One of these chambers was about 9 feet by 12, the other considerably larger, 16 by 13. The one had evidently been the chief object of devotion; the other was added for the convenience of the worshippers. The smaller one had an arcosolium on each side as well as at the end, the one opposite the door being the most important of the three; and all of these tombs were once ornamented with mosaics and paintings, and the walls of the chamber with marble. All is now sadly ruined; but it is still possible to distinguish among the remains of the mosaic work over the principal arcosolium traces of a very common Christian symbol, a double-handed vessel, with a bird on either side of it; also certain winged figures, which probably represent the seasons, and a few other accessories of ornament; but the main figures and general design have perished. The walls of the opposite chamber were never cased with marble, so that the pilgrims were able to leave here the same tokens of their visits as they left at St. Sixtus’. The _graffiti_ are of the same general character, but of a somewhat later date; the old forms of prayer have disappeared; most of the names and inscriptions are in Latin; and among the few that are Greek, there are symptoms of Byzantine peculiarities. The chief object of interest, however, now remaining in these chambers is the epitaph which stands in the middle of the smaller room. Of course, this was not its original position; but it has been so placed, in order that we may see both sides of the stone without difficulty, for both are inscribed. The stone was originally used for an inscription in honour of Caracalla, belonging to the year 214. The Christian inscription on the other side professes to have been set up by “Damasus, Bishop, to Eusebius, Bishop and Martyr,” and to have been written by Furius Dionysius Filocalus, “a worshipper (_cultor_) and lover of Pope Damasus.” But it is easy to see at a glance that it never was really executed by the same hand to which we are indebted for so many other beautiful productions of that Pope. At first, therefore, and whilst only a few fragments of this inscription had been recovered, De Rossi was tempted to conjecture that it might be one of the earliest efforts of the artist who subsequently attained such perfection. At length, however, the difficulty was solved in a more sure and satisfactory way. A diligent search in the earth with which the chamber was filled brought to light several fragments of the original stone, on which the letters are executed with the same faultlessness as on the other specimens of its class. The visitor to the Catacombs may see them painted, in a different colour from the rest, in the copy of the epitaph which De Rossi has caused to be affixed to the wall; and he will observe that amongst them are some letters which are wanting in the more ancient copy transcribed on the reverse of Caracalla’s monument. It is clear that the original must have