The Lindau Gospels.

Text is from MEDIEVAL HISTORIES

The Lindau Gospels.

Illustration: MEDIEVAL HISTORIES

The Lindau Gospels.

© Graham S. Haber, via The Morgan Library & Museum.

Illustration: MEDIEVAL HISTORIES

The Lindau Gospels, a 9th-Century A.D. Illuminated Manuscript, encased in a Gold Binding encrusted with Precious Stones, were recently put on display in The East Room of THE MORGAN LIBRARY AND MUSEUM, Madison Avenue, New York. [Just a short walk from Grand Central Station and Penn Station.]

“Because it’s a Binding, we can show it in brighter light than is normal,” Roger S. Wieck, the Head of the Department of Medieval and Renaissance Manuscripts, said in an interview to Artsbeat: “You really can see it so much better.”

One of only three surviving Goldsmith’s Works from The Court School of King Charles the Bald, a grandson of Charlemagne, the Book will be on view until 1 May 2016, before going into conservation in preparation for an exhibition in September 2017 (Word and Image: Martin Luther’s Reformation). The brighter display is part of a broader upgrade of the lighting in The Morgan Library and Museum's landmark 1906 Charles McKim building, undertaken at the request of Colin B. Bailey, the Library’s Director.

The Back Cover

of The Lindau Gospels.

© Morgan Library and Museum.

Illustration: MEDIEVAL HISTORIES

The angled display of The Lindau Gospels, coupled with the improved lighting, allows visitors to see the three-dimensional details on The Front Cover, which was made circa 870-880 A.D., probably in Eastern France.

Named after The Abbey of Lindau, on Lake Constance, Germany, where it was once housed, The Lindau Gospels rank as one of the great masterpieces from the collection of The Morgan Library and Museum. Its Jewelled Covers constitute one of the most important of all Mediaeval Treasure Bindings. Quite unusually, the Manuscript’s exquisite Covers are, in fact, from entirely different Regions and moments in time.

Dating to the Late-8th-Century A.D., The Back Cover is the earliest component of the Book and was likely made in the Region around Salzburg (Austria). The Front Cover, in contrast, dates to nearly a hundred years later (circa 870-880 A.D.) and was likely produced in what is today Eastern France. The Manuscript is later still (circa 880–890 A.D.), and was certainly written and Illuminated in The Monastery of St. Gall (Switzerland). At some unknown point in time, precious Silks from Byzantium and The Middle East were attached to The Inside Covers of the Manuscript, thus adding yet another layer of complexity to this fascinating object.

The Lindau Gospels.

Available on YouTube at

https://youtu.be/u5vM4rtUSQg

The Manuscript contains – according to the presentation at the MUSEUM'S WEB-SITE – the Text of The Four Gospels, along with standard supplementary material, such as The Prologues of Jerome, Prefaces for each of The Gospels, Chapter Listings, and twelve richly-Illuminated Canon Tables.

Clearly inspired by Textile Designs, the two Decorative Pages, that frame the Manuscript’s Canon Tables, are a particularly unusual feature of the Manuscript’s Illumination. Nothing quite like them exists in any other Manuscript from the period. Although The Lindau Gospels lack portraits of The Evangelists, as do several other examples of Gospel Books from St. Gall, the beginnings of The Four Gospels are nevertheless distinguished through sumptuous Double-Page Spreads, which feature the opening words of the respective Gospel Text. As many as seven different Scribes were engaged in the Copying of the Texts, and it is thought that a Monk named Folchart — one of St. Gall’s pre-eminent artists — was personally responsible for some of the Manuscript’s Illuminated Pages.

A large Gold Repoussé Crucifixion dominates this Jewelled Cover. Surrounding Christ are ten mourning figures: Below The Arms of The Cross, are The Virgin and Saint John and, probably, Mary Magdalene and Mary, the wife of Cleopas. The Cover’s architectural features allude to the Jewelled Heavenly Jerusalem, the City made possible by Christ’s Sacrifice. This Cover, and that of The Codex Aureus from St. Emmeram, in Regensburg, now in Munich, are the two finest Carolingian Jewelled Bindings. It is speculated The Cover may have been made at The Royal Abbey of St. Denis, Paris, France, where King Charles the Bald was Secular Abbot from 867 A.D. until his death in 877 A.D.

Jewelled Front Cover

of The Lindau Gospels.

Illustration: THE MORGAN LIBRARY AND MUSEUM

However, this presentation of The Lindau Gospel hinders a view of the often-forgotten Back Cover, which is the oldest Jeweled Binding in The Morgan Library and Museum. Although the precise date and origin of The Back Cover remain mysterious, it has been suggested that it was made around Salzburg, Austria, during the time of Bishop Virgilius (+ 784 A.D.). The main decorative motif is a Cross, the arms of which broaden at their ends.

In the central square, are a Topaz and four abbreviations: IHS XPS DNS NOS (Iesus Christus Dominus Noster — Jesus Christ Our Lord). Four Champlevé busts of Christ, framed by Garnets, extend from the square. Between the arms of The Cross are four Silver Gilt Panels with animal interlace. The four Medallions with The Evangelists were added in 1594.

The Book was acquired by J.P. Morgan in 1901, for the sum of £10.000,

At the dedicated Web-Site of The Morgan Library and Museum, it is possible to see a beautiful series of photos showing of The Covers of The Lindau Gospels, as well as the Manuscript it contains.

Inside Front Cover

of The Lindau Gospels.

Silk Damask Lining.

Byzantium.

9th-Century A.D.

Illustration: THE MORGAN LIBRARY AND MUSEUM

Lenten Station At The Church Of San Marcello-Al-Corso (Saint Marcellus). Wednesday In Passion Week.

Roman Text is taken from The Saint Andrew Daily Missal,
unless otherwise stated.

Italic Text from Wikipedia - the free encyclopaedia,
unless otherwise stated.

Wednesday in Passion Week.
      Station at Saint Marcellus's.

Indulgence of 10 Years and 10 Quarantines.

Violet Vestments.

English: The Church of San Marcello-al-Corso,
Rome, Italy.
Façade by Carlo Fontana.

Italiano: San Marcello al Corso è una chiesa di Roma.

Photo: November 2005.

Source: Own work.

Author: sv:User:Torvindus.

(Wikimedia Commons)

The Church of Saint Marcellus, where today’s Lenten Station is held, was one of the twenty-five Parish Churches of Rome in the 5th-Century A.D. Originally the house of the holy matron, Lucina, where she received Saint Marcellus, it was transformed by her into a Sanctuary and Dedicated to this holy Pope, whose body rests under The High Altar.

The Mass of today shows us the obstinacy of the Jews in rejecting Jesus, as they had already rejected His Father. The Divine Law, given by Him Whom the Epistle calls six times “The Lord”, “Whose word is stable” declared formally “that one may not shed his neighbour’s blood, nor hate his father in his heart”.

The Members of the Sanhedrin, on the contrary, hated Christ and sought to stone Him (Gospel). Unfaithful to God, “Who orders His laws to be kept” (Epistle), they blamed Jesus “Whom The Father has sent” and Who is The Son of God. “The Father and I are One. The Miracles that I have worked come from My Father.” “Rejecting the legitimate pastor of their Souls, they are no longer His sheep,” and will be replaced by the Gentiles, who, Baptised or reconciled to God at The Easter Festival, are “the sheep who hear His voice and to whom He gives Eternal Life” (Gospel).

The High Altar,
Basilica of San Marcello-al-Corso,
Rome, Italy.

Photo: July 2007.

Source: Own work.

Author: SteO153

Permission: CC-BY-SA-2.5.

(Wikimedia Commons)

Let us be faithful to Jesus and Pray God “to Sanctify our Fast and illumine our hearts” (Collect), in order that, delivered from the abyss into which our sins had made us fall (Gradual), we “may wash our hands among the innocent and proclaim the wondrous works of God” (Communion).

Three Feasts called the Jews to Jerusalem:

1.      In the Spring, it was The Feast of the Passover, instituted to commemorate the departure from Egypt;

2.      In the Autumn, it was The Feast of Tabernacles, in commemoration of the sojourn of the Jews in tents in the desert;

3.      In the Winter (middle of December), it was The Feast of the Anniversary of the Dedication of the Temple, which the Machabees had purified after their victory. It was on the occasion of this last Feast, that Jesus, in the third year of His Ministry, spoke the words in today’s Gospel. He was then under Solomon’s Porch, which faces the ravine of Cedron.

Mass: Liberátor meus.

The Apse,
Church of Saint Marcellus,
Rome, Italy.

Photo: July 2007.

Source: Own work.

Author: SteO153.

(Wikimedia Commons)

The following Text is from Wikipedia.

San Marcello-al-Corso is a Church in Rome, Dedicated to Pope Marcellus I. It is located in via del Corso, the ancient via Lata, connecting Piazza Venezia to Piazza del Popolo. It stands diagonally from the Church of Santa Maria-in-Via-Lata (see yesterday's Post).

While the Tradition holds that the Church was built over the prison of Pope Marcellus I (who died in 309 A.D.), it is known that the "Titulus Marcelli" was already present in 418 A.D., when Pope Boniface I was Elected here.

Pope Adrian I, in the 8th-Century A.D., built a Church in the same place, which is currently under the modern Church.

The corpse of Cola di Rienzo (an Italian Mediaeval politician), was held in the Church for three days after his execution in 1354. In 1519, a fire destroyed the Church. The money collected for its rebuilding was used to bribe the Landsknechts, who were pillaging the City during The Sack of Rome (1527). The original plan to rebuild the Church was designed by Jacopo Sansovino, who fled the City during The Sack and never returned to finish it. The work was continued by Antonio da Sangallo the Younger, who rebuilt the Church, but a Tiber flood damaged it again in 1530. It was only in 1592 that the Church was completed, and, later, Carlo Fontana built the facade.

The Sacristy Ceiling fresco:
"Gloria di San Marcello",
by Giovanni Battista Ciocchi.

Church of San Marcello-al-Corso,
Roma, Italia.

Photo: November 2005.

Source: Flickr

Author: antmoose

Reviewer: Mac9.

(Wikimedia Commons)

Under The High Altar, decorated with 12th-Century opus sectile, are the Relics of several Saints, which include those of Pope Marcellus, as well as Digna and Emerita. The last Chapel on the Left is Dedicated to Saint Philip Benizi. The Late-Baroque decoration contains sculptures by Francesco Cavallini and Reliefs by Ercole Ferrata and Antonio Raggi. The first Chapel on the Left has the double tomb of Cardinal Giovanni Michiel and his grandson, Antonio Orso, sculpted by Jacopo Sansovino.

Behind the facade is a Crucifixion (1613) by Giovanni Battista Ricci. Along the first Chapel is an Annunciation by Lazzaro Baldi; in the second Chapel, a Martyrdom of Saints Digna and Emerita (1727) by Pietro Barbieri; in the third Chapel, a Madonna with Child, a fresco of the Late-14th-Century, episodes of The Life of The Virgin by Francesco Salviati, fresco and paintings by Giovan Battista Ricci; in the fourth Chapel, a Creation of Eve and the Evangelists, Mark and John, frescoes by Perin del Vaga, Matthew and Luke, begun by Perin del Vaga and finished by Daniele da Volterra.

"St. Philip Benizi refuses the Papal Tiara"
by Antonio Raggi (1686).

The Church of Saint Marcellus,
Rome, Italy.

Photo: October 2005.

Source: Own work.

Author: User:Torvindus.

(Wikimedia Commons)

Inside, is a Ciborium (1691) designed by Carlo Bizzaccheri; in the fifth Chapel, is a Monument to Cardinal Fabrizio Paolucci (1726) by Pietro Bracci and a Monument to Cardinal Camillo Paolucci by Tommaso Righi (1776) and Wall Paintings by Aureliano Milani. On the Left Nave, in the fifth Chapel, is a San Filippo Benizi (1725) by Pier Leone Ghezzi; in the fourth Chapel, the Conversion of Saint Paul (1560) by Federico Zuccari and his brother, Taddeo, and, on the sides, a History of Saint Paul.

The inside of the Chapel has Busts of Muzio, Roberto, Lelio Frangipane by Alessandro Algardi (1630-1640). In the third Chapel, on the Left, is a "Doloroso" by Pietro Paolo Naldini, Sacrifice of Isaac and discovery of Moses by Domenico Corvi; in the first Chapel, a Madonna and Seven Saints by Agostino Masucci.

The Church is administered and owned by The Servite Order since 1369.

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Pilgrimage To Chartres, France. May 2016. Notre-Dame de Chrétienté: Pèlerinage de Chartres.

Illustration: THE REMNANT

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Lenten Station At Saint Cyriacus's (Basilica Of Santa Maria-In-Via-Lata). Tuesday In Passion Week.

Roman Text is taken from The Saint Andrew Daily Missal,
unless otherwise stated.

Italic Text from Wikipedia - the free encyclopaedia,
unless otherwise stated.

Tuesday in Passion Week.
      Station at Saint Cyriacus's.

Indulgence of 10 Years and 10 Quarantines.

Violet Vestments.

English: Basilica of Santa Maria-in-Via-Lata,
Rome, Italy.

Italiano: Roma, Santa Maria in via Lata, interno.

Photo: December 2006.

Source: Own work.

Author: Lalupa.

(Wikimedia Commons)

The Church, today, unites the memory of a Martyr with that of The Passion of Jesus, in making The Lenten Station in The Church of The Holy Deacon, Cyriacus, Martyred, under Emperor Diocletian, at The Gates of Rome. This Church, one of the twenty-five Parish Churches of Rome in the 5th-Century A.D., having been destroyed by fire, the body of The Holy Martyr was Translated to beneath The High Altar of Santa Maria-in-Via-Lata, which became The Place of Assembly for this day.

The Epistle and Gospel tell us of the approaching Passion of The Messiah and of The Rejection of Israel, who are replaced by The Gentiles in The Church.

“Daniel, who has destroyed Bel and slain the Dragon” (Epistle), is Jesus, Who denounces the crimes and sins of the World (Gospel). The Babylonians sought to destroy the Prophet, by throwing him as food to the hungry lions. The Jews, also, “sought to kill Jesus” and, for this dark design, “their hour is always at hand”.

Interior of Santa Maria in-Via-Lata al Corso.

Photo taken from Google Images and

http://seekmeandlive.blogspot.co.uk/
2010/03/santa-maria-in-via-lata.html

But, like Daniel, full of fortitude, He awaits The Lord (Introit), and God, “Who does not abandon those who love and seek Him” (Epistle, Offertory), “delivers Him from unjust men and from all the ills that threaten Him” (Gradual, Communion). “Those who had wished to destroy Daniel were themselves thrown to the lions and devoured instantly” (Epistle). In the same way, the Deicide Nation suffered the penalty of its crime. Forty years later, Jerusalem was taken, by The Roman Legions, after five long months of famine.

Fearing the chastisements of Divine Justice, let us persevere in the expiatory practice of Fasting, in order that we may be made worthy of The Eternal Reward accorded to The Just (Collect).

Mass: Exspécta Dóminum.

English: Side-Aisle in Santa Maria-in-Via-Lata,

Rome, Italy.

Italiano: Roma, s. Maria in via Lata.

Photo: 20 June 2010.

Source: Own work.

Author: Lalupa.

(Wikimedia Commons)

The following Text is from Wikipedia - the free encyclopedia.

Santa Maria-in-Via-Lata is a Church on the Via del Corso (the ancient Via Lata), in Rome, Italy. It stands diagonally across from the Church of San Marcello al Corso.

It is claimed that Saint Paul spent two years here, in the Crypt under the Church, whilst under house arrest waiting for his trial.

English: The Church of Santa Maria-in-Via-Lata,
Rome, Italy.

Italiano: Chiesa di Santa Maria in Via Lata, Roma.
Facciata di Pietro da Cortona.

Photo: April 2006.

Source: Own work.

Author: Torvindus.

(Wikimedia Commons)

The first Christian place of worship here was a 5th-Century A.D. Oratory, in the Roman building beneath the present Church. This was constructed within the remains of a large Roman warehouse, some 250 metres long, which has also been excavated. The Church's Upper Level was added in the 9th-Century A.D., and murals added to the Lower Level between the 7th- and 9th-Centuries A.D., (these have been detached for conservation reasons). The Cosmatesque Pavement from this phase survives.

The Church's 13th-Century icon of The Virgin Advocate, is said to have performed many Miracles. The Arcus Novus (an Arch erected by Emperor Diocletian in 303 A.D. - 304 A.D.), which stood on this site, was destroyed by rebuilding of the Church in the Late-15th-Century. Antonio Tebaldeo, poet and friend of Raphael, was buried at the end of the North Aisle in 1537, though his tomb was designed in 1776.

"The Virgin Advocate",
Church of Santa Maria-in-Via-Lata,
Rome. Italy.

Photo taken from Google Images
and cryptavialata.it

The Church was renovated in 1639 by Cosimo Fanzago, but the facade, with its Corinthian Columns imposing vertical emphasis, was completed (1658-1660) by a design from Pietro da Cortona. He appears to evoke a Triumphal Arch in the facade.

The High Altar's Madonna Advocata (1636) is one of the few paintings in Churches attributed to Bernini (perhaps by Santi Ghetti). The Ciborium in the Apse is made from alabaster and lapis lazuli. The first excavations of the site also occurred at this date, as commemorated by a Relief in the Crypt by Cosimo Fancelli. The families of Joseph and Lucien Bonaparte were buried here in the 18th-Century.

English: The Nave,

Santa Maria-in-Via-Lata,

Rome, Italy.

Deutsch: Innenraum der Kirche.

Photo: 6 February 2011.

Source: Own work.

Author: Andreas Faessler.

(Wikimedia Commons)

The first Altarpiece is a Martyrdom of Saint Andrew (1685), by Giacinto Brandi, while the second Altarpiece is of Saints Giuseppe, Nicola, and Biagio, by Giuseppe Ghezzi. In the Chapel, to the Left of the Apse, is a Madonna with Child and Saints Cyriac and Catherine, by Giovanni Odazzi.

The second Altar, on the Left, has a Saint Paul Baptising Sabine and Children, by Pier Leone Ghezzi, while the first Altarpiece is a Virgin and Saints, by Pietro de Pietri.

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The Stations Of The Cross During Lent.

The Eleventh Station.

Jesus Is Nailed To The Cross.

Illustration: THE TRUE MASS

During Lent (a time of Prayer, Mortification, and Alms-Giving),

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Illustration: PINTEREST

Lenten Station At The Basilica Of Saint Chrysogonus. Monday In Passion Week.

Roman Text is taken from The Saint Andrew Daily Missal,
unless otherwise stated.

Italic Text from Wikipedia - the free encyclopaedia,
unless otherwise stated.

Monday in Passion Week.
      Station at Saint Chrysogonus's.

Indulgence of 10 Years and 10 Quarantines.

Violet Vestments.

Basilica of Saint Chrysogonus,
Trastevere, Rome, Italy.

Photo: September 3006.

Source: Own work.

Author: Lalupa.

(Wikimedia Commons)

The Lenten Station is at Saint Chrysogonus's-in-the-Trastevere. Under the High Altar of this Church, one of the twenty-five Parish Churches of Rome in the 5th-Century A.D., rests the body of this Holy Martyr, a victim of The Diocletian Persecution. His name is mentioned in The Canon of The Mass.

Among the previous Cardinal Priests, from 1853 until 1878, was Vincenzo Gioacchino Raffaele Luigi Pecci, who was subsequently Elected Pope Leo XIII.

To encourage the Public Penitents, and ourselves, likewise to persevere in the austerities of Lent, The Church reminds us, in the Epistle, of the pardon granted to the Ninivites, who, moved by the voice of Jonas, Fasted and covered themselves with Ashes for forty days.

Pope Leo XIII was a previous Cardinal-Priest 

of the Basilica of San Crisogono, Trastevere, Rome.

Photogram of the 1896 film, "Sua Santitá Papa Leone XIII", 

the first time a Pope appeared in a movie.

This image was copied from wikipedia:de. 

The original description was: Papst_Leo_XIII. um ca. 1898.

Public Domain. Library of Congress

http://hdl.loc.gov/loc.pnp/cph.3a00543

This File: March 2006.

User: Crux.

(Wikimedia Commons)

With regard to The Catechumens, how sweet must have been their hope on hearing, in the Gospel, the promises of The Divine Master. Faith is about to draw from their Souls streams of living waters, springing from The Holy Spirit, Who will enter their Souls when they are Baptised.

The Jews, on the contrary, far from listening to Him, of whom Jonas was a figure, sought to lay hands on Jesus, Whom they are shortly to put to death. Jesus, in predicting it to them, announced to them His Triumph and their reprobation: "Yet a little while, and I go to My Father, and thither you cannot come."

Let us ask "God to sanctify our Fasts and mercifully grant us the pardon of our sins" (Collect), so that we may always enjoy health of Soul and body" (Prayer over the people).

Mass: Miserére mihi.
Preface: Of The Holy Cross.

Interior of the Basilica of San Crisogono,

Rome, Italy.

Photo: December 2006.

Source: Own work.

Author: Lalupa.

(Wikimedia Commons)

The following Text is from Wikipedia - the free encyclopaedia.

San Crisogono is a Basilica Church in Rome (rione Trastevere) Dedicated to The Martyr, Saint Chrysogonus.

The Church was one of the Tituli, the first Parish Churches of Rome. It was probably built in the 4th-Century A.D., under Pope Sylvester I (314 A.D. – 335 A.D.), rebuilt in the 12th-Century by John of Crema, and, again, by Giovanni Battista Soria, funded by Scipione Borghese, in the Early-17th-Century.

The area beneath the Sacristy was investigated by Fr. L. Manfredini and Fr. C. Piccolini in 1907. They found Remains of the first Church (see, below).

Saint Polycarp, Saint Vincent of Saragossa,

Saint Pancras of Rome, and Saint Chrysogonus.

Photo: July 2011.

Source: http://www.flickr.com/photos/

pelegrino/4641123925/in/photostream

User: Adam sk.

Author: At Sant'Apollinare Nuovo, Ravenna.

(Wikimedia Commons)

The Church is served by The Trinitarians. Among the previous Cardinal-Priests was Vincenzo Gioacchino Raffaele Luigi Pecci (Cardinal-Priest from 1853–1878), who was subsequently Elected Pope Leo XIII.

Art and architecture

The Bell Tower dates from the 12th-Century. The Interior of the Church was rebuilt in the 1620s, on the site of a 12th-Century Church. The twenty-two granite Columns, in the Nave, are recycled antique Columns. The floor is Cosmatesque, but most of it is hidden by the Pews. The High Altar is from 1127, with a Baldacchino from the Early-17th-Century by Gian Lorenzo Bernini.

English: The Baroque Coffered-Ceiling

with a centre painting by Guercino.

Italiano: Roma, San Crisogono (rione Trastevere):

soffitto a lacunari con stemmi del cardinale Scipione Borghese.

Photo: March 2007.

User: Lalupa.

(Wikimedia Commons)

The painting, in the middle of the Baroque Coffered-Ceiling, is by Guercino, and depicts the Glory of Saint Chrysogonus. It is likely a Copy, in which case the original was taken to London, but it might also be vice versa.

On the Left Side of the Nave, is the Shrine of Blessed Anna Maria Taigi. She was buried here in the Habit of a Tertiary of The Trinitarians. Some of her belongings are in the adjacent Monastery, where they are kept as Relics.

The Monument at the Left of the Entrance, Dedicated to Cardinal Giovanno Jacopo Millo, was completed by Carlo Marchionni and Pietro Bracci. Along the Right of the Nave are the fresco remains, including a Santa Francesca Romana and a Crucifixion, attributed to Paolo Guidotti and Transferred from the Church of Saints Barbara and Catherine. The Nave also contains a painting of Three Archangels, by Giovanni da San Giovanni.

English: The Cosmatesque floor

of the Basilica of Saint Chrysogonus, Rome.

Italiano: Roma, Basilica di san Crisogono in Trastevere:

pavimento cosmatesco.

Photo: December 2006.

User: Lalupa.

(Wikimedia Commons)

The Nave has a Trinity and Angels by Giacinto Gimignani, while the Altar has a Guardian Angel by Ludovico Gimignani. The Presbytery and Ciborium are surrounded by four alabaster Columns; a work by Soria. The Apse has frescoes of the Life of Saint Crisogono (16th-Century) and, below, Madonna and Child with Saints Crisogonus and James, by the 12th-Century School of Pietro Cavallini. The Presbytery Vault is frescoed with a depiction of Our Lady by Giuseppe Cesari.

Excavations

Remains from the first Church, possible from the Reign of Emperor Constantine I, and earlier Roman houses, can be seen in the lower parts, reached by a staircase in the Sacristy. The ruins are confusing, but you can easily find the Apse of the old Church, and you can see the Remains of The Martyr's Shrine in the middle of the Apse wall.

On either side of the Apse, are rooms known as Pastophoria, Service Rooms of a type uncommon in the West. but normal in Eastern Churches. The one on the Right-Hand Side is thought to have been used as a Diaconium, with functions resembling those of the Sacristy in later Churches. The other would probably have been a Protesis, where Holy Relics were kept.

Mosaic of Virgin and Child

with Saint Chrysogonus (Left)

and Saint James the Greater (Right).

At the Church of San Crisogono,

Rome, Italy, circa 1273-1308.

Photo: July 2011.

Source: http://www.aug.edu/augusta/iconography/

sanCrisogono2007/madonnaChildCavalini.html

User: Adam sk.

Author: Church of San Crisogono-in-Trastevere, Rome.

(Wikimedia Commons)

A number of basins were found during the excavations, including one cut into the South Wall. As the plan is so atypical of Early-Roman Churches, some believe that the structure originally had a different function, and the presence of the basins could mean that it was a Fullonica, a laundry and dye-house. The area was a commercial district at the time, so this is quite likely. Others think that the basin in the South Wall was made for Baptism by immersion. As there were other basins, too, it seems more likely that it was originally intended for a different use, but it may well have been used as a Baptismal Font, after the building had been Consecrated as a Church.

The paintings are from the 8th-Century A.D. to the 11th-Century, and include Pope Sylvester Capturing the Dragon, Saint Pantaleon Healing the Blind Man, Saint Benedict Healing the Leper and The Rescue of Saint Placid. Several Sarcophagi have been preserved, some beautifully decorated. Below the first Church, are Remains of Late-Republican Houses.

Liturgy

The Feast Day of Saint Chrysogonus, 24 November, is also The Dedication Day of the Church. Pilgrims and other Faithful, who attend Mass on this day, receive a Plenary Indulgence.

Saint Peter's Italian Church,

Clerkenwell, London.

This London Church is modelled on

The Basilica of Saint Chrysogonus,

Rome, Italy.

Illustration: THE DAILY CONSTITUTIONAL

The following Paragraphs are taken from THE DAILY CONSTITUTIONAL

Saint Peter's Italian Church is modelled on the Basilica of San Crisogono in Rome, St Peter’s Italian Church was consecrated as “The Church of All Nations” in 1863. This moniker is reflected in not only the Italian congregation (2000-strong by the 1850s), but in its Irish architect, John Miller-Bryson, as well as the addition of Polish-speaking Priests back in the 1870s.

The Church was Founded by Saint Vincent Pallotti, the Roman Catholic Priest remembered in one of the Church’s icons.

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The Church Of The Holy Innocents. New York.

Ordinariate Involved In Preparing Arms For The Basilica Of Our Lady of Walsingham.

The Armorial Ensigns of The Basilica of Our Lady of Walsingham.

Illustration: THE PERSONAL ORDINARIATE OF OUR LADY OF WALSINGHAM

David Pritchard, a Member of The South-East Wales Ordinariate writes:

One of our group, Dr David Woolf, has a long-standing interest in Heraldry;

In December 2015, The Holy Father granted The Catholic National Shrine of Our Lady of Walsingham the very special honour of being raised to The Dignity of a Minor Basilica. The Shrine has now been re-named The Basilica of Our Lady of Walsingham;

A Basilica is a Church which comes under the special protection of The Holy Father, in consequence of which a Basilica has some very specific Rights and Privileges. One such Privilege is that a
Papal Ombrellino is placed in the Basilica, waiting in anticipation of the arrival of The Holy Father. The Ombrellino is Decorated with The Arms of The Basilica;

Dr Woolf has been a long-standing pilgrim and supporter of The Shrine and remains a Member of The Order of Our Lady of Walsingham. He was linked with The Rector of The Basilica, Monsignor John Armitage, who has since asked him to ensure that Heraldically-suitable Arms might be adopted by The Basilica of Our Lady of Walsingham;

A Manuscript, dating from circa 1510, records The Arms of The Priory of Walsingham as 'Argent on a Cross Sable Five Lilies Slipped Argent', i.e. a Black Cross on a White Background, with Five Lilies superimposed on The Cross;

The Basilica is now the modern-day successor of The Priory of Walsingham, and, as such, it is appropriate that The Basilica has assumed The Arms of The Priory. These Arms have been augmented to include the Ombrellino and The Papal Crossed Keys, one Gold, the other Silver;

Depicted here is a rendition of these Arms, now to be used by The Basilica of Our Lady of Walsingham. They have been painted, under Dr Woolf's direction, by the Heraldic artist Tom Meek. A Copy of these Arms has been sent to Rome for incorporation on the Ombrellino, which will be presented to The Rector of The Basilica;

It is a great honour that our Ordinariate group has such a direct link to The Basilica of Our Lady of Walsingham. I have said from the very beginning that we, in The Ordinariate, do not come into Full Communion 'empty handed'. This is a tangible example of that fact;

I am sure that you will join me in thanking and congratulating David on this achievement, which illustrates what good things can happen when The Ordinariate involves itself fully in the life of the wider Church.