the 3rd century, they brought with them their own regional influences and artistic tastes. For example, artists jettisoned the classical portrayal of the human body for one that was more rigid and frontal. This is markedly evident in the combined porphyry Portrait of the Four Tetrarchs in Venice. With these stubby figures clutching each other and their swords, all individualism, naturalism, Roman verism, and Greek idealism diminish. The Arch of Constantine in Rome, which re-used earlier classicising reliefs together with ones in the new style, shows the contrast especially clearly. In nearly all artistic media, simpler shapes were adopted and once natural designs were abstracted. Additionally hierarchy of scale overtook the preeminence of perspective and other classical models for representing spatial organization. From around 300 Early Christian art began to create new public forms, which now included sculpture, previously distrusted by Christians as it was so important in pagan worship. Sarcophagi carved in relief had already become highly elaborate, and Christian versions adopted new styles, showing a series of different tightly packed scenes rather than one overall image (usually derived from Greek history painting) as was the norm. Soon the scenes were split into two registers, as in the Dogmatic Sarcophagus or the Sarcophagus of Junius Bassus (the last of these exemplifying a partial revival of classicism). Nearly all of these more abstracted conventions could be observed in the glittering mosaics of the era, which during this period moved from being decoration derivative from painting used on floors (and walls likely to become wet) to a major vehicle of religious art in churches. The glazed surfaces of the tesserae sparkled in the light and illuminated the basilica churches. Unlike their fresco predecessors, much more emphasis was placed on demonstrating a symbolic fact rather than on rendering a realistic scene. As time progressed during the Late Antique period, art become more concerned with biblical themes and influenced by interactions of Christianity with the Roman state. Within this Christian subcategory of Roman art, dramatic changes were also taking place in the Depiction of Jesus. Jesus Christ had been more commonly depicted as an itinerant philosopher, teacher or as the "Good Shepherd", resembling the traditional iconography of Hermes. He was increasingly given Roman elite status, and shrouded in purple robes like the emperors with orb and scepter in hand — this new type of depiction is variously thought to be derived from either