a, no. 30 of book iv. A curious entry in the calendar called
_Bucherianum_, from its first editor, seems to point to a double
transferment. The entry is dated June 29, A. D. 258:--

_Tertio Kalendas Julias, Tusco et Basso consulibus, Petri in Vaticano,
Pauli in via Ostiensis--utriusque in Catacumbas._

Since, in early calendars, the date is only appended in case of
transferment of remains, archaeologists have suggested the theory that
the bodies of the apostles may possibly have found shelter in the
catacombs of the Appian Way a second time, during the persecution of
Valerian (A. D. 258). Marchi asserts that the evidences of a double
concealment are still to be found in the frescoes of the crypt, some
of which belong to the first, others to the third, century; but this
hardly seems to be the case. I lowered myself into the hiding-place on
February 23 of the present year, and, after careful examination, have
come to the conclusion that its paintings are by one hand and of one
epoch, the epoch of Damasus. However, whether they were laid there
once or twice, its temporary connection with the apostles made the
"locus ad catacumbas" one of the great suburban sanctuaries. The
cubiculum, called Platonia, was decorated by Damasus with marble
incrustations. According to the Acts of S. Sebastian (January 20) he
expressed the wish to be buried "_ad catacumbas_, at the entrance of
the crypt, near the memorial of the apostles." These events were
represented in the frescoes of the old portico of S. Peter's,
destroyed in 1606-1607 by Paul V. One of them showed the bodies of
the apostles, bandaged like mummies, being lowered into the place of
concealment; the other, Lucina and Cornelius bringing back the bodies
to their original graves in the Via Cornelia and the Via Ostiensis.

A remarkable monument was discovered in the crypt four years ago. It
is a marble bust, or rather the fragment of a bust, of the Redeemer,
with locks of hair descending on each shoulder,[165] a work of the
fourth century.

It is well known that the oldest representations of the Redeemer are
purely ideal. He appears as a young man, with no beard, his hair
arranged in the Roman style, wearing a short tunic, and showing the
amiable countenance of the Good Shepherd. I give here a characteristic
specimen of this type, a statue of the first quarter of the third
century, now in the Lateran Museum.[166] Whether performing one of the
miracles which prove his divinity