The scene of the raising of Lazarus is another prominent miracle of Christ that is depicted first at the catacomb of Callistus, then at several other catacomb locations.46 The catacomb of Callistus image, like the paralytic scene, includes several typical elements while containing key differences. Christ stands to the side of a small aediculum, containing the figure of Lazarus. The features of Lazarus are indiscernible; it is clear that the figure is not mummified as in later depictions of this scene, and that he originally had some type of facial features (Figure 7). This is indicative of the novelty of portraying this scene. The
mummified figure became the standard for portraying Lazarus instead of the figure at the catacomb of Callistus, standing with two feet planted firmly underneath the aediculum.47
In the image, Christ is wearing his robe, a tunic with a pallium, with his right arm extended towards the aediculum, emphasizing the miraculous action taking place. In his left hand he is holding what can be construed as a staff, a wand, or a scepter. As mentioned above, this is a telling iconographic feature that occurred at an early stage in Christian art, and will be discussed in Chapter Seven. However, it should be noted that the catacomb of Callistus Jesus is not using the staff as part of his resurrection of Lazarus. It is not an
45 See Wilpert, Die Malereien, 310-321. The Raising of Lazarus is represented in the catacombs 53 times. This makes Lazarus most prominent amongst the wonders of Christ depicted in catacomb art. Also see Roller, Les catacombes, 134.
46 Found in Level 2, area I, cubiculum A6 (Finney, The Invisible God, 218).
47 See Maurice Besnier, Les catacombes de Rome (Paris: Leroux, 1909) plate 14.
instrument that is pointed towards the aediculum, touching the structure or body of Lazarus, signifying the transference of miraculous power. Rather, Jesus is gesturing with his hand towards the body of Lazarus, a rather unusual depiction. The scene at the catacomb of Callistus is unique in this rendering of the raising of Lazarus. It includes both players in the drama while not exhibiting the action of the miracle. It may be that this image is capturing not the action of the miracle but the completed miracle. Lazarus is resurrected standing in the foreshortened area in front of the aediculum. Christ’s gesture towards Lazarus is not one of action but one of praise, even victory, of his completed effort. Thus, it is not the raising of Lazarus that is represented but the resurrected Lazarus.
In one representation in the catacomb of Priscilla, the raising of Lazarus image is slightly similar to the catacomb of Callistus image, offering another example of Christ gesturing towards Lazarus with his hand rather than the reed-like staff. The image is badly damaged, however it is clear that Lazarus is now mummified, residing in the aediculum rather than standing in front of it as at the catacomb of Callistus (Figure 8). The Priscilla image illustrates that catacomb representations of Lazarus have slightly evolved since the catacomb of Callistus to depict the actual raising of Lazarus. Christ is depicted gesturing towards the aediculum of Lazarus, emphasizing the action that is taking place. Given the state of the painting, it is unclear whether Christ is holding a staff in his left hand as at the catacomb of Callistus. It is apparent that a staff is not part of his gesturing motion with his right hand.
The catacomb of Domitilla offers another example of the evolution of depicting the Lazarus scene. In the “Red Cubiculum,” Christ is depicted gesturing towards a mummified Lazarus residing in the aediculum. Instead of gesturing with just his hand, Christ is holding the instrument of the staff and physically touching Lazarus with it (Figure 9). The staff is not just an accessory as in the catacomb of Callistus image, but is part of the miracle working
action of Christ. The staff became a standard iconographic feature, just as the mummified Lazarus, in any further depiction of the Lazarus scene in the catacombs. At the Via Latina catacomb, there is at least one depiction of the raising of Lazarus. In one example in Cubiculum O at Via Latina, Christ surrounded by his followers touches the forehead of a mummified Lazarus, inside his aediculum, with the staff (Figure 10). The raising of Lazarus appears in two instances at the catacomb of Peter and Marcellinus. On a wall painting in a cubiculum, Jesus is depicted in a robe with a monogram of the Chi Rho at the bottom.48 The figure of Jesus is larger-than-life, as his staff touches the aediculum of Lazarus bearing a much smaller mummified figure. In these examples, the power of Christ’s touch, with hand or staff, reveals his miracle-working power.
In the second image at the Via Latina catacomb, depicted on an arcosolium wall of Cubiculum C, Christ with a band of followers touches the aediculum of Lazarus, with no body of Lazarus to be found within it (Figure 11). The lack of a mummified Lazarus may be evidence that the Lazarus scene was not the original representation. Both Lazarus scenes at Via Latina face a scene of Moses crossing the Red Sea, balancing a scene of the miracle working Moses with one of the miracle working Christ. Due to its proximity to the crossing of the Red Sea, Grabar believed the Cubiculum C image to originally have been a scene from Exodus showing the Hebrews crowding into the sanctuary built by Moses with Aaron at the door.49 Tronzo argued that since Moses is depicted adjacent to the image, the scene must naturally progress through the Exodus narrative and thus captures Joshua entering Israel
48 See Antonio Ferrua, “Una nuova regione in SS. Marcellino e Pietro,” RAC, 44, (1968), 73. Ferrua points out the slight difference in how Christ holds the staff, “Diversa è la maniera di tener la verga nella mano di Gesù.”
49 Ferrua rejects Grabar’s argument based on the attitude of Christ touching the mummified Lazarus, see The Unknown Catacomb, 170. Tronzo, The Via Latina Catacomb, 53; See Enrico Josi, “Découverte d’une série de peintures dans un hypogée de la voie Latine,” Comptes rendus de l'Academie des Inscriptions et Belles-Lettres (1956), 275-279.
with the twelve tribes.50 This seems unlikely given the instrument Christ wields was also wielded by Moses in cognate scenes, not Joshua. Regardless, the alteration of the Cubiculum C scene into a scene of the raising of Lazarus signifies the popularity of the Lazarus image and its inherent interpretation of resurrection. Whatever the original depiction was, it was altered to become Christ resurrecting Lazarus, adjacent to Moses crossing the Red Sea. The motivation behind such an alteration reveals the close connection in catacomb art between the figures of Jesus and Moses.
In a ceiling lunette at the catacomb of Peter and Marcellinus, an image of the raising of Lazarus exhibits Christ standing next to the aediculum of Lazarus, touching it with his staff.
Directly next to the scene is an image of Moses striking the rock with a similar type of instrument (Figure 12).51 The connection between these two themes is made clear in several other examples in the catacombs. In the “Red Cubiculum” of Domitilla mentioned above, the raising of Lazarus is balanced on the other side of an image of Moses striking the rock (Figure 9). At the Vigna Massimo catacomb, a series of images including Daniel, Job, and the paralytic also includes balancing scenes on the upper and lower registers of Moses striking the rock and the raising of Lazarus. The juxtaposition of Moses striking the rock with Christ raising Lazarus appeared with some frequency in catacomb iconography, and demonstrates the early Christian emphasis on the miracle working power of Christ. Moses was indeed a miracle working figure within the tradition, and could be understood as a competitor to Christ.52 However, it appears that the early Christians used Moses to contrast
50 Tronzo, The Via Latina Catacomb, 56.
51 This is also not the sole juxtaposition of Moses and Christ raising Lazarus at Peter and Marcellinus. It occurs in at least two other instances, see Wilpert, Die Malereien, for the images.
52 Origen, Cels. 1.45, see below and Chapter Six for more evidence.
Christ as a superior miracle worker. The image of Moses striking water from the rock helps demonstrate their intent.