Few subjects have been oftener treated in Christian art than that of these astronomer kings who, guided by a star from the East, came to worship the infant Saviour at Bethlehem. The early Christians painted the scene, but, following literally the words of St. Matthew, they varied their number, and showed no signs of royalty. De Rossi in his ‘Roma Sotteranea,’ speaks of upwards of twenty representations of the subject in the Catacombs. The Virgin Mother is, in these paintings, generally represented sitting at the side, with the Child in her lap and the three Magi before her, but sometimes she is in the middle; and here, in order, perhaps, to keep the balance of the composition, the number of Magi is either increased or diminished; there are four, as in the cemetery of St. Domitilla, or only two, as in that of SS. Peter and Marcellinus. In _Harper’s New Monthly Magazine_ for January, 1888, an illustration is given of this latter painting.[12] The two Magi approach from either side; they are plainly dressed with short tunics, cloaks, and Phrygian caps, and bear their gifts on golden trays or dishes. De Rossi assigns it to the second half of the third century; that of St. Domitilla is supposed to be somewhat earlier. Let us see how the subject was treated in early mosaics. A very famous one is that in the Basilica of S. Maria Maggiore at Rome, dating, it seems, from about A.D. 432-440. Here the Child sits alone on a large chair or pedestal, His hand raised in benediction; a nimbus surmounted by a cross marks His divine origin. The mosaic is said to have been altered in the time of Pope Benedict XIV.[13]; the Magi would appear to have been originally three in number, and without the insignia of royalty. In the great mosaic of St. Apollinare Nuovo at Ravenna, they approach with measured steps, and bending in attitudes of reverence: on their heads were crowns, since exchanged for baronial caps. The Virgin sits enthroned in state, the Child on her lap; two angels on either side attend them. According to the ‘Liber Pontificalis’ of Ravenna, this work was executed A.D. 553-556, under the direction of Bishop Agnellus. The legend as it has come down to us gradually assumed concrete form. Our first detailed account of the appearance of the Three Kings is from the pen of a Western writer--the Venerable Bede--who founded it, probably, on reports from Italy or the East. In his treatise ‘De Collectaneis,’ he names and describes them thus:[14] ‘The first is said to have been called Melchior, an old man gray-headed, with flowing beard and locks; he presented gold to the Lord, the King. Gaspar, the second, was young, beardless, and ruddy; he with frankincense, as an oblation worthy of God, honoured God. The third, by name Baltassar, was dark-complexioned,[15] and had a full beard; he by means of myrrh signified that the Son of Man should die.’ He then describes their dresses.