es was coeval with the
revival of art; that for three or four centuries, art in all its forms
had no more powerful or more munificent patrons; that they counted
among their various brotherhoods some of the greatest artists the
world has seen; we can easily imagine how the beatified members of
these orders have become so conspicuous as attendants on the celestial
personages. To those who are accustomed to read the significance of
a work of art, a single glance is often sufficient to decide for what
order it has been executed.

St. Paul is a favourite saint of the Benedictine communities; and
there are few great pictures painted for them in which he does
not appear. When in companionship with St. Benedict, either in the
original black habit or the white habit of the reformed orders, with
St. Scholastica bearing her dove, with St. Bernard, St. Romualdo,
or other worthies of this venerable community, the interpretation is
easy.

Here are some examples by Domenico Puligo. The Virgin not seated, but
standing on a lofty pedestal, looks down on her worshippers; the Child
in her arms extends the right hand in benediction; with his left he
points to himself, "I am the Resurrection and the Life." Around are
six saints, St. Peter, St. Paul, St. John the Baptist as protector of
Florence, St. Matthew, St. Catherine; and St. Bernard, in his ample
white habit, with his keen intellectual face, is about to write in a
great book, and looking up to the Virgin for inspiration. The picture
was originally painted for the Cistercians.[1]

[Footnote 1: It is now in the S. Maria-Maddalena de' Pazzi at
Florence. Engraved in the "Etruria Pittrice," xxxv.]

The Virgin and Child enthroned between St. Augustine and his mother
St. Monica, as in a fine picture by Florigerio (Venice Acad.), would
show the picture to be painted for one of the numerous branches of the
Augustine Order. St. Antony the abbot is a favourite saint in pictures
painted for the Augustine hermits.

In the "Madonna del Baldachino" of Raphael, the beardless saint
who stands in a white habit on one side of the throne is usually
styled St. Bruno; an evident mistake. It is not a Carthusian, but
a Cistercian monk, and I think St. Bernard, the general patron of
monastic learning. The other attendant saints are St. Peter, St.
James, and St. Augustine. The picture was originally painted for the
church of San Spirito at Florence, belonging to the Augustines.

But St. Augustine is al