They would have recognized the same mystery again without hesitation, under another form, in the painting which follows immediately afterwards, in which seven men are seen seated at a table, partaking of bread and fish. Our own thoughts, as we look at it, fly naturally to the last chapter of the Gospel according to St. John, where such an incident as this is minutely described after the miraculous draught of fishes which was the occasion of it. But unless we are very familiar with the writings of the Fathers, our thoughts would probably go no further; they would rest in the mere letter of the narrative; we should not penetrate beneath the surface, and see (as all the Fathers saw), in every circumstance related, a prophetic figure of the whole history of the church: first, the immense number of souls caught in her net, then the union of those souls with Christ, “the fish that was already laid on the hot coals” (_Piscis assus, Christus passus_), their incorporation with him through partaking of that living Bread which came down from heaven, and consequently their sure hope of abiding with him for ever in the world to come. This is no private or modern interpretation; it is drawn out at greatest length by St. Augustine; but it is to be found also in all other patristic commentaries on Holy Scripture; and the marvellous unity, not only in dogmatic teaching, but even in the use of allegories and artistic symbols, which reached from east to west in the ancient church, warrants us in assuming that it was not unknown to him who selected this scene as the central piece of decoration for the principal wall of this chamber. Next after it he painted Abraham with his son Isaac, the ram, and the faggot for the sacrifice—a type both of the sacrifice on Mount Calvary and (in a yet more lively manner) of the unbloody sacrifice still perpetually renewed on Christian altars. Thus there is the most exact similitude between the illustrations used to set forth the Holy Eucharist on the one wall and those of holy baptism on the other. Both sacraments are at the same time veiled from unbelievers, yet indicated to the faithful, by types taken from the history of the Old Law, by incidents belonging to the life of Christ, and by representations, sufficiently simple yet obscure, of the actual manner of their administration. And then the last wall was reserved for the setting forth of our resurrection, in the example of Lazarus, which was, in truth, the natural end and completion of all that the sacraments led to.