History of mediæval art . Fig. 58.—Statue of the Good Shepherd, inthe Museum of the Lateran. * The tradition of the uncomeliness of Christ (Justin. Dial, cum Tryph., 85, 88, 100) PORTRAITS OF CHRIST. 105 says distinctly that it was not at all known {penitus ignoramus)how Christ looked. For these reasons it was found desirable to. Fig. 59.—Statue of St. Peter in the Church of S. Pietro, Rome. substitute symbols in place of iconic representations of the Sav-iour. One of the most popular of these was the figure of the sprang from a desire to see realized in him a trait of the Messianic prophecy (
History of mediæval art . Fig. 58.—Statue of the Good Shepherd, inthe Museum of the Lateran. * The tradition of the uncomeliness of Christ (Justin. Dial, cum Tryph., 85, 88, 100) PORTRAITS OF CHRIST. 105 says distinctly that it was not at all known {penitus ignoramus)how Christ looked. For these reasons it was found desirable to. Fig. 59.—Statue of St. Peter in the Church of S. Pietro, Rome. substitute symbols in place of iconic representations of the Sav-iour. One of the most popular of these was the figure of the sprang from a desire to see realized in him a trait of the Messianic prophecy (Isa. liii. 2,etc.). It does not appear before the attempts to demonstrate this identification, and, afterthe legend was firmly established, was naturally relinquished as distasteful to the Churchmilitant. 106 EARLY CHRISTIAN AND BYZANTINE SCULPTURE. Good Shepherd {Fig. 58), which frequently appears in the cata-combs, and continued in vogue until the age of Constantine. The physical characteristics of some of the saints, especially ofthose who lived in Rome, must have been better known, and repre-sentations of them may have approached more nearly to truth ofportraiture. There exist, however, only two sculptures of saintswhich can be ascribed to an early period, namely, the marblestatue of St. Hippolytus, dating to about
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