possessed it from a very early period; a second is at Paris, a
third at Beauvais, a fourth was at Tours, and we have seen the reliquary
in which a fifth is preserved in the old cathedral of Torcello.]

And thus once more the body of the virgin was left to repose in peace,
once more the devout could offer their prayers to the Saint at the altar
consecrated by her presence, and once more the superstitious could
increase the number of the miracles wrought by her favor. Through the
long period of the fall and depression of Rome, her church continued to
be a favorite one with the people of the city, and with the pilgrims to
it. From time to time it was repaired and adorned, and in the thirteenth
century the walls of its portico were covered with a series of frescoes,
representing the events of St. Cecilia's life, and the finding of her
body by Paschal. These frescoes--precious as specimens of reawakening
Art, and especially precious at Rome, because of the little that was
done there at that period--were all, save one, long since destroyed
in some "restoration" of the church. The one that was preserved is now
within the church, and represents in its two divisions the burial of the
Saint by Pope Urban, and her appearance in St. Peter's Church to the
sleeping Paschal, whose figure is rendered with amusing naivete and
literalness.

Meanwhile, after the translation of St. Cecilia's body, the catacombs
remained much in the same neglected state as before, falling more and
more into ruin, but still visited from year to year by the pilgrims,
whom even pillage and danger could not keep from Rome. For two
centuries,--from the thirteenth to the fifteenth,--scarcely any mention
of them is to be found. Petrarch, in his many letters about Rome, dwells
often on the sacredness of the soil within the city, in whose crypts and
churches so many saints and martyrs lie buried, but hardly refers to the
catacombs themselves, and never in such a way as to show that they were
an object of interest to him, though a lover of all Roman relics and a
faithful worshipper of the saints. It was near the end of the sixteenth
century that a happy accident--the falling in of the road outside the
Porta Salara--brought to light the streets of the Cemetery of St.
Priscilla, and awakened in Antonio Bosio a zeal for the exploration of
the catacombs which led him to devote the remainder of his long life to
the pursuit, and by study, investigation, and observation, to