Coordinates | 41°51′32.09″N12°30′19.90″E / 41.8589139°N 12.5055278°E |
---|
The Catacombs of Domitilla are an underground Christian cemetery named after the Domitilla family that had initially ordered them to be dug. Located in Rome, Italy, are the human-made subterranean passageways used for cemeteries and religious practice. They are among the largest catacombs in Rome, spreading out 17 km, largely along the ancient Via Ardeatine, laid out on four levels, and housing approximately 15,000 bodies underground. [1] The Catacombs of Domitilla are the only catacombs in Rome that have an underground Basilica and are one of only five Roman catacombs open to the public. [1] Constructed during the second and third centuries, this labyrinth of underground passages contains frescoes and a wealth of Christian iconography while also presenting masterful engineering skills and innovative architectural techniques. [2]
Consisting of a variably soft stone called tufa, a form of limestone that is porous, the terrain around Rome was well-suited for building catacombs. The volcanic nature of the earth made it easy to dig into the ground to create galleries and to expand existing hypogea. [3]
Built on property owned by Flavia Domitilla, the imperial family of Vespasiano, the catacombs are among the oldest and largest in Rome. From the nuclei to the composition of the great subterranean necropolises, the stages and developments of Christianity can be traced. [4]
Developed between the second and third centuries, this underground cemetery consists of three main regions. [3] The first region includes the Cubicle of Ampliato, which belonged to a family of imperial freedmen who had dug the hypogeum; this vast environment is separated into two sections by an arch used to support a landslide vault. [3] The decoration on the cubicle was redecorated one on top of another with each family member being placed within it. The second region contains the Flavi Aureli, whose entrance staircase would eventually be destroyed by the construction of the basilica during the fourth century. [3] The Flavi Aureli is a double cubicle that houses an inscription mentioning a "Happy Annio" and intact tombs. [4] The third region includes the lavish hypogeum of the Flavi and another area containing a group of martyrs. [3]
During the fourth century, the basilica and two more regions were constructed, the south and southwest regions. The south includes a crypt of six saints found in polygonal cubicles, one of which contains a frescoes depicting a scene of the coronation sanctorum. [3] The southwest region consists of regular galleries and the cubicle of the great apostles. [3]
Added to the complex at the end of the fourth century, during the pontificate of Pope Damasus, the semi-underground basilica was built in dedication to Saints Nereus and Achilleus. [4] The church was virtually lost in the early Middle Ages and rediscovered in the 1870s by the archaeologist Giovanni Battista de Rossi. [5]
The basilica is composed of a narthex, three naves, an apse, and is separated by two rows of four columns. [4] Of the main altar, there is only one surviving column which is decorated with a scene of the beheading of Achilleus. [4] Behind the altar rests a cubiculum containing an arcosolium with a fresco of Saint Petronilla. [6] Generally, historians assume Petronilla as a Roman saint or martyr, celebrated as the daughter of Saint Peter and revered by the Franks. [6] Although her remains were removed from Domitilla and moved to the Vatican at the insistence of the Frankish king, it is believed that the cult of Petronilla was celebrated in the underground basilica of Nereus and Achilleus, relating her hagiography to their Passions. [6]
Inside the Catacombs of Domitilla are images, some of which were revealed by the restoration, reflecting the life of bakers, [7] grape vines, Jesus with the apostles, Noah's ark, and Daniel with the lions. [7] Other biblical figures in the various cubicula include the Virgin Mary with child, [8] Adam, Eve, Jonah, The Good Shepherd, a young man dressed as a cardinal with apostles Peter and Paul. [9] Non-biblical, or pagan, figures include representations of Spring and Summer in the form of females with wings, both pictured with attendants [9] and scenes depicting Orpheus [10] surrounded by birds, beasts and the sheep that typically accompany him. [11] There are also other images of mythological and wild or tame beasts beyond the depictions of Orpheus. [10]
Orpheus is one of the best-known of the pagan mythological figures that occur in early Christian art and the representation of him charming the beasts includes some of the most undeniably pagan scenes to appear in Christian settings. [12] For the most part, the iconography associated with Orpheus is unchanging. He is typically depicted on a rock with a lyre resting on his left knee and the plectrum in his right hand. [12] The change, however, is found in the type of animal depicted with Orpheus; traditional pagan imagery depicts Orpheus accompanied by "wild, beast-like creatures", while the later Christian interpretations depict him with gentle animals such as sheep and doves. [12] The transference from wild to gentle animals proposes an intentional modification related to early Christian funerary practice. [12] In the scene of Orpheus in the Catacombs of Domitilla, Orpheus is depicted in the pagan tradition of being accompanied by beasts. The use of the pagan imagery in the Christian catacombs would have been used to suggest man's taming of his passions as a step toward Salvation. [12] Another possible reason for the pagan imagery could be an insinuation of the Messianic Kingdom, in which peace could be found among all beings. [12]
During the late fourth century, the Dei Fonai "the baker's" cubicle was part of newer regions being excavated, revealing a burial chamber likely owned by a baker or perhaps a senior officer who oversaw the food supplies. [13] The corridor of the cubicle was revealed to be garnished with coffered ceilings and interior decorations, including a reproduction series of opus sectile on the hoof of the inner curve of the four arcosolia depicting painted scenes of the Prophet Jonah. [13] Pre-Constantinian Christians valued the three stages of Jonah's cycle, Jonah cast into the sea, Jonah and the Ketos, and Jonah at rest. [14] Christian artists emphasized the third Jonah-at-rest and represented him in the visual tradition of Endymion. [14] Visual representations of Endymion made the journey from mosaics and tombs to represent Jonah in Christian catacombs of the third to fifth centuries. [14]
The western sector depicts a bucolic scene with a shepherd and four sheep and the representation of the season in the form of geniuses, while the eastern sector, is the depiction of Christ enthroned with two groups of apostles on the sides and the principles of Peter and Paul seated at the foreground. [13] Frescoes of four biblical scenes are depicted on the walls of the corridor, including the Binding of Isaac and Noah, as well as Jesus in multiplication of loaves and the miracle water from the rock. [15] At the end of the corridor sits the Bakers cubicle, where themes and representation of the baker are represented on the entrance by a figure standing behind a large container for wheat. [13] Scenes of the bakery are depicted along a continuous frieze depicting the arrival of the wheat at the Ostia harbor, the transport of the bags, and the distribution throughout the city. [13]
Dating back to the end of the second century and the oldest nucleus of the site, the Flavian Hypogeum is composed of a large gallery featuring four niches that host the sarcophagi homing the most important members of the family. [16]
As of January 2009, the Catacombs of Domitilla were entrusted to the Society of the Divine Word (SVD). [17] SVD has been responsible for the care of the sacred place, as well as communicate the deep meaning of its history. The Catacombs are currently open to the public for guided tours and the Priests and Brothers of this missionary Congregation hope to convey the cultural and spiritual complexity of the Christian Catacombs to all who visit. [17] The Catacombs are also available to be requested for the celebration of the Eucharist, to hold services, or ecumenical liturgies in the Basilica or the burial chambers. [17] The SVD believes that visiting this historical location and seeing the testimonies of ancient centuries through the fragments of frescoes, provides the opportunity to understand the various aspects early Christian life, their faith in Christ, and their hope in the resurrection and life eternal. [18]
So far, only 12 out of about 70 rooms have been restored. [19] What was revealed were both pagan and Christian inspired frescoes. [20] Two frescoes commemorating the city's early Christian roots have been exposed thanks to a seven-year restoration project, using laser instruments to burn away chalky deposits, algae, and residual smoke from oil lamps. [21] Scenes depicting Old and New Testament figures, likely commissioned 1,600 years ago, emerged from the debris and pollution and provided useful context to the transition period from Paganism to Christianity. [19]
The Catacombs of Rome are ancient catacombs, underground burial places in and around Rome, of which there are at least forty, some rediscovered since 1578, others even as late as the 1950s.
Early Christian art and architecture is the art produced by Christians, or under Christian patronage, from the earliest period of Christianity to, depending on the definition, sometime between 260 and 525. In practice, identifiably Christian art only survives from the 2nd century onwards. After 550, Christian art is classified as Byzantine, or according to region.
The Basilica Papale di San Lorenzo fuori le mura is a Roman Catholic papal minor basilica and parish church, located in Rome, Italy. The Basilica is one of the Seven Pilgrim Churches of Rome and one of the five papal basilicas, each of which was assigned to the care of a Latin Church patriarchate. The basilica was assigned to the Patriarchate of Jerusalem. The basilica is the shrine of the tomb of its namesake, Lawrence, one of the first seven deacons of Rome who was martyred in 258. Many other saints and Pope Pius IX are also buried at the Basilica, which is the centre of a large and ancient burial complex.
The Burial of St. Petronilla is an altarpiece painted by the Italian artist Giovanni Francesco Barbieri (Guercino) around 1623. It simultaneously depicts the burial and the welcoming to heaven of the martyred Saint Petronilla. The altarpiece was painted for St. Peter's Basilica in Rome, for a chapel dedicated to the saint and containing her relics. It was later transferred to the Quirinal Palace, before being taken to Paris by Napoleon's troops. Brought back to Italy by Antonio Canova, it was placed in the Capitoline Museums of Rome in 1818, where it is currently displayed.
Pancras was a Roman citizen who converted to Christianity and was beheaded for his faith at the age of fourteen, around the year 304. His name is Greek, meaning 'all-powerful'.
Santa Pudenziana is a church of Rome, a basilica built in the 4th century and dedicated to Saint Pudentiana, sister of Praxedes and daughter of Pudens. It is one of the national churches in Rome, associated with Filipinos.
Santi Nereo ed Achilleo is a fourth-century basilica church in Rome, Italy, located in via delle Terme di Caracalla in the rione Celio facing the main entrance to the Baths of Caracalla. It has been the titular church of Cardinal Celestino Aós Braco since 28 November 2020. Unusually it is part of a detached portion of the parish of Chiesa Nuova rather than the local geographical parish of San Saba and is served by Oratorians as a satellite of the Roman Oratory.
Nereus and Achilleus are two Roman martyr saints. In the present General Roman Calendar, revised in 1969, Nereus and Achilleus (together) are celebrated on 12 May.
Petronilla is an early Christian saint. She is venerated as a virgin by the Catholic Church. She died in Rome at the end of the 1st century, or possibly in the 3rd century.
The Catacomb of Priscilla is a large archaeological site on the Via Salaria in Rome, Italy, situated in what was a quarry in Roman times. The catacombs extend downward for over seven miles, making them one of Romes most expansive catacombs. it was used for thousands of Christian burials from the late 2nd century through the 4th century. The origin of the catacomb's namesake is highly contested and theorized. In one theory, Priscilla belonged to the Acilii Glabriones family and was the woman patron who donated the site. The family name can be found etched into the hypogeum.
The Catacombs of Marcellinus and Peter are found approximately three kilometers from southeast Rome and the ancient Via Labicana, and date to the 4th century AD. The catacombs were named in reference to the Christian martyrs Marcellinus and Peter who may have been buried there according to legend, near the body of St. Tiburtius.
The resurrection of Jesus has long been central to Christian faith and Christian art, whether as a single scene or as part of a cycle of the Life of Christ. In the teachings of the traditional Christian churches, the sacraments derive their saving power from the passion and resurrection of Christ, upon which the salvation of the world entirely depends. The redemptive value of the resurrection has been expressed through Christian art, as well as being expressed in theological writings.
The Last Supper of Jesus and the Twelve Apostles has been a popular subject in Christian art, often as part of a cycle showing the Life of Christ. Depictions of the Last Supper in Christian art date back to early Christianity and can be seen in the Catacombs of Rome.
The Vigna Randanini are Jewish Catacombs between the second and third miles of the Appian Way close to the Christian catacombs of Saint Sebastian, with which they were originally confused. The catacombs date between the 2nd and 5th-centuries CE, and take their name from the owners of the land when they were first formally discovered and from the fact that the land was used as a vineyard (vigna). While Vigna Randanini are just one of the two Jewish catacombs in Rome open to the public, they can only be visited by appointment. They are situated below a restaurant and a private villa and entrance is from the Via Appia Pignatelli side. These catacombs were discovered by accident in 1859, although there is evidence that they had been pillaged before then. They cover an area of 18,000 square metres and the tunnels are around 700 metres long, of which around 400 can be seen.
The Catacomb of Generosa is a catacomb of Rome (Italy), located in Via delle Catacombe di Generosa, close to a big bight of river Tiber on the right bank, in the Portuense quarter.
The Catacombs of San Sebastiano are a hypogeum cemetery in Rome, Italy, rising along Via Appia Antica, in the Ardeatino Quarter. It is one of the very few Christian burial places that has always been accessible. The first of the former four floors is now almost completely destroyed.
The funerary art of ancient Rome changed throughout the course of the Roman Republic and the Empire and took many different forms. There were two main burial practices used by the Romans throughout history, one being cremation, another inhumation. The vessels used for these practices include sarcophagi, ash chests, urns, and altars. In addition to these, mausoleums, stele, and other monuments were also used to commemorate the dead. The method by which Romans were memorialized was determined by social class, religion, and other factors. While monuments to the dead were constructed within Roman cities, the remains themselves were interred outside the cities.
Barbara Mazzei is an Italian archaeologist known for the discovery of the earliest iconography of the Apostles.
The Catacomb of Saint Thecla is a Christian catacomb in the city of Rome, near the Via Ostiense and the Basilica of Saint Paul Outside the Walls, in the southern quarter of the ancient city. The catacomb was constructed in the fourth century of the Common Era, linked with a basilica to the saint that is alluded to in literature. Because of the enigmatic endings of the legends of Saint Thecla of Iconium, it is still unknown whether the tomb belongs to the saint or if it belongs to a different noblewoman. Regardless, the tomb is an example of early Christian funerary practice and artwork. The most recent discovery in the catacomb was the depiction of several apostles, hypothesized to be their earliest portrayals. Of particular interest to many is the portrait of the Apostle Paul.
The Hypogeum of Vibia is part of a small complex of pagan burial chambers in Rome which were constructed along the Via Appia in the late 4th century CE. It is named for the burials of a woman named Vibia and her husband Vincentius, a priest of the Thraco-Phrygian god Sabazios. The hypogeum is notable for the paintings that show the deceased figures in mythological scenes and in the underworld, and for their accompanying inscriptions. Numerous other decorated tombs and inscriptions were found in the complex.
Media related to Catacombs of Domitilla at Wikimedia Commons
Preceded by Casal Rotondo | Landmarks of Rome Catacombs of Domitilla | Succeeded by Catacombs of Rome |