| Fig. 8.—Table-tomb. |
These cubicula are small apartments, seldom more than 12 ft. square, usually rectangular, though sometimes circular or polygonal, opening out of the main corridors. They are not unfrequently ranged regularly along the sides of the galleries, the doors of entrance, as may be seen in a previous illustration (fig. 3), following one another in as orderly succession as the bedchamber doors in the passage of a modern house. The roof is sometimes flat, but is more usually vaulted, and sometimes rises into a cupola. Both the roof and the walls are almost universally coated with stucco and covered with fresco paintings—in the earlier works merely decorative, in the later always symbolical or historical. Each side of the cubiculum, except that of the entrance, usually contains a recessed tomb, either a table-tomb or an arcosolium. That facing the entrance was the place of greatest honour, where in many instances the remains of a martyr were deposited, whose tomb, according to primitive usage, served as an altar for the celebration of the eucharist. This was sometimes, as in the Papal crypt of St Calixtus (fig. 10), protected from irreverence by lattice work (transennae) of marble. The cubiculum was originally designed for the reception of a very limited number of dead. But the natural desire to be buried near one’s relatives caused new tombs to be cut in the walls, above and around and behind the original tombs, the walls being thus completely honeycombed with loculi, sometimes as many as seventy, utterly regardless of the paintings originally depicted on the walls. Another motive for multiplying the number of graves operated when the cubiculum contained the remains of any noted saint or martyr. The Christian antiquary has cause continually to lament the destruction of works of art due to this craving. One of the most perfect examples of early Christian pictorial decoration, the so-called “Dispute with the Doctors,” in the catacomb of Calixtus, the “antique style of beauty” of which is noticed by Kugler, has thus suffered irreparable mutilation, the whole of the lower part of the picture having been destroyed by the excavation of a fresh grave-recess (Bottari, vol. ii. tav. 15). The plates of De Rossi, Ferret, and, indeed, all illustrations of the catacombs, exhibit frequent examples of the same destructive superstition. The illustrations (figs. 11 and 12), taken from De Rossi’s great work, representing two of the cubicula in the cemetery of St Calixtus, show the general arrangement of the loculi and the character of the frescoes which ornament the walls and roof. These paintings, it will be seen, are simply decorative, of the same style as the wall-paintings of the baths, and those of Pompeii.
| Fig. 9—Arcosolia. (From Bosio.) |
| Fig. 10—Restoration of the Papal Crypt, Cemetery of St Calixtus. (From de Rossi.) |
| Fig. 11.—Cubiculum in Cemetery of St Calixtus. (From de Rossi.) |
| Fig. 12.—Cubiculum in the Cemetery of St Calixtus. (From de Rossi.) |
| Fig. 13.—Plan of a supposed Church, Catacomb of Sant’ Agnese. (From Marchi.) |
| Fig. 14.—Bishop’s Chair. Catacomb of Sant’ Agnese. |
Each cubiculum was usually the burying-place of some one family, all the members of which were interred in it, just as in the chantry-chapels connected with medieval churches. In them was celebrated the funeral-feast on the day of burial and on its anniversary, as well as the eucharist, which was the invariable accompaniment of funerals in the primitive church (Bingham, Orig. Eccl. bk. xxiii. c. iii. 12). The funeral-banquet descended to the Christian church from pagan times, and was too often profaned by heathen licence. St Augustine, in several passages, inveighs against those who thus by “gluttony and insobriety buried themselves over the buried,” and “made themselves drunk in the chapels of the martyrs, placing their excesses to the score of religious reverence for the dead.” (August., De Mor. Eccl. Cathol., c. 34, Contr. Faust, lib. xx. c. 21, Confess., lib vi. c. 2) Some curious frescoes representing these funeral-feasts, found in the cubicula which were the scene of them, are reproduced by Bosio (pp. 355, 391) and others. A romantic air has been thrown over these burial chapels by the notion that they were the places of worship used by the Christians in times of persecution. This to a certain extent is doubtless true, as in the case of the chapel of Santa Priscilla, where the altar or stone coffin of a martyr remains, with a small platform behind it for the priest or bishop to stand upon. But that they can have been so used to any large extent is rendered impossible by their limited dimensions, as none of them could hold more than fifty or sixty persons. In some of the catacombs, however, there are larger halls and connected suites of chapels which may possibly have been constructed for the purpose of congregational worship during the dark periods when the public exercise of the Christian religion was made penal. The most remarkable of these is in the cemetery of Sant’ Agnese (see plan, fig. 13). It consists of five rectangular compartments, three on one side of the corridor and two on the other, connected by a passage intersecting the gallery at right angles. Two of the five compartments are supposed to have been assigned to male, and two to female worshippers, the fifth, at the extremity of the whole, being reserved for the altar and its ministers. In the centre of the end-wall stands a stone chair (fig. 14), considered to have been the episcopal cathedra, with a bench for the clergy on each side. There is no trace of an altar, which may, Marchi thinks, have been portable. The walls of the compartments are occupied by arched sepulchral recesses, above and below which are tiers of ordinary graves or loculi. The arrangements are certainly such as indicate a congregational purpose, but the extreme narrowness of the suite, and still more of the passage which connects the two divisions, must have rendered it difficult for any but a small number to take any intelligent part in the services at the same time. Although the idea of the use of the catacombs for religious worship may have been pressed too far, there can be no doubt that the sacred rites of the church were celebrated within them. We have already spoken of the eucharistic celebrations of which the cubicula were the scene; and still existing baptisteries prove that the other sacrament was also administered there. The most remarkable of these baptisteries is that in the catacomb of San Pontianus (fig. 15). Ten steps lead down to a basin of sufficient depth for immersion, supplied by a spring. Some of the subterranean chambers contain armed seats and benches cut out of the tufa rock. These are supposed by Marchi and others to indicate schoolrooms, where the catechumens were instructed by the bishop or presbyters. But this theory wants verification. It is impossible not to be struck with the remarkable analogy between these rock-hewn chairs and those discovered in the Etruscan tombs, of the purpose of which no satisfactory explanation has been given.
| Fig. 15.—Baptistery of San Pontianus. (From Perret.) |
Very exaggerated statements have been made as to the employment of the catacombs as dwelling-places by the Christians in times of persecution. We have, however, sufficient evidence that they were used as places of refuge from Theories of the use of the catacombs. the fury of the heathen, in which the believers—especially the bishops and clergy, who would naturally be the first objects of attack—might secrete themselves until the storm had blown over. This was a purpose for which they were admirably adapted both by the intricacy of their labyrinthine passages, in which any one not possessing the clue would be inevitably lost, and the numerous small chambers and hiding-places at different levels which might be passed unperceived in the dark by the pursuers. As a rule also the catacombs had more than one entrance, and frequently communicated with an arenaria or sand-quarry; so that while one entrance was carefully watched, the pursued might escape in a totally different direction by another. But, to quote J.H. Parker, “the catacombs were never intended, nor fit for, dwelling-places, and the stories of persons living in them for months are probably fabulous. According to modern physicians it is impossible to live many days in the caves of pozzolana in which many of the catacombs are excavated.” Equally exaggerated are the statements as to the linear and lateral extent of the catacombs, and their intercommunication with one another. Without resorting to this exaggeration, Mommsen can speak with perfect truth of the “enormous space occupied by the burial vaults of Christian Rome, not surpassed even by the cloacae or sewers of Republican Rome,” but the data are too vague to warrant any attempt to define their dimensions. Marchi has estimated the united length of the galleries at from 800 to 900 m., and the number of interments at between 6,000,000 and 7,000,000; Martigny’s estimate is 587 m.; and Northcote’s, lower still, at “not less than 350 m.” The idea of general intercommunication is negatived by the fact that the chief cemeteries are separated by low ground or valleys, where any subterranean galleries would be at once filled with water.
It now remains to speak of the history of these subterranean burial-places, together with the reasons for, and mode of, their construction. From the period of the rediscovery of the catacombs in the 16th century till comparatively recent times a gigantic fallacy prevailed, repeated by writer after writer, identifying the Christian burial-places with disused sand-pits. It was accepted as an unquestionable fact by every one who undertook to describe the catacombs, that the Christians of Rome, finding in the labyrinthine mazes of the exhausted arenariae, which abounded in the environs of the city, whence the sand used in building had been extracted, a suitable place for the interment of their martyred brethren, where also the sacred rites accompanying the interment might be celebrated without fear of interruption, took possession of them and used them as cemeteries. It only needed a comparison of the theory with the visible facts to refute it at once, but nearly three centuries elapsed before the independence of the arenariae and the catacombs was established. The discovery of this independence is due to Marchi. Starting with the firmest belief in the old traditional view, his own researches by degrees opened his eyes to the truth, now universally recognized, that the catacombs were exclusively the work of the Christians, and were constructed for the interment of the dead. It is true that a catacomb is often connected with the earlier sand-quarry, and starts from it as a commencement, but the two are excavated in different strata, suitable to their respective purposes, and their plan and construction are so completely unlike as to render any confusion between them impossible.
The igneous formation of which the greater part of the Roman Campagna is, in its superior portion, composed, contains three strata known under the common name of tufa,—the “stony,” “granular,” and “sandy” tufa,—the last being commonly known as pozzolana.[3] The pozzolana is the material required for building purposes, for admixture with mortar; and the sandpits are naturally excavated in the stratum which supplies it. The stony tufa (tufa litoide) is quarried as building-stone. The granular tufa is useless for either purpose, containing too much earth to be employed in making mortar, and being far too soft to be used as stone for building. Yet it is in this stratum, and in this alone, that the catacombs are constructed; their engineers avoiding with equal care the solid stone of the tufa litoide and the friable pozzolana, and selecting the stratum of medium hardness, which enabled them to form the vertical walls of their galleries, and to excavate the loculi and cubicula without severe labour and also without fear of their falling in. The annexed illustration (fig. 16) from Marchi’s work, when compared with that of the catacomb of Sant’ Agnese already given, presents to the eye the contrast between the wide winding irregular passages of the sand-pit, calculated for the admission of a horse and cart, and the narrow rectilinear accurately-defined galleries of the catacomb. The distinction between the two is also plainly exhibited when for some local or private reasons an ancient arenaria has been transformed into a cemetery. The modifications required to strengthen the crumbling walls to support the roof and to facilitate the excavation of loculi, involved so much labour that, as a rule, after a few attempts, the idea of utilizing an old quarry for burial purposes was abandoned.
| Fig. 16.—Arenaria beneath the Cemetery of Calixtus. |