Chapter IV

THE REDISCOVERY AND EXPLORATION OF THE CATACOMBS.

It would seem that the rediscovery of the Catacombs was providentially reserved to a period especially adapted for their profitable study. In the fullness of time, when the great Reformation was emancipating the minds of men from the trammels of superstition, and long-venerated beliefs and usages were being compared with the still older primitive faith and practice, this marvellous testimony of the purity, simplicity, and piety of the early church was unveiled. These Christian evidences, which have no parallel save in the sacred scriptures themselves, after having been sealed up during the dark ages of ignorance and superstition, were brought to light in a period of intellectual quickening and revived classical learning, which stimulated the minds of men to the study of the past and to the rescue from oblivion of the priceless remains of antiquity. The newly-invented printing-press and the engraver’s burin preserved the record of much that has since perished; and Roman archæologists, seeking in the monuments of antiquity for corroboration of papal doctrine and practice, brought to light the disproof of their existence in the early ages of the church. A rejection of this testimony would invalidate all monumental evidence, whether sacred or secular, concerning the past.

The rediscovery of this subterranean city took place in the year 1578. Some labourers digging pozzolana in a vineyard on the Salarian Way came suddenly upon an ancient cemetery,[257] with its paintings, inscriptions, sarcophagi, and graves. The event produced a profound sensation in Rome. The city was amazed, says Baronius, who himself examined and described the newly-discovered Catacomb, at finding beneath her suburbs long-concealed Christian colonies.[258] These ancient shrines became again favourite places of devotion. Here, among others, St. Charles Borromeo and St. Philip Neri spent whole nights in prayer.

The earliest systematic explorers of the Catacombs were Alfonso Ciacconio, a Spanish priest, and Philip de Winghe and Jean l’Heureux,[259] two Flemish laymen. The voluminous MSS. and drawings of the two former, however, were never published, and they lie buried in those vast cemeteries of literature, the libraries of Rome, Naples, Brussels, and Paris. The valuable MS. of l’Heureux, the result of twenty years’ labour, although ready for publication, and even licensed for printing, in 1605, remained unprinted for two centuries and a half, when it was given to the public by Padre Garrucci under the appropriate title of Hagioglypta.[260] Such a lengthened period between licensing and publication is probably unparalleled in literary history.

To Antonio Bosio, a native of Malta and an advocate by profession, belongs the honour of first unveiling to the astonished gaze of Europe the wonders of this vast city of the dead. He has well been called the Columbus of this subterranean world. Inspired and sustained by a lofty enthusiasm, he spent six and thirty years groping among those gloomy corridors, deciphering the half-effaced inscriptions, and making drawings of the remains of early Christian art. So habituated did he become to this troglodytic existence that the Cimmerian gloom of the Catacombs was more grateful to his eyes than the light of day, which dazzled and almost blinded him. His labours were prodigious, and often both severe and perilous. He had frequently to force a passage with his own hands through the accumulated rubbish of centuries, and was constantly in danger, in the zeal of exploration, of being lost in the windings of the galleries, from which danger he had some narrow escapes. In his great work he describes himself as rushing along with breathless haste, the desire with which he burned adding wings to his weary feet. Again he is creeping serpent-wise through the low and crumbling passages, consoling himself for the difficulty and discomfort by the thought that this lowly attitude befitted the humble and reverent spirit in which a place consecrated by such memories ought to be approached. But he was rewarded for all his toil by the discovery of “pictures bright with the colours of yesterday, and characters still sharp and angular from the primeval graving tool.”

The elder D’Israeli has cited Bosio as an illustrious example of the enthusiasm of genius. “Taking with him a hermit’s meal for the week,” he remarks, “this new Pliny often descended into the bowels of the earth by lamp-light, clearing away the sand and ruins till some tomb broke forth or some inscription became legible, tracing the mouldering sculpture and catching the fading picture. Thrown back into the primitive ages of Christianity amidst the local impressions, the historian of the Christian Catacombs collected the memorials of an age and of a race which were hidden beneath the earth.”[261]

The literary industry of this pioneer explorer was immense. He carefully examined all the Latin, Greek, and Oriental Fathers; all the ecclesiastical records, canons, and decrees of councils; the lives of the saints, the acts of the martyrs—everything, in fact, which could illustrate the history of the Catacombs and of the early church. The result of these labours is seen in the bulky MS. volumes, of many thousand pages, written with his own hand, which are still extant in the Oratorian Library at Rome. He was not permitted to see the publication of his great work, in which was disclosed to the world the wonderful terra incognita lying so long hidden beneath the busy life of the Eternal City, but died while writing the last chapter. It was too valuable a contribution to Christian archæology, however, to remain unpublished, and it was given to the world, under the appropriate title of “Subterranean Rome,”[262] in the year 1632, or five years after its author’s death.

This book contains an admirable topographical account of each cemetery which he had explored, taking in order the great consular roads leading from the city. Bosio’s attempted identification of the cemeteries and principal tombs and shrines described in the ancient ecclesiastical records is not always sufficiently accurate. He is rather uncritical and confused in his arrangement, although honest and, in matters of personal observation, exact. His work is of great value as giving an account of many crypts and monuments, and copies of many paintings which have perished through the decay or vandalism of the last two hundred years, or whose position has been forgotten. Among these is the Jewish Cemetery before mentioned, of which no evidence is extant save Bosio’s description. His name, written in his own peculiarly bold style, is met with in many of the newly opened galleries of the Catacombs, showing that he had previously explored those parts since filled with earth.

Many objects of priceless value have been lost since Bosio’s day by the desultory and unsystematic excavations of private and independent explorers. These were conducted, not upon a system of enlightened archæological research, but upon mere caprice; and were guided too often by a superstitious zeal for the identification and translation of the relics of the saints, or by the more sordid motive of trafficking in their remains, or of pillaging the gold and silver with which some of the more illustrious shrines were still adorned. In this quest many paintings, sculptures, and inscriptions were destroyed or defaced of which no record has been preserved. After the year 1688 the excavations were pursued under pontifical supervision, though often neglected through indifference or embarrassed by want of funds.

In 1651 a Latin translation of Bosio’s great work[263] was published by Padre Aringhi, a learned Oratorian priest, who added numerous important discoveries of his own. This book has been largely consulted in the preparation of these pages, collated, of course, with more recent and more accurate explorers.

The Catacombs were now frequently visited by travellers, who have left a record of their impressions in their published works. Among these were two distinguished Englishmen, John Evelyn and Bishop Burnet. The sturdy Protestantism of the latter, rejecting the unwarranted inferences drawn by the Roman archæologists from this testimony of the primitive ages, was betrayed into an unjust skepticism as to the character of that testimony. He does not scruple to affirm that “those burying places that are graced with the pompous title of Catacombs are no other than the puticoli mentioned by Festus Pompeius, where the meanest sort of the Roman slaves were laid,” and that they did not come into the possession of the Christians till the fourth or fifth century.[264] A more careful or more candid examination of those early evidences of Christianity would have shown him the error of this statement, in which he has been followed by Misson, a French Protestant, and by some other writers.

In 1681 Bertoli published an interesting work on the sepulchral lamps of the Catacombs[265] with numerous illustrations; but a more valuable contribution to the literature of this subject was a collection of Christian epitaphs[266] by Raphael Fabretti, for many years custodian of these sacred crypts, who prevented the wholesale destruction of the inscriptions by their careless removal. The learned Benedictine, Mabillon, personally examined the evidences of the Catacombs, and wrote a treatise concerning the reverence of the unknown saints.[267] This led to the publication, under the patronage of Clement XI., of a theological and apologetic, rather than scientific, treatise on the cemeteries of the holy martyrs and early Christians of Rome,[268] by Marc Antonio Boldetti, the successor, for thirty years, of Fabretti, as custode of the Catacombs. But in his case, as in that of several other Roman archæologists, theological zeal was allied with antiquarian enthusiasm, and sometimes impaired or destroyed the value of his researches.

Gruter’s vast collection of ancient inscriptions,[269] published early in the century, and more especially that of Muratori,[270] were valuable contributions to Christian epigraphy. The learned Jesuit, Marangoni, prepared the material of a systematic work on the topographical principle of Bosio, when the labour of nearly a score of years was destroyed by fire. “It seems,” says De Rossi, recording the event, “that the literary history of the Catacombs is but an Iliad of disaster and irreparable losses.”

The next name of distinction that we meet in connection with this subject is that of Bottari, equally versed in profane and sacred antiquities. His great work on the sculpture and paintings of the Catacombs[271] was issued from the Vatican press, under the patronage of Clement XII., during the years 1737-1754. Other archæologists, among whom we may enumerate Buonarrotti, Mamachi,[272] Marini, Lupi, Zaccaria,[273] Danzetta,[274] Olivieri, Borgia, and others, illustrated the subject in various works during the eighteenth century. The establishment of the Christian Museum in the Vatican by Benedict XIV. greatly facilitated the study of these antiquities. The taste for archæological research, however, even among ecclesiastics, was principally confined to the remains of pagan antiquity; and amid the many museums of Rome only one was devoted to the Christian monuments of the primitive ages, of which such vast treasures lay buried in the earth.

During the present century important contributions have been made to the literature of the Catacombs by D’Agincourt,[275] Röstell,[276] Raoul-Rochette,[277] the Abbés Gaume[278] and Gerbet,[279] Bishop Munter,[280] Cardinal Mai,[281] and especially Padres Marchi[282] and Garrucci.

Cardinal Wiseman, in his beautiful tale of Fabiola,[283] attempts to rehabilitate the primitive ages in the garb of modern Romanism. He brings together from widely different periods the legends and traditions, often based on very scanty evidence, which are most favourable to the claims of ultramontanism, and thus completely destroys the historic value of the work, rendering it in essence, as it is in form, a mere romance.

The most magnificent contribution to the literature of the Catacombs, at least in point of artistic excellence and costliness, is the superb work of M. Perret,[284] in six huge folio volumes, with some five hundred coloured drawings, two thirds of which were never before copied, and as many fac-simile inscriptions. It was prepared under the direction of the French Academy of Inscriptions, and by a vote of the Legislative Assembly of the French Republic of 1851 a grant of one hundred and eighty thousand francs was given to defray the cost. No expense was spared in its production. An able corps of artists and architects were employed for several years in the undertaking. The galleries and cubicula are represented in elaborate drawings, plans, and sections, and many of the frescoes are copied full size. In these latter, however, the artists have injudiciously endeavoured to reproduce the original force, colour, and expression, instead of giving fac-similes of the faded, and often half-obliterated, paintings. Many of the pictures have, therefore, a pre-Raphaelite beauty, which destroys their value as accurate representations of the art of the Catacombs. It is to be regretted that the letter-press which accompanies these plates is not more worthy of the general magnificence of this splendid work. “It is strung together,” says the writer already quoted,[285] “without discrimination or critical research, and conveys a very inaccurate notion of the results which scientific inquiry, as opposed to mere ecclesiastical tradition, has now reached.” We have rarely ventured to make a statement on its authority unless corroborated by more authentic testimony, but many of its accurate drawings of subterranean architecture enhance the value of these pages.

All previous explorers, however, are left far behind by the invaluable labours of the Cavaliere De Rossi, the present custode of the Catacombs, and head of the Roman archæological commission. His profound knowledge of Christian antiquities, his unchallenged candour and honesty of statement, his patience and ingenuity in exploration, his scientific method, accurate observation, and careful deductions, place him far beyond any of his predecessors in this fascinating but difficult field of inquiry. While, however, his statements of facts may always be relied upon, his theoretical conclusions must sometimes be received with caution, in consequence of that seemingly inevitable tendency in Roman Catholic writers to discover ancient evidences in favour of their modern belief and practice where they can be found by no one else.

The Catacombs are now placed under the jurisdiction of the Roman Cardinal Vicar, assisted by a commission of sacred archæology appointed by the present pontiff. As far as the comparatively limited means at their command will allow, they zealously prosecute the excavation and exploration of this subterranean Rome with a systematic method which has already been attended with remarkable success, and which promises the most happy results in the future. From its crumbling ruins, paintings, decorations, and inscriptions of different ages, De Rossi reconstructs its history, often with the greatest minuteness and fidelity. His Roma Sotterranea[286] contains a general history of the Catacombs on the principle adopted in this volume, and a particular analysis of that of Callixtus, embodying his most important discoveries. The learned author is also publishing a complete collection of all the Christian inscriptions of the first seven centuries found in the vicinity of Rome. The first volume[287] contains all those with consular dates, which are invaluable as fixing the chronology of the Catacombs and as evidences of doctrine, showing its gradual corruption in later times. De Rossi also edits a bimonthly journal—the Bullettino di Archeologia Cristiana—in which the new discoveries are announced.

Dr. Maitland has the honour of being the first English writer on this subject, with the exception of the incidental allusions of travellers like Evelyn and Burnet. His admirable volume on the “Church in the Catacombs” is one of great interest, but having been written thirty years ago is quite out of date; and the recent discoveries of De Rossi and others have shown some of its conclusions, especially on the origin of the Catacombs, to be erroneous. His chapters on religious art and symbolism are of permanent value, and the theological bearing of these Christian evidences has been discussed with great candour and moderation.

In 1852 Mr. MacFarlane published a small volume giving a popular account of the Catacombs, making no reference, however, to their doctrinal teachings. “I have,” he says, “carefully avoided controversy.” The Rev. J. W. Burgon’s “Letters from Rome” contain some valuable chapters on this subject. The Rev. J. Spencer Northcote, D.D., a Roman Catholic clergyman, published in 1857 a compendious “Account of the Burial-places of the Early Christians in Rome,” compiled chiefly from Padre Marchi, whose strongly Romanist views he fully adopted. In conjunction with the Rev. W. R. Brownlow, M.A., he published in 1869 the results of De Rossi’s labours in a condensed form, with reduced copies of many of his plates. With the same reserve as in the case of his former volume, this is a valuable contribution to the literature of this subject.[288] More recently the Rev. W. B. Marriott, B.D., has written a work entitled “The Testimony of the Catacombs,” consisting of three monographs illustrating the development of the cultus of Mary, the gradual encroachments of the papal see, as indicated in Christian art, and a critical analysis of the celebrated Autun inscription.

In America, the Right Rev. Wm. Ingraham Kip, D.D., published in 1853 a little book of a popular character, giving an account of the Catacombs, chiefly from Maitland, MacFarlane, and Aringhi. The authorities on which it is based, however, have since been superseded, and some of the views which they held disproved by recent discovery.

The only remaining work to be mentioned as illustrating this subject is an admirable volume on Christian epigraphy[289] by the Rev. John McCaul, LL.D. The learned author’s expansions, interpretations, and emendations of the frequently elliptical, obscure, and ungrammatical inscriptions of the Catacombs and other early Christian cemeteries, and the reconstruction from a few mutilated fragments of important historic evidence, seem to the uninitiated more a sort of divination than a process of reasoning.[290]