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The Ceremonies of the Holy-Week at Rome by Charles Michael Baggs
page 101 of 154 (65%)
before their eyes, they kissed it at the hour of their death, and
had it marked on their tomb, as a sign of their hope of salvation. No
sooner had peace shone upon the church, than crosses were erected on
high roads, and in many places of public resort: and would to God that
those sacred ancient monuments, which once adorned our own country,
bore public testimony to the faith of its inhabitants, and recalled
to the minds of passers-by the sufferings of their Saviour, had not
been too rudely treated in the first heat of religious and political
frenzy! For some ancient representations of the cross see the learned
work of Dr. Rock on the mass. I shall content myself with noticing an
interesting instance, which he has not mentioned. At Pompeii the house
of Pansa, as it is called, is one of the most remarkable yet excavated
on account of its extent and regularity. Some parts of it were used
as shops, and appear to have been let out, (as is still the custom in
some palaces of Rome): for they have no communication with the body
of the building. Between two parts thus separated is an entrance from
a side street to the peristyle or open court surrounded by columns;
and on the pier between the two doors is, or rather was a painting
representing one of the guardian-serpents or tutelary deities, who
were sometimes represented under that form, as we occasionally see
at Pompeii, and as we learn from Virgil (lib.) V. Hence as we see
in Titus' baths and are informed by Persius, a place was considered
sacred, in which serpents were painted. Indeed these reptiles became
such favourites, that, according to Seneca, they used to creep upon
the tables amid the cups: and some ladies so far overcame natural
prejudices, as to place real serpents, if not boas, round their necks,
to cool them, instead of using artificial boas to warm themselves.
"Si gelidum nectit collo Glacilla draconem" says Martial. Before the
serpent painted in Pansa's house is or was a projecting brick intended
to support a lamp: the painting in consequence of its situation could
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