All these compositions are of great celebrity in the history of Art for colour and for expression. Lanzi says, that the personages, ‘if endued with speech, could not say more to the ear than they do to the eye.’ But, in power and pathos, none of them equal the picture of Murillo, of which we have the original study in England.[210] St. Andrew is suspended on the high cross, formed, not of planks, but of the trunks of trees laid transversely. He is bound with cords, undraped, except by a linen cloth; his silver hair and beard loosely streaming in the air; his aged countenance illuminated by a heavenly transport, as he looks up to the opening skies, whence two angels of really celestial beauty, like almost all Murillo’s angels, descend with the crown and palm. In front, to the right, is a group of shrinking sympathising women; and a boy turns away, crying with a truly boyish grief; on the left are guards and soldiers. The subject is here rendered poetical by mere force of feeling; there is a tragic reality in the whole scene, far more effective, to my taste, than the more studied compositions of the Italian painters. The martyrdom of St. Andrew, and the saint preaching the Gospel, by Juan de Roelas, are also mentioned as splendid productions of the Seville school. I think it possible that St. Andrew may owe his popularity in the Spanish and Flemish schools of art to his being the patron saint of the far-famed Burgundian Order of the Golden Fleece. At the time that Constantinople was taken, and the relics of St. Andrew dispersed in consequence, a lively enthusiasm for this apostle was excited throughout all Christendom. He had been previously honoured chiefly as the brother of St. Peter; he obtained thenceforth a kind of personal interest and consideration. Philip of Burgundy (A.D. 1433), who had obtained at great cost a portion of the precious relics, consisting chiefly of some pieces of his cross, placed under the protection of the apostle his new order of chivalry, which, according to the preamble, was intended to revive the honour and the memory of the Argonauts. His knights wore as their badge the cross of St. Andrew. ST. JAMES THE GREAT. _Lat._ Sanctus Jacobus Major. _Ital._ San Giacomo, or Jacopo, Maggiore. _Fr._ St. Jacques Majeur. _Spa._ San Jago, or Santiago. El Tutelar. Patron saint of Spain. July 25. A.D. 44.