With the exception of those portions upon which the chairs will stand and
which are laid in oak blocks, the whole flooring of the chapel is laid in
marble or marble mosaic, after the fashion of the old Cosmati work of the
12th {10} and 13th century. This work has been carried out to a special
design prepared by Mr. Caröe, by Messrs. Arthur Lee & Bros., Ltd., Marble
Workers, of Hayes, Middlesex.
There is a good deal that may possibly be of interest in this pavement,
both because of the class of work and the variety of marbles used
therein, and because of the symbolic nature of certain portions. We will
deal, first, with the actual steps in the chapel. The two steps (Nos. 1
and 2) at the western end are laid in Lunel, the next step as you walk
east (No. 3) being of an Austrian marble, “St. Just,” whilst the three
easternmost steps (Nos. 4, 5 and 6) leading to and nearest the altar, are
of white statuary, grand antique, and Rosso Antico, respectively. To
Dante lovers, and there are doubtless many such in St. Peter’s
congregation, these easternmost steps will recall the splendid symbolism
of the passage from the _Purgatorio_ (Canto IX. 94–102), which tells how
Dante came to the Gate of Purgatory, carried thither from the Flowery
Valley by the eagle, Lucia, a symbol of the illuminating grace of God:
“La’ ve venimmo, alio scaglion primaio,
Bianco marmo, era si pulito e terso,
Ch’ io mi specchiai in esso quale io paio.
Era il secondo, tinto più che perso,
D’ una petrina ruvida ed arsiccia,
Crepata per lo lungo e per traverso.
Lo terzo, che di sopra s’ammassiccia,
Porfido mi parea si fiammegiante,
Come sangue che fuor di vena spiccia.”
and which Mr. William Warren Vernon in his admirable edition translated
as follows:—
“There, where we came unto the first stair, it was of white marble,
so polished and smooth, that in it I saw myself reflected even as I
am. The second was of a darker hue than perse, and of a rugged and
calcined stone, full of cracks in all its length and breadth. The
third, which is piled on above, seemed to me to be of porphyry, as
flaming red as blood that gushes from a vein.”
This passage has been variously interpreted, nearly all the early
commentators holding that by the three steps, by which the gate of
Purgatory is approached, Dante intended to symbolize the three acts of
penitence, as they were understood in the days of scholastic theology,
namely, (1) contrition of the heart, (2) confession of the mouth, and (3)
satisfaction by works, whilst in days nearer to our own Dean Plumptre has
observed that (1) the white marble in which Dante saw himself mirrored
indicates purity of conscience and that self-knowledge without which
contrition is incomplete; (2) the dark, gloomy hue, the broken and rough
surface of the second stair symbolizes the state of the heart as laid
bare in confession in all its black unrighteousness; (3) the crimson hue
of the porphyry is fit emblem of the charity or love which is the spring
of all works of satisfaction. But whatever may be the exact meaning of
Dante’s symbolism, the general idea is plain, and the symbolism of these
three steps, white, black, and red, seems peculiarly appropriate in a
chapel to be used so largely for the administration of the Holy
Communion, at which the Invitation and Confession alike will be made in
words, with which the symbolism of the steps is so fully in harmony.
With regard to the mosaic pavement itself, we cannot do better than
append the short descriptive notes that have been very kindly furnished
by Mr. C. White, the courteous Works Manager of Messrs. Arthur Lee &
Bros.:—
“_Portion directly under Altar_ is composed of Vedrasse panels with
Rosso Antico crosses inlaid in same. The panel coming directly in
front of this is composed of star-shaped pieces of St. Just with
cosmatesque inlays round same composed of various fancy coloured
marbles and borders in St. Just. Foot-pace and riser are in Rosso
Antico.
“_Portion on the left of the Altar_.—The front panel is in Skyros,
the back one in Vedrasse, the centre panel in St. Katharine’s.
Circular panels—top left-hand corner, Brèche Sanguine; bottom
left-hand corner, Irish green; top right-hand corner, landscape;
bottom right-hand corner, Devonshire. The matrix and outside borders
are of St. Just, whilst the inlaid portions are of various fancy
coloured marbles.
“_Portion on right-hand Side of the Altar_.—This is similar to the
one last described, but the front panel is in Pavonazzo, back panel
in Skyros, and centre panel in tapestry Yava onyx. Top right-hand
circle, Old Convent Sienna; bottom right-hand circle, Brèche
Sanguine; top left-hand circle, Irish green; and bottom left-hand
circle, Landscape.
“_Main Inlaid Panel_.—The matrix is of St. Just, and the circular
panels, reading from left to right, are as follows:—Green Yava onyx,
Corallo, Mexican agate, Giallo Antico, Verde Antico, Rosso Antico.
The inlaid portions in various choice designs are composed of various
fancy coloured marbles. Directly in front of this main inlaid panel
comes Step No. 3 in St. Just, and below this step on either side of
the aisle or gangway are panels in Skyros, St. Just, and Vedrasse,
arranged to harmonise, the inlaid portions round the same being in
various fancy coloured marbles.
“_The Aisle or Gangway_.—This is laid in three panels. The first,
which comes next to the centre portion of Step No. 3 (St. Just), has
hexagons composed of statuary with one or two various fancy coloured
marbles introduced here and there. The inlaid portions around the
hexagons are composed of various fancy coloured marbles. The second
panel has Skyros, St. Just, and Vedrasse for the main portion, laid
out in small panels, and the surrounding inlays are in fancy coloured
marbles.
“The third panel, the nearest to the bronze gates, is composed in the
main of St. Just and Pavonazzo, with one or two other colours
introduced here and there, the inlaid portions being of fancy
coloured marbles.
“The borders to the two front panels in front of No. 3 step and also
to the three aisle panels are in Lunel.
“The following is a list of the principal marbles used in the
construction of the steps and paving:—
Statuary. Rose Sienna.
Skyros, white, red, and yellow. Landscape.
Brèche Sanguine. Pavonazzo.
Irish Green. Bardilla.
Vedrasse. Tapestry Yava Onyx.
St. Just. Green Yava Onyx.
Swedish Green. Mexican Agate.
Cork Red. Red and Yellow Verona.
Corallo. Griotte.
Bleu Turquin. Tinos.
Jaune Lamartine. Blue Pentelikon.
Jaune Antique. Rosso Antico.
Old Convent Sienna. Cippolino.
Campan Vert. Lunel.
Verde Antico. Grand Antique.
Devon, red and grey.