catacombs, we must be content to wait till the author's larger work on _Roma Sotterranea_ shall appear. The most recent painting of the Madonna which De Rossi has here published is that with which our readers will be the most familiar. It is the one to which the late Father Marchi, S.J., never failed to introduce every visitor to the catacomb of St. Agnes, and has been reproduced in various works; the Holy Mother with her hands outstretched in prayer, the Divine Infant on her bosom, and the Christian monogram on either side of her and turned toward her. This last particular naturally directs our thoughts to the fourth century as the date of this work; and the absence of the _nimbus_ and some other indications lead our author to fix the earlier half of the century in preference to the later. Between these two limits, then, of the first or second, and the fourth century, he would place the two others which are now published; he distinguishes them more doubtfully, as belonging respectively to the first and second half of the third century. In one, from the cemetery of Domitilla, the Blessed Virgin sits holding the Holy Child on her lap, whilst four Magi offer their gifts; the other, from the catacomb of Sts. Peter and Marcellinus, represents the same scene, but with two Magi only. In both there is the same departure from the ancient tradition of the number of the wise men, and from the same cause, viz., the desire to give a proper balance and proportion to the two sides of the picture, the Virgin occupying the middle place. Indeed, in one of them, it is still possible to trace {131} the original sketch of the artist, designing another arrangement with the three figures only; but the result did not promise to be satisfactory, and he did what thousands of his craft have continued to do ever since, sacrificed historic truth to the exigencies of his art.