(all which variations occur upon the coins of Constantine and his successors), to become a symbol of the Roman Empire.
Further on in his history of the Emperor, Eusebius tells us that whenever Constantine saw his troops hard pressed, he gave orders that the "salutary trophy" should be moved in that direction, and that victory always resulted.
The Bishop of Cæsarea then goes on to relate that Constantine selected fifty men of his bodyguard, the most distinguished for piety, valour, and strength, whose sole duty it was to defend this famous standard; and that, of the elect fifty, those who fled were always slain, and those who stood their ground were always miraculously preserved.[40]
One would imagine from all this that there was only one labarum. Many different kinds are, however, represented upon the coins of
Constantine; as also almost every variety of ordinary cross, except, perhaps, such as might conceivably have been a representation of an instrument of execution, like that which has since come into vogue among us.
Eusebius also tells us that Constantine caused to be erected in front of his palace a lofty tablet, on which was painted a representation of himself with the "salutary sign" over his head and a dragon or serpent under his feet.[41]
He also informs us that inside the palace and in the principal apartment, on a vast tablet in the ceiling, Constantine caused "the symbol of our Saviour's passion to be fixed, composed of a variety of precious stones inwrought with gold."[42]
Which of all the "salutary" signs that appear upon the coins of Constantine these particular crosses were, we do not know; but it is, at any rate, obviously unlikely that a worshipper of Apollo who refused to enter the Christian Church till he was dying, and on his coins always attributed his victories to the Sun-God, elevated either as a representation of an instrument of execution.
As to the alleged finding at Jerusalem, by Helena the mother of Constantine, of three stakes with transverse bars attached, all of which were ancient instruments of execution and one of which was shown by the occurrence of a miracle to have been a cross to which Jesus was affixed three centuries before, it is clear that this is a fairy tale. The story cannot be traced further back than to St. Cyril of Jerusalem about A.C. 350; and Eusebius, who gives an account of Helena's visit to Jerusalem, does not mention any such occurrence as that in question; a sure sign that it was an invention of later date.
The Christian Church, however, in a weak moment vouched for the truth of this ridiculous story; and while what was suffered to remain in Jerusalem of the true cross became the treasure of that city and a trophy captured by its foes but afterwards secured from them and once more placed in its holiest shrine, what was broken up into relics for the faithful throughout Christendom multiplied into a thousand fragments; one of which forms the centre of the Vatican Cross, and such few others of which as survive would not if examined, 'tis said, even