Frescoes of the baptism of Our Lord occasionally occur;[545] but the scenes of the temptation, the subject of such grotesque treatment in 325 mediæval art, nowhere appear in the Catacombs. On a sarcophagus in the Lateran Museum is an illustration of Our Lord’s first miracle at Cana of Galilee, in which he is touching the water-pots with his rod of power and turning the water into wine. [Illustration: Fig. 92.--Christ and the Woman of Samaria.] Christ talking with the woman of Samaria at the well of Sychar is a subject that is frequently repeated in fresco and relief. In the accompanying example from a sarcophagus in the Lateran, a windlass of primitive construction, like those still common in the Campagna, is shown. [Illustration: Fig. 93.--The Healing of the Paralytic.] The healing of the paralytic has been regarded as a type of the restoration of the soul paralyzed by sin. Ingenious Romanists have discovered herein a symbol of “the Sacrament of Penance,” and also 326 of “Baptism and the Remission of Sins.” In the frescoes of the Catacombs the man is represented in the act of obeying the command, “Take up thy bed and walk.” Sometimes the bed is a mere reticulated frame-work. It is also shown as in the foregoing example from the Catacomb of Callixtus. See Fig. 93. [Illustration: Fig. 94.--Christ Healing the Woman with the Issue of Blood.] Our Lord healing the infirmity of the woman with the issue of blood, who drew nigh and touched the hem of his garment, is a frequent subject of both sarcophagal and mural presentation. In the accompanying example from a bas relief of the fourth century the Saviour is apparently uttering the words, “Daughter, be of good comfort, thy faith hath made thee whole.” In the background is seen, in confused perspective, a Christian basilica of the period, with its semicircular _absis_ and detached baptistery. The doors are hung with heavy curtains to exclude the noontide heat, as is still common in Italian churches.[546] [Illustration: Fig. 95.--The Miracle of the Loaves and Fishes.] 327 The miracle of the multiplication of the loaves and fishes is a theme of frequent treatment in early Christian painting and sculpture, and was regarded in the writings of the Fathers as a eucharistic type of Him who, as the true Bread from heaven, gave his body to be broken for the life of the world. Sometimes, as on a sarcophagus in the Lateran, Our Lord stands between two disciples blessing with either hand the food which they hold. Occasionally, as in the foregoing fresco from the cemetery of St. Priscilla, the scene is represented by a group of disciples kneeling on the ground as if they had just received the food so marvellously multiplied. At their feet are seen the loaves and fishes, and in the foreground stand the seven baskets full of fragments that remained. [Illustration: Fig. 96.--Christ Opening the Eyes of the Blind.]