It is probable, though we have no historical evidence for it, that the primitive
Christians used the cross to distinguish one another from the pagans in ordinary social intercourse. The latter called the
Christians “cross-worshippers”, and ironically added, “id colunt quod merentur”, i.e. they worship that which they deserve. The
Christian apologists, such as
Tertullian (Apol., xvi; Ad. Nationes, xii) and Minucius Felix (Octavius, lx, xii, xxviii), felicitously replied to the pagan taunt by showing that their persecutors themselves adored cruciform objects. Such observations throw light on a peculiar fact of primitive
Christian life, i.e. the almost total absence from
Christian monuments of the period of persecutions of the plain, unadorned cross (E. Reusens, “Eléments d’archéologie chrétienne” 1st ed., 110). The truculent sarcasms of the heathens prevented the faithful from openly displaying this sign of salvation. When the early
Christians did represent the sign of the cross on their monuments, nearly all sepulchral in character, they felt obliged to disguise it in some artistic and symbolical way. One of the oldest of the symbols of the cross is the anchor. Originally a symbol of hope in general, the anchor takes on in this way a much higher meaning: that of hope based on the Cross of Christ. The similarity of the anchor to the cross made the former an admirable
Christian symbol. Another cruciform symbol of the early
Christians, though not very common and of a somewhat later date, is the trident, some examples of which are seen on sepulchral slabs in the cemetery of Callistus. In one inscription from that cemetery the symbolism of the trident is even more subtle and evident, the instrument standing erect as the mainmast of a ship entering port, symbolical of the
Christian soul saved by the Cross of Christ. We must note, too, the use of this peculiar symbol in the third century in the region of Tauric Chersonesus (the Crimea) on coins of Totorses, King of the Bosporus, dated 270, 296, and 303 (De Hochne, “Déscription du musée Kotschonbey”, II, 348, 360, 416; Cavedoni, “Appendice alle ricerche critiche intorno alle med. Costantiniane”, 18, 19 – an extract from the “Opuscoli litterari e religiosi di Modena” in “Bull. arch. Napolit.”, ser. 2, anno VII, 32). We shall speak again of this sign apropos of the dolphin. On a picture in the Crypts of Lucina, artistically unique and very ancient, there seems to be an allusion to the Cross. Turned towards the altar are two doves gazing at a small tree. The scene appears to represent an image of souls loosed from the bonds of the body and saved by the power of the Cross (De Rossi, Roma Sotterranea Cristiana, I, PL. XII).