Sacred and legendary art, volume 1 (of 2): Containing legends of the angels and archangels, the evangelists, the Apostles, the doctors of the church, and St. Mary magdalene, as represented in the fine arts.Jameson, Mrs. (Anna)
Religion
Sacred and legendary art, volume 1 (of 2): Containing legends of the angels and archangels, the evangelists, the Apostles, the doctors of the church, and St. Mary magdalene, as represented in the fine arts.
Jameson, Mrs. (Anna)
Christian art and symbolism; Christian saints in art
At what period the sword was given to St. Paul as his distinctive
attribute, is with antiquaries a disputed point; certainly, much later
than the keys were given to Peter.[197] If we could be sure that the
mosaic on the tomb of Otho II., and another mosaic already described,
had not been altered in successive restorations, these would be
evidence that the sword was given to St. Paul as his attribute as early
as the 6th century; but there are no monuments which can be absolutely
trusted as regards the introduction of the sword before the end of
the 11th century; since the end of the 14th century, it has been so
generally adopted, that in the devotional effigies I can remember no
instance in which it is omitted. When St. Paul is leaning on the sword,
it expresses his martyrdom; when he holds it aloft, it expresses also
his warfare in the cause of Christ: when two swords are given to him,
one is the attribute, the other the emblem; but this double allusion
does not occur in any of the older representations. In Italy I never
met with St. Paul bearing two swords, and the only instance I can call
to mind is the bronze statue by Peter Vischer, on the shrine of St.
Sebald, at Nuremberg.
Although devotional representations of St. Paul separate from St. Peter
and the other apostles occur very rarely, pictures from his life and
actions are commonly met with; the principal events are so familiar,
that they are easily recognised and discriminated even by the most
unlearned in biblical illustration: considered and treated as a series,
they form a most interesting and dramatic succession of scenes, often
introduced into the old churches; but the incidents chosen are not
always the same.
Public-domain text, read in full here on John Shaqi.
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