ternal exhibitions of their religion. The same features which accompany the religious manifestations of the uncultivated in our own days, undoubtedly, with somewhat different aspect, presented themselves at Rome. The enthusiasms, the visions, the loud preaching and praying, the dull iteration and reiteration of inspired truth till all the inspiration is driven out, were all probably to be heard and witnessed in the early Christian days at Rome. Not all the converts were saints,—and none of them were such saints as the Catholic painters of the last three centuries have prostituted Art and debased Religion in producing. The real St. Cecilia stood in the beauty of holiness before the disciples at Rome far purer and lovelier than Raphael has painted her. Domenichino has outraged every feeling of devotion, every sense of truth, every sympathy for the true suffering of the women who were cruelly murdered for their faith, in his picture of the Martyrdom of St. Agnes. It is difficult to destroy the effect that has been produced upon one’s own heart by these and innumerable other pictures of declining Art,—pictures honored by the Roman Church of to-day,—and to bring up before one’s imagination, in vivid, natural, and probable outline, the life and form of the converts, saints, and martyrs of the first centuries. If we could banish all remembrance of all the churches and all the pictures contained in them, built and painted since the fourteenth century, we might hope to gain some better view of the Christians who lived above the catacombs, and were buried in them. It is from the catacombs that we must seek all that is left to enable us to construct the image that we desire.
On other graves beside those of the martyrs there are often found some little signs by which they could be easily recognized by the friends who might wish to visit them again. Sometimes there is the impression of a seal upon the mortar; sometimes a ring or coin is left fastened into it; often a terra-cotta lamp is set in the cement at the head of the grave. Touching, tender memorials of love and piety! Few are left now in the opened catacombs, but here and there one may be seen in its original place,—the visible sign of the sorrow and the faith of those who seventeen or eighteen centuries ago rested upon that support on which we rest today, and found it, in hardest trial, unfailing.
But the galleries of the catacombs are not wholly occupied with graves. Now and then they open on either side into chambers (cubicula) of small dimension and of various form, scooped out of the rock, and furnished with graves around their sides,—the burial-place arranged beforehand for some large family, or for certain persons buried with special honor. Other openings in the rock are designed for chapels, in which the burial and other services of the Church were performed. These, too, are of various sizes and forms; the largest of them would hold but a small number of persons;[1] but not unfrequently two stand opposite each other on the passage-way, as if one were for the men and the other for the women who should be present at the services. Entering the chapel through a narrow door whose threshold is on a level with the path, we see at the opposite side a recess sunk in the rock, often semicircular, like the apsis of a church, and in this recess an arcosolium,—which served at the same time as the grave of a martyr and as the altar of the little chapel. It seems, indeed, as if in many cases the chapel had been formed not so much for the general purpose of holding religious service within the catacombs, as for that of celebrating worship over the remains of the martyr whose body had been transferred from its original grave to this new tomb. It was thus that the custom, still prevalent in the Roman Church, of requiring that some relics shall be contained within an altar before it is held to be consecrated, probably began. Perhaps it was with some reference to
- ↑ These chapels are generally about ten feet square. Some are larger, and a few smaller than this
