famous library, and which leads to the collection of statues, is lined on
one side with heathen inscriptions, of miscellaneous character, on the
other with Christian inscriptions, derived chiefly from the catacombs, but
arranged with little order. The comparison thus exhibited to the eye is an
impressive one. The contrast of one class with the other is visible even
in external characteristics. The old Roman lines are cut with precision
and evenness; the letters are well formed, the words are rightly spelt,
the construction of the sentences is grammatical. But the Christian
inscriptions bear for the most part the marks of ignorance, poverty, and
want of skill. Their lines are uneven, the letters of various sizes, the
words ill-spelt, the syntax often incorrect. Not seldom a mixture of Greek
and Latin in the same sentence betrays the corrupt speech of the lower
classes, and the Latin itself is that of the common people. But defects of
style and faults of engraving are insufficient to hide the feeling that
underlies them.

Besides this great collection of the Vatican, there is another collection
now being formed in the _loggia_ of the Lateran Palace, in immediate
connection with the Christian Museum. Arranged as the inscriptions will
here be in historic sequence and with careful classification, it will be
chiefly to this collection that the student of Christian antiquity will
hereafter resort. It in in the charge of the Cavaliere de Rossi, who is
engaged in editing the Christian inscriptions of the first six centuries,
and whose extraordinary learning and marvellous sagacity in deciphering
and determining the slightest remains of ancient stone-cutting give him
unexampled fitness for the work. Of these inscriptions, about eleven
thousand are now known, and of late some forty or fifty have been added
each year to the number previously recorded. But a very small proportion
of the eleven thousand remain _in situ_ in the catacombs, and besides the
great collections of the Vatican and the Lateran, there are many smaller