This picture is the marvellous apse of the Basilica of San Clemente, located not far from the Colosseum. The church is ancient because it was established around the V century over the remains of a roman domus. But what is more important is that, in the course of the XIII century, when the basilica was partially destroyed due to looting and neglect raids, a great work of reconstruction was launched, thus giving to the place of christian worship for almost the whole of its present appearance. But let us focus on the masterpiece of the Basilica of San Clemente: the magnificent mosaic in the apse called the "Triumph of the Cross".

First of all the first doubts are about the dating os this wonder, something that I always happy to explain to my touristis. Basically we can say that the mosaic was completed around the XII century, perhaps the end. Commonly, the mosaic is attributed to Jacopo Torriti, master of that age who made also the splendid mosaic in the apse of the Basilica of Santa Maria Maggiore. It is also very probably that the work was carried out by a group of artists, assisted and guided by a master, probably the Torriti, to be precise. But we pass to the description of the masterpiece. Everything revolves around a cross, which, however, in this case, is not a synonymous of Passion and Pain.

Everything is born from the Cross, a triumphant Christ is on the object which was used for the end of the earthly life and all, in one way or another, back in Christ and the Cross. It is a triumph, and life. It is not a case, in fact, that under the Cross almost seems to rise from the lush vegetation, the Cross is surrounded by numerous spirals similar to vine. Particularly the green leaves belong to the bay tree, something that for the christian iconography symbolized salvation. Why? because naturally it has flowers and fruits even between thorns, exactly like Jesus who brought life and salvation through the thorns (of his crown but also in a metaphoric way). All of this symbolizes the life, which exists thanks to the Cross (the Church) and to Jesus himself. The vines remind us directly to the wine, representing the blood of Christ who establishes our freedom from Sin through the Savior. Especially in the field of early christian, and then in the course of the IV-V century, the wine and the vines were very used to symbolize salvation.

It does not end here, however, because the branches, as you can see, are spiral shaped. A clear synonym of eternity, and of life ready to be reborn. Also, not to miss anything, it is curious to note how, among the spirals, we find human figures and animals, biblical figures, and even a man riding a dolphin. It looks pagan but the message is that God's Salvation can reach anywhere and anyone. We have also a small bird that takes care about its little babies, exactly as Jesus did with us, His children. Let us return for a moment to the centre of the stage, occupied by the Cross: beneath the big green leaves we see spring forth four springs (representing the Evangelists), from which comes a river. First, there is the water that purifies and nourishes, that makes us alive. A water from which all may benefit from them: and here, then, is to drink deer and peacocks, the latter especially considered a synonym of eternal life by the early christian community of the III-IV century AD (it's no coincidence many peacocks paintings can be found on the walls of the catacombs).

Going even more below we have the Lamb of God (the lamb, the central halo), surrounded by twelve sheep. Above, instead, a blessing Christ in a clypeus (the round that surrounds the figure of Jesus). To the sides, finally, there are four winged figures, which are, apparently, very strange. In reality, they are representations of biblical of the 4 Evangelists, by following the description of the vision of the Day of the Judgment of Ezekiel, and the beginning, different for all, of the Gospels of the Evangelists: the winged lion (St. Mark), Angel (St. Matthew), the Eagle (St. John), and finally, on the right, the Bull (Saint Luke). But then there are also the portraits of st. Peter and St. Paul, patrons of Rome, and of the Heavenly Jerusalem, to symbolize the Paradise. A decorative theological apparatus that is able to impress us. Tiny pieces of glass paste, polychrome and recessed in the wall of the apse. Capable of forming human figures, animals and vegetables. A clear message of hope and salvation.