of Christ, invariably stands or kneels. Instead of the Baptist, it is sometimes, but rarely, John the Evangelist, who is the pendant of the Virgin. In the Greek representations of the Last Judgment, a river of fire flows from under the throne of Christ to devour and burn up the wicked.[1] In western art the idea is less formidable,--Christ is not at once judge and executioner; but the sentiment is always sufficiently terrible; "the angels and all the powers of heaven tremble before him." In the midst of these terrors, the Virgin, whether kneeling, or seated, or standing, always appears as a gentle mediator, a, supplicant for mercy. In the "Day of Judgment," as represented in the "Hortus Deliciarum," [2] we read inscribed under her figure the words "_Maria, Filio suo pro Ecclesia supplicat_." In a very fine picture by Martin Schoen (Schleissheim Gal.), it is the Father, who, with a sword and three javelins in his hand, sits as the avenging judge; near him Christ; while the Virgin stands in the foreground, looking up to her Son with an expression of tender supplication, and interceding, as it appears, for the sinners kneeling round her, and whose imploring looks are directed to _her_. In the well-known fresco by Andrea Ortagna (Pisa, Campo Santo), Christ and the Virgin sit throned above, each in a separate aureole, but equally glorified. Christ, pointing with one hand to the wound in his side, raises the other in a threatening attitude, and his attention is directed to the wicked, whom he hurls into perdition. The Virgin, with one hand pressed to her bosom, looks to him with an air of supplication. Both figures are regally attired, and wear radiant crowns; and the twelve apostles attend them, seated on each side. [Footnote 1: Didron, "Iconographie Chrétienne;" and in the mosaic of the Last Judgment, executed by Byzantine artists, in the cathedral at Torcello.] [Footnote 2: A celebrated illuminated MS. (date about 1159 to 1175), preserved in the Library at Strasburg.] * * * * *