History of mediæval art . mon in ancient graves, were readily referred by thefaithful to the miracle at Cana, to the miracle of the loaves andfishes, and to the eucharist, hence becoming popular at a very earlyperiod. The Old Testament provided subjects for historical paint-ings before the New, scenes prophetic of Christianity being pre-ferred. Chief among these are the Fall of Man {Fig. 45), the Offer- BIBLICAL SCENES. 77 ings of Cain and Abel, Noah with the dove {Fig. 44), the Sacrificeof Isaac, Moses at the rock {Fig. 45) and on Mount Sinai, Danielin the lions den, the three youths in the f
History of mediæval art . mon in ancient graves, were readily referred by thefaithful to the miracle at Cana, to the miracle of the loaves andfishes, and to the eucharist, hence becoming popular at a very earlyperiod. The Old Testament provided subjects for historical paint-ings before the New, scenes prophetic of Christianity being pre-ferred. Chief among these are the Fall of Man {Fig. 45), the Offer- BIBLICAL SCENES. 77 ings of Cain and Abel, Noah with the dove {Fig. 44), the Sacrificeof Isaac, Moses at the rock {Fig. 45) and on Mount Sinai, Danielin the lions den, the three youths in the fiery furnace, and Jonahswallowed by the whale, vomited forth again, and sleeping under thegourd {Fig. 45)—these last being of frequent occurrence as symbolicalof the death and resurrection of Christ. Subjects from the NewTestament are more rare, and scenes of the Passion are almost en-tirely lacking. The awakening of Lazarus, as typical of the resur-rection of the dead, is frequent in places of burial, while the miracu-. Fig. 44.—Noah in the Ark. Wall-painting in the Catacomb of Calixtus. lous healing of the blind, the lame, and the woman with the issueof blood are also represented. The parable of the Good Shepherd{Fig. 45) offered a most fitting illustration of the relation of Christto the Church, and was especially common because free from theiconic tendencies so displeasing to the fathers. Images of Christhimself do not occur among the paintings of the pre-Constantinecatacombs, and the Virgin was only introduced in the scene of theAdoration of the Magi. Portraits of the Apostles and of eminentindividuals of the Christian community are also met with, the deadbeing usually shown in an attitude of prayer with uplifted hands. 78 EARLY CHRISTIAN AND BYZANTINE PAINTING. The method of painting was either fresco or secco, according asit was executed at the same time with the plastering or was after-wards applied upon an old and dry ground. Color and modellingwere equally rude a
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