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CE OXON.

J.H.Le Keux.

The fourth series (see folding plate) is from embroidery on an altar-cloth at Steeple Aston Church, Oxon., and represents the Saviour, typified by a lamb, in the centre, with the symbols in each corner, singularly primitive and mysterious in their appearance, accompanied like the two preceding examples, with scrolls; these are about the same date as those from the tomb of Lady Montacute, or somewhat earlier.

As our plan only embraces the treatment of these symbols when employed as representations of the Evangelists, we need only specify the other subjects they are sometimes applied to.

The four archangels, S. Michael, S. Raphael, S. Gabriel, and S. Urièl.

The four great prophets, Isaiah, Jeremiah, Ezekiel, and Daniel.

The four doctors of the Latin Church, S. Jerome, S. Augustine, S. Ambrose, and S. Gregory.

The Incarnation, the Passion, the Resurrection, and the Ascension.

Christ as Man, as King, as Priest, and as God.

ELE. Medieval Symbols.

In addition to these early Christian symbols, there are certain symbolical meanings attached to the emblems which accompany the later saints, a careful consideration of which may frequently unravel the lessons they were designed to teach, before the vast accumulation of myth and marvel completely veiled them from view; indeed it is almost certain that many of the acts attributed to these holy persons are merely fictitious, and comparatively modern creations, the emblems with which they were allegorically represented giving rise to the legends which obtained so extensively during the middle ages; so that we must interpret the legend as intended to suit the emblem, not the emblem as verifying the legend.

Thus we may readily recognise, in the most popular legend of the ages of chivalry, the true soldier of the cross impersonated in the acts and achievements of S. George:

"a bloodie Crosse he bore,

The deare remembraunce of his dying Lord;

Upon his shield the like was also scor'd:"

while the dragon, over which he triumphs after a

lengthened and dangerous combat, distinctly typifies

the powers of heathendom and paynimrie battling with, and at last overcome by, Christian chivalry, and the delivery of the princess from the dreadful jaws of the monster, may be equally allegorical of her delivery from sin and paganism. It is impossible to conceive a narrative more adapted to the times which gave it birth than this beautiful and, even in our own day, instructive allegory. Again, we may discern almost the same truths in the legend of S. Margaret, shewing the power of the cross over temptation and sin, but adapted in this case to the virgin saint, and rather to the edification and encouragement of the softer and weaker sex, than to the chivalrous notions and ideas of those who had earned the golden spurs of knighthood in battle against the paynim. In the legend of S. George the triumph over evil is obtained by chivalrous knightly courage; in that of S. Margaret by reliance upon the use and the powers of the cross. In this light too we may unravel the signification of the marvellous, and now so often ridiculed traditions of those like S. Denys, S. Clair, and others, who after decapitation took up their heads and walked; in the representations of those who had thus suffered, the painters and illuminators of early days depicted them, not unnaturally, as carrying the head which they had given up as a last and most solemn offering to God; and then in process of time what was originally intended as a symbol, came to be received as a fact and truth, and no difficulty would

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