The decoration of these subterranean crypts is the first employment of 206 art by the early Christians of which we have any remains. A universal instinct leads us to beautify the sepulchres of the departed. This is seen alike in the rude funeral totem of the American savage, in the massive mausolea of the Appian Way, and in the magnificent Moorish tombs of the Alhambra.[328] It is not, therefore, remarkable that the primitive Christians adorned with religious paintings, expressive of their faith and hope, the graves of the dead, or in times of persecution traced upon the martyr’s tomb the crown and palm, emblems of victory, or the dove and olive branch, the beautiful symbol of peace. It must not, however, be supposed that the first beginnings of Christian art were rude and formless essays, such as we see among barbarous tribes. The primitive believers had not so much to create the principles of art as to adapt an art already fully developed to the expression of Christian thought. Like the neophyte converts from heathenism, pagan art had to be baptized into the service of Christianity. “The germs of a new life,” says Dr. Lübke, “were in embryo in the dying antique world. Ancient art was the garment in which the young and world-agitating ideas of Christianity were compelled to veil themselves.”[329] Hence the earlier paintings are the superior in execution, and manifest a richness, a vigour and 207 freedom like that of the best specimens of the classic period. Their design is more correct, their ornamentation more chaste and elegant, and the accessories more graceful than in the later examples. These shared the gradual decline which characterized the art of the dying empire, becoming more impoverished in conception, stiff in manner, and conventional and hieratic in type, till they sink into the barbarism of the Byzantine period.