interpretation of this figure; the most obvious conjecture would, of course, fix on St. Joseph; there seem to be solid reasons, however, for preferring (with De Rossi) the prophet Isaias, whose predictions concerning the Messias abound with imagery borrowed from light, and who may be identified on an old Christian glass by the superscription of his name. But this question, interesting as it is, is not so important as the probable date of the painting itself; and here no abridgment or analysis of' De Rossi's arguments can do justice to the moderation, yet irresistible force, with which he accumulates proofs of {130} the conclusion we have already stated, viz., that the painting was executed, if not in Apostolic times and as it were under the very eyes of the Apostles themselves, yet certainly within the first 150 years of the Christian era. He first bids us carefully to study the art displayed in the design and execution of the painting; he compares it with the decorations of the famous Pagan tombs discovered on the Via Latina in 1858, and which are referred to the times of the Antoninuses; with the paintings in the pontifical _cubiculum_ in the cemetery of St. Callixtus, and with others more recently discovered in the cemetery of Pretextatus, to both of which a very high antiquity is conceded by all competent judges; and he justly argues that the more classical style of the painting now under examination _obliges_ us to assign to it a still earlier date. Next, he shows that the catacomb in which it appears was one of the oldest,--St. Priscilla, from whom it receives its name, having been the mother of Pudens and a contemporary of the Apostles (the impress of a seal, with the name _Pudens Felix_, is repeated several times on the mortar round the edge of a grave in this cemetery); nay, further still, it can be shown that the tombs of Sts. Pudentiana and Praxedes, and therefore, probably, of their father St. Pudens himself, were in the immediate neighborhood of the very chapel in which this Madonna is to be seen; moreover, the inscriptions which are found there bear manifest tokens of a higher antiquity than can be claimed by any others from the catacombs: there is the complete triple nomenclature of pagan times, e.g., Titus Flavius Felicissimus; the epitaphs are not even in the usual form, _in pace_, but simply the Apostolic salutation, _Pax tecum, Pax tibi_; and finally, the greater number of them are not cut on stone or marble slabs, but written with red paint on the tiles which close the graves--a mode of inscription of which not a single example, we believe, has hitherto been found in any other part the catacombs. This is a mere outline of the arguments by which De Rossi establishes his conclusion respecting the age of this painting, and they are not even exhibited in their full force in the present publication at all. For a more copious induction of facts, and a more complete elucidation both of the history and topography of the