FOX
165
PRACTIO
TIiomsE Aquinatis desumptK conclusionps" (Louvain,
1570); "M. Maruli ilictonim factorumque memorabi-
lium libri VI" (Antwerp, 1577); " Additiones in Chro-
nica Genebrandi (1578); "A Psalter for Catholics", a
controversial work answered by Sampson; epigrams
and verses. The translation of the "Epistle of Oro-
sius" (Antwerp, 1565), ascribed to him by Wood and
Pitts, was really made by Richard Shacklock. Pitts
also states that he wrote in English a work " Ad Ducis-
sam Ferise confessionis forma". Fowler also edited
Sir Thomas More's "Dialogue of Comfort against
Tribulation" (Antwerp, 1573).
Pitts, Z^e illustribus Anglits Scriptoribus (Pari-s, 1623); Wood, Athena; Qxon., ed. Buss (London, 1S13-1SL*0\ I; Dodd, Church History (Brus.sels, 1737), I. Pt. Ill, Bk. II, Art. 6, fol- lowing Antony a Wood in every detail; Timperley, Typo- graphical Encyclopedia (London, 1842); Knox, Letters and Memorials of Cardinal Allen (London, 1882); Bo.\se and Clarke, Register of the University of Oxford (O.xford Hist. Soc, 1885), I: GiLLOw, Bibl. Diet. Eng. Calh. (London, 1886), II; CooPEK in Did. Nat. Biog. (London, 1889), XX.
Edwin Burton.
Fox, George. See Friends, Society of.
Fox, Joseph J. See Green Bay.
Foxe's Book of Martyrs. See Book of Martyrs.
Fractio Panis (Breaking of Bread), the name given to a fresco in the so-calleil "Capella Greca" in the catacomb of St. Priscilla situated on the Via
the table immediatelybefore him is a two-handled cup.
Further along the table there are two large plates, one
containing two fishes, the other five loaves. At each
extremity of the picture upon either side we notice
baskets filled with loaves — four baskets at one end,
three at the other.
As a very little reflection will suffice to prove, no doubt can be felt as to the significance of the scene. It depicts beyond question that striking Eucharistic act, "the breaking of the bread" (kXiIsis toC 4pToi/ — • fractio panis), which seems to have so much impressed our Lord's immediate disciples. The- phrase itself at once transports us back to the very beginnings of Christianity. No wonder that De Rossi, whose last years were gladdened by this find, described it as " the pearl of Catacomb discoveries". To point out briefly how constantly this phrase "fractio panis" recurs in early Christian literature, we may note that not only is the " blessing and breaking" of the bread mentioned in each of the four accounts of the Last Supper, but repeatedly also in the other Apostolic writings. For example, in I Cor., x, 16, "The chalice of benediction, which we bless, is it not the communion of the blood of Christ? And the bread, which we break, is it not the partaking of the body of the Lord?" So again in Acts, ii, 42, "And they were persevering in the doc- trine of the apostles, and in the communication of the breaking of bread, and in prayers" (cf. Acts, ii, 4(3).
Fractio Panis
Capella Greca, Catacomb of St. Priscilla
Salaria Nova. The fresco, which with the whole of And particularly Acts, xx, 7, "And on the first day of the decorations of the chapel dates from the first half the week, when we were assembled to break bread", of the second century, is of the highest liturgical and where this practice is closely associated with the ob- theological importance. The painting is found upon servance of Sunday. (Cf. also the disciples at Em- the face of the arch immediately over the altar tomb, maus on Easter day — Luke, xxiv, .30, 35, and Acts, upon which beyond all reasonable doubt the Holy xxvii, 35.) Similar prominence is given to this con- Sacrifice was offered. By a providential accident this ception in other sub-Apostolic writings, notably in the particular fresco, having been covered by a thick crust Didache (q. v.) or " Teaching of the Apostles" (xiv, I), of stalactites, escaped the notice of the early explorers where it is associated with the observance of the Sun- of the catacombs, who, by their over-eagerness and day as well as with the explicit mention of Sacrifice ignorance combined, often did much irreparable harm, and with confession. "And on the Lord's day come In the year 1893, Mgr. Joseph Wilpert, the most dis- together and break bread and give thanks, having first
tingui-shed of a band of young scholars who looked
upon the great archieologist De Rossi (q. v.) as their
master, arrived at the conclusion that the roof and
arches of this chapel were decorated with frescoes.
Chemical reagents were used to remove the crust which
covered the surface, and by the patient care of Mgr.
confessed your transgressions, that your sacrifice may
be pure." Further, in ch. xi of the same early trea-
tise the consecrated Host is clearly designated by the
term xXdo-fia, i. e. "broken bread". Nothing then
could be more natural than that, in the earliest form
of the liturgy, the breaking of the bread should have
Wilpert this delicate operation was attended with been regarded as the climax of the ritual employed.
complete success. The most important fresco thus
recovered was that already referred to over the altar
tomb. The scene represented is a picture of seven
persons at table, six men and a woman. It seems
clear that six of these are reclining as the ancients re-
clined at their meals. But the seventh personage, a
beardetl antl impressive figure, sits somewhat apart at
and should have been for the early Christians what the
Elevation in the Mass is nowadays for us. Moreover,
this Eucharistic significance of the picture is borne out
by all the accessories. The loaves and the fishes upon
the table point directly to the miraculous multiplica-
tion twice performed by Christ. The as.sociation of
this miracle with the Blessed Eucharist Ls familiar, not
the extremity of the table in an attitude which is only in other archteological monuments, but also in
highly significant. His head is thrown back, he has a early Christian literature. See for example Origen,
small loaf or cake in his hands, and his arms stretched "In Matt.", x, 25 (P. G., XIII, 902), and Ambrose,
out in front of him show that he is breaking it. Upon " De Virgin.", I, 3 (P. L., XVI, 219). Upon the sym-
