to be torn down, and they themselves were outlawed. For ten years the fugitives were hunted in forest and cave. The victims were burned, were cast to the wild beasts in the amphitheatre—were put to death by every torture and in every mode that ingenious cruelty could devise. But nothing could shake the constancy of their faith. They courted the death that seemed them, as they firmly believed, immediate entrance upon an existence of unending happiness. The exhibition of devotion and constancy shown by the martyrs won multitudes to the persecuted faith.
(From the Catacombs.)
It was during this and the various other persecutions that vexed the Church in the second and third centuries that the Christians sought refuge in the Catacombs, those vast subterranean galleries and chambers under the city of Rome. Here the Christians lived and buried their dead, and on the walls of the chambers sketched rude symbols of their hope and faith. It was in the darkness of these subterranean abodes that Christian art had its beginnings.
After a prosperous reign of twenty years, becoming weary of the cares of state, Diocletian abdicated the throne, and forced or induced his colleague Maximian also to lay down his authority on the same day. Galerius and Constantius were, by this act, advanced to the purple and made Augusti; and two new associates appointed as Cæsars. Diocletian, having enjoyed the extreme satisfaction of seeing the imperial authority quietly and successfully transmitted by his system, without the dictation of the insolent prætorians or the interference of the turbulent legionaries, now retired to his country seat at Salona, on the eastern shore of the Adriatic, and there devoted himself to rural pursuits. It is related that, when Maximian wrote him urging him to en-
