We need not remind our readers that the principle of this method of interpreting Holy Scripture has express apostolic sanction; but few who have not studied the subject closely will have any adequate idea of the extent to which it was followed in the ancient church. We will give a single example, selected because it closely concerns the first mystery of which we propose to speak—the Sacrament of Baptism.
Tertullian, who lived at the end of the second and beginning of the third century, wrote a short treatise on this sacrament. This treatise he begins by bringing together all that Holy Scripture contains about water, with such minuteness of detail that he is presently obliged to check himself, saying that, if he were to pursue the subject through all Holy Scripture with the same fulness with which he had begun, men would say he was writing a treatise in praise of water rather than of baptism. From the first chapter of the Book of Genesis to the last of the Evangelists, and even of the Apocalypse, he finds continual testimony to the high dignity and sacramental life-giving power of this element. The Spirit of God, he says, moved over it at the first; whilst as yet the earth was void and empty, and darkness was upon the face of the deep, and the heaven was as yet unformed, water alone, already pure, simple, and perfect, supplied a worthy resting-place on which God could be borne. The division of the waters was the regulating power by which the world was constituted; and when at length the world was set in order, ready to receive inhabitants, the waters were the first to hear and obey the command and to bring forth creatures having life. Then, again, man was not made out of the dry earth, but out of slime, after a spring had risen out of the earth, watering all its surface. All this is out of the first two chapters of Genesis; and here he makes a pause, breaking into that apology which has been already mentioned. Then he resumes the thread of his discourse, but passing much more briefly over the remainder of the Old Testament. He notes how the wickedness of the old world was purged by the waters of the Deluge, which was the world’s baptism; how the waters of the Red Sea drowned the enemies of God’s people and delivered them from a cruel bondage; and how the children of Israel were refreshed during their wanderings through the wilderness by the water which flowed continuously from the rock which followed them, “which rock was Christ.” Then he comes to the New Testament, and briefly but eloquently exclaims: Nowhere is Christ found without water. He is himself baptized with it; he inaugurates in it the first manifestation of his divine power at the wedding-feast in Cana; when he preaches the Gospel, on the last and great day of the feast, he stands and cries, saying, “If any man thirst, let him come to me and drink.” He sums up his whole gift to man under the image of a fountain of water, telling the Samaritan woman that he has living water to give, which shall become in him that receives it a fountain of water springing up unto life everlasting. When he gives instruction upon charity, he instances a cup of cold water given to a disciple; he sits down weary at a well and asks for water to refresh himself; he walks on the waves of the sea, and washes his disciples’ feet; finally (Tertullian concludes), “this testimony of Jesus to the Sacrament of Baptism continues even to the end, to his very Passion; for, when he is condemned to the cross, water is not absent—witness the hands of Pilate; nay, when wounded after death upon the cross, water bursts forth from his side—witness the soldier’s spear.”
There may be something in this symbolism that sounds strange to modern ears; but we are not here criticising it; we have nothing to do with its merits or demerits, but only with the fact of its general use—so general that it was the one principle of exegesis which every commentator on Holy Scripture in those days followed, and we have every right to suppose that Christian artists would have followed it also. When, therefore, we find in the Roman Catacombs (as, for example, the other day in the cemetery of San Callisto) a glass vessel, very artistically wrought, with fishes in alto rilievo swimming round it in such a way that, when full of water, it would have represented a miniature image, as it were, of the sea, is it a mere fanciful imagination which bids us recognize in such ornamentation a reference to holy baptism, and conjectures that the vessel was perhaps even made for the administration of that sacrament? It may be so; but we cannot ourselves think so; we cannot at once reject the explanation as fanciful; the work of the artist corresponds too exactly with the words of the theologian to allow us to treat the coincidence as altogether undesigned. “We little fish are born,” says Tertullian, “after the likeness of our great Fish in water, and we cannot otherwise be safe than by remaining in the water.” And we seem to ourselves to read these same words, written in another language, in the beautiful vessel before us. We read it also in another similar vessel, which looks as though it had come out of the same workshop, yet was found in an ancient cemetery at Cologne; and in another of bronze, dug up in the vineyard over the cemetery of Pretextatus, that used to be shown by Father Marchi in the Kircherian Museum at the Roman College. In all these instances we believe that this is the best account that can be given, both of the original design of the vessel and also of its preservation in Christian subterranean cemeteries. However, if any one thinks otherwise, we do not care to insist upon our explanation as infallibly certain. We will descend into the Catacombs themselves, and look about upon the paintings on their walls or the carving on their gravestones, and see whether baptism finds any place there also.
And, first, we come across the baptism of our Lord himself. We are not now thinking of the subterranean baptistery in the cemetery of Ponziano, with the highly-decorated cross standing up out of the middle of it, and Christ’s baptism painted at the side. For this is one of the latest artistic productions in the Catacombs—a work of the eighth or ninth century possibly. We are thinking, on the contrary, of one of the earliest paintings in a most ancient part of the excavations, in the crypt of Lucina, near the cemetery of Callixtus, with which, in fact, it is now united. We shall have occasion to return to this same chamber presently for the sake of other paintings on its walls having reference to the Holy Eucharist; just here we only call attention to the baptism of our Lord, which is represented in the space over the doorway. We do not know of any other instance of this subject having been painted in the Catacombs besides the two that we have mentioned, but it is quite possible that others may be hereafter discovered; but of baptism as a Christian rite, veiled, however, under its types and symbols, we have innumerable examples.
Few figures recur more frequently among the paintings in the Catacombs, and none are more ancient, than that of a man standing in an open box or chest, often with a dove, bearing an olive-branch in its mouth, flying towards him. When this was first seen after the rediscovery of the Catacombs in the sixteenth century, men set it down to be the picture of some ancient bishop preaching in a pulpit, and the Holy Ghost, under the form of a dove, inspiring him as to what he should say, according to the legend told of St. Gregory the Great and some others. Nobody now doubts that it was intended for Noe in the ark; not, however, the historical Noe and the historical ark—for nothing could be more ludicrously false to the original—but those whom that history foreshadowed: Christians saved by the waters of baptism and securely housed in the ark of the church. Some persons, who seem to take a perverse delight in assigning a pagan rather than a Christian origin to everything in the early church, account for the difference between the Biblical and the artistic representation of the ark by saying that the Christian artist did but copy a pagan coin or medal which he found ready to his hands. It is quite true that certain coins which were struck at Apamea in Phrygia during the reigns of Septimius Severus, Macrinus, and Philip the elder—i.e., at different periods in the first half of the third century—exhibit on one side of them a chest, with a man and a woman standing within it, and the letters ΝΩ, or ΝΩΕ, written on the outside; and that these figures were intended to be a souvenir of the Deluge, which held a prominent place in the legends of Phrygia. It is said that the town of Apamea claimed to derive its secondary name of κιβωτός, or ark, from the fact that it was here that the ark rested; and it is quite possible that the spread of Christian ideas, gradually penetrating the Roman world, and filtering into the spirit even of those who remained attached to paganism, may have suggested the making of the coins we have described; but it is certain, on the other hand, that we can claim priority in point of time for the work of the Christian artists in the Catacombs. The coins were struck, as we have said, in the beginning of the third century; the earliest Christian painting of the same subject is assigned to the beginning of the second.
But whatever may be the history of the forms under which Noe and the ark are represented, there can be no question as to their meaning. We have the authority of St. Peter himself (1 iii. 20, 21) to instruct us upon this point; and Tertullian does but unfold what is virtually contained in the apostle’s words when he says that the ark prefigures the church, and that the dove sent out of the ark and returning with an olive-branch was a figure of the dove of the Holy Spirit, sent forth from heaven to our flesh, as it emerges from the bath of regeneration. And if we quote Tertullian again as our authority, this is not because he differs in these matters from other Christian writers who preceded or followed him, but because he has written at greater length and specially on that particular subject with which we are now engaged. St. Augustine, writing two hundred years later, gives the same explanation, and says that “no Catholic doubts it; but that it might perhaps have seemed to be a merely human imagination, had not the Apostle Peter expressly declared it.” It is, then, from no private fancy of our own, but simply in conformity with the teaching of all the ancient doctors of the church, that we interpret this scene of a man standing in an ark, and receiving an olive-branch from the mouth of a dove, as expressing this Christian doctrine: that the faithful obtain remission of their sins through baptism, receive from the Holy Spirit the gift of divine peace—that peace which, being given by faith in this world, is the gage of everlasting peace and happiness in the next—and are saved in the mystical ark of the church from the destruction which awaits the world. And if the same scene be rudely scratched on a single tomb, as it often was, and sometimes with the name of the deceased inscribed upon the chest, we can only understand it as denoting a sure and certain hope on the part of the survivors that their departed friend, having been a faithful member of the church, had died in the peace of God and had now entered into his rest.
We pass on to another of the Biblical stories mentioned by several of the Fathers as typical of baptism; and we will select as our specimen of it a painting that was executed about the very time that Tertullian was writing his treatise on that sacrament. It is to be seen more than once on the walls of a series of chambers which open out of a gallery in the Catacomb of San Callisto, not far from the papal crypt. The first figure that greets us from the wall on the left-hand side as we enter these chambers is Moses striking the rock and the water gushing forth. Are we to look upon this as a mere historic souvenir of the Jewish legislator, or are we to see in it a reference to Christian baptism? The artist in the present instance does not allow us to doubt. Side by side with it he has painted a fisherman, and we need not be reminded who it was that compared the work of the Christian apostle to that of fishermen; and immediately he adds, with still greater plainness of speech, a youth standing in the water, whilst a man pours water over his head. Finally, he fills the very little space that remains on the wall with the picture of a paralytic carrying his bed, and it would be easy to show that the Fathers recognized in the pool of Bethsaida, to which place this history belongs, a type of the healing waters of baptism. Was it possible for the Christian artist to set forth the sacrament more unequivocally? There is no legend to interpret the painting, but surely this is not needed. The mystery is veiled, indeed, from all who were uninstructed; but it was perfectly intelligible to all the baptized; it was veiled under types and symbols taken partly from the Old Law and partly from common life.
We need hardly say that this same figure of Moses striking the rock occurs in scores of other places throughout the Catacombs; but we have selected this particular specimen, both because it appears with a more copious entourage of other symbols determining its sense beyond all dispute, and also because it is here brought, as we shall presently see, into immediate proximity with the other sacrament, to which it is a necessary gate of introduction—the Sacrament of the Holy Eucharist. But before we pass on to examine the symbols of the Holy Eucharist, let us first inquire whether there is anything further about baptism to be gleaned from the Catacombs—not now from their paintings, but from their inscriptions.
We must remember that the most ancient inscriptions were very brief—very often the mere name of the deceased and nothing more, or a short ejaculatory prayer was added for his everlasting happiness. It is clear that we should search here in vain for any mention of the sacraments. By and by, when it became usual to say something more about the deceased, to mention his age and the date of his death or burial, or other similar particulars, perhaps room might be found also for saying something about his baptism. Accordingly, there are not wanting monuments of the fourth or fifth centuries which tell us that the deceased was a neophyte, or newly illuminated—which means the same thing: viz., that he had been lately baptized—or that he had lived so many months or years after he had received the initiatory sacrament of the Christian covenant. Occasionally, also, a faint reference may be found to another sacrament—the Sacrament of Confirmation. This was often, or even generally, administered in olden times immediately after baptism, of which it was considered the complement and perfection. “From time immemorial,” says Tertullian (ab immemorabili), “as soon as we have emerged from the bath [of regeneration] we are anointed with the holy unction.” Hence it is sometimes doubtful which sacrament is intended, or rather it is probable that it was intended to include both under the words inscribed on the epitaphs—the verbs accepit, percepit, consecutus est (the same as we find in the fathers of the same or an earlier age), used for the most part absolutely, without any object whatever following them; but in one or two cases fidem or gratiam sanctum are used. An epitaph of a child three years old adds: Consecuta est D. vi. Deposita viii. Kal. Aug. Another says simply: Pascasius percepit xi. Kal. Maias; and a third: Crescentia q. v. a. xxxiii. Accepit iii. Kal. Jul. A fourth records of a lady that she died at the age of thirty-five: Ex die acceptionis suæ vixit dies lvii.; to which we append another: Consecutus est ii. Non. Decemb. ex die consecutionis in sæculo fuit ad usque vii. Idas Decemb. This last inscription is taken from a Christian cemetery in Africa, not in Rome; but it was worth quoting for its exact conformity with the one which precedes it. In both alike there is the same distinction between the natural and the spiritual age of the deceased—i.e., between his first and his second birth. After stating the number of years he had lived in the world, his age is computed afresh from the day of his regeneration, thus marking off the length of his spiritual from that of his merely animal life.
A Greek inscription was found a few years since on the Via Latina, recording of a lady who had belonged to one of the Gnostic sects in the third century, that she had been “anointed in the baths of Christ with his pure and incorruptible ointment”—an inscription which probably refers to two separate rites in use among the Gnostics, in imitation of the two Christian sacraments. Of a Christian lady buried in Spoleto, her epitaph records that she had been confirmed (consignata) by Pope Liberius; this, of course, belongs to the middle of the fourth century. And we read of a boy who died when he was a little more than five years old: Bimus trimus consecutus est—words which were a veritable enigma to all antiquarians, until the learned Marini compared with them the phrases of Roman law, bima trima die dos reddita, bima trima die legatum solutum, and pointed out that as these phrases undoubtedly signified that such a portion of the dowry or legacy was paid in the second year, and such another portion in the third, so the corresponding words in the Christian epitaph could only mean that the deceased had received something when he was two years old, and something else when he was three; and although the particular gifts received are not mentioned because of the disciplina arcani, we can have no difficulty in supplying baptism and confirmation. De Rossi adopts this interpretation; indeed, it does not seem possible to suggest any other.