This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1899 Excerpt: ...the market-place at Rouen and publicly burnt. Its ashes were then thrown into the river Seine. One cannot help feeling, on reading the story ...Read MoreThis historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1899 Excerpt: ...the market-place at Rouen and publicly burnt. Its ashes were then thrown into the river Seine. One cannot help feeling, on reading the story, that while the bishop gets most of the credit, his companion took most of the risk. Another subject in which the dragon is represented is in connexion with St. John, in allusion to some poison which was once given to him to drink, but from which he took no hurt, as, on placing the cup to his lips, the poison rose out of the vessel in the visible form of a dragon. The Biblical account of the temptation and fall of Eve naturally makes the serpent a peculiarly appropriate symbol of Satan. As early as the eighth century it was supposed that the serpent that beguiled Eve had the face and head of a woman, --"A cherub's face, a reptile all the rest "; and we therefore often find it so represented in art. In a picture, for instance, by Ercole di Giulio Grandi, in the National Gallery, the tempter has a woman's head and bust, and long flowing hair,1 though the form is otherwise serpentine; the 1 " Albertus saith that the hair of a woman, taken at some seasons and laid in the ground, will become venomous serpents. Which some have supposed to befall that Sex because of the ancient familiarity it had at first with that accursed Serpent."--Gu1ll1m. 1 head of the monster and of Eve are on a level, and face to face. We see this again in "the Fall" by Filippino Lippi, in the church of S. M. del Carmine at Florence; though here the human face is so small, and the-writhing, serpentine convolutions so evident, that the woman's face, instead of being an attraction and a snare, is but an added horror. We see the human head again in the work of Pietro d'Orvieto in the Campo Santo at Pisa, and in many early illu...Read Less
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