The following is the origin of the emblem of the scallop-shell at Compostella. When the body of the saint was being miraculously conveyed in a ship without sails or oars from Joppa to Galicia, it passed the village of Bouzas, on the coast of Portugal, on the day that a marriage had been celebrated there. The bridegroom, along with his friends, was amusing himself on horseback on the sands, when suddenly his horse grew restless and plunged into the sea. Thereupon the miraculous ship stopped in its voyage, and presently the bridegroom emerged, horse and man, close beside it. The saint's disciples on board informed the astonished rider who it was who saved him from a watery grave, and explained to him the Christian religion. He was converted and baptised forthwith. The ship then resumed its voyage, and the knight went galloping back over the sea to rejoin his astonished friends. He told what had happened, and they also were converted, and he baptised his bride with his own hands. It was noticed that when the knight emerged from the sea, both his dress and the trappings of his horse were covered with scallop-shells, and the Galicians ever afterwards took the scallop-shell as the sign of St. James. Those shells were forbidden by the Pope, under the pain of excommunication, to be sold to pilgrims at any other place than the city of Santiago. PORTRAITS OF ST. PETER AND ST. PAUL. Lord Lindsay, in his "Christian Art," says that St. Peter was generally represented in ancient art as blessing and St. Paul as preaching,--the former with white hair and beard, the hair sometimes plaited in three distinct partitions; the latter with a lofty and partially bald brow and long, high nose, as characteristic of the man of genius and the thorough gentleman, as the former is of the warm-hearted, frank, impetuous manly fisherman. The likenesses may be correct; they were current at least in the days of Eusebius in the fourth century, who speaks of their portraits as then of some antiquity. A portrait of St. Paul was said to have come down by tradition from his own time, and to have existed in the days of St. Ambrose and St. Chrysostom, a little later in the same century. The painter Giotto invariably adhered to these traditional types. After his time the heads of living models were often painted for the imaginary apostles. DEATHS OF ST. PETER AND ST. PAUL. There is some doubt as to the time and place of the death of St. Peter and St. Paul. The earliest writer, St. Clement, Bishop of Rome, near the end of the first century, alludes to both as suffering martyrdom nearly at the same time, but does not state when or where. A later writer, Dionysius, Bishop of Corinth, who lived in the middle of the second century, says they died in Italy at the same period, and tradition of a later date specifies Rome as the place, and that Peter was crucified by Nero in Rome with his head downwards, and the year was 67 A.D. ST. PETER AND HIS DAUGHTER PETRONILLA.