| |
In other cases a name drawn on the title in red or scratched on the cement which sealed the tomb was enough to retain the memory of the deceased. There were always however, expressions of best whishes, prayers and sorrow in marble indicating a silent expression between living and dead which expressed a single hope and certainty in a beltei hie.
The more noble occupants often were remembered with frescoes. We find scenes from the old and new testaments, symbolic figures, scenes from real life, and themes purely decorative such as flowers, birds, vases and geometrical orname'ntations.
These pictorial representations along with those sculptured on the face of the sarcophagi, which the rich had done by artisans in their studios, served to express a common concept of faith in divine justice and the salvation of the soul. Eater, starting with the peace of the Church and for all of the 4th century, episodes of the passion and events which brought about the kingdom of Cod, figures of the Virgin, martyrs, saints and apostles began to appear.
A noticeable change occurred between the period of the persecution and that of religious freedom which came about with the Edict of Constantine (313). The walls of the cubicles brought forth a new atmosphere, more intimate forms as opposed to the older ones, but more appropriate to the new life of the community which honored the streets to celebrate their feast days.
As long as the tomb of the martyr remained in its original place, the catacombs were frequently visited. But when political conditions changed and the barbarian invasions intervened, desertion of the countryside, insecurity, the defacement of monuments, made the popes decide, in order to save the relics of these saints, to transfer their holy bodies to churches within the city. With this ultimate sign of devotion, the catacombs were abandoned and for the first time cemeteries were established inside the walls of the city. Slowly, almost all of them were forgotten. Only the ones along the Via Appia were remembered, and especially St. Sebastian was still visited. It also became confused with the nearest cemetery of St. Calixtus.
Throughout the Middle Ages -we don't know exactly what cemeteries or what parts of these cemeteries were accessible. In the 15th century small groups gained access to some of the catacombs. Among these we can remember the members of that Roman Academy which tried to revive the culture of ancient Rome, and which left us with certain inscriptions that were all hut devout. So much so that they became suspect of heresy and were finally tried by Pope Paul II.
In 1578 an important historical event occurred. Strictly by chance, along the Via Salaria, a part of the cemetery of the Giordani family (erroneously believed to be that of Priscilla) was discovered. This discovery, which caused a surge of enthusiasm among learned people, ecclesiastics and the entire population marked the rebirth of new interest in the Roman catacombs. From that time then, we can say that the rediscovery of these ancient cemeteries began.
A determined push toward their exploration was given by Antonio Bosw who, in 1593, at the age of 18 began investigative work which earned him the title « Dove of the Roman underground". But a truly systematic and scientific study must be accredited to Giovanni Battista De Rossi (1822-1894) the true master of the topography of the Christian cemeteries who for half a century conducted excavations in the major cemetery complexes.
A vast crown of underground cemeteries today surrounds the city. Pilgrims and visitors from all parts of the world go down into the sanctuaries of the martyrs. Some to renew an act of faith. Others to relive a mystical atmosphere in a silence full of history.
|
|
|
|
