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1893, Bay 20.. Transferred to Divinity
1891, June 27. From the Library of Fret E. Hi Gurney.
ENTERED, according to the Act of Congress, in the year one thousand eight hundred and forty-four, by JOHN MURPHY, in the Clerk's office, of the District Court of Maryland.
EXPLANATION OF THE FRONTISPIECE.
The device is intended to represent Judas alone, separated from the other apostles, and standing on the side of darkness, as displeased with, and protesting against the Saviour's promise to Peter. He holds the purse which drags him backward to the edge of the precipice from which he is about to fall into the waves of perdition. Beyond him in the distance rises the tower of opposition to the church, or "the gates of hell"—but, broken, to signify that it cannot prevail. The cloud behind the apostles is intended as a veil that shuts from their view the future church of which the promises are now given, and which, itself, dimly appears beyond the cloud just over which is seen the gate of the cross, by which all must enter. This gate leads through a triple tower bearing the triangle, and representing Three in one. The distant temple is a hint at St. Peter's at Rome, and the three embattled fortresses on which it stands, may signify either the laity, priests and bishops, or the three orders of the hierarchy. The two flanking towers, capped with mitres, represent the episcopacy. The Holy Spirit dwells within the church, and imparts his influence to the seven streams which issue from the rock, and flow in a direction contrary to the spirit of the world, watering' trees that produce abundance of fruit. These streams are
meant for the sacraments.
Rt. Rev. Francis Patrick Kenrick, D. D.
Bishop of Philadelphia,
These pages are Respectfully Inscribed