Early Church Architecture, 438; Coptic Church, 439; Spires, Towers, and Dimensions of Cathedrals, 440; Gothic Cathedrals, 440; Altar, 441; Incense and Holy Water, 442; St. Peter's at Rome, 442; The Sistine Chapel, 443; Genoa and Turin, 444; Milan, 445; Florence and Pisa, 446; Naples, 447; Santiago Compostella, 448; Leon, 449; Seville and Toledo, 450; Cordova and Amalfi, 451; Valencia and Oviedo, 452; Paris, Marseilles, and Strasburg, 453; Amiens, 454; Rheims and Aix-la-Chapelle, 455; Treves and Antwerp, 456; Cologne and St. Petersburg, 457; Vienna and Constantinople, 458; Mosque of Omar and Jerusalem, 459; Bethlehem, 460; British Churches and St. Paul's, 461; Canterbury and York, 463; Durham, 465; Winchester and Oxford, 466; Peterborough, 467; Salisbury and Wells, 468; Other English Cathedrals, 469; Welsh Cathedrals, 471. CHAPTER XV. 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.