the vessel with her fluttering scarf, to indicate the subsidence of the storm. The ship is like the barges that navigate the Tiber, and the sea-monster that swallows the recreant prophet is like that which menaced Andromeda.

Christianity thus preserved amid the wreck of ancient civilization some germs of classic art, over which she brooded till they quickened under the more genial influences of later times. She became thus, as Dr. Lübke remarks, the mediator between the antique heathen life and the art of modern Christendom. That distinguished critic, Raoul-Rochette, has, however, attributed to pagan types too great an influence on the art of the Catacombs, and almost denies the latter all originality or distinctiveness of treatment; and he is certainly quite in error in speaking of the almost pagan physiognomy of the decorations of the Catacombs.* He was misled in forming these opinions in part by certain monuments in the Catacomb of Prætextatus, discovered and described by Bottari, and at first supposed to be of Christian origin. This opinion, however, has been since refuted in an able monograph on the subject by Padre Garrucci. ‡

The exceptional and unique character of these monuments deserves a somewhat detailed examination. They occur in a gallery of the Catacomb, not far from the Appian Way. In the vault of an arcosolium is a representation of Venus-a subject never found in early

* "La physionomie presque payenne qui offre le decoration des Catacombes de Rome."-Discours Sur l'origine des types imitatifs de l'Art du Christianisme. Paris, 1834, p. 96.

+ Sculture e pitture sagre, etc., t. iii, pp. 193, 218.

Le Mystère de Syncretisme Phrygien dans les Catacombes Roman de Pretextat. (Nouvelle Interpretation.) Paris, 1854.

Christian art-accompanied by two genii as infants. Near these are the following epitaphs of a pagan priest and his wife :

NVMENIS ANTISTES SEBASIS VINCENTIVS HIC [EST]

QVI SACRA SANCTA DEVM PIA MENTE CO[LVIT].

Here lies Vincentius, a priest of the deity Sebasis, who with pious mind has observed the sacred rites of the gods.

VINCENTI HOC OLIM FREQVENTES QVOD VIDES
PLVRES ME ANTECESSERVNT OMNES EXPECTO
MANDVCA BIBE LVDE ET VENI AD ME

CVM VIVES BENEFAC HOC TECVM FERES.

*

O Vincentius, many formerly in crowds, as you here see, have gone before me; I await all. Eat, drink, play, and come to me. While thou livest act well: this thou shalt bear with thee.

The arcosolium to which this is attached contains the remarkable paintings represented in the accompanying engraving. The first picture to the left represents the death of Vibia, wife of Vincentius, and is labeled ABREPTIO VIBIES ET DESCENSIO. She is depicted as being borne off by Pluto, to indicate that her death was premature. The god is standing upright in his quadriga, conducted by Mercury and holding in his arms the form of Vibia. In the original picture, issuing from an urn at the foot of Mercury, is seen the river Acheron, by which Pluto is about to descend to the infernal regions, as indicated by the word DESCENSIO.

At the top of the vault is represented the judgment of Vibia at the tribunal of Pluto. The god is seated on his throne, with his wife Proserpine, and over their heads * Another reading is:

HIC ORO NE INQVETES QVOT VIDES.

Fig. 31, from Perret, tom. i, planche lx. The description in the text is translated from his account, founded on Garrucci. See also Tre sepolcri con pitture ed iscrizioni appartenenti alle superstizioni pagane del Bacco Sabazio e del Persidico Mitra. Napoli, 1852.

are written the words DISPATER and ABRACVRA--titles of the deities. To the right of the throne we see three fates-FATA DIVINA-and to the left Vibia preceded by Mercury-MERCVRIVS. NVNTIVs and accompanied by Alcestis, the heroine of conjugal love. The figures all have their names written above their heads.

The principal painting of the series, that in the tympanum of the arch, represents the introduction of Vibia to the banquet of the blessed. This is shown in the left hand corner of the picture, and is designated INDVCTIO • VIBIES. She is introduced by a youthful figure crowned with flowers, and holding in his hand a floral wreath. His name ANGELVS. BONVS-the good messenger is perhaps less an indication of Christian influence than of the Greek and Oriental ideas which have presided over the whole of these scenes. next appears seated at the banquet in the midst of those who have been judged worthy of the recompense of the good-BONORVM. IVDICIO⚫ IVDICATI. They are ranged around a crescent-shaped table formed of cushions, and wear festive crowns upon their heads. In the foreground are seen the servants.

Vibia

The fourth scene, to the extreme right of the vault, represents the funeral banquet in honor of Vibia. It is given by her husband Vincentius, who is designated by name, to the priests of Sebasis, over whose heads are written the words, SEPTE PII SACERDOTES. All these paintings, not only by their inscriptions, but by their conception and treatment, demonstrate their pagan origin. They are not in any sense or degree Christian; nor is there any reason to infer, as has been asserted, that they are of Gnostic execution, but decidedly the reverse.

But how are we to account for the presence of this pagan monument within the limits of a Christian cem

etery? There are two things to be observed, says M. Perret, in explanation of this circumstance. First, the arcosolium is not exclusively Christian in character. M. de Saulcy has given examples of several Jewish and pagan tombs in the form of arcosolia.* In the second place, there is nothing strange in a family practising an oriental rite, like the worship of Mithras-which with the Phrygian and Isiac mysteries were widely prevalent in Rome in the early Christian centuries-having a private place of sepulture, as this seems to have been. It is situated near the Appian Way, from which there was probably a separate entrance. Near by is a pagan columbarium which now forms one of the entrances of the Catacomb, of which it seems part equally with the gallery containing this tomb. This space may possibly have been originally usurped from the Christian cemetery; but it is more probable that the gallery and tomb were independently constructed, and that the fossors. came unexpectedly upon it in their excavations. This conjecture is confirmed by the indications of its having been subsequently shut off, but the obstructions have long since been removed. It is impossible to admit that the Christians, in contempt of the sacred usages of the primitive ages, have commingled their sepulchres with those of the pagans.†

But Christian art, though affected by pagan influence, did not servilely follow pagan types. It introduced new forms to express new ideas, or employed existing forms with a new significance; just as Christianity itself introduced new words, or gave new meanings to old ones, not only in the classic tongues but in every language which it has adopted as the vehicle of its sublime truths. It created a cycle of symbolical * Voyage dans les terres bibliques, pl. 5. + Perret, i, p. 44.