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50 Lord himself in regard to his resurrection, is met with constantly; and the raising of Lazarus is one of the commonest scenes chosen for representation from the story of the New Testament. Nor is this strange. The assurance of immortality was to the world of heathen converts the central fact of Christianity, from which all the other truths of religion emanated, like rays. It gave a new and infinitely deeper meaning than it before possessed to all human experience; and in its universal comprehensiveness, it taught the great and new lessons of the equality of men before God, and of the brotherhood of man in the broad promise of eternal life. For us, brought up in familiarity with Christian truth, surrounded by the accumulated and constant, though often unrecognized influences of the Christian faith upon all our modes of thought and feeling, the imagination itself being more or less completely under their control,— for us it is difficult to fancy the change produced in the mind of the early disciples of Christ by the reception of the truths which he revealed. During the first three centuries, while converts were constantly being made from heathenism, brought over by no worldly temptation, but by the pure force of the new doctrine and the glad tidings over their convictions, or by the contagious enthusiasm of example and devotion,—faith in Christ and in his teachings must, among the sincere, have been always connected with a sense of wonder and of joy at the change wrought in their views of life and of eternity. Their thoughts dwelt naturally upon the resurrection of their Lord, as the greatest of the miracles which were the seal of his divine commission, and as the type of the rising of the followers of Him who brought life and immortality to light.

The troubles and contentions in the early Church, the disputes between the Jew and the Gentile convert, the excesses of spiritual excitement, the extravagances of fanciful belief, of which the Epistles themselves furnish abundant evidence, ceased to all appearance at the door of the catacombs. Within them there is nothing to recall the divisions of the faithful; but, on the contrary, the paintings on the walls almost universally relate to the simplest and most undisputed truths. It was fitting that among these the types of the Resurrection should hold a first place.

But the spiritual needs of life were not to be supplied by the promises and hopes of immortality alone. There were wants which craved immediate support, weaknesses that needed present aid, sufferings that cried for present comfort, and sins for which repentance sought the assurance of direct forgiveness. And thus another of the most often-repeated of the pictures in the catacombs is that of the Saviour under the form of the Good Shepherd. No emblem fuller of meaning, or richer in consolation, could have been found. It was very early in common use, not merely in Christian paintings, but on Christian gems, vases, and lamps. Speaking with peculiar distinctness to all who were acquainted with the Gospels, it was at the same time a figure that could be used without exciting suspicion among the heathen, and one which was not exposed to desecration or insult from them; and under emblems of this kind, whose inner meaning was hidden to all but themselves, the first Christians were often forced to conceal the expression of their faith. This figure recalled to them many of the sacred words and most solemn teachings of their Lord: "I am the Good Shepherd; the good shepherd giveth his life for the sheep." Often the good shepherd was represented as bearing the sheep upon his shoulders; and the picture addressed itself with touching and effective simplicity to him whom fear of persecution or the force of worldly temptations had led away. When one of his sheep is lost, doth not the shepherd go after it until he find it? "And when he hath found it, he layeth it on his shoulders, rejoicing." "There is joy in the presence of the angels of God over one sinner that repenteth." How often, before this picture, has some