911±¬ÁÏÍø

As the largest among the 26 churches in Rome dedicated to the Virgin Mary, the Basilica of Saint Mary Major holds a significant place in history. Originally constructed by Pope Liberius in the 4th century, the grandiose church has undergone renovations and enhancements by successive popes while still retaining its early medieval structure. The colonnaded nave, an integral part of the original 5th-century building, offers a glimpse into its ancient origins. The medieval era contributed the captivating Cosmatesque marble floor and the delightful Romanesque bell tower adorned with intricate blue ceramic roundels. During the Renaissance, a new coffered ceiling was introduced, while the Baroque period left its imprint with twin domes and grand facades at the front and rear. All in all, it’s a most successful blend of different architectural styles.

However, the true splendor of Saint Mary Major lies in its mosaics, which are among the oldest in Rome. The biblical scenes adorning the aisles date back to the 5th century, captivating visitors with their artistic depiction. The mosaics on the triumphal arch are particularly breathtaking, showcasing the skill and craftsmanship of the time. Among other medieval highlights is a magnificent 13th-century mosaic featuring an enthroned Christ in the loggia, adding to the artistic treasures within.

In 2001, Pope John Paul II inaugurated the Basilica Museum, dedicated to the church's history and the spread of Catholicism throughout the world. Here you will see ecclesiastical paintings, ritual vestments, scores from the choir and various manuscripts.

Tips: When visiting, be sure to take advantage of the small tours available to explore the church's hidden treasures. Additionally, don't miss the opportunity to visit the balcony loggia, which offers a unique perspective and allows you to admire more of the church's architecture. As evening sets in, find a serene spot by the fountain and marvel at the illuminated beauty of the building.

This basilica gained significant recognition thanks to Michelangelo's "Moses", a masterpiece sculpted in the early 16th century for Pope Julius II's unfinished tomb. Originally intended to be a grand structure featuring numerous statues and towering nearly 40 feet tall in Saint Peter's Basilica, only three statues were completed—Moses and the flanking figures of Leah and Rachel—before Julius passed away. The subsequent pope, a member of the rival Medici family, had different plans for Michelangelo, leading to the abandonment of the unfinished tomb. Despite this, the intense power of the remarkable Moses sculpture remains unparalleled in its setting. Legend has it that Michelangelo's profile, as well as that of the pope, can be discerned in the intricate details, such as the lock of Moses's beard beneath his lip.

In the church itself, Saint Peter takes a secondary role to the commanding presence of Moses. Under the main altar, an urn made of bronze and crystal houses the reputed chains that once bound Saint Peter during his imprisonment in Jerusalem and Rome. Other notable treasures include a 7th-century mosaic depicting Saint Sebastian, situated in front of the second altar to the left of the main altar, and the tomb of the Pollaiuolo brothers, two Florentine artists from the 15th century, located near the entrance.

Why You Should Visit:
Understated exterior, incredible interior; a Michelangelo must-see.

San Clemente is a most impressive archaeological site in Rome, renowned for its unique triple-decker structure. At its pinnacle sits the present-day basilica, erected in the 12th century. Below it lies a 4th-century church, built upon the remnants of a 2nd-century pagan temple dedicated to the god Mithras and ancient Roman apartments dating back to the 1st century. In 1857, Friar Joseph Mullooly initiated excavations beneath the basilica, unveiling these fascinating layers of history. Today, visitors can descend through time and explore all three levels, immersing themselves in the rich heritage preserved within.

The upper church, located at street level, exudes charm and splendor. Its apse features a radiant 12th-century mosaic depicting Jesus on the cross, transforming into a vibrant tree. Delicate green acanthus leaves dance across the mosaic, adorned with intricate scenes of daily life. The 4th-century marble choir screens showcase early Christian symbols, including doves, vines, and fish. Within the left nave, the Castiglioni chapel reveals frescoes created around 1400 by the Florentine artist Masolino da Panicale, renowned for his contributions to realism and perspective in Renaissance painting. Notable frescoes within the chapel depict the Crucifixion, scenes from the lives of Saints Catherine, Ambrose, and Christopher, and the Annunciation above the entrance.

Descending the stairs to the right of the sacristy and bookshop, visitors are transported to the 4th-century church, which remained in use until 1084 when it suffered irreparable damage during a siege led by Norman prince Robert Guiscard. Despite the passage of time, vibrant 11th-century frescoes depicting stories from the life of Saint Clement have endured. Of particular interest is the final fresco on the left, once part of the central nave. It showcases a captivating quote, including the unexpected phrase "Go on, you sons of harlots, pull!"—a rare and intriguing inclusion in a religious painting and an early example of written vernacular Italian.

Descending further down a set of stairs unveils the Mithraeum, a sacred shrine dedicated to the god Mithras. The cult of Mithras originated in Persia and gained popularity in Rome during the 2nd and 3rd centuries AD. These underground chambers served as a place of worship, mirroring the belief that Mithras was born in a cave. Stone couches, visible within the Mithraeum, served as seats for initiates who would gather to share meals. It is worth noting that many pagan shrines in Rome were dismantled by Christians, who often repurposed the sites by constructing churches atop them.

Why You Should Visit:
A very interesting glimpse into the ancient past – below street level!

Tip:
Bring a small flashlight for a closer inspection of the frescoes and wall paintings.

Saint John's, not Saint Peter's, holds the distinction of being highest-ranking basilica in the world. Founded in 324, it is the oldest public church in the city of Rome, and the oldest basilica of the Western world.

Emperor Constantine commissioned the construction of this grand structure, predating the establishment of Saint Peter's, making it the primary ecclesiastical seat of the Pope. Throughout its history, the edifice has faced challenges such as vandalism, earthquakes, and fires, leading to extensive restorations in the 16th and 17th centuries. Notably, the interior was artfully designed by the renowned Baroque genius Borromini. Standing tall on the impressive facade are colossal statues representing the Twelve Apostles, Christ, John the Baptist, and the Virgin Mary.

While much of the structure has undergone restoration, fragments from earlier periods remain. Adorning the left portico is an ancient statue of Constantine, while the central portal has ancient bronze doors transferred from the Curia in the Roman Forum. Inside, the altar boasts a magnificent Gothic tabernacle, dating back to 1367, which is believed to house the revered heads of Saint Peter and Saint Paul. A captivating sight awaits in the last chapel of the left aisle, where a cloister adorned with 12th-century cosmatesque mosaics can be admired.

Just around the corner, Emperor Constantine's octagonal baptistery stands as one of Rome's oldest Christian structures. Despite multiple restorations, a 17th-century redecoration, and even a car bombing in 1993 associated with the Mafia, this baptistery has preserved its ancient form.

Tip: Don't miss the opportunity to visit the cloister behind the archbasilica. Although there is a small fee, it grants you access to a collection of authentic antiquities dating back to pre-Roman times, as well as a selection of intriguing Catholic relics.

The Basilica of Saint Stephen in the Round on the Caelian Hill, commonly known as Santo Stefano Rotondo, is one of the most architecturally unique and historically significant churches in Rome. Consecrated between 468 and 483 AD by Pope Simplicius, this ancient basilica was the first church in Rome built on a circular plan—a design inspired by early Christian martyria and highly unusual in the context of Roman architecture. Located on the Caelian Hill, the church was financed by the noble Valerius family, who had strong ties to the Holy Land and were influential in establishing this sacred space. Saint Stephen in the Round is not only dedicated to Saint Stephen the Protomartyr but also to Stephen I, the first canonized king of Hungary, making it Hungary’s national church in Rome and the rectory church of the Pontifical Collegium Germanicum et Hungaricum.

Though its interior retains the original circular design, the church’s exterior features a cruciform layout, with a striking 12th-century portico added by Pope Innocent II. Inside, the circular nave is ringed with tall Corinthian columns and richly adorned with frescoes. Among the most powerful visual elements are the 34 graphic martyrdom scenes painted in the 16th century by Niccolò Circignani (Pomarancio) and Antonio Tempesta, commissioned by Pope Gregory XIII. These frescoes offer a vivid reminder of early Christian suffering and faith. The high altar, created by the Renaissance artist Bernardo Rossellino, and a 6th-century chair attributed to Pope Gregory the Great further enhance the church’s spiritual and artistic significance.

Several chapels add further depth to Saint Stephen in the Round’s cultural and religious legacy. The Chapel of Saints Primus and Felician, built in the 7th century by Pope Theodore I, houses mosaics depicting the martyrs with a jeweled cross and preserves their relics alongside those of the pope’s father. The so-called "Hungarian Chapel" is dedicated to Stephen I of Hungary, featuring recently restored late-antique marble flooring and 18th-century frescoes that conceal older layers of artwork still being studied. These chapels reflect the church’s enduring connections to both Eastern Christianity and Central European history.

Beneath the basilica lies an intriguing archaeological layer: a 2nd-century mithraeum, a subterranean sanctuary used for the worship of the Persian god Mithras, once frequented by Roman soldiers stationed nearby.

The Basilica of Saint Mary in Cosmedin, a minor basilica in Rome, is a historical church dedicated to the Virgin Mary. Originally built in the 6th century as a deaconry, it served the Greek community of Rome and followed Eastern rites. Over time, it expanded and evolved, undergoing major renovations in the 8th and 12th centuries, when its bell tower was added. Today, the church is known not only for its architecture but also for its relics.

Among the most intriguing of them is a skull crowned with flowers, located in a side altar, believed to belong to Saint Valentine, the 3rd-century martyr. However, the true identity of this relic remains uncertain. Despite this ambiguity, it continues to draw interest, especially among those fascinated by the history of Valentine’s Day celebrated on February 14.

Still, perhaps the most famous attraction of the church is the Mouth of Truth. This massive marble mask, weighing about 1,300 kg (or 2,900 lbs), is believed to represent Oceanus, the Greco-Roman sea god. While its original function remains debated, theories suggest it was either a drain cover from the nearby Temple of Hercules Victor, used for sacrificial blood drainage, or a decorative element of the ancient Forum Boarium. By the 13th century, it was placed near the church, eventually moving to its current location in the 17th century.

The Mouth of Truth is best known for its medieval legend, which claims that anyone placing their hand inside and telling a lie will have their hand bitten off. Though this has never been proven (or at least, no official reports exist!), the myth has endured, attracting countless tourists eager to test their honesty—after paying a small fee, of course.

Its global fame skyrocketed in 1953, thanks to the film "Roman Holiday", starring Audrey Hepburn and Gregory Peck. In a memorable and most hilarious scene, Peck pretends to lose his hand in the Mouth of Truth, terrifying Hepburn in a brilliant unscripted prank that the director decided to keep in the final cut. Hepburn’s genuine shock added a great deal of charm to the scene. The film’s success turned the site into an international tourist hotspot, with visitors lining up from 9 a.m. just to recreate the famous scene.

If you're in Rome, why not try your luck? Just remember to have some cash ready—because if not, you might have to pay in other ways... including, perhaps, your own hand...