[21] In the old histories of Amiens, the bas-relief representing the prophecy of Micheas, cap. iv., v. 3, "Et concidant gladios suos in vomeres, et hastas in ligones," was commonly described as representing the ancient manufacture of arms, for which that city was celebrated, but to which it has not the slightest reference. At Rouen, the history of Joseph and his brethren, with their sacks, and the cup, with the hanging of the chief butler, was considered as that of a cheating corn-factor, by the seizure of whose property the portal was erected; but without the smallest grounds of probability, as shown by the learned Dom Pomeraye. [22] It is worthy of remark that the idea of representing S. Joseph holding our Lord in his arms is comparatively modern, and in utter opposition to the ancient school of Christian art, who always ascribed a secondary position to this saint, and never made any representation of him that would convey the least idea of his entertaining any _paternal_ affection for our Blessed Lord. I have attentively studied this subject, and never yet found any ancient representation that does not fully bear out my assertion. This is one of the many instances where modern art, disregarding ancient traditions, seeking the pretty and the pleasing, in lieu of the mysterious and sublime, has imparted the externals of importance to S. Joseph that the church has never recognized. _Our Divine Lord as an infant was always represented in the arms of the Blessed Virgin, and no other_, in all ancient mosaic painting and sculpture, and I believe that these modern images of S. Joseph, which have such astonishing vogue among devout people, if brought before an episcopal council, would be condemned as tending towards erroneous opinions.