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Santa Prassede |
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written
by sariah / 10.24.2005 |
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Assignment |
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Prassede was famous for sheltering Christians prosecuted by the Roman Emperor of her day, and the church bearing her name similarly reflects a gentle and welcoming nature. The front entrance of the church is unadorned, with just a few simple steps that lead through a plain courtyard aligned with miniature lime trees planted in terracotta pots. However, upon passing through the doors into the basilica, the detailed beauty of the apse mosaics and small glittering side chapels is quite stunning. It is like entering the rich heart of the church. The transformation from plain to elaborate, seems to mirror the conversion of Prassede from pagan to saint.
The older portions of the basilica exhibit a sense of comfort that was likewise reflected by the protective nature of Prassede as a caretaker. In the Byzantine apse mosaic, all of the figures have postures and expressions of calmness. There are no foci depicting intense emotions- no pain, no sorrow, no joy. Instead, the major figures of Jesus, Peter, Paul, Prassede and Prudenziana seem to come together in peaceful, harmonious friendship. The openness of their postures and serenity of facial expressions emanate feelings of comfort projecting outwards from within the church.
Although it has been speculated that the integration of pre-Christian architectural remnants in churches demonstrates Christianity’s domination over pagan religions, in light of the legend of Santa Prassede’s, alternative interpretations are also viable. Notably, Prassede was a pagan when she opened her home to shelter prosecuted Christians. It was only after many years of commitment to helping her Christian neighbors that she was converted to Christianity by St. Peter. Thus, it seems unlikely that a church dedicated to the memory of Prassede would so strongly condemn paganism, and therefore, also condemn the portion of her life in which she did so much good for the Christian community. Instead, it is more likely that the architectural elements found in Santa Prassede from pre-Christian times serve to make parishioners feel more welcome in the space. By integrating the layout of a Roman basilica, columns from pre-Christian buildings and the mosaic style found in pre-Christian spaces, Santa Prassede smoothly transitions people from old, familiar pagan traditions to new, Christian traditions. The difference in this interpretation is slight, yet significant, since it differentiates between how early Christians are perceived, therefore, either as dominating or accommodating.
Hundreds of years later, St. Peters Basilica doesn’t represent a church being created or in transition, rather, the church is now an established institution with consolidated power. Aside from the cynicism of how many starving children could have been fed versus the money spent guilding the chapels in gold, it is possible to appreciate the vastness and overwhelming beauty of this basilica. Every surface is decorated elaborately, ignoring worldly concerns of material costs when compared with the spiritual duties of honoring St. Peter, the first Pope and leader of the Roman Catholic Church. With each new piece of artwork added by the papal leaders throughout the years, St. Peter’s Basilica has become a monument to the Church’s power, longevity and wealth.
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