San Paolo fuori le Mura

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San Paolo fuori le Mura
Façade
English name:	St Paul's Outside the Walls
Dedication:	St Paul
Denomination:	Roman Catholic
Type:	Patriarchal basilica
Titular church	No
National church:	No
Built:	4th century, rebuilt from 1824
Consecrated:	18 November 324
Architect(s):
Artists:
Contact data
Address:	186 Via Ostiense (Metro: Basilica San Paolo)

San Paolo fuori le Mura is a patriarchal basilica dedicated to St Paul, near the site of his tomb.

More pictures of the basilica at Wikimedia Commons. [1]

Contents 1 History 2 Portico 2.1 Atrium and façade 3 The main door 4 The Holy Door and Byzantine Door 5 Nave 5.1 Paintings on nave walls 5.2 Portraits of the Popes 6 Triumphal arch 7 High altar and confessio 8 Paschal candlestick 9 Altar of the Conversion of St Paul 10 Blessed Sacrament Chapel 11 Apse mosaic 12 Chapel of St Lawrence 13 Chapel of St Benedict 14 Altar of Our Lady of the Assumption 15 Oratory of St Julian 16 Baptistery 17 Cloister 18 Chapel of Relics 19 Library 20 Museum and shop 21 Bell-tower 22 Gregorian portico 23 Ancient cemetery

[edit] History

After his execution, St Paul was buried in a cemetery at this site, about two kilometres from the city walls by the road to Ostia. A shrine, or cella memoriae, was soon erected, and many early Christians came to venerate the Apostle.

The first church here was, according to the Liber Pontificalis, built by Emperor Constantine and consecrated on 18 November 324. It was a small church, built over the grave of St Paul. Between 384 and 386, Emperors Valentinian II, Theodosius and Arcadius demolished the church and built a large basilica. The architect was Cyriades. According to the inscription on the triumphal arch, it was consecrated in 390 by Siricius, and completed in 395 under Emperor Honorius. Although heavily restored, not least after it was damaged by fire, the present basilica looks much the same as it did in the 4th century.

Pope St Leo the Great (440–461) started restoring the church. About 50 years later, Pope St Symmachus (498–514) ordered the reconstruction of the apse, which was unsafe. Several more restorations and changes were carried out, under Pope St Gregory the Great (the transept), Pope Sergius I (the roof and some rooms), Pope Hadrian I (the aisles and atrium) and Pope Leo III (the transept, roof and floor, and added apse mosaic).

In 883, the walls and tower encircling the church were completed. This was knows as the "Johannipolis" (in Italian Giovannipoli), or "City of John" after Pope John VIII, and was built to protect the church from Lombards and Saracens. The defence works were tested in 1083–1084, when they withstood several attacks by Emperor Henry IV.

Fire broke out in 1115, and Pope Innocent II had a wall with columns built in the transept to support the unsafe roof. The transept was divided into two aisles by this wall.

Disaster struck again in 1349, when an earthquake badly damaged the basilica and destroyed the bell-tower and part of the portico. Pope Clement VI had the damages repaired.

Major restorations started under Pope Boniface IX, when he allowed all donations to the church to be used for repairs. Pope Martin V continued the work, and in 1426 the work was intensified under the rector of the church, Gabriele Condulmer, later Pope Eugene IV.

In 1653 Francesco Borromini designed plans for a total restructuring of the church. Due to a lack of funds, only the roof was changed under Pope Clement X.

At the end of the Holy Year of 1700, the Tiber flooded the area, and the basilica could not be visited. Its functions for the Jubilee were transferred to Santa Maria in Trastevere.

The portico was rebuilt in 1724 in preparation for the Holy Year of 1725 by Antonio Canevari. The former one, recently built by Alessandro Specchi, had collapsed on 1 May 1724. The ancient narthex was demolished at this time, and columns from the early four-sided portico were removed. At the same time, a series of other restorations were completed.

On the night between 15 and 16 July 1823, large parts of the basilica was damaged by fire. It was probably started by a careless worker while the roof was repaired. The atrium and more than half of of the nave were completely destroyed. It is said that Pope Pius VII, who was very ill and died on 20 August that year, was never told what had happened, after advice from his most trusted fellows such as the Secretary of State, Cardinal Consalvi.

Pope Leo XII was elected on 18 November 1823 and he decided to restore the basilica to its former glory rather than replace it with a new church in a more modern style. The first architect to lead the rebuilding was Pasquale Belli; Giuseppe Valadier had been appointed first but his plans for radical changes were eventually rejected and he was removed from the project in November 1825. Salvi, Paccagnini and Andrea Alippi were appointed as Belli's assistents. Work started in 1826, after a collection had been taken. Pope Gregory XVI took a great interest in the rebuilding; he was elected at the time when the first of the eighty columns in the nave was erected. In 1833 Luigi Poletta became the new chief architect. He was assisted by Bosio, Camporese and Virgino Vespigniani.

The high altar was re-consecrated on 5 October 1840 by Pope Gregory XVI. At that time, the nave was nowhere near completion, and only the transept could be used. The rebuilding would continue well into the 20th century.

[edit] Portico

[edit] Atrium and façade

The original atrium had been demolished in the 14th century. When the church was rebuilt after the fire, it was decided to give it an atrium in the original style. The rebuilding took more than a century, but the result is very pleasing. It was designed by Luigi Poletti. Some alterations to the design were made by Virgino Vespagniani after Poletti's death in 1869, and it was finally constructed by Guglielmo Calderini in the years 1890–1928.

Although it was built in the same style as the first atrium, it bears little resemblance to it since it is a much larger structure. The north and south side, 70 metres long, are covered on the outside by a travertine wall. The four corners have monumental propylaea. There are a total of 150 columns. The front (west) side has three rows of columns, and on the inner side there are thirteen lunettes with paintings depicting Christ giving a blessing and the Apostles. On the north and south sides, which have double rows of columns, there are painted medallions with various Christian symbols.

The statue of St Paul in the atrium is by Giuseppe Obici, and was made in the 19th century.

You should make a point of entering the church through the main doors - not only because it gives the right first impression of the interior, but also because the atrium is a good place to start your visit here. The gold mosaics are impressing, especially on a sunny day or in the evening when the façade is floodlit. The mosaics that were here at the time of the fire were moved to the arch over the apse. The present ones were made between 1854 and 1874 by Vatican workshops, based on designs by Filippo Agricola and Nicola Consoni. Christ is shown between the Apostles Peter and Paul. Below is the Lamb of God on the mountain of Paradise. The four rivers symbolize the gospels, and the twelve lambs drinking from the rivers symbolize the Apostles. The cities are Jerusalem and Bethlehem. The lower section shows the Old Testament Prophets Isaiah, Jeremiah, Ezekiel and Daniel.

[edit] The main door

The door, of bronze with inlaid silver, is modern, made 1929–1931 by Antonio Maraini after the old door had been damaged in the fire of 1823. It's 7.48 metres high and 3.35 metres wide. The old door had been a gift from Pope Gregory VII, set up in 1070, and was made of the same materials.

The reliefs on the door show scenes from the lives, apostolates and martyrdoms of Sts Peter and Paul, according to the wishes of the abbot of the monastery, Ildefonso Shuster. Apart from the two central scenes, all of the events depicted took place in Rome. The reliefs depict (see drawing on the right):

1. Coat of arms of the Church
2. Coat of arms of Rome
3. The Crucifixion of St Peter
4. "Domine, Quo Vadis?"
5. Christ Giving the Keys to St Peter
6. Foundation of the Papal See
7. St Peter Baptizing in the Catacombs
8. The Beheading of St Paul
9. The Conversion of the Centurion
10. St Paul's Conversion
11. St Paul Teaching in Rome
12. St Paul Reaches Rome and is Welcomed by the Faithful

Flanking the main door are 19th century statues of Sts Peter and Paul by Gregorio Zappalà.

[edit] The Holy Door and Byzantine Door

The Holy Door is to the far right. It is only open during Holy Years.

It was one of the last wishes of Pope John XIII that the old main door be restored, and since 1967 it is used to close the Holy Door between Jubilee Years. An inscription reveals that it was commissioned by Pantaleone, consul of Amalfi in Constantinople, and was made by Teodoro in 1070. The metal founder was called Staurachio. Its 54 panels show scenes from the lives of Christ and the Apostles.

[edit] Nave

The nave, with four aisles on the sides, was reconstructed 1831–1854. The plan remains as it was when the basilica was built, and the decoration is kept in the same style. Pasquale Belli made the first designs, and he was followed by Luigi Poletti in 1833.

The counterfaçade has six alabaster columns given by the Khedive of Egypt in 1840; there are four more by the confessio. The two central columns bear the arms of Pope Pius IX, made by Giosué Meli.

The ceiling is decorated with the coats-of-arms of the popes who were engaged in the rebuilding.

The lower windows have fine alabaster panes, given by King Fuad I of Egypt.

In niches along the walls, there are statues of ten Apostles. They were made in 1882 together with the statues of Sts Peter and Paul by the confessio. Among the artists who made them are A. Allegretti, F. Fabi-Altini, E. Gallori and E. Maccagnani.

[edit] Paintings on nave walls

Paintings high up on the walls depict scenes from the missionary travels of St Paul, taken from the Acts of the Apostles. The project was started by Pope Pius IX. It took 22 artists only three years to complete the work, from 1857 to 1860.

The windows and panels are divided by Corinthian pilaster strips.

[edit] Portraits of the Popes

Along the nave, there are mosaics of all the popes, from Peter to Benedict XVI. Pope Benedict XIV commissioned Salvatore Monosilio to make portraits up to his time. Those portraits were destroyed in the fire in 1823.

Pope Pius IX (1846-1878) restarted the project in 1847, and since then it has been updated whenever a new pope is elected. There are currently eight spaces available.

[edit] Triumphal arch

The first arch you come to as you walk up the nave is from the 5th century. The head of Christ is in the centre, with his hand raised in blessing in the Byzantine manner, and to the sides are symbols of the Evangelists, the 24 Ancients of the Apocalypse and angels. Below are Sts Peter and Paul, the latter pointing toward his tomb. An inscription along the edge mentions the Emperor Theodosius, the Dowager Empress Galla Placidia (it is often referred to as the Arch of Galla Placidia), who donated the mosaic and Pope St Leo I. The mosaic was damaged in the fire, but has been restored. The columns supporting the arch are new.

The inscription reads: THEODODIUS COEPIT PERFECIT HONORIUS AULAM / DOCTORIS MUNDI SACRATAM CORPORE PAULI.

[edit] High altar and confessio

The transept was raised under Pope Gregory the Great. A crypt was opened behind the high altar at the same time, but it was removed later, probably under Pope Leo III (795-816).

The high altar is a papal altar, meaning that only the Holy Father and those with special permission may celebrate Mass at it. It stands over the tomb of St Paul. Bishops who come to the "treshold of the Apostles" come here, and to the confessio at San Pietro in Vaticano where St Peter is buried, to kneel in prayer. It was erected in 1600, under Pope Clement VIII.

The canopy is by Arnolfo di Cambio, and was his first work in Rome, made in 1285. He was assisted by a colleague identified as Peter ("cum suo socio Petro"). It's in the Gothic style, which is a bit unfortunate in this church. The porphyry columns are new, but the rest survived the fire.

By the confessio are four alabaster columns that support nothing but air. They were given to the church by the Khedive of Egypt, and formed part of a large baldachino that covered this area - it even covered the canopy above the high altar. It was taken done after only a short time, but the columns remain. When they were erected, a 1st or 2nd century tomb of St Paul was found. A slab found here is now behind a grille, but if the church is not too crowded you can ask an attendant to see it. The inscription says PAULO APOSTOLO MART, and it has been dated to the 4th century, although there is little to go by other than the crude style of the letters. The openings in the slab were used to send incense into the tomb, and to pass pieces of cloth nearer the body so that they could be taken away as relics. It is often impossible to get a chance to see it, but there is a copy in the museum is you want to get an idea of what it looks like.

The balustrade surrounding the tomb was erected for the 1575 Jubilee.

[edit] Paschal candlestick

The huge paschal candlestick in the right-hand transept, standing more than 5 metres high, is by Nichola dell'Angelo and Pietro Vassalletto, and was made in the 12th century. The base and top may have been reused from an older candlestick. The decoration depicts Christ's Passion, Death and Resurrection.

[edit] Altar of the Conversion of St Paul

The altar is by Camuccini, and was made in the 19th century. The materials used are malachite and lapis lazuli. Next to it are statues of Pope St Gregory the Great and St Bernard of Clairvaux. Chapel of St Stephen

The 19th century chapel is a reminder that before his conversion, St Paul took part in the stoning of St Stephen, protomartyr of the Church. A statue of the saint by Rinaldo Rinaldi stands above the altar. The Stoning of St Stephen is by F. Podesti, made in the 19th century. Part of the materials in the marble wall decoration are from the early basilica.

[edit] Blessed Sacrament Chapel

Left of the apse is the Blessed Sacrament Chapel, designed in 1725 and formerly known was the Chapel of the Crucifix. The crucifix, which is from the 14th century, is said to have spoken, or nodded, to St Bridget of Sweden when she prayed here in 1370. It has been attributed to Pietro Cavallini.

The mosaic of the Blessed Virgin is from the 12th or 13th century. It was before this icon that St Ignatius of Loyola and his companions made their first public vows on August 22nd 1541.

On the right is a wooden statue of St Paul, from the 14th or 15th century. The scratches are made by pilgrims wishing to take splinters away as relics.

On the left side, the 17th century statue of St Bridget is by Stefano Maderno.

The 13th century painter Pietro Cavallini is buried in the chapel.

[edit] Apse mosaic

The apse mosaic, which survived the fire, is from about 1220 and was made by Venetian artists. Christ is flanked by the Apostles Peter, Paul, Andrew and Luke. In the lower zone are Apostles carrying scrolls with the text of Gloria in excelsis, and a version slightly different to that used in Mass. Beneath Christ is a throne with the instruments of the Passion and a gemmes Cross. In the centre of the cross is another depiction of the Teaching Christ. The figure near Christ's feet is Pope Honorius III, who ordered the mosaic. In the Roman tradition, popes had been placed with the Apostles in mosaics and paintings. The artists, with their Venetian background, were influenced by Byzantine traditions, leading to this change. It was restored in 1747 by Pope Benedict XIV.

The mosaics on the inside of the arch, visible if you stand close to the railing and look upwards, are also from the 13th century. Some were made by Byzantine artists, and some are by Pietro Cavallini. They were orginally on the outside of the façade, but were moved here after the fire.

[edit] Chapel of St Lawrence

The chapel was designed by Carlo Maderno in 1629, and is also known as the Chapel of the Choir as it is here that the Benedictine monks sing Office and celebrate Mass. It was originally built as a chapel for the Blessed Sacrament. It was decorated by Giovanni Lanfranco. The wooden stalls are a later addition, designed by Guglielmo Calderini in 1928 and made by Monteneri.

The marble triptych above the altar is of the school of Andrea Bregno, 15th century.

[edit] Chapel of St Benedict

The statue of the saint is by P. Tenerari, made in the 19th century. The Doric columns are from the Veio excavations.

[edit] Altar of Our Lady of the Assumption

The altar is made of malachite and lapis lazuli, a gift from Tzar Nicholas I. Above the altar is a mosaic copy of the Coronation of the Virgin by Guilio Romano, original painted in 1492.

[edit] Oratory of St Julian

The frescoes of Apostles and martyrs are from the 13th century.

[edit] Baptistery

The room is ancient, but the arrangement of the baptistery is modern as it was restored in 1930 by A. Foschini.

[edit] Cloister

The cloister was built 1208–1235 by the Vassalletti family. It has Cosmatesque decoration. The inscription in the mosaics is a poem describing the importance of cloisters in the life of a monk and the use of the cloisters as a place of meditation and study.

[edit] Chapel of Relics

The Chapel of Relics has a set of chains said to be the prison chains of St Pauls, used in the last days before his execution. They are exposed in the church on his feasts. There are also numerous other relics.

[edit] Library

The library has in its possession the Bible commissioned by King Charles the Bald for his wedding in 870, which is the oldest preserved Carolingian manuscript. It was made under the supervision of Archbishop Hincmar of Reims (845-875). It may have been given to Pope John VIII at Christmas 875.

[edit] Museum and shop

Continuing from the cloister, you reach a museum with paintings, icons and other objects, and a shop with souvenirs, postcards and products made by the monks.

[edit] Bell-tower

The bell-tower was added in the 11th or 12th century. The first one weas destroyed by an earthquake in 1349. Pope Clement VI had a new one built. It survived the fire, but was destroyed during the rebuilding. It was rebuilt by Luigi Poletti between 1840 and 1860 with a different look, and now resembles a Roman tomb found in the south of France. It's 65 metres high, with five floors. The clock faces on the second level are by Mariano Trevellini, and were made in 1863. The upper three floors are laid out according to the canon of Alberti's towers, having the shapes, from bottom to top, of a square, an octagon and a circle. Their columns are arranged in the classical manner, with the heavy Doric style at the bottom, then the lighter Ionic style and on the top level Corinthian columns.

There are seven bells in the tower. Poletti placed four bells in it, all from the old church. Two were remelted in 1863 and 1930, and the other two, which dated to 1658, were kept here until 1959. That year, Blessed Pope John XXIII increased the number of bells to seven.

[edit] Gregorian portico

On the north side is a portico opening in on the north transept of the church. It is known as the Gregorian portico because it was built under Pope Gregory XVI (1831-1846) by Luigi Poletti. The columns were taken from the old building; one of them bears Pope Siricius' inscription about the building of the Theodosian basilica.

[edit] Ancient cemetery

Under the covered building in the middle of the road outside the church are tombs of the cemetery in which St Paul was buried. It was reported on December 7th 2006 that Giorgio Filippi, an archeologist and inscriptions expert at the Vatican Museums and working for the Vatican, had unearthed a marble sarcophagus dating from "at least 390" as they worked to excavate the ancient crypt beneath the church. The sarcophagus has Paolo Apostolo Martyr (Paul Apostle Martyr) written on it and is very likely to contain the remains of Saint Paul who was executed by the Emperor Nero in 65AD.

In 2002 and 2003, Filippi examined the sarcophagus after having removed pavement stones to access chambers below the bascilica. Three vertical holes leading down to the lid were found, one of which is closed but thought to have lead directly into the sarcophagus. This was likely used to allow objects to come into contact with the remains of St. Paul in order to create secondary relics. These were popular in the late fourth century after Emperor Theodosius banned the trade of corporal relics. The New Testament states in Acts 19:11-12 "God did extraordinary miracles through Paul, so that even handkerchiefs and aprons that had touched him were taken to the sick, and their illnesses were cured and the evil spirits left them."

The Seven Churches

San Pietro in Vaticano | San Paolo fuori le Mura | San Giovanni in Laterano | Santa Maria Maggiore | Santa Croce in Gerusalemme | San Lorenzo fuori le Mura | San Sebastiano fuori le Mura