In a nineteenth century engraving, Sir Philip Howard, the Twentieth Earl of Arundel, leans against the wall above a fireplace. He has just inscribed the words “Quanto plus afflictionis pro Christo in saeculo, tanto plus gloriae cum Christo in futuro.” (“The more affliction we endure for Christ in this world, the more glory we shall obtain with Christ in the next.”) He is young, handsome, well-dressed: he is in the Tower of London, looking toward the source of sunlight in his cell. On the floor behind him, a dog looks up at him, perhaps awakened by his master’s sigh. Someone who loves dogs—and is devoted to St. Philip Howard for his conversion, his fortitude, and his example—sees the bond between owner and pet clearly in this drawing. Howard is often depicted with his dog in statues and stained glass portraits, and the group painting of the Forty Martyrs of England and Wales, commissioned when Howard and the others were canonized in 1970.
The engraving is attributed to William Barraud, a famous painter and illustrator, with his brother Henry, of animals: horses, cattle and dogs from sporting hounds and lap dogs. . . .
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