Very naturally in proportion to the imperial opposition the faithful became more fervent. As they could not publicly meet for worship and prayer, they were compelled to do so clandestinely. Now in order that only the faithful should enter, and that the enemies might be detected, a system of tesseræ was invented, and soon these were made in the form of engraved pietradura; the designs always were of the simplest character--a dove, two or three fish, two palms crossed, etc., and other religious gem-tokens; this formed the glyptic epoch known as the Early Christian gems. Be it understood, there was no representation of “God,” the “Father,” or of “Christ;” only simple symbols of the class already described; symbols of their simple faith. This was a period of glyptic work in which a series of gems were engraved by a people who pursued their avocation under peculiarly trying circumstances; they were the “Early Christians.” The children born of those who had already espoused the new doctrine were taught with the first lessons of life to know, to revere, and to trust in the Saviour; with their earliest lisping words, from the cradle they learned to plead in prayer for divine protection. The earliest Christians, the first converts, born in paganism, had not the opportunities with which their offspring and descendants were favored; they had to renounce the superstitions in which they had been reared, and were often obliged to sever the friendly ties of youth. These first enrolled with the followers of Christ, pagans, whose convictions impelled them to accept the Redeemer, offered to their inquiring hearts, commenced anew lives with many pagan prejudices and customs clinging to them. Some of them were incisori, and it is interesting to observe among the comparatively few gems of this epoch the evidence of transition. Many of these gems unquestionably bearing some of the simpler Christian decoration were still adorned with pagan designs. On one we find Astarte; on others, Serapis, Mercury, Venus, or Apollo. The divinity, the loveliness of expression sometimes given to these transition portraits seem to have been the work of artists whose souls were imbued with the singular beauty of that Divine Man whom Publius Lentulus announced to the Senate as “the prophet of truth,” a man whose personal beauty excelled all human creatures--and yet the effigy really was of some pagan deity. These gems, however, which were characterized by remnants of pagan decoration, were only of the epoch immediately succeeding the institution of the sect of “followers of Christ,” and preceding the dawning struggle of the “Early Christians,” to establish their belief and to retain their rights as citizens. They renounced the idolatrous religion of the nation, and their glyptic work was generally typical of the purity and simplicity of their faith and their devotion to its observance. [Illustration] BYZANTINE.