nt 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.

Angels seated at the feet of the Madonna and playing on musical
instruments, are most lovely and appropriate accessories, for the
choral angels are always around her in heaven, and on earth she is
the especial patroness of music and minstrelsy.[1] Her delegate
Cecilia patronized _sacred_ music; but _all_ music and musicians,
all minstrels, and all who plied the "gaye science," were under the
protection of Mary. When the angels are singing from their music
books, and others are accompanying them with lutes and viols, the
song is not always supposed to be the same. In a Nativity they sing
the "Gloria in excelsis Deo;" in a Coronation, the "Regina Coeli;"
in an enthroned Madonna with votaries, the "Salve Regina, Mater
Misericordiae!" in a pastoral Madonna and Child it may be the "Alma
Mater Redemptoris."

[Footnote 1: The picture by Lo Spagna, lately added to our National
Gallery, is a beautiful example.]

* * * * *

In all the most ancient devotional effigies (those in the catacombs
and the old mosaics), the Virgin appears as a majestic woman of mature
age. In those subjects taken from her history which precede her return
from Egypt, and in the Holy Families, she should appear as a young
maiden from fifteen to seventeen years old.

In the subjects taken from her history which follow the baptism of our
Lord, she should appear as a matron between forty and fifty, but still
of a sweet and gracious aspect. When Michael Angelo was reproached
with representing his Mater Dolorosa much too young, he replied that
the perfect virtue and serenity of the character of Mary would have
preserved her beauty and youthful appearance long beyond the usual
period.[1]

[Footnote 1: The group in St. Peter's, Rome.]

Because some of the Greek pictures and carved images had become black
through extreme age, it was argued by certain devout writers, that the
Virgin herself must have been of a ve