tombs of the martyrs being used as altars.[3] In one of his letters to Severus, S. Paulinus encloses some verses of his own composition, which were to be inscribed over the altar under which was deposited the body of S. Clavus, of whom the venerable prelate says:

Before describing the basilica of Nola, the Saint proceeds to give a sketch of another but a smaller church, which he had just erected in the town of Fondi. After furnishing some details about this latter edifice, he says, "The sacred ashes—some of the blessed relics of the apostles and martyrs—shall consecrate this little basilica also in the name of Christ, the Saint of saints, the Martyr of martyrs, and the Lord of lords."[5] For this church two inscriptions were composed by Paulinus: one, to accompany the painting with which he had adorned the apse; the other, to announce that portions of the relics of the Apostle S. Andrew, of the Evangelist S. Luke, and of S. Nazarius, and other martyrs, were deposited under the altar. His verses may be thus rendered:

Prudentius visited not only the more celebrated churches in Spain built over the bodies of the martyrs, he being a Spaniard by birth, but he also visited those of Italy and Rome on a journey made in 405. During his residence in the capital of Christianity, the poet frequented the catacombs; and he has bequeathed to us a valuable record of what he there saw. In his hymn in honour of S. Hippolytus, he tells us that he visited the sepulchral chapel in which were deposited the remains of the martyr; and, after having described the entrance into the cemetery, and the frescoes that adorned it, he adds:

In his other hymns, Prudentius bears the most unequivocal testimony to the practice, even then a long time in use, of depositing the relics of the Saints immediately under the altar. It is unnecessary to quote more. The assertions of ancient writers on this point have been several times verified. The bodies of the martyrs have been discovered under the high altars of the churches dedicated to God in their memory. The body of S. Martina, together with those of two other martyrs, SS. Concordens and Epiphanius, were found in 1624 under the high altar of the ancient church near the Roman Forum, which bears the name of the Saint. The body of S. Agnes, and that of another virgin martyr, were also ascertained to be under the high altar of her church, denominated Fuori delle Mura. These, however, had all been removed from the Catacombs into Rome, within the walls.

Now this fact being established, as well as that of the annual commemoration of the Saint reposing in the church, it follows that it became necessary for a Church to draw up calendars marking those days in the year which were consecrated to the memory of martyrs whose relics were preserved in it; for instance, in the Church of Fondi, which contained relics of S. Andrew, S. Luke, S. Nazarius, and others, the Holy Eucharist would be celebrated over the relics on the day of S. Andrew, on that of S. Luke, on that of S. Nazarius, and so on; and it would be necessary for the Church to have a calendar of the days thus set apart.

In the first centuries of the Church, not only the Saints whose bodies reposed in the church, but also the dead of the congregation were commemorated.

When a Roman Consul was elected, on entering on his office he distributed among his friends certain presents, called diptychs. These diptychs were folding tablets of ivory or boxwood, sometimes of silver, connected together by hinges, so that they could be shut or opened like a book. The exterior surface was richly carved, and generally bore a portrait of the Consul who gave them away. Upon the inner surface was written an epistle which accompanied the present, or a panegyric on himself. They were reminders to friends, given much as a Christmas card is now sent. The diptych speedily came into use in the Church. As the Consul on his elevation sent one to his friends to remind them of his exaltation, so, on a death in the congregation, a diptych was sent to the priest as a reminder of the dead who desired the prayers of the faithful. At first, no doubt, there was a pack of these little memorials, each bearing the name of the person who desired to be remembered at the altar. But, for convenience, one double tablet was after a while employed instead of a number, and all the names of those who were to be commemorated were written in this book. From the ancient liturgies we gather that it was the office of the deacon to rehearse aloud, to the people and the priest, this catalogue registered in the public diptychs. In the "Ecclesiastical Hierarchy," attributed to S. Dionysius the Areopagite, but really of a later date, the end of the fifth century, the author says of the ceremonies of the Eucharist, that after the kiss of peace, "When all have reciprocally saluted one another, there is made the mystic recitation of the sacred tablets."[7] In the Liturgy of S. Mark we have this, "The deacon reads the diptychs (or catalogue) of the dead. The priest then bowing down prays: To the souls of all these, O Sovereign Lord our God, grant repose in Thy holy tabernacle, in Thy kingdom, bestowing on them the good things promised and prepared by Thee," etc.

It is obvious that after a while the number of names continually swelling would become too great to be recited at once. It became necessary, therefore, to take some names on one day, others on another. And this originated the Necrologium, or catalogue of the dead. The custom of reading the diptychs has ceased to be observed in the Roman Liturgy, though we find it indicated there by the "Oratio supra Diptycha." At present, when the celebrating priest arrives at that part of the Canon called the "Memento," he secretly