ions of their tombs,
therefore, can not be earlier than the fourth century, and many of
them have been restored or renewed at subsequent times. John I., A.D.
523, is recorded to have renewed the cemetery of Priscilla, and this
probably means that he renewed the paintings in the style of his own
time, as the greater part of the paintings now remaining are of the
character of that period.

On comparing the costumes of the figures in this catacomb with those
in the illuminations of the celebrated manuscript of Terence, usually
attributed to the seventh or eighth century, and which can hardly be
earlier than the fifth, we see at once that the long flowing robe was
the ordinary costume of the period, and that the narrow scarf of black
ribbon hanging over the shoulders, with the ends reaching nearly to
the ground, was the usual badge of a servant. This seems to have been
adopted as part of the costume of a Christian going to pray to God,
whether in a church or chapel or any other place, emblematical of the
yoke of Christ, as Durandus says. The surplice and stole of the priest
of the Anglican Church is a more close copy of this ancient costume
than any now worn in the Roman church. The rich cope, cape, or cloak
was the dress of the Roman senator and of the Pagan priests; it was
probably adopted by the Bishop of Rome when he assumed the title and
office of Pontifex Maximus, and after a time the custom was followed
by other bishops and priests of his communion.

GLASS VASES.

A valuable work on the ancient glass vases found in the catacombs was
published by F. Buonarotti in Florence, nearly simultaneously with the
work of Boldetti on the catacombs, and of Fabretti on the inscriptions
found in them. This is the foundation of all the subsequent works on
the subject; the figures are badly drawn and engraved, according to
the fashion of the period, but many of the later works are not much
better. The subjects are generally the same as in the paintings on the
walls: the Good Shepherd, more numerous than any other; Adam and Eve,
Moses striking the Rock, Noah and the Ark, the raising of Lazarus,
Peter and Paul, generally busts--these are very numerous. Both the
style of drawing and the character of the inscriptions indicate late
dates and frequent copying from the same type. In one are three
figures, S. Peter, S. Paul, with S. Laurence seated between them. S.
Agnes occurs frequently, always drawn as in the usual type of the
eight