Then follows a third period in the history of Christian art, which, if the first two have been justly compared to its spring and summer, may itself be certainly called its autumn. It extends from the middle of the third century to the age of Constantine; and during this period there is a certain falling off of leaves, accompanied by a further development of the flower, without, however, any addition to its beauty. The symbolical element is sensibly diminished; what we have ventured to call Christian hieroglyphics are almost or quite abandoned; the parables also are less used, and even the historical types are represented in a more hard and literal form. If Moses is still seen striking the mystical rock, the literal or historical Moses is at his side, taking off his shoes before drawing near to the burning bush; or the Jews are there, in their low round caps, drinking of the waters; or if it is desired to keep the mystical sense of the history before the people, it is deemed necessary to inscribe the name of PETRUS over the head of Moses, as we see in two or three specimens of the gilded glasses found in the Catacombs, and belonging probably to the fourth century. Christ no longer appears as the Good Shepherd, but sits or stands in the midst of His Apostles, or, still more frequently, miraculously multiplies the loaves and fishes. The fish is no longer the mystical monogram, “containing a multitude of mysteries,” but appears only as a necessary feature in the representation of this same miracle. Lazarus appears swathed like a mummy, in accordance, as we know, with the fact; but earlier artists had idealised him, and made him rise from the tomb young, free, and active. The three children refusing to adore the image set up by Nabuchodonosor are brought forward, and placed in juxtaposition with the three wise men adoring the Infant Jesus, suggesting a comparison, or rather a contrast, very suitable to the altered circumstances of the times.