Thomas Skousen, Dixie State University
Art
Concordia apostolorum, the union of apostles, is found in literature, art, and even the topography of Rome. Rome is unique in the fact that it unites Peter and Paul. Early Christians revered these saints and dedicated two of the most important churches in the city to them. Their deaths in Rome were a crucial factor in identifying Rome as the principal capital of Christendom. As Christianity spread and was accepted throughout the empire, different Christian centers arose, aside from Jerusalem and Rome. In order to maintain its place at the top tier of the Christian hierarchy, the Roman Popes used the idea of concordia apostolorum to not only speak to Roman citizens, but also to pilgrims who visited the city. The use of concordia apostolorum extended into the ninth century with Pope Paschal I’s (817-824) mosaics at Santa Prassede. These have historically been categorized into the Carolingian Renaissance. However, Paschal and earlier popes were trying to create a uniquely Roman Renaissance, and Peter and Paul’s place in art is crucial to their propaganda. The apse mosaic in Santa Prassede employs concordia apostolorum to promote the primacy of Rome. Louis the Pious inherited the empire from his father Charlemagne and surrounded himself with bishops and scholars who questioned the authority of the pope, thus igniting a struggle between the pope and the Carolingians. This paper will show that Paschal I commissioned art that emphasized his role in carrying out the ministerial work of Peter and Paul. In art and in life, Paschal sought to become not only the principal figure in Christianity, a living apostle, but also a chief player in Europe’s political structure.