p>The Atlantic Monthly, Volume 02, No. 09, July, 1858 / A Magazine of Literature, Art, and Politics
THE ATLANTIC MONTHLY
—fessoque Sacrandum Supponato capiti lapidem, Curistoque quiescam. PAULINUS OF NOLL
Et factus est in pace locus ejus et halitatio in Sion.
Rome is preëminently the city of monuments and inscriptions, and the lapidary style is the one most familiar to her. The Republic, the Empire, the Papacy, the Heathens, and the Christians have written their record upon marble. But gravestones are proverbially dull reading, and inscriptions are often as cold as the stone upon which they are engraved.
The long gallery of the Vatican, through which one passes to enter the famous library, and which leads to the collection of statues, is lined on one side with heathen inscriptions, of miscellaneous character, on the other with Christian inscriptions, derived chiefly from the catacombs, but arranged with little order. The comparison thus exhibited to the eye is an impressive one. The contrast of one class with the other is visible even in external characteristics. The old Roman lines are cut with precision and evenness; the letters are well formed, the words are rightly spelt, the construction of the sentences is grammatical. But the Christian inscriptions bear for the most part the marks of ignorance, poverty, and want of skill. Their lines are uneven, the letters of various sizes, the words ill-spelt, the syntax often incorrect. Not seldom a mixture of Greek and Latin in the same sentence betrays the corrupt speech of the lower classes, and the Latin itself is that of the common people. But defects of style and faults of engraving are insufficient to hide the feeling that underlies them.
Besides this great collection of the Vatican, there is another collection now being formed in the loggia of the Lateran Palace, in immediate connection with the Christian Museum. Arranged as the inscriptions will here be in historic sequence and with careful classification, it will be chiefly to this collection that the student of Christian antiquity will hereafter resort. It in in the charge of the Cavaliere de Rossi, who is engaged in editing the Christian inscriptions of the first six centuries, and whose extraordinary learning and marvellous sagacity in deciphering and determining the slightest remains of ancient stone-cutting give him unexampled fitness for the work. Of these inscriptions, about eleven thousand are now known, and of late some forty or fifty have been added each year to the number previously recorded. But a very small proportion of the eleven thousand remain in situ in the catacombs, and besides the great collections of the Vatican and the Lateran, there are many smaller ones in Rome and in other Italian cities, and many inscriptions originally found in the subterranean cemeteries are now scattered in the porticos or on the pavements of churches in Rome, Ravenna, Milan, and elsewhere. From the first period of the desecration of the catacombs, the engraved tablets that had closed the graves were almost as much an object of the greed of pious or superstitious marauders as the more immediate relics of the saints. Hence came their dispersion through Italy, and hence, too, it has happened that many very important and interesting inscriptions belonging to Rome are now found scattered through the Continent.
It has been, indeed, sometimes the custom of the Roman Church to enhance the value of a gift of relics by adding to it the gift of the inscription on the grave from which they were taken. A curious instance of this kind, connected with the making of a very popular saint, occurred not many years since. In the year 1802 a grave was found in the Cemetery of St. Priscilla, by which were the remains of a glass vase that had held blood, the indication of the burial-place of a martyr. The grave was closed by three tiles, on which were the following words painted in red letters: LVMENA PAXTE CVMFL. There were also rudely painted on the tiles two anchors, three darts, a torch, and a palm-branch. The bones found within the grave, together with the tiles bearing the inscription, were placed in the Treasury of Relics at the Lateran.
On the return of Pius VII., one of the deputation of Neapolitan clergy sent to congratulate him sought and received from the Pope these relics and the tiles as a gift for his church. The inscription had been read by placing the first tile after the two others, thus,—PAX TECUM FILUMENA, Peace be with thee, Filumena; and Filumena was adopted as a new saint in the long list of those to whom the Roman Church has given this title. It was supposed, that, in the haste of closing the grave, the tiles had been thus misplaced.
Very soon after the gift, a priest, who desired not to be named on account of his great humility, had a vision at noonday, in which the beautiful virgin with the beautiful name appeared to him and revealed to him that she had suffered death rather than yield her chastity to the will of the Emperor, who desired to make her his wife. Thereupon a young artist, whose name is also suppressed, likewise had a vision of St. Filomena, who told him that the emperor was Diocletian; but as history stands somewhat opposed to this statement, it has been suggested that the artist mistook the name, and that the Saint said Maximian. However this may be, the day of her martyrdom was fixed on the 10th of August, 303. Her relics were carried to Naples with great reverence; they were inclosed, after the Neapolitan fashion, in a wooden doll of the size of life, dressed in a white satin skirt and a red tunic, with a garland of flowers on its head, and a lily and a dart in its hand. This doll, with the red- lettered tiles, was soon transferred to its place in the church of Mugnano, a small town not far from Naples. Many miracles were wrought on the way, and many have since been wrought in the church itself. The fame of the virgin spread through Italy, and chapels were dedicated to her honor in many distant churches; from Italy it reached Germany and France, and it has even crossed the Atlantic to America. Thus a new saint, a new story, and a new exhibition of credulity had their rise not long ago from a grave and three words in the catacombs.
One of the first differences which are obvious, in comparing the Christian with the heathen mortuary inscriptions, is the introduction in the former of some new words, expressive of the new ideas that prevailed among them. Thus, in place of the old formula which had been in most common use upon gravestones, D.M., or, in Greek, [Greek: TH.K.], standing for Dis Manibus, or [Greek: Theois karachthoniois], a dedication of the stone to the gods of death, we find constantly the words In pace. The exact meaning of these words varies on different inscriptions, but their general significance is simple and clear. When standing alone, they seem to mean that the dead rests in the peace of God; sometimes they are preceded by Requiescat, "May he rest in peace"; sometimes there is the affirmation, Dormit in pace, "He sleeps in peace"; sometimes a person is said recessisse in pace, "to have departed in peace." Still other forms are found, as, for instance, Vivas in pace, "Live in peace," or Suscipiatur in pace, "May he be received into peace,"—all being only variations of the expression of the Psalmist's trust, "I will lay me down in peace and sleep, for thou, Lord, only makest me dwell in safety." It is a curious fact, however, that on some of the Christian tablets the same letters which were used by the heathens have been found. One inscription exists beginning with the words Dis Manibus, and ending with the words in pace. But there is no need of finding a difficulty in this fact, or of seeking far for an explanation of it. As we have before remarked, in speaking of works of Art, the presence of some heathen imagery and ideas in the multitude of the paintings and inscriptions in the catacombs is not so strange as the comparatively entire absence of them. Many professing Christians must have had during the early ages but an imperfect conception of the truth, and can have separated themselves only partially from their previous opinions, and from the conceptions that prevailed around them in the world. To some the letters of the heathen gravestones, and the words which they stood for, probably appeared little more than a form expressive of the fact of death, and, with the imperfect understanding natural to uneducated minds, they used them with little thought of their absolute significance.1
Another difference in words which is very noticeable, running through the inscriptions, is that of depositus, used by the Christians to signify the laying away in the grave, in place of the heathen
It is probable that most of the gravestones upon which this heathen formula is found are not of an earlier date than the middle of the fourth century. At this time Christianity became the formal religion of many who were still heathen in character and thought, and cared little about the expression of a faith which they had adopted more from the influence of external motives than from principle or conviction.
