Basilica of Santa Prassede
This is a Basilica that people don't visit, mostly because they don't know about. This is one of my favourites because the mosaics in this church make me weak-in-the-knees! The artisanship is beyond anything my humble fingers could ever dream to create. I challenge you to stand in the Chapel of San Zeno, look up, and admire the beauty and detail of the mosaics without feeling humbled by the mastery of the Mosaicists.
|
|
Santa Prassede is a 9th century minor basilica that was built during the Carolingian Renaissance. A minor basilica is a church that is more notable than a regular church but does not act as the seat of any bishop. The honourific designation of minor basilica recognizes the historic nature or importance of a church and can be bestowed for a variety of reasons.
It is easy to sit down in this church and spend a relaxing afternoon admiring the mosaics, a young Bernini sculptural portrait, in its original setting and the floor.
This church is one of the Titili, which were the first parish churches of Rome established after Constantine gave the Christians freedom to worship without being killed. It is an excellent example of the revival of Early Christian art and architecture that characterized the Carolingian Renaissance. The church is dedicated to St. Prassede, the daughter of Senator Pudens, and the sister of St. Pudenziana. (The Church of Santa Pudenziana is the next location to visit in this tour.)
The current church was built by Pope Paschal I, to replace a decaying 5th-century church located on this site, and to house neglected remains of Saints which he had recovered from various catacombs throughout the region.
In ancient Roman times no burials were allowed inside the walls of Rome; especially Christian burials as the Emperors wanted to keep the city pure and progressive and they felt that death got in the way of that. To assist with the care of the dead, wealthy landowners outside of the walls of Rome allowed burials on their property. Tomb-lined tunnels were dug deep into the ground for burials. These areas became known as catacombs and present an amazing tour on their own.
Christians would make pilgrimages to catacombs throughout the countryside to be near the martyrs that were buried there. But as the ninth century unfolded, the government of Rome lost control of its surrounding countryside to gangs of marauders who were raiding and robbing the catacombs and the safety of pilgrims to the catacombs could no longer be guaranteed. As a result the church undertook a campaign to collect the relics of martyrs, to ensure their safety and preservation. Many martyrs were re-enshrined in churches within the city walls. Pope Paschal played an important role in this process.
At the base of the apse wall near the altar, is the original 9th-century crypt where the relics collected by Pope Paschal are kept, including the relics of Prassede and her sister Pudenziana. In the three other sarcophagi relics of martyrs moved here from the catacombs can be found.
The plan of the church is the typical basilica style of the earliest Roman churches, based particularly on the Constantinian (Emperor Constantine) Basilica of St. Peter. The design, construction techniques, use of recycled Roman artifacts, and the style of the mosaics all demonstrate the Early-Christian revival of the Carolingian Renaissance. The 9th-century frescoes now located in the campanile (to the left of the apse) were originally on the walls of the transept. They depict the martyrdoms of the saints whose relics were transferred here by Pope Paschal.
Aside from the apse mosaics, a major feature to look for in the nave is the tomb of Santoni (d.1592) by Bernini, made when the artist was somewhere between the ages of 10 and 17. It is located in the wall, on the right aisle near the front. You might have just seen Bernini’s tomb across the road at Santa Maria Maggiore! The fellow entombed in the wall is Giovanni Battista Santoni. He was the right-hand man to the pope; known as the majordomo, which meant he oversaw the day-to-day arrangements for the pope. He was the pope’s secretary and event planner. He held this position for two years, until his death. It was his nephew, who hired Bernini to do the sculpture.
Paschal also founded a monastery next to the church, and staffed it with some of the Byzantine-rite Greek monks who had arrived in Rome in the previous century as refugees from the Iconoclastpolicy in the Byzantine Empire.
Terms:
Carolingian Renaissance: The first of three medieval renaissances, was a period of cultural activity in the Carolingian Empire occurring from the late eighth century to the ninth, taking inspiration from the 4th century Christian Roman Empire.
Byzantine Iconoclasm: The word Icon comes from the Greek language and means image. Iconoclasm refers to the destruction of images. Widespread use of Christian iconography began as Christianity spread among the gentiles after the legalization of Christianity by Constantine in 312. But opposition to the use of images began to rise. In the Eastern Roman (Byzantine Empire), government-led destruction of images: iconoclasm, began with Byzantine Empire Leo III, following what seems to have been a long period of rising opposition to the use or misuse of images. Icon use for religious purposes was viewed as a Satanic misleading of Christians to return to the pagan practice of worshiping idols and images. The religious conflict created political and economic divisions in Byzantine Society. It was generally supported by the Eastern, poorer, non-Greek peoples of the Empire who had to deal frequently with raids from the new Muslim Empire. On the other hand, the wealthier Greeks of Constantinople, (Istanbul) and also the people of the Balkan and Italian provinces strongly opposed iconoclasm. The Byzantine government had been adopting Christian images more readily.
Sometime between 726 and 730, the Byzantine Emperor Leo III the Isaurian, began the iconoclast campaign by ordering the removal of an image of Jesus and replacing it with a cross. Some of those assigned to the task were killed by a band of people who supported the use of religious images (Iconodules). Over the years, conflict developed between those who wanted to use the images, claiming that they were the icons to be venerated, and the iconoclasts who claimed they were simply idols. Pope Gregory III called together a synod (an assembly of the clergy to make a decision about doctrine or administration) in 730, and formally condemned iconoclasm as heretical and excommunicated its promoters. A papal letter with the decision was written but never reached Constantinople as the messengers were intercepted and arrested in Sicily by the Byzantines.
Some material from Wikipedia
It is easy to sit down in this church and spend a relaxing afternoon admiring the mosaics, a young Bernini sculptural portrait, in its original setting and the floor.
This church is one of the Titili, which were the first parish churches of Rome established after Constantine gave the Christians freedom to worship without being killed. It is an excellent example of the revival of Early Christian art and architecture that characterized the Carolingian Renaissance. The church is dedicated to St. Prassede, the daughter of Senator Pudens, and the sister of St. Pudenziana. (The Church of Santa Pudenziana is the next location to visit in this tour.)
The current church was built by Pope Paschal I, to replace a decaying 5th-century church located on this site, and to house neglected remains of Saints which he had recovered from various catacombs throughout the region.
In ancient Roman times no burials were allowed inside the walls of Rome; especially Christian burials as the Emperors wanted to keep the city pure and progressive and they felt that death got in the way of that. To assist with the care of the dead, wealthy landowners outside of the walls of Rome allowed burials on their property. Tomb-lined tunnels were dug deep into the ground for burials. These areas became known as catacombs and present an amazing tour on their own.
Christians would make pilgrimages to catacombs throughout the countryside to be near the martyrs that were buried there. But as the ninth century unfolded, the government of Rome lost control of its surrounding countryside to gangs of marauders who were raiding and robbing the catacombs and the safety of pilgrims to the catacombs could no longer be guaranteed. As a result the church undertook a campaign to collect the relics of martyrs, to ensure their safety and preservation. Many martyrs were re-enshrined in churches within the city walls. Pope Paschal played an important role in this process.
At the base of the apse wall near the altar, is the original 9th-century crypt where the relics collected by Pope Paschal are kept, including the relics of Prassede and her sister Pudenziana. In the three other sarcophagi relics of martyrs moved here from the catacombs can be found.
The plan of the church is the typical basilica style of the earliest Roman churches, based particularly on the Constantinian (Emperor Constantine) Basilica of St. Peter. The design, construction techniques, use of recycled Roman artifacts, and the style of the mosaics all demonstrate the Early-Christian revival of the Carolingian Renaissance. The 9th-century frescoes now located in the campanile (to the left of the apse) were originally on the walls of the transept. They depict the martyrdoms of the saints whose relics were transferred here by Pope Paschal.
Aside from the apse mosaics, a major feature to look for in the nave is the tomb of Santoni (d.1592) by Bernini, made when the artist was somewhere between the ages of 10 and 17. It is located in the wall, on the right aisle near the front. You might have just seen Bernini’s tomb across the road at Santa Maria Maggiore! The fellow entombed in the wall is Giovanni Battista Santoni. He was the right-hand man to the pope; known as the majordomo, which meant he oversaw the day-to-day arrangements for the pope. He was the pope’s secretary and event planner. He held this position for two years, until his death. It was his nephew, who hired Bernini to do the sculpture.
Paschal also founded a monastery next to the church, and staffed it with some of the Byzantine-rite Greek monks who had arrived in Rome in the previous century as refugees from the Iconoclastpolicy in the Byzantine Empire.
Terms:
Carolingian Renaissance: The first of three medieval renaissances, was a period of cultural activity in the Carolingian Empire occurring from the late eighth century to the ninth, taking inspiration from the 4th century Christian Roman Empire.
Byzantine Iconoclasm: The word Icon comes from the Greek language and means image. Iconoclasm refers to the destruction of images. Widespread use of Christian iconography began as Christianity spread among the gentiles after the legalization of Christianity by Constantine in 312. But opposition to the use of images began to rise. In the Eastern Roman (Byzantine Empire), government-led destruction of images: iconoclasm, began with Byzantine Empire Leo III, following what seems to have been a long period of rising opposition to the use or misuse of images. Icon use for religious purposes was viewed as a Satanic misleading of Christians to return to the pagan practice of worshiping idols and images. The religious conflict created political and economic divisions in Byzantine Society. It was generally supported by the Eastern, poorer, non-Greek peoples of the Empire who had to deal frequently with raids from the new Muslim Empire. On the other hand, the wealthier Greeks of Constantinople, (Istanbul) and also the people of the Balkan and Italian provinces strongly opposed iconoclasm. The Byzantine government had been adopting Christian images more readily.
Sometime between 726 and 730, the Byzantine Emperor Leo III the Isaurian, began the iconoclast campaign by ordering the removal of an image of Jesus and replacing it with a cross. Some of those assigned to the task were killed by a band of people who supported the use of religious images (Iconodules). Over the years, conflict developed between those who wanted to use the images, claiming that they were the icons to be venerated, and the iconoclasts who claimed they were simply idols. Pope Gregory III called together a synod (an assembly of the clergy to make a decision about doctrine or administration) in 730, and formally condemned iconoclasm as heretical and excommunicated its promoters. A papal letter with the decision was written but never reached Constantinople as the messengers were intercepted and arrested in Sicily by the Byzantines.
Some material from Wikipedia
The Mosaics
The most impressive features of Santa Prassede by far, are its mosaics which cover the apse, the triumphal arch and the entire interior of the Chapel of St. Zeno. All mosaics are original to the 9th-century basilica. They are made almost exclusively of fine glass tessarae, which may have been taken from earlier mosaics.
Not many people know about this church; they visit Maggiore across the road, and don’t know to go down to the street to see this. There won’t be many people inside this church while you visit and you’ll likely have the mosaics almost completely to yourself!
The outer face of the triumphal arch features mosaics the New Jerusalem, with heavenly doors guarded by angels. On the right side, an angel guides the saved. The inner face of the arch has Christ flanked by a row of saints.
The mosaics of the apse arch feature the Lamb of God with seven golden candlesticks, the Four Evangelists, who we have met various times throughout this tour, and the twenty-four wise men of the Apocalypse. Watch Mary’s videos for great details about the arch and the apse mosaics.
For a good look and to take some decent photographs of the mosaics, put some coins in the light box to the right side of the apse.
The apse mosaics depict Christ in the pink clouds of the sunrise at His Second Coming, with Saints Peter, we saw him on top of Trajan’s column, Pudenziana and Zeno on the right, and Saints Paul, Prassede and Pope Paschal I are on the left. Note that Paschal is sporting a square halo! A square halo indicates that he was still alive while his mosaic was being created in the apse. Paschal was sure that he would become a saint because he was such a good guy and in anticipation he wanted to be depicted as a saint in this mosaic.
Above, Christ is shown in a scene with palm trees. We saw palm trees earlier in the tour at the Basilica of Santi Cosma and Damiano; the twin the doctors. Palm trees tell us that this scene takes place in paradise; it is a vision; it is not a depiction of reality. It’s like if you wont the lottery you would probably go to a warm place with palm trees and beaches.
Look in the palm tree to the left and you will delightfully meet again the Phoenix. We met our first phoenix in the mosaics at Cosma and Damiano. The Phoenix is a symbol for resurrection. Notice the pile of ashes at the bottom of the scene. When a Phoenix dies, it turns to ashes. From the ashes a new Phoenix is born.
Below the apse mosaics is a dedicatory inscription hoping to secure Paschal’s place in heaven. The antique uppercase lettering is in gold on a background of deep blue, and means: This hall stands out adorned with varied enamels in honor of devout Prassede dear to the Lord above, by the zeal of the supreme Pope Paschal, member of the Apostolic Seat, who laid everywhere the myriad bones of saints beneath these walls, in burial, sure that through them he will deserve to reach the entrance to the heavens.
On the lower curve of the arch, which is called an Introdos (In-tray-dus) is the monogram of Paschal. It is extremely unusual to see a Pope’s monogram in this position on an arch as this area is almost always, reserved for the name of Christ. But Paschal wanted to be sure he was remembered so he put his logo front and centre!
Before you leave the church, take another look at the delightful mosaic of Paschal himself and his square halo. He appears in the apse mosaic forever as a saint as depicted by his halo. It is square, because he was still alive during the creation of the mosaics. The catch is that sainthood for Paschal was only wishful thinking; he never made it! However, we are thankful for him, as it was because of him that we have this wonderful mosaic in front of us today.
Terms:
Tessera: A small block of stone, tile, glass or other material used in a mosaic to depict a picture.
Not many people know about this church; they visit Maggiore across the road, and don’t know to go down to the street to see this. There won’t be many people inside this church while you visit and you’ll likely have the mosaics almost completely to yourself!
The outer face of the triumphal arch features mosaics the New Jerusalem, with heavenly doors guarded by angels. On the right side, an angel guides the saved. The inner face of the arch has Christ flanked by a row of saints.
The mosaics of the apse arch feature the Lamb of God with seven golden candlesticks, the Four Evangelists, who we have met various times throughout this tour, and the twenty-four wise men of the Apocalypse. Watch Mary’s videos for great details about the arch and the apse mosaics.
For a good look and to take some decent photographs of the mosaics, put some coins in the light box to the right side of the apse.
The apse mosaics depict Christ in the pink clouds of the sunrise at His Second Coming, with Saints Peter, we saw him on top of Trajan’s column, Pudenziana and Zeno on the right, and Saints Paul, Prassede and Pope Paschal I are on the left. Note that Paschal is sporting a square halo! A square halo indicates that he was still alive while his mosaic was being created in the apse. Paschal was sure that he would become a saint because he was such a good guy and in anticipation he wanted to be depicted as a saint in this mosaic.
Above, Christ is shown in a scene with palm trees. We saw palm trees earlier in the tour at the Basilica of Santi Cosma and Damiano; the twin the doctors. Palm trees tell us that this scene takes place in paradise; it is a vision; it is not a depiction of reality. It’s like if you wont the lottery you would probably go to a warm place with palm trees and beaches.
Look in the palm tree to the left and you will delightfully meet again the Phoenix. We met our first phoenix in the mosaics at Cosma and Damiano. The Phoenix is a symbol for resurrection. Notice the pile of ashes at the bottom of the scene. When a Phoenix dies, it turns to ashes. From the ashes a new Phoenix is born.
Below the apse mosaics is a dedicatory inscription hoping to secure Paschal’s place in heaven. The antique uppercase lettering is in gold on a background of deep blue, and means: This hall stands out adorned with varied enamels in honor of devout Prassede dear to the Lord above, by the zeal of the supreme Pope Paschal, member of the Apostolic Seat, who laid everywhere the myriad bones of saints beneath these walls, in burial, sure that through them he will deserve to reach the entrance to the heavens.
On the lower curve of the arch, which is called an Introdos (In-tray-dus) is the monogram of Paschal. It is extremely unusual to see a Pope’s monogram in this position on an arch as this area is almost always, reserved for the name of Christ. But Paschal wanted to be sure he was remembered so he put his logo front and centre!
Before you leave the church, take another look at the delightful mosaic of Paschal himself and his square halo. He appears in the apse mosaic forever as a saint as depicted by his halo. It is square, because he was still alive during the creation of the mosaics. The catch is that sainthood for Paschal was only wishful thinking; he never made it! However, we are thankful for him, as it was because of him that we have this wonderful mosaic in front of us today.
Terms:
Tessera: A small block of stone, tile, glass or other material used in a mosaic to depict a picture.
Chapel of San Zeno
The Chapel of San Zeno, is a pure delight to experience and is my favourite chapel in this entire tour. It is off the right aisle as you are facing the mosaics at the front of the church. The chapel was built as a mausoleum for Pope Paschal’s mother, Theodora, and is the only chapel in Rome entirely lined with mosaics.
Start your visit to the chapel by admiring the mosaics on the outside. If you have ear-buds with you, plug in, and watch Mary’s videos while you stand in front of or inside the chapel. Look for the coin machine located just outside the chapel. The person working in the small book store will give you change if you need to break a bill for the machine. Drop a coin in to light it up, or hang around long enough and someone else will drop in the money.
Zeno was bishop of Verona from 361-72. He was a trained orator and an ardent preacher. His relics were among those brought from the out-of-town catacombs by Pope Paschal. According to a Veronese author named Coronato, a notary of the 7th century, Zeno was a native of North Africa, from Mauretania; northern Morocco and Algeria. He taught many children of Africa about the Catholic religion and helped them with their school work. Another theory is that Zeno was a follower of Athanasius, patriarch of Alexandria, who accompanied his master to Verona in 340, where he stayed and entered monastic life, living as a monk until around 362, when he was elected successor to the See of Verona. Zeno lived a life of poverty, trained priests, set up a convent for women and forbade funeral masses being accompanied by attendees’ loud groans and wailing, Zeno may have suffered persecution but not execution.
Saints surround the arched entrance to the Chapel. The cornice is inscribed with Paschal’s monogram and inscribed with the dedicatory inscription which translated to English means: Ornament shines in the hall, the work of the prelate Paschal, because he made devout prayers and was earnest in paying this due to the Lord.
The Chapel of St. Zeno is cross-shaped and based on the plan of pagan and early Christian mausoleums. It also resembles a cubiculum (small room) in the catacombs. The walls are covered in mosaic and the floor is opus sectile (see below) with a large porphyry disk in the center. The columns are Roman. The mosaics were completed by Byzantine mosaic artists who had fled Byzantium because of the iconoclasm difficulties in the country.
Stepping inside the chapel is magical. Angels reach up to support the mandorla (the circle around the Christ Pantocrator) with gold and colour reflect all around you. Take a close look at the angels supporting the mandorla; they are not really very Roman. We don’t see them elsewhere in Rome, but they are found in Ravenna and Venice. It is likely that some of the mosaic workers in this chapel were from those areas and brought the design of the angels with them.
Be sure to find the woman with the square halo. She is Paschal’s mom, Theodora! The artist creating the mosaic of the mom, was probably following orders of her son to depict her as a saint. After all, he was going to be a saint so he thought his mom should be a saint too! Because she also was alive while her picture was being created, her halo was square. She, like her son, didn’t make it into sainthood; but it is a lovely mosaic and a loving gesture from a son!
In the niche, on the right side of the chapel, standing in a glass case, is a large piece of a black granite column, which is said to be the Column of the Flagellation; the column to which Christ was alleged to be tied as he was scourged before the Crucifixion. The relic was to have been brought from Constantinople by the papal legate Giovanni Colonna, titular cardinal of Santa Prassede, in 1223. Its authenticity is highly doubtful: the marble and work is of too high a quality and there is a much better candidate for the Column of the Flagellation in the Church of the Holy Sepulcher in Jerusalem.
Terms:
Flagellation: flogging, whipping, lashing; beating the human body with whips.
Opus Sectile: is an art technique popularized in the ancient and medieval Roman world where materials were cut and inlaid into walls and floors to make a picture or pattern. Common materials were marble, mother of pearl, and glass. The materials were cut into thin pieces, polished, then trimmed further according to a chosen pattern. Unlike tessellated mosaic techniques, where the placement of very small uniformly sized pieces forms a picture, opus sectile pieces are much larger and can be shaped to define large parts of the design. Although the technique died in Rome with the decline of the Empire, it continued to be used prominently in Byzantine churches, primarily in floor designs.
Wikipedia
Start your visit to the chapel by admiring the mosaics on the outside. If you have ear-buds with you, plug in, and watch Mary’s videos while you stand in front of or inside the chapel. Look for the coin machine located just outside the chapel. The person working in the small book store will give you change if you need to break a bill for the machine. Drop a coin in to light it up, or hang around long enough and someone else will drop in the money.
Zeno was bishop of Verona from 361-72. He was a trained orator and an ardent preacher. His relics were among those brought from the out-of-town catacombs by Pope Paschal. According to a Veronese author named Coronato, a notary of the 7th century, Zeno was a native of North Africa, from Mauretania; northern Morocco and Algeria. He taught many children of Africa about the Catholic religion and helped them with their school work. Another theory is that Zeno was a follower of Athanasius, patriarch of Alexandria, who accompanied his master to Verona in 340, where he stayed and entered monastic life, living as a monk until around 362, when he was elected successor to the See of Verona. Zeno lived a life of poverty, trained priests, set up a convent for women and forbade funeral masses being accompanied by attendees’ loud groans and wailing, Zeno may have suffered persecution but not execution.
Saints surround the arched entrance to the Chapel. The cornice is inscribed with Paschal’s monogram and inscribed with the dedicatory inscription which translated to English means: Ornament shines in the hall, the work of the prelate Paschal, because he made devout prayers and was earnest in paying this due to the Lord.
The Chapel of St. Zeno is cross-shaped and based on the plan of pagan and early Christian mausoleums. It also resembles a cubiculum (small room) in the catacombs. The walls are covered in mosaic and the floor is opus sectile (see below) with a large porphyry disk in the center. The columns are Roman. The mosaics were completed by Byzantine mosaic artists who had fled Byzantium because of the iconoclasm difficulties in the country.
Stepping inside the chapel is magical. Angels reach up to support the mandorla (the circle around the Christ Pantocrator) with gold and colour reflect all around you. Take a close look at the angels supporting the mandorla; they are not really very Roman. We don’t see them elsewhere in Rome, but they are found in Ravenna and Venice. It is likely that some of the mosaic workers in this chapel were from those areas and brought the design of the angels with them.
Be sure to find the woman with the square halo. She is Paschal’s mom, Theodora! The artist creating the mosaic of the mom, was probably following orders of her son to depict her as a saint. After all, he was going to be a saint so he thought his mom should be a saint too! Because she also was alive while her picture was being created, her halo was square. She, like her son, didn’t make it into sainthood; but it is a lovely mosaic and a loving gesture from a son!
In the niche, on the right side of the chapel, standing in a glass case, is a large piece of a black granite column, which is said to be the Column of the Flagellation; the column to which Christ was alleged to be tied as he was scourged before the Crucifixion. The relic was to have been brought from Constantinople by the papal legate Giovanni Colonna, titular cardinal of Santa Prassede, in 1223. Its authenticity is highly doubtful: the marble and work is of too high a quality and there is a much better candidate for the Column of the Flagellation in the Church of the Holy Sepulcher in Jerusalem.
Terms:
Flagellation: flogging, whipping, lashing; beating the human body with whips.
Opus Sectile: is an art technique popularized in the ancient and medieval Roman world where materials were cut and inlaid into walls and floors to make a picture or pattern. Common materials were marble, mother of pearl, and glass. The materials were cut into thin pieces, polished, then trimmed further according to a chosen pattern. Unlike tessellated mosaic techniques, where the placement of very small uniformly sized pieces forms a picture, opus sectile pieces are much larger and can be shaped to define large parts of the design. Although the technique died in Rome with the decline of the Empire, it continued to be used prominently in Byzantine churches, primarily in floor designs.
Wikipedia
Directions: Santa Prassede to Basilica of Santa Pudenziana - Distance: 500 M Time: 7 Min
- Turn left as you exit the church on to the same road you used to get to Prassede. Head toward Santa Maria Maggiore, but stay on the left side of the road.
- Cross the road at the cross walk and continue to follow Via Liberiana past Maggiore, which will be on your right. Cross Via dell 'Olmata, Via Pauline and Via di Santa Maria Maggiore. The back steps of Maggiore will be on your right. Stop at the lights at Via Cavour.
- Cavour is a busy intersection. Cross Via Cavour at the lights, then turn right and make a short walk to the corner of the building.
- Turn left at the corner onto Piazza dell 'Esquilino. Stay this side of the vendor booth and keep the buildings on your left.
- Walk to the corner of Via Urbina and turn left.
- After you have turned left, look toward the roofline of the buildings on the far side of the road. Look for the tower. Enter through the gates and down the steps.