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S Maria in Trastevere |
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written
by ars7 / 10.06.2004 |
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| Kitsinger |
| Christ in the apse mosaic |
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| Kitsinger |
| Maria in the apse mosaic |
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| Kitsinger |
| S. Maria Nova icon |
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| Kitsinger |
| Maria in Cavallini's mosaic |
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| Kitsinger |
| Madonna della Clemenza icon |
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(I am changing the organization of the next two sections: section 3 discusses the context, contemporary perceptions, and patron intentions of the apse mosaic; section 4 does the same for the columns.)
Mosaic
By now you should be curious about what ties the main mosaic together. What could connect early icons of Maria, creative synthronos depiction, and the Song of Songs? The answer lies in the Feast of the Assumption. This festival began in Rome by 757 CE, and continues in some Lazio towns even today. It involves a midnight procession on August 15 in honor of the death of Maria. In Innocent II’s time, a host of clerical and secular officials would walk around Rome carrying the acheropita, an image of Christ not made by human hand. Icons, revered paintings of holy figures, were very important in Catholic worship at this time, and were treated almost as humans. The procession started in S. Giovanni Laterano, went to first to S. Maria Nova (where prayers were said and the icon’s feet were washed), continued to S. Adriano (where the icon’s feet were washed again), and passed S. Lucia in Orphea to end at S. Maria Maggiore. There was an important icon of Maria at S. Maria Nova (remember?), and the icons of Christ and Maria may have bowed to each other there.
Clearly, a main theme of the Feast of the Assumption is Christ’s devotion to his mother. This is reflected in the synthronos theme and in the inscriptions. Christ’s inscription translates as “…I will place in thee my throne,” which in the liturgy refers to Christ placing his throne in the heavenly city of Jerusalem. Liberties have been taken with the translation in the design of the mosaic, though. The depiction is of the slightly modified phrase “I will place thee in my throne,” of Christ honoring his mother by taking her into his throne in the most prominent part of the mosaic. This design supports the Cult of Maria, which was very popular at this time in the Catholic Church.
Innocent II chose to include in this mosaic many allusions to well-known Roman ceremonies and widely held beliefs. This was a smart choice for a pope trying to consolidate his power, because he knew that anyone who entered the church would see the mosaic and recognize its references and agree with his overall statement. Also, there is a more subversive side to this mosaic. When Anacletus was bishop of S. Maria in Trastevere he had the icon of Madonna della Clemenza in a very visible location. By emphasizing S. Maria Nova and relegating Madonna della Clemenza to a much less prominent place in the church, Innocent removed a reminder of Anacletus from visitor’s minds.
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