LAMB IN ART. In the ancient Christian art of the Catacombs we find the lamb figuring as emblem of the Redeemer as early as the 3d century, though rarely, later to become quite commonly used to represent Christ, and re ferring to the mention by Saint John the Evan gelist and the Jewish Paschal lamb. Some early depictions have an accompanying shep herd's staff, later the Good Shepherd appears. Early in the 4th century we find the symbols of the cross and nimbus, to be followed later by the cross and banner of the Agnus Dei that has continued to this day. Another early rep resentation met with is that of Christ, in the form of a lamb, standing on a mount, from which four streams flow, typifying the four Evangelists. Other pictures give the Savior in human form with a lamb by His side and sur rounded by 12 other lambs, symbols of the 12 Apostles. But the primitive Christians used the lamb or sheep as symbol of other Old and New Testament personages; as instances are those where it represents Moses, Saint John the Baptist, the Apostles. In fact the Apostles are found represented by a lamb constantly in the Catacomb frescoes, ancient sarcophagi and ancient mosaics in Roman basilicas. Again, lambs have been used as symbolic of the 12 tribes of Israel. It is generally conceded in ecclesiastical art that when more than 12 lambs are presented they refer to the faithful. En tire Biblical scenes have been depicted in which the sacred personages performing take on the form of lambs. Illustrations which depict the lamb of the Apocalypse represent the symbol, with seven horns and seven eyes, breaking the seven seals of the mysterious book. It is often seen surrounded by crosses and with the four Evangelists depicted at the extremities; several sepulchral brasses display this combination.
Ancient pictures portray the lamb performing numerous acts, such as raising Lazarus from the dead, multiplying the loaves in the wilder ness, crossing the Red Sea. It is also found being baptized in the Jordan, standing at the foot of the cross, lying slain upon an altar, shedding blood from its breast into a chalice, blood pouring in four streams from its feet. In such cases the lamb is depicted always as carrying a cross. Early mosaics and frescoes show the lamb lying on a throne surmounted by a cross. The lamb pictured on chasubles and altar frontals is often lying, as if dead, upon the Book with the seven seals, also as holding, while standing, the banner of the Res urrection with the fore foot or the rear foot. In this action it has been accepted as the her aldic insignia of several towns, noble families and societies. Artists in depicting the Agnus Dei have generally accepted the following rules: The lamb's body is white; the head is surrounded with a nimbus of gold containing a red cross; the banner, depending from the traverse of a reclining cross, has a white field, red at the base point and a red cross in centre. The whole is usually enclosed either in a cir cle or quatrefoil with field azure (blue) or gales (red). As an attribute in ecclesiastical art the lamb is found accompanying Saint Ag nes, Saint Genevieve, Saint Catherine and Saint Regina. Saint John is frequently depicted car rying a lamb or accompanied by the Paschal lamb, and buildings dedicated to this saint often show the lamb as decorative motif. In some pictures and statuary the lamb appears as sym bol of the virtues the person represented was noted for, such as Innocence, Meekness, Purity.
urity.