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sians. Its weight and dimensions are as empires from the earth; the moral faults variously stated as the number of churches alone of nations can prove the destruction belonging to the holy city, as Moscow is of their works, their names and memohere called. Measurements were made ries. of it by order of the Emperor Alexander ; I have thus introduced you to Moscow, and reduced to English terms, it is twenty with observations en route. Your limits feet high, and weighs four hundred thou- will not allow me to grow tedious. More sand pounds, nearly two hundred tons.
anon. The tongue is fourteen feet long. It was suspended upon huge wooden beams, which were destroyed by fire the same
T H E D A Y 0 Ꭼ Ꭲ Ꮋ Ꮮ 0 Ꭱ D. year; a piece seven feet in height was
BY REV. CHARLES KINGSLEY. broken from it at the time, as represented
The day of the Lord is at hand, at hand; in the engraving. This pride of the Mus- |
Tho covites was cast during the reign of the A nation sleeps starving on heaps of gold, Empress Anne, from a former bell, with All dreamers toss and sigh. the addition of many thousand pounds of
When the pain is sorest the child is born,
And the day is darkest before the morn metal contributed by her, and many thou
Of the day of the Lord at hand. sands more from the people and nobles, who came from all parts of the empire Gather you, gather you, angels of God; with gold and silver ornaments, plate,
Chivalry, Justice, and Truth:
Come, for the Earth is grown coward and old; jewels, &c., as offerings to this national
Come down and renew us her youth ! monument. Within the present century | Freedom, Self-sacrifice, Mercy and Love, it has been placed upon a granite pedestal Haste to the battle-field-stoop from above, at the foot of the tower of Ivan Veliki. To the day of the Lord at hand. An inscription upon it states all the dates
Gather you, gather you, hounds of hell in reference to its predecessor, the time
Famine, and Plague, and War; of its casting, hanging, &c., and bas- | Idleness, Bigotry, Cant, and Misrule, reliefs represent the empress, in her coro
Gather-and fall in the snare! nation robes, between St. Peter and Anna
Hirelings and Mammonites — Pedants and
Knaves the Prophetess. It is said that forty or Crawl to the battle, or sneak to your graves, fifty men were necessary to move the In the day of the Lord at hand. tongue. The true splendor of Moscow dates
Who would sit down and whine for a lost Age
of Gold from its destruction in 1812, when the
While the Lord of all ages is here? inhabitants decided to fire their holy city, | True hearts will leap up at the trumpet of God, rather than see it profaned by its foreign And those who can suffer can dare. enemies. In that last and sublime effort | Each past Age of Gold was an iron age too,
And the meekest of saints may find stern work of savage heroism, Tartar Rome, as Mad
to do am De Stael calls it, presented itself in a In the day of the Lord at hand. new aspect, and from its utter ruin arose its real grandeur. It was like the serpent Is not that a great burst of heart, flashwho deserts his old envelop only to array ing with the true light-effervescing with himself more brilliantly ; or like the gold the spirit divine? Is it not a genuine which comes purified from the crucible; lyrical bubbling of the soul with song? or shall I grow poetical and compare it to And here is a snatch of music in a rich the phenix, rising from its funeral pyre minor key, that has haunted my brain ever younger and more beautiful than ever. since I first heard it:It is unquestionable that in a few years
SONG. after its suicidal destruction in 1812, Moscow was changed from a city of wood to | O, the merry, merry lark, was up and singing, a city of stone ; for by this term they dig
| And the hare was out and feeding on the lea;
me 118; | And the merry, merry bells below were ringing, nify bricks in Russia. This rapid and As my child's laugh rang through me! magnificent resurrection, as also that of Now, the hare is snared, and dead beneath the London after the great fire of 1665, and snow-yard, Lisbon after the earthquake of 1755, cer
And the lark beside the dreary winter sea;
And the baby in its cradle in the churchtainly proves that merely physical calami- | ties can never entirely efface cities or Waiteth there until the bells bring me.
THE CATACOMBS OF ROME.
THEIR INSCRIPTIONS AND LESSONS.
TN our last number we gave ex1 amples of the symbols of the Roman Catacombs. There is another class of sculptures and paintings, found among these interesting memorials, which may be called pictorial Scripture lessons. Bishop Kip gives numerous examples of them; many more, indeed, than Maitland : but as the latter writer discusses them more fully, we shall depend upon the bishop mostly for our illustrations, while we refer chiefly to the English author for our comments. The student of these invaluable antiquities should possess both works, if not, indeed, Boldetti's Osservazioni and Arringhi's Roma Subterranea.* These pictorial remains are inter
HEAD OF CHRIST IN THE CATACOMBS. esting in two respects: first, for the light they throw on the theological and ec- tions of the Virgin and Child, the Assumpclesiastical characteristics of the primitive tion, Peter with the keys, popes crowned Church ; and secondly, as illustrations of with tiaras, priests with sacerdotal robes, early Christian art. Maitland devotes an monks en costume, images of saints and elaborate and entertaining chapter to the martyrs worshiped by prostrate groups, latter view of them ; we shall confine our burning candles, smoking censers, holy selves mostly to their religious sugges water, Rosaries, Relics, Invocations of tions, for suggestions only shall we find saints, appeals to the spectator to pray for among them—yet mostly important ones, the deliverance of the departed from the in a negative respect, at least. Let us tortures of purgatory, and, above all, crucithen resume our reverent walks in these fixes with their horrible signs of anguish, hallowed aisles of what may be called the their crowns of thorns, and blood-dripping subterranean cathedral of ancient Chris- / wounds ? But what do we find ? Not tianity-walks which we trust the reader an indication of these, literally not one, has hitherto found suggestive to his heart except among the additions, made unas well as instructive to his theological questionably after those ages of fiery inquiries, and which we hope he will not trial in which the Church found here alike find fatiguing or irksome before we finally its sanctuary and its cemetery.* retire from them.
Besides the simple and purely evanAfter a day's stroll among the pompous temples of modern Rome, and a “morning
It is an interesting and significant fact, with the Jesuits," discussing her claims
that the word cemetery—a sleeping-place-was
first applied to the grave by the early Christo traditional authority, what should we
tians." In this auspicious word,” says Maitexpect to find on descending to these land, “now for the first time applied to the consecrated caverns—what but representa
tomb, there is manifest a sense of hope and immortality, the result of a new religion. A star
had risen on the borders of the grave, dispelling Arringhi's work is the chief authority on the horror of darkness which had hitherto the subject. Bishop Kip has consulted him reigned there: the prospect beyond was now extensively. He says that there is but one cleared up, and so dazzling was the view of an copy in this country; his, however, is a mis- eternal city sculptured in the sky,' that numtake. New-York readers will find a copy in bers were found eager to rush through the gate the Astor Library, as also the great work of the of martyrdom, for the hope of entering its French Commission.
gelical symbols which we have described, the first Christians covered these rude walls with pictured lessons from the Holy Scriptures. They were poor, unlettered people; books were rare among their class; the sacred writings especially were yet circulated in few and precious copies. Selecting, therefore, their most striking incidents and lessons, they pictured them for the instruction of themselves and their children, on the sepulchers of their departed brethren. They are as abundant, almost, as the inscriptions on the tombs of old in Egypt. They present an out- en line of both the Old and New Testament history. Bishop Kip gives numerous examples. Contemn not their rude art, Christian reader: it remained for the Church of a later date to lose, in the “idolatry of art,” the reverence of divine truth; this “noble army of martyrs” sought for them- 1 selves and their children only the simple meaning and sanctifying power | as standing in the Jordan, while the Bapof that truth.
tist administers the water with his hand.
The “hart panting after the water - brooks” is pictured on the banks of the stream, for these spiritual - minded men were ever ready to suggest some symboli. cal instruction to the
spectator. We find the outlines of Christ's history | “ Another common representation,” often repeated. The Nativity was a favorite subject. We give a copy of a bas-relief of it from a sarcophagus in the cemetery of St. Sebastian. It represents the child in the manger, the oxen, the magi, and the star of Bethlehem.
We insert also a much older representation of the Adoration of the Magi, given by Bishop Kip from the cemetery of St. Marcellinus. The “wise men" in both instances wear the Phrygian caps.
The baptism of Christ is portrayed in one of the best paintings yet found in the Catacombs: it represents him
also his ultimate entrance as the King of glory into the New Jerusalem.
The representation which we give is the most elaborate we have met with. It is taken from a sarcophagus in the Vatican.
The miracles of our Saviour, however, were the subjects on which the early Roman Christians most delighted to dwell. Strangely represented, indeed,
yet always in such a says Bishop Kip, “is that of our Lord | way that we at once recognize the intenplacing his hand on the head of a child | tion and design. and blessing it. The one which we give In the following cut our Lord is is copied from the cemetery of St. Cal- portrayed by the untutored artist, at the listus."
time when “a certain woman, which had an issue of blood for twelve years, came in the press behind and touched his garments; and Jesus, immediately knowing in himself that virtue had gone out of him, turned about in the press and said, “Who touched my clothes ?': It is on a sarcophagus. We copy it on account of the accompanying views. It brings before us a specimen of church architecture in the end of the fourth century, to which period the details of this picture enable us to refer it with tolerable certainty. We see before us a complete Christian basilica, (apparently the same
We frequently meet, too, with our Lord's triumphant entrance into Jerusalem, the people with palm-branches and strewing their garments in the way, while Zaccheus, who is the unfailing accompaniment in this scene, is seen in the tree. With his early followers, this was not only an exhibition of our Lord's triumph in the days of his flesh, but it fi reshadowed
one repeated in several positions,) with fore a favorite subject. Bishop Kip gives the circular baptistery at the side, yet three engravings of this miracle, showing detached from it. At the end of the the progress of art in the Catacombs : the building, on the right, we see the ter- first is a bare outline " scratched on the minating absis. Before the doors hang slab, just sufficient to represent Lazarus those vails which are even now common coming forth from the tomb, though, perin the Italian Churches, to aid in pre- haps, it would be unintelligible, were it serving an equable temperature, and to not for other representations with which which St. Augustine refers as used at to compare it. The second, though also the entrances of pagan schools,
rudely done, is executed with (as he expresses it,) 'serving to
more care, while the figure of conceal the ignorance that took
our Lord is introduced as sumrefuge within.""
moning Lazarus forth to life. In The cuts which we give above
all these he is intended to be por- . represent the cure of the blind
trayed as 'bound hand and foot man, and the paralytic to whom
with grave-clothes.' Christ said, " Take up thy bed
“ The last one, from a later and walk."
sarcophagus, is well carved, as far The raising of Lazarus, says
as each individual figure is conMaitland, was used as a symbol
cerned, though all rules of proof the resurrection; it was there
portion are set at defiance in the