the same picture, is, compared with the fairest daughter of earth. It is not here superiority of beauty, but mind, and music, and love, kneaded together, as it were, into form and colour." This is very eloquent, but it was not _the thought_ which supplied that ill word "kneaded." It is remarked by Mrs Jameson, as a singular fact, that neither Leonardo da Vinci, nor Michael Angelo, nor Raffaelle, have given representations of the Four Evangelists. In very early art they are mostly symbolised, and sometimes oddly and uncouthly; and even so by Angelico da Fiesole. In Greek art, the Tetramorph, or union of the four attributes in one figure, is seen winged. "The Tetramorph, in Western art, in some instances became monstrous, instead of mystic and poetical." The animal symbols of the Evangelists, however familiarised in the eyes of the people, and therefore sanctioned to their feeling, required the greatest judgment to bring within the poetic of art. We must look also to the most mysterious subjects for the elucidation, such as Raffaelle's Vision of Ezekiel. There we view in the symbols a great prophetic, subservient to the creating and redeeming power, set forth and coming out of that blaze of the clouds of heaven that surround the sublime Majesty. The earlier painters were fond of representing everything symbolically: hence the twelve apostles are so treated. In the descending scale, to the naturalists, the mystic poetry was reduced to its lowest element. The set of the apostles by Agostino Caracci, though, as Mrs Jameson observes, famous as works of art, are condemned as absolutely vulgar. "St John is drinking out of a cup, an idea which might strike some people as picturesque, but it is in vile taste. It is about the eighth century that the keys first appear in the hand of St Peter. In the old churches at Ravenna, it is remarked, St Peter and St Paul do not often appear." Ravenna, in the fifth century, did not look to Rome for her saints.