"Dolores animæ salutem parturientes ;" and the same subject varied, with the inscription, Tolle, lege. He tells us in his Confessions, that while still unconverted and in deep communion with his friend Alypius on the subject of the Scriptures, the contest within his mind was such that he rushed from the presence of his friend and threw himself down beneath a fig-tree, pouring forth torrents of repentant tears; and he heard a voice, as it were the voice of a child, repeating several times, "Tolle, lege," "Take and read;" and returning to the place where he had left his friend, and taking up the sacred volume, he opened it at the verse of St. Paul's Epistle to the Romans, "Not in rioting and drunkenness, not in chambering and wantonness, not in strife and envying; but put ye on the Lord Jesus Christ, and make not provision for the flesh." Considering that this was the voice of God, he took up the religious profession, to the great joy of his mother and his friend.

3. C. Procaccino. The Baptism of St. Augustine in the presence of St. Monica. This is a common subject in chapels dedicated to St. Augustine or St. Monica.1

4. As the supposed founder of one of the four great religious communities, St. Augustine is sometimes represented as giving the rules to his Order: or in the act of writing them, while his monks stand around, as in a picture by Carletto Cagliari2: both are common subjects in the houses of the Augustine friars. The habit is black.3

5. St. Augustine dispensing alms, generally in a black habit, and with a bishop's mitre on his head.

6. St. Augustine, washing the feet of the pilgrims, sees Christ descend from above to have his feet washed with the rest; a large picture in the Bologna Academy by Desubleo, a painter whose works, with this one exception, are unknown to me. The saint wears the black habit of an Augustine friar, and is attended by a monk with a napkin in his hand. I found the same subject in the Louvre, in a Spanish picture of the seventeenth century; above is seen a church (like the Pantheon) in a glory, and Christ is supposed to utter the words, "Tibi commendo Ecclesiam meam." 4

1 Cremona.

3 2 Belvedere, Vienna.

v. "Legends of the Monastic Orders,” p. 191.

I believe this picture was afterwards in the possession of Mr. Dennistoun, of Dennistoun.

Mr. Stirling mentions it as a fine specimen of Murillo's second style.

7. St. Augustine, borne aloft by angels in an ecstatic vision, beholds Christ in the opening heavens above, St. Monica kneeling below. This fine picture, by Vandyck, is or was in the gallery of Lord Methuen at Corsham and at Madrid there is another example, by Murillo: St. Augustine kneeling in an ecstasy sees a celestial vision; on one hand the Saviour crucified, on the other the Virgin and angels.

This, however, is not the famous subject called, in general, 8. "The Vision of St. Augustine," which represents a dream or vision related

by himself. He tells us that while busied in writing his Discourse on the Trinity, he wandered along the sea-shore lost in meditation. Suddenly he beheld a child, who, having dug a hole in the sand, appeared to be bringing water from the sea to fill it. Augustine inquired what was the object of his task? He replied, that he intended to empty into this cavity all the waters of the great deep. "Impossible!" exclaimed Augustine. "Not more impossible," replied the child, "than for thee, O Augustine! to explain the mystery on which thou art now meditating."

No subject from the history of St. Augustine has been so often treated, yet I do not remember any very early example. It was adopted as a favourite theme when Art became rather theological than religious, and more intent on illustrating the dogmas of churchmen than the teaching of Christ. During the 16th and 17th centuries we find it everywhere, and treated in every variety of style; but the motif does not vary, and the same fault prevails too generally, of giving us a material fact, rather than a spiritual vision or revelation. Augustine, arrayed in his black habit or his episcopal robes, stands on the sea shore, gazing with an astonished air on the Infant Christ, who pauses, and looks up from his task, holding a bowl, a cup, a ladle, or a shell in his hand. Thus we have it in Murillo's picture the most beautiful example I have seen: the child is heavenly, but not visionary, "palpable to feeling as to sense."

In Garofalo's picture of this subject, now in our National Gallery, Augustine is seated on a rock by the margin of the sea, habited in his episcopal robes, and with his books and writing implements near him; and while he gazes on the mysterious child, the Virgin appears amid a choir of angels above: behind Augustine stands St. Catherine, the patron saint of theologians and scholars: the little red figure in the background represents St. Stephen, whose life and actions are eloquently set forth in the homilies of St. Augustine: the introduction of St. Catherine, St. Stephen, and the whole court of heaven, gives the picture a visionary character. Rubens has painted this subject with all his powerful reality: here Augustine wears the black habit of his Order. Vandyck in his large grand picture has introduced St. Monica kneeling,

thus giving at once the devotional or visionary character.1 Albert Dürer has designed and engraved the same subject. The most singular treatment is the classical composition of Raphael, in one of the small chiaro-scuro pictures placed significantly under the "Dispute of the Sacrament." St. Augustine is in a Roman dress, bare-headed, and on horseback; his horse starts and rears at the sight of the miraculous child. There is something at once picturesque and mystical in this subject, which has rendered it a favourite with artists and theologians; yet there is always, at least in every instance I can recollect, something prosaic and literal in the treatment which spoils the poetry of the conception.

9. "St. Augustine and St. Stephen bury Count Orgaz" - the masterpiece of Domenico el Greco, once in the Cathedral of Toledo, now in the Madrid Gallery. This Conde de Orgaz, as Mr. Ford tells us in his Handbook, lived in 1312, and had repaired a church in his lifetime, and therefore St. Stephen and St. Augustine came down from heaven to lay him in his tomb, in presence of Christ, the Virgin, and all the court of heaven. "The black and gold armour of the dead Count is equal to Titian; the red brocades and copes of the saints are admirable; less good are the Virgin and celestial groups." I have before mentioned the reason why St. Augustine and St. Stephen are often represented in companionship.

St. Monica is often introduced into pictures of her son, where she has, of course, the secondary place; her dress is usually a black robe, and a veil or coif, white or grey, resembling that of a nun or a widow. I have met with but one picture where she is supreme; it is in the Carmine at Florence. St. Monica is seated on a throne and attended by twelve holy women or female saints, six on each side. The very dark situation of this picture prevented me from distinguishing individually the saints around her, but Monica herself as well as the other figures have that grandiose air which belongs to the painter - Filippo Lippi.

I saw in the atelier of the painter Ary Scheffer, in 1845, an admirable picture of St. Augustine and his mother Monica. The two figures, not quite full-length, are seated; she holds his hand in both hers, looking up to heaven with an expression of enthusiastic undoubting faith;

Once in Lord Methuen's Gallery at Corsham.

"the son of so many tears cannot be cast away!" He also is looking up with an ardent, eager, but anxious, doubtful expression, which seems to say, "Help thou my unbelief!" For profound and truthful feeling and significance, I know few things in the compass of modern Art that can be compared to this picture.1

ST. GREGORY.

Lat. Sanctus Gregorius Magnus. Ital. San Gregorio Magno or Papa. Fr. St. Grégoire. Ger. Der Heilige Gregor. March 12. A. D. 604.

THE fourth Doctor of the Latin Church, St. Gregory, styled, and not without reason, Gregory the Great, was one of those extraordinary men whose influence is not only felt in their own time, but through long succeeding ages. The events of his troubled and splendid pontificate belong to history; and I shall merely throw together here such particulars of his life and character as may serve to render the multiplied representations of him both intelligible and interesting. He was born at Rome in the year 540. His father, Gordian, was of senatorial rank: his mother, Sylvia, who, in the history of St. Gregory, is almost as important as St. Monica in the story of St. Augustine, was a woman of rare endowments, and, during his childish years, the watchful instructress of her son It is recorded that when he was still an infant she was favoured by a vision of St. Antony, in which he promised to her son the supreme dignity of the tiara. Gregory, however, commenced his career in life as a lawyer, and exercised during twelve years the office of prætor or chief magistrate of his native city; yet, while apparently engrossed by secular affairs, he became deeply imbued with the religious enthusiasm which was characteristic of his time and hereditary in his family. Immediately on the death of his father he devoted all the wealth he had inherited to pious and charitable purposes, converted his paternal home on the Celian Hill into a monastery and hospital for the poor, which he dedicated to St. Andrew: then, retiring to a little cell

It was in the possession of Her Majesty the Ex-Queen of the French, who paid for it 25,000f.