The figures on the Murano panel are long and slight, and the modelling, though very barbarous, does round off to the background. Above are the well-known group of flying angels supporting a garland. These figures in the course of time have gone through a whole cycle of changes; starting from the flying Erotes who so commonly support the portrait of the deceased on Roman sarcophagi, they became clothed and elongated, as we see them here, and at last stripped and chubby again we find them on the tombs of the Medici, while their grown-up relations hover over many an Italian picture and sculpture. The peculiar dumpy dolphin is an interesting specimen of longevity, going through more than two thousand years of life from the Choragic Monument at Athens to a London Drinking Fountain without changing a line. The surprised gesture of the accompanying disciple (Fig. 9), and of the Three Children in the Fiery Furnace (Fig. 10), is another of those delightful conventions that meet us at every turn in this most naïve group of sculptures. We meet it again in the St. Lupicien panels, which are very similar, but nearer in technique to the scenes on the Throne of Maximian. The subjects vary little, but instead of Jonah there is a charming picture of the Woman of Samaria standing by the well. The figure of Christ seated in the central panel is old and bearded, and it so closely resembles the St. John Baptist on the Throne (Fig. 12) that, except for the large cruciform nimbus, it might be taken for that saint. The workmanship is coarse and the hands are terribly large and ill drawn. The drawing on the Etschmiadzin Book Cover, which is in the same style as St. Lupicien, is still more incorrect, the legs and arms of the flying angels being quite detached and merely placed in the drapery at suitable angles. The modelling is even worse, and goes in many places sheer down to the background from a surface covered with grooved lines. Yet the figure of the youthful Christ is not unpleasing, with the wide smooth face so characteristic of early Byzantine art. The pose, with fingers raised to teach or bless, is taken directly from the Roman official type, and should be compared with the diptych of Probianus. The Virgin is accompanied by two angels, who, though without wings, can be recognized by their pointed diadems, which have been inherited by the angels in Italian painting.