The apple is, probably, here as elsewhere, the fatal fruit of Eden, and the gourd may represent the fruit which is to be the antidote, in the same sense that the grape is occasionally used by painters of the early Flemish school. In this case the gourd would represent the Resurrection and be the revival of a very ancient symbol which has an interesting history. Among the wall paintings of the Catacombs the story of Jonah is very repeatedly found. He is taken as the type of the risen Christ,[332] since Christ Himself, answering the Pharisees, made the comparison. He is represented both as being cast up by the fish and, in the ensuing incident of his history, reposing under the gourd on the east side of the city of Nineveh. The first subject being certainly grotesque, it became more usual to depict him beneath the booth covered with long-shaped gourds, and his sleeping figure (usually with the legs crossed) is found constantly both among the Catacomb paintings and on fragments of the early Christian gilded glass. Above him there is always the same pergola-like booth with the hanging gourds. One small disk of gold-ornamented Catacomb glass[333] has upon it the usual gourd, but below, in place of Jonah, there is a large fish (Ichthys), an emblem of Christ dating from the second century. Thus the type of Christ has been replaced by His emblem, but the gourd, by association symbol of His Resurrection, remains. Therefore in these pictures by Crivelli the apple would be the symbol of our death by the act of Adam, and the gourd of our Resurrection by the act of the second Adam, Jesus Christ. In a picture of the Fall, painted in 1570 by Floris Francesco of Antwerp,[334] Adam sits upon the ground while Eve offers him an apple from the tree. On the earth beside Adam lies a very large gourd. This gourd may only exemplify the fruitfulness of Eden, or it may be another example of the antithetical use of this symbol. XXII THE POMEGRANATE Neri di Bicci,[335] Fra Angelico,[336] Filippo Lippi[337] and other artists of the fifteenth century painted the Infant Saviour with a pomegranate in His hand. On the wall of the Bargello,[338] in the Chapel of the Podestà, is a frescoed Paradise, which contains a figure long believed to be a portrait of Dante by Giotto. He is seen in profile, wearing the characteristic hood, and holds in his hand a small branch on which are two ripe pomegranates. The fresco is not now considered to be by Giotto, nor the portrait contemporaneous, but that would not materially affect the meaning of the pomegranates, if they be a symbol, since the painting dates from the last half of the fourteenth century.