Fractio Panis (Klasis tou Artou) - The Mural in the Greek Chapel of Rome

Fractio Panis (Klasis tou Artou) - The Mural in the Greek Chapel of Rome

Fractio Panis (in Greek: "Kλάση του Άρτου") is the name of a mural located in the Greek Chapel (Capella Greca) in the Catacombs of Saint Priscilla, on Via Salaria Nova in Rome. The mural depicts seven people around a table—likely all women, as suggested by their long dresses (men's clothing did not reach the calves), veils, and their hair gathered up. However, the Vatican believes that it depicts six men and one woman. Like the rest of the chapel's decoration, this mural is dated to the first half of the 2nd century AD. It is situated above the arch, directly above the burial altar, where the Divine Eucharist was celebrated.

The Discovery

This particular mural was accidentally covered by a layer of stalagmites, which caused it to go unnoticed by the first researchers of the catacombs. In 1893, the Jesuit art historian Joseph Wilpert, a member of a group of new scholars following De Rossi, suspected that the ceiling and arches of the chapel were decorated with murals. Using chemical reagents, he managed to carefully remove the surface crust, revealing the work successfully. De Rossi called it "the pearl of discoveries in the catacombs." In 1895, Wilpert published a monograph titled Fractio Panis, die älteste Darstellung der eucharistischen Opfer (Freiburg), which was translated into French the following year. This work includes meticulously executed photographic reproductions of the murals of the Greek Chapel.

The Scene

The mural presents seven people at a table: six men and one woman. It appears that six of them are reclining, as was customary in ancient meals, while the seventh, an imposing bearded man, sits separately at the end of the table. He has his head slightly tilted back, holding a small piece of bread in his hands and breaking it. In front of him is a two-handled cup. On the table are two large plates—one with two fish and the other with five loaves of bread. On either side of the image, baskets filled with loaves of bread are visible—four on one side and three on the other.

The Interpretation

The phrase "Klasis tou Artou" does not appear in pagan literature but is often used in early Christian texts to describe a specific Christian ritual. The blessing and breaking of the bread are referred to in all the accounts of the Last Supper, as well as in many other apostolic acts.

For example:

• 1 Corinthians 10:16: "The cup of blessing which we bless, is it not the communion of the blood of Christ? The bread which we break, is it not the communion of the body of the Lord?"

• Acts 2:42: "And they continued steadfastly in the apostles' doctrine and fellowship, and in breaking of bread, and in prayers."

• Acts 20:7: "And upon the first day of the week, when the disciples came together to break bread..."

In the Didache (Teaching of the Apostles), the Eucharistic ritual is associated with Sunday, confession of sins, and the offering of sacrifice. The bread of the Eucharist is referred to as "Klasma," meaning "broken bread."

Eucharistic Symbolism

The Eucharistic significance of the mural is emphasized by all the elements of the image. The loaves of bread and fish directly refer to the miracle of Christ multiplying the loaves. The connection between this miracle and the Eucharist is well known both from archaeology and patristic writings.

The fish is a symbol of Christ, as shown by the inscriptions of Averkios and Oton, as well as the acronym ICHTHYS (Jesus Christ, Son of God, Savior). The inscription of Averkios clearly states that the "great fish" was the food of the soul.

The one woman clearly visible in the mural is covered with a veil, which does not happen in other banquet scenes in the catacombs, which symbolize the heavenly Paradise.

Alternative Interpretations

Several researchers, such as Karen Jo Torjesen, Joan Morris, Dorothy Irvin, and Nicola Denzey Lewis, argue that most, if not all, of the figures in the mural are women, based on their hair and attire. Some of them believe the image is archaeological evidence that women conducted the Eucharist in the early Church.

The 1913 Catholic Encyclopedia suggests that certain elements of the mural are symbolic, such as the seated posture of the person breaking the bread (whereas participants at banquets usually reclined).

Context of the Scene

The neighboring mural depicts the Sacrifice of Isaac, while on the other side is Daniel in the lion’s den—scenes that also bear Eucharistic symbolism, such as the supernatural food given to Daniel by the prophet Habakkuk (Daniel 14:36).