A Detailed Look at the Twelfth Century Mosaics of the Basilica of San Clemente in Rome

When attempting to look at apsidal mosaics, triumphal arch mosaics, it can be easy to lose the trees for the forest -- yes, you read that correctly and I inverted it purposefully.  What I mean to say is this. These types of mosaics, unless they focus in solely on a monumental figurative depiction (Christ, the Virgin, Ss. Peter or Paul or what not) generally contain an inordinate amount of detail. So what we tend to do, visually, is scan the piece as a whole, take it in that way, and skip past trying to pay any significant attention to the details that might be found therein.  This is why I say we "lose the trees for the forest" -- we neglect the particular in favour of the general.  

To my mind, one of the most interesting aspects of visiting these places are to try to observe the smaller details that don't make it into every generic tour guide book to see what they show us, and what they might tell us or reveal to us about the time in which they were made. 

Let's take the example of the Basilica of San Clemente in Rome. When we go to that venerable basilica and look up, we see this mosaic dated to approximately the twelfth century:

One of the most iconic apsidal mosaics, not only in Rome but arguably the world.   But typically the way this goes is people notice first the spiralling designs the cover its entirety, then the cross and finally the sheep.  Then, they move on.   But there's a whole lot more to look at here. First off, there's a triumphal arch surrounding it, covered in figurative depictions. But even in the apse proper, embedded amongst those spiralling designs (symbolizing the Tree of Life that is the Cross) are all kind of smaller depictions. 

Take the central crucifixion image for starters. I'm sure you've noticed Christ, Our Lady and St. John, but have you ever noticed that it is covered in twelve pigeons? (A likely reference to the twelve apostles, the idea being that pigeons were often used as messengers). Have you paused to note the hand of God the Father coming down from above, holding a crown/wreath of victory and a thunderbolt (a classical symbol of the Roman deity "Jupiter" which is an allegorical reference to God the Father as Jupiter was considered the father of the gods).

Beneath the foot of the Cross we can find deer drinking from waters. The water from which they drink is fed by four streams, or rivers, which comes with reference to the "river of life" mentioned in Revelation 22:1: ("Then he showed me the river of the water of life, bright as crystal, flowing from the throne of God and of the Lamb...") Two of the deer (or harts) are the most prominent, but there is actually a smaller third one right at the foot of the Cross encircled by a serpent, no doubt symbolizing the victory of the Cross over the sin of Adam. Returning to the two more prominent deer in however, these come with reference the 42nd Psalm: "As a hart longs for flowing streams, so longs my soul for thee, O God."

Also partaking of the waters are various fowl, including a peacock -- an ancient Christian symbol of eternal life.

The apse mosaic also sees various figures represented upon it.  These are depictions of the four Latin Doctors of the Church: St. Ambrose, St. Gregory, St. Jerome and St. Augustine. 

Also found at the base of this apsidal mosaic are various scenes of animal husbandry such as shepherds tending their flock (and obvious enough Christological and ecclesiastical reference).

We can also find a woman feeding chickens, which is believed to be an allegorical reference to the Church (represented by the woman) feeding the faithful with the sacraments, forming our own gateway to heaven:

A bird in a cage, which even includes a feeding cup. A reference to our captivity in sin?

Turning our attention to the triumphal arch, easily missed at the top of it, due to the later, baroque ceiling which partially obscures them, are the medallion of Christ Pantocrator and the symbols of the Four Evangelists. 

Beneath these, to either side, are depictions of Ss. Peter and Paul. Beside St. Peter we find the namesake of the church, St. Clement, one of St. Peter's earliest successors. Beside St. Paul, we find another great saint of the Romans, the deacon and martyr St. Lawrence,  One will also note the inclusion of two palm trees -- symbols of martyrdom -- and interestingly, it is worth noting that the names of St. Peter and St. Paul utilize a mixture of Greek and Latin -- specifically, their names are in Latin but the designation of "saint" is written in Greek: Agios (in Greek proper it would be "Άγιος").

Beneath the feet of St. Peter is the Latin text "Respice p[ro] missum Clemens a me tibi Ch[rist]um" (Clement, behold Christ promised to you by me).  One will note that the figure of Pope St. Clement is set upon a ship and he holds an anchor, these are both symbolic reference to his martyrdom as he was said to be drowned at the sea by way of an anchor being affixed to him before being tossed in the waters to drown. 

Beneath the feet of St. Lawrence we see the flames and the gridiron upon which the saint was burnt alive. Here too we have a Latin text; "De cruce Laurenti Paulo famulare docenti" (The servant Lawrence is taught about the cross by Paul).

Located beneath these saints are two prophets of the Old Testament, the Prophet Isaiah and the Prophet Jeremiah. 

The prophet Isaiah holds a scroll which reads "Vidi Dominum seden(t)ems sup(er) solium" (I saw the Lord sitting on a throne) taken from the Book of Isaiah 6:1. 

Jeremiah holds a scroll which reads: "Hic est D[ominu]s N[oste]r, et non estimabit[ur] alius absq[ue] illo" (Here is our Lord, and no one but he shall be counted his equal), taken from Baruch 3:6.

Just beneath these depictions are the famous twelve sheep, of course representing the twelve apostles.  But what one will note is that these sheep process outward from these two city gates; these cities being those of Jerusalem and Bethlehem which we know because this is denoted above each respective gate. 

There are two other, longer inscriptions also found here.  First, on the archivolt (the curved edge of the triumphal arch) we read: "Gloria in Excelsis Deo Sedent sup(er) thronum et in terra pax hominibus bonae voluntatis" (Glory to God in the highest, seated on the throne, and on earth peace to men of good will).

The second goes along the bottom of the apsidal mosaic and actually offers the key to interpreting the entire apsidal mosaic scheme: "Ecclesiam C[h]risti viti similabimus isti de ligno Crucis Jacobi dens Ignatiiq(ue) in suprascripti requiescunt corpore C[h]risti quam lex arentem set crus facit' which translates as: 

We have likened the Church of Christ to this vine; the Law made it wither but the Cross made it bloom. In the body of Christ above this inscription rest [some] wood from the Cross, a tooth of James, and of Ignatius.

The latter sentence reveals an interesting "secret." Namely, it reveals that embedded within the apsidal mosaic are relics of the True Cross as well as of St. James and St. Ignatius of Antioch. 

The lesson I think we can take from all of this is that in looking at these grand apsidal mosaics in Rome, yes, look at the overarching depiction and soak it in in all its glory -- but don't forget to pause and also take a look at some of the details while you're at it. They tell a significant story.

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