erected in 823 by Paschal I., and restored by Nicholas V. in 1450, and
more lately by Carlo Borromeo. The main entry from the Via di S.
Martino, consisting of the original portico, sustained by two granite
Ionic columns, is seldom open. The entrance in use is on the side from
the Via S. Praxedes. Sixteen granite columns, with composite capitals,
divide the nave from the aisles. Double flights of steps of _rosso
antico_ lead up to the tribune. On each side of the altar, over choir
gallery, are remarkable columns of white marble, with foliage
ornaments. In the middle of the nave is a so-called well, in which
Praxedes is said to have collected the remains of martyrs.
The MOSAICS are a striking feature of this church. They belong to the
time of Pope Paschal I., and, like those in S. Cecilia and S. Maria in
Navicella, are interesting as illustrating the low depth to which this
art had sunk in Rome at that period.
On the tribunal, our Lord stands on a mound, from which issues the
river of life, JORDANES. On his left are S. Paul, S. Pudentiana, and
S. Zeno; on his right S. Peter, S. Praxedes, and Paschal, the last
carrying a model of the church which he built. He has a square nimbus,
which shows that he was alive when the mosaic was executed. Beneath is
a lamb with a nimbus, and with six sheep on either side, representing
Christ and his apostles; at the extremities, Bethlehem and Jerusalem.
Below is the inscription:--
"_This holy fabric shines decorated with varied metals in honour of
Praxedes, pleasing to our Lord above the heavens, by the care of the
Sovereign Pontiff Paschal, nursling of the apostolic chair; who,
burying many bodies of saints, puts them under these walls, that by
the benefit of their prayers he may merit to enter the gates of
heaven._"
The oil painting of Praxedes is by Maria Dominico Muratori of Bologna.
On the vault of the arch are flowers growing from two pots, and in the
centre the monogram of Paschal. On the face of the tribunal are, in
the centre of the arch, the Lamb, with three candlesticks on one side
and four on the other, allegorical of the seven mysteries; on either
side angels and the emblematical figures of the four apostles; then
the four and twenty elders casting down their golden crowns, as at St.
Paul's. These mosaics are evidently copied from those at SS. Cosmo and
Damiano. On the face of the Arch of Triumph is the vision of S.
John--our Saviour, with angels, Pudentiana, Praxedes, and the
apostles, within the walls of the heavenly Jerusalem, the gates of
which are guarded by angels. Other angels approach leading groups of
the faithful, below whom are the martyrs with their palms. On the
vault of this arch are mosaics similar to those of the tribunal.
The sacristy in the right aisle contains a Crucifixion by the
Florentine artist Augustino Campelli, 1581, and a Flagellation by
Giulio Romano. The second chapel contains Christ Bearing the Cross, by
F. Zucchero, and on the roof the Ascension, Prophets and Sibyls, by
D'Arpino. The next chapel has pictures from the life of Carlo
Borromeo, and his chair and table. By the main door is a slab of
_nero-bianco_ granite, on which S. Praxedes is said to have slept. The
second chapel on the right, coming up, contains the Eternal Father, by
Borgognone, and a Deposition, by Vecchi. The next is the
CHAPEL OF S. ZENO. Two columns of rare gray porphyry support the
sculptured frieze of the doorway, above which are mosaics of heads in
two rows: top row, Christ and the Apostles; second row, Virgin and
Child, with members of the family of Pudens. Over the altar is a piece
of a column, in black and white marble, said to be that to which Jesus
was tied at his flagellation. The mosaic on the roof represents the
Saviour supported by four angels. Over the altar is a Virgin and
Infant, with Pudentiana and Praxedes. Opposite is the Lamb on a Rock,
from which flows a stream, with four harts drinking. Opposite the
entrance is S. John the Baptist and the Virgin. On the left are SS.
Agnes, Pudentiana, and Praxedes, and over the door the throne of God,
with SS. Peter and Paul. On the right are James, Andrew, and John.
Ladies are forbidden to enter this chapel, under pain of
excommunication, except on the first Sunday in Lent, and on Palm
Sunday.
The adjoining chapel contains the tomb of Cardinal Cetivej, 1474, on
which is his recumbent statue, with reliefs of Paul, Peter,
Pudentiana, and Praxedes. The Flagellation is by Francesco Guidi. The
chapel at the end contains the reclining figure of the French Cardinal
Anchera, 1286; signed _Christianus Magister fecit_.
In the crypt, beneath the high altar, are some fourth century
Christian sarcophagi, said to contain Pudentiana, Praxedes, and
others; also a beautiful cosimati altar and a ninth century fresco of
the Madonna and Child.
The custodian will here tell you that there is a subterranean
communication between this crypt and the Catacombs, but that it is now
walled up. This passage exists only in his fertile imagination; the
Catacombs _do not_ communicate with any of the churches in Rome.
The first floor of the tower contains remains of a fresco, time of
Paschal, illustrating the life of S. Anne.
_The Via dello Statuto, on the right of the Via Merulana, contains_