Christ’s triumphant entry into Jerusalem, the presage and symbol of his final victory in the world and entrance as the King of Glory into the New Jerusalem on high, occurs with great frequency and considerable variety of treatment. Although dissociated from this scene in the gospel narrative, Zacchæus is almost invariably connected therewith in this primitive art, and generally
appears mounted in a a tree gazing at the procession. At times the scene is reduced to its simplest elements; at others, as in [Fig. 101], from a sarcophagus in the Lateran, it is more elaborately treated, exhibiting the multitudes spreading their garments, and strewing branches of palm before the meek conqueror.
Peter’s denial of his Master is a theme that is frequently repeated. The cock, whose crowing awoke the disciple’s late remorse, without which it would sometimes be impossible to discriminate the scene, is generally shown, as in the following sarcophagal example from the Lateran Museum.
Fig. 102.—Peter’s Denial of Christ.
As we have already remarked, the tragic scenes of the passion of Our Lord find no place in this primitive cycle. These were felt to be subjects for devout meditation rather than for pictorial treatment. The early Christians preferred to contemplate Christ rather as the victor over death and hell, than as the victim of suffering and shame. “The agony, the crown of thorns, the nails, the spear,” says a distinguished critic of this primitive art,[551] “seem all forgotten in the fullness of joy brought by his resurrection. This is the theme, Christ’s resurrection, and that of the church in his person, on which, in their peculiar language, the artists of the Catacombs seem never weary of expatiating; death swallowed
up in victory, and the victor crowned with the amaranth wreath of immortality, is a vision ever before their eyes, with a vividness of anticipation which we, who have been born to this belief, can but feebly realize.”
