broader stripe or "laticlave," so here in the central figure, intended, without doubt, for that of our Lord, the greater dignity is indicated by a stripe of double breadth.

Of this ornament, the exact resemblance of which, in general appearance at least, to the scarf or stole of English use, you will at once have observed, I shall have occasion again to speak somewhat later. Before passing on further, I will ask you to observe the many curious points of coincidence between this plate and that from the Menologium of the Emperor Basil, "The Seventh General Council," which you will see later in this series.

PLATE V.

Our Lord and the Twelve Apostles.

5

If any doubt could attach to the significance of the last picture, there will certainly be none as to that which comes next in order, a fresco from the Cemetery of St. Calixtus. It will be evident to you at a glance that our Lord and the Twelve are here represented. Our Lord is seated on a central throne (a póvos cógns, or "throne of glory," in the language of Holy Scripture). Of the apostles, two (no doubt St. Peter and St. Paul) are seated on lower thrones or seats, while the rest stand in two equal groups on either side of our Lord.

The dresses here assigned to our Lord and to the Twelve resemble those shown in the Plate I have just now described. That dress, I may now add, is that which was assigned to Apostles by the consentient traditions of Christian art, both in East and West. And you will observe here a curious illustration of a matter which I mentioned just now (see p. 305). Of the figures here represented, only the three who are seated, as a mark of special dignity, only these have the full tunica talaris, actually reaching to the feet. The others, who are represented

5 The general term "The Catacombs," by which the various Christian cemeteries at Rome are commonly described, is not a correct one from an archæological point of view. One of these cemeteries is described in ancient documents as being AD CATACVMBAS, and to this specific designation the general use of the word is due. I may add here that in giving names to the different cemeteries, I have followed the older nomenclature (that of Bosio and Aringhus) not the later and more correct designations of Chevalier de Rossi.

standing, and so in an attitude of activity, have, with one or two exceptions only, a much shorter tunic, reaching but a little way below the knee.

It will be a matter of interest to many present to observe the central figure of the right hand group (spectator's right) in this Plate V, which is reproduced by photography, I will add, from the engraving given by Aringhus, and has not therefore been manipulated (such things have been before now), so as the better to prove a point. I speak of the resemblance as a plain matter of fact-you may draw your own conclusions from it, or, if you will, draw none at all. But as to the fact, you will bear me out in saying, that an English clergyman, in his surplice and stole, might have sat (or rather stood) as the model from which that figure was to be drawn.

Observe, before we go further, the case (capsa would be the Latin term) containing scrolls (volumina) placed before the throne on which our Lord is seated. This is a symbol which we not unfrequently meet with in early Christian art, pointing to our Lord as the giver of the Divine Word contained in Holy Scripture. This symbol appears in a still more remarkable form in another picture, from the Cemetery of St. Agnes, at Rome. (See the

Compare Irenæus adv. Hæres, lib. iv. cap. 21, where he says that our Lord is the true " householder," who brings forth out of his "treasure" or "store," "things old and new." He adds, "utraque Testamenta unus et idem Puterfamilias produxit."