4. In a Coronation of the Virgin, very singularly treated, we have Christ and the Virgin on a high platform or throne, sustained by columns; in the space underneath, between these columns, is a group of unwinged angels, holding the instruments of the Passion. (Or, as I have sometimes thought, this beautiful group may be the souls of the Innocents, their proper place being under the throne of Christ.) On each side a vast company of prophets, apostles, saints, and martyrs, ranged tier above tier. Immediately in front, and on the steps of the throne, are the Four Evangelists, seated each with his symbol and book: behind them the Four Fathers, also seated. This picture, which as a painting is singularly beautiful, the execution finished, and the heads most characteristic and expressive, may be said to comprise a complete system of the theology of the middle ages.[245] 5. We have the same idea carried out in the lower part of Raphael’s ‘Disputa’ in the Vatican. The Four Doctors are in the centre of what may be called the _sublunary_ part of the picture: they are the only seated figures in the vast assembly of holy, wise, and learned men around; St. Gregory and St. Jerome on the right of the altar, St. Ambrose and St. Augustine on the left. As the two latter wear the same paraphernalia, they are distinguished by having books scattered at their feet, on which are inscribed the titles of their respective works. * * * * * The Madonna and Child enthroned, with the Doctors of the Church standing on each side, is a subject which has been often, and sometimes beautifully, treated; and here the contrast between all we can conceive of virginal and infantine loveliness and innocence enshrined in heavenly peace and glory—and these solemn, bearded, grand-looking old Fathers, attending in humble reverence, as types of earthly wisdom—ought to produce a magnificent effect, when conceived in the right spirit. I can remember, however, but few instances in which the treatment is complete and satisfactory.