No More Learning

TheninthvolumeformstheBookofSt. Dympna'sConfraternity. '* Within it are found names of associates and members of St. Dympna's Confrater- nity's The writer had an opportunity of inspecting it and of examining its contents, during his visit to Gheel. In this volume are found two bulls of Pope Urban VIII. ; the entry of 4,000 different names of confraternity members
;
besides various documents and registries that follow. The first date in it is 14th of May, 1636, and the last a. d. 1699. It contains 82 written folio pages. The names of several Irish pilgrims, who probably travelled to Gheel, in the seventeenth century, for the purpose of praying before the shrine of St. Dympna, and who were enrolled as members of her confraternity,^^ appear in this book. We find amongst these, laics, priests, and especially many Irish Franciscans,with the names and autographs of several individuals. '^ The tenth and last volume of this series, as numbered, is entitled : " Regis- ter van Cauwegom. Arckieven der Kerk van S. Dympna tot Gheel. " It con- tains bulls^ statutes, ordinances, etc. , relating to the canons and church of St. Dympna, in the municipality of Gheel.
A very ancient Manuscript,'^ written about the beginning of the fifteenth century, commences in red letters with " Oratio de Sancta Dympna. " It also contains, as an addition, " Juramentum Canonicorum," written a. d. 1582, besides old statutes of the canons, in still more ancient writing. Curious an- tique binding in wood covers this Record. It had a chain attached, which for- merly bound it to a fixed place, perhaps in the sacristy, so that persons com- ing to Gheel might read this book, but not take it away; for, the good citizens ever entertained a horror of sacrilegious fraud, and preserved a vivid recollec- tion of a loss they had formerly experienced, from the covetous and ill regu-
Mr. Aerts, vicaire of the church of St. Fr. Richardus Gerald ej. ord. ; Fr.
cow, ej. ord.
;
323
324
LIVES OF THE IRISH SAINTS. [May 15.
lated desires of their Xanten visitors. Even, at the present day, when distrusting smooth pretences and pious canting expressions of suspicious characters, the people of Gheel have a shrewd, good-humoured observation, referring to the past history of their city, and serving to convey a very sarcastic meaning : " Be on your guard against the holy robbers of Xanten. "
Whilst a stranger to the place takes his meditative and discursive ramble through the streets, or visits the old Flemish interiors of the quaint houses in Gheel, his attention will be arrested by grotesque tenements and tenants, never imagined, and of course never delineated, by any effort of mind or pencil, in the genre style and manner of a Teniers or of an Ostade. Old- fashioned, solid structures, with oval-headed doorways, square window frames, with stout sashes, opening under red-tiled roofs, which press heavily down- wards on the wall-plates and massive beams of single-storied houses, flank the dusty thoroughfare, along the principal streets and bye-ways of this city. Umbrageous trees, neat hedge-rows, and enclosed gardens, afford evidences of careful culture, of thrift and of busy industry, distinguishing in a remark- ablemannertheinhabitantsofthemunicipalityandofitsneighbourhood. '? But the peculiar institutions and religious establishments of Gheel are what chiefly arrest the attention of a traveller. It may be considered desirable, to give a brief description of the latter, so far as these have an intermediate or more direct bearing on the subject of this biography.
The present parish church of St. Amand, at Gheel, is a fine building, and it is richly decorated interiorly, where it has a choir, nave, transepts, and side aisles. ^° Besides the finely designed high altar, within the choir, there are four marble altars, extending in a line across the transepts. ^' Its pulpit is beautifully carved in wood. The organ and the fine oak panelling under it, near the principal door of this church, are worthy of special observation. Stations of the cross, with their several groups of figures, elaborately carved on stone and painted, deserve commendation, as remarkable works of sculp- ture. But, the most splendid artistic feature in the church is the truly mag- nificent white marble balustrade entering the choir, and which, as an inscrip- tion on it states, was executed by D. Scheemaeckers of Antwerp, in 1693. Nothing in this style of workmanship can exceed its lavish decoration and
'9 On arriving in the chief public square,
adjoining the church of St. Amand, the tra-
veller -will find excellent accommodation,
board and lodging, at the rather antiquated
Hotel de la Campine, which was built in
1644. It receives this name from tlie plain,
extending around the city in which it is
situated. When leaving this hostelry, the
moderate charges to which the tourist will
be liable must prove agreeable—especially
when contrasted with exactions of more
celebrated, but not more comfortable, guide-
book hotels, in the larger and more fre-
quented cities. Another quaint-looking but
excellent inn, with the sign of a stork in
front, may be found on the open place,
opposite the left side of St. Dympna's anno 15 17, lalas et authoritate Ccesarea pub- church, licatas. NeeproculhincGymnasiumlittera-
'° A beautiful engraving of one of the ex- rum olim floreniissimum, unde viri lectissimi terior sides of this church, and two medals prodiere hi imprimis eiiam hie nati A. containing images of St. Uynipna and of St. Ileynis laud. Ttissinius Auerbodii Archiman- Gerebern, with rays of light proceeding driia : Joannis Philippi Smeyers, Carmelita- from them, above the church, besides a rum I'rovincialis eruditus, Joannes Jaco- ground plan, on the opposite page, may be boeus Dyesta- Prepositus, ct alii complures. " seen in the Rev. Mr. Kuyl's larger work, at —" Antverpiae Antiquitates," cap. x. , p. 142.
pages 316, 317.
^' Of this church, Grammay writes:
" Regio templi Curialem habet haud inele- gantem D. Amando inscriptam, et proxima forum justje aniplitudinis ad numlinas heb- domadales diebus Saturni, et annales Sab- bato ante Dominicam in Albis, Palmarum, vigilice Natalis Doniinici, et decimo quinto die sequenti, quas litteris confirmatoriis anni 1559- Philippus Rex ait ab 200 amplius annis celebres fuisse. Curia etiam in vicino est, ubi annales per Baronem circa natalitia Baptistce Scabini creantur et jus dicunt et rempublicam adminislrant assistentibus ex quaciue municipii regione duobus juratis juxta prrescripta et leges a Joanne Merodio,
May 15. ] LIVES OF THE IRISH SAINTS.
325
tracery, with the fine interlacing of foliage, flowers, fruits, and figures. On the right side of the high altar, there is a carved white statue of St. Dympna, and it is larger than life size. She bears a cross in the left, and a sword in the right, hand, whilst a demon is trampled beneath her feet. A correspond- ing statue of St. Amand, patron of the church, occupies the left side of the high altar. In another part of this church may be seen a picture of St. Dympna. She appears, holding a sword in her right hand, and with the other hand grasping a chain, fastened to a demon's neck. The infernal spirit lies bound at her feet. Among the valuable treasures of this church is an old and a magnificent solid silver monstrance of great size and weight. On one of its sides, there is a figure of St. Amand, and on the other, there is a representa- tion of the martyrdom of St; Dympna and of St. Gerebern. It seems to be a very probable conjecture, that St. Dympna's had been the ancient parish church, at Gheel;^^ another writer^3 supposes, that this was never a parochial one, because it bears the name of chapel, in several ancient documents, while St. Amand's was apparently regarded as the chief mother church of the parishioners, in that old city. However this may be, the architecture of St. Dympna's present church, according to the opinionof a writer who had maturely considered his subject, seems to denote, that this fine building had been com- menced in the twelfth century. A difference, remarked in the style, leads to a supposition, that the great nave and northern aisle might have been built at this period, while the southern aisle's construction was of later date. The columns of the two former parts are not adorned with capitals, while those of the southern aisle are ornamented with foliaged friezes and octagon supports, which indicate their connection with the fourteenth century. Windows in this latter aisle are much larger than those on the opposite side, and are divided into four compartments. Two large transept windows, with various other mullioned panes, above the great choir and around its side chapels, serve ad- mirably to light with sombre effect the interior of this noble pile. There are five clerestory windows, on either side of the nave, and five also, on either side of the aisles, in the church of St. Dympna.
The structure of St. Dympna's arched roof is very remarkable : the vaults are formed by intersecting ogees, considerably elevated, and built with brick. At the intersection of the transepts, choir, and nave, a cross-surmounted spire dominates over the roof, to a very considerable elevation. Two massive towers flank the principal entrance door, opening into the nave ; they only ascend, however, to the parapet of the adjoining roof. Towards the close of A. D. 1539, a hurricane swept away the tower of St. Dym'pna's church, which destroyed by its fall the adjoining house for infirm persons. The portal re- mained intact; and, in the year 1549, a rebuilding of the fallen tower was completed, as we see it left at the present day.
It was only in the twelfth century, that the construction of ogee roofs be- came common, through the invention of columnar supports and flying but- tresses. Hence, it may be concluded, that the church of St. Dympna was one of the first ecclesiastical structures, built in this style. It is certainly one of the most interesting, within the Turnhout arrondissement,, whether we regard its antiquity or its architecture. ^+ On the outside, although St.
^^ Father Kuyl thought, as he informed the writer, that formerly St. Dympna's church, attracted so many insane persons, with their immediate friends, it was found abso- lately necessary to build an addition! church, dedicated to St. Amand, for a special and general accommodation of the iiihabitrxnts of
Gheel and of its neighbourhood. Hence, it was optional with the sane residents of this community to perform pious exercises with- out interruption or disturbance within the latter sacred edifice, or to enter St. Dympna's church, when it suited their incli- nation or convenience.
326 LIVES OF THE IRISH SAINTS. [May 15.
Dympna's temple is imposing in size and appearance, the restorations effected have greatly marred its architectural beauty, for they appear to have been a work of mere necessity, without exhibiting any pretensions to structural taste or uniformity. In the Rev. Mr. Kuyl's work, a beautiful engraving represents an exterior side-view of St. Dympna's church, drawn to a scale of fifty metres. ^5 A medal of the patroness, containing her figure and emitting rays of light, appears over the building. A correct ground-plan of the nave, choir, tran- septs, aisles, chapels, altars, etc. , accompanies this view, on the opposite page. A critically historical and minutely architectural description of St. Dympna's church is given, by the accomplished author. ^^ On the exterior, and attached to one of the front towers of St. Dympna's church, maybe seen the house, in which novenas are recited, to obtain deliverance from various maladies. A large enclosed space, around the church, is used for the purpose ofa public cemetery.
Church of St. Dympna, at Gheel.
Heretofore, there were eleven altars in the church, the several names of which are: i. Altar of St. Martin, of St. John the Baptist, and of the Cross. This altar is not existing, at present, in its former position. 2. Altar of our Lady, yet remaining. 3. Altar of the Passion, now existing. 4. Altar of the Holy Cross, of St. John the Baptist, and of St. Dympna, not occupying its former site. 5. Altar of St. Gerebern, and of the 10,000 martyrs belonging to the Theban legion, not existing in its former position. 6. Altar of St. Anthony, of St. Sebastian, and of St. Roch, yet existing. 7. Altar of St. Dympna, in the small choir, behind the high altar, still existing. 8. Altar of St. Mary Magdalen, of St. Catherine, and of St. Barbara, which now exists. 9. Altar of St. Dympna, now the high altar, within the great choir, still re-
maining in its conspicuous position.
"3 Tlie Abbe Stroobant.
"* See Strool)ant'. s " Notice Historiquesur le Chapitrc Collegial de Sainle-Dymphne, a Gheel," p. II.
'5 Tliis has been carefully copied, on a re- duced scale, by William F, Wakeman, and
10. Altar of the Holy Passion of Jesus,
drawn on the wood, for an accompanying illustration ; this has been engraved, also, by Mrs. Millard.
''See "Gheel vermaerd door den eer- dienst der Heilige Dimphna," etc. , pp, 108 to 157.
May 15. ] LIVES OF THE IRISH SAINTS.
327
and of the Holy Cross, formerly near the entry to the grand choir, has no longer any existence. 11. Altar of St. Anne, of St. Job, and of St. Gertrude, formerly at the column, where the pulpit now stands, has been removed. ^'? The two last altars have been demolished. All the others, with the excep- tion of those specially noted as still existing, have been changed from their former place, but are still to be found within the church.
The Calvinists destroyed this edifice in great part, during the civil wars of the sixteenth century, so that certain modifications took place, when the building was restored for purposes of divine worship. When those iconoclasts pillaged the churches at Antwerp, in 1566, the canons of St. Dympna's church sent all its portable treasures to Lierre. These treasures consisted of the massive silver shrine, containing the mortals remains of St. Dympna, and weighing sixty-one pounds and a half, besides four silver gilt chalices, a silver crucifix, a silver bust of St. Appoline, chandeliers, censers, holy-water vessels, cruets, bells, and reliquaries, of the same precious material. Such precau- tions had been happily taken; for, in the year 1567, the Vandals entered Gheel,andwreckeditschurches. Theybrokedownthestatuesofthetwelve apostles, which were placed in Gothic niches, on the tower of St. Dympna's church. The image of a crucifix, with statues of the Blessed Virgin and of St. John, which stood at the great choir, suffered desecration at their hands. The whole of that beautifully carved wood-work, connected with the high altar of St. Dympna, and all the images around it, were executed in 1778. The conception of this emblematic design is attributed to the painter, Herreyns.
In 1 781, the high altar, greatly admired for its fine artistic effect, was painted by Lacosta, whose name, with the date of decoration, is found inscribed on one of its panels.
A curious and an elevated structure, terminating in a spire, and an object of frequent occurrence in most of the Flemish churches, is called the Tower of the Blessed Sacrament. It maybe noticed, on the left side of St. Dympna's high altar, facing the choir. It has never changed its present position, and it is probably of as ancient a date as the choir around. A grill in front, under which the Blessed Sacrament was formerly preserved, and a rude stone carving, representing the last supper, as also a bronze lamp hanging in front, complete the accessories.
At the right entrance to the great choir, which contains finely carved oak stalls, formerly used by the canons, a beautifully sculptured image of St. Dympna may be seen, in an alcove, and covered with a glass case. She holds in her right hand a sword. This image is clothed—but in very questionable taste—with an elegant white dress, trimmed with gold lace; a part of the cos- tume consists of lace ruffles and a collar. A cherry-coloured silk robe falls loosely over the under garments; a rich lace scarf depends over the silk man- tilla, and parts from under a crown of artificial flowers, placed on the head of this statue. The left hand holds a bunch of flowers ; and worsted embroidery, in coloured threads, appears over the under dress. Two cierges rest before this image, with a brass basin to receive the offerings of St. Dympna's faithful clients. A corresponding image of the Blessed Virgin may be seen, on the other side of this choir. A chapel of our Blessed Lady occupies the left tran- sept within this church.
The high altar and its superstructure, within the great choir, are truly majestic and elaborate specimens of wooden sculpture. They are divided into many compartments, richly gilt and painted in a variety of colours. In
=' These altars are enumerated, in the Rev. several religious bequests to St. Dympna's Mr. Kuyl's work. In it, likewise, as in the Church are found. The dates for various " Notice Historique " of the Abbe Stroobant, successive additions to it are also recorded.
328
LIVES OF THE IRISH SAINTS. [May 15.
the upper part are represented angels, and the figure of a dove, to symbohze the Holy Ghost, Under it are the words : " Passam Excelsus decorat justitise thronus. " Underneath is represented the statue of St. Dynipna, with beau- tiful drapery. The figure is of more than life size, and elegantly carved. Two angels hold a wreath, a sword, and a palm-branch, over the figure of the saint, standing on a chained demon. Angels flit around her, and a full life-sized figure, immediately under this statue, represents a winged ange', pointing with the right finger towards St. Dympna, whilst a scroll, on blue ground with gilt letters, unfolds these words: " Accidentibus auxilium. " A beautiful group on the right side, still lower down, represents an angel bearing a shield, with
*' Ecce virgo dat auxilium. " This address appears directed to a group of figures, in frontof the angel, and consisting of a chained insane man, a female figure, as also two children. On the left side of this altar, there is another group, comprising a lame man leaning against a crutch, two possessed persons, and a blind infant. These figures rest on a level with the former group. On a blank shield, immediately near, is represented a bas re- lief ^'^\\x^ ofSt. Gerebern. Three angels sustain the shield, and one angel points downwards to the figure with his right finger, whilst in the left hand a gilt sword is held over the body of the holy martyr. On either side of the figured dove, a large statue, representing the angel of justice, holding a gilt scales in the right and a sword in the left hand, may be seen on one side
; whilst on the other, the angel of mercy appears holding a cross in the right and a branch in the left hand. All these 'figures are painted white and of natural size. The figure of St. Dympna stands over an immense and ex- quisitely designed pedestal, which forms a tabernacle for the high altar. This tabernacle is richly gilt, carved and decorated. The wood-work around the altar is most carefully joined, as also wrought, and painted, with skill and taste, so as to resemble differently coloured marbles. Tlie high altar is shaped like a sarcophagus. Two massive polished and tall brass candlesticks rest on stands, at either side of the three ascending steps to the larger platform of the altar. Four black marble steps ascend to the lesser but more elevated plat-
form.
The elegantly gilt and painted wooden coffre, under which possessed per-
sons are accustomed to pass with bare feet and on their knees, is enclosed in a glass case, through which seven pictorial tablets may be seen. ^^ It is placed behind the high altar. On one end of this coffre are two compartments em- bracing, first, as a subject, the baptism of St. Dympna, in one division; and secondly, in the other, the death of St. Dympna's mother. Opposite the altar, and looking towards the little choir, are three different compartments, con- taining as a first subject, in one division, St. Dympna expostulating with her father; the second i)ainting represents the flight of St. Dympna, St. Gerebern and their two companions, with the king following them in the distance; the
third division discovers St. Dympna and St. Gerebern seated in pious con- versation beneath some trees, whilst the court jester and his wife are engaged in putting up the frame-work of a small hut. On the other end of the coffre are two compartments: in the first division may be seen the king and his. attendants arriving at Antwerp; and, in the second panel, we behold St. Dym])na praying, whilst St. Gerebern a])pears walking near the hut, in the interior of the wood, and the si)ies are pointing out both these saints to the
king, who is seen in the foreground. ^9 Tlie coffre. , on which all these designs are represented, contains the wiiite stone sarcoi)iiagus of St. Dympna, together
•^ An engraved illustration of this portion will be found in the Rev. Mr. Kuyl's larger of the church, with the practice alluded to, work, p. 128.
the inscription
:
May 15. ] LIVES OF THE IRISH SAINTS.
329
with some pieces of broken stone of the same material,3o and supposed to have formed part of St. Gerebern's coffin.
On the outside of two panelled wings, over St. Dympna's altar, and within the little choir, are to be seen four different paintings. The left wing repre- sents, in the first compartment, a bishop holding a shrine ; and, in the second division, her father appears in the act of decollating St. Dympna, with a de- mon and one of the king's attendants behind him. On the face of the right wing, and in the first compartment, two executioners are figured, in the act of beheading St. Gerebern, whilst in the second compartment, a bishop is exhibited dispensing alms to a poor person.
Over the altar, within the small choir chapel and behind the principal altar of the great choir, are two beautiful paintings, on the outside of wooden cases: one picture represents St. Dympna holding a chain, attached to a demon lying at her feet; the other depicts St. Gerebern, holding a book in theleftandleaningonaswordwiththerighthand. Thesetwofoldedcases also open and extend on either side of the altar. Within these cases are seen,
elegantly gilt and vividly coloured representations, in detached wooden figures, of a bishop and ecclesiastics, making a visit to our saint's shrine, in one divi-
with an old castle, represented in an upper compartment, on one side
of the folding door. On the other side, appear ecclesiastics and afflicted
persons, engaged in a religious ceremony before St. Dympna's shrine, in the
lower division while in the upper compartment, a church is represented.
;
Under these groups, magnificent compartments are exhibited, filled with other figures, when the folding doors, which rest immediately over the altar, are opened. In each compartment are two scenes, illustrating the principal eventsintheactsofSt. Dympna. Thelargergroupsanddivisionslieunder- neath, and the smaller ones over, within each division. Beginning with the first compartment, on the left side, we find the birth of St. Dympna repre- sented, in the upper section—the mother is in a bed, and presenting the infant to her attendant maids ; in the lower section, St, Dympna is depicted covered with a white robe and immersed above the knees in a baptismal font, while St. Gerebern stands beside her, and with one hand, he pours water on theyouthfulneophyte'shead. Heholdsabook,intheotherhand,whileher father and other attendants are present. Under these two sections is found thisLatininscription: "HicDimpnaChristonascitur. "3' Inthesecondcompart- ment, and upper section, the father holds a council with his advisers to seek another wife ; beneath, in larger figures, is represented the death of St. Dympna's mother, the daughter and king with their attendants standing beside the bed and bewailing the queen's departure. St. Dympna appears standing beside St. Gerebern. Underneath is the inscription, " Sancto tuenda tradi- tur. "32 The foregoing groups appear, on the left interior wing of the folding doorwhenopened. Inthethirdfixedcompartment,overthealtarandinthe upper section, St. Dympna, with her domestics, receiving religious instruc-
tion from St. Gerebern, may be seen ; whilst in the under section, a group of deformed demons appear behind the king, and in front St. Dympna and St. Gerebern are represented upbraiding him. The inscription is : "Recusat inces- tum patris. "33 In the fourth comparlment and upper section. Saints Dympna
^9 Around this painted coffre may be read ^t j^ English : Here Dympna is born in the following Latin inscription : " Quod Christ.
sion
;
jacet hie intus, qui transis, pronus adora. Tumb3e Sanctorum Dympnse sunt at Gere- berni.
3° It receives the technical name of " lapis ligustricus. "
^- In English ; She is placed under guar- dianship of the holy man.
33 in Englisli : She resists the incestuous father,
^-i InEnglish Thechastevirginbecomes
:
330
LIVES OF THE IRISH SAINTS. [May 15.
and Gerebern are figured on a pilgrimage, with their two faithful companions ; and, in the under section, all of these four voyagers are placed in a boat, skim- ming over the waves, with the towers and houses of Antwerp rising in the dis- tance. Theinscription is: "Patriampudicadeserit. 34" In the fifth compartment and upper section, St. Dympna is seen paying her bill to the people in the inn, at Westerloo ; whilst in the under section, his messengers bring the father an account of having found her at Zammal. The inscription is : " Inventa patri proditur. "35 In the sixth compartment and upper section, at the place of our saint's retreat, herself and her companions are discovered ; and, in the lower section, her father grasps the long flowing hair of the saint with his left hand, bending her head downwards, while the sword, wielded in his right hand, descends upon the extended neck of the kneeling virgin. Beside her, St. Gerebern is also kneeling, with a bandage over his eyes, and an executioner drawing a two-handed sword down upon his neck. A demon, in the back- ground, presides over this execution. The inscription is : "Cadunt pudoris vic- timae. "3^ In the seventh compartment and upper section, the hut where that happy family lived at Zammal 37 is seen ; and, in the section under, angels are engaged placing St. Dympna's body in her tomb, whilst in the foreground lies the body of St. Gerebern waiting interment. An angel holds a lighted taper over their heads, which are attached to both bodies, with a bloody circle, crim- soned around the neck of each saint. The inscription is : "Tumulant rehquias angeli. "3^ In the eighth compartment and upper section of the right wing of the folding door, a discovery of the relics in their cave is depicted ; and, in the lower section, a religious procession is represented, with St. Dympna's shrine borne on the shoulders of ecclesiastics. The inscription is : " Coluntur ossa martyris. "3y In the ninth compartment and upper section, is represented as a subject the attempt to remove St. Dympna's relics in the waggon. Under- neath it may be seen a group of possessed persons. The holy virgin and martyr stands behind, ordering the demon to depart. He is observed, flying fromtheheadofawoman,whilesheis intheactofreceivingcommunion from a priest. -*" The inscription is : "Succurrit aegris plurimis. "'*' All the fore- going groups are elegantly and elaborately sculptured ; while St. Dympna is representedingildedrobesanddecoratedwithregalornaments. Abovethe altar is a figure, representing the Assumption of the Blessed Virgin, while an
an exile.
35 In English : Being found, she is be-
trayed to her father.
3* In English: The victims of chastity are
martyred.
3' Zammal, near Westerloo, is represented
on the Kaert van Gheel, as being removed at some distance from the place, where St. Dympna is traditionally said to have suffered martyrdom. If the tradition be correct, it would seem that St. Dympna and St. Gere- bern had removed from the immediate vicinity of their rustic habitation, at the time they were discovered and put to death by the king.
3^* In English: Angels entomb their re-
mains.
39 In English : The bones of the martyr
are venerated.
*• According to an ancient rite that pre-
vailed at Gheel, the priest was not accus- tomed to take the ablutions *fter com- munion, but either to pour them into the
piscina, near the altar, or give them to the insane, when Mass had been concluded, This will serve to explain some references to the practice already mentioned, in accounts of persons who had been restored to the use of reason, either in a natural or supernatural manner, after having performed the prescribed exercises and partaken of the ablution drink. The form of exorcism, with prayers for infirm persons and for the bk-ss- ing of rings, medals and beads, in honour of St. Dympna and of St. Gerebern, may be found, in the appendix to the Kev. Mr. Kuyl's larger work, pp. 125 to 128. The possession of those sacred objects, already mentioned, and the recital of suitable devo- tions by the people, are believed to be effica- cious in protecting them from all enemies, visible and invisible. Other privileges and indulgences are conceded to the devout possessors.
' In English : She assists many alllicted persons.
May 15. ] LIVES OF THE IRISH SAINTS.
331
image of the crucifixion surmounts all. A statue of the Blessed Virgin is placed, on one side of the cross, while St. John the Evangelist's statue occupies the opposite position. Two angels stand on pedestals below, one of them is placed on either side of the altar. In the Rev. Mr. Kuyl's larger work, we find a well engraved diagram, representing the altar of the little choir, with its several compartments numbered ; but, the painted figures are not introduced into any of these divisions 4^—the scale of engraving being too circumscribed to admit of their correct representation.
In the chapel of the Blessed Virgin, within the left transept of the church, and vis-a-vis to the beautiful altar, there is a painting, representing the martyr- domofSt. DympnaandofSt. Gerebern. Thetrunkofthebodyandhead of this latter saint lie on the ground, after his execution, while blood is repre- sented, as flowing from the severed neck. There, St. Dympna is seen kneeling, and about to receive the stroke of her father's sworu, whilst angels appear in the clouds, bearing two miraculous coffins. Some of the king's satellites appear in this picture, as if grieved at the barbarous act of their superior.
In the right transept from the principal entrance is a side chapel of St. Dympna, which contains an altar magnificently sculptured in wood. -t^ There is a good painting over the altar, representing St. Dympna grasped by the hair, with one of her father's hands, whilst he brandishes a sword in the other to cut off her head. The features of St. Dympna are very beautiful ; her eyes, calmly uplifted to Heaven, convey an expression of meek resignation to the Divine will. Some figures beside her father manifest expressive looks of sympathy and terror, during tlie commission of this horrid act. In the fore-
ground, St. Gerebern lies prostrate, with a rope about his neck, while two executioners standing over him, are engaged stabbing the holy martyr with spear and poniard. Underneath is the inscription : " D. Maes inv. et fecit 1 68 1. " On the front wall, facing the altar, a large and good painting repre- sents the finding of the two white coffins of St. Dympna and of St. Gerebern. A number of figures are grouped around these relics. Other pictures and images are seen within this chapel. One of these pictures represents an in- sensate, who had been miraculously restored. A well sculptured wooden statue of St. Gerebern stands over a corbel, on the side of this chapel, and looking down the side aisle.
The under jaw of St. Gerebern, with some of his teeth, yet existing in a good state of preservation, is kept in a massive silver reliquary, within the press of the principal sacristy.