The oldest extant representation of the crucifixion is a miniature in a Syrian evangelarium, of date A. D. 586, now in the Laurentian Library at Florence. The treatment of the subject is exceedingly rude, bordering on the grotesque. The figure of Our Lord is crowned with a nimbus and clothed with a long purple robe The soldiers on the ground are casting lots for his garments, and the sun and moon look down upon the scene. A companion picture represents the ascension of Christ and the effusion of the Holy Spirit. “These are the oldest pictorial representations,” says Prof. Piper, “of the earthly life of Jesus and of his exaltation.... At a somewhat later period,” he continues, “they appear also in the west.”[465] Gregory of Tours, about the end of the sixth century, mentions, apparently as an unusual innovation, a picture in the church at 276 Narbonne which represented the crucifixion of Our Lord.[466] About the same time Venantius Fortunatus mentions what seems to have been a metallic cross bearing the image of Christ.[467] The figure of Jesus first appeared standing at the foot of the cross, frequently with outstretched arms as if in prayer, which type was common in the eighth century. Sometimes the bust only was exhibited at the top of the cross, or even hovering over it, as in a reliquary presented to Theodelinda by Gregory the Great, the head being crowned with a nimbus, but without any expression of pain. In the ninth century the form of Christ is raised to the centre of the cross; but he is still alive, with open eyes and head erect, as if to indicate that the divine nature was not subject to death. The hands are not nailed, but extended in prayer; the darkened sun and moon look down upon the awful tragedy; but still a feeling of reverence prevented the depicting of any expression of suffering on the countenance of the Redeemer. It was not till the eleventh century that art attempted to represent either the agony or death of the Son of God.[468] From this time he is exhibited lifeless upon the cross, his 277 hands and feet transpierced with nails and a spear wound in his side, from which the flowing blood sometimes falls on the head of the spectators, as if indicating the efficacy of the atonement; and in the thirteenth century the head drops heavily to one side.[469]