Page:The Classical Heritage of the Middle Ages.djvu/347

 x] ANTIQUE CHRISTIAN PAINTING 329 subjects was the change in the character and the ele- vation of the style of Christian painting in the fourth and fifth centuries. In catacomb paintings, figures and features were indeterminate ; now they have be- come clear in type and individuality; St. Peter, St. Paul, Christ, have all reached their typical individual- ities. In the catacombs, scenes or objects were occa- sionally depicted for their own sake, and not because of their religious significance. An example of this is the figure of Diogenes the Fossor (digger) in S. Domitilla. But the usual purpose of catacomb paint- ing was to typify the saving power of God, which should raise the Christian alive at the Last Day. Symbols like the fish and anchor were used in hiero- glyphic fashion. Even in Biblical scenes the composi- tion appears as a sign or a suggestion rather than a complete picture of the subject. It is different with the mosaics of the churches. They are grand and elaborate compositions; the apparent intention is to set forth the subject adequately and with a pic- torial sufficiency of detail. The lowly simplicity of the former time, with its gentle other-world calm, is changed to stately triumph; the dignity of Borne, the ceremony of Byzantium, are entering these mosaics. Naturally the naive symbolism and sug- gestion of catacomb paintings make way for a larger historical rendering and a stricter dogmatic pres- entation of Christian topics. Many of the simpler symbols disappear;* those elements of symbolism and allegory which are retained are dogmatically perfected in forms some of which became canonical i £4f., the Fish.