Beautiful Catholicism Your Italian pilgrimage unpacked

Index Scripture to consider………………...……………………………………… Page 3 Hotel Information…………………………………………...………………. Page 4 Day 2 (Arrive in Italy and bus from Rome to Florence)……………………... Page 5 Day 3 (Florence)……………………………………………………………… Page 6 Academia & Uffizzi………………………………………………………. Page 7 San Marco Convent Museum…………………………………………….. Page 8 Florence Cathedral………………………………………………..………. Page 9 San Miniato al Monte (St. Minias on the Mountain) …………………….. Page 10 Day 4 (Siena)………………………………………………………..………... Page 11 Saint Catherine Biography……………………………………………….. Page 12 Basilica Cateriniana di san Domenico………………………..…………. Page 13 Day 5 & 6 (Assisi)……………………………………………………………. Page 14 Santa Maria Degli Angeli, Assisi………………………………………... Page 15—16 St. Francis’s hermitage…………………………………………………... Page 17 Basilica of St. Francis………………………………………………..…... Page 18 Umbrian hill town of Assisi and Santa Chiara church………………….. Page 19 Day 7 (Orvieto & Rome)……………………………………….…………….. Page 20 Cathedral of Orvieto & Eucharistic Miracle……………………………... Page 21 St. Peters Basilica (Rome)……………………………………………….. Page 22 Borgo Pio Neighborhood; Day 7 dinner…………………………………. Page 23 Day 8 (Papal Audience, Major Basilica’s, Sacred Relics)…………………… Page 24 Papal Audience (St. Peters Square)……………………………………... Page 25 St. John Latern The worlds cathedral…………………………………… Page 26 Santa Maria Maggiore (Mary Major)…………………………………… Page 27 Holy Stairs, Pillar of Scourging, Relic of the true cross: Basilica's of Scala Santa, St. Praxedes & Santa Croce …………………. Page 28 Day 9 (Mass at tomb of St. Peter & Vatican Museum)……………………… Page 29 Mass at Catacombs of St. Peter & Sistine Chapel tour………………….. Page 30 Vatican Museum………………………………………………………… Page 31-32 Day 10 (St. Paul Outside Walls, Basilica’s, Peter in Chains, Pantheon)…………... Page 33 Basilica of Saint Paul outside the walls…………………………………. Page 34 Santa Maria Sopra Minerva and San Pietro in Vincoli (Peter in Chains)….. Page 35-36

The Panthon……………………………………………………………... Page 37 Day 11 ……………………………………………………………………….. Page 38 Catacombs of Santa Priscilla & The Colosseum………………………… Page 39-40 2

When Jesus went into the region of Caesarea Philippi he asked his disciples, “Who do people say that the Son of Man is?” They replied, “Some say John the Baptist, others Elijah, still others Jeremiah or one of the prophets.” He said to them, “But who do you say that I am?” Simon Peter said in reply, “You are the Messiah, the Son of the living God.” Jesus said to him in reply, “Blessed are you, Simon son of Jonah. For flesh and blood has not revealed this to you, but my heavenly Father. And so I say to you, you are Peter, and upon this rock I will build my church, and the gates of the netherworld shall not prevail against it. I will give you the keys to the kingdom of heaven. Whatever you bind on earth shall be bound in heaven; and whatever you loose on earth shall be loosed in heaven.” Matthew 16:13-19

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Hotels Hotel Corona d’Italia : Florence Hotel Corona d’Italia is located in the historical city center of Florence and awaits you in an elegant early 19th-century palazzo. The rooms, spacious and bright, are equipped with all modern comforts and decorated with precious materials, such as Florentine terracotta and Tuscan marble. Located in the district of San Lorenzo, the heart of the historical district, and less than 200 meters from the Santa Maria Novella train station, you will enjoy the convenience of being near the monuments and museums of Florence and close to the Fortezza da Basso convention center. The 80 rooms of the Hotel, all with private bathrooms, are decorated in an elegant and modern-style, with marble and terracotta floors typical of the Tuscan region. Spacious, bright, and soundproofed, these rooms are equipped with air conditioning, satellite television, direct phone line, hairdryer, safety deposit box, minibar, and Wi-Fi internet. Room service provided by our professional and courteous staff.

Hotel San Pietro: Assisi

The hotel has 35 rooms and 2 suites. Every room is furnished with great taste and is exclusive for comfort and hospitality. Completely sound-proofed and air conditioned, they are all equipped with a private bathroom, direct-dial telephone, mini bar and satellite television to offer you a delightful stay.

Domus Carmelitana: Rome The religious guest house Domus Carmelitana is centrally located, a short walk from Castel Sant’Angelo and St. Peter’s Basilica. The sober yet elegant, warm and pleasant environment makes the house an ideal place for individual guests to stay, as well as for organized groups. The courteous and professional staff takes their role in promoting the serenity and comfort of our guests seriously. The house has 54 rooms, each equipped with all amenities, an evocative restaurant, a splendid conference hall, a magnificent rooftop terrace overlooking Rome, a large parking lot for private cars and coaches, an internet facility, WIFI connection, air conditioning, as well as a meeting room dedicated to interreligious dialogue. The bar and reception are open 24 hours a day.

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Arrive in Florence Afternoon free Welcome Dinner 5

Florence 6

Florence Museums The academia & The uffizzi Michelangelo's David Circa 1501

Former hospital in the 14th century, then an Academy of Fine Arts, it houses ”David”, the absolute masterpiece by Michelangelo, a must for all visitors of Florence. Sculpted between 1501-1504 to be an outside decoration of the Cathedral of Florence, it became instead a symbol of the commitment of the Florentine State to freedom and independence, as well as a symbol of the Medici's defeat in 1494. It still personifies energy, vigor and courage, symbolizing the whole of mankind fighting for survival. His anatomy, later reproduced by Michelangelo’s contemporaries, was carefully depicted, thanks to the in-depth studies carried out by the great artist. In addition to David, four statues of the Slaves commissioned by Pope Julius II as a decoration of his grave, the “Mourning over Jesus Christ” and “St. Matthew”. The museum houses an interesting collection of paintings from the Middle Ages, Renaissance and early 17th century.1

The Uffizi, (1560-1580) was originally meant to be an Ufficio (office) for magistrates as well as judges, technicians and merchants of Florence, the top floor was turned into a private gallery for the pleasure of the ruling family of Florence, the Medici, and their guests. In addition to paintings, statues, jewelry, scientific instruments, even weapons, were displayed there, which made it one of the most interesting and precious collections in the whole world. Since 1865 it became a museum, nowadays with 50 rooms housing paintings ranging from the 13th century to the 18th century. The highlights are the famous “Madonna enthroned” by Giotto, the “Battle of San Romano” by Paolo Uccello, the double portrait by Piero della Francesca, “Federico da Montefeltro”, the “Birth of Venus” by Botticelli , in addition to three works by Leonardo, one by Michelangelo, a few by Raffaello and many by Tiziano. All paintings have been displayed chronologically, so it is possible to fully appreciate all the innovations in art throughout the centuries.2

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“Madonna enthroned” by Giotto Circa 1310

San Marco Convent museum The present convent stands on a site occupied since the 12th century by a Vallombrosan monastery which later passed to the Silvestrines; they were driven out of San Marco in 1418, and in 1438 the convent was given to the Dominican Observants. In 1437 Cosimo il Vecchio de’ Medici decided to rebuild the entire complex, at the suggestion of Antonino Pierozzi the VicarGeneral. The work was entrusted to Michelozzo, and the decoration of the walls was carried out between 1439 and 1444 by Giovanni of Fiesole, known as Fra Angelico, and his assistants, who included Benozzo Gozzoli. The church was consecrated in 1443 in the presence of Pope Eugenius IV. The 14th-century structure was modified by Michelozzo; further alterations were made in the later 16th century by Giambologna, and in 1678 by Pier Francesco Silvani. Inside, the aisle-less nave has a carved and gilded ceiling. The side altars, designed by Giambologna in 1580, have 16th- and 17th-century altarpieces: the most interesting are the Madonna and Saints by Fra Bartolomeo (1509), and St. Thomas in prayer before the Crucifix, signed by Santi di Tito and dated 1593. In the Sacristy is the original tomb of St Antoninus, archbishop of Florence from 1446, with the figure of the Saint in bronze. His bones lay here for over a century, before they were translated to the church and placed beneath the altar in the Salviati Chapel dedicated to him, which was commissioned from Giambologna, and frescoed by Passignano with the Translation and recognition of the Saint’s remains (after 1589). The chapel is decorated in marble and bronze, and has paintings by Alessandro Allori, Giovanni Battista Naldini, and Poppi. The frescoes in the dome are by Bernardino Poccetti. He also frescoed the Chapel of the Blessed Sacrament, where there are canvases by Santi di Tito, Passignano, Jacopo da Empoli and Francesco Curradi. On the high altar is a Crucifix painted by Fra Angelico between 1425 and 1428. In San Marco are the tombs of Pico della Mirandola (1494) and the poet Agnolo Poliziano (1494). Many of the great figures of 15th-century culture and spirituality lived and worked in the convent: Cosimo il Vecchio de’ Medici, who had his own cell here, where he loved to pray and meditate; Archbishop St Antoninus; the Blessed Fra Angelico, who painted the frecoes; and, from 1489, Fra Girolamo Savonarola, who in his sermons fulminated against the immorality of the age, and who was hanged and burnt in Piazza della Signoria (1498). Fra Angelico decorated the cells on the first floor, and other spaces in the convent, with frescoes charged with profound spiritual and ascetical meaning; he began with the lunettes above the doorways in the Cloister of St. Antoninus, which Michelozzo had built before 1440. The lunettes in the vaulting of the cloister were frescoed in the late 16th and early 17th century by Bernardino Poccetti and other artists with scenes of the Life and miracles of St Antoninus. From this cloister we reach the rooms forming the Museum of San Marco. The Sala dell’Ospizio, where pilgrims were received, is now a gallery where many of Fra Angelico’s most important panel paintings have been gathered together. They include the Deposition painted for Palla Strozzi, the Pala di San Marco, commissioned by the Medici, and the Tabernacle of the Linaioli, made in 1433-1434 with the assistance of Lorenzo Ghiberti, who designed the frame. In the Chapter House, he painted a complex and allegorical Crucifixion, finished in 1442. In the other rooms of the Museum on the ground floor, such as the Lavabo and the two Refectories, are displayed works by the principal Florentine painters of the 15th and 16th century: Domenico Ghirlandaio, Alesso Baldovinetti, Giovanni Antonio Sogliani and Fra Bartolomeo. The Great Refectory has a collection of works by the School of San Marco, in other words by the pupils of Fra Bartolomeo. In the Guest House there are numerous fragments of stone carvings, rescued from the ruins when the Jewish quarter and the old market in Florence were demolished in the mid-19th century. The Museum also includes the former Library on the first floor, built by Michelozzo for Cosimo de’ Medici, where a considerable number of illuminated choir books are displayed. The present Convent Library specializes in theology and philosophy. 3 8

Florence Cathedral Duomo The typical Italian Gothic building, the Cathedral of Florence, is dedicated to "Santa Maria del Fiore". The church was designed by Arnolfo di Cambio (c1245-1302) who considerably enlarged the existing religious structure. Finished around 1367, the Cathedral was completely covered by colored marbles like the earlier Baptistery, except for the façade that remained unfinished and was terminated only in the 19th century. The project left unfinished also the Dome, since in 1421 only the frame (polygonal base) had been erected. Two architects, Lorenzo Ghiberti (13681445) and Filippo Brunelleschi (13771446) won the competition although it was the latter who actually built the dome, showing a great mastery of technical knowledge, in 1436. One of the most remarkable features of the outside of the building is the socalled "Porta della Mandorla"(north) (della mandorla = almond) that was given this name because of the large aureole around the figure of the Virgin sculptured also by Nanni di Banco (1380/90-1421) among others. Its interior preserves very important works of art: on the left side we find the first two detached frescoes showing the "Condottiero Giovanni Acuto"and "Niccolò da Tolentino" painted respectively by Paolo Uccello in 1436 and by Andrea del Castagno in 1456. Paolo Uccello also frescoed the clock on the inside wall, showing four vogorous "heads of saints". The many sculptures made specifically for the cathedral (many of which have now been moved to the "Museo dell´Opera del Duomo"), comprise also the "Lunettes" by Luca della Robbia above the doors of the Mass Sacristies. The large "Pietà" by Michelangelo (c. 1553) has instead been removed and transferred to the "Museo dell´Opera del Duomo". Most of the splendid stained glass windows were made between 1434 and 1455 to the designs of famous artists like Donatello, Andrea del Castagno and Paolo Uccello. The wooden inlays on the Sacristy´s cupboards were designed by Brunelleschi and other artists, including Antonio del Pollaiolo. The internal walls of the dome, which have recently been restored, were frescoed between 1572 and 1579 by Giorgio Vasari (1511-1574) and Federico Zuccari (c. 1990-1609) who represented a large scene of the "Final Judgement". The bell tower by Giotto remains, together with the huge dome one of the most striking views of the town. The famous painter, Giotto, was in fact also the architect of the project for the bell tower, although by the time of his death (1337) only the lower part had been completed. The works continued under the direction of Andrea Pisano (c. 1290-1349) and Francesco Talenti (not. 1325-1369) who completed the project.

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Baptistery doors 9

san miniato monte San Miniato al Monte (St. Minias on the Mountain) is a basilica in Florence, central Italy, standing atop one of the highest points in the city. It has been described as one of the finest Romanesque structures in Tuscany and one of the most beautiful churches in Italy. There is an adjoining Olivetan monastery, seen to the right of the basilica when ascending the stairs.5 Built between the 11th and 13th century, the exterior of the Church of San Miniato is decorated with green and white marble in geometric patterns similar to the facades of Santa Croce and Santa Maria Novella. A mosaic from the 12th century decorates the facade over a central window. With your back to the front of the church one can enjoy an impressive view of Florence, from the Duomo and Palazzo Vecchio, to the last standing parts of the medieval walls that once surrounded Florence. Going into the church, one finds that the interior is Romanesque, with three naves and an elevated presbytery and a crypt. Pay particular attention to the marble pavement in the central aisle dating back to the 13th century. At the end is the beautiful Cappella del Crocefisso by Michelozzo (1448), and behind it is the crypt, decorated with frescoes by Taddeo Gaddi. Above the crypt, the elevated presbytery is enclosed by a marble column fence and contains an impressive 14th century wood chorus. The monumental cemetery in front and back of the church contains the tombs of illustrious men, such as Carlo Lorenzini (Collodi), author of Pinocchio.6 History St. Miniato or Minas (Armenian:) was an Armenian prince serving in the Roman army under Emperor Decius. He was denounced as a Christian after becoming a hermit and was brought before the Emperor who was camped outside the gates of Florence. The Emperor ordered him to be thrown to beasts in the Amphitheatre where a panther was called upon him but refused to devour him. Beheaded in the presence of the Emperor, he is alleged to have picked up his own decapitated head, crossed the Arno and walked up the hill of Mons Fiorentinus to his hermitage. A shrine was later erected at this spot and there was a chapel there by the 8th century. Construction of the present church was begun in 1013 by Bishop Alibrando and it was endowed by the Emperor Henry II. The adjoining monastery began as a Benedictine community, then passed to the Cluniacs and then in 1373 to the Olivetans, who still run it. The monks make famous liqueurs, honey and tisanes, which they sell from a shop next to the church.7 10

Siena 11

Saint Catherine And the basilica cateriniana di san domenico Saint Catherine The value Catherine makes central in her short life and which sounds clearly and consistently through her experience is complete surrender to Christ. What is most impressive about her is that she learns to view her surrender to her Lord as a goal to be reached through time. She was the 23rd child of Jacopo and Lapa Benincasa and grew up as an intelligent, cheerful and intensely religious person. Catherine disappointed her mother by cutting off her hair as a protest against being overly encouraged to improve her appearance in order to attract a husband. Her father ordered her to be left in peace, and she was given a room of her own for prayer and meditation. She entered the Dominican Third Order at 18 and spent the next three years in seclusion, prayer and austerity. Gradually a group of followers gathered around her—men and women, priests and religious. An active public apostolate grew out of her contemplative life. Her letters, mostly for spiritual instruction and encouragement of her followers, began to take more and more note of public affairs. Opposition and slander resulted from her mixing fearlessly with the world and speaking with the candor and authority of one completely committed to Christ. She was cleared of all charges at the Dominican General Chapter of 1374. Her public influence reached great heights because of her evident holiness, her membership in the Dominican Third Order, and the deep impression she made on the pope. She worked tirelessly for the crusade against the Turks and for peace between Florence and the pope. In 1378, the Great Schism began, splitting the allegiance of Christendom between two, then three, popes and putting even saints on opposing sides. Catherine spent the last two years of her life in Rome, in prayer and pleading on behalf of the cause of Urban VI and the unity of the Church. She offered herself as a victim for the Church in its agony. She died surrounded by her "children" and was canonized in 1461. Catherine ranks high among the mystics and spiritual writers of the Church. In 1939, she and Francis of Assisi were declared co-patrons of Italy. Paul VI named her and Teresa of Avila doctors of the Church in 1970. Her spiritual testament is found in The Dialogue. Comment: Though she lived her life in a faith experience and spirituality far different from that of our own time, Catherine of Siena stands as a companion with us on the Christian journey in her undivided effort to invite the Lord to take flesh in her own life. Events which might make us wince or chuckle or even yawn fill her biographies: a mystical experience at six, childhood betrothal to Christ, stories of harsh asceticism, her frequent ecstatic visions. Still, Catherine lived in an age which did not know the rapid change of 21st-century mobile America. The value of her life for us today lies in her recognition of holiness as a goal to be sought over the course of a lifetime. Quote: Catherine's book Dialogue contains four treatises—her testament of faith to the spiritual world. She wrote: "No one should judge that he has greater perfection because he performs great penances and gives himself in excess to the staying of the body than he who does less, inasmuch as neither virtue nor merit consists therein; for otherwise he would be an evil case, who for some legitimate reason was unable to do actual penance. Merit consists in the virtue of love alone, flavored with the light of true discretion without which the soul is worth nothing." 8

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The Basilica St. Catherine passed a large part of her life inside the walls of this stupendous Basilica, which was one of the first to be dedicated to St. Dominic. It was begun by the Dominicans in 1226 on the hill of Camporegio which they had received as a gift from the Malavolti family. Most of the actual rectangular nave and the inside roof with its tranverse beams, all in Gothic Cistercian style, go back to this epoch. The Church contains a magnificent Maestà by Guido da Siena (master to Duccio of Boninsegna) dating back to 1221. The old Chapter Room, the old Sacresty, the Refectory and the Dormitory were all built with the original Church and the Cloister was frescoed by Lippo Memmi and Lippo Vanni. In the first half of the fourteenth century the new Church (crypt and transept for the old Church) was built on the steep side of Camporegio hill overlooking the district of Fontebranda where St. Catherine had been born. When she began going to St. Dominic the new edifice was already almost finished. Her own father and other members of her family were buried in the Crypt. Following the canonisation of St. Catherine in 1461, her most precious manuscripts and her sacred relics were transferred to the Basilica (these twelve codices in 1700 were placed behind a painting above the altar in the Scaresty and formed the so-called "virginal library": today they are in the public library). The most important relic, the Sacred Head, was brought from Rome to Siena by Blessed Raymond of Capua in 1383 and it was at first placed in a copper container and then in a silver one. In 1711 it was removed to a urn in the form of a lamp done by the sculptor Giovanni Piamontini where it remained until 1947, when the Dominican Fathers decided to place it in its actual urn of silver in a niche resembling a small gothic temple. After nearly two centuries of construction, the Basilica was finally dedicated entirely to St. Catherine and a statue of her was placed even at the top of the bell tower. The Basilica has known hard times: in 1798 it was almost totally destroyed by an earthquake, but after it was completely restored. Then, unfortunately, it was very much neglected and allowed to decay until 1940 when a new restoration was finally begun which was concluded in 1962. During these years the Basilica underwent some radical changes. The foundations were strengthened and especially the Chapel of the Vaults, where the original portrait of St. Catherine by Andrea Vanni is located and where the Saint had so many mystical experiences, was restored. Today the Basilica is exactly as the Dominican Fathers have always wanted it to be and it has become an important centre of Christian spirituality where pilgrims are welcomed and where they can pray next to the sacred relics of St. Catherine. 9 13

Assisi 14

Santa Maria degli Angeli, Assisi Santa Maria degli Angeli (Church of St. Mary of the Angels) in Assisi is much venerated as the place of St. Francis' death. Inside the grand Baroque basilica are two small, humble structures: the Capella del Transito and the Porziuncola. History The Porziuncola is a chapel obtained from the Benedictines and restored by St. Francis himself. In it he founded the order of Friars Minor that would later be known as the Franciscans. It was also here that St. Clare embarked on her monastic life on March 28, 1211. And, in 1216, Francis had a vision in the little chapel in which he was granted the "Pardon of Assisi." As he prayed, a light filled the chapel and he saw above the altar Christ, the Virgin Mary and a company of angels. They asked him what he wanted for the salvation of souls, and Francis replied: "Lord, I a miserable sinner beg You to concede an indulgence to all those who enter this church, who are truly contrite and have confessed their sins. And I beg Blessed Mary, your Mother, intercessor of man, that she intercede on behalf of this grace." Our Lady at once began to beseech her son on behalf of Francis. Jesus answered: " It is a very great thing that which you ask Me; but you are worthy of even greater things, “ Friar Francis, and greater things you will have. So I accept your request, but I want you to go to my Vicar, to whom I have given the power to bind and loose in Heaven and on earth, to ask him on my behalf for this indulgence." 37 The request was granted based on Francis' worthiness, and the indulgence was officially approved by Pope Honorius III. Nearby, in the humble cell now known as the Cappella del Transito, St. Francis died October 3, 1226. The number of pilgrims to the Porziuncola and Transito were so numerous - estimated at 100,000 in 1582 - that it became necessary to have new structures to welcome them. Therefore, a great Baroque church was built around the humble chapels by Pope Pio V beginning in 1569, after the designs of the architect Galeazzo Alessi. It was completed in 1679. A number of renovations and restorations were undertaken in the 18th and 19th centuries, especially after an earthquake in 1832. In 1930, the statue of the "Madonna degli Angeli" (Madonna of the Angels) was added by the sculptor Colasanti to the top of the façade. What to See Santa Maria degli Angeli is one of the largest sanctuaries of the Christian world, measuring 126 meters long, 65 meters wide and 75 meters high at the level of the 1680 cupola. It consists of a wide central nave with side aisles and ten side chapels, leading into a transept and long choir, and culminating in an apse at the east end. The main basilica has frescoes by Appiani dating from 1757 and in the chapels are paintings from the 17th century by Pomarancio, Giorgetti, Sermei Salimbeni and the Zuccari brothers. 15

Standing directly under the basilica's large dome, the Porziuncola ("little portion") is the original stone chapel restored and frequently used by St. Francis. Dating from the 9th century, the long-abandoned chapel was given to Francis by the Benedictines and became the early headquarters of the new Franciscan order, founded here in 1209. The chapel is decorated with frescoes with a variety of dates. Over the entrance is a fresco by German artist Johann Friedrich Overbeck (1829) depicting the "Pardon of Assisi," an indulgence obtained by St. Francis through a vision here in 1216. Inside, the eye is immediately drawn to the colorful fresco on the back wall, known as the Altar Screen of Prete Ilario da Viterbo (1393). It tells the story of the Pardon of Assisi in five scenes: 1) Francis Standing directly under the basilica's large dome, the Porziuncola ("little throws himself into thorns to overcome temptation; 2) portion") is the original stone chapel restored and frequently used by St. Francis is accompanied by two angels while going to Francis. Dating from the 9th century, the Porziuncola; 3) inside the Porziuncola, he contemplates the apparition of Jesus and the Virgin and asks for the plenary indulgence; 4) he receives confirmation of it from Pope Honorius III; and 5) he declares to all the great gift received from Christ. The Cappella del Transito is the small room in which St. Francis died on October 3, 1226. It is a simple hut that served as an infirmary for the sick in the community. He asked to be brought here when he felt himself near death. The outside of the Transito is decorated with a fresco of The Death and Funeral of St. Francis by Domenico Bruschi (1886). The interior walls have frescoes by Giovanni di Pietro (called "Spagna"; 1450-1538), one of the followers of Perugino. They depict beatified or canonized Franciscans. Above the small altar in a glass case is the rope belt of St. Francis. Also inside is a white statue of a sad-looking St. Francis made of enameled terracotta, sculpted by Andrea della Robbia around 1490. Outside the basilica is the Rose Garden, all that remains of the forest where Francis and the other friars lived. As depicted in the Porziuncola fresco, tradition has it that Francis rolled naked in thorns here to combat doubt and temptation. Another early tradition says that on contact with the saint's body, the thornbushes turned into roses without thorns. This is the origin of the Rosa Canina Assisiensis, which flowers only at the Porziuncola. The Chapel of the Roses was built by St. Bonaventure of Bagnoregio around 1260 and extended to its present size by St. Bernardine of Siena around 1440. It is known also as "St. Francis' Cell," as it occupies the original site of his hut. The Courtyard of the Roses was constructed in 1882. It contains a bronze monument by Vincenzo Rossignoli (1916), which depicts Francis accepting the gift of a lamb because of its innocence and simplicity. Housed in a 15th-century friary that predates the basilica, the Porziuncola Museum was founded by the friars in 1924. It displays a fine range of art, including paintings from the 13th century and reliquaries from the 14th century. 10 Small altar in the Transito, with glass case containing the rope belt of St. Francis

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St. FranciS’S hermitage St. Francis first began coming to the beautiful forest in 1205. The only building there at the time was a tiny 12th-century oratory. Living in a cave, Saint Francis prayed fervently and did penance. Other men soon followed him to the mountain, finding their own caves in which to pray. Francis dedicated himself to a life of servitude and missions, but throughout his life he would frequently withdraw to the Carceri to pray. Various buildings were added around St. Francis' cave and the original oratory, forming the sizeable complex that exists today. The hermitage today is still occupied by Franciscan friars, who give guided tours to visitors. The church and monastery are in a forest environment that retains the tranquil air beloved by St. Francis. The Eremo is worth visiting as well for its medieval architecture, art and several sites associated with episodes in the life of the saint. Visitors follow a wonderfully convoluted circuit that involves ducking through tiny medieval doorways and squeezing down narrow stone stairways. An entrance gate and short tunnel leads into an open courtyard with a well that is said to have yielded water after a prayer of St. Francis. A round door marked Santuario at the end of the courtyard leads into a small 15th-century oratory built by St. Bernardine of Siena. Visitors pass the older and more rustic Cappella della Madonna, with an altarpiece fresco of the Virgin and Child. A short, narrow stairway leads down to the Grotto of St. Francis, where the saint prayed and slept on a stone bed while on retreat toward the end of his life. Around a corner, visitors enter a small porch. Outside the door, visitors look down at a quatrefoil -shaped hole in the smooth pink stone, called the "Devil Hole," which looks into the not-very-deep crevasse into which St. Francis is said to have tossed a troublesome demon that tempted Brother Rufino. Many visitors throw coins into the hole. There are also some charming modern bronze statues of St. Francis and his followers. Francis lies on the ground, his hands behind his head and his sandals off, gazing at the sky, as two friars look hard at the constellations and record them on the ground. The Eremo receives quite a few visitors, but the cramped quarters inside do not allow for much serious contemplation. Crowds are far less than at the Basilica of St. Francis and a modern chapel near the entrance is set aside for prayer and quiet reflection. The hermitage also makes a good starting point for longer walks into the surrounding woods. 11 17

Basilica of St. Francis The Papal Basilica of St. Francis of Assisi (Italian: Basilica Papale di San Francesco, Latin: Basilica Sancti Francisci Assisiensis) is the mother church of the Roman Catholic Order of Friars Minor—commonly known as the Franciscan Order—in Assisi, Italy, the city where St. Francis was born and died. The basilica is one of the most important places of Christian pilgrimage in Italy. With its accompanying friary, the basilica is a distinctive landmark to those approaching Assisi. It has been a UNESCO World Heritage Site since 2000. The basilica, which was begun in 1228, is built into the side of a hill and comprises two churches known as the Upper Church and the Lower Church, and a crypt where the remains of the saint are interred. The interior of the Upper Church is an important early example of the Gothic style in Italy. The Upper and Lower Churches are decorated with frescoes by numerous late medieval painters from the Roman and Tuscan schools, and include works by Cimabue, Giotto, Simone Martini, Pietro Lorenzetti and possibly Pietro Cavallini. The range and quality of the works gives the basilica a unique importance in demonstrating the development of Italian art of this period. The Franciscan friary (Sacro Convento) and the Lower and Upper Basilicas (Italian: Basilica inferiore e superiore) of Francis of Assisi were begun in honor of this local saint, immediately after his canonization in 1228. Simone di Pucciarello donated the land for the church, a hill at the west side of Assisi, known as "Hill of Hell" (Italian: Colle d'Inferno) where previously criminals were put to death. Today, this hill is called "Hill of Paradise". On 16 July 1228, Francis was canonized by Pope Gregory IX in Assisi, and he laid the foundation stone of the new church the following day, although construction may already have been begun. The construction having been begun at his order, the Pope declared the church to be the property of the papacy. The church was designed and supervised by Brother Elias of Cortona, one of the first followers of St. Francis and the former Vicar General of the Order under St. Francis. The Lower Basilica was finished in 1230. On Pentecost 25 May 1230, the uncorrupted body of St. Francis was brought in a solemn procession to the Lower Basilica from its temporary burial place in the church of St. George, now the Basilica of Saint Clare of Assisi. The burial place was concealed for fear that St Francis' remains might be stolen and dispersed. The construction of the Upper Basilica was begun after 1239 and was completed in 1253. Both churches were consecrated by Pope Innocent IV in 1253. Pope Nicholas IV, a former Minister-General of the Order of Franciscans, raised the church to the status of Papal Church in 1288. The Piazza del Loge, the square leading to the church, is surrounded by colonnades constructed in 1474. They housed the numerous pilgrims flocking to this church. In 1818, the remains of St Francis were rediscovered beneath the floor of the Lower Basilica. In the reign of Pope Pius IX the crypt was built so that the faithful might visit the burial place of the saint. On 27 October 1986 and January 2002, Pope John Paul II gathered in Assisi with more than 120 representatives of different religions and Christian denominations for a World Day of Prayer for 12 Peace. 18

Umbrian hill town of assisi and Santa Chiara church What is Umbria? This region comprises mainly hills, mountains, hollows and plains and extends along the Tiber’s central basin. The town of Assisi is in the heart of Umbria. 13 Known as 'the green heart of Italy', Umbria is a land unto itself, the only Italian region that borders neither the sea nor another country. Removed from outside influences, it has kept alive many of Italy's old-world traditions. You'll see grandmothers in aprons making pasta by hand and front doors that haven't been locked in a century. It's a beautiful place (in spring the countryside is splashed with colourful wildflowers) but also a richly entertaining one. An Umbrian adventure can span everything from dancing the night away at a Perugian nightclub to making a solemn pilgrimage to Assisi, home town of St Francis. Holidaying foodies will delight in the region's food and wine. The earthy, addictive tartufo (truffle) finds its way onto every menu, while pork from the Norcia area is so well respected that quality pork butchers throughout Italy are known as norcineria. 14 The Basilica of Saint Clare (Basilica di Santa Chiara in Italian) is a church in Assisi, central Italy; it is dedicated to and contains the remains of Saint Clare of Assisi, a follower of Saint Francis of Assisi and founder of the Order of Poor Ladies, known today as the Order of Saint Clare. Construction of the church began under the direction of Filippo Campello, one of the foremost architects of the time. On 3 October 1260, Clare's remains were transferred from the chapel of San Giorgio to the Basilica of Saint Clare where they were buried in the earth under the high altar of the new church. After having remained hidden for six centuries - like the remains of St. Francis - and after much search had been made, Clare's tomb was found in 1850. On 23 September in that year the coffin was unearthed and opened, the flesh and clothing of the saint had been reduced to dust, but the skeleton was in a perfect state of preservation. Finally, on 29 September 1872, the saint's bones were transferred, with much pomp, by Archbishop Pecci, afterwards Pope Leo XIII, to the shrine, in the crypt of the Basilica of Saint Clare, erected to receive them, and where they may now be seen. The feast of St. Clare is celebrated throughout the Church on 11 August. The feast of her first translation is kept in the order on 3 October, and that of the finding of her body on 23 September. 15 19

Orvieto & Rome 20

Cathedral of orvieto & Eucharistic Miracle In 1263 a German priest, Peter of Prague, stopped at Bolsena while on a pilgrimage to Rome. He is described as being a pious priest, but one who found it difficult to believe that Christ was actually present in the consecrated Host. While celebrating Holy Mass above the tomb of St. Christina (located in the church named for this martyr), he had barely spoken the words of Consecration when blood started to seep from the consecrated Host and trickle over his hands onto the altar and the corporal. The priest was immediately confused. At first he attempted to hide the blood, but then he interrupted the Mass and asked to be taken to the neighboring city of Orvieto, the city where Pope Ur ban IV was then residing. The Pope listened to the priest's account and absolved him. He then sent emissaries for an immediate investigation. When all the facts were ascertained, he ordered the Bishop of the diocese to bring to Orvieto the Host and the linen cloth bearing the stains of blood. With archbishops, cardinals and other Church dignitaries in attendance, the Pope met the procession and, amid great pomp, had the relics placed in the cathedral. The linen corporal bearing the spots of blood is still reverently enshrined and exhibited in the Cathedral of Orvieto. It is said that Pope Urban IV was prompted by this miracle to commission St. Thomas Aquinas to compose the Proper for a Mass and an Office honoring the Holy Eucharist as the Body of Christ. One year after the miracle, in August of 1264, Pope Urban IV introduced the saint's composition, and by means of a papal bull instituted the feast of Corpus Christi. After visiting the Cathedral of Orvieto, many pilgrims and tourists journey to St. Christina's Church in Bolsena to see for themselves the place where the miracle occurred. From the north aisle of the church one can enter Rose Window the Chapel of the Miracle, where the stains on the paved floor are said to have been made by the blood from the miraculous Host. The altar of the miracle, which is surmounted by a 9thcentury canopy, is now situated in the grotto of St. Christina. A reclining statue of the saint is nearby. In August of 1964, on the 700th anniversary of the institution of the feast of Corpus Christi, Pope Paul VI celebrated Holy Mass at the altar where the holy corporal is kept in its golden shrine in the Cathedral of Orvieto. (His Holiness had journeyed to Orvieto by helicopter; he was the first pope in history to use such a means of transportation). Twelve years later, the same pontiff visited Bolsena and spoke from there via television to the 41st International Eucharistic Congress, then concluding its activities in Philadelphia. During his address Pope Paul Vl spoke of the Eucharist as being ". . . a mystery great and inexhaustible." 16 Chapel of the Corporal 21

St. peters basilica—Roma St. Peter's Basilica (Latin: Basilica Sancti Petri; Italian: Basilica di San Pietro in Vaticano) is a Late Renaissance church located within Vatican City. Designed principally by Donato Bramante, Michelangelo, Carlo Maderno and Gian Lorenzo Bernini, St. Peter's is the most renowned work of Renaissance architecture and remains one of the largest churches in the world. While it is neither the mother church of the Roman Catholic Church nor the cathedral of the Bishop of Rome, St. Peter's is regarded as one of the holiest Catholic sites. It has been described as "holding a unique position in the Christian world" and as "the greatest of all churches of Christendom". By Roman Catholic tradition, the basilica is the burial site of its namesake Saint Peter, one of the twelve apostles of Jesus and, also according to tradition, the first Bishop of Rome and therefore first in the line of the papal succession. Tradition and some historical evidence hold that Saint Peter's tomb is directly below the altar of the basilica. For this reason, many Popes have been interred at St. Peter's since the Early Christian period. There has been a church on this site since the time of Constantine the Great. Construction of the present basilica, replacing the old St. Peter's Basilica of the 4th century, began on 18 April 1506 and was completed on 18 November 1626. St. Peter's is famous as a place of pilgrimage, for its liturgical functions. Because of its location in the Vatican, the Pope presides at a number of services throughout the year, drawing audiences of 15,000 to over 80,000 people, either within the Vatican Basilica, or in St. Peter's Square. St. Peter's has many strong historical associations, with the Early Christian church, the papacy, the Protestant Reformation and Counter-reformation, and with numerous artists, most significantly Michelangelo. As a work of architecture, it is regarded as the greatest building of its age. St. Peter's is one of the four churches of Rome that hold the rank of Major Basilica. Contrary to popular misconception, it is not a cathedral as it is not the seat of a bishop; the cathedra of the Pope (as Bishop of Rome) is located in the Archbasilica of St. John Lateran. 17

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Borgo Pio Neighborhood Day 7 dinner When a future pope needed new soles, he strolled to a shoe repair shop practically around the corner from the Vatican. When he was pope and nearing retirement, he had the same shoemaker craft a pair of comfy, calfskin slippers. BorgoPio, the sleepy, medieval neighborhood with a timeless feel right outside the Vatican's borders, has been at the service of pontiffs for centuries. From resoling to risotto, from light bulbs to linguine, Borgo is the go-to place for up-and-coming cardinals and sometimes even for popes. Pilgrims may hurry through Borgo's narrow cobblestone streets to catch papal blessings in jam-packed St. Peter's Square. But gastronomically picky, red-hatted prelates and black-robed monsignors often stop to dine in the neighborhood's eateries, debating the qualities of the next pontiff while tucking into tagliatelle and sausage in pistachio pesto or marsala-soaked braised pork. Stroll Borgo's slow-paced streets between meal times, and you might spot prelates on errands like the ones Joseph Ratzinger ran, when as a German cardinal he lived in an apartment just outside Vatican walls. Proudly displayed inside the shoemaker's shop and in a lighting and electrical repair store are photographs of the businesses' owners with their faithful client Ratzinger, more famous as the recently retired Pope Benedict XVI. Borgo means "village" in Italian, and, indeed, the neighborhood has a quaint, insular quality, perhaps because some of its streets are closed to traffic. "It's a small town in a big city. Everyone knows you, and everything's on a human scale" in Borgo, said Patrizia Podetti, whose restaurant Velando was hopping with cardinals in the run-up to the conclave that elected Pope Francis and in the days immediately afterward. (During the conclave they were sequestered in the Vatican's hotel, eating what has been described euphemistically as simple pilgrims' fare.) Several cardinals and other high-ranked Vatican churchmen live in apartments at the Vatican's edges. Ratzinger lived in a modern, austere-looking building at No. 1 Piazza della Citta Leonina, whose nondescript entrance faces a portal just outside the colonnade of St. Peter's Square. Tenants are listed anonymously on the building's intercom system, but just about anyone in Borgo will say Ratzinger lived there. Borgo tourists, stay alert: Who knows if Francis, quickly dubbed the "unpredictable pope" by Italian media, will succumb to Borgo's simple charms and cross the street next time? Other prelates who live in Vatican City, where they work, also use Borgo as a backyard of sorts, perhaps lunching with ambassadors to the Holy See, or consulting with colleagues over a shot of grappa at the end of a meal. Velando, located at Borgo Vittorio 26, is a favorite dining spot for the churchmen, with sleek wooden furnishings, subdued lighting and vaulted, whitewashed ceiling giving an air of a church sacristy. Ratzinger often dined there before becoming pope; his favorite dish was rosemary-seasoned risotto, Podetti said. Not counting lunch or dinner, Borgo and its few blocks, lined with simple, often wood-trimmed buildings, many of them several centuries old, can be explored leisurely in a couple of hours. Some street names recall wares once made there, like Via degli Ombrellari (umbrella-makers street), although these days, Asian immigrants pop out at every corner on rainy days to sell folding versions. One of Borgo's most interesting features runs above street level but is rarely accessible. Called Il Passetto di Borgo, it is a fortified, medieval-era corridor that served as a covered walkway linking the Vatican to Castel Sant'Angelo, a fortress just beyond Borgo's border. Pope Clement VII used it to scurry to safety during the sack of Rome in 1527. Opened occasionally for tourists, as it was a few summers ago, the Passetto offers strollers a peek into Roman houses built practically smack up against the bricked arches beneath it. In the last weeks of Benedict's papacy, the Vatican and Italy's culture ministry signed an accord for restoration work that would allow public access again. Borgo seems to end abruptly because two streets were removed during Benito Mussolini's rule and replaced by the broad Via della Conciliazione, stretching between a bridge over the Tiber and St. Peter's Square.19 23

Papal Audience Major Basilica’s Sacred Relics 24

Papal Audience St. Peters square Papal Audience are held on Wednesdays if the Pope is in Rome, giving pilgrims and visitors the chance to "see the Pope" and receive the Papal Blessing or Apostolic Blessing from the successor of the Apostle Peter during their visit. The Audience with the Pope consists of small teachings and readings mainly in Italian but also in English, French, German, Spanish, Polish, Portuguese and sometimes other languages depending on groups visiting. The Pope will do a greeting in each language and special visiting groups, Choirs etc from various countries will get a mention. At the end of the Audience the Pope will pray together with those attending the Audience, the Our Father prayer in Latin. This Prayer is normally printed on the back of the Papal Audience Ticket. At the end of the Prayer as Head of the Catholic Church he will impart his Apostolic Blessing upon the crowd which also extends to loved ones that are sick and suffering and blesses any religious articles such as rosary beads that people have brought with them for the purpose of the blessing. The Papal Audience is scheduled to start at 10.30am (Sometimes in Summer due to the heat they may start the audience at 10am instead). However, you will find that most people will arrive early to get a good seat. Security opens between 8 - 8.30am. In Summer the audience is usually held in St Peter's Square to accommodate the large crowds, there is a seating area near the front for those with tickets but it is still a first come first served basis so again to get a good seat you should arrive early. If you are unable to arrive early or get a ticket in advance, again as the the audience is usually held in St. Peter's Square during the Summer season it is still possible to access the Square and participate as there is plenty of standing room at the back of the Square. 36 25

St. John Latern The worlds cathedral The history of the Basilica is very complex. Due to the many earthquakes and fires it has suffered, the original construction has been rebuilt several times throughout the centuries. Pope Miltiades (311-314) is the one credited with it’s original design. The Basilica stands over the remains of the old fort of the "Equites Singulares", in a land belonging to the gens Laterani. This particular piece of property was given to the Pope by Emperor Constantine so that he could build Rome’s Cathedral on it. The Basilica was finished during the reign of Pope Sylvester I. He consecrated it in the year 324 AD. Originally, the Basilica was dedicated to the Savior. Later on it became known as the Basilica of the Johns. In the year 846, an earthquake destroyed it and it had to be rebuilt by Pope Sergius III. He dedicated it to Saint John the Baptist, (who with his character and word connects the Old and the New Testament). However, it was also dedicated in honor of the newly consecrated baptistery of the Basilica. In the XII century, Pope Lucius II also dedicated the Basilica to Saint John the Evangelist, who with his gospel gives witness of the life and word of the Lord. Therefore, the Lateran Palace and the Basilica have been rededicated twice. Thus, the Basilica remains dedicated to the Savior, and its titular feast is the Transfiguration. Five ecumenical councils took place in this Basilica during the years 1123, 1139, 1179, 1215 and 1512. Saint John Lateran was the permanent residence of the Pope since Constantine until 1304, when the Pope escaped from the chaos reigning in the town and the Pope’s States. When the Popes returned to Rome in 1376, the Vatican was selected as the new permanent residence for the Pontificate. On the Basilica’s facade, there are 15 statues, 7 meters high. The one in the center represents Christ, with Saint John the Baptist and Saint John the Evangelist on each side. The other statues represent the Doctors of the Greek and Latin Churches. Those who have taught, explained, strengthen, and made us love the word of God. The Basilica of Saint John Lateran is the symbol of the same Church, which does not suggest her own words, but rather continues to propose the word of God in time and history, through the voice of its ministers and its faithful. The Interior There is very little left of the ancient Basilica, built by Emperor Constantine in the IV century. Today, whoever enters Saint John Lateran, will see the Basilica in its five naves with an ample crossing and a huge apse, restored in XIX, during the reign of Pope Leo XIII. The interior design and the interior architecture were completed in the XVI century by Francesco Borromini. It is interesting to note that what he imagined and embellished the Church to be, is precisely what it is today. The main nave, from the main entrance to the throne, towards the end of the apse measures 130 meters long and it is impressive because of the twelve niches of the statues of the Apostles. These niches were created by Borromini’s architecture. The renovations were commissioned by Pope Innocent X, using the most prominent Roman Rococo sculptors. The beautiful gothic style baldachin, which is located towards the top of the altar and by the apse with the mosaics, was rebuilt completely in the year 1884. On top of the Apostles niches, we can find some displays of the old and New Testament. In between the windows, a little more higher up, inside the oval stucco frames (which are in the shape of garlands), we can find paintings of some of the prophets. In the mosaics of the early Christian Churches, you could already see the Apostles and the Prophets been introduced as a community (relating to one another). As a matter of fact, they represent the continuation of the history of salvation, and they are (in a figurative language) “the voice of God”, which is present in the history of men of the old and new Testament. The meaningful biblical passage scenes which are located towards the center (more than just a connection between the prophets and the apostles) highlight those "words" spoken in the name of God. They have particularly focused on the “events” of the history of salvation. 20 26

santa maria maggiore (Mary Major) The Patriarchal Basilica of St. Mary Major reigns as an authentic jewel in the crown of Roman churches. Its beautiful treasures are of inestimable value, and represent the Church's role as the cradle of Christian artistic civilization in Rome. For nearly sixteen centuries, St. Mary Major has held its position as a Marian shrine par excellence and has been a magnet for pilgrims from all over the world who have come to the Eternal City to experience the beauty, grandeur and holiness of the basilica. Among the Patriarchal Basilicas of Rome, St. Mary Major is the only one to have kept its original structure, though it has been enhanced over the course of years. Special details within the church render it unique including the fifth century mosaics of the central nave, the triumphal arch dating back to the pontificate of Pope Sixtus III (432-440) and the apsidal mosaic executed by the Franciscan friar Jacopo Torriti at the order of Pope Nicholas IV (1288-1292). Other gems of the church include the Cosmatesque pavement donated by the Roman nobleman Scoto Paparone and his son in 1288, Arnolfo di Cambio's Nativity scene from the thirteenth century and the coffered ceiling in gilt wood designed by Giuliano Sangallo in 1450. The numerous chapels, from the most ornate to the most humble, constructed by popes, cardinals and pious confraternities, the high altar begun by Ferdinando Fuga and later enriched by the genius of Valadier, the Baptistery and finally the relic of the Holy Crib complete the array of splendors contained within these walls. Every column, painting, sculpture and ornament of this basilica resonates with history and pious sentiment. From the devout pilgrim absorbed in prayer to the studious artlover, every visitor to St. Mary Major finds both spiritual and visual fulfillment in this holy place. A visit to the Liberian basilica, as it is also called in honor of Pope Liberius, enriches both the mind and soul. Indeed, it is not uncommon to see visitors rapt in admiration before the spellbinding beauty of the artwork nor, at the same time, to observe the devotion of all those engrossed in prayer in search of comfort and assistance before the image of Mary, who is venerated here under the beloved title of Salus Populi Romani. Every August 5th, a solemn celebration recalls the Miracle of the Snows. Before the amazed eyes of the congregation, a cascade of white petals descends from the coffered ceiling, blanketing the hypogeum. From the very beginning of his pontificate, Pope John Paul II requested that an oil lamp burn day and night under the icon of the Salus Populi Romani, as witness to his great devotion to the Madonna. This same Pope, on the eighth of December 2001, inaugurated another precious jewel of the basilica - the museum, where a modern structure would house ancient masterpieces offering visitors a unique perspective of the history of the Basilica. The numerous treasures contained in the museum render St. Mary Major a place where art and spirituality combine in a perfect union, offering visitors a unique experience in contemplating the great works of man inspired by God. 21

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Holy Stairs Pillar of scourging Relic of the true cross Basilica's of scala santa, st. praxedes & santa croce The Scala Sancta (English: Holy Stairs, Italian: Scala Santa) are, according to the Catholic tradition, the steps that led up to the praetorium of Pontius Pilate in Jerusalem, which Jesus Christ stood on during his Passion on his way to trial. The stairs were, reputedly, brought to Rome by St. Helena in the 4th century. For centuries, the Scala Santa has attracted Christian pilgrims who wished to honor the Passion of Jesus. It consists of twenty-eight white marble steps, now encased by wooden steps, located in a building which incorporates part of the old Lateran Palace, located opposite the Basilica of Saint John Lateran. They are located next to a church which was built on ground brought from Mount Calvary. The stairs lead to the Sancta Sanctorum (English: Holy of Holies), the personal chapel of the early Popes in the Lateran palace, known as the chapel of St. Lawrence. The building belongs to the properties of the Holy See. 22 Santa Prassede also houses a segment of the alleged pillar upon which Jesus was flogged and tortured before his crucifixion in Jerusalem. The relic is alleged to have been retrieved in the early 4th century by Saint Helena (mother of the Roman Emperor Constantine I) who at the age of eighty undertook a pilgrimage to Golgotha in the Holy Land to found churches for Christian worship and to collect relics associated with the crucifixion of Jesus in Calvary. Among these legendary relics retrieved by Helena, which included pieces of the True Cross (now housed in the church of Santa Croce in Gerusalemme, also in Rome) and wood from the Jesus' crib, was the segment of the pillar now housed in Santa Prassede. The authenticity of these relics, including the Santa Prassede pillar, is disputed by historians and Christians alike, due to lack of forensic evidence and the massive proliferation of fake relics during the Middle Ages. 23 The Basilica of the Holy Cross keeps the Relics of the Passion of Jesus in the Chapel of Relics, which is upstairs the left aisles. The most famous ones are the fragments of the Holy Cross of Jesus, found by St. Helena on Calvarium in Jerusalem. The other relics include the Titulus Crucis, the inscription, which was on the top of the cross, according to the Gospel; one of the nails; two thorns of the Crown of Jesus; the finger of St. Thomas, the Apostle who doubted Christ's resurrection; part of the Good Thief's cross. 24

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Mass at tomb of St. Peter & Vatican Museum 29

Mass at Catacombs of st. peter Sistine chapel tour Around the year 67 A.D. Saint Peter suffered death by crucifixion during the reign of Emperor Nero and was laid to rest in a nearby cemetery on the Vatican Hill. For centuries Christians venerated the tomb of St Peter which was marked with a small monument in the mid 2nd century. In the year 320 the emperor, Constantine, began the construction of a large basilica in honour of St Peter, central to which was a shrine that encased both his tomb and the monument which had been subsequently built above it. In the 16th century Constantine’s basilica, which was in very poor condition, was slowly and carefully deconstructed as a new basilica was built. This new basilica is the current basilica and it was finished in 1626. In the early 20th century a construction crew stumbled upon parts of an ancient city street of family tombs [a necropolis] which had been filled in by Constantine’s workmen as the first basilica was built on the Vatican Hill. This necropolis was constructed in the 2nd and 3rd centuries and it began at the Tiber River and stretched to and past Peter’s tomb. Between 1939 and 1950 archaeologists uncovered much of this necropolis, eventually discovering the tomb of St. Peter. Today it i possible to walk underneath the foundation of St. Peter’s Basilica along the streets of this ancient necropolis. By way of a guided tour, pilgrims learn about the history of ancient Rome, St Peter, and the Church. A visit to the excavations underneath St Peter’s is one of the most important and memorable experiences available. 25 **Day nine mass will be in the Cristo Rey chapel which butts up to the tomb of St. Peter.** The Sistine Chapel (Latin: Sacellum Sixtinum; Italian: Cappella Sistina) is a large and renowned chapel of the Apostolic Palace, the official residence of the Pope in the Vatican City. Originally known as the Cappella Magna, the chapel takes its name from Pope Sixtus IV, who restored it between 1477 and 1480. Since that time, the chapel has served as a place of both religious and functionary papal activity. Today it is the site of the Papal conclave, the process by which a new Pope is selected. The fame of the Sistine Chapel lies mainly in the frescos that decorate the interior, and most particularly the Sistine Chapel ceiling and The Last Judgment by Michelangelo. During the reign of Sixtus IV, a team of Renaissance painters that included Sandro Botticelli, Pietro Perugino, Pinturicchio, Domenico Ghirlandaio and Cosimo Roselli, created a series of frescos depicting the Life of Moses and the Life of Christ, offset by papal portraits above and trompe l’oeil drapery below. These paintings were completed in 1482, and on 15 August 1483 Sixtus IV celebrated the first mass in the Sistine Chapel for the Feast of the Assumption, at which ceremony the chapel was consecrated and dedicated to the Virgin Mary. Between 1508 and 1512, under the patronage of Pope Julius II, Michelangelo painted the Sistine Chapel ceiling, a masterpiece without precedent, that was to change the course of Western art. In a different climate after the Sack of Rome, he returned and between 1535 and 1541, painted The Last Judgement for Pope Alexander III. The fame of Michelangelo's paintings has drawn multitudes of visitors to the chapel, ever since they were revealed five hundred years ago. 26 30

The Vatican museum The Vatican Museums originated as a group of sculptures collected by Pope Julius II (1503-1513) and placed in what today is the Cortile Ottagono within the museum complex. The popes were among the first sovereigns who opened the art collections of their palaces to the public thus promoting knowledge of art history and culture. As seen today, the Vatican Museums are a complex of different pontifical museums and galleries that began under the patronage of the popes Clement XIV (1769-1774) and Pius VI (1775-1799). In fact, the Pio-Clementine Museum was named after these two popes, who set up this first major curatorial section. Later, Pius VII (1800-1823) considerably expanded the collections of Classical Antiquities, to which he added the Chiaromonti Museum and the Braccio Nuovo gallery. He also enriched the Epigraphic Collection, which was conserved in the Lapidary Gallery. Gregory XVI (1831-1846) founded the Etruscan Museum (1837) with archaeological finds discovered during excavations carried out from 1828 onwards in southern Etruria. Later, he established the Egyptian Museum (1839), which houses ancient artifacts from explorations in Egypt, together with other pieces already conserved in the Vatican and in the Museo Capitolino, and the Lateran Profane Museum (1844), with statues, bas-relief sculptures and mosaics of the Roman era, which could not be adequately placed in the Vatican Palace. The Lateran Profane Museum was expanded in 1854 under Pius IX (1846-1878) with the addition of the Pio Christian Museum. This museum is comprised of ancient sculptures (especially sarcophagi) and inscriptions with ancient Christian content. In 1910, under the pontificate of Saint Pius X (1903-1914), the Hebrew Lapidary was established. This section of the museum contains 137 inscriptions from ancient Hebrew cemeteries in Rome mostly from via Portuense and donated by the Marquisate Pellegrini-Quarantotti. These last collections (Gregorian Profane Museum, Pio Christian Museum and the Hebrew Lapidary) were transferred, under the pontificate of Pope John XXIII (1958-1963), from the Lateran Palace to their present building within the Vatican and inaugurated in 1970. The Museums also include the Gallery of Tapestries, a collection of various 15th and 17th century tapestries; the Gallery of Maps, decorated under the pontificate of Gregory XIII (1572-1585) and restored by Urban VIII (1623-1644); the Sobieski Room and the Room of the Immaculate Conception; the Raphael Stanze and the Loggia, which were decorated by order of Julius II and Leo X (1513-1521); the Chapel of Nicholas V (1447-1455), painted by Fra Angelico; the Sistine Chapel, which takes the name of its founder, Pope Sixtus IV; the Borgia Apartment, where Pope Alexander VI lived until his death (14921503); the Vatican Pinacoteca, created under Pius XI (1922-1932) in a special building near the new entrance to the Museums; the Missionary-Ethnological Museum which was founded by Pius XI in 1926, arranged on the upper floors of the Lateran Palace and later transferred, under Pope John XXIII, to the 31

Vatican where it has been opened again to the public in the same building which housed the former Lateran collections. In 1973 the Collection of Modern and Contemporary Religious Art was added and inaugurated by Pope Paul VI (1963-1978) in the Borgia Apartment. The Vatican Historical Museum, founded in 1973 and transferred in 1987 to the Papal Apartment in the Lateran Palace, houses a series of papal portraits along with objects of the past Pontifical Military Corps and of the Pontifical Chapel and Family and historic ceremonial objects no longer in use. The Carriage and Automobile Museum is a section of the Vatican Historical Museum. In the year 2000, the Vatican Museums opened a new large entrance that provides visitor information and other services; on display are many new artworks, two of which were specially created for this grand entrance hall. Since early 2000 the Vatican Museums welcome visitors in a spacious new entrance that offers various services (security check, the cloak-room, visitor information, itineraries and guided tours, currency exchange, museum shop, nursery and first aid station). The structure is composed of three floors - the third is reserved for special exhibitions and meetings. From the second floor a monumental ramp, with inclined axis, leads the visitor to the exhibition areas through the Cortile delle Corrazze, which is covered by a glass and metal structure. In his inaugural speech, Pope John Paul II defined the new structure as “the entrance that introduces that temple of art and culture which are the Vatican Museums”, which “represent at a cultural level one of the most important doors of the Holy See open on the world. From this space comes not only the functional but the symbolic value of heightened “capacity”, that is, more comfort to express the renewed will of the Church to seek dialogue with humanity, in the sign of art and culture, in accessing the heritage which history entrusted her”. Various artworks are displayed in the entrance. Among the ancient pieces is one particularly worth seeing: the large polychrome mosaic dating back to the 1st century A.D. Two works of contemporary art have been specially executed for the entrance : the marble sculpture by Giuliano Vangi entitled “Varcare la Soglia” and the bronze doors of the main entrance. 27 32

St. Paul’s outside the walls Santa Maria Sopra Minerva St. Peter in Chains The Pantheon 33

Basilica of Saint Paul outside the walls At the beginning of the 4th century, with the end of the persecutions and the promulgation of the Edicts of Tolerance in favour of Christianity, Emperor Constantine ordered the excavation of the cella memoriae, the place where Christians venerated the memory of Saint Paul the Apostle, beheaded under Nero around 65-67 A.D. Above his grave, located along the Ostiense Way, about two kilometers outside the Aurelian Walls surrounding Rome, Constantine built a Basilica which was consecrated by Pope Sylvester in 324. Between 384 and 395 the Basilica, under the emperors Theodosius, Valentinian II and Arcadius, was restored and enlarged according to an extensive project consisting of five naves opening out into an atrium (quadriportico), or courtyard with four rows of columns. Throughout the centuries the Basilica would not cease to be embellished and enhanced by the Popes. For example, the massive defensive wall was built to protect against invasions at the end of the ninth century, while the bell tower and the magnificent Byzantine door were constructed in the eleventh century. Other important additions include Pietro Cavallini’s mosaics in the façade, the beautiful Vassalletto family’s cloister, Arnolfo di Cambio’s celebrated Gothic baldachin and the Candelabrum for the Paschal candle attributed to Nicola d’Angelo and Pietro Vassalletto of the thirteenth century. This historical period represents the golden age of what had been the biggest Basilica of Rome, until the consecration of the new Basilica of St. Peter in 1626. This sacred place of Christian pilgrimage was well-known for its artistic works. On the night of July 15, 1823, a fire destroyed this unique testimony to the Paleo-Christian, Byzantine, Renaissance and Baroque periods. The Basilica was reconstructed identically to what it had been before, utilizing all the elements which had survived the fire. In 1840 Pope Gregory XVI consecrated the Altar of the Confession and the Transept. Other embellishments followed the reconstruction. In 1928 the portico with 150 columns was added. Contemporary work in the Basilica has uncovered the tomb of the Apostle, while other important and beneficial works are carried out, as in the past, thanks to the generosity of Christians from all over the world. In the fifth century under the Pontificate of Leo the Great, the Basilica became the home of a long series of medallions which would to this day depict all the popes throughout history. This testifies, in an extraordinary way, to “the very great, the very ancient and universally known Church founded and organized at Rome by the two most glorious Apostles, Peter and Paul” (Saint Irenaeus, Adversus Haereses 3, 3,2). Saint Paul Outside-the-Walls constitutes an extra-territorial complex (Motu Proprio by Pope Benedict XVI, 30 May 2005), administered by an Archpriest. In addition to the Papal Basilica, the entire complex includes a very ancient Benedictine Abbey, restored by Odon of Cluny in 936. This Abbey remains active even today under the direction of its Abbot who retains his ordinary jurisdiction intra septa monasterii. The Benedictine Monks of the ancient Abbey, founded near the tomb of the Apostle by Pope Gregory II (715731), attend to the ministry of Reconciliation (or Penance) and the promotion of special ecumenical events.It is in this Basilica that every year on the feast of the Conversion of Saint Paul, January 25, the Week of Prayer for Christian Unity solemnly opens. The Pope has specified two privileged tasks for this Papal Basilica: the Sacrament of Reconciliation (or Penance) and the development and organization of ecumenical initiatives. On June 28, 2007, Pope Benedict XVI visited the Basilica and announced that the following year would be designated the “Pauline Year” to commemorate the bimillennium of the birth of Saint Paul. Thus, the “Pauline Year” was run from June 28, 2008 to June 29, 2009. 28 34

santa maria sopra minerva The only Gothic church in Rome, the Basilica Santa Maria sopra Minerva (Basilica of St. Mary over Minerva) is so named because it was built directly on the foundations of a temple to Minerva, the goddess of wisdom. The basilica that stands today was begun in 1280. Architectural changes and redecorations in the 1500s and 1900s stripped it of some of its magnificence, but it still includes an awe-inspiring collection of medieval and Renaissance tombs.

History Not much is known about the ruined temple to Minerva on this site, built by Pompey about 50 BCE and referred to as Delubrum Minervae. A temple to Isis and a Serapeum may also underlie the present basilica and its former convent buildings. Some Roman survivals can be seen in the crypt. The ruined temple is likely to have lasted until the reign of Pope Zacharias (741-752), who finally Christianized the site, offering it to Eastern monks. The Christian structure he commissioned has disappeared. The present building owes its existence to the Dominican Friars, who received the property from Pope Alexander IV (1254-1261) and made the church and adjoining monastery their influential headquarters. The Dominican Order administers the area today. The old Romanesque basilica was not splendid enough to serve as the chief Dominican church in Rome, so two Dominican monks, Sisto Fiorentino and Ristoro da Campi began the present structure in 1280. This pair of monastic architects had worked on the Gothic church of Santa Maria Novella in Florence, which served as the model for this church in Rome. After funds contributed by Boniface VIII set an example, the church was completed in 1370. It was later renovated by Carlo Maderno among others, given a Baroque facade, and restored in the 19th century to its present neo-medieval state. It was in the Dominican monastery adjoining the church that the astronomer Galileo Galilei (1564-1642) was tried by the Inquisition for teaching that the Earth revolved around the Sun. He was forced to recant and retire. 29

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San pietro in vincoli (saint peter in chains) Also known as the Basilica Eudoxiana, it was first rebuilt on older foundations in 432–440 to house the relic of the chains that bound Saint Peter when he was imprisoned in Jerusalem, the episode called the Liberation of Saint Peter. The Empress Eudoxia (wife of Emperor Valentinian III), who received them as a gift from her mother, Aelia Eudocia, consort of Valentinian II, presented the chains to Pope Leo I. Aelia Eudocia had received these chains as a gift from Iuvenalis, bishop of Jerusalem. According to legend, when Leo, while he compared them to the chains of St. Peter's final imprisonment in the Mamertine Prison in Rome, the two chains miraculously fused together The chains are kept in a reliquary under the main altar in the basilica. The basilica, consecrated in 439 by Sixtus III, has undergone several restorations, among them a restoration by Pope Adrian I, and further work in the eleventh century. From 1471 to 1503, in which year he was elected Pope Julius II, Cardinal Della Rovere, the nephew of Pope Sixtus IV, effected notable rebuilding. The front portico, attributed to Baccio Pontelli, was added in 1475. The cloister (1493– 1503) has been attributed to Giuliano da Sangallo. Further work was done at the beginning of the 18th century, under Francesco Fontana, and there was also a renovation in 1875. The Titulus S. Petri ad vincula was assigned on 20 November 2010, to Donald Wuerl. The previous

Cardinal Priest of the basilica was Pío Laghi, who died on 11 January 2009. Two popes were elected in this church : Pope John II in 533 and Pope Gregory VII in 1073. Next to the church is hosted the Faculty of Engineering of La Sapienza University. This is named "San Pietro in Vincoli" per antonomasia. The church is located on the Oppian Hill near Cavour metro station, a short distance from the Colosseum. 30 Yet another drawing card of this Basilica is the tomb of Pope Julius II, with one of the world's most famous sculptures: Michelangelo's Moses. Michelangelo was to have carved 44 magnificent figures for the tomb. That didn't happen, but the pope was given a great consolation prize -- a figure intended to be "minor" that's now counted among Michelangelo's masterpieces. In the Lives of the Artists, Vasari wrote about the stern father symbol of Michelangelo's Moses: "No modern work will ever equal it in beauty, no, nor ancient either." 31 36

The pantheon The Pantheon is one of the most famous sights in Italy. But there’s a lot more to this ancient Roman building than its postcard-worthy perfection! Here are 5 things you might not have known about Rome’s Pantheon (and 5 reasons why it’s one of our favorite places to visit!). The Pantheon is actually a Christian church—and has been for centuries Walk into the Pantheon today, and all of the information signs say “Basilica di Santa Maria ad Martyres,” or “Basilica of St. Mary and the Martyrs.” Huh? Isn’t this a pagan temple? Well, it was once. (More on that in a moment!). But in 609 A.D., it was turned into a church. It’s still a church today, and, yes, you can go to Mass here on Sundays! The Pantheon is the best-preserved ancient Roman building in Rome Largely because the Pantheon was turned into a church, it was kept remarkably well-preserved. In fact, you can still experience the building much as the ancient Romans would have. Sure, some things have changed (there’s a Christian altar here now, for example, and frescoes of saints), but the dimensions of the building, along with much of its decoration, has remained the same. The Pantheon dome remains the single largest, unreinforced concrete dome in the entire world At about 142 feet in diameter, the Pantheon’s dome is bigger even than the dome of St. Peter’s Basilica. It’s also completely unreinforced… there’s no rebar in there! That makes it the single largest unreinforced, concrete dome in the entire world. And, yes, it was built by the Romans in 125 A.D., not by later architects. Wow! This isn’t the original Pantheon You read that correctly. This Pantheon… is not the original! Don’t worry—it’s still ancient. But it just so happens to be the third version of the building. The first one was built in about 27 B.C., but burned down; the second, built in the 1st century A.D., also burned down. This, the third, was built in 125 A.D. Luckily, it survived later fires! This, by the way, explains the strange inscription above the porch, “M·AGRIPPA·L·F·COS·TERTIVM·FECIT,” which stands for, in English, “Marcus Agrippa, son of Lucius, consul for the third time, built this.” Agrippa was around in the 1st century B.C…. so how is that possible? It’s possible because Agrippa didn’t build the third version—he built the first. The inscription was added as a nice little nod to him, as the original founder. We’re still not sure who was worshiped here For a building as thoroughly studied as the Pantheon, a lot of mystery remains! One major question? What the Pantheon was used for. We know it was a pagan temple. But to worship which gods is anyone’s guess. Even Cassius Dio, writing just 75 years after the Pantheon was reconstructed, wasn’t sure what it was for. “It has this name, perhaps because it received among the images which decorated it the statues of many gods, including Mars and Venus; but my own opinion of the name is that, because of its vaulted roof, it resembles the heavens,” he wrote in his History of Rome. 32

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Catacombs of Santa Priscilla & The Colosseum 38

Catacombs of santa priscilla The Catacombs of Priscilla, sits on the Via Salaria, with its entrance in the convent of the Benedictine Sisters of Priscilla. It is mentioned in all of the most ancient documents on Christian topography and liturgy in Rome; because of the great number of martyrs buried within it, it was called “regina catacumbarum – the queen of the catacombs.” Originally dug out from the second to fifth centuries, it began as a series of underground burial chambers, of which the most important are the “arenarium” or sand-quarry, the cryptoporticus, (an underground area to get away from the summer heat), and the hypogeum with the tombs of the Acilius Glabrio family. The noblewoman Priscilla, who granted the Church use of the property, was a member of this family; her commemoration is noted on January 16th in the Roman Martyrology, which speaks of her as a benefactor of the Christian community in Rome. This cemetery was lost like all the others after the entrances were blocked to protect it from thievery; however, it was also one of the first to be rediscovered, in the sixteenth-century. A large portion of the funerary inscription, sarcophagi, stone and bodies (presumed to be those of martyrs) were subsequently taken away; nevertheless, the catacomb does preserve some particularly beautiful and important paintings, the most significant of which are included on the regular visit. 33

The Catacomb of Priscilla on the Via Salaria in Rome, Italy, is situated in what was a quarry in Roman times. This quarry was used for Christian burials from the late 2nd century through the 4th century. Some of the walls and ceilings display fine decorations illustrating Biblical scenes. The Catacombs of Priscilla are believed to be named after Priscilla, a member of the gens Acilia and who was probably the wife of the Consul Acilius who became a Christian and was killed on the orders of Domitian. They contain a number of wall paintings of saints and early Christian symbols, such as the painting reproduced in Giovanni Gaetano Bottari's folio of 1754, where the Good Shepherd is depicted as feeding the lambs, with a crowing cock on His right and left hand. Particularly notable is the "Greek Chapel" (Capella Greca), a square chamber with an arch which contains 3rd century frescoes generally interpreted to be Old and New Testament scenes, including the Fractio Panis. Above the apse is a Last Judgment. New, and somewhat controversial research has begun to suggest that the scenes traditionally interpreted as the deuterocanonical story of Susannah (Dn 13) may actually be scenes from the life of a prestigious Christian woman of the 2nd century AD. Near this are figures of the Madonna and Child and the Prophet Isaiah, also dating from the early 3rd century. The Priscilla catacombs contain the oldest known Marian paintings, from the early third century. Mary is shown with Jesus on her lap. The catacomb also has a depiction of the Annunciation. 34 39

The roman colosseum The Colosseum or Coliseum, also known as the Flavian Amphitheatre (Latin: Amphitheatrum Flavium; Italian: Anfiteatro Flavio or Colosseo) is an elliptical amphitheatre in the centre of the city of Rome, Italy. Built of concrete and stone, it was the largest amphitheatre of the Roman Empire, and is considered one of the greatest works of Roman architecture and engineering. It is the largest amphitheatre in the world. The Colosseum is situated just east of the Roman Forum. Construction began under the emperor Vespasian in 70 AD, and was completed in 80 AD under his successor and heir Titus. Further modifications were made during the reign of Domitian (81–96). These three emperors are known as the Flavian dynasty, and the amphitheatre was named in Latin for its association with their family name (Flavius). The Colosseum could hold, it is estimated, between 50,000 and 80,000 spectators, and was used for gladiatorial contests and public spectacles such as mock sea battles, animal hunts, executions, re-enactments of famous battles, and dramas based on Classical mythology. The building ceased to be used for entertainment in the early medieval era. It was later reused for such purposes as housing, workshops, quarters for a religious order, a fortress, a quarry, and a Christian shrine. Although in the 21st century it stays partially ruined because of damage caused by devastating earthquakes and stone-robbers, the Colosseum is an iconic symbol of Imperial Rome. It is one of Rome's most popular tourist attractions and has close connections with the Roman Catholic Church, as each Good Friday the Pope leads a torchlit "Way of the Cross" procession that starts in the area around the Colosseum. The Colosseum, like all the Historic Centre of Rome, Properties of the Holy See in Italy and the Basilica of Saint Paul Outside the Walls, was listed as a World Heritage Site by UNESCO in 1980. In 2007 the complex was also included among the New7 Wonders of the World, following a competition organized by New Open World Corporation (NOWC). The Colosseum is also depicted on the Italian version of the five-cent euro coin. 35

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Bibliography\End Notes Page 1.) http://www.florence-museum.com/accademia-gallery-tickets.php 2.) http://www.florence-museum.com/uffizi-gallery-tickets.php 3.) http://www.museumsinflorence.com/musei/museum_of_san_marco.html 4.) http://www.museumsinflorence.com/musei/cathedral_of_florence.html 5.) http://en.wikipedia.org/wiki/San_Miniato_al_Monte 6.) http://www.visitflorence.com/florence-churches/san-miniato.html 7.) http://en.wikipedia.org/wiki/San_Miniato_al_Monte 8.) http://www.basilicacateriniana.com/storia_en.htm 9.) Ibid 10.) http://www.sacred-destinations.com/italy/assisi-santa-maria-degli-angeli 11.) http://www.sacred-destinations.com/italy/assisi-eremo-delle-carceri 12.) http://en.wikipedia.org/wiki/Basilica_of_San_Francesco_d%27Assisi 13.) http://www.italia.it/en/discover-italy/umbria.html#box_1 14.) http://www.lonelyplanet.com/italy/umbria 15.) http://en.wikipedia.org/wiki/Basilica_di_Santa_Chiara 16.) http://www.therealpresence.org/eucharst/mir/bolsena.html 17.) http://en.wikipedia.org/wiki/St._Peter%27s_Basilica 18.) http://www.oh-rome.com/en/rome-districts/borgopio/ 19.) http://www.huffingtonpost.com/2013/03/20/rome-borgo-vatican-city_n_2915739.html 20.) http://www.piercedhearts.org/treasures/holy_sites/basilica_st_john_lateran.html 21.) http://www.vatican.va/various/basiliche/sm_maggiore/en/storia/introduzione.htm 22.) http://en.wikipedia.org/wiki/Scala_Sancta 23.) http://en.wikipedia.org/wiki/Santa_Prassede 24.) http://www.santacroceroma.it/history.php 25.) http://www.irishcollege.org/college/pilgrim-information/excavations-st-peters/ 26.) http://en.wikipedia.org/wiki/Sistine_Chapel 27.) http://mv.vatican.va/3_EN/pages/z-Info/MV_Info_NotizieStoriche.html 28.) http://www.vatican.va/various/basiliche/san_paolo/en/basilica/storia.htm 29.) http://www.sacred-destinations.com/italy/rome-santa-maria-sopra-minerva 30.) http://en.wikipedia.org/wiki/San_Pietro_in_Vincoli 31.) http://www.frommers.com/destinations/rome/attractions/207618 32.) http://www.walksofitaly.com/blog/rome/pantheon-facts 33.) http://www.catacombepriscilla.com/inglese/ 34.) http://en.wikipedia.org/wiki/Catacomb_of_Priscilla 35.) http://en.wikipedia.org/wiki/Colosseum#Christians_and_the_Colosseum 36.) http://www.papalaudience.org/ 37.) http://www.spiritdaily.net/portiunculaindulkgence.htm

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