The most ancient and beautiful pyx of Christian origin is in the Berlin Museum. It was probably carved in the fifth century from good antique models; on it, Christ, posed like Probianus on his diptych, and represented as a beardless youth, is teaching the Apostles. St. Peter and St. Paul (who usually takes the place of Judas among the twelve) are seated at His feet. The apostle on the right of Christ raises his hand, just in the manner of a consul about to throw the _mappa_. On the other side is a very beautiful figure of Abraham sacrificing Isaac. The style is so completely that of the sarcophagi that when the design is drawn as a flat strip it could easily be mistaken for one. In the Bargello there is a well-carved pyx with a lively picture of the Angel appearing to the Shepherds, who, with their rough short garments and thick crooked sticks are typical antique figures and very like Joseph’s brothers on the Throne of Maximian (Fig. 13). We also find on the Throne the strange basket chair in which the Virgin sits. The onward rush of the Magi, as they bear gifts to the Infant Saviour, is a very favourite motive in Byzantine Art. Their barbaric costume, of trousers and short girdled shirt, surmounted by a Phrygian cap, traces back all through ancient Greek Art, and, minus the cap, is still the summer dress of the Russian peasant. A pyx in the Musée de Cluny (Fig. 9) is of interest, giving some of the same series of miracles that are found so repeatedly at this period, both in carvings and in the mosaics. The Healing of the Paralytic, who carries his bed, Restoring sight to the man born blind, the Woman of Samaria, the Raising of Lazarus, and the ever popular whale scenes from the Life of Jonah (Fig. 10). The minds of the early Christians seemed turned away from the scenes of Christ’s Passion and Death, and only dwelt on His human relations as a Teacher and Healer, and on His glorious position as “Pantocrator,” Ruler of All. A great triumphal joy seems to break out in the glowing mosaics of the earlier basilicas, and again and again, Christ, the Mighty, the Ruler, is represented in enormous size on the glittering walls, and not a trace of His sufferings, which formed the chief theme of later art.