Non-Italic Text taken from The Saint Andrew Daily Missal for the Monday of the Third Week in Lent
Pictures and italic text taken from Wikipedia (the free encyclopaedia) (unless otherwise accredited)
Station at Saint Mark's
Indulgence of 10 years and 10 Quarantines
Violet Vestments
The Station is at Saint Mark’s, an ancient Parish Church of Rome, built in the 4th-Century by Pope Saint Mark in honour of his patron, the Evangelist. Under the altar lie the remains of this Pope with the bodies of the holy martyrs, Abdon and Sennen.
One cannot choose a better spot wherein to read this account of the Syrian, Naaman, than in this Sanctuary, so clearly Oriental, since Saint Mark is the founder of the Patriarchal Seat of Alexandria, and Abdon and Sennen are Persians. This account of Naaman seems to make allusion to the Egyptians of Alexandria, whom Saint Mark healed from the leprosy of unbelief by Baptism.
The Epistle and the Gospel speak to us of Naaman, the valiant General of the King of Syria’s Army. He was cured by bathing in the Jordan, although he did not belong to the race of Israel. Later on, Jesus eas to plunge Himself into the same river and to communicate a sanctifying virtue to its waters. Naaman, therefore, is a figure of the heathen whom the Church, by Baptism, cures of the leprosy of sin. Peter, says Tertullian, has baptised in the Tiber, and those that he has cleansed from the leprosy of sin have abandoned the waters of Damascus, by which is meant their sensual life.
Let us renew ourselves in the spirit of our Baptism by purifying our hearts in the salutary bath of penitence. This will cure them of the leprosy, called sin.
In 336 A.D., Pope Saint Mark built a church devoted to one of the Evangelists, his name bearer Saint Mark, in a place called ad Pallacinas. The Church is thus recorded as Titulus Marci in the 499 A.D., Synod of Pope Symmachus. [At that time it became one of the Stational Churches of the city (Monday of the Third Week in Lent)].
After restoration (792 A.D.) by Pope Adrian I, the Church was rebuilt by Pope Gregory IV in 833 A.D.
Besides the addition of a Romanesque bell-tower in 1154 A.D., the major change in the architecture of the Church was ordered by Pope Paul II in 1465-70, when the inside and the outside of the Church were restyled according to the Renaissance taste. On that occasion, the Church was assigned to the Venetian people living in Rome, Pope Paul II being a Venetian by birth.
The last major reworking of the Basilica was started in 1654-57 and completed by Cardinal Angelo Maria Quirini in 1735-50. With these restorations, the Church received its current Baroque decoration.
The façade (1466 A.D.) was built with marble taken from the Colosseum and the Theatre of Marcellus, and is attributed to Leon Battista Alberti.
The inside is clearly Baroque. However, the Basilica shows noteworthy elements of all her millenary history:
The Apse mosaics, dating back to Pope Gregory IV, show the Pope, with the squared halo of a living person, offering a model of the Church to Christ, in the presence of Saint Mark the Evangelist, Pope Saint Mark and other saints;
The wooden ceiling, with the emblem of Pope Paul II, is one of only two original 15th-Century wooden ceilings in Rome, together with the one at Santa Maria Maggiore;
The tomb of Leonardo Pesaro (1796) by Antonio Canova.
Pictures and italic text taken from Wikipedia (the free encyclopaedia) (unless otherwise accredited)
Station at Saint Mark's
Indulgence of 10 years and 10 Quarantines
Violet Vestments
Façade of the Basilica. To the right, Palazzo Venezia, the former see of the embassy of the Republic of Venice, whose protector was Saint Mark
The Station is at Saint Mark’s, an ancient Parish Church of Rome, built in the 4th-Century by Pope Saint Mark in honour of his patron, the Evangelist. Under the altar lie the remains of this Pope with the bodies of the holy martyrs, Abdon and Sennen.
One cannot choose a better spot wherein to read this account of the Syrian, Naaman, than in this Sanctuary, so clearly Oriental, since Saint Mark is the founder of the Patriarchal Seat of Alexandria, and Abdon and Sennen are Persians. This account of Naaman seems to make allusion to the Egyptians of Alexandria, whom Saint Mark healed from the leprosy of unbelief by Baptism.
The Epistle and the Gospel speak to us of Naaman, the valiant General of the King of Syria’s Army. He was cured by bathing in the Jordan, although he did not belong to the race of Israel. Later on, Jesus eas to plunge Himself into the same river and to communicate a sanctifying virtue to its waters. Naaman, therefore, is a figure of the heathen whom the Church, by Baptism, cures of the leprosy of sin. Peter, says Tertullian, has baptised in the Tiber, and those that he has cleansed from the leprosy of sin have abandoned the waters of Damascus, by which is meant their sensual life.
Let us renew ourselves in the spirit of our Baptism by purifying our hearts in the salutary bath of penitence. This will cure them of the leprosy, called sin.
The Apse of San Marco
After restoration (792 A.D.) by Pope Adrian I, the Church was rebuilt by Pope Gregory IV in 833 A.D.
Besides the addition of a Romanesque bell-tower in 1154 A.D., the major change in the architecture of the Church was ordered by Pope Paul II in 1465-70, when the inside and the outside of the Church were restyled according to the Renaissance taste. On that occasion, the Church was assigned to the Venetian people living in Rome, Pope Paul II being a Venetian by birth.
Pope Paul II (1464 A.D. - 1471 A.D.) ordered the restyling of the Basilica in the Renaissance style
The last major reworking of the Basilica was started in 1654-57 and completed by Cardinal Angelo Maria Quirini in 1735-50. With these restorations, the Church received its current Baroque decoration.
The façade (1466 A.D.) was built with marble taken from the Colosseum and the Theatre of Marcellus, and is attributed to Leon Battista Alberti.
The Theatre of Marcellus, from which marble was taken
to build the facade of San Marco
The inside is clearly Baroque. However, the Basilica shows noteworthy elements of all her millenary history:
The Apse mosaics, dating back to Pope Gregory IV, show the Pope, with the squared halo of a living person, offering a model of the Church to Christ, in the presence of Saint Mark the Evangelist, Pope Saint Mark and other saints;
The wooden ceiling, with the emblem of Pope Paul II, is one of only two original 15th-Century wooden ceilings in Rome, together with the one at Santa Maria Maggiore;
The tomb of Leonardo Pesaro (1796) by Antonio Canova.
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