there are two more paintings, of which the first, c, represents the judgment of the souls of Vibia and Alcestis. In the midst, on a tribunal, as the presiding deities of the shades and judges of souls (answering to Osiris and Isis of the Egyptians), we see seated Pluto and Proserpine, with their names over them, “Dispater," "Father Dis," and " Abracura," probably 'Aßpà Kópη, Kópŋ being a name of Proserpine as daughter of Demeter or Ceres. To the right hand of Pluto, on the floor below, stand the three Fates, "Fata Divina," and opposite them, to the left of Proserpine, is "Mercury the Messenger," "Mercurius Nuntius," with the caduceus in his left hand, and a wand in his right, introducing the souls of " Vibia" and " Alcestis." In an Egyptian tomb this Mercury would have been Anubis. As Vibia and Alcestis were people of consideration, who besides had the benefit of knowledge, they are, of course, judged favourably. In the fourth and last painting, d, there is a portal at the end to our left, and within it, on the threshold, a female figure, which is Vibia. Over the portal is the word "Inductio," "The Introduction," and within it, "Vibies," "of Vibia." Another figure already within is holding Vibia by the hand, and bringing her in. Over his head is the title "Angelus Bonus," "The Good Angel," a title borrowed from Judaism or Christianity. This "Good Angel" is crowned with a wreath, as if for some festivity, and he holds another wreath for Vibia in his hand. A little in advance of him, again, there is an attendant bringing in a dish for the banquet; for it is Elysium, and the Elysian banquet to which Vibia is now being introduced. The foreground seems to be a flowery carpet, or meadow, rising to a bank, and bounded as if it were a table by a cushion, behind which are seated seven figures, all crowned with wreaths, and over one of them, who is seated in the central place, is the name of "Vibia." A little higher, over all the seven, runs an inscription, "Bonorum Judicio Judicati," "These are they that have been judged with the judgment of the good," whence, again, one may collect that the number seven is here used in the Christian sense, to signify all, or universality. Beyond the cushion, where the flowery bank swells up to it, and supplies the place of a table, there are two dishes (one of them containing a fish) already set, besides a third, which the attendant already mentioned above is in the act of setting down. To the extreme right of the painting there is a large amphora, set upright on a low stand; and on the carpet of flowers in the foreground there are two figures, one kneeling on both knees, and pointing down to the flowers, the other, with the sole of one foot on the ground, but still kneeling with the other knee, holding one finger to his mouth, as if to say, "Silence; mystery. This is our wisdom; this is our гvwois; this is the paradise in store for the initiated." On the flat wall of the gallery, immediately above this arcisolium, there is a rather long inscription, beginning with some mention of "Vincentius," perhaps having written (?) "this," but the plaster has been damaged. After the break the inscription proceeds as follows, Vibia speaking;-" All whom you see at table with me, and more than they, have preceded me all must join me: eat then, drink, play, and amuse yourself, and come to me" [i. e. die after it]. "As long as you live do well [to yourself?] This you will carry away with you." And then breaking into hexameters she adds, "This is Vincentius, pontiff of the deity Sabazis, who with pious mind celebrated the sacred rites of the Gods." A much more impudent inscription, certainly, than one would have expected; and one that reminds us of the maxim imputed by S. Paul to the heathen, "Let us eat and drink, for to-morrow we die." Such was the hope of them whose god was their belly, whose religion was made, and held, and taught, for gain, and whose mind was set upon earthly things, while others were suffering martyrdom. It is instructive, certainly, to compare the tombs of the martyrs with these. APPENDIX III. The four paintings of the second Gnostic tomb add but little to the notions already collected from the first; but they are given for the sake of completeness, as there is nothing else of the same kind. The tcmb seems to be that of a soldier named Caricus. In one of the two side paintings to our right, a, Caricus, or one of the men to whom the tomb belongs, is seen in the garb of a soldier, with a spear and round shield, with a helmet on his head, in that attitude of half-kneeling which is often given to the worshippers of Mithras. In front of him stands a man, probably the priest of his sect, Vincentius, who is lifting up or offering for him to the five planets a hare, or some other similar animal. Under the planets is a mountain, perhaps intended for Gebel Serbâl, a mountain in the Sinaitic peninsula with five tops, where the five planets were worshipped. In the corresponding painting, b, on the opposite side-wall, to our left, another soldier, with a helmet on his head, his shield held over his left shoulder, and a drawn sword in his right hand, and in front of him a woman crowned with a wreath, are represented, both of them in the same half-kneeling attitude common in Mithratic sculptures. A third painting, c, on the roof, has in a circle a female figure, a Venus, or Astarte, or Mylitta perhaps, with her back turned to the spectator; and again, within the four sides of a square which incloses the circle, there are gay birds, and dolphins, a mask, and a cornucopiæ. The fourth painting, d, has two soldiers, and two winged boys, or genii, supporting from on either side two blank tablets, intended for inscriptions, but never filled up. The flat wall in front of the tomb below is painted in five compartments, and in the middle compartment of the five there is a sun, which again reminds us of the worship of Mithras, and indirectly of the Ori ental dualism. Above the tomb there is an inscription, shorter than that over the tomb of Vibia, but no less impudent. It is nearly as follows : - 66 To the Dii Manes, M. Aur. S. D. S. L. M., who gave or taught to his disciples pleasures and jokes, [made this tomb], that [he might have a place of burial here] for himself and his sons. Behold, this is the place of Caricus. [His] surviving issue." And the inscription is terminated by a palmbranch, such as the Christians also often marked on their tombs. THE END. |