lengthened dissertation by a brief, and united, recapitulation of the arguments in favour of my hypothesis.

If it be advanced, that the personification of the Cross is an absurdity in itself, the answer to this is manifest. We have an approximation to it in these facts, that churches have been dedicated to the Sancta Crux-the Holy Cross-and that Papists have prostrated themselves (yea, and still do so,) before the cross of wood, or stone, and held it in sacred adoration (see p. 538.) The step, then, from adoration to metaphorical personification, is short, and easy; in fact, the latter is the lesser absurdity, and divested of the sinfulness of the former.

We have seen, that, by the comparison of the dress of the "Galante" (p. 525) with the following line of Chaucer, descriptive of the dress of the Yemen, or Yeoman, viz. "A Cristofre on his brest of silver shene," it is clearly apparent, that the cross was known by the appellation of Cristofre, or Christopher, i. e. the bearer of Christ, and that the cross itself was, as generally supposed, in comparison of others, of unusual magnitude, and disproportionate to the person. We have read the verses of the 69th Psalm, so strongly metaphorical, and so clearly prophetical, of the crucifixion; and we there find a strong appeal made by our Saviour, through the mouth of his servant David, to the Almighty Father, that he be lifted out of “the deep waters," i. e. the afflictions of human life; and, in this picture, we do see him triumphantly raised aloft on the gigantic cross-the Christopher-borne over the waters of afflictioncarried in triumph to everlasting life; for, in the utmost beauty of language, thus saith the Prophet Isaiah: "Surely he hath borne our griefs, and carried our sorrows, yet we did esteem him stricken, smitten of God, and afflicted." We invariably discover these mystic paintings opposite to the principal entrance of the Church, that they may be most in sight, and a traditional adage did exist, even in the darker ages, that, whoever looked on Saint Christopher, he should be free from disease. Here, gentle reader, we have the introduction of the analogy of the brazen serpent under the Old Law, and this brazen serpent was the prefiguration of the crucifixion, and sinning man was thus told, that, whoever should look on the cross-should bear in

In foreign countries the statue of Saint Christopher (or personified cross) is not uncommonly seen at the entrance of the Church.-E. D. + See the Legend, p. 535.

mind the sufferings of his Saviour for his sake-and should forsake, and repent of, his sins, he should be healed of all his infirmities should be forgiven those sins, and saved to life everlasting. Thus, again, have we seen, that the name, the title, and the office of our Blessed Saviour (as the principal personage in the piece) were pointed out by a curious enigmatic rebus derived from the Greek Appellative for a fish-that three of these are ever depicted in allusion to the doctrine of the Holy Trinity, and that they appear, not necessarily, but merely incidentally, in contact with the waters, denoting the waters of affliction, as they record the history, and purport, of the interesting painting -they prominently present themselves as its title, although that title, in compliance with the existing puerilities of the age, and in accordance with the whole character of this metaphorical painting, be covertly expressed under a then well-understood enigma; but further-let us now look on another portion of the picture we here see a Church, and its priest issuing from it in his monastic costume, and bearing a rosary denotive of his religious zeal, and-a torch. What, gentle reader, have these to do with the trumpery legend of Saint Christopher, the alleged martyr of Lycia? Where is the connexion? What avail these accessories—the church-the monk-and the torch, when considered with reference to his legend? Interpret them, however, as the portions of an entire symbolic history, and the several parts then unite, and harmonise, as a whole-nay-I will remark, that they dovetail* into each other. Let the supposed Saint Christopher be regarded as the enigmatic-the symbolic Christophorus-the bearer of Christ-the personified cross; give to this cross the secondary consideration, and regard our Saviour borne triumphantly thereon through the waters of affliction that is-seated above the troubles of this sublunary world, and pointed out by the enigmatic rebus above alluded to-regard him, I say, as the primary object of this symbolic piece, then the whole is apparent, and the union and intent of the several parts of this mystic painting are at once made manifest-in short-here we have our Saviour on the vivified (and vivifying) cross-here we have the Minister of Christ issuing forth from his Temple with his torch-the torch of the inquiring mind-seeking, and eager, to discover the mysteries of Redemp

* This expressive term is derived from the craft of the joiner, and is too generally understood to require a special description.

tion-the glories of that Holy Cross-and zealously desirous to embrace the doctrines of his Holy Word engrafted thereonto promulgate the saving Faith of his Saviour throughout the world. Lastly, as by other similar paintings it does appear, that, by the introduction of the cross on every available occasion, such as on the steeple of the church, &c., and by allusions thereto, as flying birds-ships with sails, and yards, &c., the crucifixion of our Saviour is pointed out as the subject of the painting; so, in the picture before us, the place of these accessories is well supplied by the several congeries of small crosses (an example of which is given in p. 567) depicted in the void back ground, by which the same prevalent idea, declaratory of the subject of the picture, is thus enigmatically, and symbolically, noted.

I could, indeed, press into my service divers lesser arguments in support of the truth of my hypothesis, but I have said enough to convince myself, and, which is of greater importance, to convince you, as I hope, gentle reader, that these curious, and interesting, pictures present not, primarily, any historic fact of the life of the Lycian Martyr, but that they were truly, and intrinsically, enigmatic, and symbolical-that they are a mixture of allegory and metaphor well understood in the more early days of their adoption, but misconceived in the dark ages of the world, and misinterpreted through the united ignorance and craft of the Papists of those now distant days. My belief is, and such, I hope, will be the credence of all, who read this imperfect dissertation, that they are enigmatic, and symbolical, paintings of the crucifixion, through-The Personification of the Cross.

NOTE 11-(p. 185.)

"Rings." A volume might be written on the subject of the ring; but, limited as the range of my pen has now become, I must briefly dispatch this note. The ring, from the earliest period, has been a favourite, and personal, decoration of man, both in the savage and civilised state.

It is frequently spoken of in the Old Testament. When the servant of Abraham affianced Rebecca at the well for Isaac, his master's son, he "put the ear-ring upon her face, and the bracelets upon her hands." The more correct translation from

the original Hebrew is, "I put the jewel upon her nose." The fashion of the nose-ring is still prevalent amongst the ladies of the East, but the ear-ring, I must confess, is better adapted as the accompaniment of female charms. From the Hebrews, the use of the ring descended to the Greeks, and Romans. The Latin Proverb-Annulus aureus in nare suillá―i. e. a gold ring in a sow's snout, is still applied to that person of inferior grade, who, with an indiscreet, and arrogant, mind, apes the dress without the ability to copy the manners of the superior class. It is as terse as it is appropriate. This saying, probably, originated from the adage of Solomon: "As a jewel of gold in a swine's snout, so is a fair woman without discretion."

Much has been said by Pliny, Macrobius, and others, on the interesting subject of the finger-ring. The usage of wearing the ring on the fourth finger of the left hand is mentioned by Macrobrius, who saith, that the custom was derived from Egypt, and was handed down to his time by the books of the anatomists of that nation. I here beg leave to quote the passage, to which I refer: "Sermo quidam ad nos ab Egypto venerat, de quo dubitabam fabulamne an veram rationem vocarem, sed libris anatomicorum postea consultis verum reperi, nervum quendam de corde natum priorsum pergere usque ad digitum manûs sinistræ minimo proximum, & illic desinere implicatum cæteris ejusdem digiti nervis : & ideo visum veteribus, ut ille digitus annulo tanquam coronâ circumdaretur."* Thus we see, that the Ancients held, that a nerve springing from the heart stretched even to the finger of the left hand, which is next to the least finger, and that it ends there enwrapped with the other nerves of the same finger, and that thus it seemed good to the Ancients, that that finger should be surrounded with the ring, as though with a garland.

That a peculiar nerve extended from the fourth finger of the left hand even unto the heart has been a notion, which has descended down amongst us even to comparatively modern days; and this, it is asserted, is the reason, why that finger of the ladye faire has been chosen, whereon to place the weddingring, since that nerve is thus constituted, as it were, the rail-way of her affections. It is a remarkable fact, that the Jesuits, famed as they were for classic lore, were so little skilled in anatomy, that, even in the early part of the 17th century they A. Macrobii Saturnal. p. 437.

retained the notion of this peculiar nerve, which connected the aforesaid finger and the heart. In the book of Offices "juxta vsum insignis Ecclesiæ Sarisburiensis," printed (under their directions) at Douay, in Flanders, in the year 1604, this notion is adverted to in the directory portion of the marriage ceremony.

From the Rubric+ I also draw this inference, that, in the olden times, the nuptial ring was of silver made, and that, from the sonorous tone of that metal, and through the intervention of the ticklish nerve in question, it was sagely adjudged, that the heart of the ladye faire might respond in the chords of love, and affection. The happy bridegroom having placed the ring on the fourth finger of the left hand of his admired spouse, the Rubric proceeds to say: "Ibique dimittat annulum. Quia in medico est quædam vena procedens vsque ad cor, & in sonoritate argenti designatur interna dilectio, quæ semper inter eos debet esse recens." Whilst copying the foregoing most curious, and interesting, passage, I perceive, that I have by no means done it the meed of justice. By the words " quæ semper inter eos debet esse recens," it appeareth, clearly, that our good forefathers supposed, that the sonorosity of the silver ring would, ever and anon, when struck, like even unto a bell, by means of the vibrating nerve, remind the fair wearer thereof of that affectionate love, and duty, which she owed unto her admiring Lord and Master.

The general, I may say, the universal use of the formularies of the Cathedral Church of Salisbury, expressly testified "secundùm usum Sarum," raised a proverb applicable to the correctness of any deed. This is thus noted by old Tom Fuller :

"It is done secundùm usum Sarum."]

"This Proverb, coming out of the Church, hath since inlarged itself into a Civil use. It began on this occasion. Many Offices or Forms of Service were used in severall Churches in England, as the Office of York, Hereford, Bangor, &c.; which caused a deal of confusion in God's Worship, untill Osmond, Bishop of Sarum, about the year of our Lord 1090, made that Ordinall, or Office, which was generally received all over England, so that Churches thenceforward easily understood one another, all speaking the same words in their Liturgy.

"It is now applyed to those Persons, which do, and Actions which are formally and solemnly done, in so regular a way, by authentick Precedents, and Patterns of unquestionable Authority, that no just exception can be taken thereat."*

This is the name of the directory part of the books of office in the olden times, and takes its name from ruber, red, it being printed in the red letter. The name is still applied to the analogous part of our Common Prayer Book, although the red letter be discontinued.

* "Worthies of England," Vol. ii. p. 438 (1811.)