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Holy Ghost College Bulletin Pittsburg College Bulletin Vol. XII. Pittsburg, Pa., June, 1906. No. 9. Wouldst thou measure the depths of the boundless Deep, And count each sparkling drop ? Wouldst thou number the leaves on the waving trees, From the plains to the mountain top ? If thou canst do this, then tell to me The farthest years of eternity. Couldst thou take each sand, from the shining strand, Which keepeth the Ocean bound, And with labor lay a continuous way To the farthest star around ; And couldst thou live each weary day, Till a snail had crawled the long, long way : Eternity to thy years would stand, As the world, compared to a grain of sand. Chas. F. Swain, '06. — — 262 PITTSBUEG COLLEGE BULLETIN Christian Inscriptions. Before taking up the subject of dogmatic inscriptions, one important feature should be noticed, namely, the method of determining their age, or of assigning them to a particular epoch in history. It is needless to state that a dogmatic inscription of the fourth century is of far less apologetic value than one of the same nature of the first century. Hence, with a very large number of them, to settle their precise or even approximate date is frequently a perplexing problem, to the solution of which archaeolo- gists have directed all their energies. As is well known, the inventor of the modern system of computing the years of the Christian era was a monk named Dionysius Exiguus, (a) abbot of a monastery in Rome, who died in 556. Prior to the sixth century, the Christians used the pagan method of indicating the date, when they put any date at all. The system employed by the Romans was to give the names of the consuls who then held office. The inscription over the portico of the Pantheon in Rome is a familiar example of this : m. AGRiPPA. L. F. cos. TERTiUM. FECIT—which says, Marcus Agrippa, the son of Lucius, erected the temple during his third consulship, or in 27 B. C. But one solitary con- sular inscription of the first century has been found, that of Vespasian, in the year 71 A. D., which Marucchi (6) attributes to a Christian sepulchre. It is now in the Lateran Museum. There are but two of the second century, many of the third, and a very large number of the fourth century. De Rossi (c) has laid down the canons for guidance in the task, fraught with so many difficulties, namely, that of assigning a date to undated inscriptions. The first general rule to be observed is that the most ancient in- scriptions are the most simple, and the better carved; they are the mere mention of a name, followed by some ac- clamation, or term of affection, such as: pax tecum, in PACE, IN DEO, FILIO DULCISSIMO. PITTSBURG COLLEGE BULLETIN 263 We have said that the earliest inscriptions are well carved. By this we mean that the form of the letters is more perfect and more elegant, and more care is taken with the execution in the very early examples than we find in later periods. At first glance this may seem strange. We are able to study the development of Grecian or Roman art, or to take a more familiar ex- ample, we can trace the gradual evolution of Italian art from its first dawn in the hands of Cimabue, down through Giotto and Masaccio, until it reached its com- pletest expression in the hands of Raphael, Michelangelo and Titian in the sixteenth century, (d). But with early Christian art, it is far otherwise. The reason for this seeming paradox is plain—Christian art had no feeble, imperfect, tentative beginnings, such as Greek, Roman or Italian art. (e). It leaped at once into per- fection, and was born with all its powers developed. In the first century, art in the Roman Empire has attained its highest development, the period from Augustus to Trojan constituting its golden age. Classic art began to decline with extraordinary rapidity during the latter half of the second century, and there was a steady diminution of creative energy during the hundred years that followed. We have an ocular demonstration of the fact that Roman art did actually suff"er a period of gradual and persistent retrogression from the first to the fourth centuries by comparing the triumphal arches of Titus and Constantine, which stand within a few hundred feet of each other. (/). The arch of Titus, which Lundy (g) calls the tombstone erected over the grave of the Jewish nation, was con- structed by Domitian to commemorate the fall of Jerusalem, and its magnificent scriptured reliefs are of great beauty and plastic richness. (h). When, how- ever, Constantine wished to perpetuate the memory of his victory over Maxentius, in 312, by erecting a triumphal arch, so little sculpture of any real artistic merit was capable of being produced in Rome, that the emperor was forced to take most of his decorative panels from the 264 PITTSBURG COLLEGE BULLETIN arch of Trojan. Some few of the reliefs, however, are of the period of Constantine, such as the sculptured victories in the spandrels of the central arch, and the bands over the side arches, and they show the true state of decadence into which Roman art had sunk at so early a period as the beginning of the fourth century, (i). Hence it is but natural that the Christians, being largely recruited from the pagans, or from those who lived amid pagan surroundings, should give artistic expression to their ideas in nearly the same technical manner as the pagans. (j). We say nearZ?/ the same, because poverty, the humble condition of the majority of the first converts, and the trying circumstances under which they produced their art, tended to detract from that excellence which wealth, convenience and luxury could bring to bear upon a given work. While the mere inspection of the characters is, of it- self, no final argument for the date of an inscription, nevertheless, after close study and comparison of those of known date, it may be laid down as a general maxim, which, however, suffers many exceptions, that, in the first and second centuries, inscriptions are very well formed, the characters being clean cut, crisp and beautiful. In the third century, they become less elegant, and the orthography shows signs of carelessness. In the fourth and fifth centuries, the letters become deformed, and frequent errors in spelling creep in, reflect- ing the popular pronunciation of Latin. (^). A further rule for dating inscriptions is that the use of the three names, "praenomen," gentilitium" and " cognomen," customary among Roman citizens, denotes a very high antiquity. The reason is that with the end of the first century the "lex trium nominum " began to fall into disuse. Another indication of the age of inscriptions may be had from the points or periods employed to denote abbreviations, or to separate words or sentences. The not most ancient points are triangular ; round points were — PITTSBUEG COLLEGE BULLETIN 265 introduced until later, and, with the third century, a amall fleur-de-lis, called by the Romans the "hedera dis- tinguens " takes its place. The formulas used by the primitive Christians in their epitaphs also furnish criterion of their age. (/). The most ancient are marked by an extreme simplicity, brevity and conciseness, such as pax tibi, pax tecum, VIVAS IN DEO. The acclamation in pace was used con- stantly from the first to the fifth centuries. In the third and fourth centuries, a greater variety appears, and the inscriptions become more lengthy, losing that terseness which is a distinguishing characteristic of the preceding centuries. There is also a frequent indication of the pro- fession of the defunct, either by mentioning it in the in- scription or picturing the tools of his trade. After the peace of Constantine, and throughout the fourth and fifth centuries, the previous naive simplicity disappears, and eulogy, sometimes exaggerated, takes its place. As the inscriptions become more elaborate, new formulas are introduced, such as : hic jacet, hic positus est, RECESSIT A HOC SAECULO, VIXIT IN HOC SAECULO, IN HOG TUMULO REQUIESCIT, MIRAE BONITATIS. It mUSt be bomc in mind however, that not all brief and simple in- scriptions are of a remote antiquity, for brevity and Conciseness was the custom throughout the history of the catacombs. We have said that the early inscriptions are marked by a striking simplicity and brevity. They say very little, and yet from their very silence we can deduce two important conclusions. First, in all the multitude of early inscriptions, whether they be brief, as in the first centary, or slightly eulogistic, as in the fourth, not one has been found to utter a single word of complaint, or resentment, or bitterness toward the established govern- ment, or the long line of Roman sovereigns who repeated- ly employed the vast machinery of the empire to blot out Christianity from the face of the earth. Surely, while the intellect admires, the heart cannot fail to go out — 266 PITTSBURG COLLEGE BULLETIN to those ancient brethren of the Faith, who, like Christ Himself, (m) suffered and were silent. Secondly, the primitive Christians placed master and slave on an equality, and the boast of the Church that within her fold there is no distinction of classes is amply verified by the fact that among all the thousands of inscriptions found in the catacombs, not a single one mentions a slave. That the Church, even in apostolic times, num- bered persons of the highest nobility among her converts is a fact too well known to need illustration here.
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