The Cavaliere Rossi, whose celebrity as an antiquarian is not merely Italian, but European, and whose impartiality can hardly be doubted, told me that a Christian sarcophagus had lately been discovered at Saint-Maxime, in the south of France, on which there is the same group of the female figure praying, and over it the name MARIA. I ought to add, that on one of these sarcophagi, bearing the oft repeated subject of the good Shepherd feeding His sheep, I found, as the companion group, a female figure in the act of feeding birds which are fluttering to her feet. It is not doubted that the good Shepherd is the symbol of the beneficent Christ; whether the female figure represent the Virgin-mother, or is to be regarded merely as a general symbol of female beneficence, placed on a par with that of Christ (in His human character), I will not pretend to decide. It is equally touching and beautiful in either significance. Three examples of these figures occur to me. The first is from a Christian sarcophagus of early date, and in a good style of art, probably of the third century--it is a noble figure, in the attitude of prayer, and separated from the other groups by a palm-tree on each side--at her feet is a bird (perhaps a dove, the ancient symbol of the released soul), and scrolls which represent the gospel. I regard this figure as doubtful; it may possibly be the effigy of a Christian matron, who was interred in the sarcophagus. The second example is also from a sarcophagus. It is a figure holding a scroll of the gospel, and standing between St. Peter and St. Paul; on each side (in the original) there are groups expressing the beneficent miracles of our Lord. This figure, I believe, represents the Virgin Mary. In the third example, the conspicuous female figure is combined with the series of groups on each side. She stands with hands outspread, in the attitude of prayer, between the two apostles, who seem to sustain her arms. On one side is the miracle of the water changed into wine; on the other side, Christ healing the woman who touched His garment; both of perpetual recurrence in these sculptures. Of these groups of the miracles and actions of Christ on the early Christian sarcophagi, I shall give a full account in the "History of our Lord, as illustrated in the fine arts;" at present I confine myself to the female figure which takes this conspicuous place, while other female figures are prostrate, or of a diminutive size, to express their humility or inferiority; and I have no doubt that thus situated it is intended to represent the woman who was highly honoured as well as highly blessed--the Mother of our Saviour.