the Good Shepherd; and he gives an engraving from Bosio of one such, which is catalogued as the “Good Shepherd and the Blessed Virgin.”[502] But in referring to Bosio this figure is found to be not the Virgin Mary at all, but a Christian martyr, as is indicated by the attribute of a _plumbata_, or leaden scourge, painted beside her, which is omitted in Dr. Northcote’s engraving, (inadvertently, as he explains;) and she is designated by Bosio, _Una Donna Orante_--a woman in the act of prayer. And this figure is the only one out of all figured by Bosio and Aringhi which at all agrees with Dr. Northcote’s description. The others when associated with the Good Shepherd are either in groups of two or more, or are mixed with male _oranti_, the existence of which Dr. Northcote seems to ignore. But even if the Virgin Mary were referred to in these paintings it would prove nothing in favour of modern Mariolatry. Indeed, nothing could be more striking than the contrast between these simple praying figures, undistinguished by any attribute from others of the pious dead, and the crowned Queen of Heaven receiving the homage of mankind, of later Roman Catholic art. But that they are such is an entirely gratuitous and unwarranted assumption; and with equal propriety, or rather lack of it, they have been interpreted by the monkish ciceroni of the Catacombs as symbols of martyrdom, as portraits of living persons praying to the dead, and as saints in heaven praying for men on earth.[503] In the gilded glasses, to be hereafter described, which belong to a 311 period of very degraded art, probably from the fourth to the sixth century, representations of the Virgin mother sometimes occur, recognized by her name written above her head after the Byzantine manner. She appears either alone, or between figures of the apostles Peter and Paul. This honour, however, is shared by other female saints, especially by Saint Agnes. In one example Mary wears a nimbus, a proof of comparatively late date. [Illustration: Fig. 89.--Supposed Madonna.] One fresco in the Catacomb of Sts. Thraso and Saturninus has been supposed to have some reference to the Virgin Mary. It is figured in the lunette of the vault in the accompanying engraving. (Fig. 89.)[504] It is interpreted, however, by Bottari, a distinguished 312 Romanist antiquary, as not a painting of the Madonna at all, but simply of a family group. [Illustration: Fig. 90.--The Earliest Madonna.]