London T. Fisher Unwin M. It was very popular. It occurs in a good number of authors, and is depicted in a good many churches in stained glass. Madeleine, and S. It is frescoed along the walls of the choir of S. Croce at Florence, by the hand of Agnolo Gaddi. Pietro della Francesca also dedicated his pencil to the history of the Cross in a series of frescoes in the chapel of the Bacci, in the church of S. Francesco at Arezzo. It occurs as a predella painting among the specimens [ii] of early art at the Accademia delle Belle Arti at Venice, and is the subject of a picture by Beham, in the Munich Gallery.
In the very curious Creation window of S. Of the popularity of the story of the Cross there can be no doubt, but its origin is involved in obscurity. It is generally possible to track most of the religious and popular folk tales and romances of the Middle Ages to their origin, which is frequently Oriental, but it is not easy to do so with the Legend of the Cross. It would rather seem that it was made up by some romancer out of all kinds of pre-existing material, with no other object than to write a religious novel for pious readers, to displace the sensuous novels which were much in vogue.
We know that this was largely done after the third century, and a number of martyr legends, such as those of S. Apollinaris Syncletica, SS. Cyprian and Justina, the story of Duke Procopius, S. Euphrosyne, SS. Zosimus and Mary, SS. Theophanes and Pansemne, and many others were composed with this object.
The earliest of all is undoubtedly the Clementine Recognitions, which dates from a remotely early period, and carries us into the heart of Petrine Christianity, and in which many a covert attack is made on S.
Paul and his teaching. Jerome says that a Pauline zealot, when convicted before his bishop of having written the romance, tried to exculpate himself by saying that he had done it out of admiration for S. Paul, but the Bishop would not accept the excuse, and deprived him.
