"The mother and head of the churches of the city and of the
world."
This church was founded by Constantine, and took the name of _Lateran_
from its occupying the site of the Palace of Plautus Lateranus, the
senator, who suffered under Nero. After having existed for ten
centuries, it was almost entirely destroyed by fire in 1308. It was
rebuilt by Clement V., and embellished by other popes. Clement XII.
had the façade executed from the design of Galilei. It is of
travertine, with four large columns and six pilasters of the
Composite order, which support a cornice surmounted by a balustrade,
on which are placed colossal statues of Jesus and several saints.
Between the columns and the pilasters there are five balconies; that
in the middle was used for the papal benedictions. Beneath the
balconies are as many entrances, which lead into the magnificent
covered portico (_loggiato_), decorated with twenty-four pilasters of
the Composite order. In this portico is placed the colossal statue of
Constantine found in his baths. Notice the beautiful bronze doors
which came from the Senate House in the Forum.
_The interior_ is divided into a nave and two aisles by four ranges of
pilasters. The architect was Borromini, who covered the ancient
columns which divide the middle aisles from the side ones with
pilasters, forming five arches, corresponding to an equal number of
chapels. Each of these pilasters is decorated, on the side of the
middle aisle, by two fluted pilasters, supporting a cornice which goes
round the church. Between these there are twelve niches, each
ornamented by two columns of verd-antique, containing the statues of
the apostles. The Corsini chapel, _first chapel on left of front
entry_, is one of the richest in Rome. It was executed by Clement XII.
from the design of Galilei, in honour of S. Andrew Corsini. The
porphyry sarcophagus of Clement XII. was brought from the portico of
the Pantheon, and is supposed to have contained the remains of
Agrippa. The subterranean chapel contains the remains of the Corsini
family. On the altar is the beautiful statue "Piety," said to be by
Bernini or Montanti.
This splendid church contains many chapels, decorated with paintings
and statues worthy of attention. On the second pier of the right aisle
is Giotto's Boniface VIII.
The Gothic Tabernacle above the high altar, containing the heads of
Paul and Peter, is a fine piece of workmanship of the fourteenth
century, restored by Pius IX. In front of the Confession is a bronze
tomb of Martin V., by Simone, Donatello's brother. Since 1876 the
transepts and the apse have been closed to the public; but on
Ascension day 1886, with grand religious ceremonies, they were again
thrown open to public view, _having been restored_. The frescoes in
the transept, representing scenes in the life of Constantine by
artists of the seventeenth century, have been touched up; the gold
work has been regilded, and the appearance of newness has been
imparted to the whole. At the end of the right transept, looking
towards the tribunal, is the grand organ and a banner captured from
the Saracens. The left transept contains the altar of the Sacrament
by Paolo Olivieri, the four gilt bronze columns being, it is said,
from the Temple of Jupiter Capitolinus, made by Augustus out of the
beaks of the fleet of Mark Antony and Cleopatra. Above the altar is
the finest fresco in the basilica, the Ascension by Arpino, 1600. To
the right is the Colonna chapel. The altar-piece is by Arpino, the
roof by Croce, whilst the portrait of Martin V. is by S. Gaetano. In
the recent restorations the old choir, tribunal, and the corridor of
Leo I., 440-61, which surrounded it, have been destroyed, and a new
one erected sixty-seven feet longer than the old one--a very
unnecessary piece of work and vandalism. The church was quite large
enough for any ceremonies that take place in it. The whole praise of
_this restoration_ is claimed by Leo XIII.; but it is only just to
Pius IX. to record that he initiated and left money to continue the
work, although he is ignored in the laudations. In the four corners,
above the spring of the arches, are doctors of the Eastern and Roman
Churches--Ambrose, Augustine, Chrysostom, and Anastasius. On the left,
above organ, the Commission submitting the Plans to Leo XIII.; on the
right, Innocent III. approving the Doctrine of Transubstantiation
(1215)--both the work of Francesco Grandi. The mosaic on the vault of
the apse belonged to the old apse, and has been considerably
_restored_ in moving it from one to the other. It is the work of
Jacopo da Turrita and Gaddo Gaddi (1292). At the top is the Almighty's
head surrounded by angels; from the Father proceeds the Holy Spirit (a
dove) to the Cross (which represents the Son) erected on the mountain
from which flow the four rivers of paradise round the heavenly
Jerusalem, the gates of which are guarded by an angel. Two harts and
sheep drink of the waters; saints are on either side; the Virgin has
her hand on the head of Nicholas IV., who had the mosaic done. The
apostles below, between the windows, are by Jacopo di Camerino, of the
same period. The base of the tribunal is inlaid marble imitation
cosimati work of the thirteenth century, as is also the Bishop's
Throne, reached by a flight of steps. The Bishop of Rome takes his
title from S. John's Lateran, hence this church has precedence over
all others. The Bishop of Rome is by right thereof Papa, Pope, or
Father of the Roman Church. Since the death of the last bishop, Pius
IX., February 20, 1878, the chair has been vacant; for some fanciful
reason Leo XIII. has never taken possession of his bishopric.
_The Cloisters_ of the twelfth century are interesting, and contain
many curious architectural remains.
Pope Leo XIII. intends to establish in the Lateran Palace a
university, under Cardinal Mazzella, for the scientific and literary
study of the clergy.
_Passing out into the piazza at the front, on the right are_