devotion; but not till six centuries of gathering gloom had passed over her head after her fatal alliance with imperial power did degenerate art dare to portray to the eye of sense the death pangs and throes of mortal agony of the suffering Son of God. In the church of the Catacombs these images of sadness and gloom have no place. All is bright, cheerful, and hope-inspiring. In the following chapter we shall see that these characteristics are strikingly manifested in all the representations of Our Lord that there occur.
Note.—We have made no reference in the foregoing remarks to the pre-Christian crosses, of which so many examples occur. It is not remarkable that this perhaps simplest of all geometrical figures should have attracted the notice of many diverse and ancient races, and even have been regarded as a sign of potent mystical meaning. This subject has been treated with a good deal of fantastic theory by S. Baring-Gould, M.A., (Curious Myths of the Middle Ages, pp. 341, et seq.;) more philosophically by Creuzer, (Symbolek, pp. 168 et seq.,) and by various travellers and observers of ancient remains in many lands. Sir Robert Ker Porter mentions the hieroglyph of a cross, accompanied by cuneiform inscriptions, which he saw on a stone among the ruins of Susa. (Travels, vol. ii, p. 414.) Prescott mentions its occurrence among the objects of worship in the idol temples of Anahuac, (Conquest of Mexico, vol. iii, pp. 338-340.) It was found on the temple of Serapis at Alexandria, which fact was urged by the pagan priests to induce Theodosius not to destroy that building. (Socrates, Eccl. Hist., v, 17.) It was probably a Nilometer, or perhaps the so-called “Key of the Nile,” frequently held in the hand of Egyptian deities as the emblem of life, or the symbol of Venus, probably of phallic significance. (Tertul., Apol., c. 16.) It is found also on Babylonian cylinders, on Phœnician and Etruscan remains, and among the Brahminical and Buddhist antiquities of India and China. (Medhurst’s China, p. 217.) It was also the sign of the Hammer of Thor, by which he smote the great serpent of the Scandinavian mythology. On rather slender evidence S. Baring-Gould attributes its use to the pre-historic lake-dwellers of Switzerland. It was also found, he asserts, combined with certain ichthyic representations in a mosaic floor of pre-Christian date, near Pau in France, in 1850. This example was probably post-Christian.
[357] When persecution ceased, this veil of mystery was thrown off and a less esoteric art employed; but even when Christianity came forth victorious from the Catacombs, symbolical paintings celebrated its triumph upon the walls of the basilicas and baptisteries which rose in the great centres of population.
[358] Mémoire sur les antiquités Chrétiennes des Catacombes. (Mém. de l’Acad. des Inscr., XIII.)
[359] Sometimes this superzealous interpretation leads to absurd mistakes. Aringhi devotes two folio pages to the explanation of certain figures which occur in the inscriptions of the Catacombs, which he calls representations of the human heart. He illustrates the subject with much sacred and profane learning, and with many quotations from the Scriptures, the Fathers, and classic authors. Another archæologist, Boldoni, suggests that the figures signify the bitterest sorrow of heart—dolorem cordi intimum; and another believes them to be representations of a heart transpierced with a thorn, the symbol of profoundest grief. These mysterious figures, whose hidden meaning was sought with such empty toil—arcanam significationem inani labore investigarint, says De Rossi—were, however, nothing more than the leaf-decorations employed in both pagan and Christian inscriptions by way of punctuation! See the following example:
Fig. 32.—To Berpius, (or Verpius,) in Peace.
[360] See especially the church of S. Stefano Rotondo, where is a chronological series of martyrdoms, represented in all their direst horrors, from the crucifixion of Our Lord to the reign of Julian. Among other grotesqueries is a picture of St. Dionysius walking in full episcopal robes at the head of a procession, holding his head, streaming with blood, in his hands!
The desire to find martyrs has led over-zealous antiquarians to discover instruments of torture in the implements of trade commonly represented on the gravestones of the Catacombs. The adz and saw of the carpenter are made to do duty in some sensational tale of chopping and sawing of a Christian sufferer, and the baker’s corn measure is transformed into a martyr’s fiery furnace.