Istanbul from the Bosphorus Waters. A Short Cruise Between Europe and Asia

Today I would like to show you what is often considered the largest city in Europe. Istanbul is a city that stretches across two continents, with most of its population living on the European side and the rest on the Asian shore of the Bosphorus. With more than fifteen million inhabitants, it is frequently described as the largest city in Europe, although its unique position between Europe and Asia makes it impossible to place neatly into a single category. And perhaps that is exactly what makes Istanbul feel so extraordinary from the very beginning.

We deliberately chose not to fly to Istanbul. Instead, we travelled overland from Bulgaria by coach. We wanted to experience the gradual transition into the city and understand its true scale. Both on the journey into Istanbul and again when leaving, we crossed enormous sections of the city – each time following a different route. That gave us the opportunity to see far more than just the famous landmarks usually associated with Istanbul. We saw the city as a vast, sprawling metropolis stretching endlessly across hills, valleys and coastlines on two continents. Even after hours of driving, the city still seemed to continue without interruption. Along the way I took hundreds of photographs through the coach window, trying to capture at least fragments of that scale. I still have not processed those images yet, but they will definitely appear in a future post.

But on the second day we pursuit yet another Istanbul experience and boarded a cruiser to see the city from the Bosphorus waters. It revealed an entirely different perspective. From the deck of the boat, Istanbul was no longer a landscape of traffic, overpasses and endless urban expansion, but a constantly changing waterfront panorama of palaces, mosques, bridges, waterfront mansions and steep hillsides rising directly above the strait. Seen from the water, the city felt calmer, more layered and somehow even more extraordinary. And perhaps that contrast between the overwhelming scale of Istanbul seen from the land and the softer atmosphere of the city seen from the Bosphorus is what made this experience so unforgettable.

The Bosphorus cruise was the complete opposite of that land perspective. Instead of traffic, overpasses and crowded streets, we watched Istanbul unfold slowly from the water itself. What struck me most was the contrast. Ottoman palaces stood directly beside the water, their façades reflected in the strait, while behind them modern apartment buildings climbed steep hillsides.

But more than anything else, I remember the atmosphere of the Bosphorus that morning. When I was a child, I once read a novel in which someone described Istanbul at dawnthe Bosphorus covered in a pale mist drifting just above the water. I no longer remember the title of the book or even the author, but the image somehow stayed with me for years. And then, standing there in Istanbul, I suddenly realised I was looking at exactly the same scene. Early in the morning, the Bosphorus was wrapped in a delicate haze. The mist softened the outlines of the city and diffused the sunlight so completely that even taking photographs became difficult. The entire landscape seemed muted and almost unreal. The colour of the Bosphorus waters surprised me as well. I had expected the deep navy tones usually associated with large sea channels, but the water often appeared aquamarine. In the soft morning light it shifted constantly between pale turquoise and blue-green shades, reflecting both the changing sky and the mist above it.

The cruise itself lasted around an hour. The Bosphorus is the narrow strait connecting the Black Sea with the Sea of Marmara and, at the same time, the natural dividing line between Europe and Asia. Earlier that day, while approaching the city by road, we had already seen large cargo vessels waiting offshore for permission to enter the Bosphorus. It is one of the characteristic sights around Istanbul. Traffic through the strait is tightly controlled and large ships wait for their allocated passage times before continuing their journey. During the cruise itself, however, the Bosphorus felt unexpectedly calm. Around us there were mainly local ferries, smaller private boats and sightseeing vessels, which allowed the city itself to dominate the experience rather than maritime traffic.

As our boat slowly pulled away from the quay, Istanbul began unfolding in layers along both shores. Above the historic peninsula rose the silhouettes of mosques and minarets dominating the skyline of the old city. Shortly afterwards we passed the Galata Bridge connecting the historic centre with the northern districts across the Golden Horn. The Golden Horn is a natural inlet branching off from the Bosphorus on the European side of Istanbul. For centuries it served as the city’s main harbour and divided the historic imperial centre from the Galata district on the opposite shore. Today it remains one of the most characteristic parts of Istanbul’s waterfront panorama.

From the water we could also clearly see the Galata Tower rising above the dense urban landscape, visible from surprisingly far away. One of the first buildings that immediately drew attention was Dolmabahçe Palace. Bright, monumental and unmistakably European in style, it looked completely different from the more traditional Ottoman architecture usually associated with Istanbul. Seen from the Bosphorus, the palace appeared almost impossibly large, extending directly along the waterfront with enormous symmetrical façades facing the water.

Further along came the Beşiktaş waterfront, followed by the magnificent Çırağan Palace. Today it operates as a luxury hotel, but it still carries the grandeur of an imperial Ottoman residence. Seen from the water, the building looked less like a hotel and more like a ceremonial palace placed directly beside the strait.

The closer we moved along the Bosphorus, the more visible the contrasts became between imperial Istanbul and the modern metropolis surrounding it. Some sections of the shoreline were dominated by historic architecture and elegant waterfront mansions, while others revealed dense modern districts climbing steep hillsides in layers upon layers of apartment blocks.

The Ortaköy Mosque was undoubtedly one of the most photogenic points along the route. Standing almost directly at the edge of the water beneath the vast Bosphorus Bridge, it perfectly captured the layered character of Istanbul itself. Historic Ottoman architecture, modern infrastructure and densely built urban hillsides all existed together within the same view.

On the Asian shore we passed Beylerbeyi Palace, another elegant Ottoman residence overlooking the Bosphorus. Beyond it stretched rows of famous yali – historic wooden waterfront mansions built directly beside the strait. Some seemed almost suspended above the water itself. Between them were hidden gardens, private piers and quiet coves barely visible from the roads running high above the coastline.

At certain moments the shape of the shoreline created the illusion that parts of the city were separated like islands. In reality this was just the entrance to the Strait from the Marmara Sea with the Maiden’s Tower, or Kız Kulesi, standing alone on a small rocky islet near the Asian shore. On the picture below from the Google Maps you can see the route there and back we took.

Before returning to the harbour, another remarkable view appeared on the European side of the city, near the point where the Bosphorus meets the Sea of Marmara. In the distance, rising above the shoreline and surrounded by trees, we could see Topkapi Palace – the vast former residence of the Ottoman sultans.

Unlike the later waterfront palaces built directly along the Bosphorus, Topkapi does not appear as a single monumental building. Seen from the water, it looks more like an entire fortified complex spread across the historic peninsula. For centuries it served as the political, ceremonial and administrative centre of the Ottoman Empire, occupying one of the most strategic locations in Istanbul, overlooking the Bosphorus, the Golden Horn and the Sea of Marmara at the same time.

Further behind the palace lies the heart of the former imperial city of Constantinople, where Hagia Sophia and, beyond it, the Blue Mosque dominate the skyline of the historic peninsula. From the position of the boat, however, those landmarks remained hidden deeper within the city and were not visible from the water during this part of the cruise.

What fascinated me most throughout the cruise was how quickly everything changed. The Bosphorus never looked the same for more than a few minutes. One moment there were monumental palaces and elegant waterfront mansions, the next there were crowded residential districts or single houses climbing steep hillsides, followed by mosques, ferry terminals, modern bridges stretching far into the distance. Seen from the water, Istanbul does not feel like a single city. It feels more like a constantly shifting panorama flowing endlessly between Europe and Asia.

Istanbul from the Bosphorus Waters. A Short Cruise Between Europe and Asia

Bari. At the Crossroads of Apulia

Today I would like to write about Bari, a large port city located in the Apulia region in southern Italy. It is one of those places that can be visited well beyond the peak summer season. Even in autumn, temperatures here remain pleasantly high, although it is still worth being prepared for occasional rainy days, which can appear quite suddenly at this time of year.

Unlike many of my previous trips to Italy, my stay in Bari was not limited to walking through a historic centre for a day or two. I spent nearly a week around the city while visiting family living several kilometres outside Bari. Because I had a rental car, I was able to see not only the most tourist-oriented places, but also the more contemporary and everyday side the city. It was precisely this double perspective that made Bari far more memorable than I had initially expected. On one hand, there are the very old, narrow streets of Bari Vecchia, full of tourists, restaurants, and historical landmarks, while on the other there are modern districts, broad avenues, heavy traffic, and the everyday life of a large city. And I have the impression that only after seeing both of these worlds is it possible to better understand Bari. In fact, I have noticed that this often happens when I travel for reasons other than tourism. Sometimes it is work, sometimes visiting family, but staying a little longer usually allows me to see a city from a much broader perspective than just its old town and main tourist attractions.

Driving through the city itself was also an experience of its own. It quickly became clear that finding a parking space in the late evening in the centre where I rented an apartment, was not exactly easy. The local driving style required a certain amount of adjustment, as well. I very quickly started appreciating the fact that the car had front and rear cameras, because many parking spaces looked significantly smaller than those I am used to. Bari did not feel unfriendly towards drivers, however – rather, it felt like a city functioning according to its own rules and rhythm, to which you simply have to adapt. What also surprised me in comparison with my own country was the much smaller number of road signs. Very often, especially at junctions, you have to pay close attention to the lines painted on the road itself, because only then do you realise who actually has priority.

At the same time, the car gave us an enormous amount of freedom, especially because some of our trips around the region were made together with my two-year-old niece. Bari became our base for exploring a larger part of Apulia and even a fragment of neighbouring Basilicata. Over the course of several days, we visited places including Alberobello with its famous trulli houses, Matera with its rock-cut districts, and Castel del Monte, which remains one of the most mysterious medieval buildings in Italy to this day. All of these places are located relatively close to Bari, and it is precisely then that you realise how good a base this city can be.

Despite the numerous trips outside Bari, there was also time to explore the city itself at a slower pace. One evening was spent mainly wandering through the historic centre, while on another day I devoted practically the entire day to the historic districts of Bari itself. And it was then that I started noticing that the city is far more complex than the images usually associated with it online might suggest.

Most tourists associate Bari almost exclusively with Bari Vecchia – the oldest part of the city located between the port and the sea. This is where the best-known landmarks are situated, including the Basilica of Saint Nicholas and the Norman-Swabian Castle. Narrow alleyways, stone walls, hanging laundry, and small squares really do create a very typical image of southern Italy. Even despite the large number of tourists, this part of the city occasionally feels almost medieval, particularly once you move away from the main walking routes.

The Norman-Swabian Castle of Bari turned out to be one of the most interesting places in the city. Since I have already described it in much greater detail elsewhere, I will only mention here that it is definitely worth visiting the interior rather than limiting yourself to viewing the walls from outside. The same applies to the Basilica of Saint Nicholas, which remains one of the most important religious sites in the entire region. It is here that the relics of Saint Nicholas were brought in the 11th century, making Bari an important pilgrimage destination and one of the key ports on the Adriatic for many centuries. At the time of my visit, the castle was undergoing renovation works, and one thing that also stood out was the relatively small number of exhibits inside. In practice, apart from the plaster cast gallery located on the ground floor, the interiors were quite empty. Nevertheless, the castle itself still makes a very strong impression. The castle was also closely connected with Bona Sforza, the Queen of Poland. It was here that she spent part of her life as Duchess of Bari before leaving for Kraków and marrying Sigismund I the Old, and she later returned to Bari during the final years of her life after leaving Poland. She was eventually buried in the Basilica of Saint Nicholas, where her sarcophagus can still be seen above the altar.

At the same time, Bari does not end with its medieval quarter. Between the main railway station and the seafront lies a completely different part of the historic city – more ordered, significantly wider, and filled with elegant townhouses and representative streets. This district, developed mainly during the 19th century, presents Bari not as a medieval port, but as a modern Italian city shaped during the period of Italian unification. The most characteristic features here are the broad avenues, particularly Corso Vittorio Emanuele II and Corso Cavour. The architecture of this part of the city feels far more monumental and organised than in Bari Vecchia. Townhouses dating from the 19th and early 20th centuries dominate the streetscape, often featuring neoclassical and eclectic elements. While walking through this part of Bari, I occasionally had the impression that I was in a completely different city from the one located only a few streets away.

And perhaps that contrast is what I remember most strongly. Bari is not merely a postcard-perfect medieval town designed purely for tourists. It is a large, living city with a very long history, which for centuries served as an important port and a meeting place of different cultures present around the Adriatic. You can see medieval, Norman, and Byzantine influences here, but also the 19th-century ambitions of a modern city.

The history of Bari is much older than it may initially appear while walking through the modern city. Thanks to its location on the Adriatic coast, the settlement developed as a port already in antiquity and from the beginning remained connected with maritime trade and contacts between the Italian Peninsula, the Balkans, and the eastern Mediterranean. During the Roman period, Bari, then known as Barium, became one of the more important ports in southern Italy, although for a long time it remained overshadowed by larger cities of the region.

Towards the end of the 4th century was the empire administratively divided into western and eastern parts. Because Bari was located within Italy, it became part of the Western Roman Empire. After its collapse in the 5th century, however, the political situation in southern Italy remained unstable for a very long time. The city repeatedly changed rulers and came under the influence of the Lombards, Byzantium, and for a certain period also the Arabs. The Byzantine period turned out to be particularly important because Bari became one of the main administrative centres of Byzantium in southern Italy. As a result, the city remained closely connected for centuries with the trade and culture of the eastern Mediterranean, maintaining contacts between Italy, the Balkans, and the Greek world.

In the 11th century, Bari was conquered by the Normans, who began extensive expansion of the fortifications and strengthened the city’s role as an important commercial and military port. Part of the oldest fabric of Bari Vecchia dates precisely from this period. At the same time, the arrival of the relics of Saint Nicholas from Myra in 1087 transformed the city’s position within medieval Europe, turning Bari into one of the most important pilgrimage destinations on the Adriatic. The Basilica of Saint Nicholas was built specifically to house these relics. Saint Nicholas himself is also a much more historically significant figure than modern popular culture might suggest today, when he is associated mainly with Christmas traditions. For centuries he was one of the most important saints in Christianity, particularly venerated in the Byzantine world and eastern Christianity. This is also why the basilica in Bari continues to hold major importance for both Catholics and Orthodox Christians.

The Normans created a powerful state that included Sicily and much of southern Italy. The last Norman heiress of this kingdom, Constance of Sicily, married Henry VI of the Hohenstaufen dynasty, the son of Emperor Frederick Barbarossa. Through this marriage, the Hohenstaufens gained rights to the Kingdom of Sicily and, after the death of the last Norman ruler, took control of the entire state, including Bari. Their son was Frederick II, who spent part of his childhood in southern Italy and became very strongly connected with the region. One of the most important rulers of medieval southern Italy, he expanded and rebuilt several fortifications across the region, including the castle in Bari and the famous Castel del Monte.

After the decline of the Hohenstaufen dynasty, Bari later became part of the Kingdom of Naples. The Kingdom of Naples was a historical state that controlled most of southern Italy for many centuries, with Naples serving as its capital. It emerged during the Middle Ages and existed in various forms until the 19th century, when Italy was unified into a single country. Over the centuries, the kingdom itself was ruled by different dynasties, including the Angevins, Aragonese, and later the Spanish Bourbons. The city was repeatedly rebuilt and fortified, while its strategic position ensured that it played an important commercial and military role.

In the 19th century, Bari began expanding rapidly beyond its medieval walls. New representative districts with broad streets and elegant architecture inspired by the urban planning of modern European cities started to appear. It was during this period that much of the present-day centre of Bari took shape, creating a very visible contrast with the dense and narrow streets of Bari Vecchia.

Today, Bari is one of the largest cities in southern Italy and the capital of the Apulia region. Walking between medieval Bari Vecchia and the 19th-century avenues of the newer districts, it becomes very easy to see how the city evolved over the centuries. For me, however, Bari turned out also to be a very convenient place from which to explore the wider region. You can easily spend several days here focusing entirely on the city itself, but Bari works equally well as a starting point for further journeys around Apulia. And perhaps it is precisely this combination – everyday urban life, a historic centre, and an excellent location – that makes Bari stay in your memory much longer than you might initially expect.

Bari. At the Crossroads of Apulia

The Lateran Apostles and Their Attributes

The Archbasilica of the Most Holy Saviour and Saints John the Baptist and John the Evangelist in the Lateran, commonly known as Saint John Lateran, is the cathedral of the Diocese of Rome and the official ecclesiastical seat of the Pope as Bishop of Rome. Although it stands outside the territory of Vatican City, the Basilica is part of the extraterritorial properties of the Holy See, enjoying a special status similar to that of the Vatican itself.

Founded in the early fourth century by Emperor Constantine, it is the oldest public church in Rome (although heavily reconstructed over the years) and holds the title of the mother and head of all churches in the city and in the world, which underlines its unique importance within the Catholic Church. It is worth noting that, unlike the Pantheon – which was only later converted into a church – the Lateran Basilica is the oldest building in Rome originally constructed as a Christian place of worship.

I have visited the Basilica several times and even shared a post about it here some time ago; however, after my most recent visit I never updated it, especially since I now have a larger collection of detailed photographs from its interior. Before I do so, I would like to highlight one of its more intriguing details, along with a brief commentary.

One of the most striking elements of the interior of the Archbasilica is the monumental cycle of statues representing the Apostles placed along the central nave. The architectural structure of the nave was created in the mid-seventeenth century during the major reconstruction of the basilica ordered by Pope Innocent X and carried out by the architect Francesco Borromini. As part of his redesign, Borromini created a series of large niches in the massive piers of the nave. These niches were clearly intended to hold monumental statues, but for several decades they remained empty. It was only in the early eighteenth century that the sculptural program was finally realized. During the pontificate of Pope Clement XI, the project was entrusted to the architect Carlo Fontana, a former collaborator of Gian Lorenzo Bernini. Fontana invited a group of the most prominent sculptors working in Rome at the time, and each artist was commissioned to create one of the apostolic figures. The sculptures, carved in white marble and standing more than four metres high, occupy the monumental niches between the nave piers. Each niche is framed by pairs of coloured marble columns.

The program represents the Twelve Apostles, the closest followers of Christ and the traditional foundations of the Christian Church. However, the series includes a small but significant modification. Instead of Judas Iscariot, who betrayed Christ, the cycle features Saint Paul. Although Paul was not one of the original Twelve, Christian tradition has long regarded him as one of the greatest apostles because of his missionary work and theological writings. For this reason he is often paired with Saint Peter as one of the principal apostles of the Church. The twelve figures represented in the Lateran basilica are therefore: Peter, Paul, Andrew, James the Greater, John the Evangelist, Thomas, Philip, Bartholomew, Matthew, James the Less, Simon, and Jude Thaddeus.

An important element of this sculptural program is the use of attributes, the symbolic objects held by each apostle. In Christian art these objects function as visual identifiers, allowing viewers to recognize individual saints even without reading the inscriptions on the bases of the statues. The attributes usually refer either to the manner of the apostle’s martyrdom or to his role in the early Church and Christian tradition.

For example, Saint Peter holds the keys symbolizing the authority entrusted to him by Christ, Saint Paul carries a sword referring to his execution in Rome and to the power of his preaching, and Saint John is accompanied by an eagle representing the theological depth of his Gospel. Other apostles are identified through instruments associated with their deaths, such as the saw of Saint Simon, the club of Saint James the Less, or the knife of Saint Bartholomew.

Saint Peter was one of the closest disciples of Jesus and is traditionally regarded as the leader of the Apostles. Originally named Simon, he was a fisherman from Galilee before being called by Christ to become one of his first followers. According to the Gospels, Jesus gave him the name Peter (from the Greek petros, meaning rock), symbolizing the foundational role he would play in the Christian community.

After the death and resurrection of Christ, Peter became one of the central figures in the early Church and is traditionally considered the first bishop of Rome, and therefore the first pope (although the latter title formally appeared ages later). According to early Christian sources, he was executed in Rome during the persecution of Christians under Emperor Nero around AD 64. Tradition holds that he was crucified upside down, because he did not consider himself worthy to die in the same way as Christ.

Peter’s main attribute in Christian art is the key, or more often a pair of keys. The symbol comes from the Gospel of Matthew, where Christ tells him: I will give you the keys of the kingdom of heaven. In many representations the two keys – often shown as gold and silver – are interpreted as symbols of authority over heaven and earth, or of spiritual and temporal power.

Saint Matthew, also known as Levi, was originally a tax collector before becoming one of the twelve apostles. Matthew left his profession immediately when Jesus called him to follow him. Christian tradition attributes to him the authorship of the Gospel of Matthew, which explains why he is frequently represented with a book or scroll.

After the death of Christ, Matthew is believed to have travelled widely as a missionary. Ancient sources place his preaching in regions such as Ethiopia, Persia, or Syria. Tradition holds that he eventually died as a martyr, although the exact circumstances of his death are uncertain.

Saint Jude Thaddeus remains one of the lesser-known figures, partly due to the similarity of his name to Judas Iscariot. He is traditionally identified as a close relative of Jesus and is regarded in Christian tradition as a devoted and steadfast preacher of the Gospel, most likely active in the regions of the Near East. Over time, he came to be especially venerated as the patron saint of lost causes and desperate situations.

In art, he is most often depicted holding a spear, which refers to the manner of his martyrdom. According to tradition, he was killed while preaching, and the weapon became his identifying attribute in iconography.

Saint Andrew was the brother of Saint Peter and one of the first disciples called by Jesus. Like his brother, he had been a fisherman from Galilee before becoming a follower of Christ. Andrew was originally a disciple of John the Baptist and was among the earliest to recognize Jesus as the Messiah.

After the Resurrection, Christian tradition describes Andrew as a missionary who travelled widely across the eastern Mediterranean world. Various early sources associate his preaching with regions around the Black Sea, Asia Minor and Greece. He is believed to have been martyred in the Greek city of Patras. He was crucified on a cross in the shape of the letter X, now known as the Cross of Saint Andrew. Because he considered himself unworthy to die in the same manner as Christ, the cross was said to have been positioned differently from the traditional form.

Over time, this distinctive cross shape began to function beyond its purely religious context and entered broader European symbolism – appearing in heraldry, markings, and simple graphic signs, where its form was clear and easily recognisable. The X naturally came to be associated with the crossing of lines and with points of potential conflict or danger. This is why, in the 19th century, with the expansion of the railways, it was adopted as a warning sign at level crossings, indicating the point where a road intersects with railway tracks.

Saint Thomas is most widely known from the Gospel of John, where he initially doubts the resurrection of Christ. When the other disciples tell him that Jesus has risen, Thomas famously declares that he will not believe unless he can see and touch the wounds of the crucifixion. According to the Gospel narrative, Christ later appears to him and invites him to do exactly that. Later Christian tradition describes Thomas as a missionary who travelled far beyond the Roman world, preaching as far as Persia and India. The ancient Christian communities of southern India still maintain a strong tradition linking their origins to his mission.

The raised pointing finger refers directly to the Gospel episode in which Thomas is invited to place his finger in Christ’s wounds. In art this gesture has come to symbolize both his initial doubt and the moment of recognition and faith that followed.

Saint Paul was not one of the original Twelve Apostles, but he became one of the most influential figures in early Christianity. Born in Tarsus and originally known as Saul, he was a Pharisee who initially persecuted early Christians. His life changed dramatically after a visionary encounter with Christ on the road to Damascus, after which he became one of the most active missionaries of the early Church. Paul travelled extensively through Asia Minor, Greece and eventually Rome, founding Christian communities and writing letters that would later become a central part of the New Testament.

In artistic representations Paul is almost always shown with two attributes: a book and a sword. The book refers to his epistles – such as the Letters to the Romans, Corinthians and Galatians – which shaped Christian theology and form a major portion of the New Testament. The sword refers to the manner of his martyrdom. According to early Christian tradition, Paul was executed in Rome during the persecution under Emperor Nero around AD 67. As a Roman citizen, he was not crucified but beheaded with a sword. The sword is sometimes understood not only as the instrument of his death, but also as a symbol of the sword of the Word, reflecting the force and clarity of his teaching.

Saint Philip originally came from Bethsaida in Galilee, the same town as Peter and Andrew. According to the Gospel of John, he was among the early followers of Jesus and was the one who introduced Nathanael (traditionally identified with Bartholomew) to Christ. After the Resurrection, Christian tradition describes Philip as a missionary who preached in Asia Minor. Ancient sources associate his later ministry particularly with the city of Hierapolis in present-day Turkey.

The precise details of his death vary in different early accounts, but many traditions describe him as having been crucified. For this reason, Philip is commonly represented in Christian art holding a cross. In many images the cross appears as a tall staff-like cross, which distinguishes it from the smaller crosses used in other contexts.

Saint James the Greater was the son of Zebedee, as well as the brother of Saint John the Evangelist. Together with Peter and John he belonged to the inner circle of disciples, who witnessed some of the most significant events in the life of Christ. After the Resurrection, Christian tradition describes James as preaching the Gospel in various regions before eventually returning to Jerusalem. According to the Acts of the Apostles, he became the first of the apostles to suffer martyrdom. He was executed by the sword in Jerusalem on the order of King Herod Agrippa I.

In Christian art James the Greater is frequently depicted as a pilgrim, holding a staff. The pilgrim’s staff refers to the medieval tradition that his relics were brought to Santiago de Compostela in Spain, which later became one of the most important pilgrimage destinations in the Christian world. The staff therefore symbolizes both pilgrimage and the widespread devotion associated with Saint James.

Saint Bartholomew is commonly identified with Nathanael mentioned in the Gospel of John. According to early Christian tradition, he preached the Gospel in several eastern regions, including Mesopotamia and Armenia. Ancient sources describe his missionary work as bringing Christianity to areas far beyond the Roman world. His ministry eventually led to persecution. According to the most widely accepted tradition, Bartholomew was martyred in Armenia, where he was flayed alive and then executed.

For this reason, his principal attribute in Christian iconography is a knife, the instrument associated with his martyrdom. In many works of art he is also shown holding his own flayed skin.

Saint Simon, often called Simon the Zealot, travelled as a missionary after the Resurrection of Christ, preaching in regions of the Middle East and Persia. Several early sources describe him working together with the apostle Jude Thaddeus in spreading the Christian faith. Simon is believed to have died as a martyr during these missionary journeys. One common tradition states that he was killed with a saw, which became the symbol associated with him in Christian art. For this reason, Saint Simon is typically depicted holding a saw.

Saint James the Less is traditionally identified as the son of Alphaeus. Early Christian sources describe him as an important leader of the Christian community in Jerusalem and a central figure in the earliest years of the Church. He is often also associated with James the Just, who played a leading role in the Jerusalem church after the Resurrection of Christ. James was eventually persecuted for his faith in Jerusalem. One account describes him being thrown from the pinnacle of the Temple and then killed by blows from a club or fuller’s bat. For this reason, Saint James the Less is commonly depicted holding a club.

Saint John the Evangelist was the brother of Saint James the Greater. Together with Peter and James he belonged to the inner circle of disciples who witnessed some of the most significant moments in the life of Chris. Christian tradition attributes to him the authorship of the Gospel of John, as well as the three Epistles of John and the Book of Revelation. Unlike most of the apostles, John is believed to have died a natural death, probably in Ephesus at the end of the first century.

His principal attribute in Christian art is the eagle. The symbol originates from the biblical visions of the four living creatures described in the Book of Ezekiel and the Book of Revelation. In Christian tradition these four creatures became associated with the four evangelists. The eagle was assigned to John because his Gospel rises to the highest theological perspective, contemplating the divine nature of Christ in a way that early Christian writers compared to an eagle soaring high above the earth. The eagle thus not only symbolises the theological depth of his writing, but also the ability to contemplate divine realities beyond the material world.

The series of apostles in the Lateran Basilica is not only a decorative programme, but also a clear and consistent visual system, in which each figure can be identified through its attribute. These symbols, whether simple or more elaborate, refer to well-established traditions and help place each apostle within a broader historical and religious context

The Lateran Apostles and Their Attributes