Marzio's Crucifix and Zoroaster is a collection of two novellas by F. Marion Crawford. The first novella, Marzio's Crucifix, tells the story of a sculptor who is commissioned to create a crucifix for a church. The sculptor, Marzio Pandolfi, is a talented artist, but he is also a complex and troubled man. He is haunted by the memory of his father, who was also a sculptor, and who died when Marzio was a child. Marzio is also struggling with his own personal demons, including his jealousy of his apprentice, Gianbattista Bordogni. As Marzio works on the crucifix, he begins to see the figure of Christ as a symbol of his own inner turmoil. The second novella, Zoroaster, tells the story of a young Persian priest who is sent to Rome to study philosophy. Zoroaster is a brilliant and idealistic young man, but he is also naive and inexperienced. In Rome, he is exposed to a world of luxury and decadence, and he begins to question his faith. Zoroaster eventually finds himself drawn to a beautiful young woman named Ione, and he begins to doubt the teachings of his religion. The two novellas are linked by their exploration of the themes of faith, doubt, and the human condition.

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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Marzio's Crucifix is an unchanged, high-quality reprint of the original edition of 1887. Hansebooks is editor of the literature on different topic areas such as research and science, travel and expeditions, cooking and nutrition, medicine, and other genres. As a publisher we focus on the preservation of historical literature. Many works of historical writers and scientists are available today as antiques only. Hansebooks newly publishes these books and contributes to the preservation of literature which has become rare and historical knowledge for the future.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Excerpt from Marzio's Crucifix, And, Zoroaster Plain wooden shelves lined two of the walls from the floor to the ceiling. The third was occupied by tables and a door, and in the fourth high grated win dows were situated, from which the clear light fell upon the long bench' before which the two men sat upon high stools. Upon the shelves were numerous models in red wax, of chalices, monstrances, marvel lous ewers and embossed basins for the ablution of the priests' hands, crucifixes, crowns, palm and olive branches - in a word, models of all those things which pertain to the service and decoration of the church. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.