Chai>. I. THE CATACOMBS. f) e Pietro 1 at the side of the lamb standing on a rock from which the four rivers issue. In the long frames and small heads, in the defective feet and hands of these figures the declining antique may still be traced. But in the centre of the arch of the vault is the Saviour seated on a Roman chair wearing the tunic, pallium and sandals, giving the benediction with his right hand and in his left holding a book. The head, surrounded by a simple nimbus and, on each side of it, the Greek alpha and omega, is of a long shape but of a youthful type. The broad and open brow, the calm and regular eye have a certain majesty. The hair falls on the shoulders in locks; and a pointed beard adorns the chin. The outline of the frame is also fine. As regards pure form indeed this was one of the best types of head of the decline of the sixth century. It was equal to some produced at Ravenna 2 and nearly approached some produced at the great revival in the four teenth century. To the right and left of the Redeemer stand S. Peter and S. Paul distinguished as they had already been at Naples by those peculiar types which remain characteristic of them for centuries. An appearance of excessive length and exaggerated action is imparted by the nature of the space which the figures occupy. The converging shape of the furnace vault made it difficult for the painter to combine' good distribution of space with faultless shape and movement. A century after this, the Saviour was still depicted, as for instance in S. Ponziano, in the act of benediction and of imposing aspect, but the painter had already lost the ease of hand, and had never acquired the knowledge of form,, of his predecessors. lie had sunk to a certain conventionalism of delineation which was betrayed in other parts are discoloured, but the outlines remain. 1 Cappella di S.S. Pietro e Mar- eellino. There remain traces of a nimbus and the Greek symbol above the lamb. The name of “Petrus” is inscribed above the head of that Saint. A copy of this painting is in the Museum of S. Giovanni Laterano. 2 With some modification of ago at S. Apollinare Nuovo.