#archbasilica

Extra. That’s the only word that comes to mind when you stand in front of and inside the Archbasilica of St. John Lateran. The façade is made of so many sculptural elements that you can’t decide whether the building is a giant sculpture or if its architecture made of little architectural features. It’s proportional, whether we’re talking of the columns “holding” up the basilica, the arches on the second floor, or the sculptures on the roof. It’s aesthetically pleasing even though it’s just white marble. Carved into the triangular pediment are two angels that face each other. They are holding a sphere with an image of Christ the Pantocrator in the middle which is probably hard to see if the sun isn’t hitting it at the right angle. Above the pediment, at the center, is a sculpture of Christ holding onto the cross with one hand while his other reaches out towards those approaching the basilica. The Chi Rho monogram is carved right below the feet of His sculpture. What’s really fascinating about the sculptures at the top is how much they balance each other, not just in number but also in stance. They’re not necessarily mirroring each other’s movement but the movement itself flows with the opposite side. Hence the extra-ness of it all.

Then you step through the massive bronze doors of the basilica which previously used in the Roman Forum, and you realize that the outside is nothing compared to what’s inside. As much as I’d like to rant about the apse again, I won’t say anything except this: the blue of the sky where Christ is staged in contrasts beautifully with the gold of the earth where the figures of saints are standing and surrounding the Cross. Also, the space below the apse, where the altar is, contains geometric patterns made out of marble and it adds an extra something to the entire corner of that church. The canopy includes a vibrant Crucifixtion scene surrounded by sculptures with some blue and gold covering the marble columns and the small arches below. The ceiling is pretty much all gold with some blue and red filling the spaces between the designs of the ceiling. The interior, with its impressively large arches, is obviously proportional but one thing that does stand out is how parts of it, such as the ceiling, the apse, and the canopy, and the floor, are full of colors while the main nave is white stuccos and dark marbles. These are drastic differences but they do complement each other.

The last thing I want to focus on is, not surprisingly, the sculptures! Staged around the space are twelve colossal statues of the twelve apostles and you can recognize each one of them through the hagiographic icons (i.e. objects they’re associated with) they’re holding in their hands. I’ve said it before and I’ll say it again, the marble looks like it’s about to move at any moment. The drapery, the contrapposto, the stillness, the slow authoritative movement. It’s perfect. Whether you’re looking at St. Bartholomew with his skin in his hands or St. Peter with the keys of the church, each of the apostles looks like he was caught mid-sermon. They’re incredibly muscular and energetic and the marble looks like its about to break and release them. Beautiful.

St. Matthew

St. Batholomew

St. Paul