20. The Angel wrestles with Jacob. Greek Miniature.

21. Greek Angel. Miniature.

22. Greek Angels.

23. Infant Angels.

Mosaic.

Andrea del Sarto.

24. Infant Angels. Poussin. 25. Angel of the 17th Century.

26. Adoring Angels. W. Blake.

27. Two Archangels. Cimabue.

28. The Archangels Michael and Raphael. Campo Santo.

29. Angels bearing the Instruments of the Passion. Campo Santo.

30. St. Michael as Patron Saint. Angelico da Fiesole.

31. Early Symbol of St. Michael and the Dragon. Sketch from a Bas-relief on the Façade of the Cathedral at Cortona.

32. St. Michael overcomes the Demon. Martin Schoen.

33. The same subject. Raphael.

34. St. Michael as Patron Saint. Mabuse.

35. St. Michael as Lord of Souls.

Lorenzo Monaco.

Luca Signorelli.

36. St. Gabriel.

41. St. Raphael. Rembrandt.

42. The Symbol of St. Matthew. Mosaic.

43. The Tetramorph. Greek.

44. Symbol of St. Luke.

45. Symbol of St. Luke.
46. Symbol of St. John.
47. Symbol of St. Mark.
48. Symbol of St. John.

49. Symbol of St. Mark.

Mosaic.

Mosaic.

Mosaic.
Mosaic.
Miniature.

Sculpture.

50. Mystical Figures of the Four Evangelists. Angelico da Fiesole. 51. Figure from Nineveh. British Museum.

52. Winged St. Mark. Hans Beham.

53. St. Matthew. Raphael.

54. St. Luke painting the Virgin. Ancient Greek.

55. St. John with the Eagle. Raphael.

56. St. John. Hans Hemlinck.

57. St. John as Prophet. Raphael.

58. St. John in the Island of Patmos. Lucas v. Leyden.

59. The Twelve Apostles, as Sheep. Mosaic.

60. St. Peter and St. Paul. Carlo Crivelli.

61. St. Peter. Greek Type.

62. St. Peter with one key. Taddeo Gaddi.

63. St. Paul. Greek Type.

64. St. Peter throned.

65. St. Peter as Pope.

66. Repentance of Peter.

67. Crucifixion of Peter.

School of Giotto.

Cola dell' Amatrici.

Bas-relief, 3rd Century.
Giotto.

68. St. Peter as keeper of the Gates of Paradise. Simone Memmi.

69. St. Andrew. Peter Vischer.

70. St. James Major. Giovanni Santi.
71. Santiago slaying the Moors.
72. St. James Major as Patron.

Carreño de Miranda.
Andrea del Sarto.

73. The Miracle of the Fowls. Lo Spagna.
74. St. Philip. Albert Dürer.

75. St. Bartholomew.

Giotto.

76. St. Thomas. Raphael.

77. St. James, Minor. L. van Leyden.

78. St. Matthias. Raphael.

79. Angel swinging the Censer. Albert Dürer.
80. St. Jerome. Raphael.

81. St. Jerome healing the Lion.

82. The Vision of St. Augustine.

Coll' Antonio da Fiori.
Murillo.

83. "La Penitence de St. Jean Chrysostom." Albert Dürer.

84. Mary Magdalene, Statue. Donatello.

85. Mary Magdalene. L. van Leyden.

86. Mary Magdalene. Timoteo della Vite.

87. Mary Magdalene. Murillo.

88. The Assumption of the Magdalene. Albert Dürer.
89. Two Angels. F. Granacci.

Etchings.

Page

1. The Assumption of the Magdalene. After Giulio Romano
2. Angels of the Planets. Raphael. From the fine set of Engravings
by L. Gruner, after the Frescoes of the Capella Chigiana
3. The Three Archangels bear the Infant Christ. From an Ancient
Greek Picture
4. The Madonna della Cintola. Sketch from the Picture of Fran-
cesco Granacci in the Florence Gallery

Title

45

58

228

5. The Four Latin Fathers. From the Picture of Antonio Vivarini, in the Academy at Venice

6. The Five Greek Fathers. Drawn from an ancient Greek Picture in the Vatican

354

7. Mary Magdalene at the Feet of our Saviour. After the Titian in the Possession of Mr. Rogers 8. The Myrrhophores. Duccio di Siena. Sketch from the fine set of Outline Engravings after Duccio, published by Dr. Emilio Braun 354 9. Mary Magdalene preaching at Marseilles to King René and his Court. From the Picture attributed to King René in the Hotel de Cluny

364

263

"Noli me tangere."

PREFACE.

THIS book was begun six years ago, in 1842. It has since been often laid aside, and again resumed. In this long interval, many useful and delightful works have been written on the same subject, but still the particular ground I had chosen remained unoccupied; and amid many difficulties, and the consciousness of many deficiencies, I was encouraged to proceed, partly by the pleasure I took in a task so congenial, partly by the conviction that such a work has long been wanted by those who are not contented with a mere manual of reference, or a mere catalogue of names. book is intended not only to be consulted, but to be read,— if it be found worth reading. It has been written for those who are, like myself, unlearned, yet less, certainly, with the idea of instructing, than from a wish to share with others those pleasurable associations, those ever new and ever various aspects of character and sentiment as exhibited in art, which have been a source of such vivid enjoyment to myself.

This

This is the utmost limit of my ambition; and knowing that I cannot escape criticism, I am at least anxious that there should be no mistake as to purpose and intention. I hope it will be clearly understood that I have taken throughout the aesthetic and not the religious view of those productions of art which, in as far as they are informed with a true

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