Beautiful
Catholicism
Your Italian
pilgrimage
unpacked
Index
Scripture to consider………………...……………………………………… Page 3
Hotel Information…………………………………………...………………. Page 4
Day 2 (Arrive in Italy and bus from Rome to Florence)……………………... Page 5
Day 3 (Florence)……………………………………………………………… Page 6
Academia & Uffizzi………………………………………………………. Page 7
San Marco Convent Museum…………………………………………….. Page 8
Florence Cathedral………………………………………………..………. Page 9
San Miniato al Monte (St. Minias on the Mountain) …………………….. Page 10
Day 4 (Siena)………………………………………………………..………... Page 11
Saint Catherine Biography……………………………………………….. Page 12
Basilica Cateriniana di san Domenico………………………..…………. Page 13
Day 5 & 6 (Assisi)……………………………………………………………. Page 14
Santa Maria Degli Angeli, Assisi………………………………………... Page 15—16
St. Francis’s hermitage…………………………………………………... Page 17
Basilica of St. Francis………………………………………………..…... Page 18
Umbrian hill town of Assisi and Santa Chiara church………………….. Page 19
Day 7 (Orvieto & Rome)……………………………………….…………….. Page 20
Cathedral of Orvieto & Eucharistic Miracle……………………………... Page 21
St. Peters Basilica (Rome)……………………………………………….. Page 22
Borgo Pio Neighborhood; Day 7 dinner…………………………………. Page 23
Day 8 (Papal Audience, Major Basilica’s, Sacred Relics)…………………… Page 24
Papal Audience (St. Peters Square)……………………………………... Page 25
St. John Latern The worlds cathedral…………………………………… Page 26
Santa Maria Maggiore (Mary Major)…………………………………… Page 27
Holy Stairs, Pillar of Scourging, Relic of the true cross:
Basilica's of Scala Santa, St. Praxedes & Santa Croce …………………. Page 28
Day 9 (Mass at tomb of St. Peter & Vatican Museum)……………………… Page 29
Mass at Catacombs of St. Peter & Sistine Chapel tour………………….. Page 30
Vatican Museum………………………………………………………… Page 31-32
Day 10 (St. Paul Outside Walls, Basilica’s, Peter in Chains, Pantheon)…………... Page 33
Basilica of Saint Paul outside the walls…………………………………. Page 34
Santa Maria Sopra Minerva and San Pietro in Vincoli (Peter in Chains)….. Page 35-36
The Panthon……………………………………………………………... Page 37
Day 11 ……………………………………………………………………….. Page 38
Catacombs of Santa Priscilla & The Colosseum………………………… Page 39-40
2
When Jesus went into the region of Caesarea Philippi he asked his
disciples, “Who do people say that the Son of Man is?” They replied,
“Some say John the Baptist, others Elijah, still others Jeremiah or one of
the prophets.” He said to them, “But who do you say that I am?” Simon
Peter said in reply, “You are the Messiah, the Son of the living God.”
Jesus said to him in reply, “Blessed are you, Simon son of Jonah. For
flesh and blood has not revealed this to you, but my heavenly Father.
And so I say to you, you are Peter, and upon this rock I will build my
church, and the gates of the netherworld shall not prevail against it. I
will give you the keys to the kingdom of heaven. Whatever you bind on
earth shall be bound in heaven; and whatever you loose on earth shall be
loosed in heaven.” Matthew 16:13-19
3
Hotels
Hotel Corona d’Italia : Florence
Hotel Corona d’Italia is located in the historical city
center of Florence and awaits you in an elegant early
19th-century palazzo.
The rooms, spacious and bright, are equipped with
all modern comforts and decorated with precious
materials, such as Florentine terracotta and Tuscan
marble.
Located in the district of San Lorenzo, the heart of
the historical district, and less than 200 meters from
the Santa Maria Novella train station, you will enjoy
the convenience of being near the monuments and
museums of Florence and close to the Fortezza da
Basso convention center.
The 80 rooms of the Hotel, all with private
bathrooms, are decorated in an elegant and modern-style, with marble and terracotta floors typical of the Tuscan region.
Spacious, bright, and soundproofed, these rooms are equipped with air conditioning, satellite television, direct phone
line, hairdryer, safety deposit box, minibar, and Wi-Fi internet. Room service provided by our professional and
courteous staff.
Hotel San Pietro: Assisi
The hotel has 35 rooms and 2 suites. Every room is furnished with great
taste and is exclusive for comfort and hospitality.
Completely sound-proofed and air conditioned, they are all equipped
with a private bathroom, direct-dial telephone, mini bar and satellite
television to offer you a delightful stay.
Domus Carmelitana: Rome
The religious guest house Domus Carmelitana is centrally
located, a short walk from Castel Sant’Angelo and St. Peter’s
Basilica. The sober yet elegant, warm and pleasant
environment makes the house an ideal place for individual
guests to stay, as well as for organized groups. The courteous
and professional staff takes their role in promoting the serenity
and comfort of our guests seriously. The house has 54 rooms,
each equipped with all amenities, an evocative restaurant, a
splendid conference hall, a magnificent rooftop terrace
overlooking Rome, a large parking lot for private cars and
coaches, an internet facility, WIFI connection, air
conditioning, as well as a meeting room dedicated to interreligious dialogue. The bar and reception are open 24 hours a
day.
4
Arrive in Florence
Afternoon free
Welcome Dinner
5
Florence
6
Florence Museums
The academia
&
The uffizzi
Michelangelo's David
Circa 1501
Former hospital in the 14th century, then an Academy
of Fine Arts, it houses ”David”, the absolute
masterpiece by Michelangelo, a must for all visitors
of Florence. Sculpted between 1501-1504 to be an
outside decoration of the Cathedral of Florence, it
became instead a symbol of the commitment of the
Florentine State to freedom and independence, as well
as a symbol of the Medici's defeat in 1494. It still
personifies energy, vigor and courage, symbolizing
the whole of mankind fighting for survival. His
anatomy, later reproduced by Michelangelo’s
contemporaries, was carefully depicted, thanks to the
in-depth studies carried out by the great artist. In
addition to David, four statues of the Slaves
commissioned by Pope Julius II as a decoration of his
grave, the “Mourning over Jesus Christ” and “St.
Matthew”. The museum houses an interesting
collection of paintings from the Middle Ages,
Renaissance and early 17th century.1
The Uffizi, (1560-1580) was originally meant to be an Ufficio (office) for
magistrates as well as judges, technicians and merchants of Florence, the top
floor was turned into a private gallery for the pleasure of the ruling family of
Florence, the Medici, and their guests. In addition to paintings, statues,
jewelry, scientific instruments, even weapons, were displayed there, which
made it one of the most interesting and precious collections in the whole
world. Since 1865 it became a museum, nowadays with 50 rooms housing
paintings ranging from the 13th century to the 18th century. The highlights
are the famous “Madonna enthroned” by Giotto, the “Battle of San Romano”
by Paolo Uccello, the double portrait by Piero della Francesca, “Federico da
Montefeltro”, the “Birth of Venus” by Botticelli , in addition to three works
by Leonardo, one by Michelangelo, a few by Raffaello and many by Tiziano.
All paintings have been displayed chronologically, so it is possible to fully
appreciate all the innovations in art throughout the centuries.2
7
“Madonna enthroned” by Giotto
Circa 1310
San Marco
Convent museum
The present convent stands on a site occupied since the 12th century by a Vallombrosan monastery which later passed to the
Silvestrines; they were driven out of San Marco in 1418, and in 1438 the convent was given to the Dominican Observants. In
1437 Cosimo il Vecchio de’ Medici decided to rebuild the entire complex, at the suggestion of Antonino Pierozzi the VicarGeneral. The work was entrusted to Michelozzo, and the decoration of the walls was carried out between 1439 and 1444 by
Giovanni of Fiesole, known as Fra Angelico, and his assistants, who included Benozzo Gozzoli. The church was consecrated
in 1443 in the presence of Pope Eugenius IV. The 14th-century structure was modified by Michelozzo; further alterations were
made in the later 16th century by Giambologna, and in 1678 by Pier Francesco Silvani. Inside, the aisle-less nave has a carved
and gilded ceiling.
The side altars, designed by Giambologna in 1580, have 16th- and 17th-century
altarpieces: the most interesting are the Madonna and Saints by Fra Bartolomeo
(1509), and St. Thomas in prayer before the Crucifix, signed by Santi di Tito and
dated 1593. In the Sacristy is the original tomb of St Antoninus, archbishop of
Florence from 1446, with the figure of the Saint in bronze. His bones lay here for
over a century, before they were translated to the church and placed beneath the
altar in the Salviati Chapel dedicated to him, which was commissioned from
Giambologna, and frescoed by Passignano with the Translation and recognition of
the Saint’s remains (after 1589). The chapel is decorated in marble and bronze, and
has paintings by Alessandro Allori, Giovanni Battista Naldini, and Poppi. The
frescoes in the dome are by Bernardino Poccetti. He also frescoed the Chapel of the
Blessed Sacrament, where there are canvases by Santi di Tito, Passignano, Jacopo
da Empoli and Francesco Curradi. On the high altar is a Crucifix painted by Fra
Angelico between 1425 and 1428. In San Marco are the tombs of Pico della
Mirandola (1494) and the poet Agnolo Poliziano (1494).
Many of the great figures of 15th-century culture and spirituality lived and worked in the convent: Cosimo il Vecchio de’
Medici, who had his own cell here, where he loved to pray and meditate; Archbishop St Antoninus; the Blessed Fra Angelico,
who painted the frecoes; and, from 1489, Fra Girolamo Savonarola, who in his sermons fulminated against the immorality of
the age, and who was hanged and burnt in Piazza della Signoria (1498). Fra Angelico decorated the cells on the first floor, and
other spaces in the convent, with frescoes charged with profound spiritual and ascetical meaning; he began with the lunettes
above the doorways in the Cloister of St. Antoninus, which Michelozzo had built before 1440. The lunettes in the vaulting of
the cloister were frescoed in the late 16th and early 17th century by Bernardino Poccetti and other artists with scenes of the
Life and miracles of St Antoninus.
From this cloister we reach the rooms forming the Museum of San Marco. The Sala dell’Ospizio, where pilgrims were
received, is now a gallery where many of Fra Angelico’s most important panel paintings have been gathered together. They
include the Deposition painted for Palla Strozzi, the Pala di San Marco, commissioned by the Medici, and the Tabernacle of
the Linaioli, made in 1433-1434 with the assistance of Lorenzo Ghiberti, who designed the frame. In the Chapter House, he
painted a complex and allegorical Crucifixion, finished in 1442. In the other rooms of the Museum on the ground floor, such
as the Lavabo and the two Refectories, are displayed works by the
principal Florentine painters of the 15th and 16th century:
Domenico Ghirlandaio, Alesso Baldovinetti, Giovanni Antonio
Sogliani and Fra Bartolomeo.
The Great Refectory has a collection of works by the School of San
Marco, in other words by the pupils of Fra Bartolomeo. In the Guest
House there are numerous fragments of stone carvings, rescued
from the ruins when the Jewish quarter and the old market in
Florence were demolished in the mid-19th century.
The Museum also includes the former Library on the first floor,
built by Michelozzo for Cosimo de’ Medici, where a considerable
number of illuminated choir books are displayed. The present
Convent Library specializes in theology and philosophy. 3
8
Florence Cathedral
Duomo
The typical Italian Gothic building, the Cathedral of Florence, is dedicated to "Santa Maria del Fiore". The church was designed by
Arnolfo di Cambio (c1245-1302) who considerably enlarged the existing religious structure. Finished around 1367, the Cathedral
was completely covered by colored marbles like the earlier Baptistery, except for the façade that remained unfinished and was
terminated only in the 19th century.
The project left unfinished also the
Dome, since in 1421 only the frame
(polygonal base) had been erected. Two
architects, Lorenzo Ghiberti (13681445) and Filippo Brunelleschi (13771446) won the competition although it
was the latter who actually built the
dome, showing a great mastery of
technical knowledge, in 1436.
One of the most remarkable features of
the outside of the building is the socalled "Porta della Mandorla"(north)
(della mandorla = almond) that was
given this name because of the large
aureole around the figure of the Virgin
sculptured also by Nanni di Banco
(1380/90-1421) among others.
Its interior preserves very important
works of art: on the left side we find the
first two detached frescoes showing the
"Condottiero Giovanni Acuto"and
"Niccolò da Tolentino" painted
respectively by Paolo Uccello in 1436 and by Andrea del Castagno in 1456. Paolo Uccello also frescoed the clock on the inside wall,
showing four vogorous "heads of saints".
The many sculptures made specifically for the cathedral (many of which have now been moved to the "Museo dell´Opera del
Duomo"), comprise also the "Lunettes" by Luca della Robbia above the doors of the Mass Sacristies. The large "Pietà" by
Michelangelo (c. 1553) has instead been removed and transferred to the "Museo dell´Opera del Duomo".
Most of the splendid stained glass windows were made between 1434 and 1455 to the designs of famous artists like Donatello,
Andrea del Castagno and Paolo Uccello. The wooden inlays on the Sacristy´s cupboards were designed by Brunelleschi and other
artists, including Antonio del Pollaiolo.
The internal walls of the dome, which have recently been restored, were
frescoed between 1572 and 1579 by Giorgio Vasari (1511-1574) and
Federico Zuccari (c. 1990-1609) who represented a large scene of the
"Final Judgement".
The bell tower by Giotto remains, together with the huge dome one of the
most striking views of the town. The famous painter, Giotto, was in fact
also the architect of the project for the bell tower, although by the time of
his death (1337) only the lower part had been completed. The works
continued under the direction of Andrea Pisano (c. 1290-1349) and
Francesco Talenti (not. 1325-1369) who completed the project.
4
Baptistery doors
9
san miniato monte
San Miniato al Monte (St.
Minias on the Mountain) is a
basilica in Florence, central Italy,
standing atop one of the highest
points in the city. It has been
described as one of the finest
Romanesque structures in
Tuscany and one of the most
beautiful churches in Italy. There
is an adjoining Olivetan
monastery, seen to the right of the
basilica when ascending the
stairs.5
Built between the 11th and 13th
century, the exterior of the
Church of San Miniato is
decorated with green and white
marble in geometric patterns
similar to the facades of Santa
Croce and Santa Maria Novella. A mosaic from the 12th century decorates the facade over a central window.
With your back to the front of the church one can enjoy an impressive view of Florence, from the Duomo and Palazzo
Vecchio, to the last standing parts of the medieval walls that once surrounded Florence.
Going into the church, one finds that the interior is Romanesque, with three naves and an elevated presbytery and a
crypt. Pay particular attention to the marble pavement in the central aisle dating back to the 13th century. At the end is
the beautiful Cappella del Crocefisso by Michelozzo (1448), and behind it is the crypt, decorated with frescoes by
Taddeo Gaddi. Above the crypt, the elevated presbytery is enclosed by a marble column fence and contains an
impressive 14th century wood chorus.
The monumental cemetery in front and back of the church contains the tombs
of illustrious men, such as Carlo Lorenzini (Collodi), author of Pinocchio.6
History
St. Miniato or Minas (Armenian:) was an Armenian prince serving in the
Roman army under Emperor Decius. He was denounced as a Christian after
becoming a hermit and was brought before the Emperor who was camped
outside the gates of Florence. The Emperor ordered him to be thrown to beasts
in the Amphitheatre where a panther was called upon him but refused to
devour him. Beheaded in the presence of the Emperor, he is alleged to have
picked up his own decapitated head, crossed the Arno and walked up the hill of
Mons Fiorentinus to his hermitage. A shrine was later erected at this spot and
there was a chapel there by the 8th century. Construction of the present church
was begun in 1013 by Bishop Alibrando and it was endowed by the Emperor
Henry II. The adjoining monastery began as a Benedictine community, then
passed to the Cluniacs and then in 1373 to the Olivetans, who still run it. The
monks make famous liqueurs, honey and tisanes, which they sell from a shop
next to the church.7
10
Siena
11
Saint Catherine
And the basilica cateriniana
di san domenico
Saint Catherine
The value Catherine makes central in her short life and which sounds clearly and consistently through her experience is
complete surrender to Christ. What is most impressive about her is that she learns to view her surrender to her Lord as a
goal to be reached through time.
She was the 23rd child of Jacopo and Lapa Benincasa and grew up as an intelligent, cheerful and intensely religious
person. Catherine disappointed her mother by cutting off her hair as a protest against being overly encouraged to
improve her appearance in order to attract a husband. Her father ordered her to be left in peace, and she was given a
room of her own for prayer and meditation.
She entered the Dominican Third Order at 18 and spent the next three years in seclusion, prayer and austerity. Gradually
a group of followers gathered around her—men and women, priests and religious. An active public apostolate grew out
of her contemplative life. Her letters, mostly for spiritual instruction and encouragement of her followers, began to take
more and more note of public affairs. Opposition and slander resulted from her mixing fearlessly with the world and
speaking with the candor and authority of one completely committed to Christ. She was cleared of all charges at the
Dominican General Chapter of 1374.
Her public influence reached great heights because of her evident holiness, her membership in the Dominican Third
Order, and the deep impression she made on the pope. She worked tirelessly for the crusade against the Turks and for
peace between Florence and the pope.
In 1378, the Great Schism began, splitting the allegiance of Christendom between two, then three, popes and putting
even saints on opposing sides. Catherine spent the last two years of her life in Rome, in prayer and pleading on behalf of
the cause of Urban VI and the unity of the Church. She offered herself as a victim for the Church in its agony. She died
surrounded by her "children" and was canonized in 1461.
Catherine ranks high among the mystics and spiritual writers of the Church. In 1939, she and Francis of Assisi were
declared co-patrons of Italy. Paul VI named her and Teresa of Avila doctors of the Church in 1970. Her spiritual
testament is found in The Dialogue.
Comment:
Though she lived her life in a faith experience and spirituality far different from that of our own time, Catherine of Siena
stands as a companion with us on the Christian journey in her undivided effort to invite the Lord to take flesh in her own
life. Events which might make us wince or chuckle or even yawn fill her biographies: a mystical experience at six,
childhood betrothal to Christ, stories of harsh asceticism, her frequent ecstatic visions. Still, Catherine lived in an age
which did not know the rapid change of 21st-century mobile America. The value of her life for us today lies in her
recognition of holiness as a goal to be sought over the course of a lifetime.
Quote:
Catherine's book Dialogue contains four treatises—her testament of faith to the spiritual world. She wrote: "No one
should judge that he has greater perfection because he performs great penances and gives himself in excess to the staying
of the body than he who does less, inasmuch as neither virtue nor merit consists therein; for otherwise he would be an
evil case, who for some legitimate reason was unable to do actual penance. Merit consists in the virtue of love alone,
flavored with the light of true discretion without which the soul is worth nothing." 8
12
The Basilica
St. Catherine passed a large part of her life inside the walls
of this stupendous Basilica, which was one of the first to be
dedicated to St. Dominic. It was begun by the Dominicans in
1226 on the hill of Camporegio which they had received as a
gift from the Malavolti family. Most of the actual
rectangular nave and the inside roof with its tranverse
beams, all in Gothic Cistercian style, go back to this epoch.
The Church contains a magnificent Maestà by Guido da
Siena (master to Duccio of Boninsegna) dating back to
1221. The old Chapter Room, the old Sacresty, the
Refectory and the Dormitory were all built with the original
Church and the Cloister was frescoed by Lippo Memmi and
Lippo Vanni. In the first half of the fourteenth century the
new Church (crypt and transept for the old Church) was
built on the steep side of Camporegio hill overlooking the district of Fontebranda
where St. Catherine had been born. When she began going to St. Dominic the
new edifice was already almost finished. Her own father and other members of
her family were buried in the Crypt. Following the canonisation of St. Catherine
in 1461, her most precious manuscripts and her sacred relics were transferred to
the Basilica (these twelve codices in 1700 were placed behind a painting above
the altar in the Scaresty and formed the so-called "virginal library": today they
are in the public library). The most important relic, the Sacred Head, was brought
from Rome to Siena by Blessed Raymond of Capua in 1383 and it was at first
placed in a copper container and then in a silver one. In 1711 it was removed to a
urn in the form of a lamp done by the sculptor Giovanni Piamontini where it
remained until 1947, when the Dominican Fathers decided to place it in its actual
urn of silver in a niche resembling a small gothic temple. After nearly two
centuries of construction, the Basilica was finally dedicated entirely to St.
Catherine and a statue of her was placed even at the top of the bell tower. The
Basilica has known hard times: in 1798 it was almost totally destroyed by an
earthquake, but after it was completely restored. Then, unfortunately, it was very
much neglected and allowed to decay until 1940 when a new restoration was
finally begun
which was concluded in 1962. During these years the
Basilica underwent some radical changes. The
foundations were strengthened and especially the Chapel
of the Vaults, where the original portrait of St. Catherine
by Andrea Vanni is located and where the Saint had so
many mystical experiences, was restored. Today the
Basilica is exactly as the Dominican Fathers have
always wanted it to be and it has become an important
centre of Christian spirituality where pilgrims are
welcomed and where they can pray next to the sacred
relics of St. Catherine. 9
13
Assisi
14
Santa Maria
degli Angeli, Assisi
Santa Maria degli Angeli (Church of St. Mary of the Angels) in Assisi is much venerated as the place of St. Francis' death.
Inside the grand Baroque basilica are two small, humble structures: the Capella del Transito and the Porziuncola.
History
The Porziuncola is a chapel obtained from the
Benedictines and restored by St. Francis himself.
In it he founded the order of Friars Minor that
would later be known as the Franciscans. It was
also here that St. Clare embarked on her monastic
life on March 28, 1211.
And, in 1216, Francis had a vision in the little
chapel in which he was granted the "Pardon of
Assisi." As he prayed, a light filled the chapel and
he saw above the altar Christ, the Virgin Mary and
a company of angels. They asked him what he
wanted for the salvation of souls, and Francis
replied:
"Lord, I a miserable sinner beg You to concede an
indulgence to all those who enter this church, who
are truly contrite and have confessed their
sins. And I beg Blessed Mary, your Mother, intercessor of man, that she intercede on behalf of this grace."
Our Lady at once began to beseech her son on behalf of Francis. Jesus answered:
" It is a very great thing that which you ask Me; but you are worthy of even greater things,
“
Friar Francis, and greater things you will have. So I accept your request, but I want you
to go to my Vicar, to whom I have given the power to bind and loose in Heaven and on
earth, to ask him on my behalf for this indulgence." 37
The request was granted based on Francis' worthiness, and the indulgence was officially
approved by Pope Honorius III.
Nearby, in the humble cell now known as the Cappella del Transito, St. Francis died
October 3, 1226.
The number of pilgrims to the Porziuncola and Transito were so numerous - estimated at
100,000 in 1582 - that it became necessary to have new structures to welcome them.
Therefore, a great Baroque church was built around the humble chapels by Pope Pio V
beginning in 1569, after the designs of the architect Galeazzo Alessi. It was completed in
1679.
A number of renovations and restorations were undertaken in the 18th and 19th centuries,
especially after an earthquake in 1832. In 1930, the statue of the "Madonna degli
Angeli" (Madonna of the Angels) was added by the sculptor Colasanti to the top of the façade.
What to See
Santa Maria degli Angeli is one of the largest sanctuaries of the Christian world, measuring 126 meters long, 65 meters wide and
75 meters high at the level of the 1680 cupola. It consists of a wide central nave with side aisles and ten side chapels, leading into
a transept and long choir, and culminating in an apse at the east end.
The main basilica has frescoes by Appiani dating from 1757 and in the chapels are paintings from the 17th century by
Pomarancio, Giorgetti, Sermei Salimbeni and the Zuccari brothers.
15
Standing directly under the basilica's large dome, the
Porziuncola ("little portion") is the original stone
chapel restored and frequently used by St. Francis.
Dating from the 9th century, the long-abandoned
chapel was given to Francis by the Benedictines and
became the early headquarters of the new Franciscan
order, founded here in 1209.
The chapel is decorated with frescoes with a variety
of dates. Over the entrance is a fresco by German
artist Johann Friedrich Overbeck (1829) depicting
the "Pardon of Assisi," an indulgence obtained by
St. Francis through a vision here in 1216.
Inside, the eye is immediately drawn to the colorful
fresco on the back wall, known as the Altar Screen
of Prete Ilario da Viterbo (1393). It tells the story
of the Pardon of Assisi in five scenes: 1) Francis
Standing directly under the basilica's large dome, the Porziuncola ("little
throws himself into thorns to overcome temptation; 2)
portion") is the original stone chapel restored and frequently used by St.
Francis is accompanied by two angels while going to
Francis. Dating from the 9th century,
the Porziuncola; 3) inside the Porziuncola, he
contemplates the apparition of Jesus and the Virgin and asks for the plenary indulgence; 4) he receives confirmation of it from
Pope Honorius III; and 5) he declares to all the great gift received from Christ.
The Cappella del Transito is the small room in which St. Francis died on October 3, 1226. It is a simple hut that served as an
infirmary for the sick in the community. He asked to be brought here when he felt himself near death.
The outside of the Transito is decorated with a fresco of The Death and Funeral of St. Francis by Domenico Bruschi (1886). The
interior walls have frescoes by Giovanni di Pietro (called "Spagna"; 1450-1538), one of the followers of Perugino. They depict
beatified or canonized Franciscans. Above the small altar in a glass case is the rope belt of St. Francis.
Also inside is a white statue of a sad-looking St. Francis made of enameled terracotta, sculpted by Andrea della Robbia around
1490.
Outside the basilica is the Rose Garden, all that remains of the forest where Francis and the other friars lived. As depicted in the
Porziuncola fresco, tradition has it that Francis rolled naked in thorns here to combat doubt and temptation. Another early tradition
says that on contact with the saint's body, the thornbushes turned into roses without thorns. This is the origin of the Rosa Canina
Assisiensis, which flowers only at the Porziuncola.
The Chapel of the Roses was built by St. Bonaventure
of Bagnoregio around 1260 and extended to its present
size by St. Bernardine of Siena around 1440. It is
known also as "St. Francis' Cell," as it occupies the
original site of his hut.
The Courtyard of the Roses was constructed in 1882.
It contains a bronze monument by Vincenzo Rossignoli
(1916), which depicts Francis accepting the gift of a
lamb because of its innocence and simplicity.
Housed in a 15th-century friary that predates the
basilica, the Porziuncola Museum was founded by the
friars in 1924. It displays a fine range of art, including
paintings from the 13th century and reliquaries from the
14th century. 10
Small altar in the Transito, with glass
case containing the rope belt of St. Francis
16
St. FranciS’S hermitage
St. Francis first began coming to the beautiful forest in
1205. The only building there at the time was a tiny
12th-century oratory. Living in a cave, Saint Francis
prayed fervently and did penance. Other men soon
followed him to the mountain, finding their own caves
in which to pray. Francis dedicated himself to a life of
servitude and missions, but throughout his life he
would frequently withdraw to the Carceri to pray.
Various buildings were added around St. Francis' cave
and the original oratory, forming the sizeable complex
that exists today. The hermitage today is still occupied
by Franciscan friars, who give guided tours to visitors.
The church
and
monastery are in a forest environment that retains the tranquil air beloved by
St. Francis. The Eremo is worth visiting as well for its medieval architecture,
art and several sites associated with episodes in the life of the saint.
Visitors follow a wonderfully convoluted circuit that involves ducking
through tiny medieval doorways and squeezing down narrow stone
stairways.
An entrance gate and short tunnel leads into an open courtyard with a well
that is said to have yielded water after a prayer of St. Francis. A round door
marked Santuario at the end of the courtyard leads into a small 15th-century
oratory built by St. Bernardine of Siena.
Visitors pass the older and more rustic Cappella della Madonna, with an
altarpiece fresco of the Virgin and Child. A short, narrow stairway leads
down to the Grotto of St. Francis, where the saint prayed and slept on a stone
bed while on retreat toward the
end of his life.
Around a corner, visitors enter a
small porch. Outside the door,
visitors look down at a quatrefoil
-shaped hole in the smooth pink
stone, called the "Devil Hole,"
which looks into the not-very-deep crevasse into which St. Francis is said to
have tossed a troublesome demon that tempted Brother Rufino. Many visitors
throw coins into the hole.
There are also some charming modern bronze statues of St. Francis and his
followers. Francis lies on the ground, his hands behind his head and his
sandals off, gazing at the sky, as two friars look hard at the constellations and
record them on the ground.
The Eremo receives quite a few visitors, but the cramped quarters inside do
not allow for much serious contemplation. Crowds are far less than at the
Basilica of St. Francis and a modern chapel near the entrance is set aside for
prayer and quiet reflection.
The hermitage also makes a good starting point for longer walks into the
surrounding woods. 11
17
Basilica of St. Francis
The Papal Basilica of St. Francis of Assisi (Italian: Basilica Papale di San Francesco, Latin: Basilica Sancti Francisci Assisiensis)
is the mother church of the Roman Catholic Order of Friars Minor—commonly known as the Franciscan Order—in Assisi, Italy, the
city where St. Francis was born and died. The basilica is
one of the most important places of Christian pilgrimage in
Italy. With its accompanying friary, the basilica is a
distinctive landmark to those approaching Assisi. It has
been a UNESCO World Heritage Site since 2000.
The basilica, which was begun in 1228, is built into the
side of a hill and comprises two churches known as the
Upper Church and the Lower Church, and a crypt where
the remains of the saint are interred. The interior of the
Upper Church is an important early example of the Gothic
style in Italy. The Upper and Lower Churches are
decorated with frescoes by numerous late medieval
painters from the Roman and Tuscan schools, and include
works by Cimabue, Giotto, Simone Martini, Pietro
Lorenzetti and possibly Pietro Cavallini. The range and
quality of the works gives the basilica a unique importance
in demonstrating the development of Italian art of this
period.
The Franciscan friary (Sacro Convento) and the Lower and
Upper Basilicas (Italian: Basilica inferiore e superiore) of Francis of Assisi were begun in honor of this local saint, immediately after
his canonization in 1228. Simone di Pucciarello donated the land
for the church, a hill at the west side of Assisi, known as "Hill of
Hell" (Italian: Colle d'Inferno) where previously criminals were
put to death. Today, this hill is called "Hill of Paradise".
On 16 July 1228, Francis was canonized by Pope Gregory IX in
Assisi, and he laid the foundation stone of the new church the
following day, although construction may already have been
begun. The construction having been begun at his order, the Pope
declared the church to be the property of the papacy. The church
was designed and supervised by Brother Elias of Cortona, one of
the first followers of St. Francis and the former Vicar General of
the Order under St. Francis. The Lower Basilica was finished in
1230. On Pentecost 25 May 1230, the uncorrupted body of St.
Francis was brought in a solemn procession to the Lower
Basilica from its temporary burial place in the church of St.
George, now the Basilica of Saint Clare of Assisi. The burial place was concealed for fear that St Francis' remains might be stolen
and dispersed. The construction of the Upper Basilica was begun after 1239 and was completed in 1253. Both churches were
consecrated by Pope Innocent IV in 1253.
Pope Nicholas IV, a former Minister-General of the Order of Franciscans, raised the church to the status of Papal Church in 1288.
The Piazza del Loge, the square leading to the
church, is surrounded by colonnades constructed
in 1474. They housed the numerous pilgrims
flocking to this church. In 1818, the remains of St
Francis were rediscovered beneath the floor of the
Lower Basilica. In the reign of Pope Pius IX the
crypt was built so that the faithful might visit the
burial place of the saint.
On 27 October 1986 and January 2002, Pope John
Paul II gathered in Assisi with more than 120
representatives of different religions and Christian
denominations for a World Day of Prayer for
12
Peace.
18
Umbrian hill town of assisi
and Santa Chiara church
What is Umbria? This region
comprises mainly hills,
mountains, hollows and plains
and extends along the Tiber’s
central basin. The town of Assisi
is in the heart of Umbria. 13
Known as 'the green heart of
Italy', Umbria is a land unto
itself, the only Italian region that
borders neither the sea nor
another country. Removed from
outside influences, it has kept
alive many of Italy's old-world
traditions. You'll see
grandmothers in aprons making
pasta by hand and front doors
that haven't been locked in a
century. It's a beautiful place (in
spring the countryside is
splashed with colourful wildflowers) but also a richly
entertaining one. An Umbrian
adventure can span everything
from dancing the night away at a Perugian nightclub to making a solemn pilgrimage to Assisi, home town of St Francis.
Holidaying foodies will delight in the region's food and wine. The earthy, addictive tartufo (truffle) finds its way onto
every menu, while pork from the Norcia area is so well respected that quality pork butchers throughout Italy are known
as norcineria. 14
The Basilica of Saint Clare (Basilica di Santa Chiara in Italian) is a church in Assisi, central Italy; it is dedicated to
and contains the remains of Saint Clare of Assisi, a follower of Saint Francis of Assisi and founder of the Order of Poor
Ladies, known today as the Order of Saint Clare.
Construction of the church began under the direction of Filippo
Campello, one of the foremost architects of the time. On 3 October
1260, Clare's remains were transferred from the chapel of San
Giorgio to the Basilica of Saint Clare where they were buried in the
earth under the high altar of the new church.
After having remained hidden for six centuries - like the remains of
St. Francis - and after much search had been made, Clare's tomb was
found in 1850. On 23 September in that year the coffin was
unearthed and opened, the flesh and clothing of the saint had been
reduced to dust, but the skeleton was in a perfect state of
preservation. Finally, on 29 September 1872, the saint's bones were
transferred, with much pomp, by Archbishop Pecci, afterwards Pope
Leo XIII, to the shrine, in the crypt of the Basilica of Saint Clare,
erected to receive them, and where they may now be seen. The feast
of St. Clare is celebrated throughout the Church on 11 August. The
feast of her first translation is kept in the order on 3 October, and
that of the finding of her body on 23 September. 15
19
Orvieto
&
Rome
20
Cathedral of orvieto
& Eucharistic Miracle
In 1263 a German priest, Peter of Prague, stopped at Bolsena while
on a pilgrimage to Rome. He is described as being a pious priest,
but one who found it difficult to believe that Christ was actually
present in the consecrated Host. While celebrating Holy Mass
above the tomb of St. Christina (located in the church named for
this martyr), he had barely spoken the words of Consecration when
blood started to seep from the consecrated Host and trickle over
his hands onto the altar and the corporal.
The priest was immediately confused. At first he attempted to hide
the blood, but then he interrupted the Mass and asked to be taken
to the neighboring city of Orvieto, the city where Pope Ur ban IV
was then residing.
The Pope listened to the priest's account and absolved him. He then sent
emissaries for an immediate investigation. When all the facts were ascertained,
he ordered the Bishop of the diocese to bring to Orvieto the Host and the linen
cloth bearing the stains of blood. With archbishops, cardinals and other Church
dignitaries in attendance, the Pope met the procession and, amid great pomp,
had the relics placed in the cathedral. The linen corporal bearing the spots of
blood is still reverently enshrined and exhibited in the Cathedral of Orvieto.
It is said that Pope Urban IV was prompted by this miracle to commission St.
Thomas Aquinas to compose the Proper for a Mass and an Office honoring the
Holy Eucharist as the Body of Christ. One year after the miracle, in August of
1264, Pope Urban IV introduced the saint's composition, and by means of a
papal bull instituted the feast of Corpus Christi.
After visiting the Cathedral of Orvieto, many pilgrims and tourists journey to
St. Christina's Church in Bolsena to see for themselves the place where the
miracle occurred. From the north
aisle of the church one can enter
Rose Window
the Chapel of the Miracle, where the
stains on the paved floor are said to have been made by the blood from the
miraculous Host. The altar of the miracle, which is surmounted by a 9thcentury canopy, is now situated in the grotto of St. Christina. A reclining
statue of the saint is nearby.
In August of 1964, on the 700th anniversary of the institution of the feast of
Corpus Christi, Pope Paul VI celebrated Holy Mass at the altar where the
holy corporal is kept in its golden shrine in the Cathedral of Orvieto. (His
Holiness had journeyed to Orvieto by helicopter; he was the first pope in
history to use such a means of transportation).
Twelve years later, the same pontiff visited Bolsena and spoke from there
via television to the 41st International Eucharistic Congress, then
concluding its activities in Philadelphia. During his address Pope Paul Vl
spoke of the Eucharist as being ". . . a mystery great and inexhaustible." 16
Chapel of the Corporal
21
St. peters basilica—Roma
St. Peter's Basilica (Latin: Basilica Sancti
Petri; Italian: Basilica di San Pietro in
Vaticano) is a Late Renaissance church
located within Vatican City.
Designed principally by Donato Bramante,
Michelangelo, Carlo Maderno and Gian
Lorenzo Bernini, St. Peter's is the most
renowned work of Renaissance architecture
and remains one of the largest churches in the
world. While it is neither the mother church
of the Roman Catholic Church nor the
cathedral of the Bishop of Rome, St. Peter's is
regarded as one of the holiest Catholic sites. It
has been described as "holding a unique
position in the Christian world" and as "the
greatest of all churches of Christendom".
By Roman Catholic tradition, the basilica is the burial site of its namesake
Saint Peter, one of the twelve apostles of Jesus and, also according to
tradition, the first Bishop of Rome and therefore first in the line of the
papal succession. Tradition and some historical evidence hold that Saint
Peter's tomb is directly below the altar of the basilica. For this reason,
many Popes have been interred
at St. Peter's since the Early
Christian period. There has been
a church on this site since the
time of Constantine the Great.
Construction of the present
basilica, replacing the old St.
Peter's Basilica of the 4th
century, began on 18 April 1506
and was completed on 18
November 1626.
St. Peter's is famous as a place of pilgrimage, for its liturgical
functions. Because of its location in the Vatican, the Pope presides at
a number of services throughout the year, drawing audiences of
15,000 to over
80,000 people,
either within the Vatican Basilica, or in St. Peter's Square. St.
Peter's has many strong historical associations, with the Early
Christian church, the papacy, the Protestant Reformation and
Counter-reformation, and with numerous artists, most
significantly Michelangelo. As a work of architecture, it is
regarded as the greatest building of its age. St. Peter's is one of
the four churches of Rome that hold the rank of Major Basilica.
Contrary to popular misconception, it is not a cathedral as it is
not the seat of a bishop; the cathedra of the Pope (as Bishop of
Rome) is located in the Archbasilica of St. John Lateran. 17
22
Borgo Pio Neighborhood
Day 7 dinner
When a future pope needed new soles, he strolled to a shoe
repair shop practically around the corner from the Vatican. When he was
pope and nearing retirement, he had the same shoemaker craft a pair of
comfy, calfskin slippers.
BorgoPio, the sleepy, medieval neighborhood with a timeless
feel right outside the Vatican's borders, has been at the service of
pontiffs for centuries. From resoling to risotto, from light bulbs to
linguine, Borgo is the go-to place for up-and-coming cardinals and
sometimes even for popes.
Pilgrims may hurry through Borgo's narrow cobblestone streets
to catch papal blessings in jam-packed St. Peter's Square. But
gastronomically picky, red-hatted prelates and black-robed monsignors
often stop to dine in the neighborhood's eateries, debating the qualities of
the next pontiff while tucking into tagliatelle and sausage in pistachio
pesto or marsala-soaked braised pork.
Stroll Borgo's slow-paced streets between meal times, and you might spot prelates on errands like the ones Joseph
Ratzinger ran, when as a German cardinal he lived in an apartment just outside Vatican walls. Proudly displayed inside the
shoemaker's shop and in a lighting and electrical repair store are photographs of the businesses' owners with their faithful
client Ratzinger, more famous as the recently retired Pope Benedict XVI.
Borgo means "village" in Italian, and, indeed, the neighborhood has a quaint, insular quality, perhaps because
some of its streets are closed to traffic. "It's a small town in a big city. Everyone knows you, and everything's on a human
scale" in Borgo, said Patrizia Podetti, whose restaurant Velando was hopping with cardinals in the run-up to the conclave
that elected Pope Francis and in the days immediately afterward. (During the conclave they were sequestered in the
Vatican's hotel, eating what has been described euphemistically as simple pilgrims' fare.)
Several cardinals and other high-ranked Vatican churchmen live in apartments at the Vatican's edges. Ratzinger
lived in a modern, austere-looking building at No. 1 Piazza della Citta Leonina, whose nondescript entrance faces a portal
just outside the colonnade of St. Peter's Square. Tenants are listed anonymously on the building's intercom system, but just
about anyone in Borgo will say Ratzinger lived there.
Borgo tourists, stay alert: Who knows if Francis, quickly dubbed the "unpredictable pope" by Italian media, will
succumb to Borgo's simple charms and cross the street next time?
Other prelates who live in Vatican City, where they work, also use Borgo as a backyard of sorts, perhaps lunching
with ambassadors to the Holy See, or consulting with colleagues over a shot of grappa at the end of a meal. Velando,
located at Borgo Vittorio 26, is a favorite dining spot for the churchmen, with sleek wooden furnishings, subdued lighting
and vaulted, whitewashed ceiling giving an air of a church sacristy. Ratzinger often dined there before becoming pope; his
favorite dish was rosemary-seasoned risotto, Podetti
said.
Not counting lunch or dinner, Borgo and its
few blocks, lined with simple, often wood-trimmed
buildings, many of them several centuries old, can be
explored leisurely in a couple of hours. Some street
names recall wares once made there, like Via degli
Ombrellari (umbrella-makers street), although these
days, Asian immigrants pop out at every corner on
rainy days to sell folding versions.
One of Borgo's most interesting features runs
above street level but is rarely accessible. Called Il
Passetto di Borgo, it is a fortified, medieval-era
corridor that served as a covered walkway linking the
Vatican to Castel Sant'Angelo, a fortress just beyond Borgo's border. Pope Clement VII used it to scurry to safety during
the sack of Rome in 1527.
Opened occasionally for tourists, as it was a few summers ago, the Passetto offers strollers a peek into Roman
houses built practically smack up against the bricked arches beneath it. In the last weeks of Benedict's papacy, the Vatican
and Italy's culture ministry signed an accord for restoration work that would allow public access again.
Borgo seems to end abruptly because two streets were removed during Benito Mussolini's rule and replaced by the
broad Via della Conciliazione, stretching between a bridge over the Tiber and St. Peter's Square.19
23
Papal Audience
Major Basilica’s
Sacred Relics
24
Papal Audience
St. Peters square
Papal Audience are held on Wednesdays if the
Pope is in Rome, giving pilgrims and visitors
the chance to "see the Pope" and receive the
Papal Blessing or Apostolic Blessing from the
successor of the Apostle Peter during their
visit.
The Audience with the Pope consists of small
teachings and readings mainly in Italian but
also in English, French, German, Spanish,
Polish, Portuguese and sometimes other
languages depending on groups visiting.
The Pope will do a greeting in each language
and special visiting groups, Choirs etc from
various countries will get a mention.
At the end of the Audience the Pope will pray together with those attending the Audience, the Our Father prayer in
Latin. This Prayer is normally printed on the back of
the Papal Audience Ticket.
At the end of the Prayer as Head of the Catholic
Church he will impart his Apostolic Blessing upon the
crowd which also extends to loved ones that are sick
and suffering and blesses any religious articles such as
rosary beads that people have brought with them for
the purpose of the blessing.
The Papal Audience is scheduled to start at 10.30am
(Sometimes in Summer due to the heat they may start
the audience at 10am instead). However, you will find that most people will arrive early to get a good seat. Security
opens between 8 - 8.30am.
In Summer the audience is usually held in
St Peter's Square to accommodate the
large crowds, there is a seating area near
the front for those with tickets but it is
still a first come first served basis so
again to get a good seat you should arrive
early.
If you are unable to arrive early or get a
ticket in advance, again as the the
audience is usually held in St. Peter's
Square during the Summer season it is
still possible to access the Square and
participate as there is plenty of standing
room at the back of the Square. 36
25
St. John Latern
The worlds cathedral
The history of the Basilica is very complex. Due to the many
earthquakes and fires it has suffered, the original construction
has been rebuilt several times throughout the centuries. Pope
Miltiades (311-314) is the one credited with it’s original
design. The Basilica stands over the remains of the old fort of
the "Equites Singulares", in a land belonging to the gens
Laterani. This particular piece of property was given to the
Pope by Emperor Constantine so that he could build Rome’s
Cathedral on it. The Basilica was finished during the reign of
Pope Sylvester I. He consecrated it in the year 324 AD.
Originally, the Basilica was dedicated to the Savior. Later on
it became known as the Basilica of the Johns. In the year 846,
an earthquake destroyed it and it had to be rebuilt by Pope
Sergius III. He dedicated it to Saint John the Baptist, (who
with his character and word connects the Old and the New
Testament). However, it was also dedicated in honor of the
newly consecrated baptistery of the Basilica. In the XII
century, Pope Lucius II also dedicated the Basilica to Saint John the Evangelist, who with his gospel gives witness of the life and
word of the Lord. Therefore, the Lateran Palace and the Basilica have been rededicated twice. Thus, the Basilica remains dedicated
to the Savior, and its titular feast is the Transfiguration.
Five ecumenical councils took place in this Basilica during the years 1123, 1139, 1179, 1215 and 1512. Saint John Lateran was the
permanent residence of the Pope since Constantine until 1304, when the Pope escaped from the chaos reigning in the town and the
Pope’s States. When the Popes returned to Rome in 1376, the Vatican was selected as the new permanent residence for the
Pontificate.
On the Basilica’s facade, there are 15 statues, 7 meters high. The one in the center represents Christ, with Saint John the Baptist and
Saint John the Evangelist on each side.
The other statues represent the Doctors of the Greek and Latin Churches. Those who have taught, explained, strengthen, and made us
love the word of God. The Basilica of Saint John Lateran is the symbol of the same Church, which does not suggest her own words,
but rather continues to propose the word of God in time and history, through the voice of its ministers and its faithful.
The Interior
There is very little left of the ancient Basilica, built by Emperor Constantine in the IV century. Today, whoever enters Saint John
Lateran, will see the Basilica in its five naves with an ample crossing and a huge apse, restored in XIX, during the reign of Pope Leo
XIII. The interior design and the interior architecture were completed in the XVI century by Francesco Borromini. It is interesting to
note that what he imagined and embellished the Church to be, is precisely what it is today. The main nave, from the main entrance to
the throne, towards the end of the apse measures 130 meters long
and it is impressive because of the twelve niches of the statues of
the Apostles. These niches were created by Borromini’s
architecture. The renovations were commissioned by Pope
Innocent X, using the most prominent Roman Rococo sculptors.
The beautiful gothic style baldachin, which is located towards the
top of the altar and by the apse with the mosaics, was rebuilt
completely in the year 1884. On top of the Apostles niches, we
can find some displays of the old and New Testament. In
between the windows, a little more higher up, inside the oval
stucco frames (which are in the shape of garlands), we can find
paintings of some of the prophets. In the mosaics of the early
Christian Churches, you could already see the Apostles and the
Prophets been introduced as a community (relating to one
another). As a matter of fact, they represent the continuation of
the history of salvation, and they are (in a figurative language)
“the voice of God”, which is present in the history of men of the
old and new Testament. The meaningful biblical passage scenes which are located towards the center (more than just a connection
between the prophets and the apostles) highlight those "words" spoken in the name of God. They have particularly focused on the
“events” of the history of salvation. 20
26
santa maria maggiore (Mary Major)
The Patriarchal Basilica of St. Mary Major reigns as an authentic jewel in the crown of Roman churches. Its beautiful
treasures are of inestimable value, and represent the Church's role as the cradle of Christian artistic civilization in
Rome. For nearly sixteen centuries, St. Mary Major has held its position as a Marian shrine par excellence and has
been a magnet for pilgrims from all over the world who have come to the Eternal City to experience the beauty,
grandeur and holiness of the basilica.
Among the Patriarchal Basilicas of Rome, St. Mary Major is the only one to have kept its original structure, though it
has been enhanced over the course of years. Special details within the church render it unique including the fifth
century mosaics of the central nave, the triumphal arch dating back to the pontificate of Pope Sixtus III (432-440) and
the apsidal mosaic executed by the Franciscan friar Jacopo
Torriti at the order of Pope Nicholas IV (1288-1292).
Other gems of the church include the Cosmatesque
pavement donated by the Roman nobleman Scoto Paparone
and his son in 1288, Arnolfo di Cambio's Nativity scene
from the thirteenth century and the coffered ceiling in gilt
wood designed by Giuliano Sangallo in 1450. The
numerous chapels, from the most ornate to the most
humble, constructed by popes, cardinals and pious
confraternities, the high altar begun by Ferdinando Fuga
and later enriched by the genius of Valadier, the Baptistery
and finally the relic of the Holy Crib complete the array of
splendors contained within these walls. Every column,
painting, sculpture and ornament of this basilica resonates
with history and pious sentiment.
From the devout pilgrim absorbed in prayer to the studious artlover, every visitor to St. Mary Major finds both spiritual and
visual fulfillment in this holy place. A visit to the Liberian basilica,
as it is also called in honor of Pope Liberius, enriches both the
mind and soul. Indeed, it is not uncommon to see visitors rapt in
admiration before the spellbinding beauty of the artwork nor, at the
same time, to observe the devotion of all those engrossed in prayer
in search of comfort and assistance before the image of Mary, who
is venerated here under the beloved title of Salus Populi Romani.
Every August 5th, a solemn celebration recalls the Miracle of the
Snows. Before the amazed eyes of the congregation, a cascade of
white petals descends from the coffered ceiling, blanketing the
hypogeum. From the very beginning of his pontificate, Pope John
Paul II requested that an oil lamp burn day and night under the icon of the Salus Populi Romani, as witness to his great
devotion to the Madonna.
This same Pope, on the eighth of December 2001, inaugurated
another precious jewel of the basilica - the museum, where a
modern structure would house ancient masterpieces offering
visitors a unique perspective of the history of the Basilica.
The numerous treasures contained in the museum render St. Mary
Major a place where art and spirituality combine in a perfect
union, offering visitors a unique experience in contemplating the
great works of man inspired by God. 21
27
Holy Stairs
Pillar of scourging
Relic of the true cross
Basilica's of scala santa, st. praxedes & santa croce
The Scala Sancta (English: Holy Stairs, Italian: Scala Santa) are,
according to the Catholic tradition, the steps that led up to the
praetorium of Pontius Pilate in Jerusalem, which Jesus Christ stood on
during his Passion on his way to trial. The stairs were, reputedly,
brought to Rome by St. Helena in the 4th century. For centuries, the
Scala Santa has attracted Christian pilgrims who wished to honor the
Passion of Jesus.
It consists of twenty-eight white marble steps, now encased by wooden
steps, located in a building which incorporates part of the old Lateran
Palace, located opposite the Basilica of Saint John Lateran. They are
located next to a church which was built on ground brought from Mount
Calvary. The stairs lead to the Sancta Sanctorum (English: Holy of
Holies), the personal chapel of the early Popes in the Lateran palace,
known as the chapel of St. Lawrence. The building belongs to the
properties of the Holy See. 22
Santa Prassede also houses a segment of the alleged pillar upon which
Jesus was flogged and tortured before his crucifixion in Jerusalem. The
relic is alleged to have been
retrieved in the early 4th
century by Saint Helena
(mother of the Roman
Emperor Constantine I) who
at the age of eighty undertook a pilgrimage to Golgotha in the Holy Land to
found churches for Christian worship and to collect relics associated with the
crucifixion of Jesus in Calvary.
Among these legendary relics retrieved by Helena, which included pieces of
the True Cross (now housed in the church of Santa Croce in Gerusalemme,
also in Rome) and wood from the Jesus' crib, was the segment of the pillar
now housed in Santa Prassede. The authenticity of these relics, including the
Santa Prassede pillar, is disputed by historians and Christians alike, due to
lack of forensic evidence and the massive proliferation of fake relics during
the Middle Ages. 23
The Basilica of the Holy
Cross keeps the Relics of
the Passion of Jesus in the
Chapel of Relics, which is
upstairs the left aisles. The most famous ones are the fragments of the
Holy Cross of Jesus, found by St. Helena on Calvarium in Jerusalem.
The other relics include the Titulus Crucis, the inscription, which was
on the top of the cross, according to the Gospel; one of the nails; two
thorns of the Crown of Jesus; the finger of St. Thomas, the Apostle
who doubted Christ's resurrection; part of the Good Thief's cross. 24
28
Mass at tomb of St. Peter
&
Vatican Museum
29
Mass at Catacombs of st. peter
Sistine chapel tour
Around the year 67 A.D. Saint Peter suffered death by
crucifixion during the reign of Emperor Nero and was laid
to rest in a nearby cemetery on the Vatican Hill. For
centuries Christians venerated the tomb of St Peter which
was marked with a small monument in the mid 2nd century.
In the year 320 the emperor, Constantine, began the
construction of a large basilica in honour of St Peter, central
to which was a shrine that encased both his tomb and the
monument which had been subsequently built above it. In
the 16th century Constantine’s basilica, which was in very
poor condition, was slowly and carefully deconstructed as a
new basilica was built. This new basilica is the current
basilica and it was finished in 1626.
In the early 20th century a construction crew stumbled upon
parts of an ancient city street of family tombs [a necropolis]
which had been filled in by Constantine’s workmen as the first basilica was built on the Vatican Hill. This necropolis
was constructed in the 2nd and 3rd centuries and it began at the Tiber River and stretched to and past Peter’s tomb.
Between 1939 and 1950 archaeologists uncovered much of this necropolis, eventually discovering the tomb of St. Peter.
Today it i possible to walk underneath the foundation of St. Peter’s Basilica along the streets of this ancient necropolis.
By way of a guided tour, pilgrims learn about the history of ancient Rome, St Peter, and the Church. A visit to the
excavations underneath St Peter’s is one of the most important and memorable experiences available. 25
**Day nine mass will be in the Cristo Rey chapel which butts up to the tomb of St. Peter.**
The Sistine Chapel (Latin: Sacellum Sixtinum; Italian:
Cappella Sistina) is a large and renowned chapel of the
Apostolic Palace, the official residence of the Pope in the
Vatican City. Originally known as the Cappella Magna,
the chapel takes its name from Pope Sixtus IV, who
restored it between 1477 and 1480. Since that time, the
chapel has served as a place of both religious and
functionary papal activity. Today it is the site of the Papal
conclave, the process by which a new Pope is selected.
The fame of the Sistine Chapel lies mainly in the frescos
that decorate the interior, and most particularly the
Sistine Chapel ceiling and The Last Judgment by
Michelangelo.
During the reign of Sixtus IV, a team of Renaissance
painters that included Sandro Botticelli, Pietro Perugino,
Pinturicchio, Domenico Ghirlandaio and Cosimo Roselli,
created a series of frescos depicting the Life of Moses and
the Life of Christ, offset by papal portraits above and
trompe l’oeil drapery below. These paintings were completed in 1482, and on 15 August 1483 Sixtus IV celebrated the
first mass in the Sistine Chapel for the Feast of the Assumption, at which ceremony the chapel was consecrated and
dedicated to the Virgin Mary.
Between 1508 and 1512, under the patronage of Pope Julius II, Michelangelo painted the Sistine Chapel ceiling, a
masterpiece without precedent, that was to change the course of Western art. In a different climate after the Sack of
Rome, he returned and between 1535 and 1541, painted The Last Judgement for Pope Alexander III. The fame of
Michelangelo's paintings has drawn multitudes of visitors to the chapel, ever since they were revealed five hundred years
ago. 26
30
The Vatican museum
The Vatican Museums originated as a group of
sculptures collected by Pope Julius II (1503-1513) and
placed in what today is the Cortile Ottagono within the
museum complex. The popes were among the first
sovereigns who opened the art collections of their
palaces to the public thus promoting knowledge of art
history and culture. As seen today, the Vatican Museums
are a complex of different pontifical museums and
galleries that began under the patronage of the popes
Clement XIV (1769-1774) and Pius VI (1775-1799). In
fact, the Pio-Clementine Museum was named after these
two popes, who set up this first major curatorial section.
Later, Pius VII (1800-1823) considerably expanded the
collections of Classical Antiquities, to which he added
the Chiaromonti Museum and the Braccio Nuovo gallery.
He also enriched the Epigraphic Collection, which was conserved in the Lapidary Gallery.
Gregory XVI (1831-1846) founded the Etruscan Museum (1837) with archaeological finds discovered during
excavations carried out from 1828 onwards in southern Etruria. Later, he established
the Egyptian Museum (1839), which houses ancient artifacts from explorations in
Egypt, together with other pieces already conserved in the Vatican and in the Museo
Capitolino, and the Lateran Profane Museum (1844), with statues, bas-relief
sculptures and mosaics of the Roman era, which could not be adequately placed in the
Vatican Palace. The Lateran Profane Museum was expanded in 1854 under Pius IX
(1846-1878) with the addition of the Pio Christian Museum. This museum is
comprised of ancient sculptures (especially sarcophagi) and inscriptions with ancient
Christian content. In 1910, under the pontificate of Saint Pius X (1903-1914), the
Hebrew Lapidary was established. This section of the museum contains 137
inscriptions from ancient Hebrew cemeteries in Rome mostly from via Portuense and
donated by the Marquisate Pellegrini-Quarantotti. These last collections (Gregorian
Profane Museum, Pio Christian Museum and the Hebrew Lapidary) were transferred,
under the pontificate of Pope John XXIII (1958-1963), from the Lateran Palace to
their present building within the Vatican and inaugurated in 1970.
The Museums also include the Gallery of Tapestries, a collection of various 15th and
17th century tapestries; the Gallery of Maps, decorated under the pontificate of
Gregory XIII (1572-1585) and restored by Urban VIII (1623-1644); the Sobieski
Room and the Room of the Immaculate Conception; the Raphael Stanze and the Loggia, which were decorated by order
of Julius II and Leo X (1513-1521); the
Chapel of Nicholas V (1447-1455), painted
by Fra Angelico; the Sistine Chapel, which
takes the name of its founder, Pope Sixtus
IV; the Borgia Apartment, where Pope
Alexander VI lived until his death (14921503); the Vatican Pinacoteca, created under
Pius XI (1922-1932) in a special building
near the new entrance to the Museums; the
Missionary-Ethnological Museum which was
founded by Pius XI in 1926, arranged on the
upper floors of the Lateran Palace and later
transferred, under Pope John XXIII, to the
31
Vatican where it has been opened again to the public in the
same building which housed the former Lateran collections.
In 1973 the Collection of Modern and Contemporary
Religious Art was added and inaugurated by Pope Paul VI
(1963-1978) in the Borgia Apartment. The Vatican
Historical Museum, founded in 1973 and transferred in 1987
to the Papal Apartment in the Lateran Palace, houses a series
of papal portraits along with objects of the past Pontifical
Military Corps and of the Pontifical Chapel and Family and
historic ceremonial objects no longer in use. The Carriage
and Automobile Museum is a section of the Vatican
Historical Museum. In the year 2000, the Vatican Museums
opened a new large entrance that provides visitor
information and other services; on display are many new
artworks, two of which were specially created for this grand entrance hall.
Since early 2000 the Vatican Museums welcome
visitors in a spacious new entrance that offers various
services (security check, the cloak-room, visitor
information, itineraries and guided tours, currency
exchange, museum shop, nursery and first aid station).
The structure is composed of three floors - the third is
reserved for special exhibitions and meetings. From
the second floor a monumental ramp, with inclined
axis, leads the visitor to the exhibition areas through
the Cortile delle Corrazze, which is covered by a glass
and metal structure.
In his inaugural speech, Pope John Paul II defined the
new structure as “the entrance that introduces that
temple of art and culture which are the Vatican
Museums”, which
“represent at a cultural level one of the most
important doors of the Holy See open on the
world. From this space comes not only the
functional but the symbolic value of heightened
“capacity”, that is, more comfort to express the
renewed will of the Church to seek dialogue with
humanity, in the sign of art and culture, in
accessing the heritage which history entrusted
her”. Various artworks are displayed in the
entrance. Among the ancient pieces is one
particularly worth seeing: the large polychrome
mosaic dating back to the 1st century A.D. Two
works of contemporary art have been specially
executed for the entrance : the marble sculpture
by Giuliano Vangi entitled “Varcare la Soglia”
and the bronze doors of the main entrance. 27
32
St. Paul’s outside the walls
Santa Maria Sopra Minerva
St. Peter in Chains
The Pantheon
33
Basilica of Saint Paul outside the walls
At the beginning of the 4th century, with the end
of the persecutions and the promulgation of the
Edicts of Tolerance in favour of Christianity,
Emperor Constantine ordered the excavation of
the cella memoriae, the place where Christians
venerated the memory of Saint Paul the Apostle,
beheaded under Nero around 65-67 A.D. Above
his grave, located along the Ostiense Way, about
two kilometers outside the Aurelian Walls
surrounding Rome, Constantine built a Basilica
which was consecrated by Pope Sylvester in
324.
Between 384 and 395 the Basilica, under the
emperors Theodosius, Valentinian II and
Arcadius, was restored and enlarged according
to an extensive project consisting of five naves
opening out into an atrium (quadriportico), or
courtyard with four rows of columns.
Throughout the centuries the Basilica would not
cease to be embellished and enhanced by the
Popes. For example, the massive defensive wall was built to protect against invasions at the end of the ninth century, while the
bell tower and the magnificent Byzantine door were constructed in the eleventh century. Other important additions include
Pietro Cavallini’s mosaics in the façade, the beautiful Vassalletto family’s cloister, Arnolfo di Cambio’s celebrated Gothic
baldachin and the Candelabrum for the Paschal candle attributed to Nicola d’Angelo and Pietro Vassalletto of the thirteenth
century. This historical period represents the golden age of what had been the biggest Basilica of Rome, until the consecration
of the new Basilica of St. Peter in 1626. This sacred place of Christian pilgrimage was well-known for its artistic works.
On the night of July 15, 1823, a fire destroyed this unique testimony to the Paleo-Christian, Byzantine, Renaissance and
Baroque periods. The Basilica was reconstructed identically to what it had been before, utilizing all the elements which had
survived the fire. In 1840 Pope Gregory XVI consecrated the Altar of the Confession and the Transept.
Other embellishments followed the reconstruction. In 1928 the portico with 150 columns was added. Contemporary work in
the Basilica has uncovered the tomb of the Apostle, while other important and beneficial works are carried out, as in the past,
thanks to the generosity of Christians from all over the world.
In the fifth century under the Pontificate of Leo the Great, the Basilica became the home of a long series of medallions which
would to this day depict all the popes throughout history. This testifies, in an extraordinary way, to “the very great, the very
ancient and universally known Church founded and organized at Rome by the two most glorious Apostles, Peter and
Paul” (Saint Irenaeus, Adversus Haereses 3, 3,2).
Saint Paul Outside-the-Walls constitutes an extra-territorial complex (Motu Proprio by Pope Benedict XVI, 30 May 2005),
administered by an Archpriest.
In addition to the Papal Basilica, the entire complex includes a very ancient Benedictine Abbey, restored by Odon of Cluny in
936. This Abbey remains active even today under the direction of its Abbot who retains his ordinary jurisdiction intra septa
monasterii. The Benedictine Monks of the ancient Abbey, founded near the tomb of the Apostle by Pope Gregory II (715731), attend to the ministry of Reconciliation (or Penance) and the promotion of special ecumenical events.It is in this Basilica
that every year on the feast of the Conversion of Saint Paul, January 25, the Week of Prayer for Christian Unity solemnly
opens. The Pope has specified two privileged tasks for this Papal Basilica: the Sacrament of Reconciliation (or Penance) and
the development and organization of ecumenical initiatives.
On June 28, 2007, Pope Benedict XVI visited the Basilica and announced that the following year would be designated the
“Pauline Year” to commemorate the bimillennium of the birth of Saint Paul. Thus, the “Pauline Year” was run from June 28,
2008 to June 29, 2009. 28
34
santa maria sopra minerva
The only Gothic church in
Rome, the Basilica Santa
Maria sopra Minerva
(Basilica of St. Mary over
Minerva) is so named because
it was built directly on the
foundations of a temple to
Minerva, the goddess of
wisdom.
The basilica that stands today
was begun in 1280.
Architectural changes and
redecorations in the 1500s and
1900s stripped it of some of its
magnificence, but it still
includes an awe-inspiring
collection of medieval and
Renaissance tombs.
History
Not much is known about the ruined temple to Minerva on this site, built by Pompey about 50 BCE and referred to as
Delubrum Minervae. A temple to Isis and a Serapeum may also underlie
the present basilica and its former convent buildings. Some Roman
survivals can be seen in the crypt.
The ruined temple is likely to have lasted until the reign of Pope
Zacharias (741-752), who finally Christianized the site, offering it to
Eastern monks. The Christian structure he commissioned has
disappeared.
The present building owes its existence to the Dominican Friars, who
received the property from Pope Alexander IV (1254-1261) and made
the church and adjoining monastery their influential headquarters. The
Dominican Order administers the area today.
The old Romanesque basilica was not splendid enough to serve as the
chief Dominican church in Rome, so two Dominican monks, Sisto
Fiorentino and Ristoro da Campi began the present structure in 1280.
This pair of monastic architects had worked on the Gothic church of
Santa Maria Novella in Florence, which served as the model for this
church in Rome.
After funds contributed by Boniface VIII set an example, the church was
completed in 1370. It was later renovated by Carlo Maderno among
others, given a Baroque facade, and restored in the 19th century to its
present neo-medieval state.
It was in the Dominican monastery adjoining the church that the
astronomer Galileo Galilei (1564-1642) was tried by the Inquisition for
teaching that the Earth revolved around the Sun. He was forced to recant
and retire. 29
35
San pietro in vincoli
(saint peter in chains)
Also known as the Basilica Eudoxiana, it was first rebuilt on
older foundations in 432–440 to house the relic of the chains
that bound Saint Peter when he was imprisoned in
Jerusalem, the episode called the Liberation of Saint Peter.
The Empress Eudoxia (wife of Emperor Valentinian III),
who received them as a gift from her mother, Aelia Eudocia,
consort of Valentinian II, presented the chains to Pope Leo I.
Aelia Eudocia had received these chains as a gift from
Iuvenalis, bishop of Jerusalem.
According to legend, when Leo, while he compared them to
the chains of St. Peter's final imprisonment in the Mamertine
Prison in Rome, the two chains miraculously fused together
The chains are kept in a reliquary under the main altar in the
basilica.
The basilica, consecrated in 439 by Sixtus III, has
undergone several restorations, among them a
restoration by Pope Adrian I, and further work in the
eleventh century. From 1471 to 1503, in which year
he was elected Pope Julius II, Cardinal Della Rovere,
the nephew of Pope Sixtus IV, effected notable
rebuilding. The front portico, attributed to Baccio
Pontelli, was added in 1475. The cloister (1493–
1503) has been attributed to Giuliano da Sangallo.
Further work was done at the beginning of the 18th
century, under Francesco Fontana, and there was also
a renovation in 1875.
The Titulus S. Petri ad vincula was assigned on 20
November 2010, to Donald Wuerl. The previous
Cardinal Priest of the basilica was Pío Laghi, who died on 11 January 2009.
Two popes were elected in this church : Pope John II in 533 and Pope
Gregory VII in 1073.
Next to the church is hosted the Faculty of Engineering of La Sapienza
University. This is named "San Pietro in Vincoli" per antonomasia. The
church is located on the Oppian Hill near Cavour metro station, a short
distance from the Colosseum. 30
Yet another drawing card of this Basilica is the tomb of Pope Julius II,
with one of the world's most famous sculptures: Michelangelo's Moses.
Michelangelo was to have carved 44 magnificent figures for the tomb. That
didn't happen, but the pope was given a great consolation prize -- a figure
intended to be "minor" that's now counted among Michelangelo's
masterpieces. In the Lives of the Artists, Vasari wrote about the stern father
symbol of Michelangelo's Moses: "No modern work will ever equal it in
beauty, no, nor ancient either." 31
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The pantheon
The Pantheon is one of the most famous sights in Italy.
But there’s a lot more to this ancient Roman building
than its postcard-worthy perfection! Here are 5 things you
might not have known about Rome’s Pantheon (and 5
reasons why it’s one of our favorite places to visit!).
The Pantheon is actually a Christian church—and has
been for centuries
Walk into the Pantheon today, and all of the information
signs say “Basilica di Santa Maria ad Martyres,” or
“Basilica of St. Mary and the Martyrs.” Huh? Isn’t this a
pagan temple? Well, it was once. (More on that in a
moment!). But in 609 A.D., it was turned into a church.
It’s still a church today, and, yes, you can go to Mass here
on Sundays!
The Pantheon is the best-preserved ancient Roman building in Rome
Largely because the Pantheon was turned into a church, it was kept remarkably well-preserved. In fact, you can still
experience the building much as the ancient Romans would have. Sure, some things have changed (there’s a Christian
altar here now, for example, and frescoes of saints), but the dimensions of the building, along with much of its
decoration, has remained the same.
The Pantheon dome remains the single largest, unreinforced concrete dome in the entire world
At about 142 feet in diameter, the Pantheon’s dome is bigger even than the dome of St. Peter’s Basilica.
It’s also completely unreinforced… there’s no rebar in there! That makes it the single largest unreinforced, concrete
dome in the entire world. And, yes, it was built by the Romans in 125 A.D., not by later architects. Wow!
This isn’t the original Pantheon
You read that correctly. This Pantheon… is not the original! Don’t worry—it’s still ancient. But it just so happens to be
the third version of the building. The first one was built in about 27 B.C., but burned down; the second, built in the 1st
century A.D., also burned down. This, the third, was built in 125 A.D. Luckily, it survived later fires! This, by the way,
explains the strange inscription above the porch, “M·AGRIPPA·L·F·COS·TERTIVM·FECIT,” which stands for, in
English, “Marcus Agrippa, son of Lucius, consul for the third time, built this.” Agrippa was around in the 1st century
B.C…. so how is that possible? It’s possible because Agrippa didn’t build the third version—he built the first. The
inscription was added as a nice little nod to him, as the original founder.
We’re still not sure who was worshiped here
For a building as thoroughly studied as the Pantheon, a lot of mystery remains! One major question? What the Pantheon
was used for. We know it was a pagan temple. But to worship which gods is anyone’s guess. Even Cassius Dio, writing
just 75 years after the Pantheon was reconstructed, wasn’t sure what it was for. “It has this name, perhaps because it
received among the images which decorated it the statues of many gods, including Mars and Venus; but my own opinion
of the name is that, because of its vaulted roof, it resembles the heavens,” he wrote in his History of Rome. 32
37
Catacombs of Santa Priscilla
&
The Colosseum
38
Catacombs of santa priscilla
The Catacombs of Priscilla, sits on the Via Salaria,
with its entrance in the convent of the Benedictine
Sisters of Priscilla. It is mentioned in all of the most
ancient documents on Christian topography and
liturgy in Rome; because of the great number of
martyrs buried within it, it was called “regina
catacumbarum – the queen of the catacombs.”
Originally dug out from the second to fifth
centuries, it began as a series of underground burial
chambers, of which the most important are the
“arenarium” or sand-quarry, the cryptoporticus, (an
underground area to get away from the summer
heat), and the hypogeum with the tombs of the
Acilius Glabrio family. The noblewoman Priscilla, who granted the Church use of the property, was a member of this
family; her commemoration is noted on January 16th in the Roman Martyrology, which speaks of her as a benefactor of
the Christian community in Rome. This cemetery was lost like all the others after the entrances were blocked to protect
it from thievery; however, it was also one of the first to be rediscovered, in the sixteenth-century. A large portion of the
funerary inscription, sarcophagi, stone and bodies
(presumed to be those of martyrs) were subsequently
taken away; nevertheless, the catacomb does preserve
some particularly beautiful and important paintings, the
most significant of which are included on the regular visit.
33
The Catacomb of Priscilla on the Via Salaria in Rome,
Italy, is situated in what was a quarry in Roman times.
This quarry was used for Christian burials from the late
2nd century through the 4th century. Some of the walls
and ceilings display fine decorations illustrating Biblical
scenes. The Catacombs of Priscilla are believed to be
named after Priscilla, a member of the gens Acilia and
who was probably the wife of the Consul Acilius who
became a Christian and was killed on the orders of
Domitian. They contain a number of wall paintings of
saints and early Christian symbols, such as the painting reproduced in Giovanni Gaetano Bottari's folio of 1754, where
the Good Shepherd is depicted as feeding the lambs, with a crowing cock on His right and left hand. Particularly notable
is the "Greek Chapel" (Capella Greca), a square chamber with an arch which contains 3rd century frescoes generally
interpreted to be Old and New Testament scenes, including the Fractio Panis. Above the apse is a Last Judgment. New,
and somewhat controversial research has begun to suggest that the scenes traditionally interpreted as the
deuterocanonical story of Susannah (Dn 13) may actually be scenes from the life of a prestigious Christian woman of the
2nd century AD. Near this are
figures of the Madonna and Child
and the Prophet Isaiah, also dating
from the early 3rd century.
The Priscilla catacombs contain the
oldest known Marian paintings,
from the early third century. Mary
is shown with Jesus on her lap. The
catacomb also has a depiction of the
Annunciation. 34
39
The roman colosseum
The Colosseum or Coliseum, also known as the Flavian
Amphitheatre (Latin: Amphitheatrum Flavium; Italian:
Anfiteatro Flavio or Colosseo) is an elliptical amphitheatre
in the centre of the city of Rome, Italy. Built of concrete and
stone, it was the largest amphitheatre of the Roman Empire,
and is considered one of the greatest works of Roman
architecture and engineering. It is the largest amphitheatre in
the world.
The Colosseum is situated just east of the Roman Forum.
Construction began under the emperor Vespasian in 70 AD,
and was completed in 80 AD under his successor and heir
Titus. Further modifications were made during the reign of
Domitian (81–96). These three emperors are known as the
Flavian dynasty, and the amphitheatre was
named in Latin for its association with their
family name (Flavius).
The Colosseum could hold, it is estimated,
between 50,000 and 80,000 spectators, and was
used for gladiatorial contests and public
spectacles such as mock sea battles, animal
hunts, executions, re-enactments of famous
battles, and dramas based on Classical
mythology. The building ceased to be used for
entertainment in the early medieval era. It was
later reused for such purposes as housing,
workshops, quarters for a religious order, a
fortress, a quarry, and a Christian shrine.
Although in the 21st century it stays partially ruined because of damage caused by devastating earthquakes and
stone-robbers, the Colosseum is an iconic symbol of Imperial Rome. It is one of Rome's most popular tourist
attractions and has close connections with the Roman Catholic Church, as each Good Friday the Pope leads a
torchlit "Way of the Cross" procession that
starts in the area around the Colosseum.
The Colosseum, like all the Historic Centre
of Rome, Properties of the Holy See in Italy
and the Basilica of Saint Paul Outside the
Walls, was listed as a World Heritage Site
by UNESCO in 1980. In 2007 the complex
was also included among the New7
Wonders of the World, following a
competition organized by New Open World
Corporation (NOWC).
The Colosseum is also depicted on the
Italian version of the five-cent euro coin. 35
40
Bibliography\End Notes Page
1.) http://www.florence-museum.com/accademia-gallery-tickets.php
2.) http://www.florence-museum.com/uffizi-gallery-tickets.php
3.) http://www.museumsinflorence.com/musei/museum_of_san_marco.html
4.) http://www.museumsinflorence.com/musei/cathedral_of_florence.html
5.) http://en.wikipedia.org/wiki/San_Miniato_al_Monte
6.) http://www.visitflorence.com/florence-churches/san-miniato.html
7.) http://en.wikipedia.org/wiki/San_Miniato_al_Monte
8.) http://www.basilicacateriniana.com/storia_en.htm
9.) Ibid
10.) http://www.sacred-destinations.com/italy/assisi-santa-maria-degli-angeli
11.) http://www.sacred-destinations.com/italy/assisi-eremo-delle-carceri
12.) http://en.wikipedia.org/wiki/Basilica_of_San_Francesco_d%27Assisi
13.) http://www.italia.it/en/discover-italy/umbria.html#box_1
14.) http://www.lonelyplanet.com/italy/umbria
15.) http://en.wikipedia.org/wiki/Basilica_di_Santa_Chiara
16.) http://www.therealpresence.org/eucharst/mir/bolsena.html
17.) http://en.wikipedia.org/wiki/St._Peter%27s_Basilica
18.) http://www.oh-rome.com/en/rome-districts/borgopio/
19.) http://www.huffingtonpost.com/2013/03/20/rome-borgo-vatican-city_n_2915739.html
20.) http://www.piercedhearts.org/treasures/holy_sites/basilica_st_john_lateran.html
21.) http://www.vatican.va/various/basiliche/sm_maggiore/en/storia/introduzione.htm
22.) http://en.wikipedia.org/wiki/Scala_Sancta
23.) http://en.wikipedia.org/wiki/Santa_Prassede
24.) http://www.santacroceroma.it/history.php
25.) http://www.irishcollege.org/college/pilgrim-information/excavations-st-peters/
26.) http://en.wikipedia.org/wiki/Sistine_Chapel
27.) http://mv.vatican.va/3_EN/pages/z-Info/MV_Info_NotizieStoriche.html
28.) http://www.vatican.va/various/basiliche/san_paolo/en/basilica/storia.htm
29.) http://www.sacred-destinations.com/italy/rome-santa-maria-sopra-minerva
30.) http://en.wikipedia.org/wiki/San_Pietro_in_Vincoli
31.) http://www.frommers.com/destinations/rome/attractions/207618
32.) http://www.walksofitaly.com/blog/rome/pantheon-facts
33.) http://www.catacombepriscilla.com/inglese/
34.) http://en.wikipedia.org/wiki/Catacomb_of_Priscilla
35.) http://en.wikipedia.org/wiki/Colosseum#Christians_and_the_Colosseum
36.) http://www.papalaudience.org/
37.) http://www.spiritdaily.net/portiunculaindulkgence.htm
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