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Treasures of the Church- Holy Sites |
basilica of st. john
lateran
by SCTJM
The
history of the Basilica is very complex. Due to the many earthquakes
and fires it has suffered, the original construction has been
rebuilt several times throughout the centuries. Pope Miltiades
(311-314) is the one credited with it’s original design. The
Basilica stands over the remains of the old fort of the "Equites
Singulares", in a land belonging to the gens Laterani. This
particular piece of property was given to the Pope by Emperor
Constantine so that he could built Rome’s Cathedral on it. The
Basilica was finished during the reign of Pope Sylvester I. He
consecrated it in the year 324 AD. Originally, the Basilica was
dedicated to the Savior. Later on it became known as the Basilica of
the Johns. In the year 846, an earthquake destroyed it and it had to
be rebuilt by Pope Sergius III. He dedicated it to Saint John the
Baptist, (who with his character and word connects the Old and the
New Testament). However, it was also dedicated in honor of the newly
consecrated baptistery of the Basilica. In the XII century, Pope
Lucius II also dedicated the Basilica to Saint John the Evangelist,
who with his gospel gives witness of the life and word of the Lord.
Therefore, the Lateran Palace and the Basilica have been rededicated
twice. Thus, the Basilica remains dedicated to the Savior, and its
titular feast is the Transfiguration.
Five ecumenical councils took place in this Basilica during the
years 1123, 1139, 1179, 1215 and 1512. Saint John Lateran was the
permanent residence of the Pope since Constantine until 1304, when
the Pope escaped from the chaos reigning in the town and the Pope’s
States. When the Popes returned to Rome in 1376, the Vatican was
selected as the new permanent residence for the Pontificate.
On the Basilica’s facade, there are 15 statues, 7 meters high. The
one in the center represents Christ, with Saint John the Baptist and
Saint John the Evangelist on each side.
The other statues represent the Doctors of the Greek and Latin
Churches. Those who have taught, explained, strengthen, and made us
love the word of God. The Basilica of Saint John Lateran is the
symbol of the same Church, which does not suggest her own words, but
rather continues to propose the word of God in time and history,
through the voice of its ministers and its faithful.
The Interior
There
is very little left of the ancient Basilica, built by Emperor
Constantine in the IV century. Today, whoever enters Saint John
Lateran, will see the Basilica in its five naves with an ample
crossing and a huge apse, restored in XIX, during the reign of Pope
Leo XIII. The interior design and the interior architecture were
completed in the XVI century by Francesco Borromini. It is
interesting to note that what he imagined and embellished the Church
to be, is precisely what it is today. The main nave, from the main
entrance to the throne, towards the end of the apse measures 130
meters long and it is impressive because of the twelve niches of the
statues of the Apostles. These niches were created by Borromini’s
architecture. The renovations were commissioned by Pope Innocent X,
using the most prominent Roman Rococo sculptors. The beautiful
gothic style baldachin, which is located towards the top of the
altar and by the apse with the mosaics, was rebuilt completely in
the year 1884. On top of the Apostles niches, we can find some
displays of the old and New Testament. In between the windows, a
little more higher up, inside the oval stucco frames (which are in
the shape of garlands), we can find paintings of some of the
prophets. In the mosaics of the early Christian Churches, you could
already see the Apostles and the Prophets been introduced as a
community (relating to one another). As a matter of fact, they
represent the continuation of the history of salvation, and they are
(in a figurative language) “the voice of God”, which is present in
the history of men of the old and new Testament. The meaningful
biblical passage scenes which are located towards the center (more
than just a connection between the prophets and the apostles)
highlight those "words" spoken in the name of God. They have
particularly focused on the “events” of the history of salvation.
The Baldachin and the Altar
The most interesting part of the crossing is the beautiful
baldachin made by Giovanni di Stefano in the second half of the XIV
century. According to tradition, the relics are preserved in the
ancient wooden altar which was used by the Popes during the Paleo-Christian
and Medieval ages. The relics are located underneath the baldachin
in the interior of the Papal Altar. It is believed that the Popes
celebrated Mass in it. In this altar, you can sense the intimate
union between the Basilica of Saint John Lateran (the first
permanent residence of the Pontificate, whereby in communion with
the Pope, the sign of the Eucharist and the unity of the Church is
highlighted), and Saint Peter’s Basilica (where the first pontiff’s
chair is kept, symbol of the role of the Magisterium of the Papacy
in the Church).
The importance of the Eucharist is clearly evident by the altar of
the Blessed Sacrament, which is located towards the extreme left of
the crossing. It was built by Pope Clement VIII in honor of the
Jubilee Year of 1600, using four colossal columns of golden bronze
which measure seven meters high. The columns are dated back to the
Roman era and they are the only visible remains left of
Constantine’s Basilica. Underneath the baldachin, there is a table
which (according to a beautiful legend) was used for the celebration
of the Lord’s Last Supper. The position of the altar was
specifically and especially chosen with the main purpose of allowing
it to highlight and enhance the most out of its beauty. It is
centrally located in front of the lateral entrance to the Basilica.
This is the one which has been mostly used, because it guides you
towards the center of the city and welcomes the pilgrims who come to
the Basilica of Santa Maria di Maggiore.
The Apse
The mosaic of the apse is a copy of the medieval one. With the
symbolism of the water, it makes reference to the sacrament of
Baptism, which recreates and renews all things. In its present
state, the presbytery and the apse of Saint John Lateran are the
direct result of the complete re-construction done in the past
century, under the Pontificate of Leo XIII. Therefore, this is a
modern copy of the medieval mosaic. Pope Nicholas IV, a Franciscan,
was the one who ordered the mosaic of the XIII century. We can infer
this reasoning by observing the two small statues, Saint Francis and
Saint Anthony of Padua (both of which are located on Mary’s and John
the Baptist’s side). This same Pope is represented kneeling as an
act of worship and prayer at the feet of the Virgin Mary, with his
hands elevated as a sign of offering. In the center of the apse,
towards the upper level, we can notice the face of the Savior,
surrounded by angels. Underneath, we find the bejeweled cross, as a
symbol of the death and resurrection of Christ. It is surrounded by
water, which comes out of the mouth of a dove, symbol of the Holy
Spirit. This water, where the stags and the sheep drink from,
departs from the cross and expands through four springs, which renew
all of creation represented by plants, animals, and men. These men
are represented in their daily activities, going about their
business, symbolized by an ideal city, Jerusalem, which has been
reproduced at the foot of the cross. The symbolic meaning of the
mosaic is not a difficult one, the Baptism which is depicted by the
water produces a new creation for men and the world.
Just like water gives origin to life, baptism introduces Christians
into the new life which Christ has gained for us with his death and
resurrection.
The fresco of Pope Boniface
Francesco Borromini has included a fresco in the monument
erected to Pope Boniface VIII. The old atrium of blessings, which
was destroyed, contained this fragment. It was originally greater
than what we know and probably with two other displays: one of the
baptism of Emperor Constantine and the other one, with the
construction of the ancient Basilica of Saint John Lateran. It is
easy to determine that the character who is portrayed in this piece
of Giotto, is Boniface VIII, the Pope who proclaimed the first holy
year of the Christian era. However, in regards to this historical
fact with which the fresco is connected with, there exist several
hypotheses. Some argue that the image is linked to a solemn
convocation of the First Jubilee; others, actually believe that it
could be the representation of the inauguration on behalf of the
Pope of the Basilica of Saint John Lateran (1295). Nevertheless, the
painting, beyond the historical hypothesis, is a very important
document which links the Basilica of Saint John Lateran to the
celebration of the Jubilees. As a matter of fact, Boniface VIII,
celebrated the First Jubilee in history, precisely in Saint John
Lateran on February 22, 1300.
The Baptistery
At the beginning of the IV century, only Cathedrals had
baptisteries. Baptism was administered in them. However, in the
dioceses, they were administered by the Bishops and in Rome by the
Pope. Later on, during the VII and VIII centuries, when parishes
started to flourish in the rural areas and in the cities, other
Basilicas finally had their own baptisteries. These also had their
own baptismal fonts.
The Cathedral of the Diocese of Rome was Saint John Lateran,
therefore, it’s baptistery was the first and most ancient one in
Rome and Occident. The unity of the cathedral and the baptistery had
a particular significance directly related to the same concept of
the Church, which is the people of God united with the Bishop, who
represents our only Savior, Jesus Christ. The Baptistery was built
by Constantine in the IV Century. Sixtus III (432-449)
re-constructed it completely and added an atrium. Borromini restored
it for the last time during the 17th century.
The interior has an octagonal shape. In the middle of the Baptistery
is the circular pool in which Christian catechumens were baptized by
immersion, it is surrounded by eight porphyry pillars with Ionic and
Corinthian capitals. These pillars support an architrave inscribed
with some Latin verses attributed to Pope St. Sixtus III (432-440),
which admirably summarizes Christian teaching on Baptism. In the
center of the baptistery is the baptismal font, carved from green
basalt and covered in a bronze finish of the XVII century. The
chapel’s vault is very interesting and it is dedicated to Saint John
the Evangelist. There is a fifth century mosaic in the center, and
there is a reproduction of a standing lamb, symbol of the Risen One.
The Obelisk
Coming out of the baptistery of the Basilica of Saint John
Lateran, our gaze is inevitably directed towards the great obelisk,
which is known as the most impressive obelisk in Rome. It is 522
tons. It is among the most stupendous ones removed from the granite
mines of southern Egypt.
It was brought by Emperor Constantine (IV century) and was erected
by his son Constans II in the Circus Maximus around the year 357. It
was consecrated as a triumph of Christianity over the ancient
worships. In the year 1588, Pope Sixtus V, put it nearby the
Cathedral and thought about a genial town’s draft, where the great
avenues linked the main Basilicas. In each Basilica, there was an
ancient obelisk nearby, and the four Basilicas formed a cross. This
way, all monuments erected for the Egyptian divinities were
consecrated to worship the true God, the Pope being his
representative on earth.
The inscription on the base of the obelisk brings to memory, the
legend which tells us that Emperor Constantine was baptized in Saint
John Lateran Basilica. The Egyptian obelisk (representing the
presence of the great emperor converted to Christianity), and the
cross (which is placed as a crown), should both bear witness to the
fact that ancient history found here it’s fulfillment, and that all
human history is completely fulfilled in Christ , who died and rose.
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