The largest number and the best of these sarcophagi are now in the museums of the Lateran and the Vatican. In the centre of one of the finest of these is a shell, in which are the half figures of the two who were buried in this sarcophagus. At the upper left hand is the Saviour before the tomb of Lazarus; one of the sisters of the dead man kisses the hand of Jesus; next to this is the Denial of Peter; nearest the shell Moses reaches up to receive the Table of the Law. On the right of the shell, in the upper row, is the Sacrifice of Isaac and the Washing of Pilate's Hands. On the lower row, beginning at the left, is Moses causing the Water to flow from the Rock; next is the Apprehension of Peter, and next, Daniel in the Lions' Den. Besides these there are the Healing of the Blind and the Miracle of the Loaves and Fishes. This will show how elaborate the carving is on these burial-cases, and how the subjects from the Old and New Testaments are mingled without order or apparent reason. These sarcophagi have been found in various parts of Italy and in France, and are seen in many museums. In no part of the Roman Empire was sculpture as favorably regarded by the early Christians as at Byzantium. Several attempts to adorn the city with statues and other works of art were made there, and many of the Greek sculptures which had been carried to Rome were again borne off to decorate this new Capitol. The Emperor Constantine there erected a column a hundred feet high, and placed his statue on it; Theodosius also erected a column and an obelisk; but Justinian excelled all these, and about 543 A.D. set up a monument with a colossal equestrian statue of himself in bronze upon it. The column which supported this statue was of brick masonry covered with plates of bronze. From the accounts we have of it we conclude that this was a fine work for its time; it was called the Augustio, and was placed on the Augusteum near the church of St. Sophia; in the sixteenth century it had been overthrown and broken in pieces, and the metal was then melted down. The artist who executed the Augustio was Eustathius of Rome, who was sent to Byzantium for this purpose. But the Byzantine Christians soon grew into a fixed disapproval of statues, and favored only the lesser works of art. Ivory-carving, which long before had been brought from the East by the Greeks, now came into special favor, and the Byzantine artists devoted all their talent to making beautiful works of this sort. The most important of these carvings which remains is in the cathedral of Ravenna. It is the episcopal chair or cathedra of Maximianus, and was made between 546 and 552 (Fig. 72).