WITH HILARUS THE FOSSOR.
"No one becomes vile all at once," said the Roman moralist, and we would
be unjust to the fickle, fawning Greek Isidorus, if we concluded that
deliberate treachery was his purpose, as, at the invitation of
Primitius, he repaired next day to the catacomb of St. Calixtus. His was
a susceptible, impressionable nature, easily influenced by its
environment, like certain substances that acquire the odour, fragrant or
foul, of the atmosphere by which they are surrounded. Amid the vileness
of the Roman court, his better feelings died, and he was willing to
become the minion of tyranny, or the tool of treachery. Amid the holy
influences of the Christian assembly, some chord responded, like an
Eolian harp, to the breathings of the airs from heaven. It was,
therefore, with strangely conflicting feelings, that he passed beneath
the Capuan Gate, and along the Appian Way, toward the Villa Marcella.
His better nature recoiled from his purposed treachery of the previous
day. His heart yearned to know more of that strange power which
sustained the Christian martyr in the presence of torture and of death.
He was recognized by the porter at the gate of the villa as the
companion of Faustus, and on his inquiry for the house of Hilarus, the
fossor, was directed to a low-walled, tile-roofed building, such as may
be seen in many parts of the Campagna to the present day. About the
house were many stone chippings, and numerous slabs of marble. Under a
sort of arbour, covered with vine branches in full leaf, stood a
grisly-visaged man, with close-cropped, iron-gray hair, chipping with
mallet and chisel at a large sarcophagus, or stone coffin, upon a
mason's bench.
"Do I address Hilarus, the fossor?" asked the Greek, with a graceful
salutation.
"I am Hilarus, at your service, noble sir," replied the old man, with a
kindly expression of countenance.
The young Greek then told of the invitation given him by the good
presbyter, Primitius, and requested to be conducted to him.
"You are, of course, known to the porter, or you would not have obtained
admission to these grounds," said Hilarus. "But you will first honour my
poor roof by partaking some refreshment after your hot walk from the
city."
"Thanks, good friend," replied the Greek, "a draught of your native
wine would not be amiss. Nay, I would prefer it here beneath the
grateful shadow of this vine," he continued, as Hilarus courteously led
the way to the open door of the cottage. This was quite small, and had
almost no furniture save some earthen pots for cooking at an open
fireplace. In a moment the old man re-appeared with an earthen flagon of
wine and a bronze salver, with bread and goat's milk cheese, and a
bronze cup.[21]
"For whom is this elegant sarcophagus?" asked Isidorus, as he sipped his
wine.
[Illustration: SARCOPHAGUS NOW IN LATERAN MUSEUM.]
"I pray it be not for her who orders it," said the old man, devoutly;
"at least not for many a long day to come. The good Lady Marcella bade
me exercise my best skill in setting forth the great truths of the
Gospel, that in death as in life, she said, she might teach the
doctrines of Christ. She often comes to see how I get on with it, and to
describe how she wishes it to be. See," said the old man, pointing to
the side--(see above)--"the general idea is all her own, the details
only are mine. These four groups exhibit four scenes in the life--or
rather in the death--of our Lord. To the extreme right we see Pilate,
warned by his wife, washing his hands and saying 'I am innocent of the
blood of this just person,' and yet, like a coward, consenting to His
death, he was as guilty as Judas, who betrayed Him."
At this the Greek visibly winced, then paled and flushed, and said,
"Well, what is the next group?"
"That is part of the same," said the sculptor, with evident pride in his
work. "It represents our Lord, guarded by a Roman soldier, witnessing a
good confession before Pontius Pilate. In the central niche are two
soldiers, types of the Christian warriors, whose only place of safety is
beneath the cross; while above are the wreath of victory, the doves of
peace, and the sacred monogram, made up, I need not tell you, who are a
Greek, of the two first letters of the word Christos. To the left you
observe a Roman soldier, putting on Jesus the crown of thorns, and in
the last, Simon the Cyrenian, guarded by a soldier, bearing His
cross."[22]
"And for whom are all these funeral tablets," said Isidorus, pointing to
a number of slabs partly executed--some with the engraved outline of a
dove, or fish, or anchor, or olive branch upon them--leaning against the
wall.
"For whom God pleases," said the old man, devoutly. "I keep them ready
to suit purchasers, and then I have only to fill the name and age, or
date."
"But see here," said the Greek, touching with his foot one on which were
effigies of Castor and Pollux, the "great twin brethren" of the Roman
mythology, and the letters, "DIS MANIBVS--To the Divine Spirits;" "this
is a pagan inscription. How come you to use that?"
"Oh, we turn up such slabs by scores, in ploughing the fields hereabout.
They may be hundreds of years old, for aught I know. We just turn that
side to the wall, or deface it with a few strokes of the chisel."
"It was a prentice hand that made _that_, I'll be bound," said the
Greek, pointing to one on which was rudely painted in black pigment, the
sprawling inscription that follows, no two letters being the same size--
LOcvSaVgvStIsvToRis.
"The Place of Augustus, the Shoemaker."
"Oh, that is the epitaph of a poor cobbler. I let my boys do that for
nothing. They will soon be able to do better. Here now is one by my
oldest son, of which I would not be ashamed myself;" and he pointed to a
neatly-cut inscription, the letters coloured with a bright vermillion
pigment, which ran thus,--
AVRELIAE THEVDOSIAE
BENIGNISSIMAE ET INCOMPARABILI FEMINAE
AVRELIVS OPTATVS
CONIVGE INNOCENTISSIMAE
"Aurelius Optatus, to his most innocent wife, Aurelia Theudosia, a most
gracious and incomparable woman."
"We will now, if you are sufficiently cool," he went on, "enter the
catacomb. It is not well to make too sudden a transition from this
sultry heat to their chilly depths."
"Thanks," said the young man, "I shall find the change from this sultry
air, I doubt not, very agreeable;" and they crossed a vineyard under a
blazing sun, that made the cool crypts exceedingly grateful. Descending
the stairway, the guide took from a niche a small terra-cotta lamp,
which he carefully trimmed and lit at another, which was always kept
burning there.[23]
"Is there not danger of losing one's way in this labyrinth?" asked the
Greek, feeling no small degree of the terror of his late adventure
returning.
"Very great danger, indeed," replied Hilarus, "unless you know the clue
and marks by which we steer, almost like ships at sea. But knowing
these, the way may become as familiar as the streets of Rome. You may,
perhaps, have heard of Cæcilia, a blind girl, who acted as guide to
these subterranean places of assembly, because to her accustomed feet
the path was as easy as the Appian Way to those who see."
"How many Greek epitaphs there are," said Isidorus, deeply interested in
scanning the inscriptions as he passed.
"Yes," said the fossor, "there are a-many of your countryfolk buried
here; and even some who are not like to have their epitaphs written in
the language in which holy Paulus wrote his epistle to the Church in
Rome."
"But what wretched scrawls the most of them are," said the Greek, with
something like a sneer; "and see, here is one even upside down."
"Yes, noble sir," continued the old man, "not many mighty, not many
noble are called--most of those who sleep around us are God's great
family of the poor. Indeed, most of them were slaves. That poor fellow
was a martyr in the last persecution. I mind it well, though it is years
agone. We buried him by stealth at dead of night, and did not notice
that the hastily written inscription was reversed."
The dim rays of their lamp and taper made but a faint ring of light
about their feet. Their steps, as they walked over the rocky floor,
echoed strangely down the long-drawn corridors and hollow vaults, dying
gradually away in the solemn stillness of this valley of the shadow of
death. The sudden transition from the brilliant Italian sunlight to this
sepulchral gloom, from the busy city of the living to this silent city
of the dead, smote the heart of the susceptible youth with a feeling of
awe. And all around in this vast necropolis, each in his narrow cell
forever laid, were unnumbered thousands, who were once like himself,
full of energy and life.
[Illustration: SECTIONAL VIEW OF GALLERY AND CHAMBERS, SHOWING LIGHT AND
AIR SHAFT]
As they advanced, a faint light in the distance seemed to penetrate the
gloom. It grew brighter as they approached, and attracted by the sound
of the footsteps, a venerable figure emerged from a doorway and stood in
the flood of light which poured down from an opening in the vaulted
roof, which extended to the bright free air above. Almost like an
apparition from the other world, in the strong, Rembrandt-like
illumination in which he stood, looked the venerable Primitius, clothed
in white, with silvery hair and flowing beard, and high, bare brow. As
Isidorus glanced up the shaft, he saw the blue sky shining far above,
and the waving of the long grass that fringed the opening for light and
air. This construction--a very frequent one in the Catacombs--is shown
in sectional view on the previous page. On each side of the corridor was
a chamber about twelve feet square, also lit up by this shaft, which,
plastered with white stucco, reflected the light into every part.
"Welcome, my son," said the venerable presbyter, as he sat down on a
bench hewn out of the dry pummice-like rock "Welcome to these abodes of
death; may they prove to thee the birthplace to eternal life;" and he
laid his hand benignantly on the head of the young man, whom he had
motioned to a seat beside him.
"Sire," said the youth, all the nobler feelings of his nature deeply
moved, "I wish above all things to sit at your feet and to learn the
lessons of wisdom which you are so well able to impart But are these
seemly surroundings for a man of your years and condition?--this rocky
vault, this utter loneliness, and these crumbling relics of mortality?"
and he shuddered as he glanced at the shattered sepulchral slabs, which
revealed the remains of what was once man in his strength, woman in her
beauty, or a sweet child in its innocence and glee.
"Why not, my son? soon I must lie down with them and be at rest. The
thought has no terrors to my soul I know no loneliness, and through the
care of kind friends my wants are all supplied. But your young blood and
sensitive imagination, I perceive, shrink from these things to which, by
long use, I have become accustomed. Let us go into the adjoining
chamber, which you will find more cheerful, and, I trust, not less
instructive."
[Illustration]
[Illustration: EARLY CHRISTIAN SCULPTURE--SARCOPHAGUS OF JUNIUS BASSUS,
ROME.]
[Illustration: CEILING PAINTING FROM CATACOMB OF ST. CALIXTUS, ROME.]
FOOTNOTES:
[21] Just such a peasant's house the writer visited on the Appian Way,
near this spot, and just such a repast he shared at the entrance of this
very catacomb. "The wine," said the guide, "is necessary to guard
against a chill." The contrast between the temperature above ground and
below was about 30°.
[22] This sarcophagus, with many others resembling it the writer studied
minutely in the Lateran Museum at Rome.
[23] The writer has some of these earthen lamps which once did service
in the Catacombs. They bear Christian symbols, inscribed before
baking--a dove, anchor, olive branch, fish, and the like.
[Illustration]