and St. George is a very expressive
group; the former as the patron saint of merchants, tradesmen, and
seamen, the popular saint of the bourgeoisie; the latter as the patron
of soldiers, the chosen saint of the aristocracy. These two saints
with St. Catherine are pre-eminent in the Venetian pictures; for all
three, in addition to their poetical significance, were venerated as
especial protectors of Venice.

* * * * *

St. George and St. Christopher both stand by the throne of the Virgin
of Succour as protectors and deliverers in danger. The attribute of
St. Christopher is the little Christ on his shoulder; and there are
instances in which Christ appears on the lap of his mother, and also
on the shoulder of the attendant St. Christopher. This blunder, if it
may be so called, has been avoided, very cleverly I should think in
his own opinion, by a painter who makes St. Christopher kneel, while
the Virgin places the little Christ on his shoulders; a _concetto_
quite inadmissible in a really religious group.

* * * * *

In pictures dedicated by charitable communities, we often find
St. Nicholas and St. Leonard as the patron saints of prisoners and
captives. Wherever St. Leonard appears he expresses deliverance
from captivity. St. Omobuono, St. Martin, St. Elizabeth of Hungary,
St. Roch, or other beneficent saints, waiting round the Virgin with
kneeling beggars, or the blind, the lame, the sick, at their feet,
always expressed the Virgin as the mother of mercy, the _Consolatrix
afflictorum_. Such pictures were commonly found in hospitals, and
the chapels and churches of the Order of Mercy, and other charitable
institutions. The examples are numerous. I remember one, a striking
picture, by Bartolomeo Montagna, where the Virgin and Child are
enthroned in the centre as usual. On her right the good St. Omobuono,
dressed as a burgher, in a red gown and fur cap, gives alms to a poor
beggar; on the left, St. Francis presents a celebrated friar of his
Order, Bernardino da Feltri, the first founder of a _mont-de-piete_,
who kneels, holding the emblem of his institution, a little green
mountain with a cross at the top.

* * * * *

Besides these saints, who have a _general_ religious character and
significance, we have the national and local saints, whose presence
very often marks the country or school of art which produced the
picture.