence, and meekness, and is thus
given to St. Agnes.
The =Pelican=, who tears open her breast to feed her young with her
own blood, was one of the early symbols of our redemption through the
sufferings of Christ.
The =Dragon= is the symbol of Satan and of sin. The scriptural phrase,
“the jaws of hell,” was rendered literally in early art by depicting
the dragon’s jaws as open, emitting flames. The =Serpent= also typified
sin and is sometimes placed under the feet of the Madonna with an apple
in its mouth, or winding around a globe, signifying the power of sin
over the whole world.
The =Lion=[2] is an ancient Christian symbol that frequently occurs,
especially in architectural decoration. Antiquaries differ as to the
exact meaning of the mystical lions placed in the porches of so many
old Lombard churches; sometimes with an animal, sometimes with a man
in their paws. The lion was an ancient symbol of the Redeemer, “the
lion of the tribe of Judah,” also of the resurrection of the Redeemer,
because according to an Oriental tradition the lion’s cub is born dead,
and in three days its sire licks it into life. The lion, as a creature
of the wilderness, is also an emblem of solitude, and is given to St.
Jerome and other saints who did penance, or lived as hermits in the
desert. The lion as an attribute indicated death in the amphitheatre,
and thus is given to St. Ignatius and St. Euphemia. As the type of
fortitude and resolution, the lion is placed at the feet of those
martyrs of unfaltering courage, as St. Adrian and St. Natalia.