The Catacomb of Callixtus, located along the ancient Appian Way, originated in the late second century CE as a network of independent underground burial sites, later unified into an extensive complex. Named after Pope Callixtus I, who oversaw its administration before his papacy, it became the preeminent cemetery of the Roman Christian community. The catacomb includes significant funerary structures such as the Crypt of the Popes and the Crypt of Saint Cecilia, along with multiple regions housing early Christian tombs. Many of its chambers contain frescoes, inscriptions, and architectural elements that reflect the religious and artistic heritage of early Christianity.

circa 150-400 CE

The Catacomb of Callixtus is traditionally believed to have been expanded under the direction of Pope Zephyrinus in the early 3rd century, with the work overseen by Callixtus, then a deacon of Rome. Rather than being a wholly new creation, this expansion incorporated and enlarged pre-existing Christian hypogea, transforming the site into one of the most significant underground Christian cemeteries in Rome.

Despite his role in overseeing the catacomb’s development, Callixtus himself was not interred there; instead, he was buried in the Catacomb of Calepodius, located along the Via Aurelia. The Catacomb of Callixtus, particularly its famed Crypt of the Popes, remained a major site of Christian pilgrimage and devotion for centuries. However, as the security of the catacombs declined due to barbarian incursions and political instability, the relics and remains of many saints and popes were gradually translated to various churches within Rome, where they could be more easily venerated and protected.

The final major wave of translations occurred under Pope Sergius II in the 9th century, with most relics from the catacomb being moved to San Silvestro in Capite, which—unlike the catacombs—was located inside the Aurelian Walls and thus offered greater security. As a result, the catacomb fell into disuse and neglect, with its once-sacred chambers left abandoned and subject to decay.

After centuries of obscurity, the Catacomb of Callixtus and the Crypt of the Popes were rediscovered in 1854 by the Italian archaeologist Giovanni Battista de Rossi, who played a pioneering role in the study of early Christian archaeology. His work brought renewed attention to the site, helping to establish the field of Christian archaeology and providing valuable insights into the burial customs, iconography, and history of early Christianity in Rome.

circa 150-400 CE

The Catacomb of Callixtus is part of the larger funerary complex known as the Complesso Callistiano, which spans approximately 30 hectares. Its boundaries are defined by the Via Appia Antica, the Via Ardeatina, and the Vicolo delle Sette Chiese. The catacomb itself covers about 15 hectares and extends down to five levels, with an estimated 20 kilometers of passageways. It is believed to have housed around 500,000 burials, making it one of the largest Christian burial sites in Rome.

The layout consists of narrow underground corridors, or galleries, lined with loculi, which are rectangular burial niches stacked in multiple rows. Larger burial chambers known as cubicula were used for wealthier individuals or as family tombs. Some areas, such as the Crypt of the Popes and the Crypt of Saint Cecilia, became highly significant pilgrimage sites due to the presence of revered Christian martyrs. The walls and ceilings of many sections are adorned with early Christian frescoes, mosaics, and inscriptions in both Greek and Latin. The catacomb also features arcosolia, which are arched recesses designed to hold sarcophagi, often elaborately decorated.

A notable architectural feature is the modern staircase that provides access to the site. Originally, Pope Damasus I constructed an ancient staircase in the 4th century to facilitate entry, particularly to the Crypt of the Popes. Over time, different regions within the catacomb were expanded and developed, particularly during the late 3rd and early 4th centuries, showcasing remarkable underground engineering and Christian artistic heritage.

circa 150-400 CE

Crypt of the Popes
The Crypt of the Popes is a significant burial chamber within the Catacomb of Callixtus, historically serving as the final resting place for multiple early Christian popes. At its peak, the 15-hectare (37-acre) site housed the remains of 16 popes and 50 martyrs, making it one of the most important Christian burial sites of antiquity. The Crypt of the Popes, also known as the "Little Vatican," is one of the most sacred sections of the Catacomb of Callixtus. It served as the burial site for nine popes and several high-ranking church officials during the 3rd century. The tombs within the crypt contain Greek inscriptions, reflecting the early linguistic traditions of the Roman Christian community.

Nine popes were interred within the Crypt of the Popes itself. In the 4th century, Pope Damasus I constructed a staircase to improve access to the site. Among the inscriptions discovered in Greek, the primary language of the Roman Church at the time, are those of Pope Pontian, Pope Anterus, Pope Fabian, Pope Lucius I, and Pope Eutychian. A notable lengthy inscription dedicated to Pope Sixtus II, authored by Furius Dionisius Filocalus, has also been uncovered.

In circa 440, Pope Sixtus III placed a commemorative plaque listing the following popes buried in the crypt: Sixtus II, Dionysius, Cornelius, Felix, Pontianus, Fabianus, Gaius, Eusebius, Melchiades, Stephen, Urban I, Lucius, and Anterus. This list does not include 2nd-century tombs, suggesting that the crypt primarily served 3rd and early 4th-century pontiffs.

Among the notable inscriptions are those of Popes Pontian, Anterus, Fabian, Lucius I, and Eutychian. The final resting place of Pope Sixtus II, who was executed during the persecution of Christians under Emperor Valerian, is also found here. Pope Damasus I later honored the site by commissioning an inscription in poetic verse, carved by the calligrapher Furius Dionysius Filocalus, commemorating the faith and martyrdom of those interred within the crypt.

circa 150-400 CE

Crypt of Cecilia
The Crypt of Cecilia is the burial site of St. Cecilia, the patron saint of music. She belonged to a noble Roman family and was martyred in the 3rd century CE. Her body was originally entombed in this crypt, where a statue (inspect) now marks the site. For at least five centuries, St. Cecilia was venerated in this space until 821 CE, when her relics were transferred to the Basilica of St. Cecilia in Trastevere. The statue of St. Cecilia that now lies in the crypt is a copy of the famous sculpture created by Stefano Maderno in 1599 CE. The original statue was commissioned after Cecilia’s tomb was opened, and her body was reportedly found incorrupt. Maderno’s sculpture captures the saint in the pose in which she was discovered.

The crypt was originally adorned with mosaics and frescoes dating back to the early 9th century. On the wall near the statue, there is an ancient painting depicting St. Cecilia in prayer. Below it, in a small niche, is a fresco of Christ holding a Gospel. To the right, the figure of St. Urban, a pope traditionally associated with Cecilia, is also represented. Additionally, on the wall of the shaft, a painting of three martyrs—Polycamus, Sebastian, and Quirinus—can be seen, further emphasizing the crypt's deep connection to early Christian devotion and martyrdom.

Adjacent to the Crypt of the Popes is the Crypt of Saint Cecilia, dedicated to the famous 3rd-century Christian martyr and patron saint of music. Born into a noble Roman family, Cecilia was executed for her faith and initially buried in this crypt. For at least five centuries, she was venerated at this site before her relics were transferred in 821 CE by Pope Paschal I to the Basilica of Saint Cecilia in Trastevere.

The crypt was originally adorned with mosaics and paintings from the early 9th century. A particularly significant fresco on the wall depicts Saint Cecilia in prayer. Below it, a small niche contains a representation of Christ holding a Gospel, while on the right side, a painting of Pope Urban I can be found. The crypt also features depictions of three martyrs: Polycamus, Sebastian, and Quirinus. A notable feature of the site is the statue of Saint Cecilia, a replica of the masterpiece sculpted by Stefano Maderno in 1599, which captures her serene yet tragic death pose.

Adjacent to the Crypt of the Popes is the Crypt of Saint Cecilia, dedicated to the famous 3rd-century Christian martyr and patron saint of music. Born into a noble Roman family, Cecilia was executed for her faith and initially buried in this crypt. For at least five centuries, she was venerated at this site before her relics were transferred in 821 CE by Pope Paschal I to the Basilica of Saint Cecilia in Trastevere.

The crypt was originally adorned with mosaics and paintings from the early 9th century. A particularly significant fresco on the wall depicts Saint Cecilia in prayer. Below it, a small niche contains a representation of Christ holding a Gospel, while on the right side, a painting of Pope Urban I can be found. The crypt also features depictions of three martyrs: Polycamus, Sebastian, and Quirinus. A notable feature of the site is the statue of Saint Cecilia, a replica of the masterpiece sculpted by Stefano Maderno in 1599, which captures her serene yet tragic death pose.

circa 150-400 CE

Crypt of Lucina
The Crypt of Lucina is the name traditionally given to the oldest section of the Catacomb of St. Callistus in Rome. According to the theory of archaeologist Giovanni Battista de Rossi, this part of the cemetery was originally donated by St. Lucina, who is honored on June 30. De Rossi also suggested that St. Lucina was actually the noble Roman matron Pomponia Graecina, the wife of Aulus Plautius, the Roman general who led the conquest of Britain. He believed that "Lucina" was the Christian baptismal name of Pomponia Graecina.

De Rossi’s theory, which is widely accepted, is based on a passage from the "Annals" of Tacitus (XIII, 32) and on inscriptions discovered in the Crypt of Lucina. Tacitus, a Roman historian, wrote that Pomponia Graecina was accused of following a "foreign superstition" and was put on trial by her husband in accordance with Roman tradition. Aulus Plautius found her innocent, but she lived the rest of her life in mourning, always wearing dark clothing and remaining sorrowful. Tacitus also noted that, despite living under the rule of Emperor Claudius, she was never punished for her beliefs, and later generations considered this a mark of distinction. Today, historians generally believe that the "foreign superstition" Tacitus referred to was Christianity.

Initially, De Rossi only considered the connection between Pomponia Graecina and Christianity as a possibility. However, later discoveries in the Catacomb of St. Callistus provided strong evidence supporting his theory. Archaeologists found the tomb of Pomponius Graecinus, a likely member of Pomponia’s family and possibly her descendant. This tomb dates to the early 3rd century. Nearby, another tomb belonging to Pomponius Bassus, a member of the same noble family, was also found. These findings strongly suggest that Pomponia Graecina had converted to Christianity, making her one of the earliest recorded Roman noblewomen to do so.

Further along the passageways is the Crypt of Lucina, one of the most ancient sections of the catacomb. This area contains the tomb of Pope Cornelius, who was martyred in 253 CE. His burial site still has its original inscription, identifying him as a martyr. Surrounding his tomb are Byzantine-style paintings from the 7th and 8th centuries, depicting popes Sixtus II and Cornelius, as well as African bishops Cyprian and Ottatus.

Additionally, within a nearby cubiculum, some of the earliest Christian burials have been discovered, dating after 175 CE. The ceiling is adorned with Roman frescoes featuring the Good Shepherd and orantes (praying figures), while another wall displays the Eucharistic symbol of two fish with a basket of loaves. These decorations reflect the deep spiritual significance of the crypt and provide a glimpse into early Christian theology and art.

circa 150-400 CE

Crypt of the Sacraments
Located near the Crypt of Saint Cecilia, the Crypt of the Sacraments or the Cubicle of the Sacraments, is a significant section dating to the late 2nd and early 3rd centuries. It consists of a series of cubicula adorned with frescoes depicting early Christian rites and theological concepts.

The artwork within this crypt illustrates key sacramental themes, including baptism, the Eucharist, and the resurrection of the dead. One particularly striking fresco shows two fish with a basket of loaves placed between them, symbolizing the Eucharist and Christ’s miracle of the multiplication of loaves and fishes. Another fresco depicts the Good Shepherd, an early Christian symbol representing Jesus Christ. This crypt offers valuable insight into the spiritual beliefs and liturgical practices of the early Church.

circa 150-400 CE

Region of Saint Gaius and Region of Saint Eusebius
These two regions, established at the end of the 3rd century, contain separate crypts dedicated to Pope Gaius and Pope Eusebius. Pope Eusebius was exiled to Sicily by Emperor Maxentius due to conflicts regarding the treatment of apostates but was later reburied in Rome during the reign of Pope Miltiades. His tomb features an inscription by Pope Damasus I, emphasizing his role in resolving early schisms within the Church.

circa 150-400 CE

Region of Saint Miltiades
This region contains several cubicula and sarcophagi, including one belonging to a child with carved biblical imagery. The iconography suggests that Christian funerary art played a role in emphasizing themes of salvation and eternal life.

circa 150-400 CE

Crypt of Martyrs Calogerus and Parthenius
Along "Passage O", north of the Crypt of the Popes, is the Crypt of Martyrs Calogerus and Parthenius. These Christian martyrs are believed to have been executed during early persecutions. Their tombs are among the honored burials within the catacomb, marking their significance in early Christian memory.

circa 150-400 CE

Double Cubiculum of Severus
Near the Crypt of the Martyrs is the Double Cubiculum of Severus, notable for containing a rhythmic inscription dated no later than 304 CE. This inscription is historically significant as it is the earliest known reference where a Bishop of Rome—Marcellinus—is explicitly called "Pope." It is also the first known Christian inscription to openly profess belief in the final resurrection.

circa 150-400 CE

This is a list of notable popes who were buried in the Catacomb of Callixtus, some of whom were later translated (relocation of remains from one burial site to another) to other locations.

• Saint Anicetus (155–166)
• Saint Soter (circa 166–174/175)
• Saint Zephyrinus (199–217)
• Saint Urban I (222/223–230)
• Saint Pontian (21 July 230 – 28 September 235)
• Saint Anterus (21 November 235 – 3 January 236)
• Saint Fabian (10 January 236 – 20 January 250)
• Saint Lucius I (25 June 253 – 5 March 254)
• Saint Sixtus II (30/31 August 257 – 6 August 258)
• Saint Dionysius (22 July 259 – 26 December 268)
• Saint Felix I (5 January 269 – 30 December 274)
• Saint Eutychian (4 January 275 – 7 December 283)
• Saint Caius (17 December 283 – 22 April 296)
• Saint Eusebius (circa 309 – circa 310)
• Saint Miltiades (2 July 311 – 11 January 314)
• Saint Damasus I (1 October 366 – 11 December 384)

circa 150-400 CE

In the hostile and predominantly pagan society of ancient Rome, early Christians, persecuted and forced to practice their faith in secrecy, developed a rich symbolic language to express their beliefs, particularly within the Catacomb of Callixtus. These symbols, often depicted on tombs and catacomb walls, served as visual affirmations of Christian doctrine. Among the most prevalent was the Good Shepherd, representing Christ carrying a saved soul, frequently appearing in frescoes, sarcophagi reliefs, and statues. The Orante, a figure with outstretched arms, symbolized the soul in divine peace, while the Chi-Rho monogram (ΧΡ), formed by the first two letters of "Christ" in Greek, marked Christian burials.

Another widely used symbol was the fish (Ichthys), whose Greek letters formed an acrostic for "Jesus Christ, Son of God, Savior," encapsulating Christian faith in a single image. Additional symbols included the dove with an olive branch, signifying the soul’s arrival in eternal peace; the Alpha and Omega, denoting Christ as the beginning and end of all things; the anchor, representing salvation and steadfast faith; and the phoenix, a mythical bird symbolizing resurrection. Beyond these, biblical frescoes adorned the catacomb walls, illustrating both Old and New Testament scenes with profound theological meaning. Together, these symbols and images formed a visual catechism, reinforcing Christian teachings and serving as a coded testament of faith for a persecuted community.