[328] One of the earliest indications of human existence on the planet is a sepulchral cave in the post-pliocene drift at Aurignac, in France, in which are evidences of the celebration of the funeral banquet and other sepulchral rites. “The artificially closed Catacomb,” says Dr. Wilson, “the sepulchred dead, the gifts within, the ashes and _débris_ of the last funeral feast without, ... all tell the ever-recurring story of reverent piety, unavailing sorrow, and the instinctive faith in a future life which dwells in the breast of the rudest savage.”--“Prehistoric Man,” by Daniel Wilson, LL.D., Toronto University, p. 84. [329] “History of Art,” by Dr. Wilhelm Lübke, vol. i, p. 275. [330] “History of Christian Art,” vol. i, p. 39. [331] _Handbuch der Kunstgeschichte_, p. 14. [332] Mr. J. H. Parker refers to the fifth or sixth century many paintings which De Rossi ascribes to the second or third. These eminent authorities represent two extremes of opinion. Probably the truth lies between them. [333] No example of the former is known before A. D. 312. The nimbus is given to Our Lord in the fourth century, to angels in the fifth, but did not reach its widest application till the seventh. (Martigny, _Dict. des Antiqs. Chrét._) It was employed in ante-Christian pagan art, both Egyptian and classical. In Byzantine art it is a symbol of power and of office, and was therefore given alike to Pharaoh, Saul, Herod, Constantine, Judas, the apocalyptic Dragon, and Satan. Sometimes that of Judas is _black_. (Didron, _Iconog. Chrét._ in _loco_.) [334] Certain Gnostic images will be hereafter mentioned. [335] Ex. xx, 4. פֶּסֶל is a _carved_ image, from the root פָּסַל, to cut, or carve. [336] These pictures were generally on smooth white plaster, and in beautiful bright colours, for the most part in spaces limited by lines of vivid blue, yellow, or red, or by bands of Egyptian-like lotus or lily pattern. If on the ceiling, they were in _lunettes_ similarly divided. These bands frequently run around the _loculi_ and _arcosolia_, and divide the walls into panels. Occasionally the latter are covered with a reticulated or lattice-like pattern in bright opaque colors. The paintings are now often much faded and defaced. [337] 1 Pet. iii, 19. [338] The Mediæval conception of Christ’s “Harrowing of Hell” and delivery of our first parents, ruined through the guile of the serpent, is a striking analogue of this myth. Compare also Bacon’s rather fantastic explanation of this legend by the principles of natural and moral philosophy. See his “Wisdom of the Ancients,” chap. xi. [339] Hom. i, _De Cruce Domini_.