- Lydgate’s Pilgrim
Sometimes a little below the lower knob there is a hook, or a staple, to which we occasionally find a water-bottle or a small bundle attached. The hook is seen on the staff of Lydgate’s pilgrim. - Master of the Playing Cards. Man of Sorrows
To his [Master of the Playing Cards.] latest and most mature period must be assigned the Man of Sorrows—in some ways his finest, and certainly his most moving, plate. Not only has he differentiated between the textures of the linen loin-cloth and the coarser material of the cloak; but the column, the cross with its beautiful and truthful indication of the grain of the wood, and the ground itself, all are treated with a knowledge and a sensitiveness that is surprising. The engraver’s greatest triumph, however, is in the figure of Christ. There is a feeling for form and structure, sadly lacking in the work of his successors, and his suggestion of the strained and pulsing veins, which throb through the Redeemer’s tortured limbs, is of a compelling truth. - Master of the Year 1446. Christ Nailed to the Cross
Size of the original engraving, 4⅛ × 3¼ inches In the Royal Print Room, Berlin Chief among the engravers who show most clearly the influence of the Master of the Playing Cards is the Master of the Year 1446, so named from the date which appears in the Flagellation. His prints present a more or less primitive appearance, and were it not for this date, one might be tempted, on internal evidence, to assign them to an earlier period. In the Passion series, in particular, many of the figures are more gnome-like than human. Such creatures as the man blowing a horn, in Christ Nailed to the Cross, and the man pulling upon a rope, in the same print, recall to our minds, by an association of ideas, the old German fairy tales. - Monk in Scriptorium
The Scriptorium is said to have been usually over the chapter-house. It was therefore a large apartment, capable of containing many persons, and, in fact, many persons did work together in it in a very business-like manner at the transcription of books. - Pilgrim in Hair Shirt and Cloak
Pilgrim in Hair Shirt and Cloak - Pilgrim Monk
Pilgrim Monk - Pilgrim on Horseback
Pilgrim on Horseback - Pope, Cardinal, and Bishop
A woodcut of the fifteenth century, from a manuscript life of Richard Beauchamp, Earl of Warwick, in the British Museum; the subject is the presentation of the pilgrim earl to the pope, and it enables us to bring into one view the costumes of pope, cardinal, and bishop. - Ricardus de Threton, Sacerdos
Sir Richard de Threton, priest,who was executor of Sir Robert de Thorp, knight, formerly chancellor of the king, and who gave twenty marks to the convent. Our woodcut gives only the outlines of the full-length portrait. In the original the robe and hood are of full bright blue, lined with white; the under sleeves, which appear at the wrists, are of the same colour; and the shoes are red. the grateful monks of St. Alban’s have recorded the names and good deeds of those who had presented gifts or done services to the convent. - Saint Bernard
When about twenty years of age he entered the monastery at Citeaux with five of his brothers. His genius might have secured ecclesiastical preferment, but he chose to dig ditches, plant fields and govern a monastery. He entered the cloister at Citeaux because the monks were few and poor, and when it became crowded because of his fame, and its rule became lax because of the crowds, he left the cloister to found a home of his own. The abbot selected twelve monks, following the number of apostles, and at their head placed young Bernard. He led the twelve to the valley of Wormwood, and there, in a cheerless forest, he established the monastery of Clairvaux, or Clear Valley. His rule was fiercely severe because he himself loved hardships and rough fare. "It in no way befits religion," he writes, "to seek remedies for the body, nor is it good for health either. You may now and then take some cheap herb,--such as poor men may,--and this is done sometimes. But to buy drugs, to hunt up doctors, to take doses, is unbecoming to religion and hostile to purity." His success in winning men to the monastic life was almost phenomenal. It was said that "mothers hid their sons, wives their husbands, and companions their friends, lest they be persuaded by his eloquent message to enter the cloister." "He was avoided like a plague," says one. - 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. Bridget, from an old cut in the possession of Earl Spencer
The figure writing is that of St. Bridget of Sweden, who was born in 1302 and died in 1373. From the representation of the Virgin with the infant Christ in her arms we may suppose that the artist intended to show the pious widow writing an account of her visions or revelations, in which she was often favoured with the blessed Virgin’s appearance. The pilgrim’s hat, staff, and scrip may allude to her pilgrimage to Jerusalem, which she was induced to make in consequence of a vision. The letters S. P. Q. R. in a shield, are no doubt intended to denote the place, Rome, where she saw the vision, and where she died. The lion, the arms of Sweden, and the crown at her feet, are most likely intended to denote that she was a princess of the blood royal of that kingdom. The words above the figure of the saint are a brief invocation in the German language, “O Brigita bit Got für uns!” “O Bridget, pray to God for us!” At the foot of the desk at which St. Bridget is writing are the letters M. I. Chrs., an abbreviation probably of Mater Jesu Christi, or if German, Mutter Iesus Christus. - 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. - Thirteenth Century Pilgrims (the two Disciples at Emmaus)
The most usual foreign pilgrimages were to the Holy Land, the scene of our Lord’s earthly life; to Rome, the centre of western Christianity; and to the shrine of St. James at Compostella. The number of pilgrims to these places must have been comparatively limited; for a man who had any regular business or profession could not[Pg 160] well undertake so long an absence from home. The rich of no occupation could afford the leisure and the cost; and the poor who chose to abandon their lawful occupation could make these pilgrimages at the cost of others; for the pilgrim was sure of entertainment at every hospital, or monastery, or priory, probably at every parish priest’s rectory and every gentleman’s hall, on his way; and there were not a few poor men and women who indulged a vagabond humour in a pilgrim’s life. The poor pilgrim repaid his entertainer’s hospitality by bringing the news of the countries through which he had passed, and by amusing the household after supper with marvelous saintly legends, and traveler’s tales. - 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