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    The Legendary History of the Cross: A Series of Sixty-four Woodcuts from a Dutch Book Published by Veldener, A.D. 1483
    The Legendary History of the Cross: A Series of Sixty-four Woodcuts from a Dutch Book Published by Veldener, A.D. 1483
    The Legendary History of the Cross: A Series of Sixty-four Woodcuts from a Dutch Book Published by Veldener, A.D. 1483
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    The Legendary History of the Cross: A Series of Sixty-four Woodcuts from a Dutch Book Published by Veldener, A.D. 1483

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    "The Legendary History of the Cross" by Various. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.
    LanguageEnglish
    PublisherGood Press
    Release dateDec 5, 2019
    ISBN4064066249243
    The Legendary History of the Cross: A Series of Sixty-four Woodcuts from a Dutch Book Published by Veldener, A.D. 1483

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      The Legendary History of the Cross - Good Press

      Various

      The Legendary History of the Cross

      A Series of Sixty-four Woodcuts from a Dutch Book Published by Veldener, A.D. 1483

      Published by Good Press, 2022

      goodpress@okpublishing.info

      EAN 4064066249243

      Table of Contents

      PREFACE.

      The Legendary History of the Cross.

      Of the Holy Crosse.

      Decoration

      PREFACE.

      Table of Contents

      decorationT

      THE origin of the mediæval romance of the Cross is hard to discover. It was very popular. It occurs in a good number of authors, and is depicted in a good many churches in stained glass.

      I may perhaps be allowed here to repeat what I have said in my article on the Legend of the Cross, in Myths of the Middle Ages:—

      In the churches of the city of Troyes alone it appears in the windows of four: S. Martin-ès-Vignes, S. Pantaléon, S. Madeleine, and S. Nizier. It is frescoed along the walls of the choir of S. Croce at Florence, by the hand of Agnolo Gaddi. Pietro della Francesca also dedicated his pencil to the history of the Cross in a series of frescoes in the chapel of the Bacci, in the church of S. Francesco at Arezzo. It occurs as a predella painting among the specimens of early art at the Accademia delle Belle Arti at Venice, and is the subject of a picture by Beham, in the Munich Gallery. The Legend is told in full in the ‘Vita Christi,’ printed at Troyes in 1517; in the ‘Legenda Aurea’ of Jacques de Voragine; in a French MS. of the thirteenth century, in the British Museum. Gervase of Tilbury relates a portion of it in his ‘Otia Imperalia,’ quoting Peter Comestor; it appears in the ‘Speculum Historiale’ of Gottfried of Viterbo, in the ‘Chronicon Engelhusii,’ and elsewhere.

      In the very curious Creation window of S. Neot’s Church, Cornwall, Seth is represented putting three pips of the Tree of Life into the mouth and nostrils of dead Adam, as he buries him.

      Of the popularity of the story of the Cross there can be no doubt, but its origin is involved in obscurity. It is generally possible to track most of the religious and popular folk tales and romances of the Middle Ages to their origin, which is frequently Oriental, but it is not easy to do so with the Legend of the Cross. It would rather seem that it was made up by some romancer out of all kinds of pre-existing material, with no other object than to write a religious novel for pious readers, to displace the sensuous novels which were much in vogue.

      We know that this was largely done after the third century, and a number of martyr legends, such as those of S. Apollinaris Syncletica, SS. Cyprian and Justina, the story of Duke Procopius, S. Euphrosyne, SS. Zosimus and Mary, SS. Theophanes and Pansemne, and many others were composed with this object. The earliest of all is undoubtedly the Clementine Recognitions, which dates from a remotely early period, and carries us into the heart of Petrine Christianity, and in which many a covert attack is made on S. Paul and his teaching. On the other hand, we know that an Asiatic priest, as Tertullian tells us, wrote a romance on Paul and Thecla, out of love to Paul. S. Jerome says that a Pauline zealot, when convicted before his bishop of having written the romance, tried to exculpate himself by saying that he had done it out of admiration for S. Paul, but the Bishop would not accept the excuse, and deprived him. Unfortunately this romance has not come down to us, though we have another on S. Paul and his relations to Thecla, who is said to have accompanied him on his apostolic rambles, disguised in male attire.

      The Greek romance literature was not wholesome reading for Christians. Some of the writers of these tales became Christian bishops, and probably devoted their facile pens to more edifying subjects than the difficulties of parted lovers.

      Heliodorus, who wrote Theagenes and Charicheia, is said to have become Bishop of Tricca, in Thessaly. Socrates, in the fifth century, in speaking of clerical celibacy, mentions the severity of the rule imposed on his clergy by this Heliodorus, under whose name there are love-books extant, called Ethiopica, which he composed in his youth.

      Achilles Tatius, author of the Loves of Clitophon and Leucippe, is said also to have become a bishop. So also Eustathius of Thessalonica, author of the Lives of Hysemene and Hysmenias, but this is more than doubtful.

      Three things conduced to the production of a Christian romance literature in the early ages of the Church:—(1) The necessity under which the Church lay of supplying a want in human nature; (2) The need there was for producing some light wholesome literature to supply the place of the popular love-romances then largely read and circulated; (3) The fact that some bishops and converts were experienced novel writers, and therefore ready to lend their hands to some better purpose than amusing the leisure and flattering the passions of the idle and young.

      Much the same conditions existed in the Middle Ages. There was an influx of sensuous literature from the East, through the Arabs of Spain and Sicily; Oriental tales easily took Western garb, in which the caliphs became kings of Christendom, and the fakirs and imauns were converted into monks and Catholic priests. To counteract these stories, collections of which may be found in Le Grand d’Aussi and Von der Hagen, and in Boccaccio, the Gesta Romanorum was drawn up, a collection of moral tales, many of them of similar Oriental parentage. But beside these short stories, or novels, were long romances, some heroic, and founded on early national traditions and ballads. To these belong the Niebelungen Lied and Noth,

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