The Church Wall Entrance
Among the most visited basilicas in Rome—besides the four major ones—stands the Basilica of San Clemente, a hidden gem nestled in the very heart of the Eternal City. Walking through its ancient corridors is one of the most thrilling experiences Rome can offer, a journey where every step down the worn stone stairs feels like unlocking a door to the past, plunging into a world alive with echoes of both pagan rites and early Christian devotion.Layer upon layer, the Basilica of San Clemente is one of the few places in Rome where you can truly travel back through time, uncovering ruins that have silently witnessed the passage of centuries. The basilica rises atop the remains of a public building, Rome’s imperial mint, which existed even before the Great Fire of 64 A.D. Nearby, in the 2nd century, a Roman house was constructed, and in its courtyard, between the late 2nd and early 3rd centuries, a Mithraeum was founded—a secret temple dedicated to the god Mithras—later transformed into a grand hall, its space divided by rows of brick pillars and columns from the 3rd century A.D.The Christian basilica, built in 385 and consecrated by Pope Siricius, was dedicated to Saint Clement, the fourth successor of Saint Peter, who, according to tradition, had died in 97 A.D. and whose relics were miraculously discovered in Crimea in 867 by Saints Cyril and Methodius, then solemnly brought back to Rome.The fascinating story of the basilica's ancient layers remained hidden until the 1860s, when Joseph Mullooly, the prior of the Irish Dominican community at San Clemente, unearthed them through extraordinary excavations.Set in an exceptionally central location—just steps from the Colosseum, the ancient heart of imperial Rome, and a short walk from the Lateran Palace, the medieval residence of the popes—San Clemente offers a unique experience: the chance to pass from the medieval church, rich in splendid twelfth-century mosaics and artworks, down into two underground worlds.The first lower level reveals the structure and frescoes of an early Christian place of worship, while descending further leads you into the remarkably preserved ruins of an imperial Roman neighborhood, active between the 1st and 4th centuries A.D., offering a breathtaking journey through two thousand years of history.The basilica itself is surrounded by a perimeter wall, into which fragments of marble from earlier Roman buildings have been artfully incorporated, preserving traces of the ancient city within its very fabric.The main entrance, overlooking Piazza di San Clemente, features a 12th-century brick portico, reminiscent of the columned courtyards of Roman patrician houses. Supported by four massive granite columns from the imperial age, the portal is framed by intricately carved marble, its floral motifs interwoven with the timeless beauty of the early medieval period, a fitting threshold to a place where past and present blend into one timeless experience.
Atrium
Passing through the entrance portal, you immediately find yourself before a twelfth-century fountain at the center of the atrium, very similar to those that once adorned the courtyards of ancient Roman patrician houses. The fountain consists of an octagonal basin, from whose center rises a massive travertine column supporting a stone bowl, from which a small jet of water gently springs. This open space recalls the "quadriporticus," the monumental colonnaded courtyard that became a characteristic feature of the earliest Christian basilicas built under the patronage of Roman emperors who had converted to Christianity. Here, that ancient tradition is revived centuries later, in the heart of the Middle Ages, during the twelfth century. Looking at the columns that hold up the portico roof, you will notice several made of pink or gray Egyptian granite, materials repurposed from ancient Roman structures, following the custom that spread after the fall of the Roman Empire. On the northern side of the portico rises the basilica’s façade, designed in the early eighteenth century by Carlo Stefano Fontana. It is divided into two sections by a high cornice connected by volutes: the lower level, featuring a five-arched portico, contains the single portal leading into the liturgical hall, while the upper level, marked by pairs of Corinthian pilasters, is centered around a large arched window and crowned with a triangular pediment. To the left, the bell tower stands, dating from the same period, with a square plan and a belfry featuring a single arched opening on each side. The atrium stands as a perfect introduction to the basilica, where every detail reveals layers of history and timeless beauty.
Interior
As we step inside the basilica, built in the twelfth century, our gaze is immediately drawn to the magnificent marble mosaic floor, known as "cosmatesque," named after the Cosmati family, a renowned group of craftsmen active in Rome between the twelfth and thirteenth centuries. This style of flooring, with its intricate patterns and vibrant colors, can be admired in many other churches throughout the city and its surroundings. Look carefully at the geometric designs, the bright, shimmering colors of the marble inlays, weaving together in spirals that guide the eye toward the altar. For the faithful entering the church with their heads bowed in devotion, this splendid mosaic was meant to represent a reflection of Paradise on earth, a visual prayer crafted by the mosaicists and the religious patrons who commissioned the work.Raising your eyes, you can admire the splendid gilded wooden coffered ceilings above the naves, decorated with the emblems of Pope Clement XI. Within these frames, three paintings depict the Coronation of Mary, the Glory of Saint Servolus, and the Glory of Saint Clement.The paintings on the ceiling date to the eighteenth century, but the symbol of the anchor—linked to the martyrdom of Saint Clement, the basilica's patron saint—will soon reappear before us in much older forms.The columns that divide the interior into three naves were carefully repositioned here from the earlier, more ancient church. For this reason, unlike in many medieval basilicas where reused columns often differ greatly from one another, here the shafts and capitals appear regular and harmonious, giving a sense of unity and solemnity to the space.
Schola Cantorium and Presbytery
A few steps closer to the altar, at the center of the nave, you will find the Schola Cantorum, a marble enclosure made of intricately carved panels and balustrades. It was built in the twelfth century, reusing elements from the earlier church, originally donated by Pope John II between 533 and 535. His monogram can still be seen engraved on the marble walls that separate the central nave from the elevated presbytery.Since the earliest days of Roman liturgy, the schola cantorum served as a designated space for the psalmists or singers, those who would chant the opening verses of the psalms, leading the faithful in their responses. Traditionally placed at the end of the main nave, close to or even adjoining the sanctuary, this enclosed area could be accessed through a special gate known as the "holy door." Often slightly elevated above the nave floor, the schola was surrounded by low walls or balustrades—sometimes made of wood or metal, but more often built from marble panels, richly adorned with symbolic carvings or even mosaic decorations.At the far end of the schola cantorum stands the main altar, crowned by the medieval ciborium.Dating from the thirteenth century, the ciborium is supported by four pavonazzetto marble columns, topped with a decorative canopy featuring the characteristic cosmatesque style.Beneath this splendid canopy lies the altar itself, where the relics of Saint Clement and Saint Ignatius of Antioch are preserved, as commemorated by the two inscriptions placed nearby.
Apse
Now lift your gaze once more and admire the magnificent mosaic of the main apse. This extraordinary work, dating from the twelfth century, reveals strong Byzantine influences. On the so-called arch of the apse, we see the Apostles Peter and Paul, their names inscribed in Latin letters but using Greek words: "Agios" instead of "Sanctus." They are accompanied by the biblical prophets Isaiah and Jeremiah. Above them, the symbols of the four Evangelists form a crown around the central medallion featuring Christ in blessing.Below, stretching across the curve of the apse and along the arch’s base, are the two holy cities of Bethlehem and Jerusalem. From each gate, six sheep emerge in procession, representing the Apostles, all moving toward the central figure of the Lamb—symbol of Christ and his sacrifice.At the very heart of the mosaic stands the Crucifixion. Here, the cross is not a symbol of death but of life: it appears as the Tree of Life, with the waters of the four rivers of Eden flowing from its base and lush branches spreading out to fill the entire apse. Among the leaves and branches, we find the images of the Church Fathers and Doctors, as well as glimpses of daily life in the fields.The English writer Gilbert Keith Chesterton, visiting San Clemente in the 1930s, was deeply moved by this mosaic. He wrote, "Only a madman could stand before this mosaic and say that our faith is lifeless or a creed of death. Above, a cloud emerges from which the hand of God thrusts the cross into the earth like a sword. Yet it is anything but a sword, for its touch does not bring death, but life. Life bursting forth into the air, so that the world might not only live, but live abundantly."The biblical image that inspires this mosaic is the vine and its branches. We understand this even better when we read the inscription at the base: "We liken the Church of Christ to this vine, which by the law of nature withers, but by the cross is brought to life."Fittingly, a relic of the True Cross, along with a tooth of Saint James and one of Saint Ignatius, is preserved right at the point where Christ is depicted above this very inscription.
Chapel of Saint Catherine by Masolino
At the beginning of the fifteenth century, the Basilica of San Clemente once again became a vital center of Rome’s cultural life, thanks to the magnificent fresco cycle created by Masolino da Panicale for the chapel dedicated to Saint Catherine of Alexandria. This masterpiece, commissioned by Cardinal Branda Castiglioni, the titular of the church, firmly placed San Clemente within the grand program of Rome’s artistic rebirth promoted by Pope Martin V Colonna, who reigned from 1417 to 1431.After seventy years of papal residence in Avignon, from 1308 to 1378, these frescoes remain today the most important surviving testimony of that period’s artistic revival. The contemporary cycles painted by Gentile da Fabriano and Pisanello for the Basilica of Saint John Lateran, unfortunately, have been lost to time.The frescoes recount the life and martyrdom of Saint Catherine of Alexandria, a renowned scholar of the fourth century. According to tradition, she was condemned to a terrible death by Emperor Maximinus Daia, after she converted many of his court intellectuals to Christianity through her wisdom and unwavering faith.The narrative begins on the upper register, in the first panel on the left, where we see the noblewoman Catherine denouncing the worship of false gods, sparking the persecution of Christians ordered by the Emperor.It continues below, on the lower register’s first panel, where Saint Catherine, with brilliant eloquence, defends Christianity before fifty philosophers of Alexandria. Captivated by her arguments, the philosophers are said to have embraced the faith themselves.In the final panel on the left wall near the altar, Saint Catherine is depicted with hands clasped in prayer, a symbol of her steadfast faith in Christ. At the same time, an angel appears, armed with a sword, shattering the torture wheel and freeing her from her captors.To the right, the crowd is shown recoiling in terror, as pieces of the broken wheel, according to the Legenda Aurea, were said to have struck the onlookers.The story ends with the martyrdom of Saint Catherine by decapitation. In the upper left corner, angels are depicted carrying her body to Mount Sinai, where she would receive a burial worthy of her sacrifice.Beyond the stunning artistry of Masolino’s frescoes, what truly leaves visitors speechless is the profound harmony between humanistic learning and pure theology—a balance that Saint Catherine embodies with grace and power, becoming the ultimate orator of faith.
Chapel of Saint Cyril
Inside this chapel are preserved the relics of Saint Cyril.Originally named Constantine, Cyril and his brother Methodius, born in Thessalonica, were invited in 863 by Prince Rastislav to Great Moravia. There, they translated the liturgical texts into the Slavonic language, bringing them later to Rome where, in 868, their work was officially approved by Pope Adrian II.Shortly afterward, Constantine fell gravely ill. He entered the monastery of the Greek monks located next to the Basilica of Saint Praxedes, where he took the monastic name Cyril.He died on February 14, 869, at the age of forty-two. Although he was initially meant to be buried in Saint Peter’s Basilica, his brother Methodius obtained permission for him to rest beside Pope Clement, whose relics they themselves had brought back to Rome.Known as the Apostles to the Slavs, Cyril and Methodius, born at the dawn of the ninth century, carried out a missionary work in Central Europe that was remarkable for its sensitivity to the customs and languages of the peoples they sought to evangelize.Cyril was educated in Thessalonica and Constantinople, studying under renowned masters and later teaching for a brief period. He declined prestigious civil appointments to devote himself to the Church.Methodius received a thorough legal education and, after serving in administrative roles, embraced the monastic life in Bithynia.Commissioned first to Crimea and later, in 863, to Moravia by the emperor of Constantinople, the two brothers spent nearly four years leading a mission that produced extraordinary results.They trained a native clergy to establish a solid ecclesiastical hierarchy for the Slavic Church and gifted the Slavic peoples with the alphabet that still bears Cyril’s name—the Cyrillic script.Thanks to this, they were able to guide their converts to a deeper understanding of the Word of God and the sacred mysteries, celebrating the liturgy in the language of the people.On December 30, 1980, Pope John Paul II proclaimed Saints Cyril and Methodius co-patrons of Europe, alongside Saint Benedict.
Access to the underground levels
Before descending to the first underground level, take a moment to notice, just to the right of the entrance to the sacristy, this strange arch set very low into the wall.It was once part of the ancient church structure—the very one we are about to visit below.You’ll notice how the current basilica was built directly over the earlier one, but on a much smaller scale.Keep in mind that the church whose remains we will soon explore was constructed in the fourth century, a time when Rome’s population numbered around 800,000.By contrast, the new, smaller basilica was built when the city’s population had shrunk dramatically, to about 50,000 inhabitants.To reach the lower levels, we will now proceed toward the ticket office.
Narthex - First Room of the Ancient Basilica
We have now descended to the first underground level. Here, remarkably well-preserved, are the structures of an ancient church: the original Basilica of San Clemente.Damaged by a devastating fire in the year 1084, the old church was later reconstructed at the current ground level, using these ancient remains as its very foundation.This space where we now stand is the atrium of the early basilica. Notice how the spaces between the columns, originally open to the air, were later walled in and adorned with frescoes. These modifications are evidence of a final attempt to restore and reinforce the ancient church—a project that was ultimately abandoned after only a few years. The fire had caused such severe damage to the entire structure that the building was left unstable and on the verge of collapse.On the left wall, we can observe fragments of ancient sculptures and marble inscriptions.Particularly striking is a rotating marble slab, carved on both sides.On one face, we find an older, more regular Latin inscription dedicated to a deceased follower of ancient pagan cults.On the opposite side, a later inscription—dating more than two centuries afterward—honors a Christian believer.It is a vivid example of how ancient marbles were often reused, bearing silent witness to the dramatic transition from paganism to Christianity.
The Miracle of the Sea of Azov
Let us now pause before this fresco, which tells the story of the "Miracle of the Sea of Azov."According to tradition, Saint Clement, one of the first successors of Saint Peter, was condemned by the Roman imperial authorities to exile in a distant frontier of the empire, in what is now Crimea.There, in that remote land, Saint Clement converted many of the inhabitants to Christianity. In retaliation, his persecutors condemned him to death by tying him to a heavy lead anchor and casting him into the sea.This explains the presence of the anchor—a symbol of the saint’s martyrdom—depicted here in this late eleventh-century fresco, as well as in other works we have already seen, such as the painting on the ceiling of the upper basilica.The central scene shows a woman embracing a child, followed by a procession of faithful believers.All around them, the sea waters teem with fish and octopuses, framing the miraculous event.Legend says that every year, on the anniversary of Saint Clement’s martyrdom, the waters would part, just like the Red Sea in the Bible, allowing pilgrims to walk across the seabed and visit the saint’s tomb beneath the waves.One year, a mother visiting the site accidentally left her child behind, and the waters closed over him. But when she returned the following year, she found her child alive and well, miraculously unharmed.Lower down in the fresco, you can see the images of the donors—a noble family from medieval Rome—who commissioned and funded this work.The inscription gives us the name of the head of the family: Beno de Rapiza.
The Translation of Saint Clement's Body
This fresco depicts the translation of Saint Clement’s body from Saint Peter’s Basilica to the Basilica of San Clemente.In the year 868, Saints Cyril and Methodius had brought the relics of Saint Clement to Rome, after discovering them in Crimea, and presented them to the Pope.The fresco captures the moment of solemn procession: at the center, we see Saint Clement’s body being carried on a bier.Leading the large crowd that follows are the two brothers, Cyril and Methodius, accompanied by the Pope.Interestingly, the artist made a small historical error in the fresco. The name of the Pope is incorrectly identified as Nicholas, whereas it was actually Pope Adrian II who received the missionaries and their precious relic.The inscription below the fresco reveals that this work, like others in the same cycle, was a gift from the noble de Rapiza family.It reads: “I, Maria Macellaria, for the reverence of God and the salvation of my soul, have had this painted.”
Lower Basilica
We now stand in the central nave of the ancient church, and you may notice that the space here is much larger than that of the upper basilica.As we look around, we can see numerous frescoes still preserved along the walls, spanning a time frame from the 8th to the late 11th century.The lower basilica of San Clemente holds one of the largest surviving collections of early medieval wall paintings in the entire city of Rome.For centuries, these remarkable frescoes were abandoned and forgotten, hidden from view, until they were rediscovered in the mid-19th century during the excavations led by Father Joseph Mullooly.Originally, it seems that every wall of San Clemente was covered in vivid frescoes. Today, while in many places only fragments of the original decoration remain, some paintings—particularly those completed in the 11th century, just before the lower church was abandoned—have survived in a wonderful state of preservation.These frescoes are not only invaluable to art historians; they offer vital glimpses into the clothing, architecture, and daily life of medieval people.More importantly, they speak with extraordinary vitality of the deep faith in Christ that animated those who built and worshipped here, and of their profound devotion to the saints.Work on the frescoes is ongoing. Their condition is constantly monitored, and new studies are being conducted—both on the frescoes that we will explore next and on others, more fragmentary, that have recently been brought to light through ongoing archaeological excavations.
The Legend of Saint Alexius
This eleventh-century fresco tells the story of Saint Alexius, a wealthy Roman patrician who, according to tradition, abandoned his privileged life and his bride on the very night of their wedding to dedicate himself to a life of humility and penance.The fresco offers a powerful visual meditation on several key spiritual themes.First, it speaks of the renunciation of earthly goods: Saint Alexius’s choice to forsake wealth, honors, and worldly pleasures in favor of a spiritual journey devoted entirely to God is a striking example of detachment.It also highlights the virtue of humility and anonymity. For many years, Alexius lived as an unknown beggar, even within his own family home, unrecognized by his parents. His hidden life reminds us that true sanctity often blossoms far from public acclaim.Acceptance of suffering is another central message. Alexius’s life was marked by hardship and deprivation, which he bore with unwavering patience and faith, embodying the redemptive value of suffering offered to God.His return to Rome, still in disguise, and his eventual recognition only after his death—through a written confession he carried with him—emphasizes that the true worth and identity of a person are revealed not by worldly standards, but in the eyes of God.Saint Alexius is venerated as a model of holiness because of his radical choice of life, his profound humility, and his steadfast faith.The frescoes in the Basilica of San Clemente were intended not just as decorations, but as tools for teaching and inspiring the faithful to follow a path of virtue.
Mass Celebrated by Pope Clement
Welcome.We are now standing before a fresco of extraordinary significance, not only for its artistic beauty but also for its linguistic importance—here, we find some of the earliest known inscriptions in the Italian vernacular, a treasure of immense historical and cultural value.This cycle of paintings tells a fascinating episode from the life of Saint Clement I, the fourth pope of the Catholic Church.The scene before us illustrates the moment when the Roman prefect Sisinnius—or Sisinnio—orders the arrest of Saint Clement.The fresco stages a powerful contrast: the earthly power, embodied by Sisinnius, standing in opposition to Christian faith, embodied by Clement.It is a theme that echoes throughout early Christian and medieval art, reflecting the spiritual tensions and struggles of the time.But then comes the twist—a vivid demonstration of how divine power triumphs over human authority.Despite Sisinnius’s commands, his men fail to capture Clement.Through divine intervention, a miracle occurs: instead of arresting the saint, they find themselves tying up a simple marble column, completely convinced they have seized Clement himself!This miraculous scene emphasizes the superiority of divine strength over human power, and the heavenly protection granted to saints and their sacred missions.Yet another remarkable feature of this fresco is its surprising tone of humor and satire.Inserted into the scene are captions written in early Italian, capturing the voices of the confused and frustrated men as they struggle.Listen to these vivid linguistic "snapshots" from the 11th century: "Fili de le pute, traite! Dura vobis collum!" ("Sons of whores, pull! Your necks are stiff!")—capturing Sisinnius’s furious shouting at his useless servants. "Albertel, trai!" ("Albertello, pull!")—a desperate command to one particular man. "Gosmari, Albertel, state a le parte de retro e tirate. Falite dereto colo palo!" ("Gosmari, Albertello, get behind and push. Push from the back with the pole!")—confused orders that vividly portray the chaos.This humorous element does not diminish the religious meaning of the scene; rather, it makes the story more accessible and relatable for medieval viewers, who would have recognized all too well these very human dynamics.But perhaps the greatest treasure here lies in the fresco’s linguistic value.These inscriptions represent a crucial moment—the shift from Latin to the emerging Romance languages.They offer an invaluable glimpse into how people actually spoke in Rome during the 11th century, the early seeds of the language we know today as Italian.In conclusion, the frescoes of Sisinnius at San Clemente are not only a magnificent example of medieval art; they also open a rare window into the medieval world, showing us the complex relationship between earthly power and faith, and allowing us to witness the extraordinary birth of the Italian language.The blend of humor and sacredness, together with these precious early inscriptions, makes this artwork a truly unique and deeply meaningful masterpiece in the history of both art and linguistics.We invite you to observe these details closely, and to imagine the voices and the lively energy of a time long past, preserved here in these extraordinary images and words.
The First Burial of Saint Cyril
Continuing to the left, we pass through a small opening in the ancient walls and enter what was once the left nave of the early church.Here, we can see the remains of a large circular basin, which was originally lined with marble—later removed and reused in the construction of the new basilica.This was the ancient baptistery, dating back to the early Middle Ages, a time when baptism was often administered to adults through the rite of full immersion, explaining the considerable size and depth of baptisteries from that era.Before we descend into the deeper levels of the second underground layer, let us pause here, on the left, to observe something extraordinary: the remains of an ancient stone and brick burial chamber.Around it, you will notice many modern sacred images and numerous plaques inscribed in various Eastern European languages.This is the original burial site of Saint Cyril, the great evangelizer of the Slavic peoples, who died in Rome in the 9th century and was laid to rest here.Over the centuries, his tomb was forgotten, lost to time, and only rediscovered in the 19th century, along with his relics.These relics were later transferred to the 19th-century chapel we visited earlier in the upper basilica.The rediscovery of this ancient tomb and its relics turned this place into a deeply significant pilgrimage site, especially for Slavic Christians of the Greek Catholic and Greek Orthodox traditions, who to this day continue to come here to honor the memory of Saint Cyril.
Fresco of the Madonna Regina
Inside this small niche, we encounter a precious fresco depicting the Madonna and Child seated on a throne.Mary is dressed in a vivid blue robe and wears an elaborate headdress, richly decorated with pearls, resembling that of a Byzantine empress.From similar depictions, it is believed that Mary originally held a cross in her right hand.She is adorned with long earrings, strings of pearls, and a necklace set with five gemstones.The Child Jesus holds a scroll in his hand.Rather than narrating a story, this fresco presents itself as an icon—a sacred presence inviting us into the immediate spiritual company of Mary and her Son.On either side of the Madonna and Child stand two richly adorned female saints, dressed in splendid robes with jewelry and pearls.The saint to the right has been identified by inscription as Saint Euphemia, while the figure to the left remains unknown.The theme of the Madonna and Child was a frequent subject in early Christian art in Rome.What stands out here is the jeweled crown upon Mary’s head, inspired by the crowns worn by Byzantine empresses.Mary is portrayed as a queen—a symbolic representation with a long tradition in Roman art, exemplified by the sixth-century fresco of "Maria Regina" in Santa Maria Antiqua.By comparing this fresco of the Madonna and Child with similar surviving frescoes in Roman churches—particularly with a fresco that once graced San Lorenzo fuori le mura, tragically lost during the bombings of the Second World War—it is possible to date this painting in San Clemente to the eighth century.It is believed that both frescoes were part of restoration projects carried out under Pope Hadrian I, who reigned from 772 to 795.
Access to level III
From this corner of the ancient church ruins, standing on structures that span from the fourth to the eleventh century, we now descend further, following the staircase that leads us to the second underground level, continuing our journey back through time.As we observed earlier with the upper church, built in the twelfth century atop the buried remains of old San Clemente, the ancient basilica itself had, centuries before, been constructed using the solid foundations of an even older Roman neighborhood—part of imperial Rome.The buildings of that quarter remained in active use without interruption from the first to the fourth century.
Water for the Temple or Fullonica
The first detail that captures our attention here, to the right at the foot of the staircase, is an ancient basin, still preserving its original drainage channel.It is believed that in this private space, once part of the courtyard of a wealthy patrician house, there was a fullonica—a Roman laundry.
Mithraeum Temple
Prepare to embark on a journey back in time, to an era when mystery cults captured the imagination of the Roman people.Descending these steps, we leave the daylight behind and step into an intimate, history-laden space—one that bears witness to an ancient, secret faith: the cult of Mithras.This space around you was originally part of a Roman domus, a private house dating back to the first century A.D.During the second century, one of the rooms—visible today through the gate’s grating—was transformed and adapted to become a Mithraeum, a sanctuary dedicated to the worship of Mithras.Look closely at the walls.You can still trace elements of the original Roman domestic decoration, but what stands out now are the unmistakable features of a Mithraic temple.At the center of the main hall stands an altar, adorned with the most iconic and powerful image of the Mithras myth: the tauroctony, the sacred slaying of the bull.This symbolic scene represented nothing less than the creation of the cosmos and the triumph of good over evil.Imagine the ceremonies that took place here, illuminated only by the dim light of oil lamps, as the faithful gathered around this central image to participate in rites of initiation and sacred banquets.Along the side walls, you can observe niches or benches.These were reserved for the initiates of Mithras, divided into different grades of initiation, each with its own symbols, trials, and secret rituals, culminating in full membership in the sacred brotherhood.The cult of Mithras, of Persian origin, spread widely throughout the Roman Empire, particularly among soldiers, merchants, and freed slaves.It offered a path to individual salvation through esoteric rituals and fostered the values of loyalty, courage, and fraternity.The Mithraeum of San Clemente is one of the best-preserved examples in Rome, offering us a vivid glimpse into the spirituality and beliefs of a significant segment of Roman society.As you move through this space, try to imagine the ceremonies that once took place here, the faces of the worshippers, the whispered prayers filling the air.Feel the weight of history and the deep sense of mystery that still lingers within these walls.Continuing your visit through the San Clemente complex, you will appreciate how this Mithraic temple fits into a unique historical stratification, with the early Christian basilica above and the ancient Roman remains below, testifying to the continuous evolution of this sacred place through the centuries.We invite you now to explore this space further, letting yourself be carried by the powerful atmosphere and the richness of meaning it still holds today.
Mithraic School
Continuing along this narrow corridor, through the bars of another modern iron gate, we glimpse a room that still bears traces of its ancient splendor.Stucco decorations cling to the walls, along with very worn remains of paintings that once depicted lesser deities associated with the cult of Mithras.This was the Mithraic School—the place where initiates were taught and gradually introduced into the mysteries of the god.Taking a few steps back and turning left, we can also observe the benches of the sanctuary's antechamber.Here, new converts to the cult would sit, waiting patiently for admission into the School, where their journey through the degrees of Mithraic initiation would begin.According to a fascinating theory, some of the rooms of this same ancient house, adjacent to the Mithraeum, may have been repurposed as a domus ecclesiae—a private home church for early Christians.This would mean that, between the late second and early third centuries, two very different faiths—pagan and Christian—coexisted side by side in this very place, for at least two centuries, until the late fourth century.
Public Building, North Side (Roman Houses)
Leaving behind the area of the Mithraic complex, you passed through a narrow corridor—an ancient alley the Romans called an angiportus, a tight, winding lane threading through the heart of the city.Descending the steps, you have reached an even older level—the vibrant heart of imperial Rome.The massive walls surrounding you, made of large blocks of volcanic tuff, and the curving interior walls immediately transport us back to the first century A.D.Here, you are standing inside a public building—a structure that, at first glance, with its robust, fortress-like walls, might suggest a military purpose.But remember: we are at the center of the Roman Empire’s capital, where citizens had no need for defensive strongholds.The presence of such a solid and strategically placed building leads scholars to a fascinating theory:It is highly probable that this was the site of the Moneta, the imperial mint where the treasures of the empire were forged.It is believed that during the first century A.D., the mint’s operations were moved here from their original location at the Temple of Juno Moneta on the Capitoline Hill.As you continue, guided by the ever-present sound of running water that echoes through these underground spaces, you will arrive at the final room.Here, you can see one of the ancient springs that the Romans ingeniously harnessed, channeling it through complex underground aqueduct networks.The water you hear now—the very same—continues to flow today, running beneath the Colosseum itself, feeding the hidden structures that once lay beneath the famous arena.Imagine for a moment: this life-giving spring, so carefully managed two thousand years ago, still whispers the story of ancient Rome beneath our feet.
Public Building, Exit
You are now walking through a series of rooms where you can admire perfectly preserved brickwork floors laid in a herringbone pattern—opus spicatum—part of the same large public building that forms the foundation of the Basilica above.This impressive structure is a massive rectangular complex—some believe it dates back to the Republican period of Rome’s history—but it was more likely constructed in the first century A.D.It was originally built over two stories, with thick walls made of volcanic tuff blocks.The perimeter is lined with vaulted chambers, and at its center lies a vast open courtyard, which has not yet been fully excavated.The building’s width measures about 29.60 meters—roughly 100 Roman feet—but its full length remains unknown.The form and layout of this building have led scholars to propose that it was originally an horreum, a warehouse built to serve the nearby entertainment district that arose around the Colosseum in the first century.Later, it was likely converted into the imperial mint—the Moneta—a vital part of Rome’s administrative and economic machinery.We hope you enjoyed this glimpse into the hidden layers of Rome’s history. Thank you for visiting, and we wish you a pleasant continuation of your journey through the Eternal City.
