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
In the traditional and legendary history of St. Andrew we are told,
that after our Lord’s ascension, when the apostles dispersed to
preach the Gospel to all nations, St. Andrew travelled into Scythia,
Cappadocia, and Bithynia, everywhere converting multitudes to the
faith. The Russians believe that he was the first to preach to the
Muscovites in Sarmatia, and thence he has been honoured as titular
saint of the empire of Russia. After many sufferings, he returned to
Jerusalem, and thence travelled into Greece, and came at length to
a city of Achaia, called Patras. Here he made many converts; among
others, Maximilla, the wife of the proconsul Ægeus, whom he persuaded
to make a public profession of Christianity. The proconsul, enraged,
commanded him to be seized and scourged, and then crucified. The cross
on which he suffered was of a peculiar form (_crux decussata_), since
called the St. Andrew’s cross; and it is expressly said that he was not
fastened to his cross with nails, but with cords,—a circumstance always
attended to in the representations of his death. It is, however, to be
remembered, that while all authorities agree that he was crucified, and
that the manner of his crucifixion was peculiar, they are not agreed
as to the form of his cross. St. Peter Chrysologos says that it was
a tree: another author affirms that it was an olive tree. The Abbé
Méry remarks, that it is a mistake to give the transverse cross to
St. Andrew; that it ought not to differ from the cross of our Lord.
His reasons are not absolutely conclusive:—‘Il suffit pour montrer
qu’ils sont là-dessus dans l’erreur, de voir _la croix véritable_ de
St. André, conservée dans l’Église de St. Victor de Marseille; on
trouvera qu’elle est à angles droits,’ &c.[206] Seeing is believing;
nevertheless, the form is fixed by tradition and usage, and ought not
to be departed from, though Michael Angelo has done so in the figure of
St. Andrew in the Last Judgment, and there are several examples in the
Italian masters.[207] The legend goes on to relate, that St. Andrew, on
approaching the cross prepared for his execution, saluted and adored
it on his knees, as being already consecrated by the sufferings of the
Redeemer, and met his death triumphantly. Certain of his relics were
brought from Patras to Scotland in the fourth century, and since that
time St. Andrew has been honoured as the patron saint of Scotland, and
of its chief order of knighthood. He is also the patron saint of the
famous Burgundian Order, the Golden Fleece; and of Russia and its chief
Order, the Cross of St. Andrew.
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Public-domain text, read in full here on John Shaqi.
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