Rome 1939), sometimes recur in Christian funerary monuments, as in the cubicle called the "Greek chapel" in Priscilla, where the bust of Summer remains (J. Wilpert, Fratio panis, Paris 1866, pl. 2); later in the cemetery "inter duas lauros" (Wilpert, Pitture, pl. 100; J. P. Kirsch, Un gruppo di cripte dipinte inedite del cimitero dei SS. Pietro e Marcellino, in Riv. arch. crist., 7 [1930], pp. 231-34, figs. 18-21); in the so-called Marco e Marcello (Wilpert, Pitture, pl. 245, 1). Spring alone appears in a cubicle of Pamphilus (E. Josi, Il cimitero di Panfilo, in Riv. arch. christ., 1 [1924], p. 141, fig. 52); in Pretestato one finds: Spring under the guise of maidens weaving garlands of flowers (Wilpert, Pitture, pl. 32, 1); Summer with reaping putti (id., ibid., pl. 32, 2); Autumn with vintage putti (id., ibid., pl. 33); Winter with putti gathering olives (id., ibid., pl. 34); putti personifying the seasons are also found in Domitilla in the cubicle called dei fornai (R. Carrucci, Storia dell'arte cristiana, Prato 1876-81, pl. 21, 2) and Ponziano (J. Wilpert, Die Katakombengemilde und ihre alte Kopien, Freiburg in Br. 1891, p. 69, pl. 28).
In funerary painting, but only for decorative effect, there is also the personification of Ocean in the cemetery of Callisto (Wilpert, Pitture, pp. 30-31 and pl. 134, 1); while the river Tigris is represented (bearded, naked, reclining) near Tobias taking the fish in a fresco of the cemetery attributed to Trasone (id., ibid., p. 31 and pl. 212). The sun in the form of a human head from which rays extend toward Jonah appears in a painting of the Domitilla cemetery (id., ibid., pl. 56). Personifications of the sea and lands, as on the sarcophagus of Annius Cato, once in Callisto now in the Lateran Christian Museum (Wilpert, Sarcofagi, pp. 183-328, pl. 193, 1), or of the sea in the Crossing of the Red Sea (id., ibid., p. 183, pl. 211, 2); of Caelus (id., ibid., p. 176), of the storm or wind (id., ibid., pp. 15, 162, 184, 202); of the river Jordan, in a Vatican sarcophagus, one in the Louvre and in the Lateran 119 (id., ibid., pp. 182, 268 and fig. 106), which will later be found in the museums of the two Ravenna baptisteries and again in the "Hortus deliciarum" (Wilpert, Mosianken, p. 779, fig. 349). Later still, in the 9th-century Greek Psalter of the Bibliothèque nationale in Paris, there are personifications of Melody listening, the Mountain of Bethlehem, the nymph Echo, Night, Dawn, Strength, Power, Humility, Repentance, the Mountain, the Desert, Night, the Abyss, etc. (L. Bréhier, L'art byzantin, Paris 1924, pls. 22-25).
In the 11th century other personifications are found in the Vatican Greek Psalter 381; among these may be noted David between Wisdom and Prophecy (P. Franchi de' Cavalieri, Miniature del Cod. Vat. Reg. gr. 1 e del Salterio del Cod. Vat. gr. 381, Milan 1905, pl. 7).
The Lord with His power generally appears simply represented with the divine hand emerging from the clouds that stays Abraham’s arm ready to sacrifice Isaac or delivers the Law to Moses, or crowns the Martyrs of Christ, or in bust form high among the clouds, as in the museums of Santa Maria Maggiore (e.g., in the sacrifice of Melchizedek, or when speaking to Moses [Wilpert, Mosianken, pl. 8 and 19, 1]).
The personification of the Sun of Salvation under the well-known guise of Helios on a chariot or quadriga is found in Domitilla, "inter duas lauros" (Wilpert, Pitture, pl. 160, 1) and, in museums, on the vault of a Christian mausoleum in the Vatican (B. M. Apollonj Ghetti, A. Ferrua, E. Josi, E. Kirschbaum, Esplorazioni sotto la Confessione di S. Pietro in Vaticano, I, Vatican City 1951, p. 123, pl. D). In Christian sarcophagi the well-known personifications of the radiant Sun, the crescent Moon, sometimes continue, as on the Sarcophagus of Manosque (Wilpert, Sarcofagi, p. 328, pl. 192, 6). The personification of the Roman Church was in the apse museum of St. Peter’s Basilica, restored by Innocent III (Wilpert, Mosianken, p. 362, fig. 114); in the Exultet of Montecassino (cod. Barb. lat. 592, 11th cent.) it is represented praying with the inscription Mater Ecclesia (Enc. Catt., III, cols. 1517-18). Of absolutely Christian character are the two female figures personifying Charity and Peace (Agape and Irene), in frescoes of the cemetery "inter duas lauros" (Wilpert, Pitture, pp. 31, 433, 339, pl. 133, 2; 157, 184). Personifications of Rome, Constantinople, Alexandria and Trier were reproduced in the codex containing the Chronography of 354, notable across the drawings of the Pierresi published by J. Strzygowski (Die Kalenderbilder des Chronographen vom 354, Berlin 1888, pls. 4-7); a chapel found in Croatia depicts in the center Rome, with Constantinople and Carthage to the right and Nicomedia and Siscia to the left (CIL, III, 3969); the personification of Rome also appears in a fresco of a building discovered near the Lateran in 1655 (Wilpert, Mosianken, p. 127, 339, and pl. 1); she is a queen, as Prudence had called her (Contra Symmachum, I, 464: PL 60, 157).