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- Saint Dominic
Dominic de Guzman, 1170-1221 A.D. Half-way between Osma and Aranda in Old Castile, Spain, is a little village known as "the fortunate Calahorra." Here was the castle of the Guzmans, where Dominic was born. His family was of high `rank` and character, a noble house of warriors, statesmen and saints. If we accept the legends, his greatness was foreshadowed. Before his birth, his mother dreamed she saw her son under the figure of a black-and-white dog, with a torch in his mouth. "A true dream," says Milman, "for he will scent out heresy and apply the torch to the faggots;" but, as will be seen later, this observation does not rest on undisputed evidence. - Saint Dominic and Saint Francis
The Dominicans and Franciscans arose simultaneously at the beginning of the thirteenth century. Dominic, an Augustinian canon, a Spaniard of noble birth, was seized with a zeal for converting heretics, and having gradually associated a few ecclesiastics with himself, he at length conceived the idea of founding an order of men who should spend their lives in preaching. Simultaneously, Francis, the son of a rich Italian merchant, was inspired with a design to establish a new order of men, who should spend their lives in preaching the Gospel and doing works of charity among the people. These two men met in Rome in the year 1216 a.d. - St. Christopher, with the date 1423, from a cut in the possession of Earl Spencer
This cut is much better designed than the generality of those which we find in books typographically executed from 1462, the date of the Bamberg Fables, to 1493, when the often-cited Nuremberg Chronicle was printed. Amongst the many coarse cuts which “illustrate” the latter, and which are announced in the book itselfII.11 as having been “got up” under the superintendence of Michael Wolgemuth, Albert Durer’s master, and William Pleydenwurff, both “most skilful in the art of painting,” I cannot find a single subject which either for spirit or feeling can be compared to the St. Christopher. In fact, the figure of the saint, and that of the youthful Christ whom he bears on his shoulders, are, with the exception of the extremities, designed in such a style, that they would scarcely discredit Albert Durer himself. To the left of the engraving the artist has introduced, with a noble disregard of perspective what Bewick would have called a “bit of Nature.” In the foreground a figure is seen driving an ass loaded with 48a sack towards a water-mill; while by a steep path a figure, perhaps intended for the miller, is seen carrying a full sack from the back-door of the mill towards a cottage. To the right is seen a hermit—known by the bell over the entrance of his dwelling—holding a large lantern to direct St. Christopher as he crosses the stream. The two verses at the foot of the cut, Cristofori faciem die quacunque tueris, Illa nempe die morte mala non morieris, may be translated as follows: Each day that thou the likeness of St. Christopher shalt see, That day no frightful form of death shall make an end of thee. - St. Damasus, Hermit
The best and clearest illustration which we have been able to find of the usual costume in which the hermits are represented, we here give to the reader. It is from the figure of St. Damasus, one of the group in the fine picture of “St. Jerome,” by Cosimo Roselli (who lived from 1439 to 1506), now in the National Gallery. The hermit-saint wears a light-brown frock, and scapular, with no girdle, and, over all, a cloak and hood of the same colour, and his naked feet are protected by wooden clogs. - St. Paula
The picture which we here give of an anchoress, is taken from a figure of St. Paula, one of the anchorite saints of the desert. - The Parish Clerk sprinkling the Cook
The Parish Clerk sprinkling the Cook The picture will shows the costume and the holy water-pot and aspersoir, and to indicate how he went into all the rooms of the house—now into the kitchen sprinkling the cook. - The Parish Clerk sprinkling the Knight and Lady
Picture shows the costume and the holy water-pot and aspersoir, and to indicate how he went into all the rooms of the house now into the hall sprinkling the lord and lady who are at breakfast. - Three Angels
Three Angels - Truth
The four figures in the Vignette are intended to represent the chief protestant reformers; Luther in the centre, Cranmer on his right hand, Knox on his left, and Calvin on his extreme right; each holding in his hand a manuscript or printed copy of the Word of God. the Rock on which they are standing, is intended to denote the Truth of the doctrine of the Divine Oracle, on which, as on an immutable Rock, the Reformers rested all their claims, in labouring to restore pure Christianity. Around the Rock of Truth, the waves of Error and Superstition are seen dashing. - XP
Constantine the Great, founder of Constantinople, had the monogram of Christ placed on the labarum, or imperial stamdard; It was the Greek letter X (chi) with a P (rbo) placed perpendicularly though it, forming the first two letters of the name Christ, in Greek