Meanwhile the report of the wonderful discovery spread through Rome, and caused general excitement and emotion. The Trasteverini, with whom Cecilia had always been a favorite saint, were filled with joy, with piety, and superstition. Crowds continually pressed to the church, and so great was the ardor of worshippers, that the Swiss guards of the court were needed to preserve order. Lamps were kept constantly burning around the coffin, which was set near a grating in the wall between the church and convent, so as to be visible to the devout. "There was no need of burning perfumes and incense near the sacred body, for a sweetest odor breathed out from it, like that of roses and lilies."
Sfondrati, desirous to preserve for future generations a memorial likeness of the Saint, ordered the sculptor Stefano Maderno to make a statue which should represent the body of Cecilia as it was found lying in the cypress chest. Maderno was then a youth of twenty-three years. Sculpture at this time in Rome had fallen into a miserable condition of degraded conventionalism and extravagance. But Maderno was touched with the contagion of the religious enthusiasm of the moment, and his work is full of simple dignity, noble grace, and tender beauty. No other work of the time is to be compared with it. It is a memorial not only of the loveliness of the Saint, but of the self-forgetful religious fervor of the artist, at a period when every divine impulse seemed to be absent from the common productions of Art. Rome has no other statue of such sacred charm, none more inspired with Christian feeling. It lies in front of the high altar, disfigured by a silver crown and a costly necklace, the offerings of vulgar and pretentious adoration; but even thus it is at once a proof and prophecy of what Art is to accomplish under the influence of the Christian spirit. The inscription that Sfondrati placed before the statue still exists. It is as follows: "Behold the image of the most holy virgin Cecilia; whom I, Paul, Cardinal of the Title of St. Cecilia, saw lying perfect in her sepulchre; which I have caused to be made in this marble, in the very position of the body, for you."
The twenty-second of November arrived. The Pope had recovered from his gout. The church was splendidly decorated. A solemn procession, illustrated by the presence of all the great dignitaries of the Church, of the ambassadors of foreign states, and the nobles of Rome, advanced up the nave. Clement intoned the Mass. Then proceeding to the cypress chest, it was lifted by four cardinals, and carried to the vault under the altar, while the choir chanted the anthem, O beata Coecilia, quoe Almachium superâsti, Tiburtium et Valerianum ad martyrii coronam vocâsti! The old coffin, undisturbed, was placed in a silver case; the last service was performed, and the body of the virgin was once more laid away to rest.
We pass now over two centuries and a half. About five years ago the Cavaliere de Rossi found lying upon the ground, in a vigna bordering on the Appian Way, about two miles from Rome, a portion of a sepulchral stone on which were the letters NELIUS MARTYR, the NE broken across. He immediately conjectured that this was a piece of the stone that had covered the grave of Pope Cornelius, [A.D. 250-252,] and on the truth of this conjecture important results depended. It was known that this pope had been buried in the Catacombs of St. Callixtus; and it was known also, from the itineraries and some other sources, that his grave was not in the same chamber with the graves of the other popes who were buried in those catacombs, but that it was not far away from it. It was further known, as we have seen, that the chapel in which St. Cecilia had been buried was close to the Chamber of the Popes. But a tradition dating from a late period of the Middle Ages had given the name of Callixtus to the catacombs opening from the Church of St. Sebastian, at a little greater distance from Rome. In these catacombs the place supposed to be that of St. Cecilia's grave was pointed out, and an inscription set up to mark the spot, by a French archbishop, in the year 1409, still exists. Many indications, however, led De Rossi to disbelieve this tradition and to distrust this authority. It contradicted the brief indications of the itineraries, and could not be reconciled with other established facts. Not far from the place where the broken inscription was found was an accidental entrance into catacombs which had been supposed to have been originally connected with those of St. Sebastian, but were believed by De Rossi to be a portion of the veritable Catacombs of St. Callixtus, and quite separate from the former. The paths in this part, however, were stopped up in so many directions, that it was impossible to get an entrance through them to such parts as might determine the question. Again, in the neighborhood of the discovery of the broken stone was an old building, used as a stable, and for other mean purposes. On examination of it, De Rossi satisfied himself that it had been originally one of the churches erected in the fourth century at the entrance of the catacombs, and he had little doubt that he had now found the place of the main descent into the Catacombs of St. Callixtus. The discovery was a great one; for near the main entrance had been the burial-place of the popes, and of St. Cecilia. De Rossi laid the results of his inductive process of archaeological reasoning before the pope, who immediately gave orders for the purchase of the vigna, and directions that excavations should be at once begun.[N]
[Footnote N: Another curious point was made by De Rossi previously to the commencement of the explorations. It illustrates the accuracy of his acquaintance with the underground archaeology. In one of the itineraries it was said, speaking of the burial-place of Cornelius, that here also St. Cyprian was buried. Now, as is well known, Cyprian was buried in Africa, where he had suffered martyrdom. His martyrdom took place on the same day with that of Cornelius, though in another year; and their memories were consequently celebrated by the Church on the same day, the 16th of September. De Rossi declared, that, if he discovered the tomb of St. Cornelius, he should find near it something which would explain the error of the itinerary in stating that Cyprian's grave also was here. And such proved to be the fact. On the wall, by the side of the grave, was found a painting of Cornelius, with his name, "S[=c][=s] Cornelius," and by the side of this figure was another painting of a bishop in his robes, with the letters "S[=c][=s] Ciprianus.">[
[Transcriber's note: Here and below the = sign is used to indicate an overscore.]
The work was scarcely begun, before an ancient stairway, long ago buried under accumulated earth and rubbish, was discovered, leading down to the second story of the catacombs. The passages into which it opened were filled with earth, but, as this was cleared away, a series of chambers of unusual size, reaching almost to the surface of the soil, was entered upon. At the right a wide door led into a large chapel. The walls were covered with rudely scratched names and inscriptions, some in Greek and some in Latin. De Rossi, whose eyes were practised in the work, undertook to decipher these often obscure scribblings. They were for the most part the inscriptions of the pilgrims who had visited these places, and their great number gave proof that this was a most important portion of the cemetery. The majority of these were simply names, or names accompanied with short expressions of piety. Many, for instance, were in such form as this,—[Greek: Elaphin eis mneian echete],—"Keep Elaphis in remembrance." Many were expressions of devotion, written by the pilgrims for the sake of those who were dear to them, as,—Vivat in Domino, "May he live in the Lord"; Pet[ite] ut Verecundus cum suis bene naviget, "Seek that Verecundus with his companions may voyage prosperously." The character of the writing, the names and the style, indicate that these inscriptions belong mostly to the third and fourth centuries. Among these writings on the wall were one or two which confirmed De Rossi in the opinion that this must be the sepulchre in which the greater number of the popes of the third century had been buried. Carefully preserving all the mass of rubbish which was taken from the chamber, he set himself to its examination, picking out from it all the bits and fragments of marble, upon many of which letters or portions of letters were cut. Most of them were of that elaborate character which is well known to all readers of the inscriptions from the catacombs as that of Pope Damasus,—for this Pope [A.D. 366-385] had devoted himself to putting up new inscriptions over celebrated graves, and had used a peculiar and sharply cut letter, easy to be distinguished. It was known that he had put new inscriptions over the tombs of the popes buried in the Cemetery of St. Callixtus. After most patient examination, De Rossi succeeded in finding and putting together the inscriptions of four of these early popes, and, with Cuvier-like sagacity, he reconstructed, out of a hundred and twelve separate, minute, and scattered pieces, the metrical inscription in which Damasus expressed his desire to be buried with them, but his fear of vexing their sacred ashes.[O]
[Footnote O: In another part of the catacombs the remainder of the stone that had been set over the grave of Cornelius was found. It fitted precisely the piece first found by De Rossi. The letters upon it were CORN EP. The whole inscription then read, "Cornelius Martyr, Ep[iscopus.]" It is rare that a bit of broken stone paves the way to such discoveries. But it must be a man of genius who walks over the pavement. Cardinal Wiseman has given an imperfect account of these discoveries in his diverting novel, Fabiola.]
There could no longer be any doubt; this was the Chapel of the Popes, and that of St. Cecilia must be near by. Proceeding with the excavations, a door leading into a neighboring crypt was opened. The crypt was filled with earth and débris, which appeared to have fallen into it through a luminare, now choked up with the growth and accumulated rubbish of centuries. In order to remove the mass of earth with least risk of injury to the walls of the chamber, it was determined to take it out through the luminare from above. As the work advanced, there were discovered on the wall of the luminare itself paintings of the figures of three men, with a name inscribed at the side of each,—Policamus, Sebastianus, and Cyrinus. These names inspired fresh zeal, for they were those of saints who were mentioned in one or more of the itineraries as having been buried in the same chapel with St. Cecilia. As the chapel was cleared, a large arcosolium was found, and near it a painting of a youthful woman, richly attired, adorned with necklaces and bracelets, and the dress altogether such as might befit a bride. Below, on the same wall, was a figure of a pope in his robes, with the name "S[=e][=s] Urbanus" painted at the side: and close to this figure, a large head of the Saviour, of the Byzantine type, with a glory in the form of a Greek cross. The character of the paintings showed that they were of comparatively late date, probably not earlier than the sixth century, and obviously executed at a time when the chapel was frequented by worshippers, and before the traditional knowledge of the exact site of St. Cecilia's sepulchre had been lost.
The discovery made by Paschal after the place had been deserted was thus repeated by De Rossi after a second, longer, and more obscure period of oblivion. The divine vision which had led the ancient Pope, according to his own account, to the right spot, was now replaced by scientific investigation. The statements of inspiration were confirmed, as in so many more conspicuous instances, by the discoveries of science. Cecilia had lain so near the popes, that she might, as she had said to Paschal, have spoken to him when he was in their chapel, as ad as, "mouth to mouth." But the questions naturally arose, Why was it that in Paschal's time, before this chapel was encumbered with earth, it had been so difficult to find her grave? and, Why had not the Lombards, who had sought for her sacred body, succeeded in finding it? De Rossi was able to furnish the solution. In several instances he had found walls carefully built up in front of tombs so as to conceal them. It was plain that this must have been done with some definite purpose; and it seems altogether likely that it was to hide these tombs from sacrilegious invaders. The walls had been built when the faithful were forced by the presence of their enemies to desert the catacombs and leave them unprotected. It was a striking illustration of the veneration in which these holy places had been held. Upon examination of the floor in front of the areosolium of this chapel, traces of the foundation of a wall were discovered, and thus the Lombard failure and Paschal's difficulty were explained.