Church service was frequently performed in the catacombs, yet not in the days of persecution. It was after Constantine that these tombs were used for such a purpose. On Sabbath days they were open to the public and were much visited. Devotion, love for departed relatives, and mere curiosity, carried vast numbers to these silent halls. Saint Jerome, tells us of his having often explored them with his comrades whilst he was still a student in Rome; and he lived some three hundred and fifty years after the death of Christ. The catacombs were but badly lighted at first, light being admitted by a few apertures only in the roofs of the chapels. At a later period, great care was taken to prevent visitors losing their way amidst the labyrinth of passages. The guardianship of the catacombs was confided to a certain body of the clergy, who went under the name of fossores, or grave-diggers. It was their office to inspect the chapels and passages, to point out the places where new passages might be formed, and to portion out and sell the spots in which burials might take place. The water in the wells of the catacombs was subsequently found to possess the virtue of healing to a marvellous degree. Nay, even the use of the drinking-cups found in the catacombs was sufficient to cure several diseases.
In later days, many of the catacombs were opened, and a vast number of curious and interesting objects brought to light. Not the least valuable amongst these objects were the paintings and carvings to which we have above adverted, and which throw some light upon the history of the portraiture of the great Founder of our religion. Still in the great bulk of the subjects represented the symbolical prevails; and since the earliest masters were for a long time forbidden, by a pious awe, from producing the figure of Christ, we find in the more ancient carvings a decided preference given to the Old Testament over the New. Noah's ark, Abraham sacrificing his son, Moses taking off his shoes upon receiving the tablets of the law, the destruction of Pharaoh, and the miracle of the water starting from the rock—in short, all the subjects of our modern illustrated Bibles are of frequent occurrence in these ancient houses of the dead, and one and all are intended to represent the mission and person of Christ. The suffering of Christ, in the delineation of which the masters of later times have so much delighted, formed no subject for the artist in the earliest selections from the history of the New Testament. The controversy in the temple, the entry into Jerusalem, and the most celebrated of the miracles, were subjects that better suited the ancient master's pencil. The infancy of Christ was an inexhaustible subject to a later age. The Nestorian controversy brought the religious pretensions of the Holy Virgin to an issue; and after the church in the fifth century had bestowed upon Mary the title of Mother of God, artists took pleasure in representing her either as lying-in, or as holding the babe in her arms. The Eastern Kings are not unfrequently found in the Virgin's company. M. Kinkel presumes that the number of these wise men was first determined by the early masters, who in all probability conferred the royal dignity upon them. Holy Writ does not inform us that these personages were kings, and in the more ancient carvings, they wear ordinary Phrygian caps. At a later period, and no doubt inadvertently, these caps were changed into crowns. The four evangelists are constantly represented either as four rolls of papyrus, or as four fountains issuing from a hill beneath the feet of Christ. When seen in the guise of the four apocalyptical animals, they belong to a later period. The apostles also are found on ancient coffins, surrounding Christ, at whose left side Peter is placed, whilst Paul stands on his right. They all wear sandals tied with ribbon to their feet. Some paintings represent scenes of early Christian life, the sacred rites of the Church, and the love-feasts of the first Christians.
Wherever our Saviour is found he is represented by two types. In the earliest paintings of the catacombs he appears as a beardless youth: this type of the Saviour was produced under the influence of antique art. The second and later type bears those oriental features which have been transmitted by sacred painting even to our own time. The features of the second face so closely resemble those of the first that the early theologians do not hesitate to proclaim them exact copies of the original. "Christ was well proportioned," says John of Damascus in the eighth century; "his fingers were slender, his nose mighty, and the eyebrows joined above the same; his hair was very curly, his beard black, and the colour of his face like his mother's,—viz. yellowish, like unto wheat." Later western writers change the colour of the beard and hair from black to blond. Both hair and beard are parted in the middle. There are two pictures of Christ thus represented, one in the cemetery of S. Calintus, and another in that of S. Ponziano. The former is partly, the latter wholly dressed. In both, the features are strongly marked, and the eyes are very large; the right hand is placed on the breast, whilst the left holds a book.
Apocryphal pictures ascribed to Saint Luke have asserted a considerable influence upon the traditions concerning the portrait of Christ. The same has happened in the instance of the Virgin Mary, although her type is far from attaining the degree of stability which we find in the representations of her divine son. The fathers, however, are unanimous in their opinion that the face of Mary bore a strong resemblance to that of our Saviour. She is seldom found in the Catacombs, but frequently in the Mosaic work of churches dedicated to her worship, and on Byzantine coins from the tenth century forwards. The face is oval, similar to that of a youthful matron of ancient Rome, and carrying always the expression of a calm benignity. The head is covered with a veil and surrounded by a nimbus. Next to Mary and her Son, Peter and Paul, the chief apostles of the Pagan and Judaic world, are most frequently represented. They were both objects of devotion, even to those who still lingered without the pale of Christianity. The Mosaics display them more frequently than the Catacombs. Their type is not fixed; although Peter may at times be known by his curly hair and beard, whilst the bald forehead and the pointed fashion of the beard render Paul at once recognisable. The other apostles, as well as the personages of the Old Testament, have not grown into individuality, and lack the distinguishing features by which sacred and historical characters of antiquity become objects of real life, and are rendered familiar to the most distant ages.
The most ancient Mosaic works of the Christian era are to be found in the mausoleum of Constantine. The subject is strictly symbolic. It is the vine, with birds perched on the branches and angels collecting the grapes. One of the tendrils encompasses the head of Constantine. The forms of the angels show a near affinity to Pagan art. Another great Mosaic work, more ecclesiastical in thought and execution, was promoted by Pope Sixtus III. in 443. It consists of historical representations from the Old and New Testaments, and ornaments the space below the windows of the Maria Maggiore. The costumes, the helmets, and cuirasses resemble those of ancient Rome; but where priests and Levites appear, the oriental character is followed. The composition is poor, and the human figures are rude and awkward. That little regard is paid to perspective is not a matter of surprise. Antique art is guilty of the fault. It would be difficult for any Mosaic work to overcome the difficulties which present themselves in the active scenes of real life and history. The Mosaics in the triumphal arch of the Church of St Paul create a favourable impression, simply because they confine themselves to that narrow and more suitable sphere, in which alone the Mosaic art can look to be successful.
The study of the period of Christian art, treated of and exemplified in Professor Kinkel's book, though apparently unprofitable to the artist, is full of interest to the curious observer, and to one who has pleasure in beholding the development of the human mind under the most varied circumstances. We have read the volume of the learned and accomplished professor with infinite satisfaction, and we can safely recommend it to the perusal of the student and the man of letters. The history of art, in the early stages of Christianity, is the history of intellectual cultivation in the most extraordinary period of the world's history. The state of the world during the first centuries after the departure of Christ, was essentially exceptional. It had never been; it never will be again. Art and civilisation were weighed and were found wanting—a new idea visited the earth and conquered it—old arts drooped and died: civilisation degenerated at once into barbarism; whilst a new art and a new civilisation, with the light of Heaven upon them, were already preparing to claim the dominion over future centuries.
FOOTNOTES:
[19] Geschichte der bildenden Künste bei den Christlichen Völkern. Von Gottfried Kinkel.
[20] Psalm xlii. 1.
[21] 1 Cor. ix. 9.