In the third example, the conspicuous female figure is combined with the series of groups on each side.  She stands with hands outspread, in the attitude of prayer, between the two apostles, who seem to sustain her arms.  On one side is the miracle of the water changed into wine; on the other side, Christ healing the woman who touched His garment; both of perpetual recurrence in these sculptures.  Of these groups of the miracles and actions of Christ on the early Christian sarcophagi, I shall give a full account in the “History of our Lord, as illustrated in the fine arts;” at present I confine myself to the female figure which takes this conspicuous place, while other female figures are prostrate, or of a diminutive size, to express their humility or inferiority; and I have no doubt that thus situated it is intended to represent the woman who was highly honoured as well as highly blessed—­the Mother of our Saviour.

I have come therefore to the conclusion, that while many of these figures have a certain significance, others are uncertain.  Where the figure is isolated, or placed within a frame or border, like the memorial busts and effigies on the Pagan sarcophagi, I think it may be regarded as probably commemorating the Christian martyr or matron entombed in the sarcophagus; but when there is no division, where the figure forms part of a continuous series of groups, expressing the character and miracles of Christ, I believe that it represents His mother.

II.

The BORGHESE CHAPEL, in the church, of St. Maria Maggiore at Rome, was dedicated to the honour of the Virgin Mary by Paul V. (Borghese), in 1611—­the same Pope who in 1615 promulgated the famous Bull relative to the Immaculate Conception.  The scheme of decoration in this gorgeous chapel is very remarkable, as testifying to the development which the theological idea of the Virgin, as the Sposa or personified Church, had attained at this period, and because it is not, as in other examples, either historical or devotional, but purely doctrinal.

As we enter, the profusion of ornament, the splendour of colour, marbles, gilding, from the pavement under our feet to the summit of the lofty dome, are really dazzling.  First, and elevated above all, we have the “Madonna della Concezione,” Our Lady of the Immaculate Conception, in a glory of light, sustained and surrounded by angels, having the crescent under her feet, according to the approved treatment.  Beneath, round the dome, we read in conspicuous letters the text from the Revelations:—­SIGNUM.  MAGNUM.  APPARAVlT.  IN COELO.  MULIER.  AMICTA.  SOLE.  ET.  LUNA.  SUB.  PEDIBUS.  EJUS.  ET.  IN CAPITE.  EJUS, CORONA.  STELLARUM.  DUODECIM. (Rev. xii. 1.) Lower down is a second inscription, expressing the dedication.  MARIAE.  CHRISTI.  MATRI.  SEMPER.  VIRGINI.  PAULUS.  QUINTUS.P.M.  The decorations beneath the cornice consist of eighteen large frescoes, and six statues in marble, above life size.  Beginning with the frescoes, we have the subjects arranged in the following order:—­