‘When the king heard his confession, he thought, “Perhaps this was my daughter, who was lost and never found;” and he sent messengers into the forest to seek for the remains of his daughter, that her bones at least might rest in consecrated ground. When they came to the foot of the precipice, there they found a beautiful woman seated, naked, and holding a child in her arms; and John said to her, “Why sittest thou here alone in the wilderness?” And she said, “Dost thou not know me? I am the woman who came to thy cave by night, and whom thou didst hurl down this rock!” Then they brought her home with great joy to her parents.‘[294] This extravagant legend becomes interesting for two reasons: it shows the existence of the popular feeling and belief with regard to Chrysostom, long subsequent to those events which aroused the hatred of the early monks; and it has been, from its popular notoriety, embodied in some rare and valuable works of art, which all go under the name of ‘the Penance or Penitence of Johannes Chrysostom or Crisostomos.’ 1. A rare print by Lucas Cranach, composed and engraved by himself. In the centre is an undraped woman reclining on the ground against a rock, and contemplating her sleeping infant, which is lying on her lap; a stag, a hind crouching, a pheasant feeding near her, express the solitude of her life; in the background is ‘the savage man’ on all fours, and browsing: here, he has no glory round his head. The whole composition is exceedingly picturesque. 2. A rare and beautiful print by B. Beham, and repeated by Hans Sebald Beham, represents a woman lying on the ground with her back turned to the spectator; a child is near her; Chrysostom is seen crawling in the background, with the glory round his head. 3. A small print by Albert Dürer, also exquisitely engraved (from which I give a sketch). Here the woman is sitting at the entrance of a rocky cave, feeding her child from her bosom: in the background the ‘savage man’ crawling on all fours, and a glory round his head. This subject has been called St. Geneviève of Brabant; but it is evidently the same as in the two last-named compositions. All these prints, being nearly contemporaneous, show that the legend must have been particularly popular about this time (1509-1520). There is also an old French version of the story which I have not seen. ST. BASIL THE GREAT. _Lat._ St. Basilius Magnus. _Ital._ San Basilio Magno. _Fr._ St. Basile. (June 14, A.D. 380.)