The literature, the theology, the visions, and the plastic art of the middle ages abound in embellishments of the mystical marriage. St. Catherine of Siena and St. Theresa were favourite objects of this form of art. The baroque artist Bernini, in his representation of St. Theresa, in the Church Santa Maria della Vittoria in Rome, has painted a truly modern “alcove scene,” so that a mocking Frenchman, President de Brosses, said, speaking of this picture, “Ah, if that is divine love, I know all about it.” On October 8, 1900, when Crescentia Höss, of Kaufbeuren, was canonized in the Peterskirche, a picture was exhibited in which was depicted the mystical union between the new saint and the Redeemer. To the picture was attached a Latin inscription signifying, “Our Lord Jesus Christ presents to the virgin Crescentia, in the presence of the most holy Mother of God and of Crescentia’s guardian angel as groomsman, the marriage ring, and weds her.” The novice about to become a nun appears before the altar dressed as a bride, in order to wed herself eternally to Christ; and in the life of the common people we find an even more realistic view is taken of this mystical marriage. A celibate priesthood appears to the peasant, notwithstanding all the respect that he has for the clerical vocation, as something strange and incomprehensible; he regards the “primiz,” the first mass of the newly ordained priest, as a marriage which the most reverend priest celebrates with the Church, and for this purpose the Church is represented by a young girl. This is at the present day still a popular custom in Baden, Bavaria, and the Tyrol. In this ceremony, which does not lack a poetic aspect--it is admirably described by F. P. Piger in the _Zeitschrift des Vereins für Volkskunde_, 1899--the peasants who are present make the coarsest and most pointed jokes, and as soon as the celebration is finished, they withdraw, in the company of the “holy” bride, to a public-house, where “they need not be embarrassed by the presence of the reverend priest.” The intimate association between sexuality and religion in these mystical unions and marriages has been shown by Ludwig Feuerbach in his treatise, “Ueber den Marienkultus” (“On Mariolatry”), Complete Works, Leipzig, 1846, vol. i., pp. 181-199. A very interesting instance of this is also afforded by the following religious poem, which appears in a poetical devotional work, at one time very widely diffused among the feminine population of France (“Les Perles de Saint François de Sales, ou les plus belles Pensées du Bienheureux sur l’Amour de Dieu,” Paris, 1871): “Vive Jésus, vive sa force, Vive son agréable amorce! Vive Jésus, quand sa bonté Me reduit dans la nudité; Vive Jésus, quand il m’appelle: Ma sœur, ma colombe, ma belle! Vive Jésus en tous mes pas, Vivent ses amoureux appas! Vive Jésus, lorsque sa bouche D’un baiser amoureux me touche!