The Acosolium of the Mysteries in the Hypogeum of Vibia

TNMM 602

The so-called “tomb of Vibia” is a hypogaeum that was found in the 18th century by G. C. Bottari, and then fell into oblivion, to be re-discovered at the end of this cen- tury by the Jesuit father G. Marchi, who included it within the catacombs of Pretex- tatus. The most complete study of the complex (situated at 101, Via Appia) was made by Antonio Ferrua, who excavated it in 1951–52, and then again in 1971 and 1973, although the most detailed description of the pictorial panels remains, to this day, the one given by Garrucci in his 1852 publication.

This private cemetery is made up of seven different hypogaea that were only interconnected in the late period, when they were gradually excavated to find new burial spaces. The arcosolium where Vibia and her supposed husband, Vincentius, were buried, in gallery V3, corresponds to the deepest level of the complex – that is, to its last phase, datable to the second half of the 4th century.

In the same gallery, another interesting arcosolium appears opposite Vibia’s. This is the so-called “Arcosolium of the Mysteries” and displays paintings with diverse human figures – some of them soldiers which have been associated with the miles grade within the Mithraic cults; an inscription in a nearby arcosolium mentions Mithras himself.

Standing male figures are depicted on both sides of the arcosolium, with a large garland hanging from two kraters between them, judging by the drawing by Garrucci (n. 1) 84. In the interior, the panel on the left shows another two male figures, one standing and one sitting (the latter, with helmet, spear, and sword, his torso bare, would represent Mars). The central painting shows two winged Erotes bearing branches of trees, flanking a space which would have held a painted inscription, of which little now remains. The panel on the right contains a kneeling soldier with a sword and shield, and another apparently female figure, also kneeling, wears a leafy headdress. The ceiling of the arcosolium depicts Venus seen in rear view, with images of peacocks, dolphins, and the head of Ocean (Garrucci [n. 1] 86 and 88).

The text reads: D(is) M(anibus) / M(arcus) Aur[---] s(acerdos) d(ei) S(olis) I(nvicti) M(ithrae) / qui bas[i]a [v]oluptatem iocum alumnis suis dedit / ut locu[---]e et natis suis / [---]en locus carici / [---]so proles.

Garrucci [n. 1] 88.

In gallery V4, which continues on from V3 where Vibia’s tomb is located, a great Proconnesian marble inscription was found, belonging to another arcosolium, mentioning two Aurelii, Fautinianus and Castricius, sacerdotes of the Deus Sol Invictus Mithra.

Diis) M(anibus). Sanctae adquae peraenni bone memoriae viris Aurelii[s] Faustiniano patri, et Castricio fratri, sacerdotibus Dei Solis Invicti Mithrae, eredes aeorum prosecuti sunt, e[t] b(onae) m(emoriae) Clodia Celerianae matri f(ecerunt).

Ferrua (n. 1) 44.

This second inscription implies a family of Mithraic cultores of at least five members, and contains formulae which are typical in Christian epigraphy, such as bona memoria. Both Mithraic inscriptions question Cumont’s thesis that the cults of Sabazius and Mithras could not go together in the same funerary space.

In the tribunal, a bearded man and a veiled woman sit, to whom is inscribed: Dispater, Aeracura. Standing by are three veiled figures, of which the middle one is bearded and the others are female. Their title reads: Divine Fates. In front of the tribunal stands Mercury, the Messenger, leading two veiled women named Vibia and Alcestis.

To the left of the painting, we see Pluto abducting a woman with Mercury leading the way, titled Abduction of Vibia and Descent. To the right of the same painting, there’s a banquet of seven men, three of whom wear pointed caps (apices) on their heads. They’re labeled as Seven Pious Priests, with one of them named Vincentius.

Below the primary scene, among two other pictures, a veiled woman is seen passing through an open door with the inscription Induction of Vibia. She is led by a crowned young man, labeled Good Angel. Beside six reclining men, the inscription reads Judged by the Good’s Judgment with one named Vibia.

Above the arch, under which all previous inscriptions can be read, it states: Vincentius, this work... rests? As many as you see. Many have gone before me; I await all. Eat, drink, play, and come to me. When you live, do good; you’ll carry this with you.

Vincentius is here, a foremost figure of the divine Sabazius, who piously worshiped the sacred divine rites.

These depictions are found in an underground chamber in Rome, along the Appian Way, connected to the Christian cemetery called S. Praetextatus. This was published by Garruccius concerning tombs with paintings related to pagan superstitions [Naples, 1852] p. 4 onwards (cf. de Rossi bull. inst. arch. 1855 p. 87 onwards). Garruccius also mentioned this in his history of Christian art, VI table 494 (cf. p. 171 onwards). The arrangement of the paintings is clear from a table in Garruccius’s history, figure 2.

1. Aeracura was first published by Garruccius, but both Aeracura and Aerecura are valid, as reported by Mommsen and de Rossi (cf. arch. Anzeiger 1865 p. 89).
2. The underlying meaning is unclear.
3. Refer to Maass Orpheus p. 210 note 5.
4. An iambic clause; refer to Buecheler’s epigrammatic poems, no. 1517.
5. Buecheler as cited.

—Dessau Text (translated from latin).