DOI article:
Rushforth, Gordon McNeil: The church of S. Maria Antiqua
DOI Page / Citation link:https://doi.org/10.11588/diglit.70291#0074
56
The British School at Rome.
the figures have disappeared. The subject may have been the Flight into
Egypt.
Beyond this the upper row of scenes has entirely vanished on this
wall. Returning to the left wall, below the Adoration of the Magi the
Procession to Calvary (45) is fairly well preserved. In the centre, Christ
with the cruciform nimbus, robed in dark red, and with the right hand
extended, is advancing in the midst of a crowd of figures. He is preceded
by Simon the Cyrenian (in short tunic) carrying the cross on his shoulder.
Above the latter is inscribed (in three lines)
SIMON | CYRENEjSIS^.
The Crucifixion itself is represented on the wall above the apse. We
pass this by for the moment, and continue the story on the second row of
scenes on the right wall. Remains of five can be made out. They must
illustrate the story between the Crucifixion and the Ascension. The first
scene in the left-hand corner has gone. It must have represented the
Resurrection. The next (46) shows Christ in the centre. The right arm
is raised and bare, but the figure is draped. The palm of the hand is
simply open. On either side of him is a group of Apostles over each of
which was inscribed +APOSTOLI. Behind the group on the right is a
house. The composition at once recalls the scene of the 'Incredulity of
Thomas' as it appears in Byzantine MSS. and mosaics, though of a later
date than this painting.1 The next scene is very fragmentary, but there
can be seen on the left a group of Apostles (-| -AP^STO/z above) in a boat
with oars on the sea (blue with red fish swimming in it). On the right is
the lower part of the figure of Christ standing on the shore. It is obviously
the scene of the Appearance on the Lake of Tiberias which follows the
Incredulity of Thomas in the Byzantine Manual.2 Only the lower half of
the two last scenes remains. In the first of these there was a figure
standing in the centre. To the left another, bending forwards, apparently
with out-stretched hands. Perhaps the subject was the Charge to Peter.
In the last panel a draped figure is moving towards the right. Back-
1 The subject is described in the Byzantine Manual (Didron, ed. Stokes, ii. 320). The
miniature in the twelfth-century Gospels in the British Museum (Harl. 1810, f. 261 b.) is typical.
The subject appears with the same main outlines in the church of S. Luke of Stiris (Schultz and
Barnsley, 49, Pl. 38) on which see Diehl in Melanges for 1889, p. 41, who says that he knows of no
earlier example.
2 Didron, ed. Stokes, ii. 321.
The British School at Rome.
the figures have disappeared. The subject may have been the Flight into
Egypt.
Beyond this the upper row of scenes has entirely vanished on this
wall. Returning to the left wall, below the Adoration of the Magi the
Procession to Calvary (45) is fairly well preserved. In the centre, Christ
with the cruciform nimbus, robed in dark red, and with the right hand
extended, is advancing in the midst of a crowd of figures. He is preceded
by Simon the Cyrenian (in short tunic) carrying the cross on his shoulder.
Above the latter is inscribed (in three lines)
SIMON | CYRENEjSIS^.
The Crucifixion itself is represented on the wall above the apse. We
pass this by for the moment, and continue the story on the second row of
scenes on the right wall. Remains of five can be made out. They must
illustrate the story between the Crucifixion and the Ascension. The first
scene in the left-hand corner has gone. It must have represented the
Resurrection. The next (46) shows Christ in the centre. The right arm
is raised and bare, but the figure is draped. The palm of the hand is
simply open. On either side of him is a group of Apostles over each of
which was inscribed +APOSTOLI. Behind the group on the right is a
house. The composition at once recalls the scene of the 'Incredulity of
Thomas' as it appears in Byzantine MSS. and mosaics, though of a later
date than this painting.1 The next scene is very fragmentary, but there
can be seen on the left a group of Apostles (-| -AP^STO/z above) in a boat
with oars on the sea (blue with red fish swimming in it). On the right is
the lower part of the figure of Christ standing on the shore. It is obviously
the scene of the Appearance on the Lake of Tiberias which follows the
Incredulity of Thomas in the Byzantine Manual.2 Only the lower half of
the two last scenes remains. In the first of these there was a figure
standing in the centre. To the left another, bending forwards, apparently
with out-stretched hands. Perhaps the subject was the Charge to Peter.
In the last panel a draped figure is moving towards the right. Back-
1 The subject is described in the Byzantine Manual (Didron, ed. Stokes, ii. 320). The
miniature in the twelfth-century Gospels in the British Museum (Harl. 1810, f. 261 b.) is typical.
The subject appears with the same main outlines in the church of S. Luke of Stiris (Schultz and
Barnsley, 49, Pl. 38) on which see Diehl in Melanges for 1889, p. 41, who says that he knows of no
earlier example.
2 Didron, ed. Stokes, ii. 321.