Although lesser known than those of Ravenna, Rome's splendid medieval mosaics bear witness to an ancient Christian tradition spanning nine hundred years. By examining the mosaics in the churches of Santa Pudenziana, Santa Prassede, and Santa Maria Maggiore, we will discuss changes in style and iconography and the role of art in Christian worship.

We begin at one of the city's major basilicas, Santa Maria Maggiore. The church has mosaics dating from both the fourth century and late thirteen century in the apse signed by Jacopo Torriti. In competition with the mosaics in Santa Maria in Trastevere, the principal subject is the Coronation of the Virgin and below this, Torriti designed a narrative sequence depicting scenes from the life of the Virgin.

From there we stroll to two smaller medieval churches, Santa Prudenziana and Santa Prassede, which have some of the best preserved mosaics in Rome. Santa Prassede gathered the bones of Christian martyrs and hid them in a well. In 822 C.E. Pope St. Paschal I built a church and enriched it with Byzantine mosaics in the apse, the triumphal arch, and in the Zeno chapel, which was built as a mausoleum for his mother. Completely covered with mosaics, the jewel-box-like Zeno chapel is unique among Rome's chapels. The apse mosaic of Santa Pudenziana, the sister of Prassede, one of the oldest churches in the city, dates from 390 C.E. and is built over the house of the saint's father, Senator Pudens, who is reputed to have offered hospitality to St. Peter. It is remarkable not only for its representations of Christ and the apostles but also for its depiction of Jerusalem and its buildings.