Of the real history of St. Luke we know very little. He was not an apostle; and, like St. Mark, appears to have been converted after the ascension. He was a beloved disciple of St. Paul, whom he accompanied to Rome, and remained with his master and teacher till the last. It is related, that, after the martyrdom of St. Peter and St. Paul, he preached the Gospel in Greece and Egypt; but whether he died a natural death, or suffered martyrdom, does not seem clear. The Greek traditions represent him as dying in peace, and his death was thus figured on the ancient doors of San Paolo at Rome. Others affirm that he was crucified at Patras with St. Andrew. There is some ground for the supposition that Luke was a physician. (Col. iv. 14.) But the pretty legend which makes him a painter, and represents him as painting the portrait of the Virgin Mary, is unsupported by any of the earlier traditions. It is of Greek origin, still universally received by the Greek Church, which considers painting a religious art, and numbers in its calendar of saints a long list of painters, as well as poets, musicians, and physicians. ‘Les Grecs,’ says Didron, ‘semblent avoir canonisé des chrétiens uniquement parce qu’ils s’occupaient de soulager le corps ou de charmer l’esprit.’ In the west of Europe, the legend which represents St. Luke as a painter can be traced no higher than the tenth century; the Greek painters introduced it; and a rude drawing of the Virgin discovered in the catacombs, with an inscription purporting that it was ‘one of seven painted by Luca,’ confirmed the popular belief that St. Luke the evangelist was meant. Thus originated the fame of innumerable Virgins of peculiar sanctity, all attributed to his hand, and regarded with extreme veneration. Such ancient pictures are generally of Greek workmanship, and of a black complexion.[124] In the legend of St. Luke we are assured that he carried with him everywhere two portraits, painted by himself; one of our Saviour, and one of the Virgin; and that by means of these he converted many of the heathen, for not only did they perform great miracles, but all who looked on these bright and benign faces, which bore a striking resemblance to each other, were moved to admiration and devotion. It is also said, that St. Luke painted many portraits of the Virgin, delighting himself by repeating this gracious image; and in the church of Santa Maria in Via Lata, at Rome, they still show a little chapel in which, ‘as it hath been handed down from the first ages, St. Luke the Evangelist wrote, and painted the effigy of the Virgin-Mother of God.’ On the strength of this tradition, St. Luke has been chosen as the patron saint of painters. Academies of art are placed under his particular protection; their chapels are dedicated to him, and over the altar we see him in his charming and pious avocation, that of painting portraits of the Blessed Virgin for the consolation of the faithful.