Whoever you are who come to this tomb with the light fading, say 'Almighty God, have mercy on him'!"). The core of the collection was first publicly exhibited in Rome at the Missionary Exposition in 1925. The actual aedicule resembles the prothyrum in design, with four Corinthian columns in verde antico diagonally placed. Very unfortunately, Fontana also demolished the ancient Oratory of the Holy Cross in 1588 -this was an enormous loss. The high altar was executed by Cinto de Salvati, and completed in 1293 by Giovanni dell'Aventino and Giovanni di Cosma with his son Lucantonio. Pope Anastasius also enshrined their relics here. In 1929, the Lateran Treaty finally regularized the relationships between the Holy See and Italy, and the basilical complex became an extra-territorial entity. The archivolt of this is supported by two pairs of grey granite columns, and the spandrels have a pair of putti in relief. Bay V East has more items from the Magdalen altar, including a slab signed by Adeodato di Cosma. This meant the loss of the 5th century mosaics that it contained, which apparently had already started to fall off in the early part of the century. Its construction entailed the demolition of a previous little chapel like the Cappella Orsini, which had frescoes by Sebastiano Conca. Note how the architect has varied the design by placing a segment over a triangle, and vice versa. The next major intervention, apart from maintenance work, was by Pope Anastasius IV in 1154. Between this and the next chapel is a monument of Cardinal Giulio Acquaviva, Duke of Atri. The citizens of Rome still considered themselves members of the Roman Empire with its capital at Constantinople in those centuries, whatever modern historians may pretend concerning some fictional entity called the "Byzantine Empire", and this bust would have been sent to the city for civic veneration. This vandalism was so embarrassing afterwards that Catholic publications and guidebooks usually described the reliquaries as "looted by the French" -this was not so, but the assertion is still in print. Muti Papazzurri 1607, using an ancient granite sarcophagus, and Pietro Giovanni Bernardis 1696. The entablature frieze looks as if it is in Sicilian jasper. It is thought that they originally came from the Loggia of Benedictions of Pope Boniface VIII, or from the Annibaldi tomb the remains of which are now in the bottom end of the outer left hand aisle. The interpretation of the description of this fastigium is very difficult, as it might have been like a baldacchino as now understood, or more like a propylaeum or triumphal gateway separating the sanctuary from the nave (the latter seems to be the more preferred interpretation). The twin campanili are rather squat, and have pyramidal spires with ball finials. The mediaeval tradition was that this structure gave the measurement of the stature of Christ. The strange kiosk to the right is part of the same 19th century project, and has a large open Doric arch on each of its three sides, matching the loggia. However, to be noted are: There is no evidence that this Fausta was the empress (the latter had not lived in Rome since she was a little girl). It is not known what these chambers were for. Diese Treppe soll ursprünglich Teil des Hauptquartiers von Pontius Pilatus in Jerusalem gewesen sein. The decoratively molded bases and the capitals of these two are matching, and are ancient. For example, how did they carve the hieroglyphs so crisply? Cardinal Guala Bicchieri put up a large sum for their completion in 1230, and the work was finished by Niccolò in 1234. This is one of several suggested claimants for the title of the House of the Laterani and/or the Domus Faustae. Here is a memorial to Cardinal Nicolò Maria Antonelli 1767, by Gaspare Sibilla. The Avignon Captivity was a complete disaster for the city of Rome, as government (such as there was) was left in the charge of the abbot of San Paolo fuori le Mura and a feral nobility ran amok. His self-proclaimed and mendacious status as Prisoner of the Vatican meant that neither he, nor his successors before 1929, ever visited the basilica. The font has an elaborate bronze cover with gilt detailing by Ciro Ferri 1689. There are two. These heavenly beings are by Giacomo Monaldi. The full list of the saints, with the sculptors' names, is below. Opposite is a memorial to Anna Torlonia 1848, also by Barba with Religion by Vincenzo Gajassi and Hope by Filippo Gnaccarini. The ambulatory was replaced by three straight corridors, two running down the sides of the new sanctuary and a transverse one which connects the two before running to the baptistery. The dome rests on an attic plinth made up of a frieze in alabaster and a dentillate cornice, and this in turn rests on the true entablature which has a frieze with elaborate frond decoration in stucco including acanthus leaves. Modern writings are obviously relying on Nibby 1838 and Vasi 1818. Also, it rusts away in no time. The left hand chapel is dedicated to SS Rufina and Secunda, local Roman martyrs who used to have a 4th century cathedral basilica on the Via di Boccea near what is now the western suburb of Selva Candida. The block to the right of the Loggia was added at the end of the 19th century as part of the re-modelling of the basilica's sanctuary. It was designed by Pietro Paolo Olivieri for Pope Clement VIII, who consecrated it in 1598. He also gave a patrimony in land to the new church as a working institution, in Greece and North Africa as well as nearer home in Calabria, Campania and in the city itself. Also on the right are two statues of SS Peter and Paul, carved in columnar style and dating from the end of the 13th century. It survived until 1732, and sculptural fragments are now in the cloisters. He also added spires to the two campanili, later replaced. The sculptor's reliance on Bernini is immediately obvious. The left hand wall nearer the altar has a side door with a marble Baroque doorcase, and above this is a black marble tablet in a yellow Siena marble frame which commemorates Cardinal Francesco Adriano Ceva, who died in 1655. The curved wall below this, behind the monument, is revetted in yellow marble. Above the entablature, the apse conch is coffered in octagons with rosettes and has its own archivolt, set back from that of the main arch and connected to the coffering on the intrados of the latter by a band of red marble. The church was first simply known as the Basilica Constantiniana, but it seems to have been dedicated to Christ Our Saviour from the beginning. Today’s anniversary reminds us of the power and wisdom of God which flows through Christ’s Church into the world. Pope Gregory XIII (1572-85) cleared the present Piazza di San Giovanni in Laterano for the Jubilee year of 1575, by demolishing the Annibaldi palace. There was another restoration by Pope St Gregory the Great in about 590. Above these reliefs are frescoes of prophets in oval tondi, executed in 1718 by a team of artists. Many of the reliquaries have Greek inscriptions, and are from the time before the Churches of the East and West were separated. Some use was found for the palace in the 19th century, as an overflow for the Vatican Museums called the Museo Lateranense although it comprised three separate museum institutions. Bottom: The Consecration of the Basilica by Ricci, and The Building of the Basilica by Nogari. In the centre there is a massive eleventh plinth with concave sides, bearing the Chi-rho symbol in a wreath as an allusion to the conversion of the emperor Constantine. All six balconies have richly carved and gilded wooden neo-Baroque screens. The pair of aedicules flanking the entrance face diagonally up the nave. The walls in between are in yellow. At an early stage it was also nicknamed the Basilica Aurea, "The Golden Basilica", either because of its rich interior decoration or because its inside walls had been revetted with yellow marble (there is archaeological evidence that the floor was). Outside the chapel is the monument of Cardinal Cesare Rasponi (died 1675), a historian of the basilica. The editor of the critical edition of the saint's works unilaterally corrected the corrupt Laterani to Laterano, which is how the remark is usually copied and which gives the false impression that in Laterano was already a locality. Italy, Rome. In the city the phoenix, a symbol of immortality, is perched on the Tree of Life. An official reference to such a dedication has to wait until the beginning of the 10th century. The altar aedicule has a pair of spirally fluted green serpentine columns with gilded bases and capitals, which flank a bronze statue of the saint by Luigi Valadier. These vaults define the pendentives of the dome, which has a drum having eight rectangular windows separated by pairs of ribbed Ionic pilasters. This contains a sculpture of a man and a flying angel holding a portrait medallion, very much in the style of Bernini. The Ancient Egyptians had no iron tools back then, so this item was quarried using diorite stone mauls to bash the rock and was finished using copper and bronze tools. The project was completed under Pope Theodore I (642-9), and involved an impressive sanctuary mosaic. Fontana also laid out the present Piazza di San Giovanni in Laterano. Cloisters: 9:00 to 18:00 (there is an entry charge of two euros). Die Basilika San Giovanni in Laterano è anche la cattedrale di Roma. The same pope might have built the present baptistery, but this is disputed (see section below). The altarpiece depicts Christ Between St John the Baptist and St John the Evangelist, and is by the Cavalier d'Arpino. There is some surmise that this house was the original headquarters of the papacy donated by Emperor Constantine as the so-called Domus Faustae, but this is unprovable. The main exhibition area occupies the right hand corridor of the Portico Leonino, and that part of the transverse corridor behind the apse. Whatever, the depiction is not merely iconic, but an allusion to the tradition that the face of Christ appeared miraculously in the apse soon after the original consecration of the basilica. The threefold immersion ("ducking") with the Trinitarian formula "In the name of the Father and of the Son and of the Holy Spirit" became the norm for the Eastern Churches, whereas affusion became the norm in the West because of a wish not to immerse infants (there is a story that the future emperor Constantine V did a shit in the font while immersed as a baby, hence the nickname Copronymos). He apparently intended it to be one of a pair (as all other known obelisks are), and it is thought that the twin would have been the Unfinished Obelisk, still in the quarry after it was abandoned when a flaw developed in the stone. After 1870, what happened to the area was horrid. Art critics of the time who saw both old and new mosaics were not kind about the latter. The only way to Santa Maria Maggiore was via a lane to Sant'Eusebio all'Esquilino and then through the Arch of Gallienus. In front of it is a stucco Pietà, a copy of one kept in the crypt of the Cappella Corsini (see below). The first baptistery known, that is, a structure built for the specific purpose of baptism, is this one in Rome. This is flanked by smaller coffers with busts of SS Peter and Paul, and then full-length figures of SS John the Evangelist and John the Baptist. This basilica was built during the reign of Emperor Constantine the Great. In the right hand inner aisle, on the back of the first nave pier, is what looks at first sight to be a fine Baroque funerary monument. Artists: The wall frescoes were by Giuliano Fringuelli, and the majolica floor by the firm of Cantagalli in Florence. Nec numerus quemquam scelerum nec forma suorum, terreat hoc natus flumine sanetus erit. Above, there are three original Cosmatesque items. These are separated by Corinthian columns, which support a cornice on posts on which stand a row of flaming urn finials. The entablature over the arcades is continuous, without a break, and is posted out over the piers The narrow architrave has a Cosmatesque mosaic in geometric designs, except for the south side which has a damaged epigraph extolling the virtues of the cloister. The late 16th century wooden doors were destroyed by the Mafia bomb. It is protected by gilded bronze railings with a barley-sugar twist ,which were installed by Pope Gregory XI. This is important in the context of the basilica because it has been claimed as the original location of the famous equestrian statue of the emperor, which stood for centuries where the obelisk now is before being moved to the Campidoglio in 1538. The single entrance leads to a double staircase with a metal handrail which is also sort-of Gothic. The latter was originally the main private chapel of the mediaeval palace, used by the popes from the time of Constantine (perhaps) until the move to Avignon in 1313. A much more systematic sack of Rome was undertaken by the Vandals in 455, and the basilica was apparently stripped of its precious metals. 4th Century Roman Statue of Constantine in the Portico. Above each aedicule is a rectangular (almost square) stucco relief panel, allegedly originally intended to be in bronze. These cloisters were built from new and decorated in the Cosmatesque style by the Vassallettis, father Pietro and son Niccolò. These were executed by a team of sculptors given as: Camillo Mariani, Nicolas Cordier, Ippolito Buzzi, Giovanni Antonio Paracca Il Valsoldo, Ambrogio Buonvicino and Stefano Maderno. You have to go through the baptistery to view the exterior of the main entrance. However, they were supplemented by salaried clergy called penitentiaries (penitenzieri) whose main job was to hear the confessions of pilgrims. Sergius the priest and his successor, in kind piety arranged this little place out of his love. The fresoes are separated by Siamese-twin pilasters in the corners, which have recessed panels in a grey marble (or what looks like it). The intradoses of the arches are embellished with square coffers containing rosettes. Before the late 19th century, the sanctuary apse opened onto the transept. The dome was finished in 1588, and the chapel was consecrated in 1590. The second chapel on the left is a small one, and is the Cappella Antonelli. ("Here a people and city, intended to be sacred, is born from a nourishing seed, which the spirit brings out from fertile waters. Rainaldi had the sense to keep the four columns of the 5th century altar aedicule that he replaced. The present layout (minus the road, but with the obelisk) was the work of Domenico Fontana in 1588. The richly gilt coffered 16th century ceiling includes carved figures from the previous 15th century one. The angels supporters were sculpted by Il Valsoldo. Jesus Christ and SS John the Evangelist and John the Baptist The first register comprises white marble revetting with intricate Cosmatesque mosaic decoration, in panels around roundels in quincunxes. Lateran Basilica: Interior and Apse. The gilding is fabulously rich, with backgrounds in red and blue with a little green. Borromini provided a cenotaph and included the salvaged epigraph tablet, but this aedicule was also destroyed when the Hungarians provided the present monument in 1907, the architect being Gzila Nalder. The Blessed Sacrament altar dominates the left hand end of the transept. Two pairs of ribbed Composite pilasters, one in front of the other in each pair, support the ends of a semi-circular entablature and are fronted by two free-standing columns in the same style which support strongly projecting posts at the ends of the entablature. It is thought that there were originally forty-two in the basilica, and that thirty-nine were salvaged by Borromini after two went into the Blessed Sacrament Altar (what happened to the one left over?). The first chapel on the left is the Cappella Corsini, which was designed by Alessandro Galilei and built from 1734 to 1736 for Pope Clement XII (Lorenzo Corsini before he was elected). The loggia portal arches have molded archivolts springing from two pairs of Composite imposts, which match those of the trabeations below. The chapel is enclosed by a polychrome marble balustrade and wrought iron railings, on an ogee curve plan. Die ‘Arcibasilica di San Giovanni in Laterano’, oder auch Erzbasilika wurde 313 unter Kaiser Konstantin dem Großen gegründet. The obelisk is a monolith or single piece of stone, 32 metres high and weighing an estimated 455 tons. Beyond this chapel is a memorial to Gerardo Bianchi or Gerardo da Parma 1302, the first Archpriest appointed for the basilica. The interior of the new dome and the interior walls were decorated with mosaics. The chapel has a square plan, with a little rectangular barrel-vaulted sanctuary. These two groups shared the convent premises, but were kept apart institutionally. The plan is based on a Greek cross, with side arms half the length of the entrance and sanctuary arms. The transept was substantially remodelled (but not completely rebuilt) by Giacomo della Porta, who was commissioned by Pope Clement VIII in 1592 to do the work in celebration of the Jubilee of 1600. The monument is very similar in style to that opposite, except that the sarcophagus is replaced by a frontal in red jasper and the statue is standing and is in white marble. The altar aedicule has two Ionic columns of oriental alabaster, supporting a triangular pediment with a broken cornice into which a gilded bronze eagle is inserted. The void now has a protective open marble screen balustrade, containing decorative bronze railing panels executed in a sort of Gothic spider-web style which is actually quite enjoyable. In Imperial times this locality on an outlier of the Caelian Hill counted as prestigious, and several large and palatial villa-type town houses have been excavated nearby. Die âArcibasilica di San Giovanni in Lateranoâ, oder auch Erzbasilika wurde 313 unter Kaiser Konstantin dem GroÃen gegründet. These pilasters have panels in alabaster. The conch mosaic divides into two sub-registers. Bay II North has a large porphyry slab with a Cosmatesque border, as does Bay IV North. Unfortunately the gate is kept locked, so usually you have to content yourself with peeping in. Entry is via the doorway under the tomb of Pope Leo XIII. However, they preferred the Quirinal Palace because it was at a higher elevation -cooler and with fewer malarial mosquitoes. 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