THE SACRED PAINTERS AND COMPOSERS.
Pictures in Churches, [472]; Monk Painter, [472]; Pictures in Monasteries, [473]; Sacro Monte, [473]; Images in Spain, [474]; Cimabue, [475]; Bishop’s Ape Takes to Painting, [475]; Painter’s Critics, [477]; Nuns Criticising Artist, [477]; Brother Artists Rivals, [478]; Painter Affronting Angel, [479]; Angelico, [479]; Bronzes for the Gates of Paradise, [480]; Old Painters’ Perspective, [481]; Monks Overfeeding Artist, [481]; A Clumsy Crucifix, [482]; Killed by a Sight of Gold, [482]; Artist Deceiving Birds and Beasts, [483]; Finding a Model, [483]; A Divine Artist, [484]; Leonardo da Vinci’s Last Supper, [485]; Raphael’s Pictures, [487]; A Last Masterpiece, [489]; The Inquisition on Sacred Art, [490]; Painting Face of Christ, [491]; Assisting Artist with Prayers, [492]; Michael Angelo, [492]; Vargas’s Devotion to Sacred Art, [496]; Titian’s Head of Christ, [496]; Diffident Artist, [496]; Rubens’s Great Pictures, [497]; Monks Getting a Bargain of Picture, [498]; Velasquez’s Crucifixion, [498]; How Monks Got Pictures, [499]; The Divine Murillo, [499]; Cano’s Picture of the Virgin, [500]; A Painter Incautiously Watching Effects, [501]; Origin of Church Bells, [501]; Sanctity of Bells, [502]; Chimes on Church Bells, [502]; The Swiss Horns, [402]; Early Church Music, [503]; Singing in Church, [503]; Origin of Singing in Church Service, [504]; The Organ in Church Music, [504]; Augustine Converting the Britons with Music, [506]; The Earliest Hymns, [506]; Monk Musicians, [506]; Nicholas Peregrinus, [507]; Heresy Propagated by Music, [507]; The Pope Reforming Church Music, [508]; Singing the Miserere, [508]; Luther’s Church Music, [509]; Originator of Oratorios, [509]; The Heaven-born Composer of Anthems, [510]; First Impressions of Handel, [511].
FLOWERS OF CHRISTIAN HISTORY.
CHAPTER I.
THE VIRGIN MARY, HOLY FAMILY, CHRIST, AND THE CRUCIFIXION.
HEATHEN KNOWLEDGE ABOUT THE VIRGIN MARY.