The next name of distinction that we meet in connection with this subject is that of Bottari, equally versed in profane and sacred antiquities. His great work on
the sculpture and paintings of the Catacombs[271] was issued from the Vatican press, under the patronage of Clement XII., during the years 1737-1754. Other archæologists, among whom we may enumerate Buonarrotti, Mamachi,[272] Marini, Lupi, Zaccaria,[273] Danzetta,[274] Olivieri, Borgia, and others, illustrated the subject in various works during the eighteenth century. The establishment of the Christian Museum in the Vatican by Benedict XIV. greatly facilitated the study of these antiquities. The taste for archæological research, however, even among ecclesiastics, was principally confined to the remains of pagan antiquity; and amid the many museums of Rome only one was devoted to the Christian monuments of the primitive ages, of which such vast treasures lay buried in the earth.
During the present century important contributions have been made to the literature of the Catacombs by D’Agincourt,[275] Röstell,[276] Raoul-Rochette,[277] the Abbés
Gaume[278] and Gerbet,[279] Bishop Munter,[280] Cardinal Mai,[281] and especially Padres Marchi[282] and Garrucci.
Cardinal Wiseman, in his beautiful tale of Fabiola,[283] attempts to rehabilitate the primitive ages in the garb of modern Romanism. He brings together from widely different periods the legends and traditions, often based on very scanty evidence, which are most favourable to the claims of ultramontanism, and thus completely destroys the historic value of the work, rendering it in essence, as it is in form, a mere romance.
The most magnificent contribution to the literature of the Catacombs, at least in point of artistic excellence and costliness, is the superb work of M. Perret,[284] in six huge folio volumes, with some five hundred coloured drawings, two thirds of which were never before copied, and as many fac-simile inscriptions. It was prepared under the direction of the French Academy of Inscriptions, and by a vote of the Legislative Assembly of the French Republic of 1851 a grant of one hundred and eighty thousand francs was given to defray the cost. No
expense was spared in its production. An able corps of artists and architects were employed for several years in the undertaking. The galleries and cubicula are represented in elaborate drawings, plans, and sections, and many of the frescoes are copied full size. In these latter, however, the artists have injudiciously endeavoured to reproduce the original force, colour, and expression, instead of giving fac-similes of the faded, and often half-obliterated, paintings. Many of the pictures have, therefore, a pre-Raphaelite beauty, which destroys their value as accurate representations of the art of the Catacombs. It is to be regretted that the letter-press which accompanies these plates is not more worthy of the general magnificence of this splendid work. “It is strung together,” says the writer already quoted,[285] “without discrimination or critical research, and conveys a very inaccurate notion of the results which scientific inquiry, as opposed to mere ecclesiastical tradition, has now reached.” We have rarely ventured to make a statement on its authority unless corroborated by more authentic testimony, but many of its accurate drawings of subterranean architecture enhance the value of these pages.
All previous explorers, however, are left far behind by the invaluable labours of the Cavaliere De Rossi, the present custode of the Catacombs, and head of the Roman archæological commission. His profound knowledge of Christian antiquities, his unchallenged candour and honesty of statement, his patience and ingenuity in exploration, his scientific method, accurate observation,
and careful deductions, place him far beyond any of his predecessors in this fascinating but difficult field of inquiry. While, however, his statements of facts may always be relied upon, his theoretical conclusions must sometimes be received with caution, in consequence of that seemingly inevitable tendency in Roman Catholic writers to discover ancient evidences in favour of their modern belief and practice where they can be found by no one else.
The Catacombs are now placed under the jurisdiction of the Roman Cardinal Vicar, assisted by a commission of sacred archæology appointed by the present pontiff. As far as the comparatively limited means at their command will allow, they zealously prosecute the excavation and exploration of this subterranean Rome with a systematic method which has already been attended with remarkable success, and which promises the most happy results in the future. From its crumbling ruins, paintings, decorations, and inscriptions of different ages, De Rossi reconstructs its history, often with the greatest minuteness and fidelity. His Roma Sotterranea[286] contains a general history of the Catacombs on the principle adopted in this volume, and a particular analysis of that of Callixtus, embodying his most important discoveries. The learned author is also publishing a complete collection of all the Christian inscriptions of the first seven centuries found in the vicinity of Rome. The first volume[287] contains all those with consular dates, which