In the nave of the Archbasilica of Saint John Lateran in Rome stands one of the most impressive sculptural programs of the Roman Baroque: a monumental series of statues representing the Apostles. Created in the early eighteenth century by some of the leading sculptors working in Rome, each figure is accompanied by a distinctive attribute that refers either to the apostle’s life or to the manner of his martyrdom. This post looks at these statues one by one, focusing on the symbols that allow us to recognize them.
The Lateran Apostles and Their Attributes | Les apôtres du Latran et leurs attributs | Die Lateran-Apostel und ihre Attribute | Los apóstoles de Letrán y sus atributos | Gli apostoli del Laterano e i loro attributi | Apostoli lateranenses et eorum attributa | Apostołowie laterańscy i ich atrybuty
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.
The Lateran Apostles and Their Attributes | Les apôtres du Latran et leurs attributs | Die Lateran-Apostel und ihre Attribute | Los apóstoles de Letrán y sus atributos | Gli apostoli del Laterano e i loro attributi | Apostoli lateranenses et eorum attributa | Apostołowie laterańscy i ich atrybuty
Saint Peter – the Key
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 – the Book
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 – the Spear
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.
The Lateran Apostles and Their Attributes | Les apôtres du Latran et leurs attributs | Die Lateran-Apostel und ihre Attribute | Los apóstoles de Letrán y sus atributos | Gli apostoli del Laterano e i loro attributi | Apostoli lateranenses et eorum attributa | Apostołowie laterańscy i ich atrybuty
Saint Andrew – the Cross
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 – the Raised Finger
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 – the Book and the Sword
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 – the Cross
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 – the Pilgrim’s Staff
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 – the Knife and the Flayed Skin
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.
The Lateran Apostles and Their Attributes | Les apôtres du Latran et leurs attributs | Die Lateran-Apostel und ihre Attribute | Los apóstoles de Letrán y sus atributos | Gli apostoli del Laterano e i loro attributi | Apostoli lateranenses et eorum attributa | Apostołowie laterańscy i ich atrybuty
Saint Simon – the Saw
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 – the Club
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 – the Eagle
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
