The Atlantic Monthly, Volume 01, No. 05, March, 1858. Various

to start him, and on we stalked, the decreasing twilight and the distant reverberations of thunder among the mountains hastening our steps, until they became almost a trot.

      But soon the trot declined once more into a walk, and a slow one too,—for we entered a gloomy pass or gorge, whose rocky walls on either side effectually excluded what little light yet lingered in the sky. Cautiously picking our way, we slowly travelled on, until at length we became sensible of a faint red flush in the narrow strip of sky overhead. It seemed as though the sun had just wheeled back to give a forgotten message to some starry-night-watcher,—or so my companion intimated. But, unfortunately for his theory, the dull red glare above us, which every moment deepened in intensity, was evidently the reflection of earthly, not heavenly fire. I had seen too many conflagrations to doubt that for an instant. Presently a dull, confused sound fell on our ears, and at a sudden turn round an angle of our mountain road we stood speechless as we gazed on a spectacle which Milton might have conceived and Martin painted.

        "Far other light than that of day there shone

        Upon the wanderers entering Padalon,"

      murmured the artist, as he gazed on the strange scene. And strange indeed was it to our startled eyes. We stood on the end and summit of a mountain spur, some two thousand feet above the valley, or rather basin, below, from the centre of which burst forth a thousand fires, whose dull roar—dulled by distance—was like "the noise of the sea on an iron-bound shore." The extent of space covered by those strange, fierce fires must have amounted to many acres,—in fact, did so, as we afterwards ascertained,—and the effect produced by them may be partially imagined when it is remembered that these flames were of all hues, from rich ruby-red, to the pale lurid light of burning sulphur. Fancy all the gems of Aladdin's Palace or Sinbad's Valley in fierce flashing combustion, immensely magnified, and you may form some faint idea of the scene in that Welsh valley.

      Stretching out, like spokes of a gigantic wheel, from their fiery centre, were huge embankments, like those of Titanic railways, whose summits and sides, especially towards their extremities, glowed in patches with all the hues of the rainbow. As I gazed wonderingly on one of these,—a real mountain of light, far surpassing the Koh-i-Noor,—I observed a dark figure gliding along its summit, pushing something before it, like a black imp conveying an unfortunate soul from one part of Tophet to another. At the extremity of the ridge the imp stopped, and suddenly there shot down the steep, not a tortured ghost, but a shower of radiant gems even more brilliant than those to which I have already referred.

      1

      In 1844, Padre Marchi published a series of numbers, seventeen in all, of a work entitled Monumenti delle Arti Cristiane Primitive nella Metropol del Cristianesmo. The numbers are in quarto, and illustrated by many carefully executed plates. The work was never completed; but it contains a vast amount of important information, chiefly the result of Padre Marchi's own inquiries. The Cavaliere de Rossi, still a young man, one of the most learned and accomplished scholars of Italy, is engaged at present in editing all the Christian inscriptions of the first six centuries. No part of this work has yet appeared. He is the highest living authority on any question regarding the catacombs. The work of the French Commission has been published at Paris in the most magnificent style, in six imperial folio volumes, under the title, Catacombes de Rome, etc., etc. Par LOUIS PERRET. Ouvrage publié par Ordre et aux Frais du Gouvernement, sous la Direction d'une Commission composée de MM. AMPERE, INGRES, MERIMÉE, VITET. It consists of four volumes of elaborate colored plates of architecture, mural paintings, and all works of art found in the catacombs, with one volume of inscriptions, reduced in fac-simile from the originals, and one volume of text. The work is of especial value as regards the first period of Christian Art. Its chief defect is the want of entire accura

1

In 1844, Padre Marchi published a series of numbers, seventeen in all, of a work entitled Monumenti delle Arti Cristiane Primitive nella Metropol del Cristianesmo. The numbers are in quarto, and illustrated by many carefully executed plates. The work was never completed; but it contains a vast amount of important information, chiefly the result of Padre Marchi's own inquiries. The Cavaliere de Rossi, still a young man, one of the most learned and accomplished scholars of Italy, is engaged at present in editing all the Christian inscriptions of the first six centuries. No part of this work has yet appeared. He is the highest living authority on any question regarding the catacombs. The work of the French Commission has been published at Paris in the most magnificent style, in six imperial folio volumes, under the title, Catacombes de Rome, etc., etc. Par LOUIS PERRET. Ouvrage publié par Ordre et aux Frais du Gouvernement, sous la Direction d'une Commission composée de MM. AMPERE, INGRES, MERIMÉE, VITET. It consists of four volumes of elaborate colored plates of architecture, mural paintings, and all works of art found in the catacombs, with one volume of inscriptions, reduced in fac-simile from the originals, and one volume of text. The work is of especial value as regards the first period of Christian Art. Its chief defect is the want of entire accuracy, in some instances, in its representations of the mural paintings,—some outlines effaced in the original being filled out in the copy, and some colors rendered too brightly. But notwithstanding this defect, it is of first importance in illustrating the hitherto very obscure history and character of early Christian Art.

2

The foregoing extract is taken from a book by the Rev. J. Spencer Northcote, called The Roman Catacombs, or some Account of the Burial-Places of the Early Christians in Rome: London, 1857. It is the best accessible manual in English,—the only one with any claims to accuracy, and which contains the results of recent investigations. Mr. Northcote is one of the learned band of converts from Oxford to Rome. A Protestant may question some of the conclusions in his book, but not its general fairness. Our own first introduction to the catacombs, in the winter of 1856, was under Mr. Northcote's guidance, and much of our knowledge of them was gained through him. Mr. Northcote estimates the total length of the catacombs at nine hundred miles; we cannot but think this too high.

3

For instance, about the middle of the fourth century, St. Julius, then Pope, is said to have begun three. See Marchi's Momumenti delle Arti Cristiane, p. 82.

4

The volcanic rocks are the Tufa litoide, very hard, and used for paving and other such purposes; difficult to be quarried, and unfit for graves on account of this difficulty. The Tufi granulare, a soft, friable, coarse-grained rock, easily cut,—fitted for excavation. It is in this that the catacombs are made. It is used for very few purposes in Rome. One may now and then see some coarse filling-up of walls done with it, or its square-cut blocks piled up as a fence. The third is the Pura pozzolana,—which is the Tufa granulare in a state of compact sand, yielding to the print of the heel, dug like sand, and used extensively in the unsurpassed mortar of the Roman buildings.

5

There is one puzzling circumstance in the cemetery of S. Domitilla. All the graves in this cemetery are arcosolia, and yet th