Of two figures of colossal stature in Santa Sabina at Rome symbolizing, as the inscriptions testify, the Ecc- lesia circumcisionis and Ecclesia Gentibus, little need be said except that they have the character of the fifth cen tury and recal by their good proportions, movement and crowned and seated on a chair with figures right and left of her. The dove of the Holy ghost des cends from heaven on one side. An angel flies down on the other whose form and gesture are those of an antique Victory but whose nimbus proclaims him a tenant of paradise. Amongst the figures to the right of the Virgin is one standing by a house, with a winged angel near him. The whole group is composed and arranged in clas sic style; the forms and dresses are Roman, but the subject ap pears to be the double annunciation to Mary and Zacliarias, crashed into one. In the centre of this course the words ‘ Sixtus Episcopus plebi dei.’ Sixtus III. A. D. 432. 440. — In the same course to the right a series of figures are distributed under round arches. In the first stands the Virgin crown ed and holding the infant Saviour, the latter with a nimbus above which is a little cross. In the next is a group of three figures one of which is an angel, further two male persons, one of whom bends forward reverently and seems to present an offering, whilst the other with a head like that of Jupiter stands behind look ing on. Of these five figures, that to the left looks in the direction of the Saviour held by the Vir gin and may be Simeon. The next is an angel. The third, a female, may be the prophetess Anna (Luke c. II v. 36). The fourth is probably Joseph bearing the turtledoves. These groups arranged in antique style and drawn in the classical form of the apostles in the Stanza dei quattro Evangelisti at S. Ca- listo illustrate but feebly the rea lity of those scenes of the new testament which were afterwards so completely rendered by painters of the 14 th century. In the se cond course to the left the Saviour as a child sits enthroned on an enormous Roman chair, a nimbus of gold Surmounted by a cross proclaiming his divine origin. Near him sits the Virgin dressed like a Roman matron and behind her two figures erect holding offerings. The star which guided the magi is stationary above the Saviour’s head. It may be concluded that this scene represents the adoration of the kings. The next compo sition in the second course is probably the return of the Virgin and Joseph with the Infant Sa viour from the temple. The lowest course represents Jerusalem and Bethlehem. Defective as these compositions are if considered in their religious character, they are still interesting as showing that the spirit of the antique lingered in the Roman artist of the 5 th cen tury. They exhibit the Roman mosaist as still possessed of breadth of hand, capable of grand design, of broadly massing his lights and shadows, of diffusing over the scenes he depicted a golden light and harmonious colour, of giving to the human frame a proud and manly character and grand proportions. It is true the bar baric style of ornament had al ready crept in and overloaded the Roman dress, but as yet without serious detriment to the figure. The upper walls of the great aisle of Santa Maria Maggiore are still adorned with mosaics, thirty one in number depicting scenes from the lives of Moses and Joshua.