_The Anchor_, expressive of hope. Heb. vi. 19. _The Dove_, symbolical of the Christian soul released from its earthly tabernacle. Ps. lv. 6. _The Sheep_, symbolical of the soul still wandering amid the pastures and deserts of earthly life. Ps. cxix. 176. Isaiah liii. 6. John x. 14; xxi. 15, 16, 17. _The Phœnix_, "the palm bird," emblematical of eternity and the resurrection. _The Fish_--typical of Our Saviour--from the word ιχθυς, formed by the initial letters of the titles of Our Lord--Ιησοὑς Χριστὁς θεοὑ Υἱὁς Σωτἡρ--"Jesus Christ, the Son of God, the Saviour." _The Ship_--representing the Church militant, sometimes seen carried on the back of the fish. _Bread_, represented with fish, sometimes carried in a basket on its back, sometimes with it on a table--in allusion to the multiplication of the loaves and fishes. _A Female Figure Praying_, an "Orante"--in allusion to the Church. _A Vine_--also in allusion to the Church. Ps. lxxx. 8. Isaiah v. 1. _An Olive branch_, as a sign of peace. _A Palm branch_, as a sign of victory and martyrdom. Rev. vii. 9. _Allegorical and Biblical Representations._ Of these _The Good Shepherd_ requires an especial notice from the importance which is given to it and its frequent introduction in catacomb art, both in sculpture and painting. "By far the most interesting of the early Christian paintings is that of Our Saviour as the Good Shepherd, which is almost invariably painted on the central space of the dome or cupola, subjects of minor interest being disposed around it in compartments, precisely in the style, as regards both the arrangement and execution, of the heathen catacombs. "He is represented as a youth in a shepherd's frock and sandals, carrying the 'lost sheep' on his shoulders, or leaning on his staff (the symbol, according to St. Augustine, of the Christian hierarchy), while the sheep feed around, or look up at him. Sometimes he is represented seated in the midst of the flock, playing on a shepherd's pipe,--in a few instances, in the oldest catacombs, he is introduced in the character of Orpheus, surrounded by wild beasts enrapt by the melody of his lyre,--Orpheus being then supposed to have been a prophet or precursor of the Messiah. The background usually exhibits a landscape or meadow, sometimes planted with olive-trees, doves resting on their branches, symbolical of the peace of the faithful; in others, as in a fresco preserved in the Museum Christianum, the palm of victory is introduced, --but such combinations are endless. In one or two instances the surrounding compartments are filled with personifications of the Seasons, apt emblems of human life, whether natural or spiritual.