The learned in papal mythology know that every saint is depicted in such a manner that none shall be mistaken. To such an extent indeed is pictorial contrivance carried, that the art of recognising a particular saint demands a special study. It is all but certain that the same custom prevailed in Babylon; but, as all the professors which taught the means of identification have passed away, we can only guess at the name or nature of the angel. Let us imagine, for example, what an archaeologist could make of the figure of Mary--of the bleeding or burning heart, two thousand years after all history of the mother of Jesus has passed away, like that of Ishtar has done. A curious figure, called heart-shaped, but really not so, is found placed on the central part of a woman's breast; from it flames appear to arise and blood to drop, and through it is a dagger, and this mass of imagery is put outside the body, and the dress is held open to enable any one to see it. Without a key to the enigma, this is a mystery; but when the key is given, and the inquirer hears the explanation, he finds it so absurd that it is difficult to believe it. In like manner, when I see upon a Babylonian gem, copied as a vignette on the title-page of Landseer's _Sabean Researches_, a woman who has a beard, a necklace, two small breasts, from each of which she squeezes apparently a river of milk; over whose breastbone there is one large globe and two small ones, placed perpendicularly; who has a spider waist, and wears a skirt covered with pistol-shaped ornaments, I, not knowing whether the Chaldeans adored "our lady of the flowing bosom," cannot frame an idea as to the name of the saint, angel, virgin, or martyr which is depicted, or what may have been her peculiar duties, who she was, and what trade she patronised. Whatever idea the Papal Church entertains respecting her canonised saints, one thing is remarkable, viz., that they are not portrayed as having wings. Each has an aureole of some sort round his or her head--a painter's contrivance for saying "This individual, who seems like a man or woman, is not a common but a divine creature." Francis of Assisi is, in addition, depicted with stigmata, or marks on his hands, feet, and side, which, though they resemble those made with nails in the case of Jesus of Nazareth, were doubtless, in the case of the "saint," made with the strong caustic called "spirit of salt" or other escharotic. We might speculate upon the state of mind which sees in the assumption of "stigmata" a greater evidence of faith than would be offered by the conversion of the arms into the pinions of Michael the archangel; but, as it is so much easier for even the most potent saint to make breaches in his skin, than to persuade feathers to grow on his arms, we do not think the task worthy of our care.