ctly Roman, as in the case of
[Greek: LOUKIS] for LVCIVS.

The crypt of Cornelius contains other historical records. A metric
inscription composed by Damasus and placed above the loculus says to
the pilgrim: "Behold: a descent to the crypt has been built: darkness
has been expelled: you can behold the memorial of Cornelius and his
resting-place. The zeal of Damasus has enabled him, though careworn
and ailing, to accomplish the work and make your pilgrimage easier and
more efficacious. If you are prepared to pray to the Lord in purity of
heart, entreat Him to restore Damasus to health; not that he is fond
of life, but because the duties of his mission bind him still to this
earth." These verses are, probably, the very last composed by the
dying pontiff ([Symbol: died] 384). His work was finished by Siricius
(A. D. 384-397), as proved by a second inscription below the loculus:
"Siricius has completed the work and dressed the tomb of Cornelius in
marble."

The paintings of the crypt, although they date from the Byzantine
period, are of historical interest. On the right we see the images of
Cornelius and Cyprian, bishop of Carthage. Their intimate connection
in life, their martyrdom on the same day of the same month, made their
memory inseparable. The church commemorates them on the same _natale_
or anniversary, and their images stand side by side in this crypt. The
artist who painted them prophesied the future; he saw that the time
would come when, in their graves, the bodies of the two friends would
be united as their souls had been while they lived. Their remains were
removed to Compiegne in the reign of Charles the Bald, those of
Cornelius from Rome, those of Cyprian from Carthage, never to part
again.

A circular pedestal, like a section of a column, stands against the
wall under the images. Such pedestals are not uncommon in the
catacombs; and they were intended to support a large flat bowl not
unlike the holy-water basins of modern churches. Several specimens
have been found _in situ_, in the cemeteries of Saturninus, Alexander,
Agnes, and Callixtus. They are of the same make, cut in marble so
delicately as to be translucent, flat-bottomed, and very low. For what
were they used? We cannot think of "holy water" in the modern sense,
because in those days the faithful were wont to purify their hands,
not in receptacles of stagnant water, but in springs or living
fountains. It seems more in accordance with ancient ri