12 EARLY CHRISTIAN ART. Chap. I. were in the earliest catacomb picture in SS. Nero e Achilleo, and the general appearance of the remains proves that the same spirit of classic imitation animated the mosaists and the painters. 1 The Baptistery of Naples, also of the time of Constantine 2 — an irregular octagonal building surmounted by a cupola — contains mosaics whose style may be traced amidst the repairs of restorers both in mosaic and in painting. 3 Amongst the prophets on the broad sides of the octagon some of whom hold Crowns and others offerings, varied attitudes, suitable action and classic draperies remind the spectator of the fine figures of previous ages. Scenes from the life of the Saviour, such at least as might serve to impress the multitude with the idea of His supernatural power and benevolence, also adorned the cupola but are so altered by restoring as to be worthless to the critic. 4 Again in the fourth century the Saviour was represented in S. Pudenziana at Rome enthroned in the act of bene diction holding the Gospel in his left hand and supported on each side by a regular array of saints, of whom the lowest in rank, S. Pudenziana and S. Praxedis, close the procession on the two extremes. The attitude of the Saviour, the outlines of his face and form were grand, noble and regular. The long hair, the beard that covered the chin and upper lip, the straight nose and regular 1 These mosaics are rudely exe cuted and damaged by restorations of various dates. Some of the restorations are mosaic others merely of painted plaster. 2 An old inscription in this Baptistery which is now called S. Giovanni in Fonte supports the tradition that Constantine erected the building in 303. This fact is confirmed by the chronicles of S. Maria del Principio inVillani (Gio.) but contradicted by Asse- manni, a modern who pretends that the erection took place under the auspices of Bishop Vincenzo between 556 and 570. The evi dence of the mosaics is less fa vorable to the theory of Asse- manni than to the tradition which assigns them to an earlier time. See Luigi Catalani, le chiese di Napoli. 8°. Naples 1845. Vol. I. p. p. 46. 47. 3 Of the four symbolical figures of the Evangelists, that which represents St. John in the form of an angel has the head of an aged man the regular features of the classic Roman time. 4 In the centre of the cupola is the Greek monogram and cross.