
All images © by Roberto Piperno, owner of the domain. Write to romapip@quipo.it.
Notes:
Page revised in March 2024.
All images © by Roberto Piperno, owner of the domain. Write to romapip@quipo.it.
Notes:
Page revised in March 2024.
Links to this page can be found in Book 3, Map A3, Day 1, View C9, Rione Campitelli and Rione Monti.
The page covers:
The plate by Giuseppe Vasi
Today's view
S. Clemente
- S. Clemente - Lower Church
- S. Clemente - Roman buildings and Mithraeum
Ospedale del Padre Angelo (S. Maria delle Lauretane)
Casino Evangelisti Guidi
Casino Fini (including S. Giacomo del Colosseo)
Giuseppe Vasi regarded himself as an architect, rather than as a painter. He was always very accurate in depicting architectural details of palaces and churches, but occasionally he did not pay enough attention to the consistency of the shadows projected by buildings. In this 1753 plate the façade of S. Clemente is in the shadow and based on the angle made by sunlight on the porch one can assume the view was taken in the afternoon. The house on the left side of the etching and Colosseo at the end of the street are well illuminated and this occurs in the morning. In addition the two gigs project shadows which are not consistent with each other.
The view is taken from the green dot in the small 1748 map below.
In the description below the plate Vasi made reference to: 1) Anfiteatro Flavio (Colosseo);
2) Ospedale del Padre Angelo; 3) Chiesa di S. Clemente; 4) Monastero dei Padri Domenicani. 1) is covered in another page. The small map shows also: 5) Casino Evangelisti Guidi; 6) Casino Fini; 7) S. Giacomo del Colosseo.
The dotted line in the small map delineates the border between Rione Monti (upper part) and Rione Campitelli (lower part).
The view in May 2020
The street leading to Colosseo was opened by Pope Sixtus V to facilitate the access to Piazza di S. Giovanni in Laterano; at Vasi's time it was an important street, but today cars and buses use a modern parallel street, so this corner of Rome is pretty much as it was in the XVIIIth century.
(left) Façade; (right) side entrance
The Church of St. Clement gives Title to a Cardinal, and this they say was the very House of St. Clement Pope. It was certainly put into the Form of a Church in the first Ages of Christianity; for at the Beginning of the fifth Century Pope Zosimus in his Epistles testifies he held a Council in it.
The Travels Of the Learned Father Montfaucon from Paris thro' Italy in 1702 - Made English from the Paris edition in 1712
An
ancient tradition of the church tells
us that it stands on the site of the house
of Clement, the fellow-labourer of St.
Paul, and the third bishop of Rome. (..) Clement XI
(Albani), in the beginning of the last
century, repaired and restored the whole
edifice in its present form. In front is
a quadriporticus, surrounding a court
58 feet long by 48 broad, entered by a
small portico.
John Murray - Handbook for travellers in Central Italy - 1843
Carlo Stefano Fontana was the architect in charge of the renovation of S. Clemente which mainly concerned the façade, the ceiling and the side entrance. The architect made large use of the papal coat of arms and heraldic symbols in the decoration of the new parts of the church (the image used as background for this page shows a detail of the ceiling). You may wish to see the church as it appeared in a 1588 Guide to Rome when it had a Romanesque bell tower to the right of the façade.
(left) Medieval porch, which is very similar to those of S. Cosimato and S. Prassede; (right) portal leading to Collegio S. Clemente, the convent attached to the church
In 1403 Pope Boniface IX assigned the church to the newly-founded Augustinian Congregation of St. Ambrose. In 1643 the congregation was suppressed and the church was assigned to the Dominicans. In 1677, as a consequence of the religious persecution of the Catholics in Ireland, S. Clemente was granted to the Irish Dominicans, to whom it still belongs. In 1846 Father Joseph Mullooly O.P. (1812-1880) was assigned to S. Clemente and in 1850 he became the superior of the convent. This page includes many quotations from his book Saint Clement, pope and martyr, and his basilica in Rome - 1869 in which he describes the church which he discovered underneath that which was thought to have been built in the IVth century AD.
The Church and Choir are remarkable for shape, and represent the ancient manner of Christians building Churches. For the Choir, is enclos'd with a Marble Wall, almost as high as a Man, and there is a space to go round in every Way. (..) On each side of the Choir is a Marble Pulpit, that the People standing about the Choir and the Clergy within might both hear the Reader. (..) The Altar is also singular, like an Isle, that the Priests may stand about it. (..) However, this is not thought to have stood so from its first Foundation; for the Church has been mostly rebuilt; but the Repairers always kept the first Form. Montfaucon
Of all the churches of Rome
S. Clement's has suffered fewest alterations in its original construction; and it is therefore the most perfect illustration in existence of the plan of an early
Christian church.
Rev. J. Donovan - Rome Ancient and Modern and its environs - 1842
Before 1857, when people wished to give the idea of a Constantinian church arranged as in primitive times, they chose St. Clement. (..) A few years ago in raising some pavement for the purpose of digging a well, the prior of the Dominicans of Ireland, to whom the convent was given by Urban VIII., discovered, buried under the present church of St. Clement, the real Constantinian basilica that had passed into a subterranean state.
Francis Wey - Rome, its Churches, Monuments, Art, and Antiquities - 1887 English edition
A step leads up to the choir from the nave; and it was
rebuilt in the IX. century by John VIII., whose
monogram (see it in the historical section) is seen externally, encircled in a wreath,
on the first marble panel to the right and left of
the choir. Donovan
The early basilica disappeared and was forgotten, so that, notwithstanding the industry of Roman archaeologists, every record and tradition relating to it was referred to the comparatively modern church built upon its ruins. However the basilican style was followed in all its details in the latter, which caused it to be regarded by all archaeologists as the most perfect example existing of the early Christian basilica. In fact any one who visits the subterranean basilica, will see that the upper church is simply a reproduction of it, though on a somewhat smaller scale. (..) The monogram is one of those puzzles of which Symmachus says to his friend: «I should like to know whether you got all my letters sealed with the ring in which my name is more readily understood than read». (..) When Roman antiquaries confounded this choir with that of the basilica whence the panels had been brought up, they used to say it meant Nicholas; but Ciampini (an ecclesiastical archaeologist of the late XVIIth century) thought it was Johannes, though what John he did not know. The author of Murray's Guide-Book said «John VIII» (872-882). If it means John, we have the name of John Mercurius afterwards Pope John II, a.d. 532-535, in one of the carved capitals of cardinal Venerius' monument, which were probably the capitals of the ancient ciborium. Mullooly
The Popes built an entirely new church on
the top of the ruins, using again some of the
old materials, among which were the Coro, or schola Cantorum with its ambos, the door
of the atrium and various antique sculptures. (..) The west
side of the choir walls has Cosmatesque inlays, but the
others are very Byzantine in style. They bear the
monogram of "Johannes," who afterwards became Pope
Giovanni II, 532.
Thomas Graham Jackson - Byzantine and Romanesque Architecture - 1913
The schola cantorum of the lower, larger basilica was relocated to the new one and because of this it occupies more space than one would expect. Some of the monograms were replaced by Cosmati decoration.
Details of the interior (from "F. Wey - Rome, its Churches, ..)
To justify these traditions (of having been built in the IVth century) the interior of the building displayed as so many witnesses the columns of its portico in grey granite, its pillars of cipollino and of red granite which separate the three naves, and which come from the ruins of pagan temples. Ancient friezes annexed to the entablatures, and inscriptions of the era of the martyrs set in the walls, added the proofs of a charter-house of stone, the antechapel, the first inclosure, in which the sub-deacons, minor clerks, and the chanters had place; at the two sides the pulpits, with porphyry plaques and contemporary with John VIII., in the loftier of which, on the left, the Deacons read the Gospel, proclaimed edicts, and denounced the excommunicated, while the other was only used for the Epistle; before the passage to the right, the desk; finally, the twisted pillar, destined for the Easter taper, a ribbon of mosaic under a Corinthian capital, bearing an ancient vase, decorated under Innocent IV. The sanctuarium appears equally decisive and curious, separated as it is from the naves, a usage still preserved in oriental churches. Cut off by the ancient railing from the transept, the altar or confession is covered by a ciborium, supported on slender columns of violet marble; in the circle of the apse is the presbyterium,in the centre of which the chief seat is raised by three steps, - all multiplied proofs of a very lofty antiquity. Wey
S. Clemente was almost totally ignored by XVIIIth century travellers, and Thomas Nugent did not include it in a long list "of Roman churches that are most esteemed for their structure" (The Grand Tour - 1749), but things greatly changed after the discovery of the lower church.
(left) Easter candelabrum very similar to those at S. Maria in Cosmedin, SS. Cosma e Damiano and at Anagni; (right) detail of the floor
The Floor is of Mosaick Work. The arch'd Roof of the Choir is adorn'd with Mosaick Work of about four hundred Years standing (details of the apse mosaic are shown in a page on the golden mosaics of Rome); nor can it be older, because there are in it the Pictures of Dominicans, who are now possess'd of the Church (these were added in the XVIIth century). Montfaucon
The pre-cosmatesque pavement - it long antedates the Cosmati clan of marmorari - presents a new and distinctive layout: a narrow carpet of roundels, worked in green serpentine and porphyry bordered by a guilloche design along the length of the nave, links the portal to the entrance of the schola cantorum and continues up to the sanctuary in the apse; it is flanked on the right and left by panels in multicoloured geometric patterns.
Richard Krautheimer - Rome, Profile of a City, 312-1308 - 1897
(above) Fragment of a dedicatory inscription to Emperor Trajan (now above the entrance door); (below) small Roman funerary inscriptions in the floor (see other inscriptions in the lower church)
Some fragments of Roman marble funerary inscriptions were used for the decoration of the floor. In a few instances the carved side was used and the text was included in the first attempts to create a directory of Roman inscriptions. In 1603 that mentioning Manneia Lesbia was recorded in Inscriptiones antiquae totius orbis romani in corpus absolutissimum redactae cum indicibus by Jan Gruter, a Flemish philologist and librarian. The inscription is interesting because the customary pagan dedication to the spirits of the dead (DIS MANIBUS) was carefully erased.
(left) Upper part of the Romanesque canopy, see some later Gothic canopies at S. Paolo fuori le Mura and S. Cecilia; (right) tabernacle for the Holy Oil
The high altar, which looks towards the east, is covered with a plain canopy, supported by four columns
of pavonazzetto, and still preserving the four iron
rods, and some of the rings of the curtains that originally veiled the altar, as is still done, in the
Greek church, at the consecration of the Elements, and
at the close of the service. (..) To the right of the tribune is a small tabernacle erected in 1299 by Card.
Tommaso Gaetani, nephew of Boniface VIII., as is
recorded by an inscription over it. Donovan
The medieval use of heavy curtains is documented by some funerary monuments, e.g. at Orvieto and at Arezzo. Elaborate tabernacles/cupboards for the Holy Oil were designed also in the late XVth century, e.g. at S. Maria in Trastevere.
Chapel of St. Catherine of the Wheel aka della Passione
Masaccio, stimulated by his affection and love for art, determined to go to Rome, in order to learn and to surpass others; and this he did. And having acquired very great fame there, he painted for Cardinal San Clemente (Branda Castiglioni) a chapel in the Church of S. Clemente, wherein he made in fresco the Passion of Christ, with the Thieves on the Cross, and the stories of S. Catherine the martyr.
Giorgio Vasari - Lives of the most eminent painters, sculptors & architects - transl. by Gaston Du C. De Vere
The Capella della Passione, on the left
of the entrance, contains the interesting
frescoes by Masaccio, representing the
Crucifixion of the Saviour, and the
History of St. Clement (St. Ambrose) and St. Catherine, which have been so often studied
in reference to the history of art. They
have frequently been retouched, and
have consequently suffered much from
restorations. Murray 1843
You may wish to see 1905 paintings by Alberto Pisa showing the chapel and the interior of the church.
Chapel of St. Catherine: (left to right) her Dispute with
the Alexandrian Doctors; the Miracle
of her Deliverance; her Martyrdom
Injured as they have been, it is a relief to turn to the frescoes in the chapel of the Crucifixion, at the east end of the south aisle. (..) Their Tuscan author, Masaccio, as Tommaso Guidi was nicknamed, was a man who gave a great impulse to the art by studying individual forms. Masolino and Fra Filippo Lippi were of his age and school. This is the only chapel he painted in Rome. (..) On the wall to the left is depicted the martyrdom of S. Catharine. The first act of the saint shows her discoursing of the Trinity to the pagan Philosophers of Alexandria. She converted them, and the consequence of their conversion is seen in the fiery death they are doomed to suffer, under which the virgin encourages them to perseverance. (..) Ordinary tortures were not sufficient to punish, what seemed to the Pagans, crimes so enormous. The wheel, which bears her name, is contrived to tear her in pieces, but an angel descends and the broken engine wounds the executioners. In the presence of the soldiers leaning on their shields, the martyr kneels to receive the last stroke of the executioner, and an angel carries her soul to its reward. Mullooly
Today art historians attribute most of the frescoes to Masolino da Panicale, a Florentine painter with whom Masaccio began his career.
Masolino began to give more sweetness of expression to the faces of women, and more loveliness to the garments of young men, than the old craftsmen had done; and he also drew passing well in perspective. Vasari
(left) Monument to Cardinal Antonio Jacopo Venerio attributed to Andrea Bregno; (right) detail of the Monument to Archbishop Giovanni Francesco Brusati (d. 1485), nephew of Cardinal Bartolomeo Roverella, by Luigi Capponi, a pupil of Bregno
Worked into
the tomb of Cardinal Venerio (d. 1479) in the upper
church are two elaborately carved shafts with Byzantine
capitals belonging to the lower church, which are said to
have carried the baldacchino over the altar, but seem too
small for that office. Jackson
S. Clemente does not have chapels, but in the late XVth century two cardinals who were titular of the church and one of their relatives chose it to erect their funerary monuments. Andrea Bregno and Luigi Capponi both excelled in low reliefs, see some other works by them at S. Maria in Aracoeli (Bregno) and S. Gregorio al Celio (Capponi).
Ceiling with a painting depicting the Glory of St. Clement by Giuseppe Chiari (who worked also at Palazzo Barberini); see a detail of it in a page on the iconography of saints and a page on some of the finest ceilings of Roman churches
The long pontificate (1703-1721) of Pope Clement XI was characterized by major financial difficulties, which in part stemmed from a series of natural disasters (a major flood in 1702, an earthquake in 1703, a drought in 1706) and in part were caused by the Spanish Succession War during which the Papal State was crossed by French and Austrian armies en route to the Kingdom of Naples. The Pope would have liked to associate his name with a major embellishment of Rome, but he had to content himself with the restoration of some ancient churches such as S. Clemente, S. Eusebio and S. Maria in Cosmedin, leaving the honour and the burden to take care of some of the great basilicas (i.e. S. Giovanni in Laterano, S. Croce in Gerusalemme and S. Maria Maggiore) to his successors.
A particular study of the topography of this part of the city, as well as a minute inspection of the marbles in the choir, induced the writer of these pages to suspect, so far back as 1848, that the church spoken of by S. Jerome, Pope Leo the Great, Symmachus, and Gregory the Great, could not be that described by modern writers; and, therefore, that the former must be either beneath, or somewhere near the latter. (..) In progress of time, what had been but conjectures ripened into convictions, and, in 1857, the researches were commenced. Mullooly
Pope Pius IX visits the lower church in 1867 and listens to Fr Joseph Mullooly's account of the excavations (from "Joseph Mullooly - Saint Clement, pope and martyr, and his basilica in Rome - 1869")
As the progress of the works is entirely dependent on the assistance of the public, it is expected that visitors will make a donation towards enabling Dr. Mullooly to continue them. His Holiness Pius IX. has from his private purse been a most generous contributor, and given every encouragement to our worthy countryman the prior, whilst the English visitors to Rome have been very liberal in their offerings towards this most interesting amongst the recent ecclesiological discoveries of Rome, - none more so, and on more than one occasion, than H.R.H. the Prince of Wales; a book in which contributors put down their names will be found in the sacristy. The subterranean basilica is brilliantly lighted upon the feasts of St. Clement (Nov. 23) and St. Ignatius (Feb. I), and on the 2nd Monday in Lent, the most favourable occasions for visiting it. Murray 1875 edition
Fr. Mullooly began excavations under the present church in 1857 and within ten years he unearthed a IVth century Christian basilica and beneath it some earlier buildings.
Lower church: right/north aisle
The basilica consists of a nave, two aisles, and a narthex. Its entire length is 146 feet. The nave is 52 feet 3 inches wide; the width of the northern aisle is 18 feet 7 inches, and that of the southern 19 feet 10 inches; the narthex, which runs the whole width of the church is 91 feet 8 inches. From the narthex we enter the north aisle which is divided from the nave by a line of seven columns of various marbles imbedded in a wall, built, for the most part, of the debris of ruined temples and broken statues. These columns are twelve feet high, and eighteen inches in diameter, and all stand in their original positions. (..) Some of these pillars have been stript of their capitals, others retain them, and, although all are valuable and beautiful, they lack uniformity both in height and diameter, which shows that they must have been taken from still older edifices, perhaps porticoes or Pagan temples.
Mullooly
Below the present church is the older one. (..) It is so
much wider than the church above, that the old nave is
equal to the nave and south aisle of the upper building,
and a wall had to be intruded to carry the south arcade
above. On the north side the columns of the upper
church stand over the old, and the north wall is over
that of the lower building. The intervals of the lower
columns were walled up for strength. Jackson
Lower church: nave from behind the late XIXth century altar under which Fr Mullooly is buried
It would be tedious to give a detailed account of the progress of the excavations year by year, and the difficulty of removing the immense mass of compacted rubbish with which the abandoned basilica had been purposely filled up to make a foundation for the church above, without damaging the walls and whole structure of that church. In fact some parts of the upper church had no foundation but that rubbish, more than one hundred and thirty thousand cartloads of which had to be carried up (..) in baskets on the shoulders. Suffice it to say that the architect Fontana succeeded admirably, and without a single accident, in supporting the upper church on brick vaults and arches; and that the lower basilica is made easy of access in its whole extent. Mullooly
The Caelian quarter as a whole has never recovered from
the state of desolation to which it was reduced in 1084 by the Normans. The few roads which traverse this silent
region are practically the same as those through which
Gregory VII. had been hurried from the castle of S.
Angelo to the Lateran; only their present level is higher,
the layer of debris from the burnt edifices having
considerably raised the level of the whole district. We
have evidence of this in the two churches of S. Clemente,
one above the other. The lower church shows the level
of the city before, and the upper that after the fire.
Rodolfo Lanciani - The Destruction of Ancient Rome - 1899
It is evident, therefore, that there existed a very extensive Christian basilica at this lower level, founded on Pagan constructions of the early Imperial if not Republican period; that, this basilica having been destroyed and the aisles and nave filled up with rubbish, the modern ch. rose upon it, probably under Paschal II. (1099-1118) who was titular cardinal before his election to the Papacy, which took place in it; and that the latter resembled in form, though with diminished dimensions, in width particularly, the more ancient one. It is singular that no mention exists in ecclesiological history of the destruction of the lower ch. or the erection of the upper one; it is probable, however, that, when that destruction took place, the difficulty of erecting so wide a roof as would have been necessary to cover a nave of the dimensions of the older ch. obliged Paschal II., if he was the founder of the upper one, to adopt the lesser dimensions we now see of the nave; and that it was then that the choir of the time of John II., with its ambones and Paschal candelabrum, were removed to where we now see them. A handsome altar, under a canopy supported by elegant columns of marble, has been erected beneath that in the upper church. Murray 1875
Lower church: casts of columns which were used for the Monument to Cardinal Venerio, one of which bears the name of Mercurius
We have the name of John Mercurius in one of the carved capitals of cardinal Venerius' monument, which were probably the capitals of the ancient ciborium; and under the choir-panels are two marble beams, evidently the architraves of the same ciborium, on one of which is the inscription «Salbo Hormisda Papa Mercurius presbyter cum sociis offert», which shows that cardinal Mercurius, afterwards Pope John II, put up the altar in the pontificate of Hormisdas, A. d. 514-523, and we naturally infer he put up the choir-panels also. Mullooly
The capitals are typical of Byzantine buildings, see those at Philippi and at SS. Sergius and Bacchus in Constantinople.
Lower church: main nave floor (see that of the upper church): (left) fragments of "opus Alexandrinum" (decorative marble inlays) with an unusual pattern; (right) fragments of Roman funerary inscriptions
When we visit it, we cannot be blind to the inveterate faith with which Catholics venerate the relics of the dead, and the magnificence with which holy Church surrounds the bodies of the saints. For reduced, as this Constantinian basilica may be said to be in its present state, to mere brick and mortar, (..) we must replace what was carried up to construct the church above; the noble marble panels of the choir, and especially the two of basket-work - transennae - once probably protecting the relics of the saint; the various intricate patterns of the rich opus Alexandrinum of the pavement; if we add frescoes from top to bottom, and from end to end, elegant in their ornamentation, and harmonious in colouring; (..) if we introduce the lights and crowd, and priests at the high altar, we shall conceive no small idea of the Catholic basilica. Mullooly
Portions of the marble pavement were also discovered, amongst others an inscription bearing the name of two consuls of the time of Constantine. Murray 1875
Lower church - north aisle: niche of the Madonna (VIIIth century): (left) Mullooly's book: (right) as it is today
We approach the little niche with feelings of reverence, for that little recess (six feet by three, sunk eighteen inches into the wall) contains the representatives of the Christian world: Christ in his incarnate nature and in his glory, his Immaculate Mother, angels, virgins, martyrs, saints, men instruments of his providence and heirs of his promise. These paintings were at first concealed by others, much ruder, painted upon a coat of plaster which fell away. The Byzantine school is here strongly marked, particularly in the overloaded jewelled headdress of our Lady, and the decorations of her throne. The artist knew very well that this exuberance of ornament, and the elongated arm supporting the divine child on her lap were not natural. (..) In the crown of the niche a medallion shows our Lord ever youthful and radiant with glory. On the sides are heads of the virgin martyrs S. Catharine of Alexandria and S. Euphemia of Chalcedon; and beneath them respectively Abraham brandishing a sword to strike and an angel shielding Isaac. (..) Our Lady is the chief figure, immediately opposite the eye, and occupying the whole front of the niche. (..) All the gifts of grace are signified by the necklace, breastplate, and the immense jewelled headdress with its triple crown borne by our Lady. Mullooly
As they removed the earth with which the crypts were filled up, they perceived by the light of their torches the walls gradually peopling themselves with strange forms resuscitated from the darkness. The church above was a cabinet of curiosities, while the church underground is a gallery, and the only one which could by authentic pictures fill up the gap of between the fourth and eleventh centuries in the history of painting. Wey
In 1900 the demolition of S. Maria Liberatrice in the Roman Forum led to the discovery of S. Maria Antiqua which was decorated with many frescoes of the VIIIth century, including a niche with a madonna, a jewelled saint and other interesting paintings.
Lower church: Stories of St. Libertinus from Wey's book; the frescoes are dated second half of the VIIIth century; they have completely faded
At the east end of the aisle, there are rude remains of a group of Benedictine subjects. (..) Libertinus, appears to have lived in the time of Totila. We have in the one with the inscription «ubi Abbas Libertino veniam petit» «where the Abbot begs pardon of Libertinus», an example of how human passions may break out in the peace of the cloister, and how meekness and humility may overcome them. The Abbot was not favourable to Libertinus. One day, in a rage, the Abbot, for want of a stick, took up his footstool and beat Libertinus severely with it about the head. He went quietly to bed, and early the next morning presented himself at the bedside of the Abbot, who thought that he was leaving the monastery, and that the abrupt departure of so holy a man would not serve his own reputation. Stung with remorse when he saw that Libertinus had come, as usual, to ask for his blessing, before setting out on the business of the monastery, he rose, and we see him prostrate on the floor of his cell while Libertinus gives him the benediction of forgiveness he had asked for. (..) On his journey to Ravenna, a woman with her dead child in her arms seized his mule by the bridle, and insisted that he should restore the child to life. The traveller could not escape, and so strange a demand alarmed his humility. Moved with compassion, he said: «Do not weep». At length he alighted (..) and whilst in prayer life returned. (..) The monk, who was the gardener, was annoyed by some one stealing the vegetables. He found out the place where the thief used to get in, and seeing a snake by it told him to keep guard. While the monks were at their siesta, the thief stepping over, as usual, took fright at the sight of the snake, and fell so that he hung in the hedge by the leg. The monk on returning released him, and quietly conducting him to the door of the monastery, gave him some vegetables, saying: "My son, why will you steal? If you want any more, come to me and I will give them to you". Mullooly
Lower church - nave: frescoes depicting the Assumption of Mary and the Crucifixion
As we approached with reverence that old niche where, in the northern aisle, we found the Mother in glory with the Son, here again we greet the sequel and consummation of the triumph of the Cross in her Assumption. (..) Our Saviour is above, seated on His starry throne, in a nimbus supported by four angels. In His left hand He holds a closed book, while the right is extended. (..) Below, the apostles, finding the tomb empty, are in various attitudes of emotion and surprise, and all have their eyes fixed on Her who is mounting aloft, and disappearing from their sight. They are in two groups, six on each side of the tomb, and two have their hands elevated, probably to indicate the desire they had to follow Her. (..) S. Vitus, holding a small cross in his right hand, stands at the extreme end to the right. He has his name - Sanctvs Vitvs - written vertically near his head, which is tonsured and surrounded with the halo. We cannot positively affirm which of the saints of that name he represents; but very probably he was a member of the Order of the Crociferi - Crossbearers -, founded by Pope S. Cletus. Or it may be that he was the celebrated archbishop of Vienne in France, who died in 525, and that he is placed near S. John on account of his opposition to the Arians. (..) At the corresponding extremity to the left is Pope S. Leo with the square green nimbus, or glory , to indicate that he was living at the time this picture was painted (..) for the inscription underneath records that this «picture may outshine the rest in beauty, behold the priest Leo studied to compose it». From the inscription it is not easy to determine whether he is Leo III, or Leo IV (..) If it be Leo III, it must have been painted before 795; if Leo IV, before 847.
The painting of the Crucifixion is old and rude, but true human hearts stand beside it. (..) Our Lady is appealing to her Divine Son. S. John with his Gospel roll stretches a supplicating hand to Him. This is probably the earliest church picture we have of the Crucifixion, and, if poor in art, there is Christian feeling in the simplicity which gives us the union of those three hearts in the hour of agony and death. Mullooly
Lower church - narthex: Miracle of St. Clement, one of three large frescoes which were paid for by the De Rapiza family in the late XIth century
In this beautiful composition we have lost the first finding of the relics of our Saint. High up on the wall, the inscription, now nearly obliterated, only remains - «in mare submerso tumulum parat angelus istud» "the angel is preparing that tomb (to S. Clement) submerged in the sea", refers to the tradition that when Trajan had S. Clement thrown into the deep with an anchor about his neck, and the Christians on the shore wept that they could not recover his body, the sea retired three miles, and it was found with the anchor in a little marble temple prepared by angelic hands. The miracle of the receding waters was repeated for several centuries on the anniversary of his martyrdom, and during the octave of his festival, thus leaving a dry path for the Christians to go and venerate his relics. The temple surrounded by the sea full of fishes is seen in the central compartment, and within it a marble urn containing the sacred treasure. The urn serves for an altar which is covered with a white cloth, and upon it are two candlesticks with lighted candles. Three lamps are suspended from the vaults, and from the canopy over the altar hang two looped curtains very gracefully arranged. On the left is a city, from one of the gates of which a procession issues headed by the bishop going to say mass, and carrying a crosier in his left hand, while his right is raised towards his breast. His assistants clothed in the vestments of their order accompany him, and an immense crowd of people follow behind. The name of the city is designated by the word Cersona, or Cherson, which is written under the arch of the gate. This ancient city has been, long since, destroyed, and modern Inkerman in the Crimean peninsula built on its ruins. Between the bishop and the temple is a woman of comely aspect, and in a graceful dress, carrying in her arms her child who is lovingly embracing her. Again at the altar we see the same woman and child: she is stooping to raise him up, while he extends his little arms towards her. (..) The scene here represented is recorded by S. Ephrem martyr bishop of Cherson, by S. Gregory of Tours, (..) and many other early writers. They tell us that (..) for several centuries, on the anniversary of S. Clement's martyrdom, a similar reflux of the sea took place, and continued throughout the octave of his festival, during which the martyr's shrine was visited not alone by the pious inhabitants of Cherson, but by pilgrims from remote regions. On one occasion, a woman brought her little boy with her to visit the tomb of our Saint, and after having satisfied her devotion she went away thinking that he was following her. Having missed him, she determined to go back to the temple, but after travelling a short distance, she saw the sea flowing in and could not proceed any farther. She then retired slowly before the advancing waters, bewailing her only child whom she thought she had lost for ever. On the following anniversary she returned hoping to find even the bones of her dear little one, but, to her great consolation and joy, she found him alive at the tomb of the Martyr, and opening his eyes, as if awaking from sleep, he stretches out his little arms to his mother who takes him up and embraces him. This touching fact should teach us that we should never despair of God's protecting providence, and that we should not measure His ways by those of man. Mullooly
Lower church - narthex: Miracle of St. Clement: lower part of the fresco (Mullooly's book) portraying Beno De Rapiza and his wife Maria
Lower down is a medallion of S. Clement, of the finest style of art. He is tonsured and has the nimbus. In his left hand he holds a closed book, and is blessing with his right. On a beautiful border, which is intersected by the medallion, are four doves turned towards the Saint. Beno, the donor of the picture, holds a candle on one side of the medallion; the Lady Mary is on the other side with her little boy Clement, both hold candles in their hands. Little Attilia, the sister of little Clement, has also her candle, and stands with her governess behind her father. Under the medallion-head of S. Clement is painted the very expressive and suggestive motto «me prece querentes estote nociva caventes» «seeking me in prayer beware of hurtful things ». At the extreme right is an inscription showing that this picture was a votive offering made by Beno to S. Clement, the patron of his boy: «In the name of the Lord, «I Beno De Rapiza, for the love of blessed Clement and the salvation of my soul, had it painted». (..) How can we account for the preservation of the pictures whose colours were so wonderfully bright when first cleared of the soil? By assuming that the church was only partially destroyed and immediately filled up after the devastation of 1084. Those who refer these paintings to the years intervening between 1085 and 1099, do so without a shade of probability. (..) We confess, however, that in the midst of this obscurity of data, and dearth of positive proof, we can find only two facts of which we are certain - 1st that the original basilica existed in 1058, as we learn from a monumental inscription lately found in the pavement of the narthex; 2nd that the modern church was built before 1299, because the tabernacle of the holy oils bears that date, and is an insertion later in style than the rest of the church. Mullooly
Today the prevailing opinion among art historians is that the De Rapiza cycle of paintings was executed after 1084 and before it was decided to build the upper church, probably in 1118.
Lower church - nave: St. Clement celebrating mass with the inscription "Ego Beno De Rapiza cum Maria uxore mea pro amore Domini et beati Clementis P. G. R. F. C. » «I Beno De Rapiza with Mary my wife for the love of God and blessed Clement had it painted»
The central compartment represents the interior of a church, from the arches of which are suspended seven lamps, symbolizing the seven gifts of the Holy Ghost. That over the altar is circular in form, much larger than the other six, and contains seven lights, probably typical of the seven gifts of the same Holy Spirit. (..) S. Clement in his pontifical robes is officiating at the altar. (..) The altar is covered with a plain white cloth, and on it are the missal, the chalice, and paten. The missal is open, and on one page of it are the words «Dominus vobiscum», which the saint is pronouncing, his arms extended, as Catholic priests do, even to this day, when celebrating mass. On the other page «Pax Domini sit semper vobiscum», «the peace of the Lord be ever with you». These two phrases were introduced into the liturgy of the Church by Clement himself and are still retained. On the right of the saint are his ministers, namely two bishops with crosiers in their left hands, a deacon, and subdeacon. They all have the circular tonsure, and the Pope in addition to the tonsure has the nimbus, or glory, the symbol of sanctity. On the left of the saint, but separated from him by the altar, is a group of fourteen persons probably representing the congregation. They are all admirably designed and carefully executed. Two of them have their names - Theodora, Sisinius - written beneath their feet. Theodora wears a rich and gracefully folded dress, and behind her stands a female of noble mien with jewelled headdress. (..) Early writers inform us that Theodora was the wife of Sisinius, that both were attached to the court of the emperor Nerva, that they were converted to the faith by S. Clement, and afterwards suffered martyrdom. Sisinius having intruded upon the mysteries, is struck blind, and his helplessness is admirably expressed. He grasps the shoulder of a youth who leads him towards the open door, and turns to gaze upon his eyes, whilst another assisting him behind seems to be telling, what had occurred, to Theodora who is looking at him with amazement and commiseration. It appears that Theodora, who was converted to the faith before Sisinius, had been in the habit of frequenting, without her husband's knowledge, the oratory in which S. Clement used to give instructions to the faithful and celebrate the eucharistic rites. Sisinius, on a certain day, followed her to the chapel to discover what she was doing there. On entering it, he began, as Pagans in those days were wont to do, as well as many nominal Christians in our own, to ridicule the sacred mysteries, and was struck blind by the Almighty in punishment of his sin. But afterwards, repenting of what he had done, through the prayers of S. Clement, and of his pious wife Theodora, he recovered his sight, embraced the Christian faith, and sealed it with his blood.
In the foreground, on the right of S. Clement, and in front of his attendants, are the figures of a man and woman holding in their hands lighted twisted tapers. They are of diminutive size, to indicate their humility, as may be seen in many more modern pictures painted three or four hundred years ago. The man has his name - Beno - written near him, and the woman's name is Mary. Mullooly
As soon as the torches cease to wave in front of you, the compositions disclose themselves. We perceive that time and damp have wrought much destruction by making the pozzuolana fall away from the facings; but besides that whole pages have remained all but untouched; whatever is not destroyed has preserved the freshness of its colouring. (..) As for the design, it has in general more suppleness of movement; in the less ancient portions the composition is more freely picturesque than it was under the hand of the contemporaries of Ducci and Giotto. (..) In the central composition the costumes are Greek; a certain unity presides over the arrangements; the frame is filled up with indisputable art, for the intentions, without being forced, are shown in a free and natural manner, and the heads are far from being inexpressive. Those artists succeeded better in young than in old forms, in the heads of women and the figures of men, in draped personages than in those which are not so - all of them characteristic traits of Christian art. Wey
Lower church - narthex: The Translation of the body of St. Cyril and of the relics of St. Clement; the fresco was paid for by Maria Macellaria for Timor Dei (Fear of God) et Remedio Animae (Salvation of the Soul)
The devotion of the Derapiza family being accounted for, we have had at their hands the miracle of Sisinius' conversion; and that of the original locality of S. Clement's relics, of a miracle wrought there, and of their own connection with his name. But is there none of an event so important to his church, and so consonant with their devotion, as the deposition of his relics here? The funeral procession may perhaps be the answer. S. Nicholas Ist invited S. Cyril to Rome. S. Cyril from the time he had stirred up the bishop of Cherson to recover the relics, took boat and found them, bore them back himself and ultimately begged them, always carried them about with him. He brought them to Rome, died and was buried in the Vatican, and was translated to S. Clement's. Certainly there was nothing to warrant the licence which the painter took in representing him carried bodily on the bier wearing the pallium borne by four youths, and two others swinging their censers in the air; because they were only the bones of S. Clement, which were in a marble ark; and even if S. Cyril's body were embalmed, it was similarly shut up in another sealed by the Pope. The painter for pictorial effect has not chosen to paint a mere ark. The body is followed by a youth with uplifted hands, incongruous if a mourner, but appropriate if hymning the glory of his relics. Nicholas was dead or dying when Cyril arrived, and Adrian did the rest. The anachronism of the painter is deliberate, in representing Nicholas with his nimbus behind them. The cross is borne behind the Pope who is between two eastern ecclesiastics, and two crosiers near them seem to denote two bishops. The one on his right has the nimbus. This might well be Cyril, and the other Methodius; for, like Nicholas, Cyril was reputed a saint at his death, which followed soon after the deposition of S. Clement's relics; but Methodius survived him many years, and could not be considered a saint at the time of either translation. (..) The three spangled banners surmounted by Greek crosses, at the back of the crowd, were most probably intended to carry the imagination to the first mission from Constantinople, and the triple conversion of the Cham of the Chazari, the king of the Bulgarians, and the duke of Bohemia. The artist has shown ingenuity in breaking the line of the procession so as to bring the Pope prominently forward. As the head of the procession arrives, the Pope is celebrating at the altar, upon which is the missal, the paten, and the host. (..) Upon the missal, which is open, are the words «per omnia secula seculorum - pax Domini sit semper» «for all ages may the peace of the Lord be ever with you». Over the altar is a large circular lamp, and two smaller ones. (..) The notices we have of the circumstances attending the arrival of S. Clement's relics and the burial of S. Cyril are too brief and obscure to supply any accurate details. That S. Cyril was first buried at the Vatican, and afterwards removed to S. Clement's, they do say. It is most probable that S. Clement's relics were also presented to the Pope at the Vatican; but there is no mention if it. The artist clearly chose to represent the subject in his own way, and without strict historical accuracy either in the event or the accessories. Mullooly
Lower church - southern aisle: Tomb of St. Cyril and many modern plaques celebrating him by countries which utilize his alphabet
From his early youth Constantine Cyril of Thessalonica, the son of a senatorial Roman family, was called the Philosopher from his rare talents and aptitude for learning. Happier than others who had the same title, he dedicated the education he received at Constantinople to God's service in the priesthood. It was not a mean one. He knew Greek, Latin, and the Sclavonian languages, and he learned the Turcic spoken by the Huns, Chazari, and Tartars, that he might become the Apostle of their country. In 848, the Chazari, the descendants of the Huns of European Scythia, then settled on the Danube, sent to the emperor Michael 3rd and his pious mother Theodora, an embassy unlike modern embassies, for it was for priests to teach them the faith of Christ. The empress sent for the patriarch S. Ignatius, and, by his advice, Cyril was charged with this important mission. (..) Pope John VIII, in 879, (..) writes that the Sclavonian alphabet was invented by S. Cyril. «The Sclavonian letters or alphabet invented by Constantine the philosopher that the praises of God may be sung, we justly commend.» (..) Both Cyril and his brother Methodius came to Rome by invitation of Pope Nicolas Ist. Cyril died there and was buried in the church of S. Clement. It was not until after S. Cyril's death that Methodius, who was made archbishop of Moravia, obtained from John VII permission to use the Sclavonian language in the Mass. Mullooly
Lower church - nave: XIth century fresco depicting events of the life of St. Alexius (from Wey's book); see the church dedicated to him on the Aventine
Called from a palace to a pilgrimage, from Roman espousals to a hermit's life, in a hut near our Lady's church at Edessa; in youth's bloom to the austerity of solitary old age; from wealth to privations; in privations to return home, not as the prodigal son, but, that hardest trial of merely human nature, to his birth-place, self-stript of its ties and associations, to parents no longer known as a child, forgotten by all, a mendicant asking for charity, and with no place to lay his head; this young nobleman of the fifth century, Alexius, has bequeathed to the city of the Pontiffs an imperishable name. The artist, who painted the subject we are about to treat of, seems to have felt that the sweet odour of grace was wafted from that story of inspired devotion, and to have sought for appropriate ornament. The honey-suckle supplies the border below the picture of his death. (..) In the painting we see him on his return to Rome, in the garb of a pilgrim, with his wallet and staff, accosting Euphimianus who is on horseback followed by two attendants, and evidently asking hospitality of him. Euphimianus is pointing with his right hand to his palace (from the balcony of which a lady is looking), and saying to Alexius: «That is my residence, in it you shall find an asylum». During his stay in his father's house he wrote an account of his life, but would not consign the manuscript to any one. At length, sickness came upon him, and he died holding the manuscript in his right hand with so stiff a grasp, that it could not be removed. At that moment the bells of the adjacent church began to ring a joyful peal, of their own accord. The inhabitants of the neighbourhood were seized with astonishment: the phenomenon could not be explained. After a little the news reached S. Boniface who then governed the Church. Euphimianus requested him to come and explain the marvel. The Pope consented, and he went up to the Aventine accompanied by his clergy and cross-bearer. On his arrival at Euphimianus' palace, he was conducted to the staircase where the dead pilgrim lay. He recited a short prayer, and leaning towards the pilgrim he took, without any difficulty, the manuscript from his hand, and blessed him. Euphimianus is standing by with an expression of compassion, not knowing, of course, who the dead man was. A little more to the right of the spectator is depicted his recognition. He is laid on a bier covered with a rich and highly decorated pall. His aged parents tear their hair through grief for not having known him, and the bride covers his face with kisses. The inscription below says: "The father does not recognize who asks his pity - the Pope holds the scroll which tells his austere life". His interment was celebrated with great pomp by the whole city of Rome. (..) The final close of the devoted soul is well indicated by the words upon the scroll in the Pontiff's hands: «Come to me, all you that labour» (Mathew XI. v. 28). Mullooly
Lower church - nave: XIth century fresco depicting events of the life of St. Alexius
The three acts of this edifying little drama pass in front of the house of the senator Eufimianus, father of the pilgrim who in his early youth quitted the paternal roof to exile himself in Palestine; the buildings of the palace occupy three-quarters of the background placed in the middle of the fresco. Under a window, from which, without recognising him, his betrothed, whom he abandoned on the day of their nuptials, is regarding him. This figure, walking and speaking, is posed with an ingeniousness which does not exclude observation of nature. We perceive that the young man solicits humbly and entreats warmly. (..) The three groups balance one another, and the scene is so skilfully occupied that we seem at first to have to examine only one homogeneous subject cleverly disposed. Wey
Lower church - nave: two frescoes (from Wey's book): (left) Daniel in the lions' den; (right) St. Blaise picking a thorn from the throat of a child
Below, in the centre, is the prophet Daniel. He is dressed in Roman costume, and has the ephod (a ceremonial type of apron) on his breast; his hands are outstretched, and his eyes raised to heaven, while two lions gambol at his feet beneath which his name - S. Daniel - is written. The incorrect drawing of these animals, show that the painter never saw a lion in his life. (..) On Christian sarcophagi the saint appears in a state of gladiatorial nudity, and the beasts, on either side, squatted on their haunches, have not quite lost the ferocious character of their nature. (..) It is difficult to account for the choice of the martyr bishop S. Blaze, except by a reference to S. Leo the Great, and the relics under the high altar, among which are those of the Forty martyrs of Sebaste in Armenia, of which city Blaze was bishop. (..) S. Blaze appears extracting a thorn from a boy's throat, who is supported by his mother. (..) In Rome, upon his feast (February 3), which is celebrated in the church of S. Maria in Via Lata, where S. Paul was lodged, a relic of his throat is venerated; and also in a church dedicated to him in Via Giulia persons with diseased throats are touched with another of his relics. Mullooly
Some of the frescoes were damaged by humidity soon after their discovery. We therefore mainly know them through the 1860s aquarelles by William Ewing, a British painter, and the early XXth century coloured photographs by Joseph Wilpert, a German scholar of early Christian art.
It is not without an emotion above ordinary curiosity that you prepare in one of the low naves, while the guides are lighting their torches, to descend (..) down to a monument of a yet more venerable antiquity. Wey
Roman building: (left) room with evidence of "opus reticulatum" (wall) and "opus spicatum" (floor); (right) stream beneath the house
When the excavations reached the west end of the north aisle, it was found that this ancient basilica stands on the ruins of much earlier structures. Observing that the lower part of the west wall was built of a quality of brick far superior to that above it, the ground was dug to the depth of fourteen feet, and three walls of three different constructions, as well as of three different periods, were discovered. One is of the finest brickwork of the imperial times, probably belonging to the palace of Clement; a second of colossal blocks of travertine varying in length from eight to ten feet, of the republican period; and a third of tufo lithoide, which if it be not anterior to (..) the foundation of Rome. (..) A thorough exploration of the length and depth of these walls could not fail to throw great light on the topography of this quarter of Rome. (..) We might surmise that (..) the clear waters which fill the subterranean chambers of Clement's palace had filtered through the soil after the destruction of the baths of Titus on the hill hard by. Mullooly
At the end of the left aisle are some ancient Roman stairs leading to several chambers of the Imperial Age (now flooded and inaccessible). Murray 1899
The Roman structures under the lower church are dated late Ist century AD and they belonged to a house including a IInd century AD mithraeum and to a large non residential building around a courtyard, perhaps a mint or a facility of Colosseo.
(left and above) Antiquarium at the entrance to the lower church: small statue of a shepherd carrying a lamb; marble "oscillum", the name indicates that it oscillated from the branches of a tree perhaps in a garden (see a very similar one at Barcelona); head of a child; (below-right) lower church: Christian funerary inscription
In other rooms has been discovered a statue of St. Peter in the character of the Good Shepherd. Murray 1875
Today the small statue is regarded as that of a Kriophoros, a "ram-bearer," a figure that commemorates the solemn sacrifice of a ram. It was usually associated with Hermes (see a statue of Hermes Kriophoros at Museo Barracco).
Another slab has an inscription on both sides, one pagan, the other Christian.
D. M. M. AVR. SABINVS CVI FVIT ET SIGNVM VAGVLVS INTER INCREMENTA COAEQVALIVM SVI TEMPOR1S VITAE INCOMPARABILIS DVLCISSIMVS FILIVS and
SVRO IN PACE QVESQENTI EVTICIANVS FRATER FECIT. Mullooly
Museo dell'Agro Veiente: detail of a relief portraying Mithra slaying the bull (on the left the chariot of Sun and a raven, the first step of the initiation - see another section of this relief in a page covering S. Prisca); the "mithraeum" of S. Clemente is shown in the historical section
While passing between these walls let us turn to the right. Here three chambers have been found, one of which is supposed, with great probability, to be the ancient oratory or memoria, of S. Clement, for it is precisely under the tribune of the basilica, and consequently in the most sacred part of it. (..) Here also was disinterred a broken altar of Mithras sacrificing the bull, holding the horns whilst he stabs him, as he is usually represented. (..) The worship of Mithras was proscribed in Rome, in 378, by Gracchus the Praefect of the praetorium. According to M. Freret (a French scholar 1688-1749), the rites of Mithras were derived from Chaldaea, where they had been instituted to celebrate the entrance of the sun into Taurus. Mullooly
Mithraea were designed so that they had the appearance of a small cavern (spelaeum), therefore they did not have windows and very often they were located underground. Usually the god was portrayed in a relief, rather than in a statue; this because the relief could include references to various aspect of Mithraism. It is thought that the sacrifice of the bull was a reference to Taurus, a zodiacal constellation, and to the gradual shift in the orientation of Earth's axis of rotation away from that constellation. It is interesting to note that Mithra never looks towards the bull, an additional indication that the sacrifice was a metaphoric one.
Vestibule of the "mithraeum": a detail of the ceiling (see some fine stuccoes which were discovered in the late XIXth century in the palaces on the Palatine and at Villa Adriana)
The vault is decorated with stucco ornaments and bas-reliefs of the very best style of art. Mullooly
In some ancient chambers behind the apse have been discovered traces of elegant stucco-work. The latest discovery behind the apse, is that of a sacellum or chapel dedicated to the worship of the Divinity Mithras. Murray 1875
In 1917 a subterranean basilica with an extensive and fine stucco decoration was discovered near Porta Maggiore; the current prevailing opinion is that it was a place of worship for members of a Neopythagorean sect. It testifies to the plurality of cults which developed in Rome during the Imperial age.
"Mithraic School", a room with small frescoes depicting scenes of the ceremonies, probably similar to those of the "mithraeum" of Palazzo Barberini
In 394, Theodosius, with difficulty, defeated Eugenius. He ordered the idol of Serapis at Alexandria to be burnt, and two churches were built on the site of his temple. All over Egypt the temples were demolished. In those of Alexandria the cruel mysteries of Mithras were discovered, and, in the secret adyta, the heads of many children cut off, mangled, and superstitiously painted. Mullooly
The cruel rites described by Mullooly were usually associated with Baal, a Carthaginian deity. After Mullooly wrote his book many other mithraea were discovered, especially at Ostia and no evidence was found of children being sacrificed. The IIIrd century AD was the golden age of this religion, which had many points in common with Christian practices and beliefs: Mithra was born out of a virgin during the winter solstice; the followers went through various steps of initiation; ceremonies included forms of baptism and the consumption of bread and wine. The cult of Mithra had also points in common with that of Sol Invictus, the worship of the Sun as the only god, which was very popular among the ranks of the Roman legions.
You may wish to see mithraea beneath S. Prisca or at ancient Capua.
Pagan sarcophagi which are now in the lower church: (above) Hippolytus (the young naked man) and Phaedra (sitting on a throne); (below) heads of lions, garlands and an unfinished portrait of the dead
At one extremity of the narthex are marks of a door opening on what appears to have been the ancient quadriporticus, nearly 20 ft. below the level of the modern one. Here two sarcophagi were found, now removed into the narthex, which would indicate a very early period of interment within the walls of the sacred edifice. Murray 1875
The sarcophagi shown above were found at a later date. That illustrating the myth of Hippolytus and Phaedra is of particular interest because Phaedra is portrayed as a dying woman, unlike what can be noticed in other sarcophagi, e.g. those at Capua, Tripoli and Arles. For a detailed account of this myth see a sarcophagus depicting the death of Hippolytus at Tarragona.
(left) Portal of S. Maria delle Lauretane; (right) an XVIIIth century building near S. Clemente
Padre Angelo (Paoli) was a Carmelite monk who used to visit the sick at Spedale di S. Giovanni in Laterano; towards the end of the XVIIth century he founded an institution to help those recovering from illness. During the pontificate of Pope Clement XI a small church was designed by Giuseppe Sardi. The façade is the only remaining part of the church and of the buildings which housed the institution.
The restoration of S. Clemente was accompanied by the construction of several new buildings near the church; they have not been significantly modified since then (the image shows that behind the church; that on the other side of the street can be seen in another page).
(left) Overall view; (right) loggia
This elegant building was designed by Giovanni Battista Mola for the Evangelisti family in the XVIIth century; in the XVIIIth century it was modified and bought by the Guidi family (this name appears in the 1748 map at the top of the page); it was recently turned into a hotel. It enjoys a commanding view over Ludus Magnus and Colosseo. The motto on the loggia is a quotation from Cicero Comite fortuna, duce virtute (to be led by virtue while being accompanied by good luck). You may wish to see more Roman Loggias.
Overall view
A small XVIIth century building (Casino Fini) has lost its original appearance because its closeness to
Colosseo has led to opening too many shops and cafés and in addition only half of it was repainted.
Between Casino Fini and Colosseo there was a church (S. Giacomo del Colosseo)
with a hospital (a branch of Spedale di S. Giovanni). In 1815 it was pulled down
to enlarge the open space around Colosseo.
Next plate in Book 3: S. Maria in Dominica.
Next step in Day 1 itinerary: S. Maria in Dominica.
Next step in your tour of Rione Monti: Arco di Tito.
Next step in your tour of Rione Campitelli: SS. Quattro Coronati.
Excerpts from Giuseppe Vasi 1761 Itinerary related to this page:
Chiesa di S. Clemente PapaE' questa una delle chiese più antiche di Roma, mentre si legge, che nella casa paterna di detto Santo fosse eretta, e che vi avesse alloggiato s. Barnaba Ap. quando venne in Roma; perciò è stata sempre tenuta con decoro, come si osserva dall'antico presbiterio con gli amboni, cioè pulpiti di marmo, e leggj, ne' quali si leggeva al popolo l'Epistola, e l'Evangelo nel tempo della Messa. Clemente XI. senza rimuovere cosa alcuna, della venerabile antichità, ristaurò ed ornò la chiesa di pitture, e sofitto dorato. Le pittture nella nave maggiore, che rappresenta s. Flavia, e s. Domitilla sono del Cav. Conca; il Santo Titolare col miracolo dell'acqua, di Antonio Gregorini; lo stesso Santo coll'ancora, di Giovanni Odazzi; la trasiazione del medesimo, e la morte di s. Servolo, di Tommaso Chiari; il s. Ignazio martire, del Piastrini; il medesimo nell'Anfiteatro, del Cav. Ghezzi, ed il s. Clemente nel soffitto, di Giuseppe Chiari. La ss. Vergine, e s. Servolo sono del Rosini, e le pitture nella cappella della passione sono del Massaccio stimatissime, per essere del tempo prima di Raffaello. Sono in questa chiesa i corpi di s. Ignazio vescovo e martire del B. Cirillo, e del B. Servolo paralitico, di cui si leggono a piè della porta gli elogi fatti da san Gregorio il grande. Si osserva similmente d' antico il piccolo portico esteriore, ed il convento de' Frati Domenicani. Prima di passare più oltre, e bene di salire sul monte Celio per osservare le antiche, e profane memorie, che vi si conservano, ridotte poi al sagro culto di Dio. |