The single devotional figures of St. James represent him in two distinct characters.

1. As tutelar saint of Spain, and conqueror of the Moors. In his pilgrim habit, mounted on a white charger, and waving

"El Tute

lar."

a white banner, with white hair and beard, streaming like a meteor; or sometimes armed in complete steel, spurred like a knight, his casque shadowed by white plumes, he tramples over the prostrate Infidels; so completely was the humble, gentle-spirited apostle of Christ merged in the spirit of the religious chivalry of the time. This is a subject frequent in Spanish schools.

Fl. Gal.

2. St. James as patron saint in the general sense. The most beautiful example I have met with is a picture at Florence, painted by Andrea del Sarto for the Compagnia or Confraternità of Sant' Jacopo, and intended to figure as a

standard in their processions. The Madonna di San Sisto of Raphael was painted for a similar purpose: and such are still commonly used in the religious processions in Italy; but they have no longer Raphaels and Andrea-del-Sartos to paint

them. In this instance the picture has a particular form, high and narrow, adapted to its especial purpose: St. James wears a green tunic, and a rich crimson mantle; and as one of the purposes of the Compagnia was to educate poor orphans, they are represented by the two boys at his feet. This picture suffered from the sun and the weather, to which it had been a hundred times exposed in yearly processions; but it has been well restored, and is admirable for its vivid colouring as well as the benign attitude and expression.

Pictures from the life of St. James singly, or as a series, are not common; but among those which remain to us, there are several of great beauty and interest.

In the series of frescoes painted in a side chapel of the church of St. Antony at Padua, once called the Capella di San Giacomo, and now San Felice, the old legend of St. James has been exactly followed, and though ruined in many parts and in others coarsely repainted, these works remain as compositions amongst the most curious monuments of the Trecentisti. It appears, that towards the year 1376, Messer Bonifacio de' Lupi da Parma, Cavaliere e Marchese di Serana, who boasted of his descent from the Queen Lupa of the legend, dedicated this chapel to St. James of Spain (San Jacopo di Galizia) and employed M. Jacopo Avanzi to decorate it, who no doubt bestowed his best workmanship on his patron saint. The subjects are thus arranged, beginning with the lunette on the left hand, which is divided into three compartments.

1. Hermogenes sends Philetus to dispute with St. James. 2. St. James in his pulpit converts Philetus. 3. Hermogenes sends his demons to bind St. James and Philetus. 4. Hermogenes brought bound to St. James. 5. He burns his books of magic. 6. Hermogenes and Philetus are conversing in a friendly manner with St. James. 7. St. James is martyred. 8. The arrival of his body in Spain in a marble ship steered by an angel. 9. The disciples lay the body on a rock, while Queen Lupa and her sister and another

A.D. 1376.

Bartsch, vi.

143.

B. Museum.

A.D. 1526.

Duomo,

Spoleto.

personage look on from a window in her palace. Then follow two compartments on the side where the window is broken out, much ruined; they represented apparently the imprisonment of the disciples. 12. The disciples escape and are pursued, and their pursuers with their horses are drowned. 13. The wild bulls draw the sarcophagus into the court of Queen Lupa's palace. 14. Baptism of Lupa. 15 and 16. Lower compartments to the left: St. Jago appears to King Ramirez, and the defeat of the Moors at Clavijo.

There is a rare and curious print by Martin Schoen, in which the apparition of St. James at Clavijo is represented not in the Spanish but the German style. It is an animated composition of many figures. The saint appears on horseback in the midst, wearing his pilgrim's dress, with the cockle shell in his hat: the Infidels are trampled down or fly before him.

On the road from Spoleto to Foligno, about four miles from Spoleto, there is a small chapel dedicated to St. James of Galizia. The frescoes, representing the miracles of the saint, were painted by Lo Spagna, the friend and fellow pupil of Raphael. In the vault of the apsis is the Coronation of the Virgin; she kneels, attired in white drapery flowered with gold, and the whole group, though inferior in power, appeared to me in delicacy and taste far superior to the fresco of Fra Filippo Lippi, from which Passavant thinks it is borrowed. Immediately under the Coronation, in the centre, is a figure of St. James as patron saint, standing with his pilgrim's staff in one hand, and the Gospel in the other; his dress is a yellow tunic with a blue mantle thrown over it. In the compartment on the left, the youth is seen suspended on the gibbet, while St. James with his hand under his feet sustains him; the father and mother look up at him with astonishment. In the compartment to the right, we see the judge seated at dinner attended by his servants, one of whom is bringing in a dish: the two pilgrims appear to have just told their story, and the cock and hen have risen up in the dish. These frescoes are painted with great elegance and

animation, and the story is told with much naïveté. I found the same legend painted on one of the lower windows of the church of St. Ouen, and on a window of the right-hand aisle in St. Vincent's at Rouen.

Of ST. JOHN, who is the fifth in the series, I have spoken at large under the head of the Evangelists.

ST. PHILIP.

Ital. San Filippo Apostolo. Fr. Saint Philippe. May 1.
Patron of Brabant and Luxembourg.

OF St. Philip there are few notices in the Gospel. He was born at Bethsaida, and he was one of the first of those whom our Lord summoned to follow him. After the ascension, he travelled into Scythia, and remained there preaching the gospel for twenty years: he then preached at Hieropolis in Phrygia,