We find only one event subsequent to the ascension occasionally represented on the early Christian sarcophagi, namely, the apprehension of Peter,[556] which was probably regarded as a type of his being finally bound for his crucifixion. He is to be discriminated from Our Lord arrested by the Roman soldiers by his bearded
face, and by the Jewish caps, which mark the satellites of Herod Agrippa. It is remarkable that so little reference is made to St. Peter in this early Christian sculpture, and that little indicating no degree of superiority over the other apostles; and the fact is inexplicable on the Roman theory of his primacy in the so-called Apostolic College. In the still earlier frescoes of the Catacombs he is nowhere especially designated by name or attribute. The only apostle distinguished from the rest of the twelve is St. Paul, who, in a fresco in the Catacomb of St. Priscilla, is seen side by side with the Good Shepherd, and indicated by the inscription—PAVLVS PASTOR APOSTOLVS.[557] Indeed, this was the especial title of St. Paul as being “in labors more abundant” than any of the apostles.[558] Even on the sarcophagi St. Peter is only once or twice exhibited as bearing the symbolical rod of power, and these examples may be of the fifth or sixth century. In certain of the gilt glasses already mentioned he is allegorically portrayed, instead of Moses, as smiting the rock, implying the opinion that he was in some sense the representative of the latter in the New Testament economy. But these glasses are of comparatively late date, when the notion of the primacy of St. Peter was already partially developed; and even in these St. Peter and St. Paul are often found side by side, without any sign of the superiority of the former.
It is easy to discriminate in early Christian art between
the two apostles so highly honoured at Rome[559] by the strongly marked conventional types to which their portraits almost invariably conform. St. Paul is characterized by the nobler form of face, a high, bold forehead, aquiline Jewish nose, dark hair and eyes, a flowing and pointed beard, and a refined and thoughtful expression of countenance as became one brought up at the feet of Gamaliel and instructed in all the wisdom of Greek philosopher and Hebrew sage. The Galilæan fisherman is represented with strongly-knit frame, broad rustic features, short gray hair, a thick and closely curling beard, generally of silvery white, and an expression of much force and energy of character.[560] It is probable that these types were derived from authentic tradition if not from actual portraits.[561] Eusebius, Augustine, and others of the Fathers, claim
to have seen representations of these apostles preserved in painting; and the reputed portraits alleged to have been sent by Pope Sylvester to the Emperor Constantine are annually exhibited at St. Peter’s for the veneration of the faithful.[562]
Nowhere in the Catacombs do we find the least support for the notion that St. Peter is in any sense the founder of the church in Rome, much less the rock on which the church universal is built. That honour is assigned in early Christian art, as it is by the apostle himself, to Jesus Christ, the “chief corner-stone, elect, precious.”[563]
Fig. 105.—Painted Chamber in the Catacomb of St. Agnes.[564]