Theodore of the Studium, by his sufferings and his influence, did more, perhaps, in the cause of Icons than any other man. His uncle, S. Plato, and himself, had been cruelly persecuted by Constantine, for refusing to communicate with him after his illicit marriage with Theodora, at a time when, as we have seen, the firmness of even the Patriarch Tarasius gave way. Raised subsequently to be Hegumen of the great abbey of the Studium, the first at Constantinople, and probably the most influential that ever existed in the world, Theodore exhibited more doubtful conduct in the schism which regarded the readmission to communion of Joseph, the priest who had give the nuptial benediction to Constantine: but he suffered imprisonment on this account with the greatest firmness. When the Iconoclastic persecution again broke out under Leo the Armenian, Theodore was one of the first sufferers: he was exiled, imprisoned, scourged, and left for dead. Under Michael Curopalata he enjoyed greater liberty; but he died in banishment, Nov.11th, A.D.826. His Hymns are, in my judgment, superior to those of S. Theophanes, -- and nearly, if not quite, equal to the works of S. Cosmas. In those (comparatively few) which he has left for the Festivals of Saints, he does not appear to advantage: it is in his Lent Canons in the Triodion, that his great excellency lies. The contrast there presented between the rigid, unbending, unyielding character of the man in his outward history, and the fervent gush of penitence and love which his inward life, as revealed by these compositions, manifests, is very striking; -- it forms a remarkable parallel to the characters of S. Gregory VII., Innocent III., and other holy men of the Western Church, whom the world, judging from a superficial view of their characters, has branded with unbending haughtiness, and the merest formality in religion, while their most secret writings show them to have been clinging to the Cross in an ecstasy of love and sorrow.