The mere technical description of the Catacombs, however, gives no idea of the thrilling interest felt in traversing their long-drawn corridors and vaulted halls. As the pilgrim to this shrine of the primitive faith visits these chambers of silence and gloom, accompanied by a serge-clad, sandaled monk,[22] he seems like the Tuscan poet wandering through the realms of darkness with his shadowy guide.
“Ora sen’ va per un segreto calle
Tra l’ muro della terra.”[23]
His footsteps echo strangely down the distant passages and hollow vaults, dying gradually away in the solemn stillness of this valley of the shadow of death. The
graves yawn weirdly as he passes, torch in hand. The flame struggles feebly with the thickening darkness, vaguely revealing the unfleshed skeletons on either side, till its redness fades to sickly white, like that fioco lume,[24] that pale light, by which Dante saw the crowding ghosts upon the shores of Acheron. Deep mysterious shadows crouch around, and the dim perspective, lined with the sepuchral niches of the silent community of the dead, stretch on in an apparently unending vista. The very air seems oppressive and stifling, and laden with the dry dust of death. The vast extent and population of this great necropolis overwhelm the imagination, and bring to mind Petrarch’s melancholy line—
“Piena di morti tutta la campagna.”[25]
Almost appalling in its awe and solemnity is the sudden transition from the busy city of the living to the silent city of the dead; from the golden glory of the Italian sunlight to the funereal gloom of these sombre vaults. The sacred influence of the place subdues the soul to tender emotions. The fading pictures on the walls and the pious epitaphs of the departed breathe on every side an atmosphere of faith and hope, and awaken a sense of spiritual kinship that overleaps the intervening centuries. We speak with bated breath and in whispered tones, and thought is busy with the past. It is impossible not to feel strangely moved while gazing on the crumbling relics of mortality committed ages ago, with pious care and many tears, to their last, long rest.
“It seems as if we had the sleepers known.”[26]
We see the mother, the while her heart is wrung with anguish, laying on its stony bed—rude couch for such a tender thing—the little form that she had cherished in her warm embrace. We behold the persecuted flock following, it may be, the mangled remains of the faithful pastor and valiant martyr for the truth, which at the risk of their lives they have stealthily gathered at dead of night. With holy hymns,[27] broken by their sobs, they commit his mutilated body to the grave, where after life’s long toil he sleepeth well. We hear the Christian chant, the funeral plaint, the pleading tones of prayer, and the words of holy consolation and of lofty hope with which the dead in Christ are laid to rest. A moment, and—the spell is broken, the past has vanished, and stern reality becomes again a presence. Ruin and desolation and decay are all around.
The exploration of these worse than Dædalian labyrinths is not unattended with danger. That intrepid investigator, Bosio, was several times well nigh lost in their mysterious depths. That disaster really happened to M. Roberts, a young French artist, whose adventure has been wrought into an exciting scene in Hans Andersen’s tale, “The Improvisatore,” and forms an episode in the Abbé de Lille’s poem, “L’Imagination.” Inspired by the enthusiasm of his profession, he attempted to explore one of the Catacombs, with nothing but a torch and a thread for a guide. As he wandered on through gallery and chamber, he became so absorbed in his study that, unawares, the thread slipped from his hand. On discovering his loss he tried, but in vain, to recover the clew. Presently his torch went out, and he was left in utter darkness, imprisoned in a living grave, surrounded by the relics of mortality. The silence was oppressive.
He shouted, but the hollow echoes mocked his voice. Weary with fruitless efforts to escape his dread imprisonment he threw himself in despair upon the earth, when, lo, something familiar touched his hand. Could he believe it? it was indeed the long lost clew by which alone he could obtain deliverance from this awful labyrinth. Carefully following the precious thread he reached at last the open air,