[364] Such symbols were not peculiar to Christian tombs. There were many pagan examples of a similar character. Thus a _cultrarius_, or cutler, has knives; a _pullarius_, or poulterer, a cage or coop of chickens; a _tabellarius_, and postman, a writing case; and a _marmorarius_, or mason, a mallet and chisel, on his tomb. Sometimes a shop, with customers bargaining, is shown. A bag or purse signifies an agent; money, a banker; and the like. The _ascia_ or axe, so common on Roman tombs, probably represents a sacrificial instrument. Analogous to these are the sphere and cylinder engraven on the tomb of Archimedes, and the square and compasses on modern masonic monuments. In the Armenian cemeteries a hammer, trowel, last, scales, and shears, indicate the grave of a carpenter, mason, shoemaker, grocer, or tailor. In the Cemetery de l’Est, at Paris, animals acting mark the tomb of the French fabulist, La Fontaine; masks, that of Molière; a palette or brushes, that of a painter. See also the naval and military trophies on the tombs of many distinguished sailors and soldiers. [365] Fig. 112. This symbol is designated by modern Italians La Navicella di San Pietro--the Bark of St. Peter. From the fancied resemblance of the body of the church to a ship, or from the above allusion, the word _nave_, applied to that part, has been derived as if from _navis_, a ship. May it not possibly be from ναός, a temple? [366] “Arbor quædam in navi,” says St. Ambrose, “est crux in ecclesia.” [367] Compare the following beautiful passage from Tertullian, in which the metaphor is elaborately carried out: “Amid the reefs and inlets, amid the shallows and straits of idolatry, Faith, her sails filled with the Spirit of God, navigates; safe, if cautious, secure, if intently watchful. But to such as are washed overboard is a deep, whence is no outswimming; to such as run aground is inextricable shipwreck; to such as are engulfed is a whirlpool, where there is no breathing in idolatry. All its waves suffocate; every eddy drags down to Hades.”--_De Idol._, c. 24. [368] Compare 2 Esdras ii, 44, 45. See _ante_, Fig. 18. The palm appears on the coins of Simon Barchocab. [369] See also Figs. 15, 77, and 82. The figures are often very conventional, and look more like geese or ducks than doves. [370] See Psa. lxviii, 13. In Mediæval art the soul is represented issuing from the mouth of the dying or flying through the air in the form of a dove. One example bears the inscription--_animæ interfectorum_--the souls of the slain. [371] See the common epigraphic expression, ΠΙΕ ΕΝ ΘΕΩ--“Drink in God,” and the language of Augustine concerning a deceased friend--“Jam ponit spirituale os ad fontem tuum, Domine, et bibit quantum potest.”--_Con._, ix, 3.