Fabiola

Front matter

Ghs.i^EEs^±j

Copyright }^°__II_il_

COEOilGUr DEPOSIT.

Preface

^HEN tlie plan of the Popular CatTioUc Library was formed, the author of the following little work was consulted upon it. He not only approved of the design, Tbut ventui-ed to suggest, among others, a series of tales illustrative of the condition of the Church in different periods of her past existence. One, for instance, might be called " The Church of the Catacombs ; " a second, "The Church of the Basilicas;" each comprising three hundred years : a third would be on " The Church of the Cloister ;" and then, perhaps, a fourth might be added, called "The Church of the Schools."

In proposing this sketch, he added,— perhaps the reader will find indiscreetly,— that he felt half inclined to undertake the first, by way of illustrating the proposed plan. He was taken at his word, and urged strongly to begin the work. After some reflection, he consented ; but with an understanding, that it was not to be an occupation, but only the recreation of leisure hours. With this condition, the work was commenced early in this year ; and it has been carried on entirely on that principle.

It has, therefore, been written at all sorts of times and in all sorts of places ; early and late, when no duty urged, in scraps and fragments of time, when the body was too fatigued or the mind too worn for heavier occupation ; in the road-side inn, in the halt of travel, in strange houses, in every variety of situation and circumstances— sometimes trying ones. It has thus been composed bit by bit, in portions varying from ten lines to half-a-dozen pages at most, and generally with few books or resources at hand. But once begun, it has proved what it was taken for,— a recreation, and often a solace and a sedative ; from the memories it has revived, the associations it has renewed, the scattered and broken remnants of old studies and early readings which it has

-trd combined, and by the familiarity which it has cherished with better times and better things than surround us in our age.

Why need the reader be told all this 'i For two reasons :

First, this method of composition may possibly be reflected on the work ; and he may find it patchy and ill-assorted, or not well connected in its parts. If so, this account will explain the cause.

Secondly, he will thus be led not to expect a treatise or a learned work even upon ecclesiastical antiquities. Nothing would have been easier than to cast an air of erudition over this little book, and till half of each page with notes and references. But this was never the writer' s idea. His desire was rather to make his reader familiar with the usages, habits, condition, ideas, feeling, and spirit of the early ages of Christianity. This required a certain acquaintance with places and objects connected with the period, and some familiarity, more habitual than learned, with the records of the time. For instance, such writings as the Acts of primitive Martyrs should have been frequently read, so as to leave impressions on the author"' s mind, rather than have been examined scientifically and critically for mere antiquarian purposes. And so, such places or monuments as have to be explained should seem to stand before the eye of the describer, from frequently and almost casually seeing them, rather than have to be drawn from books.

Another source of instruction has been freely iised. Any one acquainted with the Roman Breviary must have observed, that in the ofiices of certain saints a peculiar style prevails, which presents the holy persons commemorated in a distinct and characteristic form. This is not the result so much of any continuous narrative, as of expressions put into their mouths, or brief descriptions of events in their lives, repeated often again and again, in antiphons, responsoria to lessons, and even versicles ; till they put before us an individuality, a portrait clear and definite of singular excellence. To this class belong the ofiices of SS. Agnes, Agatha, Csecilia, and Lucia ; and those of St. Clement and St. Martin. Each of these saints stands out before our minds with distinct features ; almost as if we had seen and known them.

If, for instance, we take the first that we have named, we clearly draw out the following circumstances. She is evidently pursued by some heathen admirer, whose suit for her hand she repeatedly rejects. Sometimes she tells him that he is forestalled by another, to whom she is betrothed ; sometimes she describes this object of her choice under various images, representing him even as the object of homage to sun and moon. On another occasion she describes the rich gifts, or the beautiful garlands with which he has adorned her, and the chaste caresses by which he has endeared himself to her. Then at last, as if more importunately pressed, slie rejects the love of perishable man, "the food of death," and triumphantly proclaims herself the spouse of Christ. Threats are used ; but she declares herself under the protection of an angel who will shield her.

This history is as plainly written by the fragments of her office, as a word is by scattered letters brought, and joined together. But throughout, one discerns another peculiarity, and a truly beautiful one in her character. It is clearly represented to us, that the saint had ever before her the unseen Object of her love, saw Him, heard Him, felt Him, and entertained, and had returned, a real affection, such as hearts on earth have for one another. She seems to walk in perpetual vision, almost in ecstatic fruition, of her Spouse's presence. He has actually put a ring upon her finger, has transferred the blood from His own cheek to hers, has crowned her with budding roses. Her eye is really upon him, with unerring gaze, and returned looks of gracious love.

What writer that introduced the person would venture to alter the character? Who would presume to attempt one at variance with it? Or who would hope to draw a portrait more life-like and more exquisite than the Church has done ? For, putting aside all inquiry as to the genuineness of the acts by which these passages are suggested ; and still more waving the question whether the hard critical spirit of a former age too lightly rejected such ecclesiastical documents, as Gueranger thinks ; it is clear that the Church, in her office, intends to place before us a certain type of high virtue embodied in the character of that saint. The writer of the following pages considered himself therefore bound to adhere to this view.

Whether these objects have been attained, it is for the reader to judge. At any rate, even looking at the amount of information to be expected from a work in this form, and one intended for general reading, a comparison between the subjects introduced, either formally or casually, and those given in any elementary work, such as Fleury's Manners of tJie Christians, which embraces several centuries more, will show that as much positive knowledge on the practices and belief of that early peiiod is here imparted, as it is usual to communicate in a more didactic form.

At the same time, the reader must remember that this book is not historical. It takes in but a period of a few months, extended in some concluding chapters. It consists rather of a series of pictures than of a narrative of events. Occurrences, therefore, of different epochs and different countries have been condensed into a small space. Chronology has been sacrificed to this purpose. The date of Dioclesian' s edict has been anticipated by two months : the martyrdom of St. Agnes by a year; the period of St. Sebastian, though uncertain, has been brought down later. All that relates to Christian topography has been kept as accurate as possible. A martyrdom has been transferred from Imola to Fondi.

It was necessary to introduce some view of the morals and opinions of the Pagan world, as a contrast to those of Christians. But their worst aspect has been carefully suppressed, as nothing could be admitted here which the most sensitive Catholic eye would shrink from contemplating. It is indeed earnestly desired that this little work, written solely for recreation, be read also as a relaxation from graver pursuits ; but that, at the same time, the reader may rise from its perusal with a feeling that his time has not been lost, nor his mind occupied vdth frivolous ideas. Rather let it be hoped, that some admiration and love may be inspired by it of those primitive times, which an over-excited interest in later and more brilliant epochs of the Church is too apt to diminish or obscure.

The Bark of Peter, as found in the Catacombs.

m

Contents

PAGE

Preface to the Illustrated Edition iii

Author's Preface '^li

List of Illustrations xiii

CHAP.

Part I

I. The Christian House 19

II. The Martyr's Box . . 26

III. The Dedication 32

IV. The Heathen Household 42

V. The Visit 58

VI. The Banquet • • • • 64

VII. Poor and Rich '72

VIII. The First Day's Conclusion 82

IX. Meetings 88

X. Other Meetings 106

XI. A Talk with the Reader 119

XII. The Wolf and the Fox 129

XIII. Charity 1^5

XIV. Extremes Meet 139

XV. Charity Returns . . . 149

XVI. The Month of October 154

XVII. The Christian Community • 170

XVIII. Temptation 183

XIX. The Pall . . 190

PART 11.

I. Diogenes 205

II. The Cemeteries 219

III. What Diogenes could not tell about the Catacombs . 239

CHAP. PAGE

IV. What Diogenes did tell about the Catacombs . . 248

V. Above Ground 261

VI. Deliberations 265

VII. Dark Death . . . 275

VIII. Darker Still 280

IX. The False Brother . 285

X. The Ordination in December 291

XI. The Virgins 300

XII. The Nomentan Villa 308

XIII. The Edict 315

XIV. The Discovery . .325

XV. Explanations 330

XVI. The Wole in the Fold .335

XVII. The First Flower 356

XVIII. Retribution 368

XIX. Twofold Revenge . . . . . . . 381

XX. The Public Works 390

XXI. The Prison 396

XXII. The Viaticum 403

XXIII. The Fight 419

XXIV. The Christian Soldier 431

XXV. The Rescue , ... 437

XXVI. The Revival 448

XXVII. The Second Crown 457

XXVIII. The Critical Day : its First Part .... 464 XXIX. The same Day : its Second Part .... 473

XXX. The same Day : its Third Part 491

XXXI. DioNYSius, Priest and Physician .... 507 XXXII. The Sacrifice Accepted . 513

XXXIII. Miriam's History 523

XXXIV. Bright Death 533

Part III

I. The Stranger from the East ...... 549

II. The Stranger in Rome 558

III. And Last 664 w

LIST OF ILLUSTRATIONS.

FULL-PAGE ILLUSTRATIONS.

"^ Chkomolithogeaph of St. Agnes, Viegist akd Martyr. Frontispiece.

FROM ORIGINAL DRAWJNGS BY VAN DARGENT.

PAGE

Ordination, in the Early Ages of the Church .... 33

'/ The Sacrament of Penance, in the Early Ages of the Church . 125

The Blessed Eucharist, in the Early Ages of the Church . . 337

Confirmation, in the Early Ages of the Church ... 343

Baptism, in the Early Ages of the Church 539

Administering the Sacrament of Extreme Unction, in the Early

Ages of the Church 545

, A Marriage, in the Early Ages of the Church .... 553

FROM ORIGINAL DRAWINGS BY JOSEPH BLANC.

" With trembling hands she drew from her neck the golden chain" 39

"Fabiola grasped the style in her right hand, and made an almost blind thrust at the unflinching handmaid " . . 51

"He who watched with beaming eye the alms-coffers of Jerusalem, AND noted the WIDOW'S MITE, ALONE SAW DROPPED INTO THE

chest, by the bandaged arm of a foreign female slave, a

valuable emerald ring" 55

" ' Hare ! ' said Pancratius, ' these are the trumpet-notes that

SUMMON us'" 95

" ' Here it goes ! ' and he thrust it into the blazing fire " . . 321

" * Is it possible ? ' SHE EXCLAIMED WITH HORROR, ' Is THAT TaECISIUS

WHOM I MET A FEW MOMENTS AGO, SO FAIR AND LOVELY ? ' " . . 409

PAOK

"Each one, approaching devoutly, and with tears of gratitude, received from his consecrated hand his shake — that is, the whole of the mystical food" 415

"PaNCRATIUS was STILL STANDING IN THE SAME PLACE, FACING THE

Emperor, apparently so absorbed in higher thoughts as not TO heed the movements of his enemy" 427

"The Judge angrily reproved the executioner for his hesitation, and bid him at once do his duty " 481

"Fabiola went down herself, with a few servants, and what was her distress at finding poor Emerentiana lying weltering in her blood, and perfectly dead " 535

The Euins of the Coliseum, as seen from the Palatine of St.

Bonaventure 89

St. Lawrence Display'ing his Treasures 151

Interior of the Temple of Jupiter 163

The Euins of the Eoman Forum, as they are to-day . . . 199

The Martyr's Widow 321

The Tomb of St. C-ecilia 227

A Columbarium, or Underground Sepulchre, in which the Eomans

Deposited the Urns Containing the Ashes of the Dead . . 233

The Claudian Aqueduct 267

Instruments of Torture used against the Christians, from Eoller's

"Catacombes de Eome" 287

An Attack in the Catacombs 349

The Martyr C^ecilia 363

The Martyr's Burial 377

The North- West Side of the Forum 453

The Christian Martyr . 485

LLUSTRATIONS IN THE TEXT.

exclusive of ornamental initials.

The Bark of Peter, as found in the Catacombs

Interior of a Eoman Dwelling at Pompeii ....

Plan of Pansa's House at Pompeii

Door of Pansa's House, with the Greeting SALVE or WELCOME

12 19

20 22 i4-P

PAGE

Atkium of a Pompeian House 23

Ateium of a House ix Pompeii 23

Clepsydea, or Water-clock, from a Bas-Eelief ix the Maitei Palace,

Rome 25

A PoriTRAiT of Christ, from the Catacomb of St. Poxtiantjs . 25 A Piece of a "Gold Glass" fouxd ix the Catacombs . . .41

Pompeiax Couch 44

Table, after a Paixtixg ix Hercuxaxeum 44

Couch from Herculaxeum 45

Elaborate Seat from Herculaxeum 46

A Slave, from a Paixtixg in Herculaxeum 48

A Lamp fouxd ix^ the Catacombs 57

Saixt Agxes, from ax Old Vase 60

Saixt Agxes, from ax Old Vase Preserved ix the Vaticax Museum 61

Baxquet Table, from a Pompeiax Paixtixg 67

David with his Slixg, from the Catacomb of St. Peteoxilla . . 71

A Dove, as a Symbol of the Soul, fouxd ix the Catacombs . . 81

Volumixa, from a Paixtixg of Pompeii 84

SCRIXILII, FROM A PICTURE IX THE CeMETERT OF St. CaLLISTUS . . 84

Our Saviour, from a Repeesextatiox fouxd ix the Catacombs . 87

Meta Sudaxs, after a Broxze OF Vespasiax 91

The Arch of TituS 92

The Appiax Way, as it was 102

Emblematic Eepeesextatiox of Paradise, fouxd ix the Catacombs 105 Saixt Sebastiax, from the "Roma Sotteraxea" of De Rossi . . 107 Military Tribuxes, after a Bas-Relief ox Trajax's Coloix . . 108

The Eomax Forum m

A Lamb with a Milk Cax, fouxd ix the Catacomb of SS. Peter

axd Maecellix 118

St. Ignatius, Bishop of Axtioch 12i

MOXOGEAMS OF ChEIST, FOUXD IX THE CATACOMBS, 128, 169, 264, 274, 279,

RoMAX Gaedexs, from ax Old Paixtixg 130

A Lamp, with the Moxogbam of Christ 134

A Deacox, feom De Rossi's « Roma Sotteraxea " 137

A Fish Carryixg Bread axd Wixe, from the Cemetery of St. Lucixa 138 A Wall Paixtixg, from the Cemetery of St. Priscilla . . .148 n4tsi

M

PAGE

Chkist in the Midst of His Apostles, from a Painting in the Catacombs 1^^

Interior of a Eoman Theatre 185

Halls in the Baths of Caracalla 186

The Peacock, as an Emblem of the Resurrection . . • .189

A Dote, as an Emblem of the Soul 203

Diogenes, the Excatator, from a Painting in the Cemetery of

Domitilla 205

Jonas, after a Painting in the Cemetery of Oallistus . . . 206 Lazarus Raised from the Dead 307

Two POSSORES, OR EXCAVATORS, FROM A PICTURE AT THE CeMETERT OF

Callistus 208

A Gallery in the Cemetery of St. Agnes, on the Nomentan Way 211 Inscription of the Cemetery of St. Agnes . . . • . 212

An Arcosolium 213

Our Satiour Blessing the Bread, from a Picture in the Catacombs 218

A Staircase in the Catacombs 220

A Chapel of the Blessed Sacrament 224

Underground Gallery in the Catacombs, from Th. Roller's " Cata-

A Loculus, Closed 231

A Lamb with a Milk Pail, Emblematic of the Blessed Eucharist,

found in the catacombs 238

St. Cornelius and St. Cyprian, from De Rossi's " Roma Sotteranea " 244

The Tomb of Cornelius 247

A Lamp with a Representation of the Good Shepherd, found at

Ostium, prior to the Third Century, from Roller's "Cata-

combes" 249

CuBicuLUM, OR Crypt, as found in the Catacombs .... 250 The Last Supper, from a Painting in the Cemetery of St. Callistus 251 A Ceiling in the Catacombs, from De Rossi's "Roma Sotteranea" 252 Our Lord Under the Symbol of Orpheus, from a Picture in the

Cemetery of Domitilius . . . , 253

The Good Shepherd, a Woman Pra:ying, from the Arcosolium of the

Cemetery of SS. Nereus and Achilleus 254

A Ceiling in the Catacombs, in the Cemetery of Domitilla, Third

Century 255

'nn

PAGE

The Fishes and Anchor, the Fishes and Doves . . . .356 The Blessed Virgin and the Magi, from a Picture in the Cemetery OP Callistus 258

Moses Striking the Rock, from the Cemetery of " Inter Duos Lauros " 260 Maximilian Herculeus, from a Bronze Medal in the Collection

OF France 366

The Peacock, as an Emblem of the Eesurrection, found in the

Catacombs 284

Christ and His Apostles, from a Picture in the Catacombs . . 390

St. Pudentiana, St. Priscilla, and St. Praxedes 293

Our Saviour Represented as the Good Shepherd, with a Milk Can

AT His Side, as found in the Catacombs 399

Chair of St. Peter 304

The Anchor and Fishes, an Emblem of Christianity, found in the

Catacombs .... 307

" Haughty Roman dame ! Thou shalt bitterly rue this day and

HOUR" 313

A Lamb Between Wolves, Emblematic of the Church, from a Picture IN the Cemetery of St. Pr^etextatus 314

An Emblem of Paradise, found in the Catacombs .... 329 Ruins of the Basilica of St. Alexander, on the Nomentan Wat,

FROM Roller's " Catacombes de Rome " 342

Plan of Subterranean Church, in the Cemetery of St. Agnes . 345 A Cathedra, or Episcopal Chair, in Catacomb of St. Agnes . . 346 An Altar with its Episcopal Chair, in the Cemetery of St. Agnes 348

An Altar in the Cemetery of St. Sixtus 353

The Cure of the Man Born Blind, from a Picture in the Catacombs 355

The Woman of Samaria, from a Picture in the Cemetery of St.

domitilla 36^

Jesus Cures the Blind Man, from a Picture in the Cemetery of

St. Domitilla 3gQ

The Anchor and Fish, Emblematic of Christianity, found in the

Catacombs 339

The Mamertine Prison 393

The Blessed Virgin, from a Portrait found in the Cemetery of

St. Agnes

The Coliseum 420

XVll

PAGE

A Lamp Bearing a Monogram of Christ, found in the Catacombs 430 Elias Carried to Heaven, from a Picture found in the Catacombs 447 Moses Receiving the Law, from a Picture in the Cemetery of

"Inter Duos Lauros" 456

Christ Blessing a Child, from a Picture in the Cemetery of the

Latin Way - ... - 463

Chains for the Martyrs, after a Picture found in 1841, in a Crypt

at Milan - 480

A Blood Urn, used as a Mark for a Martyr's Grave . . . 489 The Resurrection of Lazarus, from the Cemetery of St. Domitilla 490

Cemetery of Callistus 508

Ordination, from a Picture in the Catacombs .... 531

Portrait of Our Saviour, from the Catacomb of St. Callistus . 548

CONSTANTINE, THE FiRST CHRISTIAN EmPEROR, AFTER A MeDAL OF THE

Time 549

Dioclesian, after a Medal in the Cabinet of Prance . . . 650 LuciNius, Masentius, Galerius-Maximinus, from Gold and Silver

Medals in the French Collection 550

The Labarum, or Christian Standard, from a Coin of Constantine 552 NoE AND the Ark, as a Symbol of the Church, from a Picture in

THE Catacombs 557

The Sacrifice of Abraham, from a Picture in the Catacombs 563 s U u walk,

Interior of a Roman dwelling at Pompeii.

Chapter I. The Christian House

T is on an afternoon in September of the year 302, that we invite our reader to accompany us through the streets of Rome. The sun has declined, and is about two hours from his setting ; the day is cloudless, and its heat has cooled, so that multitudes are ii:ssuing from their houses, and making their way towards Caasar's gardens on one side, or Sallust's on the, other, to enjoy their evening and learn the news of the day.

But the part of the city to which we wish to conduct our friendly reader is that know^n by the name of the Campus Martins. It comiDrised the flat alluvial plain betw^een the seven hills of older Rome and the Tiber. Before the close of the republican period, this field, once left bare for the athletic and war-

^y^ Street of tlip Thp-ms.

Plan of Pant-a's house, at Pompeii like exercises of the j^eoi^le, had begun to be encroached upon by public buildings. Pompey had erected in it his theatre ; soon after, Agrippa raised the Pantheon and its adjoining baths. But gradually it became occupied by private dwellings ; while

TO w the hills, in the early empire the aiistocratic portion of the city, were seized upon for greater edifices. Thus the Palatine, after Nero's fire, became almost too small for the Imperial residence and its adjoining Circus Maximus. The Esquiline was usuiped by Titus's baths, built on the ruins of the Golden House, the Aventine by Caracalla's; and at the period of which we write, the Emperor Dioclesian was covering the space sufficient for many lordly dwellings, by the erection of his Thermae * on the Quirinal, not far from Sallust's garden, just alluded to.

The particular spot in the Campus Martins to which we will direct our steps, is one whose situation is so definite, that we can accurately describe it to any one acquainted with the topography of ancient or modern Kome. In republican times there was a large square space in the Campus Martius, surrounded by boarding, and divided into pens, in which the Comitia, or meetings of the tribes of the people, were held, for gi\-ing their votes. This was called the Septa, or Ovik, from its resemblance to a sheepfold. Augustus carried out a plan, described by Cicero in a letter to Atticus,t of transforming this homely contrivance into a magnificent and solid structure. The Septa Julia, as it was thenceforth called, was a splendid portico of 1000 by 500 feet, supported by columns, and adorned with paintings. Its ruins are clearly traceable; and it occupied the space now covered by the Doria and Yerospi palaces (running thus along the present Corso), the Roman College, the Church of St. Ignatius, and the Oratory of the Caravita.

The house to which we invite our reader is exactly opposite, and on the east side of this edifice, including in its area the present church of St. Marcellus, whence it extended back towards the foot of the Quirinal hill. It is thus found to covei-, as noble Roman houses did, a considerable extent of ground. From the outside it presents but a blank and dead appear-

* Hot-baths. f Lib. iv. ep. 16.

w

Iff ance. The walls are plain, without architectural ornament, not high, and scarcely broken by windows. In the middle of one side of this quadrangle is a door, in antis, that is, merely relieved by a tympanum or triangular cornice, resting on two half columns. Using our privilege as "artists of fiction," of invisible ubiquity, we will enter in with our friend, or " shadow," as he would have been anciently called. Passing through the porch, on the pavement of which we read with pleasure, in mosaic, the greeting Salve, or Welcome, we find ourselves in the atrium, or first court of the house, surrounded by a portico or colonnade.*

In the centre of the marble pavement a softly warbling jet of pure water, brought by the Claudian aqueduct from the Tnsculan hills, springs into the air, now- higher, now lower, and falls into an elevated basin of red marble, over the sides of which it flows in downy waves ; and before reaching its lower and wdder recipient, scatters a gentle shower on the rare and brilliant flowers placed in elegant vases around. Under the portico we see furniture disposed, Door of pa„ea'Bhoase,^wiattie greeting SAI.VE of a Hch and somctimes rarcchar-

acter; couches inlaid with ivory, and even silver ; tables of oriental woods, bearing candelabra, lamps, and other household implements of bronze or silver ; delicately chased busts, vases, tripods, and objects of mere art. On the walls are paintings evidently of a former period, still, however, retaining all their brightness of color and freshness of execution. These are sepai-ated by niches with stat-

* The Pompeian Court in the Crystal Palace, London, will have familiarized many readers with the forms of an ancient house.

ues, representing indeed, like the pictures, mythological or historical subjects ; but we cannot help observing that nothing meets the eye which could offend the most delicate mind. Here and there an empty niche, or a covered painting, proves that this is not the result of accident.

Atrium of a Pompeian house.

As outside the columns, the coving roof leaves a large square opening in its centre, called the impluvium, there is drawn across it a curtain, or veil of dark canvas, which keeps out the sun and rain. An artificial twilight therefore alone m

AtriuTR of a house in Pompeii.

enables us to see all that we have described ; but it gives greater effect to what is beyond. Through an arch, opposite to the one whereby we have entered, we catch a glimpse of an inner and still richer court, paved with variegated marbles, and adorned with bright gilding. The veil of the opening above, which, however, here is closed with thick glass or talc {lapis speculmns), has been partly withdrawn, and admits a bright but softened ray from the evening sun on to the place, where we see, for the first time, that we are in no enchanted hall, but in an inhabited house.

Beside a table, just outside the columns of Phrygian marble, sits a matron not beyond the middle of life, whose features, noble yet mild, show traces of having passed through sorrow at some earlier period. But a powerful influence has subdued the recollection of it, or blended it with a sweeter thought ; and the two always come together, and have long dwelt united in her heart. The simplicity of her appearance strangely contrasts with the richness of all around her ; her hair, streaked with silver, is left uncovered, and unconcealed by any artifice ; her robes are of the plainest color and texture, without embroidery, except the purple ribbon sewed on, and called the segmentwn, which denotes the state of widowhood ; and not a jewel or precious ornament, of which the Roman ladies were so lavish, is to be seen upon her person. The only thing approaching to this is a slight gold cord or chain round her neck, from which apparently hangs some object, carefully concealed within the upper hem of her dress.

At the time that we discover her she is busily engaged over a piece of work, which evidently has no personal use. Upon a long rich strip of gold cloth she is embroidering with still richer gold thread ; and occasionally she has recourse to one or another of several elegant caskets upon the table, from which she takes out a pearl, or a gem set in gold, and introduces it into the design. It looks as if the precious ornaments of earlier days were being devoted to some higher purpose.

w

But as time goes on, some little uneasiness may be observed to come over her calm thoughts, hitherto absorbed, to all appearance, in her work. She now occasionally raises her eyes from it towards the entrance ; sometimes she listens for footsteps, and seems disappointed. She looks up towards the sun ; then perhaps turns her glance towards a clepsydra or water-clock, on a bracket near her, but just '^^^'^"CsS/ hJ^the

/> 1 • /> • • j_ 1 • j_ Mattel palace, Rome.

as a leeling or more serious anxiety begins to make an impression on her countenance, a cheerful rap strikes the house-door, and she bends forward with a radiant look to meet the welcome visitor.

A Portrait of Christ, from the Catacomb of St. Pontlanns w

Chapter II. The Martyr's Boy

'T is a youth full of grace, and sprightliness, and candor, that comes forward with light and buoyant steps across the atrium, towards the inner-hall; and we shall hardly find time to sketch him before he reaches it. He is about fourteen years old, but tall for that age, with elegance of form and manliness of bearing. His bare neck and limbs are well developed by healthy exercise ; his features display an open and warm heart, while his lofty forehead, round which his brown hair naturally curls, beams with a bright intelligence. He wears the usual youth's garment, the short 2^'<xtexta, reaching below the knee, and a golden bulla, or hollow spheroid of gold suspended round his neck. A bundle of papers and vellum rolls fastened together, and carried by an old servant behind him, shows us that he is just returning home from school.*