number seven millions. We did not go through all the passages of all the catacombs. We were very anxious to do it, and made the necessary arrangements, but our too limited time obliged us to give up the idea. So we only groped through the dismal labyrinth of St. Callixtus, under the Church of St. Sebastian. In the various catacombs are small chapels rudely hewn in the stones, and here the early Christians often held their religious services by dim, ghostly lights. Think of mass and a sermon away down in those tangled caverns under ground!
In the catacombs were buried St. Cecilia, St. Agnes, and several other of the most celebrated of the saints. In the catacomb of St. Callixtus, St. Bridget used to remain long hours in holy contemplation, and St. Charles Borromeo was wont to spend whole nights in prayer there. It was also the scene of a very marvelous thing.
“Here the heart of St. Philip Neri was so inflamed with divine love as to burst his ribs.”
I find that grave statement in a book published in New York in 1808, and written by “Rev. William H. Neligan, LL.D., M. A., Trinity College, Dublin; Member of the Archaeological Society of Great Britain.” Therefore, I believe it. Otherwise, I could not. Under other circumstances I should have felt a curiosity to know what Philip had for dinner.
This author puts my credulity on its mettle every now and then. He tells of one St. Joseph Calasanctius whose house in Rome he visited; he visited only the house — the priest has been dead two hundred years. He says the Virgin Mary appeared to this saint. Then he continues:
“His tongue and his heart, which were found after nearly a century to be whole, when the body was disinterred before his canonization, are still preserved in a glass case, and after two centuries the heart is still whole. When the French troops came to Rome, and when Pius VII. was carried away prisoner, blood dropped from it.”
To read that in a book written by a monk far back in the Middle Ages, would surprise no one; it would sound natural and proper; but when it is seriously stated in the middle of the nineteenth century, by a man of finished education, an LL.D., M. A., and an Archaeological magnate, it sounds strangely enough. Still, I would gladly change my unbelief for Neligan’s faith, and let him make the conditions as hard as he pleased.
The old gentleman’s undoubting, unquestioning simplicity has a rare freshness about it in these matter-of-fact railroading and telegraphing days. Hear him, concerning the church of Ara Coeli:
“In the roof of the church, directly above the high altar, is engraved, ‘Regina Coeli laetare Alleluia.’ In the sixth century Rome was visited by a fearful pestilence. Gregory the Great urged the people to do penance, and a general procession was formed. It was to proceed from Ara Coeli to St. Peter’s. As it passed before the mole of Adrian, now the Castle of St. Angelo, the sound of heavenly voices was heard singing (it was Easter morn,) ‘Regina Coeli, laetare! alleluia! quia quem meruisti portare, alleluia! resurrexit sicut dixit; alleluia!’ The Pontiff, carrying in his hands the portrait of the Virgin, (which is over the high altar and is said to have been painted by St. Luke,) answered, with the astonished people, ‘Ora pro nobis Deum, alleluia!’ At the same time an angel was seen to put up a sword in a scabbard, and the pestilence ceased on the same day. There are four circumstances which ‘CONFIRM’ — [The italics are mine — M. T.] — this miracle: the annual procession which takes place in the western church on the feast of St Mark; the statue of St. Michael, placed on the mole of Adrian, which has since that time been called the Castle of St. Angelo; the antiphon Regina Coeli which the Catholic church sings during paschal time; and the inscription in the church.”
CHAPTER XXVIII.
From the sanguinary sports of the Holy Inquisition; the slaughter of the Coliseum; and the dismal tombs of the Catacombs, I naturally pass to the picturesque horrors of the Capuchin Convent. We stopped a moment in a small chapel in the church to admire a picture of St. Michael vanquishing Satan — a picture which is so beautiful that I can not but think it belongs to the reviled “Renaissance,” notwithstanding I believe they told us one of the ancient old masters painted it — and then we descended into the vast vault underneath.
Here was a spectacle for sensitive nerves! Evidently the old masters had been at work in this place. There were six divisions in the apartment, and each division was ornamented with a style of decoration peculiar to itself — and these decorations were in every instance formed of human bones! There were shapely arches, built wholly of thigh bones; there were startling pyramids, built wholly of grinning skulls; there were quaint architectural structures of various kinds, built of shin bones and the bones of the arm; on the wall were elaborate frescoes, whose curving vines were made of knotted human vertebrae; whose delicate tendrils were made of sinews and tendons; whose flowers were formed of knee-caps and toe-nails. Every lasting portion of the human frame was represented in these intricate designs (they were by Michael Angelo, I think,) and there was a careful finish about the work, and an attention to details that betrayed the artist’s love of his labors as well as his schooled ability. I asked the good-natured monk who accompanied us, who did this? And he said, “We did it” — meaning himself and his brethren up stairs. I could see that the old friar took a high pride in his curious show. We made him talkative by exhibiting an interest we never betrayed to guides.
“Who were these people?”
“We — up stairs — Monks of the Capuchin order — my brethren.”
“How many departed monks were required to upholster these six parlors?”
“These are the bones of four thousand.”
“It took a long time to get enough?”
“Many, many centuries.”
“Their different parts are well separated — skulls in one room, legs in another, ribs in another — there would be stirring times here for a while if the last trump should blow. Some of the brethren might get hold of the wrong leg, in the confusion, and the wrong skull, and find themselves limping, and looking through eyes that were wider apart or closer together than they were used to. You can not tell any of these parties apart, I suppose?”
“Oh, yes, I know many of them.”
He put his finger on a skull. “This was Brother Anselmo — dead three hundred years — a good man.”
He touched another. “This was Brother Alexander — dead two hundred and eighty years. This was Brother Carlo — dead about as long.”
Then he took a skull and held it in his hand, and looked reflectively upon it, after the manner of the grave-digger when he discourses of Yorick.
“This,” he said, “was Brother Thomas. He was a young prince, the scion of a proud house that traced its lineage back to the grand old days of Rome well nigh two thousand years ago. He loved beneath his estate. His family persecuted him; persecuted the girl, as well. They drove her from Rome; he followed; he sought her far and wide; he found no trace of her. He came back and offered his broken heart at our altar and his weary life to the service of God. But look you. Shortly his father died, and likewise his mother. The girl returned, rejoicing. She sought every where for him whose eyes had used to look tenderly into hers out of this poor skull, but she could not find him. At last, in this coarse garb we wear, she recognized him in the street. He knew her. It was too late. He fell where he stood. They took him up and brought him here. He never spoke afterward. Within the week he died. You can see the color of his hair — faded,
