This depiction of Christ the Lamb is the central image of the apsidal arch in Santa Prassede, Rome, part of Pope Paschal I’s (817–24) extensive rebuilding of the city’s basilicas. It combines the weakness of a young, sacrificial animal with majesty and strength. The majesty is enhanced by the rich gold and pearl-like white of the mosaic, which glimmers in the candlelight. The mosaicist presents us with the victorious Lamb of the Apocalypse, enthroned in heaven, the sealed scroll of Revelation 5:1 beneath his seat. Surrounding the throne are the seven lampstands, symbolizing the seven churches, and the four living creatures (Revelation 1:20; 4:6).

But the presence of a golden cross behind the Lamb also connects this heavenly scene with John’s crucifixion account. John, in contrast to the Synoptic Gospels, locates Jesus’ death on ‘the day of Preparation’ for the Festival of Passover (John 19:14, 31). Christ dies on the afternoon when the paschal lambs were being slaughtered across the city in the Temple. The Evangelist leaves his readers in no doubt: Jesus is the true Passover Lamb.

But in case they missed the first trigger, he provides another in the quotation from Exodus 12:46: ‘Not a bone of his shall be broken’. What Moses was told about the Passover lamb is now spoken of the true Paschal Lamb sacrificed on the cross. His blood now marks out his people, saving them from death, bringing them life. 

The Lamb in the San Prassede mosaic is not dead, but fully alive. There is energy in its front legs, as if about to spring into action. For death does not have the final word. Christ is the Passover Lamb who dies no more, but goes ahead of his people on their new exodus, the journey from enslavement to freedom.

References

Anthony, Peter. 2022. Patristic Perspectives on Luke’s Transfiguration: Interpreting Vision (London: T&T Clark), pp.151–204

Moloney, Francis J. 1998. The Gospel of John, Sacra Pagina 4 (Collegeville: Michael Glazier)