Jesus
Christ. ” Beside it
there was a monogram comprised of an intertwined Chi, or X , and a Rho, or P ,
signifying the Greek word Christos . Trompe l ’ oeil marble
architectural elements were interlaced with generic floral motifs typical of
Jewish catacombs, representing the Garden of Eden.
Both Nicola and Bruno noted that there was no evidence of a
cruciform layout to the room, so it seemed clear that this particular hypogeum had not been intended, at least when it was initially quarried, to serve as an
underground chapel for the worship of saints or martyrs.
“ Score one
for the Marchesa, ” Nicola
commented dryly, glancing at Bruno for confirmation.
On the wall near one of the two sarcophagi was a richly
painted fresco of a woman, seated near what appeared to be a large box, shaped
like a sarcophagus. The box was
adorned by a pair of cherubs, and a seven-branched candelabrum rested on
it. A white marble plaque above the
niche bore the letters M and R, with the word v irgininun below
it in elegant calligraphy, meaningpure and virginal, a term generally
used on Jewish tombs to indicate an unmarried woman. There were no dates, no epitaph, nothing
to indicate the precise identity or possible occupation of the deceased.
Nicola and Bruno now turned their attention to the adjacent
tomb, which had no accompanying plaque. It was surrounded, however, by an
elaborate fresco that, on closer examination, included a crucifix intertwined
with a Star of David and two other interlocking, right-angled triangular shapes
at its center.
“ What do
you suppose that could be? ” Bruno
asked, pointing to the strange triangles. “ It seems to mimic the geometry of the Star of David, but
other than that, I ’ m not sure I see a connection. ”
“ I know, ” Nicola
said. “ Doesn ’ t it
remind you of a papal miter? You
know, the tall double peaked headdress worn by popes throughout the
centuries? And look at what ’ s been
painted nearby — a square with two open doors, topped by another triangle,
with two circles etched in the center. What do you think that could be? ”
“ That ’ s easy
enough, ” Bruno
replied. “ That
represents the Holy Ark found in ancient synagogues. The two circles are meant
to symbolize the Torah scrolls. ”
“ I see, ” she said
slowly, as she considered this suggestion. “ I guess
it's a good thing that both of us are here, given our different religious
backgrounds. You have to admit that
this is really strange, ” she
added, her brows knitted together in puzzlement as she looked at him. “ It ’ s almost as if there ’ s a deliberate mix of Christian and Jewish
iconography. I wonder if the people
buried here were converts — either to Judaism or to Christianity. ”
“ You know,
you might be right. That ’ s an
intriguing possibility, ” Bruno
replied thoughtfully. “ Though I ’ m not sure how we can figure out which religion they might
have converted from and then to. No wonder the catacomb ownership is being contested. I ’ ve never seen this kind of unique combination of Jewish and
Christian elements before. ”
He now took a detailed series of photographs of the two
frescoes, some from a distance, some as close-ups, while Nicola sketched them
in laborious detail, in case there was a problem with the camera equipment. “ I ’ m a big
believer in Murphy ’ s Law, ” she
remarked.
Embedded in the wall bearing the two main tombs with their
mysterious frescoes were several glass and ceramic containers, as well as
dolls, statuettes, and coins. The most beautiful artifacts, however, were two very fine specimens of
gold glass bases, cemented symmetrically in between the loculi in which
the two stone coffins rested.
Gold glasses were a luxury item to be found only in the
households of the wealthiest families in Rome. They had a circular base made of etched
gold, which was sandwiched between protective
Christ. ” Beside it
there was a monogram comprised of an intertwined Chi, or X , and a Rho, or P ,
signifying the Greek word Christos . Trompe l ’ oeil marble
architectural elements were interlaced with generic floral motifs typical of
Jewish catacombs, representing the Garden of Eden.
Both Nicola and Bruno noted that there was no evidence of a
cruciform layout to the room, so it seemed clear that this particular hypogeum had not been intended, at least when it was initially quarried, to serve as an
underground chapel for the worship of saints or martyrs.
“ Score one
for the Marchesa, ” Nicola
commented dryly, glancing at Bruno for confirmation.
On the wall near one of the two sarcophagi was a richly
painted fresco of a woman, seated near what appeared to be a large box, shaped
like a sarcophagus. The box was
adorned by a pair of cherubs, and a seven-branched candelabrum rested on
it. A white marble plaque above the
niche bore the letters M and R, with the word v irgininun below
it in elegant calligraphy, meaningpure and virginal, a term generally
used on Jewish tombs to indicate an unmarried woman. There were no dates, no epitaph, nothing
to indicate the precise identity or possible occupation of the deceased.
Nicola and Bruno now turned their attention to the adjacent
tomb, which had no accompanying plaque. It was surrounded, however, by an
elaborate fresco that, on closer examination, included a crucifix intertwined
with a Star of David and two other interlocking, right-angled triangular shapes
at its center.
“ What do
you suppose that could be? ” Bruno
asked, pointing to the strange triangles. “ It seems to mimic the geometry of the Star of David, but
other than that, I ’ m not sure I see a connection. ”
“ I know, ” Nicola
said. “ Doesn ’ t it
remind you of a papal miter? You
know, the tall double peaked headdress worn by popes throughout the
centuries? And look at what ’ s been
painted nearby — a square with two open doors, topped by another triangle,
with two circles etched in the center. What do you think that could be? ”
“ That ’ s easy
enough, ” Bruno
replied. “ That
represents the Holy Ark found in ancient synagogues. The two circles are meant
to symbolize the Torah scrolls. ”
“ I see, ” she said
slowly, as she considered this suggestion. “ I guess
it's a good thing that both of us are here, given our different religious
backgrounds. You have to admit that
this is really strange, ” she
added, her brows knitted together in puzzlement as she looked at him. “ It ’ s almost as if there ’ s a deliberate mix of Christian and Jewish
iconography. I wonder if the people
buried here were converts — either to Judaism or to Christianity. ”
“ You know,
you might be right. That ’ s an
intriguing possibility, ” Bruno
replied thoughtfully. “ Though I ’ m not sure how we can figure out which religion they might
have converted from and then to. No wonder the catacomb ownership is being contested. I ’ ve never seen this kind of unique combination of Jewish and
Christian elements before. ”
He now took a detailed series of photographs of the two
frescoes, some from a distance, some as close-ups, while Nicola sketched them
in laborious detail, in case there was a problem with the camera equipment. “ I ’ m a big
believer in Murphy ’ s Law, ” she
remarked.
Embedded in the wall bearing the two main tombs with their
mysterious frescoes were several glass and ceramic containers, as well as
dolls, statuettes, and coins. The most beautiful artifacts, however, were two very fine specimens of
gold glass bases, cemented symmetrically in between the loculi in which
the two stone coffins rested.
Gold glasses were a luxury item to be found only in the
households of the wealthiest families in Rome. They had a circular base made of etched
gold, which was sandwiched between protective
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