That this army of saints was originally created to replace the body of heroes and demi-gods of antiquity cannot be doubted. The compliance with which the church converted pagan deities into Christian heroes is perfectly well known, and it is shown in many ways. Ancient statues were declared to represent newly canonized saints to whom pagan attributes were unhesitatingly given—often most ridiculously. At the temple of Sebona, in Nubia, the Christians replaced the figure of the old god of the temple, which appeared in a fresco, by that of St. Peter, thus depicting King Rameses the Second as presenting his offering to the Christian saint! The statue of Jupiter in St. Peter’s at Rome has been declared that of the erstwhile fisherman, and its original thunderbolts have been replaced by the keys, which the Christian mythologists have filched from the god Janus to bestow on their revered patron in accordance with the promise of [Matthew xvi, 19]. Rome is full of proofs of this conversion of heathen to Christian deities. The temple formerly sacred to the Bona Dea was dedicated to the Virgin Mary; the church of Saint Apollinaris stands on the spot formerly dedicated to Apollo; and the temple of Mars was given to St. Martina. The very names of some of the saints have an old familiar sound—as St. Baccho, St. Quirinus, St. Romula, St. Redempta, St. Concordia, St. Nympha, and St. Mercurius.
The Christian symbolism of its heroes has also a decidedly pagan flavor. The ancient winged lion of the Egyptian mythology is made to portray St. Mark; the sacred bull denotes St. Luke; while St. John is generously supplied with both the eagle of Jove and the hawk’s head of Horus.
THE PALLIUM.
The symbolism of that part of the dress of the priest and nun which conforms to the superimposed portion of the crux ansata is too plain to need explanation. The idea of the creative parts and of birth is involved.
The idea of intercession, which is the principal attribute of all the saints, is also a very ancient religious theory and probably came with the other dogmas already mentioned from Alexandria, as we find that the Egyptians believed that some of their gods—and particularly the four gods of the dead—acted as mediators with the stern judge Osiris and attempted to turn aside his wrath and the punishment of sins.
ENLIGHTENMENT AND IGNORANCE.
Much akin to the saints, though differing from them in form and in never having been mortal, are the angels. These beings combine the wings of the Roman victories with the sweet voices of the Teutonic elves and the classical sirens, and are in many ways similar to the famous northern valkyries who wore shirts of swan plumage and hovered over Scandinavian battlefields to receive the souls of falling heroes. The Hindu apsaras and Moslem houris belong to the same family. A few years ago a bitter controversy arose in New York Episcopal circles as to the sex of these unearthly creatures, some strenuously advocating their masculinity, while others gallantly asserted that they were essentially feminine, but the earlier idea was that they were entirely sexless, combining the characteristic virtues of both sexes.
Apart from both saints and angels stands another figure in the Christian mythology—one, however, that has no actual counterpart in the ancient faiths. This is Satan. The classical religious systems had no such conception, their king of the dead being a gloomy and austere deity without any of the malicious or mischievous propensities of the more modern devil, and having no designs upon the welfare of mankind. The medieval conception of the devil was a grotesque compound of elements derived from all the pagan mythologies which Christianity superseded. From the sylvan deity Pan he gets his goat-like body, his horns and cloven hoofs; his lameness was due to his fall from heaven, in imitation of the fall of the Roman Vulcan; and his red beard was taken from the lightning god Thor, as was also his power over the thunderbolts; while his pitchfork is the converted trident of Neptune.