is a group in mosaic, which I believe to be singular in its
kind, where the Virgin is enthroned, with Christ. She is seated at his
right hand, at the same elevation, and altogether as his equal. His
right arm embraces her, and his hand rests on her shoulder. She wears
a gorgeous crown, which her Son has placed on her brow Christ has only
the cruciform nimbus; in his left hand is an open book, on which is
inscribed, "_Veni, Electa mea_" &c. "Come, my chosen one, and I will
place thee upon my throne." The Virgin holds a tablet, on which are
the words "His right hand should be under my head, and his left hand
should embrace me." (Cant. viii. 3.) The omnipotent Hand is stretched
forth in benediction above. Here the Virgin is the type of the Church
triumphant and glorified, having overcome the world; and the solemn
significance of the whole representation is to be found in the Book of
Revelations: "To him that overcometh will I grant _to sit with me in
my throne_, even as I also overcame and am set down with my Father in
his throne." (Rev. iii. 21.)

This mosaic, in which, be it observed, the Virgin is enthroned with
Christ, and _embraced_, not crowned, by him, is, I believe, unique
either as a picture or a church decoration. It is not older than
the twelfth century, is very ill executed, but is curious from the
peculiarity of the treatment. (Rome. S. Maria in Trastevere.)

* * * * *

In the mosaic in the tribune of S. Maria-Maggiore at Rome, perhaps
the earliest example extant of the Coronation, properly so called, the
subject is treated with a grand and solemn simplicity. Christ and the
Virgin, colossal figures, are seated on the same regal throne within
a circular glory. The background is blue studded with golden stars.
He places the crown on her head with his right hand; in the left he
holds an open book, with the usual text, "_Veni, Electa mea, et ponam
te in thronum meum_," &c. She bends slightly forward, and her hands
are lifted in adoration. Above and around the circular glory the
emblematical vine twines in arabesque form; among the branches and
leaves sit peacocks and other birds; the peacock being the old emblem
of immortality, as birds in general are emblems of spirituality. On
each side of the glory are nine adoring angels, representing the nine
choirs of the heavenly hierarchy; beyond these on the right stand St.
Peter, St. Paul, St. Francis; on the left, St. John the Baptist, S