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and varying aspects of Roman townscape, but in this
walk and the next we are going to see another one, perhaps
are now coming to the Coelian Hill, one of the few areas
within the Aurelian walls to have retained something of its
uniquely Roman pre-1870 character. Right up to the unifica-
tion of Italy, the town occupied only a tiny proportion of
the vast area enclosed by the walls; the rest was filled with a
picturesque medley of parks, gardens and vineyards dotted
with the ruins of antiquity and the churches which had grown
up among them, since the days of Constantine.
Colosseum, either on foot, which will take about fifteen
minutes, or boarding the 85 or 117 bus in front of Palazzo
Basilica of S. Clemente, which
stands on the left on the corner of the Piazza di S. Clemente.
Archaeologically this is one of the most interesting churches
in Rome. It is also one of the most appealing; to a great wealth
of art and treasures is added the atmosphere of a much-loved
church, upon whose care and maintenance no pains have been
spared. Here too the traveller is welcomed with a warm Irish
brogue by the Dominicans, who are a fount of information
about the complicated building history of their church. This
consists of three successive places of Christian worship, built
one on top of the other between the first and twelfth centu-
ries, and includes a well-preserved mithraeum. S. Clemente
has been in the care of Irish Dominicans since 1667; it was
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old one, and the choir had to be slightly altered to fit it. At
the same time the high medieval pulpit was added on the left,
together with the beautifully decorated mosaic paschal candle-
stick. These high pulpits with their adjoining candlesticks are
particularly characteristic of medieval central and southern
Italian churches. They probably owe their design to the local
custom of reading the Exultet (which follows the kindling of
the fire on Easter Saturday) from a long illuminated scroll.
On these scrolls, the subjects mentioned in the Exultet were
illustrated by lively miniatures, usually painted upsidedown in
relation to the text; so that as the deacon intoned the verses,
the congregation could watch this medieval form of moving
pictures slowly descending from the pulpit.
Unlike the choir, the high altar has been remodelled
several times. The confessio, or martyrs tomb beneath it,
said to contain the relics of Sts Clement and Ignatius, dates
from 1868, and the columns supporting the canopy, from
the fifteenth or sixteenth century. The canopy itself, however,
may well be contemporary with the choir, and have been
transferred from the earlier church. The anchor which is so
conspicuously displayed on the front may mystify those who
are not familiar with the legends of St Clement. The real St
Clement, who was the fourth pope, was described by second-
century writers as being a contemporary of Sts Peter and
Paul. Certainly he wrote a celebrated and authoritative letter
on church matters to the Christian community of Corinth,
which was read publicly with the scriptures in 170, and was
still being read there in the sixth century. Modern research
has revealed that St Clements literary style indicates a Jewish
background; it is thought that he may have been a liberated
slave in the household of Domitians cousin, the martyred
St Clements life or death; but it did not prevent his becoming
the subject of many legends, or a fourth-century writer from
composing an apocryphal description of his life and Acts.
According to these, St Clement was banished by Trajan
(98117) to work in the mines of the Crimea, where he made
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wall beneath and put into frames. These are moved around
according to what maintenance work is being carried out,
and if you wish to see them but cannot find where they are,
ask at the counter where tickets are sold for the excavations
beneath. The frescoes were once attributed to Masaccio, but
are now more generally assigned to Masolino da Panicale,
though some authorities believe that both artists had a hand
in the work.
Those on the left of the chapel represent legendary scenes
from the life of St Catherine of Alexandria her dispute with
learned doctors, her missionary work and conversion of the
Emperor Maxentiuss wife, who was executed in consequence;
also the miracle of St Catherine being freed from death on the
wheel by an angel, her ultimate decapitation, and her body
being carried by angels to Mount Sinai, where the famous
monastery called after her still stands. The Crucifixion above
the altar is the work which is most closely associated with
Masaccios name; as he died in 1428 or 1429, it is probably
the earliest in the series. The paintings on the right wall
represent scenes from the life of St Ambrose of Milan. On
the wall immediately to the left of the grille, we can see a fine
picture of St Christopher, the patron saint of travellers, many
of whom in the past have scratched their names, prayers and
dates upon the painting. Some of these graffiti date from the
second half of the fifteenth century.
Before making our way down into the shadowy depths of
the lower church and excavations beneath it, it is pleasant to
rest for a moment in the sunlight of the colonnaded medieval
forecourt, the only one of its period to have survived in Rome.
Like the basilica itself, this stands directly above its fourth-
century predecessor; the gate leading into it from the Piazza
di S. Clemente is really the main entrance to the church. On
the outside this is surmounted by a distinctive overhanging
porch which now looks charmingly picturesque, but it had
a far grimmer function in the Middle Ages. Then it formed
part of the defences of the church and monastery, like the
machicolations of a castle. Evidently Cardinal Anastasius who
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the far end, this might well be mistaken for one of those
underground nymphaeums which served as refuges from
summer heat in Roman palaces and villas. In actual fact the
whole design was dictated by the curious creed of Mithras,
a god born of a rock, who at Apollos command killed the
bull which was the symbol of fertility. In this struggle Mithras
was helped by a snake and a dog but betrayed by a scorpion,
which spilled some of the bulls precious blood from which
all things living were created and thus introduced evil into
the world. The scene showing Mithras plunging a knife into
the bulls back is portrayed on the altar now at the far end
of the triclinium, though it probably formerly stood in the
room of the initiates. After his victory, Mithras banqueted
with Apollo, and was conveyed in his chariot to heaven. The
ritual banquets held in the Mithraic triclinia commemorated
this event. Other gods such as Helios, Selene and Serapis were
associated with the cult; reliefs of the first two are also to be
seen in this mithraeum.
Mithraism was a highly moral religion strictly limited
to men, loyalty and fidelity being regarded as the ultimate
virtues; it also held out hope of a life hereafter. In view of the
discovery of a mithraeum in the heart of the City of London,
it is interesting to note that it was the British legions who
revolted after the disestablishment of the pagan cults in 382,
electing as their leader Maximus, who fought paganisms
penultimate battle against the Christian Theodosius in 388.
Not all of the Mithraic insula beneath S. Clemente has
yet been excavated, but a room leading out of the end of
the passage on the right is believed to have been the school
or instruction room for postulants; in it are seven niches
with graffiti, thought to represent the seven stages of initia-
tion. Beside this is an iron door leading to a tunnel, built in
191214 to carry off the water, whose flow has been constantly
audible ever since we descended into the lower levels, to the
Cloaca Maxima, some seven hundred yards away beside the
Colosseum. This water, which flooded the mithraeum for
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