Fig. 15.—Section of Cubicula with Luminare.
The Catacombs were ventilated and partially lighted by numerous openings variously called spiragli, or breathing-holes, and luminari, or light-holes. They were also probably used for the removal of the excavated material from those parts remote from the entrance. They were even more necessary for the admission of air than of light. Were it not for these the number of burning lamps, the multitude of dead bodies, no matter how carefully the loculi were cemented, and the opening of bisomi, or double graves, for interments, would create an insupportable atmosphere. They were generally in the line of junction between two cubicula, a branch of the luminare entering each chamber, as shown in the accompanying section of a portion of the Catacomb of Sts. Marcellinus and Peter. Sometimes, indeed, four, or even more, cubicula were ventilated and partially lighted by the same shaft. De Rossi mentions one luminare in
the recently discovered Cemetery of St. Balbina, which is not square but hexagonal, or nearly so, and which divides into eight branches, illumining as many separate chambers or galleries. Sometimes a funnel-shaped luminare reaches to the lowest piano; but from the faint rays that feebly struggle to those gloomy depths there comes “no light, but rather darkness visible.” In the upper levels, however, some cubicula are well lighted by large openings. The brilliant Italian sunshine to-day lights up the pictured figures on the wall as it must have illumined with its strong Rembrandt light the fair brow of the Christian maiden, the silvery hair of the venerable pastor, or the calm face of the holy dead waiting for interment in those early centuries so long ago. These luminari are often two feet square at the top, and wider as they descend; sometimes they are cylindrical in shape, as in the Catacomb of St. Helena.[20] The external
openings, often concealed by grass and weeds, are very numerous throughout the Campagna near the city, and are often dangerous to the unwary rider. In almost every vineyard between the Pincian and Salarian roads they may be found, and through them an entrance into the Catacombs may frequently be effected. After the persecution had ceased, and there was no longer need for concealment, their number was increased, and they were made of a larger size, and frequently lined with masonry, or plastered and frescoed. In the Catacombs of St. Agnes and of Callixtus are several in a very good state of preservation.
We have already seen the contemporary account of the Catacombs by Prudentius, in the fourth century. Jerome also describes their appearance at the same period in words which are almost equally applicable to-day. “When I was a boy, being educated at Rome,” he says, “I used every Sunday, in company with others of my own age and tastes, to visit the sepulchres of the apostles and martyrs, and to go into the crypts dug in the heart of the earth. The walls on either side are lined with bodies of the dead, and so intense is the darkness as to seemingly fulfill the words of the prophet, ‘They go down alive to Hades.’ Here and there is light let in to mitigate the gloom. As we advance the words of the poet are brought to mind: ‘Horror on all sides; the very silence fills the soul with dread.’”[21]
It must not be supposed that the features above described
are always perfectly exhibited. They are often obscured and obliterated by the lapse of time, and by earthquakes, inundations, and other destructive agencies of nature. The stairways are often broken and interrupted, and the corridors blocked up by the falling in of the roof, where it has been carried too near the surface, or by the crumbling of the walls, and sometimes apparently by design during the age of persecution. The rains of a thousand winters have washed tons of earth down the luminari, destroyed the symmetry of the openings, and completely filled the galleries with débris. The natural dampness of the situation, and the smoke of the lamps of the early worshipers, or the torches of more recent visitors, and sometimes incrustations of nitre, have impaired or destroyed the beauty of many of the paintings. The hand of the spoiler has in many cases completed the work of devastation. The rifled graves and broken tablets show where piety or superstition has removed the relics of the dead, or where idle curiosity has wantonly mutilated their monuments.
The present extent of the Catacombs is the result, not of primary intention, but of the contact of separate areas of comparatively limited original size, and the inosculation, as it were, of their distinct galleries. This is apparent from the fact that this contact and junction sometimes take place between areas of different levels, causing a break in their horizontal continuity, like the “faults” or dislocations common in geological strata. Sometimes, too, this junction between two adjacent areas takes place through a tier of graves, and evidently formed no part of the original design. These separate areas were originally, as we shall see in the [following chapter], private burial places in the vineyards of wealthy Christian converts, and were early