implements of labor. Here, for instance, is one which seems like the advertisement of a surviving partner:--
DE BIANOBA
POLLECLA QVE ORDEV BENDET DE
BIANOBA
From New Street. Pollecla, who sold barley
on New Street.
Others often bear a figure which refers to the name of the deceased, an _armoirie parlante_ as it were, which might be read by those too ignorant to read the letters on the stone. Thus, a lion is scratched on the grave of a man named Leo; a little pig on the grave of the little child Porcella, who had lived not quite four years; on the tomb of Dracontius is a dragon; and by the side of the following charming inscription is found the figure of a ship:--
NABIRA IN PACE ANIMA DULCIS
QVI BIXIT ANOS XVI M V
ANIMA MELEIEA
TITVLV FACTV
APARENTES SIGNVM NABE
Navira in peace. Sweet soul, who lived sixteen
years, five months. Soul honey-sweet.
This inscription made by her parents. The
sign a ship.
The figures that are most frequent upon the sepulchral slabs are, however, not such as bear relation to a name or profession, but the commonly adopted symbols of the faith, similar in design and character to those exhibited in the paintings of the catacombs. The Good Shepherd is thus often rudely represented; the figure of Jonah is naturally, from its reference to the Resurrection, also frequently found; and the figure of a man or woman with arms outstretched, in the attitude of prayer, occurs on many of the sepulchral slabs. The anchor, the palm, the crown, and the dove, as being simpler in character and more easily represented, are still more frequently found. The varying use of symbols at different periods has been one of the means which have assisted in determining approximate dates for the inscriptions upon which they are met with. It is a matter of importance, in many instances, to fix a date to an inscription. Historical and theological controversies hang on such trifles. Most of the early gravestones bear no date; and it was not till the fourth century, that, with many other changes, the custom of carving a date upon them became general. The century to which an inscription belongs may generally be determined with some confidence, either by the style of expression and the nature of the language, or by the engraved character, or some other external indications. Among these latter are the symbols. It has, for instance, been recently satisfactorily proved by the Cavaliere de Rossi that the use of the emblem of the fish in the catacombs extended only to the fourth century, so that the monuments upon which it is found may, with scarcely an exception, be referred to the preceding period. As this emblem went out of use, owing perhaps to the fact that the Christians were no longer forced to seek concealment for their name and profession, the famous monogram of Christ, [Symbol] the hieroglyphic, not only of his name, but of his cross, succeeded to it, and came, indeed, into far more general use than that which the fish had ever attained. The monogram is hardly to be found before the time of Constantine, and, as it is very frequently met with in the inscriptions from the catacombs, it affords an easy means, in the absence of a more specific date, for determining a period earlier than which any special inscription bearing it cannot have originated. Its use spread rapidly during the fourth century. It "became," says Gibbon, with one of his amusing sneers, "extremely fashionable in the Christian world." The story of the vision of Constantine was connected with it, and the Labarum displayed its form in the front of the imperial army. It was thus not merely the emblem of Christ, but that also of the conversion of the Emperor and of the fatal victory of the Church.
It is a remarkable fact, and one which none of the recent Romanist authorities attempt to controvert, that the undoubted earlier inscriptions afford no evidence
