rendering preaching fruitful in good results. Treatises were written on the subject by Alanus of Ryssel and Abbot Guibert of Nogent († 1124). The latter requires a preacher to have a pure conscience, an elocution energetic and impetuous, and a plain and familiar speech. Such was the method followed in instructing the people by Humbert, a native of Romans, in the diocese of Vienne, and General of the Dominican Order († 1277). St. Bonaventure, in his exposition of the Bible (Biblia pauperum omnibus praedicatoribus perutilis), intended to serve as an aid to inexperienced and ignorant preachers of the Word of God, makes war on all tricks and devices resorted to by pulpit speakers for effect, declaring that their one aim and purpose should be to gain souls and give glory to God. The same principles were urged by the Dominican, John of Runsch, called Johannes Friburgensis.1

During the fourteenth and fifteenth centuries, particular districts were blessed above others by the presence of eminent and holy preachers. Such was the effect produced upon his hearers by John Tauler († 1361), at Cologne and Strasburg, that contemporary writers own to an inability to convey an idea of it.2 This humble expounder of the Word of God, having observed, during the early days of his career as a preacher, that the proud consciousness of his own ability and his great erudition prevented the truths that he proclaimed from sinking into the hearts of his hearers and bearing fruit, ceased to preach for two years, and during the interval occupied himself in meditating on the life of our Savior and the practice of self-denial.

Vincent Ferrer, as affable and tender to others as he was harsh and severe to himself, by his eloquent sermons and exemplary life, brought numbers of heretics back to the Church.3

1 Guibertus, liber, quo ordine sermo fieri debeat. Humbertus de Romanis, De eruditione praedicator. libb. II. Johannes Friburgensis, Summa praedicator. et confessarior., Lugd. 1518, 4to.

2 Sermons of John Tauler, for all the Sundays and festivals of the year (translated into modern book-language, by Schlosser, Frcft. 1826, 3 pts.); ed. by the Protestants John Arnd and James Spener; new ed. by the Protestant preacher, Kunze, and Dr. Biesenthal, Berlin, 1841, 3 pts.

Heller, St. Vincent Ferrer, Berlin, 1836. Freiburg Cyclopaed., Vol. IV., p 39-41. French transl., Vol. 8, p. 461–464.

Such was the wonderful success of his preaching among people of various nationalities, that he was popularly believed to have received the gift of tongues, of which he knew only Spanish and Latin; and his angelic life was so close an imitation of the life of Christ, that, when he came to Vannes, the inhabitants cried out, "Blessed is he who comes in the name of the Lord." He was not in the least elated by his splendid success, was uniformly humble and unassuming, and led a most austere life, not unfrequently scourging himself,

John Capistrano1 was equally successful in combating the Hussites in Bohemia. His sermons were delivered in Latin, and then translated and explained by an interpreter, who accompanied him on his journeys. He has also gained a name in profane history by his zealous and efficient labors in preaching a crusade against the Turks.

The fiery energy and resistless eloquence of Jerome Savonarola, his apocalyptic imagery and fervid language, subdued all hearts.2

Gailer of Kaisersberg had hardly been called to a religious life, before he began to assail with unusual vehemence the follies of the world and the abuses in the Church, particularly in his famous satirical work, entitled Brand's Vessel of Fools. According to the very appropriate custom of the age, he was buried under the pulpit of Strasburg minster, the scene of his labors and triumphs († 1510).3

This style of preaching was carried to still greater excess

1 His first biography is by P. Scdulius (historia Seraphica); when Wadding, in his ann. ordin. Minor., had published numerous documents, then appeared Capistranus triumphans s. historia fundamental. de St. J. Capistrano, etc., auctore P. F. Amand. Hermann. ord. Minor. strictae observ., Col. 1700, Germ., Munich, 1844. Cf. Bonn Periodical, nros. 21 and 22. Freiburg Cyclopaed., Vol. II., p. 622-624; French transl., Vol. 4, p. 3–6.

2 The list of his sermons is found in Meier, 1. c., p. 393 sq.; his most remarkable works are: In oration. Domini expositio quadruplex, Par. 1517; Compendio di rivelazioni, Firenze, 1495, 4to, and Flor. et Par. 1496, 4to; De simplicitate vitae chr., Flor. 1496, 4to; *Triumphus crucis, s. de veritate fidei, Flor. 1497, 4to. 3 Mirror of the World, or Sermons on the Mad Vessel of Sebastian Brand, Basle, 1574, and oftener; ed. by Simrock, in a modern High-German transl., and with many wood-cuts, Berlin, 1872. Cf. Ammon, Gailer of Kaiserberg's Life, Writings, and Sermons, Erlang. 1826. See several Essays on Gailer in the *Hist. Polit. Papers, 1861, 1862.

by Gabriel Barletta, a Neapolitan monk, who flourished about the last quarter of the fifteenth century.1

Finally, the German sermons of Pelbart (1500), a Franciscan, in spite of many and serious defects of method, were not devoid of that virtue that touches and moves the hearts of men.2

The so-called "Plenaries, according to the Ordinances of the Holy Christian Church," being German translations of the Gospels, Epistles, and Ordinary of the Mass, to which were added glossaries, homilies, and hymns, first published at Augsburg, in 1480; again at Strasburg, in 1483; at Basle, in 1522, and at many other places, contributed largely to the edification of the people, and, with some improvements, became excellent books of instruction and prayer.3

It is still a very common and erroneous belief, that every sort of biblical and catechetical instruction was wanting in the fourteenth and fifteenth centuries. Of many modes of public religious instruction, one may be instanced by way of correcting this error-viz., pictorial representations, which had at this time obtained a very extensive circulation. Previously to the publication of printed Bibles, a small book, containing about fifty wood-cut prints, and erroneously ascribed to St. Ansgar (†865), was put into the hands of the people. It went under the name of "The Poor Man's Bible" (Biblia Pauperum seu historia V. et N. T.), because, as is obvious, the prints were gotten up with a view of enabling such as were too poor to purchase a manuscript copy of the Bible, to obtain, at a small cost, a tolerably full and accurate knowledge of its

contents.

The pictures are very well executed, considering the age in which they appeared, and display a thorough acquaintance with the Sacred Text. Beside the prophecies and types of the Old Testament are placed the events indicating their ful

1 Sermon. quadragesim. Bresc. and other collections of his sermons, Venet. 1577, 2 T.

2 Cf. Ammon, Hist. of Homiletics, Vol. I., p. 353 sq., and the beautiful sermon for Good Friday, epitomized by Daniel, 1. c., p. 81–87.

3 See Vol. III., § 313.

fillment1 in the New, to which are added biblical texts by way of illustration and explanation.3

A "Pictorial Edition of the Catechism," on the plan of the Poor Man's Catechism, was edited by Gefken, in Hamburg, from the Heidelberg Codex 438. The subject is intelligently treated, and an introduction, giving the reader much valuable information concerning the modes of religious instruction in the fifteenth century, accompanies the work.3

§ 294. Christian Art."

Vasari Giorgio (Painter and Architect at Florence, †1474). Le Vite de' più excellenti Pittori, Scultori, e Architetti. Publicate per cura di una Società di Amatori delle Arti Belle. Small 8vo, Florence, 1846-54. This is unquestionably the most useful of all the editions of this valuable work on the arts of Italy. The notes are copious, and the principal lives are followed by excellent commentaries. The editors have in this edition embodied not only the labors of all other Italian commentators, but also the researches of the German and some other foreign writers on art-Schorn, Rumohr, Gaye, Förster, and others. The editors are Carlo and Gaetano Milanesi, Carlo Pino, and Padre Vincenzo Marchese. Ed. by Vasari himself, in 3 vols., Florence, 1568. Milan ed. of 1800, in 7 vols. Engl. transl. of Vasari, in 5 vols., by Bohn; Germ. transl. by Schorn, Stuttgart, 1832 sq. Lanzi, L'Abate L., Storia Pittorica della Italia dal Risorgimento delle Belle Arti fin presso al fine del XVIII. Secolo, 4th ed., 6 vols. Svo, Florence, 1822. The principal general work on Italian painting. Lasinio, Cav. Carlo, Pitture a Fresco del Campo Santo di Pisa, 42 plates f., Florence, 1812 and 1828. A magnificent work, and the most valuable illustration of the early wall-painting of Italy. Marchese, Padre L. V., Memorie dei più insigni Pittori, Scultori, e Architetti Domenicani, etc., 2 vols. 8vo, Florence, 1846; transl. into English by the Rev. C. P. Meehan, in 2 vols., Dublin, 1852.

1 The same parallelism was also employed by Overbeck, in the marginal drawings to his cartoons of the seven Sacraments. (TR.)

2 In the now prevailing scarcity of ancient manuscripts and xylographic copies of such bibles, a new printed edition of the "Biblia Pauperum," at Vienna, 1863, and Zurich, 1867, with illustrations by Laib and Schwarz, was a very desirable acquisition. Cf. the Head Librarian, Dr. Ruland's Essay on Pictorial Representations as a vehicle of religious popular instruction (Chilianeum, Würzburg, 1862, Vol. I.)

3 Gefken (preacher in Hamburg), The Pictorial Catechism of the fifteenth century, and the principal points of the Catechism during that time until Luther; the ten commandments, with twelve cuts. Lps. 1855, in 4to.

4 Who can forget to call to mind here the beautiful poem of Wm. von Schegel on the alliance between Art and Religion, or the painting of Overbeck, representing the same subject? On the relation of art to religion, cf. Staudenmaier, The Genius of Christianity as manifested in Holy Lessons, Holy Practices, and Sacred Art, Mentz, 1843, Pt. I., p. 225–250, 3d ed. (TR.)

Merrifield, Mrs., Original Treatises, dating from the twelfth to the eighteenth centuries, on the arts of Painting in Oil, Miniature, Mosaic, and on Glass, 2 vols. 8vo, London, 1849. Eastlake, Sir C. L., Materials for a History of Oil Painting, 8vo, London, 1847. Lindsay, Lord, Sketches on the Hist. of Christian art, 3 vols. 8vo, London, 1847. Reynolds, Sir J., The Discourses, etc., London, 1842. (TR.) Seroux d'Agincourt, Histoire de l'art par les monuments, Par. et Strasb. 1823, 6 vols.; Germ., Berlin, 1840 sq.; Italian text, Mantua, 1841, 7 vols. f. Le moyen âge monumental et archéologique, avec un texte explicatif, exposant l'histoire de l'art d'après les monumens, Par. 1841. A. F. Rio, De l'art chrétien, ed. II., Par. 1865–1867, 4 vols. Il VATICANO descritto ed illustrato da Erasmo Pistolesi con Disegni a contorni diretti dal Pittore Camillo Guerra. 8 magnificent vols. in fol., Rome, 1829-1838. (TR.) Descrizione de Campidoglio di Pietro Rhigetti, 2 superb vols. fol., Rome, 1833-1836. (TR.) De Bastard, Peinture et ornements des manuscrits, classés dans l'ordre chronologique pour servir à l'histoire des arts du dessin depuis le IVe siècle de l'ère chrétienne jusqu'à la fin du XVIe, Paris, 1840 sq. Cf. l'Artiste, No. 20, le Moyen âge monumental et archéologique, ou Vues des édifices les plus remarquables de cette époque en Europe, avec un text explicatif, exposant l'histoire de l'art d'après les monuments, Paris, 1841. Sir Wm. Dugdale, Monasticon Anglicanum, London, 1655–1661–1673; a new and greatly enlarged ed. by Blandinel, Caley, and Ellis, 1817-1830, and 1846; Mrs. Anna Jameson, Memoirs of the early Italian painters, etc., 1845; Sacred and Legendary Art, 2 vols. 8vo, London, 1848. The Scriptural and Legendary History of Our Lord, etc., as represented in Christian Art, 1861. By the same authoress, Legends of the Monastic Orders, as represented in the Fine Arts, 8vo, London, 1850, and Legends of the Madonna, etc., 8vo, London, 1852. (TR.) Laib and Schwarz, Theory of the forms of the Romanesque and Gothic styles of Architecture, 2d ed., Stuttg. 1858. Boisserée, Monuments of Architecture on the banks of the Lower Rhine, from the seventh to the thirteenth century, Munich, (1833) 1842. The same, Hist. and description of the Cathedral of Cologne, Stutt. 1828. B.'s Monuments, etc., by Canon F. Bock, of Aix-la-Chapelle. Puttrich, Architectural Monuments of the M. A. in Saxony, Lps. 18361843. Kugler, Hand-book of the History of Art, Stuttg. (1842), 3d ed. 1859 (partially translated into English-viz., the Schools of Painting in Italy, by a Lady, and ed. by Sir Charles Eastlake, London, 1851), with atlas by Guhl and Caspar, Stuttg. 1845-54. *Schnaase, Hist. of the arts of form, Düsseldorf, 18:6 sq. Although not as complete in narration as is Kugler's, it yet gives a philosophical and hist. account of the origin of the various styles, and their conncetion with each other. Lübke, Outlines of a Hist. of Art, with illustrations, Stuttg. 1860. Otte, Hand-book of the Archaeology of Christian Art in Germany during the M. A., 3d ed., Lps. 1854. Springer, Hand-book of the Hist. of Art. †Dursch, Aesthetics of the Christian fine arts of the M. A. in Germany, Tübg. 1854. Rumohr, C. F. Von, Italian Researches, 3 vols. 8vo, Berlin and Stettin, 1827-31. Very critical. (TR.) †Neumaier, Hist. of Christian Art, Schaffh. 1855, 2 vols. †Jacob, Art in the service of the Church, Landsh. 1857. Cf. also Raumer, The Hohenstaufens, Vol. VI., p. 524-546. *Hurter, Innocent III., Vol. IV., p. 652–698.

The grand conceptions of Scholasticism and the practical tendency of Mysticism, as expressed by art, brought the idea