It is, I presume, in consequence of his being the kinsman of St. Mark, that Barnabas is more popular at Venice than elsewhere, and that devotional figures of him are rarely found except in Venetian pictures. He is represented as a man of majestic presence, holding in his hand the Gospel of St. Matthew, as in a fine picture by Bonifazio; in his church at Venice he is represented over the high altar, throned as bishop, while St. Peter stands below. * * * * * He often occurs in subjects taken from the Acts and the life of St. Paul. In the scene in which he presents Paul to the other apostles, he is the principal personage; but in the scene at Paphos, where Elymas is struck blind, and at Lystra, he is always secondary to his great companion. [Illustration: 84 Angel (Albert Dürer) _v._ p. 79.] The Doctors of the Church. I. THE FOUR LATIN FATHERS. The Evangelists and the Apostles represented in Art the Spiritual Church, and took their place among the heavenly influences. The great Fathers or Doctors were the representatives of the Church Militant on earth: as teachers and pastors, as logicians and advocates, they wrote, argued, contended, suffered, and at length, after a long and fierce struggle against opposing doctrines, they fixed the articles of faith thereafter received in Christendom. For ages, and down to the present time, the prevailing creed has been that which was founded on the interpretations of these venerable personages. They have become, in consequence, frequent and important subjects of Art, particularly from the tenth century—the period when, in their personal character, they began to be regarded not merely as gifted and venerable, but as divinely inspired; their writings appealed to as infallible, their arguments accepted as demonstration. We distinguish them as the Latin and the Greek Fathers. In Western Art, we find the Latin Fathers perpetually grouped together, or in a series: the Greek Fathers seldom occur except in their individual character, as saints rather than as teachers.