subject of one of the finest of the ancient French mysteries, which was acted with great applause at Paris in the fourteenth century.

But, in the historical subjects from the life of St. Thomas, the first place must be given to the one scriptural incident in which he figures as a principal person. "The Incredulity of St. Thomas" occurs in all the early series of the life of Christ, as one of the events of his mission, and one of the proofs of his resurrection. On the ancient gates of San Paolo it is treated with great simplicity as a sacred mystery, St. Thomas being the principal personage in the action, as the one whose conviction was to bring conviction to the universe. Christ stands on a pedestal surmounted by a cross; the apostles are ranged on each side, and St. Thomas, approaching, stretches forth his hand. The incident, as a separate subject, is of frequent occurrence in the later schools of Italy, and in the Flemish schools. The general treatment, when given in this dramatic style, admits of two variations: either St. Thomas is placing his hand, with an expression of doubt and fear, on the wounds of the Saviour; or, his doubts being removed, he is gazing upwards in adoration and wonder. Of the first, one of the finest examples is a wellknown picture by Rubens', one of his most beautiful works, and extraordinary for the truth of the expression in the countenance of the apostle, whose hand is on the side of Christ; St. John and St. Peter are behind. In Vandyck's picture at Petersburg, St. Thomas stoops to examine the Saviour's hand. In a design ascribed to Raphael, we have the second version: the look of astonished conviction in St. Thomas.2 Niccolò Poussin has painted it finely, introducing twelve figures.3 Guercino's picture is celebrated, but he has committed the fault of representing the two principal figures both in profile.1

The legendary subject styled "La Madonna della Cintola" belongs properly to the legends of the Virgin, but as St. Thomas is always a principal personage I shall mention it here. The legend relates that when the Madonna ascended into heaven, in the sight of the apostles, Thomas was absent; but after three days he returned, and, doubting the truth of her glorious translation, he desired that her tomb should be

Gallery of Antwerp.
Eng. by Audran.

2 Passavant's Rafael, II. 116.
4 Gal. Vatican.

opened; which was done, and lo! it was found empty. Then the Virgin, taking pity on his weakness and want of faith, threw down to him her girdle, that this tangible proof remaining in his hands might remove all doubts for ever from his mind: hence in many pictures of the Assumption and Coronation of the Virgin, St. Thomas is seen below holding the sacred girdle in his hand. For instance, in Raphael's beautiful "Coronation" in the Vatican; and in Correggio's " Assumption at Parma, where St. Thomas holds the girdle, and another apostle kisses it.

The belief that the girdle is preserved in the Cathedral at Pistoia has rendered this legend a popular subject with the Florentine painters; and we find it treated, not merely as an incident in the scene of the Assumption, but in a manner purely mystic and devotional. Thus, in a charming bas-relief by Luca della Robbia', the Virgin, surrounded by a choir of angels, presents her girdle to the apostle. In a beautiful picture by Granacci2, the Virgin is seated in the clouds; beneath is her empty sepulchre on one side kneels St. Thomas, who receives with reverence the sacred girdle; on the other kneels the Archangel Michael. In simplicity of arrangement, beauty of expression, and tender harmony of colour, this picture has seldom been exceeded. Granacci has again treated this subject, and St. Thomas receives the girdle in the presence of St. John the Baptist, St. James Major, St. Laurence, and St. Bartholomew.3 We have the same subject by Paolino da Pistoia; by Sogliani; and by Mainardi, a large and very fine fresco in the church of Santa Croce at Florence.

A poetical and truly mystical version of this subject is that wherein the Infant Saviour, seated or standing on his mother's knee, looses her girdle and presents it to St. Thomas. Of this I have seen several examples; one in the Duomo at Viterbo.1

In the Martyrdom of St. Thomas, several idolaters pierce him through with lances and javelins. It was so represented on the doors of San Paolo, with four figures only. Rubens, in his large picture, has followed the legend very exactly; St. Thomas embraces the cross, at the

1 Fl. Acad.

2 Fl. Gal.

Florence, Casa Ruccellai.

The romantic Legend of the sacratissima cintola, “the most sacred girdle of the Virgin,” is given at length in the "Legends of the Madonna," p. 344.

foot of which he is about to fall, transfixed by spears. A large picture in the gallery of Count Harrach at Vienna, called there the Martyrdom of St. Jude, I believe to represent the Martyrdom of St. Thomas. Two of the idolatrous priests pierce him with lances. Albert Dürer, in his beautiful print of St. Thomas, represents him holding the lance, the instrument of his martyrdom: but this is very unusual.

The eighth in the order of the Apostles is the Evangelist ST. MATTHEW, of whom I have spoken at length.

ST. JAMES MINOR.

Lat. S. Jacobus Frater Domini. Gr. Adelphotheos. Ital. San Jacopo or Giacomo Minore. Fr. S. Jacques Mineur. May 1.

THE ninth is St., James Minor, or the Less, called also the Just he was a near relative of Christ, being the son of Mary, the wife of Cleophas, who was the sister of the Virgin Mary; hence he is styled " the Lord's brother." Nothing particular is related of him till after the ascension. He is regarded as first Christian bishop of Jerusalem, and venerated for his self-denial, his piety, his wisdom, and his charity. These characteristics are conspicuous in the beautiful Epistle which bears his name. Having excited, by the fervour of his teaching, the fury of the Scribes and Pharisees, and particularly the enmity of the high priest Ananus, they flung him down from a terrace or parapet of the Temple, and one of the infuriated populace below beat out his brains with a fuller's club.

In single figures and devotional pictures, St. James is generally leaning on this club, the instrument of his martyrdom. According to an early tradition, he so nearly resembled our Lord in person, in features, and deportment, that it was difficult to distinguish them. "The Holy Virgin herself," says the legend, "had she been capable of error, might have mistaken one for the other: " and this exact resemblance rendered necessary the kiss of the traitor Judas, in order to point out his victim to the soldiers.