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Updated: June 7, 2025
His eyes ranged also over all the basilicas, Santa Maria Maggiore, San Giovanni in Laterano, the cradle of the papacy, San Paolo-fuori-le-Mura, Santa Croce in Gerusalemme, Sant' Agnese, and the others; they beheld, too, the domes of the Gesu of Sant' Andrea della Valle, San Carlo and San Giovanni dei Fiorentini, and indeed all those four hundred churches of Rome which make the city like a /campo santo/ studded with crosses.
Pierre everywhere found the same form of attendance, peculiar to the countries of the sun; the worshippers were in a hurry and only favoured the Deity with short familiar visits, unless it were a question of some gala scene at San Paolo or San Giovanni in Laterano or some other of the old basilicas.
In addition, the temples of the opulent Imperial period seemed to resuscitate in our times at San Giovanni in Laterano and San Paolo-fuori-le-mura. Was not that Basilica of San Giovanni "the Mother and Head of all the churches of the city and the earth" like the abode of honour of some pagan divinity whose splendid kingdom was of this world?
It is solemn and noble in conception, and would be a great work but for a roughness which is more careless than archaic. PAOLO ANIMUCCIA, a brother of Giovanni, was also celebrated as a composer; he is said by Fetis to have been maestro di capella at S. Giovanni in Laterano from the middle of January 1550 until 1552, and to have died in 1563.
At half-past five on the morning of the 20th of September, all attempts at conciliation having failed, the Italian attack was opened upon five different points, Porta San Pancrazio, Porta San Giovanni Laterano, Porta San Lorenzo, Porta del Popolo and Porta Pia.
And we cross the threshold of the Eternal City at yonder gate, the Gate of San Giovanni Laterano, where the two last objects that attract the notice of a departing visitor, and the two first objects that attract the notice of an arriving one, are a proud church and a decaying ruin good emblems of Rome.
Pierre everywhere found the same form of attendance, peculiar to the countries of the sun; the worshippers were in a hurry and only favoured the Deity with short familiar visits, unless it were a question of some gala scene at San Paolo or San Giovanni in Laterano or some other of the old basilicas.
Having therefore departed from Milan, he betook himself, just before the holy year of 1500, to Rome, where he was recognized by some friends, both from his own country and from Lombardy, and received a commission to paint, over the Porta Santa of S. Giovanni Laterano, which is opened for the Jubilee, the coat of arms of Pope Alexander VI, to be executed in fresco, with angels and other figures acting as supporters.
Pierre everywhere found the same form of attendance, peculiar to the countries of the sun; the worshippers were in a hurry and only favoured the Deity with short familiar visits, unless it were a question of some gala scene at San Paolo or San Giovanni in Laterano or some other of the old basilicas.
In addition, the temples of the opulent Imperial period seemed to resuscitate in our times at San Giovanni in Laterano and San Paolo-fuori-le-mura. Was not that Basilica of San Giovanni "the Mother and Head of all the churches of the city and the earth" like the abode of honour of some pagan divinity whose splendid kingdom was of this world?
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