if not otherwise distinguished, to be St. Lazarus: sometimes, but rarely, the introduction of a bier, or his resurrection, in the background, serves to fix the identity. Grouped with these three saints, we occasionally find St. Marcella (or Martilla), who accompanied them from the East, but who is not distinguished by any attribute; nor is anything particular related of her, except that she wrote the life of Martha, and preached the Gospel in Sclavonia.

There are beautiful full-length figures of Mary, Martha, Lazarus, and Marcella, in the Brera at Milan, painted by one of the Luini school, and treated in a very classical and noble style; draped, and standing in niches to represent statues. At Munich are the separate figures of Mary, Martha, and Lazarus, by Gruenewald: Lazarus is seen standing by his bier; Mary, in the rich costume of a German lady of rank, presents her vase; and Martha is habited like a German hausfrau, with her dragon at her feet. They are much larger than life, admirably painted, and full of character, though somewhat grotesque in treatment.

Over the altar of the church "La Major" at Marseilles, stands Lazarus as bishop; Mary on the right, and Martha on the left: underneath these three statues, runs a series of bas-reliefs containing the history of Lazarus. 1. He is recalled to life. 2. Seated on the edge of his tomb he addresses the spectators. 3. He entertains Christ. 4. The arrival at Marseilles. 5. He preaches to the people. 6. He is consecrated bishop. 7. He suffers martyrdom.

In a tabernacle or triptica by Nicolò Frumenti (A.D. 14611), the central compartment represents the raising of Lazarus, who has the truest and most horrid expression of death and dawning life I ever beheld. On the volet to the right is the supper in the house of Levi, and the Magdalene anointing the feet of the Saviour; on the left volet, Martha meets him on his arrival at Bethany: "Lord, if thou hadst been here, my brother had not died."

In the chapel of Mary Magdalene at Assisi, we find, besides the history of her life, full-length figures of Mary, Martha, Lazarus, and Maximin. Mary, a beautiful dignified figure, as usual in rich red

1 Fl. Gal.

drapery, stands to the right of the altar, holding out her hand to a kneeling Franciscan: on the left Martha stands in grey drapery with a close hood: Lazarus and Maximin as bishops.

This will give an idea of the manner in which these personages are either grouped together, or placed in connection with each other.

ST. MARY OF EGYPT.

Ital. Santa Maria Egiziaca Penitente. Fr. Sainte Marie l'Egyptienne, La Gipesienne, La Jussienne. April 2. A.D. 433.

I PLACE the story of St. Mary of Egypt here, for though she had no real connection with the Magdalene, in works of art they are perpetually associated as les bienheureuses pécheresses, and in their personal and pictorial attributes not unfrequently confounded. The legend of Mary Egyptiaca is long anterior to that of Mary Magdalene. It was current in a written form so early as the sixth century, being then received as a true history; but it appears to have been originally one of those instructive parables or religious romances which, in the early ages of the Church, were composed and circulated for the edification of the pious. In considering the manners of that time, we may easily believe that it may have had some foundation in fact. That a female anchoret of the name of Mary lived and died in a desert of Palestine near the river Jordan-that she there bewailed her sins in solitude for a long course of years, and was accidentally discovered-is a very ancient tradition, supported by contemporary evidence. The picturesque, miraculous, and romantic incidents with which the story has been adorned, appear to have been added to enhance the interest; and, in its present form, the legend is attributed to St. Jerome.

"Towards the year of our Lord 365, there dwelt in Alexandria a woman whose name was Mary, and who in the infamy of her life far exceeded Mary Magdalene. After passing seventeen years in every species of vice, it happened that one day, while roving along the sea

shore, she beheld a ship ready to sail, and a large company preparing to embark. She inquired whither they were going? They replied that they were going up to Jerusalem, to celebrate the feast of the true cross. She was seized with a sudden desire to accompany them; but having no money, she paid the price of her passage by selling herself to the sailors and pilgrims, whom she allured to sin by every means in her power. On their arrival at Jerusalem, she joined the crowds of worshippers who had assembled to enter the church; but all her attempts to pass the threshold were in vain; whenever she thought to enter the porch, a supernatural power drove her back in shame, in terror, in despair. Struck by the remembrance of her sins, and filled with repentance, she humbled herself and prayed for help; the interdiction was removed, and she entered the church of God, crawling on her knees. Thenceforward she renounced her wicked and shameful life, and, buying at a baker's three small loaves, she wandered forth into solitude, and never stopped or reposed till she had penetrated into the deserts beyond the Jordan, where she remained in severest penance, living on roots and fruits, and drinking water only: her garments dropped away in rags piecemeal, leaving her unclothed; and she prayed fervently not to be left thus exposed; suddenly her hair grew so long as to form a covering for her whole person (or, according to another version, an angel brought her a garment from heaven). Thus she dwelt in the wilderness, in prayer and penance, supported only by her three small loaves, which, like the widow's meal, failed her not, until, after the lapse of forty-seven years, she was discovered by a priest named Zosimus. Of him she requested silence, and that he would return at the end of a year, and bring with him the elements of the holy sacrament, that she might confess and communicate, before she was released from earth. And Zosimus obeyed her, and returned after a year; but not being able to pass the Jordan, the penitent, supernaturally assisted, passed over the water to him; and, having received the sacrament with tears, she desired the priest to leave her once more to her solitude, and to return in a year from that time. And when he returned he found her dead, her hands crossed on her bosom. And he wept greatly; and, looking round, he saw written in the sand these words: - O Father Zosimus, bury the body of the poor sinner, Mary of Egypt! Give

earth to earth, and dust to dust, for Christ's sake!' He endeavoured to obey this last command, but being full of years, and troubled and weak, his strength failed him, and a lion came out of the wood and aided him, digging with his paws till the grave was sufficiently large to receive the body of the saint, which being committed to the earth, the lion retired gently, and the old man returned home, praising God, who had shown mercy to the penitent."

In single figures and devotional pictures, Mary of Egypt is portrayed as a meagre, wasted, aged woman, with long hair, and holding in her hand three small loaves. Sometimes she is united with Mary Magdalene, as joint emblems of female penitence; and not in painting only, but in poetry,—

"Like redeemed Magdalene,

Or that Egyptian penitent, whose tears
Fretted the rock, and moisten'd round her cave
The thirsty desert."

Thus they stand together in a little rare print by Marc Antonio, the one distinguished by her vase, the other by her three loaves. Sometimes, when they stand together, Mary Magdalene is young, beautiful, richly dressed; and Mary of Egypt, a squalid, meagre, old woman, covered with rags: as in a rare and curious print by Israel von Mecken.1

Pictures from her life are not common. The earliest I have met with is the series painted on the walls of the Chapel of the Bargello, at Florence, above the life of Mary Magdalene: they had been whitewashed over. In seeking for the portrait of Dante this whitewash has been in part removed; and it is only just possible for those acquainted with the legend to trace in several compartments the history of Mary of Egypt.

1. Detached subjects are sometimes met with. In the church of San Pietro-in-Pò, at Cremona, they preserve relics said to be those of Mary of Egypt: and over the altar there is a large picture by Malosso,

representing the saint at the door of the Temple at Jerusalem, and repulsed by a miraculous power. She is richly dressed, with a broadbrimmed hat, and stands on the step, as one endeavouring to enter, while several persons look on,—some amazed, others mocking.

2. Mary of Egypt doing penance in the desert is easily confounded with the penitent Magdalene. Where there is no skull, no vase of ointment, no crucifix near her, where the penitent is aged, or at least not young and beautiful, with little or no drapery, and black or grey hair, the picture may be presumed to represent Mary of Egypt, and not the Magdalene, however like in situation and sentiment. There is a large fine picture of this subject at Alton Towers.

3. The first meeting of Mary and the hermit Zosimus, has been painted by Ribera: in this picture her hair is grey and short, her skin dark and sunburnt, and she is clothed in rags.

4. In another picture by the same painter she is passing over the Jordan by the help of angels; she is seen floating in the air with her hands clasped, and Zosimus is kneeling by. This subject might easily be confounded with the Assumption of the Magdalene, but the sentiment ought to distinguish them; for, instead of the ecstatic trance of the Magdalene, we have merely a miraculous incident: the figure is but little raised above the waters, and the hermit is kneeling on the shore.'

5. St. Mary receives the last communion from the hands of Zosimus. I have known this subject to be confounded with the last communion of the Magdalene. The circumstances of the scene, as well as the character, should be attended to. Mary of Egypt receives the sacrament in the desert; a river is generally in the background: Zosimus is an aged monk. Where the Magdalene receives the sacrament from the hands of Maximin, the scene is a portico or chapel with rich architecture, and Maximin wears the habit of a bishop.

6. The death of Mary of Egypt. Zosimus is kneeling beside her, and the lion is licking her feet or digging her grave. The presence of the lion distinguishes this subject from the death of Mary Magdalene.

It was in the Sp. Gal. in the Louvre, now dispersed.