Basilica di Sanata Pudenziana
Quick Facts:
- The church was built on top of a 2nd century house in the 4th century
- Part of the bath facility is still visible inside in the structure of the apse
- This church is recognised as the oldest place of Christian worship in Rome
- The marble frieze above the doorway is a significant work of medieval sculpture in Rome. It is 11th century and shows from left to right: Pastore; the first owner of the church, Pudenziana, Prassede (the sisters) and lastly, their father Pudens
- The Romanesque bell tower was added in the early 13th century
- The façade was renewed in 1870 and frescoes were added by painter Pietro Gagliardi, who painted in numerous churches throughout Rome
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The Church of Santa Pudenziana is one of the tituli, (see Terms below) and is considered by some to be the cradle of Christianity, as it is the first oratory opened by St. Peter, for Christian worship in Rome, in the house of his friend: the Roman Senator Pudens.
The church was known as the Titulus Pudentiana, named after the daughter of Senator Pudens. In the year 44 CE, Pudens, received St. Peter in his house and Peter lived here for 7 years while he was in Rome. You should be used to seeing St. Peter, by now with his keys to heaven. He was on the top of Trajan’s Column. Senator Pudens converted to Christianity and was baptized by Peter along with the four children of Pudens.
The houses of wealthy Romans quite often had two atria (courtyards) inside, one for the servants and one for the family. Because these atria were surrounded by the house but open to the sky, they were entirely private and great places to meet, thus ideal for early Christian church services while the religion was illegal.
The first actual church or chapel on this site may have been established as early as in the pontificate of Pius I (140–155 CE) and was built over the house of Pudens. Archaeologists have dated the first chapel, built in the bath or atrium, to c. 140. This fits with the belief that claims that the first chapel was built by Pope Pius I. The original building was converted or rebuilt as a regular church after tolerance was granted to Christians in the early 4th century. Dedicatory inscriptions have been preserved, naming Illiceus, Leopardus and the Presbyter Maximus, as the persons who financed the work in the time of Pope Siricius (384-399), who is responsible for its beautiful mosaic decoration.
Just outside the entrance to the Capella Caetani was a well, where, according to legend, the relics of 3,000 early martyrs were hidden by the two sisters. This location is marked by a square porphyry slab in the floor. The incredibly enthusiastic church-caretaker will happily show you the remnants of a martyr’s blood spilled on two steps of the chapel if you ask him.
In 1870, when the façade was rebuilt, remains of Roman houses were found beneath the church and neighbouring buildings. It is possible that one of these houses was the original titular of Pudens.
As you leave the building, look at the carving on the façade of the church with its sculptured medallions of the sisters and their father. Note, as well, the much later painting of the Madonna and Child in the pediment. The Romanesque bell-tower is from the period between 1160 and 1220.
Today, the church is the home of the Philippine community in Rome. This church is overlooked by many visitors to Rome as it is not included in paid tours. Be sure to go inside, it is a pure delight. The caretaker and nuns are wonderful, friendly and informative. It is a pleasure to experience this building and the people who operate it.
Terms:
Tituli: The first parish churches in Rome in the homes if Christians. They were also known as domus ecclesia, which means house church.
What was the Senate?
During the Roman Republic, the Senate was an advisory council of 300 wealthy men; a ruling class of families. Each man was appointed for life. They directed the magistrates and consuls of Rome especially about finances and the provinces of Rome. Before any senate meeting could begin, a sacrifice to the gods was made. The senate had the power to try treason cases, and it is the senate that declared Julius Caesar an enemy of the state.
The church was known as the Titulus Pudentiana, named after the daughter of Senator Pudens. In the year 44 CE, Pudens, received St. Peter in his house and Peter lived here for 7 years while he was in Rome. You should be used to seeing St. Peter, by now with his keys to heaven. He was on the top of Trajan’s Column. Senator Pudens converted to Christianity and was baptized by Peter along with the four children of Pudens.
The houses of wealthy Romans quite often had two atria (courtyards) inside, one for the servants and one for the family. Because these atria were surrounded by the house but open to the sky, they were entirely private and great places to meet, thus ideal for early Christian church services while the religion was illegal.
The first actual church or chapel on this site may have been established as early as in the pontificate of Pius I (140–155 CE) and was built over the house of Pudens. Archaeologists have dated the first chapel, built in the bath or atrium, to c. 140. This fits with the belief that claims that the first chapel was built by Pope Pius I. The original building was converted or rebuilt as a regular church after tolerance was granted to Christians in the early 4th century. Dedicatory inscriptions have been preserved, naming Illiceus, Leopardus and the Presbyter Maximus, as the persons who financed the work in the time of Pope Siricius (384-399), who is responsible for its beautiful mosaic decoration.
Just outside the entrance to the Capella Caetani was a well, where, according to legend, the relics of 3,000 early martyrs were hidden by the two sisters. This location is marked by a square porphyry slab in the floor. The incredibly enthusiastic church-caretaker will happily show you the remnants of a martyr’s blood spilled on two steps of the chapel if you ask him.
In 1870, when the façade was rebuilt, remains of Roman houses were found beneath the church and neighbouring buildings. It is possible that one of these houses was the original titular of Pudens.
As you leave the building, look at the carving on the façade of the church with its sculptured medallions of the sisters and their father. Note, as well, the much later painting of the Madonna and Child in the pediment. The Romanesque bell-tower is from the period between 1160 and 1220.
Today, the church is the home of the Philippine community in Rome. This church is overlooked by many visitors to Rome as it is not included in paid tours. Be sure to go inside, it is a pure delight. The caretaker and nuns are wonderful, friendly and informative. It is a pleasure to experience this building and the people who operate it.
Terms:
Tituli: The first parish churches in Rome in the homes if Christians. They were also known as domus ecclesia, which means house church.
What was the Senate?
During the Roman Republic, the Senate was an advisory council of 300 wealthy men; a ruling class of families. Each man was appointed for life. They directed the magistrates and consuls of Rome especially about finances and the provinces of Rome. Before any senate meeting could begin, a sacrifice to the gods was made. The senate had the power to try treason cases, and it is the senate that declared Julius Caesar an enemy of the state.
The Mosaics
The stunning apse mosaic, dating from around 390 CE, is the oldest in Rome and the only one of its kind.
It is dimly lit, as it must have been when it was made. A light box at the front of the church awaits your coins to light up the apse! Most of the mosaic survived the restorations of 1588 or ‘98 but the lower part was destroyed. The style certainly retains the naturalistic characteristics of Roman mosaics and paintings, and was not influenced by the stylization that soon enters Roman mosaics, which is evident in the nave panels we saw in Santa Maria Maggiore.
In the preserved part of the mosaics, Christ presides over his apostles in a courtyard. Only Christ wears a halo, as is expected in mosaics from such an early date. Christ holds a book inscribed Dominus Conservator Ecclesiae Pudentianae (God, Preserver of the Church of Pudentiana).
There is some disagreement about the two female figures behind the apostles. They are probably Santi Pudenziana and Prassede, but they may, according to some scholars, represent Church and Synagogue, the Gentile and Jewish elements of early Christianity.
The theory surrounding the buildings in the background is that they represent the Christian Jerusalem as built by Constantine. It is much more likely that the buildings are depictions of buildings that were present in Rome at the time the mosaics were being created. But since this apse presents a vision, we are to read the mosaic as the heavenly Jerusalem. There is a lovely sense of perspective in each of the buildings.
The gemmed cross represents that which was according to legend, erected by Constantine to mark the place of the Crucifixion on Calvary. Next to the cross are the symbols of the Evangelists. This is the oldest preserved example of these symbols.
This mosaic was created by Roman artists as opposed to Christian artists. Christianity was so new that there weren’t many Christian artists available yet. The characters in this mosaic look like portraits of individuals as opposed to Byzantine suggestions of human figures, like we saw at the Church of Cosma and Damiano, which was a later church.
The subject matter is in every sense unique in early Christian mosaics. Christ is on a throne with lots of jewels. He is depicted as Christ, King of Heaven sitting on a large and comfortable bolster in front of his Cloth of Honour. The figure of Christ is interesting in that, it conforms absolutely to the figures we have seen to date. We find him in cloth of gold with purple stripes, suggesting his earthy power as well as his heavenly power. His robe is similar to the Imperial garments worn by an Emperor. He holds a book that reveals that God is the caretaker who looks after the church of Pudenziana. Christ sits here, in this apse, for centuries making the sign of the blessing in the direction of Santa Pudenziana.
It is dimly lit, as it must have been when it was made. A light box at the front of the church awaits your coins to light up the apse! Most of the mosaic survived the restorations of 1588 or ‘98 but the lower part was destroyed. The style certainly retains the naturalistic characteristics of Roman mosaics and paintings, and was not influenced by the stylization that soon enters Roman mosaics, which is evident in the nave panels we saw in Santa Maria Maggiore.
In the preserved part of the mosaics, Christ presides over his apostles in a courtyard. Only Christ wears a halo, as is expected in mosaics from such an early date. Christ holds a book inscribed Dominus Conservator Ecclesiae Pudentianae (God, Preserver of the Church of Pudentiana).
There is some disagreement about the two female figures behind the apostles. They are probably Santi Pudenziana and Prassede, but they may, according to some scholars, represent Church and Synagogue, the Gentile and Jewish elements of early Christianity.
The theory surrounding the buildings in the background is that they represent the Christian Jerusalem as built by Constantine. It is much more likely that the buildings are depictions of buildings that were present in Rome at the time the mosaics were being created. But since this apse presents a vision, we are to read the mosaic as the heavenly Jerusalem. There is a lovely sense of perspective in each of the buildings.
The gemmed cross represents that which was according to legend, erected by Constantine to mark the place of the Crucifixion on Calvary. Next to the cross are the symbols of the Evangelists. This is the oldest preserved example of these symbols.
This mosaic was created by Roman artists as opposed to Christian artists. Christianity was so new that there weren’t many Christian artists available yet. The characters in this mosaic look like portraits of individuals as opposed to Byzantine suggestions of human figures, like we saw at the Church of Cosma and Damiano, which was a later church.
The subject matter is in every sense unique in early Christian mosaics. Christ is on a throne with lots of jewels. He is depicted as Christ, King of Heaven sitting on a large and comfortable bolster in front of his Cloth of Honour. The figure of Christ is interesting in that, it conforms absolutely to the figures we have seen to date. We find him in cloth of gold with purple stripes, suggesting his earthy power as well as his heavenly power. His robe is similar to the Imperial garments worn by an Emperor. He holds a book that reveals that God is the caretaker who looks after the church of Pudenziana. Christ sits here, in this apse, for centuries making the sign of the blessing in the direction of Santa Pudenziana.
