The principal characteristics of these pictures are a simple majesty and
earnestness of effect; perhaps spirituality is the word to use, for by
these paintings the early Christians desired to express their belief in
the religion of Christ, and especially in the immortality of the soul,
which was a very precious doctrine to them. The catacombs of Rome were
more numerous and important than those of any other city.

Many of the paintings in the catacombs had a symbolic meaning, beyond the
plainer intention which appeared at the first sight of them: you will know
what I mean when I say that not only was this picture of Moses striking
the rock intended to represent an historical fact in the life of Moses,
but the flowing water was also regarded as a type of the blessing of
Christian baptism.

[Illustration: FIG. 17.--MOSES. _From a painting in the Catacomb of S.
Agnes._]

[Illustration: FIG. 18.--DECORATION OF A ROOF. _Catacomb of S.
Domitilla._]

The walls of the chambers of the catacombs are laid out in such a manner
as to have the effect of decorated apartments, just as was done in the
pagan tombs, and sometimes the pictures were a strange union of pagan and
Christian devices.

The above cut, from the Catacomb of S. Domitilla, has in the centre the
pagan god Orpheus playing his lyre, while in the alternate compartments of
the border are the following Christian subjects: 1, David with the Sling;
2, Moses Striking the Rock; 3, Daniel in the Lion's Den; 4, The Raising of
Lazarus. The other small divisions have pictures of sacrificial animals.
These two cuts will give you an idea of the catacomb wall-paintings.

The mosaics of the Middle Ages were of a purely ornamental character down
to the time of Constantine. Then, when the protection of a Christian
emperor enabled the Christians to express themselves without fear, the
doctrines of the church and the stories of the life of Christ and the
histories of the saints, as well as many other instructive religious
subjects, were made in mosaics, and placed in prominent places in churches
and basilicas. Mosaics are very durable, and many belonging to the early
Christian era still remain.

The mosaics at Ravenna form the most connected series, and are the best
preserved of those that still exist. While it is true in a certain sense
that Rome was always the art centre of Italy, it is also true that at
Ravenna the works of art have not suffered from devastation and
restorati