In the beautiful frescoes of the church of St. Apollinaris at Remagen, these Hebrew women stand together in a group below the throne of the Virgin.

Of the Prophets and the Sibyls who attend on Christ in his character of the Messiah or Redeemer, I shall have much to say, when describing the artistic treatment of the history and character of Our Lord.  Those of the prophets who are supposed to refer more particularly to the Incarnation, properly attend on the Virgin and Child; but in the ancient altar-pieces, they are not placed within the same frame, nor are they grouped immediately round her throne, but form the outer accessories, or are treated separately as symbolical.

First, MOSES, because he beheld the burning bush, “which burned and was not consumed.”  He is generally in the act of removing his sandals.

AARON, because his rod blossomed miraculously.

GIDEON, on whose fleece descended the dew of heaven, while all was dry around.

DANIEL, who beheld the stone which was cut out without hands, and became a great mountain, filling the earth. (ch. ii. 45.)

DAVID, as prophet and ancestor.  “Listen, O daughter, and incline thine ear.”

ISAIAH, “Behold a virgin shall conceive and bear a son.”

EZEKIEL, “This gate shall be shut.” (ch. xliv. 2.)

Certain of these personages, Moses, Aaron, Gideon, Daniel, Ezekiel, are not merely accessories and attendant figures, but in a manner attributes, as expressing the character of the Virgin.  Thus in many instances, we find the prophetical personages altogether omitted, and we have simply the attribute figuring the prophecy itself, the burning bush, the rod, the dewy fleece, &c.

The Sibyls are sometimes introduced alternately with the Prophets.  In general, if there be only two, they are the Tiburtina, who showed the vision to Augustus, and the Cumean Sibyl who foretold the birth of our Saviour.  The Sibyls were much the fashion in the classic times of the sixteenth century; Michael Angelo and Raphael have left us consummate examples.

But I must repeat that the full consideration of the Prophets and Sibyls as accessories belongs to another department of sacred art, and they will find their place there.

The Evangelists frequently, and sometimes one or more of the Twelve Apostles, appear as accessories which assist the theological conception.  When other figures are introduced, they are generally either the protecting saints of the country or locality, or the saints of the Religious Order to whom the edifice belongs:  or, where the picture or window is an ex-voto, we find the patron saints of the confraternity, or of the donor or votary who has dedicated it.