Behind the Coliseum the Via S. Giovanni ascends the slope of the Esquiline. In mediaeval times this road was always avoided by the popes, on account (as most authorities state) of the scandal attaching to the more than doubtful legend of Joan, the famous papessa, who is said to have horrified her attendants by giving birth to a child on this spot, during a procession from the Lateran, and to have died of shame and terror immediately afterwards. Joan is stated to have been educated at Athens, to have skilfully obtained her election to the papal throne, disguised as a man, between the reign of Leo IV. and that of Benedict III. (855), and to have taken the name of John VIII. In the cathedral of Siena the heads of all the popes in terra-cotta (down to Alexander III.) decorate the frieze above the arches of the nave, and among them was that of Pope Joan, inscribed "Johannes VIII. Femina de Anglia," till 1600, when it was changed into a head of Pope Zacharias by the Grand Duke, at the request of Pope Clement VIII.

On the left of this street is S. Clemente (described Ch. VII.). On the right, a long wall flooded by a cascade of Banksia roses in spring, and a villa inlaid with terra-cotta ornaments, are those of the favourite residence of the well-known Marchese Campana, the learned archaeologist of Etruria, and the chief benefactor of the Etruscan museum at the Vatican, cruelly imprisoned and exiled by the papal government in 1858, upon an accusation of having tampered with the revenues of Monte di Pieta.

Beyond the turn of the road leading to S. Stefano Rotondo (Ch. VII.), bas-reliefs of Our Saviour's Head (from the Acheirotopeton in the Sancta Sanctorum) between two candelabra--upon the different buildings, announce the property of the Lateran chapter.

The _Piazza di San Giovanni_ is surrounded by a remarkable group of buildings. In front are the Baptistery and Basilica of the Lateran. On the right is a Hospital for women, capable of containing 600 patients; on the left, beyond the modern palace, are seen the buildings which enclose the Santa Scala, and some broken arches of the Aqua Marcia. In the centre of the piazza is the _Obelisk of the Lateran_, 150 feet high, the oldest object in Rome, being referred by translators of hieroglyphics to the year 1740 B.C., when it was raised in memory of the Pharaoh Thothmes IV. It was brought, from the temple of the Sun at Heliopolis, to Alexandria by Constantine, and removed thence by his son Constantius to Rome, where it was used, together with the obelisk now in the Piazza del Popolo, to ornament the Circus Maximus. Hence it was moved to its present site in 1588, by Fontana, for Sixtus V. The obelisk was then broken into three pieces, and in order to piece them together, some part had to be cut off, but it is still the tallest in the city.

One of the inscriptions on the basement is false, as it narrates that Constantine received at the Lateran the baptism which he did not receive till he was dying at Nicomedia.

An octagon building of mean and miserable exterior is that of the _Baptistery of the Lateran_, sometimes called S. Giovanni in Fonte, built, not by Constantine, to whom it is falsely ascribed, but by Sixtus III. (430-40). Of his time are the two porphyry columns at the entrance on the side nearest the church, and the eight which form a colonnade round the interior, supporting a cornice from which rise the eight small columns of white marble, which sustain the dome. In the centre is the font of green basalt in which Rienzi bathed on the night of August 1, 1347, before his public appearance as a knight, when he summoned Clement VI. and other sovereigns of Europe to appear before him for judgment.

The cupola is decorated with scenes from the life of John the Baptist by _Andrea Sacchi_. On the walls are frescoes pourtraying the life of Constantine by _Gimignano_, _Carlo Maratta_, and _Andrea Camassei_.

On the right is the _Chapel of St. John the Baptist_, built by Pope Hilary (461-67). Between two serpentine columns is a figure of St. John Baptist by _L. Valadico_ after Donatello.

On the left is the _Chapel of St. John the Evangelist_, also built by Hilary, who presented its bronze doors (said to have once belonged to the Baths of Caracalla) in remembrance of his delivery from the fury of fanatical monks at the Second Council of Ephesus, where he appeared as the legate of Leo I.,--a fact commemorated by the inscription: "Liberatori suo B. Joanni Evangelistae Hilarius Episcopus famulus Christi." The vault is covered with mosaics representing the Spotless Lamb in Paradise. Here is a statue of St. John by _Landini_.

Close by is the entrance to the _Oratory of S. Venanzio_,[277] built in 640 by John IV., and dedicated to St. Venantius, from a filial feeling to his father, who bore the same name. Nothing, however, remains of this time but the mosaics. Those in the apse represent the Saviour in the act of benediction with angels, and below him the Virgin (an aged woman) in adoration,[278] with St. Peter and St. John Baptist, St. Paul and St.

John the Evangelist, St. Venantius and St. Domnus--and another figure unnamed, probably John IV., holding the model of a church. Outside the chancel arch are eight saints, with their names (Palmianus, Julius, Asterius, Anastasius, Maurus, Septimius, Antiochianus, Cajanus), the symbols of the evangelists, and the cities Bethlehem and Jerusalem; also the verses:--

"Martyribus Christi Domini pia vota Johannes Reddidit antistes sanctificante Deo.

Ac sacri fontis simile fulgente metallo, Providus instanter hoc copulavit opus: Quo quisque gradiens et Christum pronus adorans, Effusasque preces impetrat ille suas."

The next chapel, called the _Capella Borgia_, and used as the burial-place of that family, was once an open portico, but this character was destroyed by the building up of the intercolumniations. On its facade are a number of fragments of ancient friezes, &c. Over the inner door is a bas-relief of the Crucifixion, of 1494.

The piteous modernization of this ancient group of chapels is chiefly due to the folly of Urban VIII. The baptistery is used on Easter Eve for the ceremony of adult baptism, the recipients being called Jews.

The _Lateran_ derives its name from a rich patrician family, whose estates were confiscated by Nero, when their head, Plautius Lateranus, was put to death for taking part in the conspiracy of Piso.[279] It afterwards became an imperial residence, and a portion of it being given by Maximianus to his daughter Fausta, second wife of Constantine, received the name of "Domus Faustae." It was this which was given by Constantine to Pope Melchiades in 312,--a donation which was confirmed to St. Sylvester, in whose reign the first basilica was built here, and consecrated on November 9, 324, Constantine having laboured with his own hands at the work. This basilica was overthrown by an earthquake in 896, but was rebuilt by Sergius III. (904--11), being then dedicated to St.

John the Baptist. This second basilica, whose glories are alluded to by Dante,--

----"Quando Laterano Alle cose mortale and di sopra."

_Paradiso_, xxxi.

was of the greatest interest, but was almost entirely destroyed by fire in 1308. It was rebuilt, only to be again burnt down in 1360, when it remained for four years in utter ruin, in which state it was seen and mourned over by Petrarch. The fourth restoration of the basilica was due to Urban V. (1362-70), but it has since undergone a series of mutilations and modernizations, which have deplorably injured it. The west front still retains the inscription "Sacrosancta Lateranensis ecclesia, Omnium urbis et orbis Ecclesiarum Mater et Caput;" the Chapter of the Lateran still takes precedence even over that of St. Peter's; and every newly elected pope comes hither for his coronation.

"St. J. Lateran est regarde comme le siege du patriarchal romain. a St. Pierre le pape est souverain pontife. a St. J. Lateran il est eveque de Rome. Quand le pape est elu, il vient a St. J. Lateran prendre possession de son siege comme eveque de Rome."--_A. Du Pays._

The west end of the basilica is in part a remnant of the building of the tenth century, and has two quaint towers (rebuilt by Sixtus IV.) at the end of the transept, and a rich frieze of terra-cotta. The church is entered from the transept by a portico, ending in a gloomy chapel which contains a statue of Henry IV., by _Niccolo Cordieri_. The _transept_--rich in colour from its basement of varied marbles, and its upper frescoes of the legendary history of Constantine--is by far the finest part of the basilica, which, as a whole, is infinitely inferior to Sta. Maria Maggiore. The nave, consisting of five aisles, is of grand proportions, but has been hideously modernized under _Borromini_, who has enclosed all its ancient columns, except two near the tribune, in tawdry plaster piers, in front of which are huge statues of the apostles; the roof is gilt and gaudy, the tabernacle ugly and ill-proportioned,--only the ancient pavement of opus-alexandrinum is fine. Confessionals for different languages are placed here as in St.

Peter's. The _Tabernacle_ was erected by Urban V. in the fourteenth century. Four granite columns support a gothic canopy, decorated at its angles with canopied statuettes. Between these, on either side, are three much restored frescoes by _Berni da Siena_, those in central panels representing the Annunciation, the Crucifixion, the Coronation of the Virgin, and the Saviour as a shepherd (very beautifully treated) feeding his flock with corn. The skulls of SS. Peter and Paul are said to be preserved here. The altar encloses the greater part of the famous wooden table, saved at great risk of life from the conflagration of 1308, upon which St. Peter is supposed to have celebrated mass in the house of Pudens.[280] The steps of the altar (at the top of which the pope is installed) have an allegorical enamelled border with emblems of an asp, a dragon, a lion, and basilisk, in allusion to Psalm xci.

In the confession, in front of the altar, is the bronze tomb of Martin V., Oddone Colonna (1417--24), the wise and just pope who was elected at the Council of Constance to put an end to the schism which had long divided the papacy, and which had almost reduced the capital of the Church to ruins. A bronze slab bears his figure, in low-relief, and is a fine work of _Antonio Filarete_, author of the bronze doors at St.

Peter's. It bears the appropriate surname which was given to this justly-loved pope--"Temporum suorum felicitas."

The tribune is of the time of Nicholas IV. (1287--1292). Above the arch is a grand mosaic head of the Saviour, attributed to the time of Constantine, and evidently of the fourth century,--of great interest on this spot, as commemorating the vision of the Redeemer, who is said to have appeared here on the day of the consecration of the church by Sylvester and Constantine, looking down upon the people, and solemnly hallowing the work with his visible presence. The head, which is grand and sad in expression, is surrounded by six-winged seraphim. Below is an ornamented cross, above which hovers a dove--from whose beak, running down the cross, flow the waters which supply the four rivers of Paradise. The disciples, as harts (panting for the water-brooks) and sheep, flock to drink of the waters of life. In the distance is the New Jerusalem, within which the Phnix, the bird of eternity, is seated upon the tree of Life, guarded by an angel with a two-edged sword.

Beside the cross stand, on the left, the Virgin with her hand resting on the head of the kneeling pope, Nicholas IV.; St. Peter with a scroll inscribed, "Tu es Christus filius Dei vivi;" St. Paul with a scroll inscribed, "Salvatorem expectamus Dominum Jesum." On the right St. John the Baptist, St. John the Evangelist, St. Andrew (all with their names).

Between the first and second of these figures are others, on a smaller scale, of St. Francis and St. Anthony of Padua. All these persons are represented as walking in a flowery Paradise, in which the souls of the blessed are besporting, and in front of which flows the Jordan. Below, between the windows, are figures of prophets, and (very small) of two Franciscans, who were the artists of the lower portion of the mosaic, as is shown by the inscriptions, "Jacobus Turriti, pictor, hoc opus fecit;"--"Fra Jacobus de Camerino socius magistri."

Behind the tribune, is all that remains internally of the architecture of the tenth century, in the vaulted passage called "Portico Leonino,"

from its founder, Leo I. It is supported on low marble and granite columns with Ionic and Corinthian capitals. Here are collected a variety of relics of the ancient basilica. On either side of the entrance are mosaic tablets, which relate to the building of the church. Then, on the right, is a curious kneeling statue of Pope Nicholas IV., Masci (1287--92). On the left, in the centre, is an altar, above which is an ancient crucifix, and on either side tenth century statues of SS. Peter and Paul.

On the right is the entrance to the sacristy (whose inner bronze doors date from 1196), which contains an Annunciation by _Sebastian del Piombo_, and a sketch by _Raphael_ for the Madonna, called "Della Casa d'Alba," now at St. Petersburg; also an ancient bas-relief, which represents the old and humble basilica of Pope Sergius. On the left, at the end of the passage, is a very handsome cinquecento ciborium, and near it the "Tabula Magna Lateranensis," containing the list of relics belonging to the church.

Near this, opening from the transept, is the _Capella del Coro_, with handsome wooden stallwork. It contains a portrait of Martin V., by _Scipione Gaetani_.

The altar of the Sacrament, which closes the transept, has four fluted bronze columns, said to have been brought from Jerusalem by Titus, and to be hollow and filled with earth from Palestine.[281] The last chapel in the left aisle is the _Corsini Chapel_, erected in 1729 in honour of St. Andrea Corsini, from designs of Alessandro Galilei. It is in the form of a Greek cross, and ranks next to the Borghese Chapel in the richness of its marble decoration. The mosaic altar-piece, representing S. Andrea Corsini, is a copy from _Guido_. The founder of the chapel, Clement XII., Lorenzo Corsini (1730--40), is buried in a splendid porphyry sarcophagus which he plundered from the Pantheon. Above it is a bronze statue of the pope.[282] Opposite is the tomb of Cardinal Neri Corsini, with a number of statues of the Bernini school.

Beneath the chapel is a vault lined with sarcophagi of the Corsini. Its altar is surmounted by a magnificent Pieta--in whose beautiful and impressive figures it is difficult to recognise a work of the usually coarse and theatrical artist _Bernini_.

Of the many tombs of mediaeval popes which formerly existed in this basilica,[283] none remain, except the memorial slab and epitaph of Sylvester II., Gerbert (999--1003). This pope is said (by the chronicler Martin Polonus de Corenza) to have been a kind of magician, who obtained first the archbishopric of Rheims, then that of Ravenna, and then the papacy, by the aid of the devil, to whom, in return, he promised to belong after death. When he ascended the throne, he asked the devil how long he could reign, and the devil, as is his custom, answered by a double-entendre, "If you never enter Jerusalem, you will reign a long time." He occupied the throne for four years, one month, and ten days, when, one day, as he was officiating in the basilica of Sta. Croce in Gerusalemme, he saw that he had passed the fatal threshold, and that his death was impending. Overwhelmed with repentance, he confessed his backslidings before the people, and exhorted them to lay aside pride, to resist the temptations of the devil, and to lead a good life. After this he begged of his attendants to cut his body in pieces after he was dead, as he deserved, and to place it on a common cart, and bury it wherever the horses stopped of their own accord. Then was manifested the will of the Divine Providence, that repentant sinners should learn that their God preserves for them a place of pardon even in this life,--for the horses went of their own accord to St. John Lateran, where he was buried. "Since then,"

says Platina, "the rattling of his bones, and the sweat, or rather the damp, with which his tomb becomes covered, has always been the infallible sign and forerunner of the death of a pope"!

Against the second pillar of the right aisle, counting from the west door, is a very interesting fresco of _Giotto_, originally one of many paintings executed by him for the loggia of the adjoining papal palace, whence the benediction and "plenary indulgence" were given in the jubilee year. It represents Boniface VIII. (Benedetto Gaetani, 1294--1303), the founder of the jubilee, between two priests.

"On y voit Boniface annoncant au peuple le jubile. Le portrait du pape doit etre ressemblant. J'ai reconnu dans cette physiognomie, ou il y a plus de finesse que de force, la statue que j'avais vue couchee sur le tombeau de ce pape, dans les souterrains du Vatican."--_Ampere, Voyage Dantesque._

Opening from this aisle are several chapels. The second is that of the newly established and rich family of Torlonia, which contains a marble Pieta, by Tenerani, and some handsome modern monuments. The third is that of the Massimi (designed by Giacomo della Porta), which has, as an altar-piece, the Crucifixion by _Sermoneta_. Beyond this, in the right aisle, are several remarkable tombs of cardinals, among which is the tomb of Cardinal Guissano, who died in 1287. The painters Cav. d'Arpino and Andrea Sacchi are buried in this church.

Entered from the last chapel in the left aisle (by a door which the sacristan will open) is the beautiful twelfth century _Cloister of the Monastery_, surrounded by low arches supported on exquisite inlaid and twisted columns, above which is a lovely frieze of coloured marbles. The court thus enclosed is a garden of roses; in the centre is a well (adorned with crosses) of the tenth century, called the "Well of the Woman of Samaria." In the cloister is a collection of architectural and traditional relics, including a beautiful old white marble throne, inlaid with mosaics, a candelabrum resting on a lion, and several other exquisitely wrought details from the old basilica; also a porphyry slab upon which the soldiers are said to have cast lots for the seamless robe; columns which were rent by the earthquake of the Crucifixion; a slab, resting on pillars, shown as a measure of the height of Our Saviour,[284] and a smaller slab, also on pillars, of which it is said that it was once an altar, at which the officiating priest doubted of the Real Presence, when the wafer fell from his hand through the stone, leaving a round hole which still remains.

Five General Councils have been held at the Lateran, viz.:--

I.--March 19, 1123, under Calixtus II., with regard to the Investiture.

II.--April 18, 1139, under Innocent II., to condemn the doctrines of Arnold of Brescia and Peter de Bruys, and to oppose the anti-pope Anacletus II.

III.--March 5, 1179, under Alexander III., to condemn the doctrines of Waldenses and Albigenses, and to end the schism caused by Frederick Barbarossa.

IV.--Nov. 11, 1215, at which 400 bishops assembled under Innocent III., to condemn the Albigenses, and the heresies of the Abbot Joachim.

V.--May 3, 1512, under Julius II. and Leo X., at which the Pragmatic Sanction was abolished, and a Concordat concluded between the Pope and Francis I. for the destruction of the liberties of the Gallican Church.

It is in the basilica of the Lateran that the Church places the first meeting between St. Francis and St Dominic.

"Une nuit, pendant que Dominique dormait, il lui sembla voir Jesus-Christ se preparant a exterminer les superbes, les voluptueux, les avares, lorsque tout-a-coup la Vierge l'apaisa en lui presentant deux hommes: l'un d'eux lui-meme; quant a l'autre, il ne le connaissait pas; mais le lendemain, la premiere personne qu'il apercut, en entrant au Latran, fut l'inconnu qui lui etait apparu en songe. Il etait couvert de haillons et priait avec ferveur. Dominique se precipita dans ses bras, et l'embrassant avec effusion: 'Tu es mon compagnon,' lui dit-il; 'nous courons la meme carriere, demeurons ensemble, et aucun ennemi ne prevaudra contre nous.' Et, a partir de ce moment, dit la legende, ils n'eurent plus qu'un cur et qu'une ame dans le Seigneur. Ce pauvre, ce mendiant, etait saint Francois d'Assise."--_Gournerie, Rome Chretienne._

Issuing from the west door of the basilica, we find ourselves in a wide portico, one of whose five doors is a Porta Santa. At the end, is appropriately placed an ancient marble statue of Constantine, who is in the dress of a Roman warrior, bearing the _labarum_, or standard of the cross, which is here represented as a lance surmounted by the monogram of Christ. From this portico we look down upon one of the most beautiful and characteristic views in Rome. On one side are the Alban Hills, blue in morning, or purple in evening light, sprinkled with white villages of historic interest--Albano, Rocca di Papa, Marino, Frescati, Colonna; on the other side are the Sabine Mountains, tipped with snow; in the middle distance the long, golden-hued lines of aqueducts stretch away over the plain, till they are lost in the pink haze, and nearer still are the desolate basilica of Santa Croce, the fruit gardens of the Villa Wolkonski, interspersed with rugged fragments of massive brickwork, and the glorious old walls of the city itself. The road at our feet is the Via Appia Nuova, which leads to Naples, and which immediately passes through the modern gate of Rome, known as the Porta _San Giovanni_ (built in the sixteenth century by Gregory XIII.). Nearer to us, on the right, is an ancient gateway, the finest on the Aurelian wall, bricked up by Ladislaus, king of Naples, in 1408. By this gate, known as the _Porta Asinaria_, from the family of the Asinarii, Belisarius entered Rome in 505, and Totila, through the treachery of the Isaurian Guard, in 546. Here also, in 1084, Henry IV. entered Rome against Hildebrand with his anti-pope Guibert; and, a few years after, the name of the gate itself was changed to Porta Perusta, in consequence of the injuries it received from Robert Guiscard, who came to the rescue of the lawful pontiff.

The broad open space which we see beneath the steps was the favourite walk of the mediaeval popes.

"The splendid palace of the Lateran reflected the rays of the evening sun, as Francis of Assisi with two or three of his disciples approached it to obtain the papal sanction for the rules of his new Order. A group of churchmen in sumptuous apparel were traversing with slow and measured steps its lofty terrace, then called 'the Mirror,' as if afraid to overtake him who preceded them, in a dress studiously simple, and with a countenance wrapped in earnest meditation. Unruffled by passion, and yet elate with conscious power, that eagle eye, and those capacious brows, announced him the lord of a dominion which might have satisfied the pride of Diogenes, and the ambition of Alexander. Since the Tugurium was built on the Capitoline, no greater monarch had ever called the seven hills his own. But, in his pontificate, no era had occurred more arduous than that in which Innocent III. saw the mendicants of Assisi prostrate at his feet. The interruption was as unwelcome as it was abrupt; as he gazed at the squalid dress and faces of his suitors, and observed their bare and unwashed feet, his lip curled with disdain, and sternly commanding them to withdraw, he seemed again to retire from the outer world into some of the deep recesses of that capacious mind. Francis and his companions betook themselves to prayer; Innocent to his couch.

There (says the legend) he dreamed that a palm-tree sprouted up from the ground beneath his feet, and, swiftly shooting up into the heavens, cast her boughs on every side, a shelter from the heat, and a refreshment to the weary. The vision of the night dictated the policy of the morning, and assured Innocent that, under his fostering care, the Franciscan palm would strike deep her roots, and expand her foliage on every side, in the vineyard of the Church."--_Stephens' St. Francis of Assisi._

The western facade of the basilica, built by Alessandro Galilei in 1734, has a fine effect at a distance, but the statues of Christ and the apostles which line its parapet are too large for its proportions.

_The ancient Palace of the Lateran_ was the residence of the popes for nearly 1000 years. Almost all the events affecting the private lives of a vast line of ecclesiastical sovereigns happened within its walls.

Plundered in each successive invasion, stricken with malaria during the autumn months, and often partially burnt, it was finally destroyed by the great enemy of Roman antiquities, Sixtus V. Among the scenes which occurred within its walls, perhaps the most terrible was that when John X., the completer of the Lateran basilica, was invaded here by Marozia, who was beginning to seize the chief power in Rome, and who carried the pope off prisoner to St. Angelo, after he had seen his brother Peter murdered before his eyes in the hall of the pontifical palace.

The only remnants preserved of this famous building are the private chapel of the popes, and the end wall of their dining-hall, known as the _Triclinium_, which contains a copy, erected by Benedict XIV., of the ancient mosaic of the time of Leo III. which formerly existed here, and the remains of which are preserved in the Vatican.

"In this mosaic, Hallam (Middle Ages) sees proof that the authority of the Greek Emperor was not entirely abrogated at Rome till long after the period of papal aggrandisement by Pepin and his son, but he is warranted by no probabilities in concluding that Constantine V., whose reign began A.D. 780, is intended by the emperor kneeling with St. Peter or Pope Sylvester."--_Hemans' Ancient Christian Art._