Peterborough Cathedral.
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Text from The Saint Andrew Daily Missal,
unless otherwise stated.
Saturday in Passion Week.
Station at Saint John’s-Before-The-Latin-Gate.
Indulgence of 10 Years and 10 Quarantines.
Violet Vestments.
English: The Portal of the Basilica of
Saint John’s-before-the-Latin-Gate, Rome.
Italiano: San Giovanni a Porta Latina de Rome.
Français: Puits et portique de l’Église
San Giovanni-a-Porta-Latina de Rome.
Photo: July 2009.
Source: Own work.
Author: LPLT
(Wikimedia Commons)
The Lenten 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 for this day 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.
English: Basilica of Saint John’s-before-the-Latin-Gate.
Français: Nef de l’église San Giovanni-a-Porta-Latina, à Rome.
Photo: July 2009.
Source: Own work.
Author: LPLT
(Wikimedia Commons)
The Mass sums up all the great Mysteries which are about to fill Holy Week.
English: The Garden of Gethsemane (see, below).
The Church of Maria-Magdalene in the background.
Deutsch: Bild des Garten Gethsemane mit der
Maria-Magdalena-Kirche im Hintergrund.
Photo: July 2006.
(Wikimedia Commons)
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.
Five Pairs of Columns.
San Giovanni-a-Porta-Latina.
Photo: May 2009.
Source: Own work.
Author: LPLT
(Wikimedia Commons)
To avoid the effects of Divine Justice, let us die to sin and we shall produce much fruit unto Eternal Life.
Mass: Miserére mihi.
Preface: Of The Holy Cross.
English: Wall of the Narthex,
Basilica of Saint John’s-before-the-Latin-Gate.
Français: Mur du Narthex de l’Église
San Giovanni a Porta Latina de Rome.
Photo: July 2009.
Source: Own work.
Author: LPLT
(Wikimedia Commons)
The following Text is from Wikipedia - the free encyclopædia.
San Giovanni a Porta Latina (Saint John-before-the-Latin-Gate) is a Basilica Church in Rome, near the Porta Latina (on the Via Latina) of the Aurelian Walls.
A previous holder of the Titular Church was Cardinal Franciszek Macharski (☩ 2016) former Archbishop of Kraków.
The event was referred to in the Roman Martyrology, which was begun in the 7th-Century A.D., when already there was a Celebration of the event.
The Tradition, for the building of the Basilica of Saint John-before-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 A.D., 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.
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 A.D. 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
English: His Eminence, Franciszek Macharski,
former Cardinal-Priest of San Giovanni-a-Porta-Latina.
Polski: Homilia kardynała Franciszka Macharskiego w sierpniu 2002 r. (21?) w sanktuarium Miłosierdzia Bożego
w Łagiewnikach Krakowskich.
Photo: April 2005.
Source: Own work.
Author: Robert Wrzesiński.
(Wikimedia Commons)
The Tradition, for the building of the Basilica of Saint John-before-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 A.D., 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.
English: Apsidal frescoes in
San Giovanni-a-Porta-Latina.
Français: Fresques de l'abside de l’église
San Giovanni a Porta Latina de Rome.
Photo: November 2008.
Source: Own work.
Author: LPLT
(Wikimedia Commons)
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 A.D. 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".
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 re-used fragments of White Marble with Latin lettering) and 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 High Altar. After this work, another search of the face of the Central Nave revealed the presence of a full circle of Mediæval frescoes. The restoration of these frescoes was completed with the full restoration of the Basilica in 1940-1941. The Central Nave is decorated with about fifty scenes representing The Old and New Testaments, from The Creation of the World to the glorious Apocalypse of the New Jerusalem.
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".
English: Marble Columns in the Nave,
Basilica of Saint John’s-before-the-Latin-Gate.
Français: Les colonnes de la nef de l’Église
San Giovanni a Porta Latina de Rome.
Photo: July 2009.
Source: Own work.
Author: LPLT
(Wikimedia Commons)
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 re-used fragments of White Marble with Latin lettering) and 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 High Altar. After this work, another search of the face of the Central Nave revealed the presence of a full circle of Mediæval frescoes. The restoration of these frescoes was completed with the full restoration of the Basilica in 1940-1941. The Central Nave is decorated with about fifty scenes representing The Old and New Testaments, from The Creation of the World to the glorious Apocalypse of the New Jerusalem.
“The Mass Of The Foundation Of The Trinitarian Order”.
Artist: Juan Carreño de Miranda.
Illustration: LOUVRE
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