These remained empty until 1702, when they were used to display colossal statues of the twelve apostles. There is a serious problem in interpreting the functions of the several so-called Constantinian Christian basilicas. The edifice had been seriously abused under the batrachian occupation government of the French under Napoleon from 1808 to 1814. Die Basilika gilt als älteste Kirche der Welt. The Second Council of the Lateran was in 1139, the Third Council of the Lateran in 1179 and the Fourth Council of the Lateran in 1215 (there was a Fifth Council much later, in 1512). The north end of the transept was given a proper façade, involving a large Gothic arched doorway with several orders of molding and a tympanum, over which was a small round window and then a cavetto cornice which curved outwards. The fourth chapel on the left is the Cappella Lancellotti, and is dedicated to St Francis of Assisi. The new basilica was consecrated on Sunday 9 November, almost certainly in the year 318. Not much happened here architecturally for the rest of the Middle Ages. Contributions to the cost were made by King Charles V of France and one Pietro Belliforte, whose heraldic shields were incorporated into the decoration in gratitude. This was originally on the saint's shrine in the Catacomba di Sant'Ippolito, and the presence of the fragments here is good evidence that some at least of the catacombs were known in the Middle Ages. The 5th century entrance portico was remodelled by Pope Anastasius IV in 1154, when the two transverse apses were converted into chapels and the portals given two screen walls and a doorcase. She was the wife of the Filippo Colonna who paid for the chapel. The next pier has one to Pope Alexander III (1159-81), designed by Domenico Guidi and set up on the orders of Pope Alexander VII in 1660. Below this is a later inscription Diligite alterutrum ("Love one another"), from the First Letter of St John. Starting at the left side of the entrance, the statues, reliefs and frescoes on each pier are listed as follows (with the attributes of the apostles concerned given in parenthesis): And on the right side, again starting from the entrance: The triumphal arch by Borromini fits rather awkwardly into his design of the central nave. The four separate museum institutions were transferred from the Lateran Palace to the Vatican Museums on the orders of Pope St John XXIII, and the collections put back on public display there in 1970. To the right of the chapel in this storey is the church of San Lorenzo, and behind the chapel is a devotional area also open to the public (the Sancta Sanctorum is only open to guided tours). The vault of the canopy, over the relic-chamber, has constellations of gold stars on a blue background. It has weathered quite badly, and the 16th century repainting of lost bits has itself faded. The panelled bronze doors date from 1196, and were made by Uberto and Pietro of Piacenza. This is a simple composition, with a tondo portrait in oils over an epigraph slab. The first has four columns with gilded capitals, which are not a matching set. This was by tradition the headquarters of the basilica's parish, which is now based in the baptistery. The entrance from the piazza is flanked by a pair of monochrome depictions, of the emperor Constantine and Pope Sylvester, of SS John the Baptist and John the Evangelist. A translation of the hieroglyphic inscriptions, too long to be given, is online here (search for "Obelisk now at the Lateran" on the web-page). The floor level is raised four steps from that of the nave. In the acute angle formed by the present Via dell'Amba Aradam and the Via dei Laterani was traced another large residence, originally two large dwellings in the 1st century but combined into one larger one in the 4th. To the left of the altar is a rather over-the-top memorial in black marble with lots of gilding, to Lucrezia Tomacelli 1622. In the cove is an ornate coat-of-arms presumably (and anachronistically) meant to be of Alexander III, while the stylized-mountains-and-star finials flanking this are from the coat-of-arms of Alexander VII. This is historically correct, as the hands would have torn free if nailed through the palms during crucifixion. The strange kiosk to the right is part of the same 19th century project, and has a large open Doric arch on each of its three sides, matching the loggia. The present church measures 130 by 54 metres as a result of the extension of the sanctuary. Madonna and Child in a lush circular rayed frame. Jesus soll hierauf gelaufen sein und sie wurde später als Reliquie nach Rom gebracht. St Peter's is the preferred location for the exercise of the pope's universal authority over the entire Church, but St John Lateran is the location of the source of that authority. Bedecken Sie Knie und Schultern und tragen Sie keine Flip-Flops. The Cloister decorated by the Vassalletti Family. Also, he blocked up the doors on the diagonal sides, leaving the back one and the two to left and right as entrances to proposed chapels. Bottom: The Dream of Constantine by Nebbia, and The Triumph of Constantine by Cesari. Art critics of the time who saw both old and new mosaics were not kind about the latter. These were executed by a team of sculptors given as: Camillo Mariani, Nicolas Cordier, Ippolito Buzzi, Giovanni Antonio Paracca Il Valsoldo, Ambrogio Buonvicino and Stefano Maderno. An English Wikipedia page is here. The white marble effigy shows the cardinal sitting up on his deathbed to pray, while behind an angel and a putto hold a spectacular gold-fringed curtain or drape which is carved in red jasper. A much more systematic sack of Rome was undertaken by the Vandals in 455, and the basilica was apparently stripped of its precious metals. This altar is a so-called "Papal altar", reserved for the Holy Father (although, in practice, permission for Mass to be celebrated on it by others is routinely granted). The gateway has the same balcony, window pediment and coat-of-arms as the other entrances, but here the portal is a rusticated arch with rusticated Doric semi-columns. The third register consists a long epigraph commemorating the Leonine restoration, in golden letters on a dark blue background. This is attributed to the school of Pietro Perugino. It now consists only of the reclining effigy on a sarcophagus in cipollino marble with his heraldry. Finally, there is no evidence that the Domus Faustae was donated to the pope to become the original papal palace. It appears to have been made by local artists, influenced by the newly developed Byzantine tradition of iconography. In the 10th and 11th centuries, several popes were buried in the portico next to the atrium. The two frescoes on the side walls are, to the left The Nativity by Luigi Fontana 1887, and to the right The Presentation by Francesco Grandi (?) Throughout the centuries, St John Lateran has survived several fires and an earthquake in 897. The side walls over the stalls of the canons are richly decorated in polychrome stonework in marble and alabaster. The consensus on the event depicted is that it was the opening of the Jubilee, with the cardinal possibly being Francesco Caetani. Right of altar, Justice and putti by Giuseppe Lironi, relief showing St Andrew Corsini Refusing the Episcopate by Sigismondo Adami in memory of Cardinal Neri Corsini the Younger. One, the Tabula Lateranensis Magna, lists the relics held by the basilica and the other, dated 1291, commemorates work done by Pope Nicholas I (858-67). Mediaeval people thought that it was of the emperor Constantine, and called it the Caballus Constantini. The frieze is in the same striking black-and-white breccia as the column piers previously noted. Then he replaced them with ten square piers on either side, with an eleventh on the steps leading up to the transept. These frescoes are by Francesco Grandi, and depict The Presentation of the Plans by Vespignani to Pope Leo to the left, and Pope Sylvester Receives the Donation of Constantine to the right. Bay VII North has an impressive triangular slab with Cosmatesque decoration including a central rose aperture and two heraldic shields. The artist was Lazzaro Baldi. The large chapel is on a short rectangular plan, and was built by Girolamo Rainaldi for the Colonna family between 1603 and 1611. This stand-alone edifice is now usually simply known as the Scala Santa. If it were regarded in its own right it would receive admiration, but many critics have not been able to look past the accusation of vandalism as regards his alteration to the ancient fabric of the basilica (especially his demolition of the original verde antico side aisle colonnades). It is thought that there was a simple porch entrance where the main entrance facing the basilica is now. The latter were being brought into the city, as the suburban catacombs were abandoned in the face of threats from various marauders. Borromini completely re-vamped the side aisles too, dismantling the ancient verde antico colonnades in the process and replacing them with eleven square brick piers on either side having incut corners (including a pair on the transept steps). This pairing of heraldry is an echo of the arrangement in the entrance loggia of the main façade. Die Kirche und das angrenzende Kloster gehören seit 1677 irischen Dominikanern. The last major intervention in the fabric was in 1878, when Pope Leo XIII commissioned Virginio Vespignani and his son Francesco to extend the sanctuary by one bay and so to provide a proper choir for the canons. In between the piers are five arches, each with a molded archivolt springing from Doric imposts. The Lateran is a well-defined locality in an area of 19th century suburban development of little more interest than the vineyards that it replaced. Pope Gregory XIII commissioned a carving of The Assumption of Our Lady as the dome centrepiece in 1574, and provided a roof in lead. After another entablature with larger gilded rosettes, there comes the third storey which is a large open relic chamber. The bases are especially worth examining, as each has five bands of delicately carved decoration. Un luogo fondamentale per i cristiani fin dai primi secoli. Kaiser Konstantin war derjenige Kaiser, der durch die Mailänder Vereinbarung im Jahr 313 die Religionsfreiheit im Römischen Reich einführte, darunter also auch das Christentum. However, the first mention of the dedication dates from the mid 7th century in the reign of Pope Martin I (649-55). His successor, Pope Hilary (461-468) founded three subsidiary oratories dedicated to St John the Baptist, St John the Evangelist and the Holy Cross which were to each side and the back of the baptistery (the last-named was demolished in 1588). On the posts and entablature are three angels and a crowd of putti. The floor has a pietra dura inlay of the cardinal's coat-of-arms. The rectangular portico is 5th century. The work dragged on to 1567, which is why the heraldry of Pope Pius V features. Borromini salvaged the recumbent effigy and installed it on a sarcophagus of his design, which has incurved sides. The present rather top-heavy superstructure of the cloisters is later. The second storey has three fresco panels on each side, and at each corner above the columns are two statues of saints each with its miniature Gothic canopy. There follows The Overthrow of the Idols by Maratta, The Burning of the Heretical Books by Carlo Mannoni and finally The Council of Nicaea by Mannoni again. The fabric is a very sumptuous late neo-Classical design, with intricate gilded stucco decoration in and around the dome. The chapel has its own little sacristy (inaccessible to visitors). Unusually for the time, the Vassalletti did not make use of scavenged ancient material for the stonework but carved the columns from new. A close-up of the surviving mediaeval elements is here. However, four of the capitals depict mythological creatures including one rather alarming goat-demon. The dado has its own entablature, with a frieze in black marble. This is the sole survivor of the 5th century cladding of the baptistery and portico. The pope specified that the 13th century private palace chapel of the Sancta Sanctorum was to be kept, and Fontana enclosed this in a new building also containing the Scala Santa which he had transferred from its original position in the north entrance porch of the old palace. Whoever you are who come to this tomb with the light fading, say 'Almighty God, have mercy on him'!"). In 1984 the Museo di San Giovanni in Laterano was opened, mostly comprising items from the basilica's Treasury. Crocketed pinnacles are at the corners, and below the gables are open lunettes containing bronze fanlight grilles with more vines. century building, inserted into an already mentioned bath-house complex itself rebuilt at the start of the 3rd century. The epigraphs are two of the same: Sacros[ancta] Lateran[ensis] eccles[ia], omnium urbis et orbis ecclesiarum mater et caput ("The holy Lateran church, mother and head of all churches of the city and the world"). The left hand end has the entrance to the old choir chapel of the canons, beyond which are the Chapter House of the canons and two sacristies, the so-called Sacrestia antica and the Sacrestia dei Canonici. This entablature has a circular arc curve to the sides, is broken by the sanctuary arch and loses its architrave over the entrance. The work was overseen by Fontana, who signed the plinth in satisfaction. It has a broken top, into which is intruded an ornate coat-of-arms of Pope Clement. The colour is not purple as understood in modern English (red mixed with violet), but a deep crimson resembling the ancient fabric dye Tyrian purple. The far walls of the cross arms each contain an arch, one for the entrance, one for the altar aedicule and the two side ones for funerary monuments. Into the curve of this is tightly fitted a round-headed frame in the yellow marble again, which now contains a painted wooden crucifix on a grey marble background (apparently the altarpiece used to be a Nativity by Nicola da Pesaro). The roof was open, with trusses (in contrast to ancient Roman basilicas, which were vaulted in concrete). The square facing the basilica features the so-called "Colonne di San Lorenzo" (Columns of St. Lawrence), one of the few remains of the Roman "Mediolanum", dating from the 3rd century AD and probably belonging to the large baths built by the emperor Maximian. The motivation for the reburial was that Pope Innocent was the greatest example in history of the exaltation of the papacy over secular rulers, and Pope Leo made this a theme of his restoration. Dedication: Sic transit gloria praeteritorum, cum tranquillior mundus erat. This has a fragment of the pope's original monument, a relief effigy of the pope giving a blessing, which has been inserted into a capsule-shaped tondo surrounded by a wreath with spiky stars (from Pope Alexander's heraldry). The design is by Jacopo Del Duca from Sicily, with the actual bronze-casting being done by his brother Lorenzo. There are three papal coats-of-arms in the ceiling, occupying the three main coffers: Pope Pius IV (Medici, 1559-1565) in the centre, those of St. Pius V (1566-1572) at the far end and Pius VI (1775-1799) at the entrance. and Jerome (?) Otherwise there would have been a single-storey narthex or loggia, entering the church (it is thought) through three doorways -not five. The left hand chapel is dedicated to SS Rufina and Secunda, local Roman martyrs who used to have a 4th century cathedral basilica on the Via di Boccea near what is now the western suburb of Selva Candida. A mitigated version of the legend suggests that the inspection was to ensure that the candidate had intact genitalia, so as to fulfil an ancient requirement for the sacramental priesthood derived from Jewish norms specified in the Old Testament. It is the largest obelisk known. The location of the obelisk was, it is thought, in the so-called "Temple of the Hearing Ear" which was a subsidiary temple just to the east of the enormous main one. Piety is listed as being by Stocchi, and Faith by Bezzi. The pendentives are on wide diagonal piers, the corners of which are embellished with white marble ribbed Corinthian pillars which support another entablature running round the interior. Beyond this chapel is a memorial to Gerardo Bianchi or Gerardo da Parma 1302, the first Archpriest appointed for the basilica. This is the senior of the four major basilicas of Rome, the other three (on order of seniority) being San Pietro in Vaticano, San Paolo fuori le Mura and Santa Maria Maggiore. He built the Loggia of Benedictions (Loggia delle Benedizioni) which was attached to the north end of the aula concilii, and was a spectacular raised balcony over the aula's entrance. These vaults define the pendentives of the dome, which has a drum having eight rectangular windows separated by pairs of ribbed Ionic pilasters. The detailing of the embroidery and lace on his vestments are very well carved. The cloisters are also the access for the museum's Sala Pio IX which is an overflow exhibition room. We, [your] servants by vow, beseech you, Christ, by our supplications that this temple may be for you a glorious seat".). It reads: Liberatori suo, beato Iohanni Evangeliste, Hilarus episcopus, famulus Christi ("To his liberator, blessed John the Evangelist, Hilary the bishop, slave of Christ"). The figures of the two Franciscans are smaller than the others, and look rather squeezed in -this is persuasive evidence that the 13th century mosaicists were copying an earlier work. 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