Sometimes all appear awake, which is normal in the East, but in western depictions sometimes some or even all appear asleep; when faces are hidden, as they often are, it is not always possible to tell which is intended. Methods of depicting the bright light emitted by Jesus vary, including mandorlas, emanating rays, and giving him a gilded face, as in the Ingeborg Psalter. In the East the voice of God may also be represented by light streaming from above onto Christ, while in the West, as in other scenes where the voice is heard, the Hand of God more often represents it in early scenes. The Sinai image is recognizably the same scene as found on modern Orthodox icons, with some differences: only Christ has a halo, which is still typical at this date, and the plain gold background removes the question of depicting the mountain setting which was to cause later Western artists difficulties. The shape of the apse space puts the prophets and disciples on the same ground-line, though they are easily distinguished by their different postures. But there are other early images which are less recognisable, and whose identity is disputed; this is especially the case where the disciples are omitted in small depictions; the 4th century Brescia Casket in ivory and a scene on the 5th century wooden doors of Santa Sabina in Rome may show the Transfiguration with just three figures, but, like many early small depictions of miracles of Christ, it is difficult to tell what the subject is. A different, symbolic, approach is taken in the apse mosaic of the Basilica of Sant'Apollinare in Classe in Ravenna, also mid 6th century, where half-length figures of Moses (beardless) and Elijah emerge from little clouds on either side of a large jewelled cross with a Hand of God above it. This scene occupies the "sky" over a standing figure of Saint Apollinaris (said to have been a disciple of Saint Peter) in a paradisal garden, who is flanked by a frieze-like procession of twelve lambs, representing the Twelve Apostles. Three further lambs stand higher up, near the horizon of the garden, and looking up at the jewelled cross; these represent the three apostles who witnessed the Transfiguration. In more vertical depictions of the standard type the scene resolved itself into two zones of three figures: above Christ and the prophets, and below the disciples.