ords, because the titles of _Deus
summus, Deus altissimus, magnus, aeternus_, are constantly found on
monuments pertaining to the worship of Atys and Mithras. "These
words," concludes de Rossi, "far from being a profession of
Christianity engraved on the arch at a later period, are simply a
'moyen terme,' a compromise, between the feelings of the Senate and
those of the emperor."[15]

Many facts related by contemporary documents prove that the change of
religion was, at the beginning, a personal affair with the emperor,
and not a question of state; the emperor was a Christian, but the old
rules of the empire were not interfered with. In dealing with his
pagan subjects Constantine showed so much tact and impartiality as to
cast doubts upon the sincerity of his conversion. He has been accused
of having accepted from the people of Hispellum (Spello, in Umbria),
the honor of a temple, and from the inhabitants of Roman Africa that
of a priesthood for the worship of his own family (_sacerdotium Flaviae
gentis_). The exculpation is given by Constantine himself in his
address of thanks to the Hispellates: "We are pleased and grateful for
your determination to raise a temple in honor of our family and of
ourselves; and we accept it, provided you do not contaminate it with
superstitious practices." The honor of a temple and of a priesthood,
therefore, was offered and accepted as a political demonstration, as
an act of loyalty, and as an occasion for public festivities, both
inaugural and anniversary.

[Illustration: Picture of Orpheus found in the Catacombs of
Priscilla.]

In accepting rites and customs which were not offensive to her
principles and morality, the Church showed equal tact and foresight,
and contributed to the peaceful accomplishment of the transformation.
These rites and customs, borrowed from classical times, are nowhere so
conspicuous as in Rome. Giovanni Marangoni, a scholar of the last
century, wrote a book on this subject which is full of valuable
information.[16] The subject is so comprehensive, and in a certain
sense so well known, that I must satisfy myself by mentioning only a
few particulars connected with recent discoveries. First, as to
symbolic images allowed in churches and cemeteries. Of Orpheus playing
on the lyre, while watching his flock, as a substitute for the Good
Shepherd, there have been found in the catacombs four paintings, two
reliefs on sarcophagi, one engraving on a gem. Here is the