* * *

Such, in few words, is the church legend of the Magi of the East,
the "three Kings of Cologne," as founded on the mysterious Gospel
incident. Statesmen and philosophers, not less than ecclesiastics,
have, as yet, missed the whole sense and large interpretation of the
mythic as well as the scriptural story; but well have the artists
availed themselves of its picturesque capabilities! In their hands
it has gradually expanded from a mere symbol into a scene of the
most dramatic and varied effect and the most gorgeous splendour. As a
subject it is one of the most ancient in the whole range of Christian
art. Taken in the early religions sense, it signified the calling
of the Gentiles; and as such we find it carved in bas-relief on
the Christian sarcophagi of the third and fourth centuries, and
represented with extreme simplicity. The Virgin mother is seated on a
chair, and holds the Infant upright on her knee. The Wise Men, always
three in number, and all alike, approach in attitudes of adoration.
In some instances they wear Phrygian caps, and their camels' heads
are seen behind them, serving to express the land whence they came,
the land of the East, as well as their long journey; as on one of the
sarcophagi in the Christian Museum of the Vatican. The star in these
antique sculptures is generally omitted; but in one or two instances
it stands immediately over the chair of the Virgin. On a sarcophagus
near the entrance of the tomb of Galla Placidia, at Ravenna, they are
thus represented.

The mosaic in the church of Santa Maria Maggiore at Rome, is somewhat
later in date than these sarcophagi (A.D. 440), and the representation
is very peculiar and interesting. Here the Child is seated alone on a
kind of square pedestal, with his hand raised in benediction; behind
the throne stand two figures, supposed to be the Virgin and Joseph; on
each side, two angels. The kings approach, dressed as Roman warriors,
with helmets on their heads.

In the mosaic in the church of Sant' Appollinare-Novo, at Ravenna
(A.D. 534), the Virgin receives them seated on a throne, attended
by the archangels; they approach, wearing crowns on their heads,
and bending in attitudes of reverence: all three figures are exactly
alike, and rather less in proportion than the divine group.

* * * * *

Immediately on the revival of art we find the Adoration of the Kings
treated in the Byzantine style, wi