120 THE ROMAN CATACOMBS. 
lands of flowers, with figures filling up the spaces. Of one 
thing there there can be no doubt, and that is, the superiority 
of the paintings of the first two centuries over those of the 
third and fourth. One of the chief subjects of early decora- 
tors is that of the Good Shepherd. It is found on tombstones, 
cups, rings, &c. Then we have Jonas and Lazarus as types 
of the Resurrection, and the Anchor as an emblem of Hope. 
Another emblem is that of the Fish, which is used to repre- 
sent not only the Christian but Christ himself. The Greek 
for fish is IXOYC (Ichthus.) 
I Incovs = Jesus. 
X Xpwrtos = Christ. 
6 G@eov = of God. 
Y"™Yieos = Son. 
C Cornp = Saviour. 
Then we have Noah and Daniel—the Ark being typical of 
the Church, and Daniel of the Resurrection. 
The most beautiful painting of the Blessed Virgin is of the 
early part of the second century. 
In the cemetery of S. Domitilla there is one of the third 
century, on either side of her two of the Magi are bringing 
offerings. The one of the fourth century, in the cemetery of 
S. Agnes, is much more stiff, and of the Byzantine type. 
Then several gilded glasses have been discovered with Peter 
as Moses striking the Rock—these are of the fourth century. 
It is only, of course, of late years that the inscriptions have 
been treated in a scientific manner. 
The earliest Christian tombstones only record the bare 
name, with the addition, perhaps, of an anchor or Pax tecum 
oy tibt. Towards the latter end of the 2nd century, the epi- 
taphs become longer and more frequent. They ask for the 
departed soul peace and light, and refreshment and rest in 
God and Christ. Sometimes, also, they invoke the help of 
the prayers of the departed for the surviving relatives, whose 
time of trial is not yet ended. 
