Lenten Station at Saint John's before the Latin Gate

Non-Italic Text taken from The Saint Andrew Daily Missal
for Saturday in Passion Week
Pictures and Italic text taken from Wikipedia (the free encyclopaedia) (unless otherwise accredited)
Station at Saint John's before the Latin Gate
Indulgence of 10 years and 10 Quarantines
Violet Vestments

San Giovanni a Porta Latina de Rome
(Taken from Wikimedia Commons. Photo taken by LPLT, July 2009)

The Station on this eve of Palm Sunday is of a comparatively late origin; formerly, [before the Station at Saint John's before the Latin Gate was appointed in the 12th-Century] the Pope spent a part of the day distributing alms [in his Palace, the Basilica of Saint John Lateran] to the poor, and rested in preparation for the tiring functions of the following days. When, later on, a Mass was appointed for this day, the parts to be sung by the Choir were borrowed from the Mass of yesterday.

The Stational Church chosen was at Saint John's before the Latin Gate. It is near the place where the Appian Way branches off, forming, to the left, the Latin Way.

[According to Tertullian (in The Prescription of Heretics), Saint John was banished (presumably to Patmos) after being plunged into boiling oil in Rome (by order of Emperor Domitian) and suffering nothing from it. It is said that all in the entire Colosseum audience were converted to Christianity upon witnessing this miracle. This event would have occurred during the reign of Domitian, a Roman Emperor who was known for his persecution of Christians in the late-1st-Century.]

The Mass sums up all the great mysteries which are about to fill Holy Week.

Garden of Gethsemane

The Gospel shows us Jesus "the King of Israel" acclaimed by the Jews and, some days later, "raised from the earth" and crucified. In the few Gentiles who expressed to Philip their desire to see Christ, let us foresee the many recruits that the Church is to make among the heathen nations.

Jesus is going to die like the grain of wheat, that He may produce much fruit. For the moment, "His Soul is troubled", as it will be in the Garden of Gethsemane. But, "it is for that He has come", "to glorify His father". And, as a voice from Heaven tells us, this glorification will be complete, for "the prince of this world shall be cast out" and the Saviour raised upon a Cross and reaching to Heaven "will draw all things to Him".

The Saviour here reveals to us His whole Heart, which wishes, at the price of such cruel sufferings, to ruin our enemy and secure our salvation.

Interior of San Giovanni a Porta Latina

(Taken from Wikimedia Commons. Photo taken by LPLT, May 2009)

Finally, Jesus speaks of those who refuse to follow Him and who walk in darkness, not knowing where they go, and, by the mouth of Jeremias, He anathematises "those who plot against the just. Their children will be delivered up to famine and their husbands put to death, for an unforeseen enemy will fall upon them and exterminate them" (Epistle). This prophecy was fulfilled. During the siege of Jerusalem, by the Romans in 70 A.D., the Jews, who had not died of famine, perished by the sword.

To avoid the effects of Divine Justice, let us die to sin and we shall produce much fruit unto eternal life.

San Giovanni a Porta Latina (Italian: "Saint John Before the Latin Gate") is a Basilica church in Rome, near the Porta Latina (on the Via Latina) of the Aurelian Wall. It is currently the Titular Church of Cardinal Franciszek Macharski, former Archbishop of Kraków. According to Tertullian, as quoted by Saint Jerome, in year 92 A.D., Saint John the Evangelist survived martyrdom at Rome under the Emperor Domitian by being immersed in a vat of boiling oil, from which he emerged unharmed. He was later exiled to island of Patmos. This event was traditionally said to have occurred at the Latin Gate (located on the Southern portion of the Roman wall). The nearby chapel of San Giovanni in Oleo is said to be on this very spot.

 

His Eminence, Franciszek Macharski, 

Cardinal-Priest of San Giovanni a Porta Latina

The event was referred to in the Roman Martyrology, which was begun in the 7th-Century, when already there was a celebration of the event. A Feast in the Roman Calendar also celebrated the event until 1962, when in 1960 Pope John XXIII removed most second Feasts of a single Saint. Only those who use Calendars older than 1960 now celebrate this Feast.

The tradition, for the building of the Basilica of Saint John at the Latin Gate, places its construction during the pontificate of Pope Gelasius I (492 A.D. - 496 A.D.). This is consistent with the oldest of the roof tiles, which have the imprint of a taxation stamp for the Ostrogoth King and ruler of Italy, Theodoric the Great (reigned 493 A.D. - 526 A.D.). One of these ancient roof tiles is now used in the Basilica as a lectern.

In the 8th-Century, the Basilica was restored by Pope Adrian I, and later the bell-tower and portico were added. At the end of the 12th-Century, the Basilica was re-consecrated by Pope Celestine III. In the 16th- and 17th-Centuries, a Baroque ceiling and other Baroque features were added to the interior.

Apsidal frescoes in San Giovanni a Porta Latina de Rome

From Wikimedia Commons. Photo taken by LPLT, November 2008

In 1940 - 1941, the Baroque features were removed and the Basilica was returned to a more primitive simplicity. This last renovation was carried out by the Rosminian Fathers, who, in 1938, were given care of the Basilica and the nearby building, where they opened the Collegio Missionario Antonio Rosmini which houses their International House of Studies.

The main entrance to the Basilica is fronted by a small piazza with a 100-year-old cedar and an 8th-Century well-head, nearly reproducing this aspect of the Basilica that would have been seen at the re-consecration by Pope Celestine III in the 12th-Century.

The portico (or porch) of the Basilica is supported by four re-used classical columns (each of a different marble) supporting five arches. The main door is framed with a simple mosaic of red and green porphyry.

The well-head, from the time of Pope Adrian I, has a double row circular design around its barrel and a Latin inscription completely around its crown: IN NOMINE PAT[RES] ET FILII ET SPI[RITUS SANT]I "In the name of the Father, of the Son, and of the Holy Ghost" and a quote from the Prophet Isaiah: OMN[E]S SITIE[NTES VENITE AD AQUAS] "All you who are thirsty come to the water" and the name of the stone-carver: EGO STEFANUS "I am Stephen".

Nave of San Giovanni

From Wikimedia Commons. Photo taken by LPLT, July 2009

The interior of the Basilica is divided into three naves, divided by two rows of columns on which rest semi-circular arches. The two columns closest to the sanctuary are of white marble with deep fluting. The other columns are of various types of marble and granite, capped with a diverse collection of Ionic capitals. The central nave terminates with a half-hexagon apse. Each of the three sides of the apse opens with a large window filled with honey-coloured onyx.

Occupying the ledge of the central window is a carved wooden crucifixion scene including Saint John the Evangelist and the Blessed Virgin Mary. In front of the altar, is a mosaic pavement in Cosmatesque style. The geometric pattern of red and green porphyry is framed in white marble (as well as reused fragments of white marble with Latin lettering) is thought to have been created before the 12th-Century. Inserted in the front step of the altar, is the “title” of the Basilica, of ancient origin, discovered during the renovations of 1940: TIT. S. IOANNIS ANTE PORTAM LA[TINAM]

In the years 1913-1915, then recently-discovered frescoes were restored above the main altar. After this work, another search of the face of the central nave revealed the presence of a full circle of mediaeval frescoes. The restoration of these frescos was completed with the full restoration of the Basilica in 1940-1941. The central nave is decorated with about 50 scenes representing the Old and New Testaments, from the creation of the world to the glorious apocalypse of the New Jerusalem. The frescoes were executed by several artists under the direction of one master.