THE LILY OF THE SAINTS 223 



were many tapestries and embroideries executed 

 in the convents illustrating that strange alle- 

 gorical version of the Annunciation known as 

 ' The Hunting of the Unicorn.' But the unicorn 

 is never associated with the monastic saints, and 

 indeed, in Northern art, monastic saints them- 

 selves are rather rare. 



The lily was, therefore, latterly the symbol 

 of monastic celibacy. There is a curious alle- 

 gorical picture of Saint Francis by Sassetta. 

 The present owner, Mr B. Behrenson, describes 

 it thus: 



' Over the sea and the land, into the golden 

 heavens, towers the figure of the blessed Francis, 

 his face transfigured with ecstasy, his arms held 

 out in his favourite attitude of the cross, his feet 

 firmly planted on a prostrate warrior in golden 

 panoply. Cherubim and Seraphim, with fiery 

 wings and deep crescent halos, form behind the 

 saint a nimbus framing a glory of gold and azure, 

 as dazzling as the sky and as radiant as the sun. 

 Overhead, on opalescent cloudlets, float Poverty 

 in her patched dress, looking up with grateful 

 , devotion. Obedience in her rose-red robe with 

 a yoke about her neck and her hands crossed 



