If many among the people loved him, then this was in part because Nero had offered them the chance to share in his conflation of the heavenly with the earthly. In the wake of the great fire that, in 64, had destroyed much of Rome, he had planted a park in the very centre of the city. The sprawling lawns, lakes and forests that surrounded what he termed his “Golden House” had offered to the masses a feel of fresh breezes, a break from the monotony of smoke and brick, a hint of the pavilions of the immortals on Mount Olympus.
Senators, of course, had hated it. The loss of Rome’s familiar sights to countryside had borne witness precisely to what they had always found most disorienting about Nero: his ability to dissolve the boundaries of everything that they had previously taken for granted. So it was that they had accused him of starting the fire deliberately, as a way of clearing a space for his building plans; and so it was that Nero, looking to shift the blame, had fixed on convenient scapegoats. These culprits, even by Nero’s own taboo-busting standards, embodied everything that decent citizens had always most dreaded about moral upheaval: the adherents of a sinister cult whose motivation was nothing less than, in the words of a Roman historian, “their hatred for the norms of human society”.
“Christians”, these deviants were called, after their founder, “Christus”, a criminal who had been crucified in Judaea some decades before, under a previous Caesar. Nero, ever fond of a spectacle, had displayed a vengefulness worthy of the Olympian gods. Some of the condemned, dressed in animal skins, had been torn to pieces by dogs. Others, lashed to crosses, had been smeared in pitch and used as torches to illumine the night. Nero, riding in his chariot, had mingled with the gawping crowds. Suetonius would include his persecution of the Christians in the list — a very short one — of the positives of his reign.
Among those put to death, so later tradition would record, was a man who in time would come to be viewed as the very keeper of the doors of heaven. In 1601, in a church that had originally been built on the site of the tomb where Nero’s two nurses and his first great love had buried him, a painting was installed that paid homage, not to the notorious Caesar, but to the outcast origins of the city’s Christian order.
The artist, a young man from Milan by the name of Caravaggio, had been commissioned to portray a crucifixion: not of Christ himself, but of his leading disciple. Peter, a fisherman who, according to the Gospels, had abandoned his boat and nets to follow Jesus, was said to have become the bishop of the very first Christians of Rome. Since his execution in the wake of the great fire, more than 200 men had held the bishopric: an office which brought with it a claim to primacy over the entire Church, and the honorary title of “Pappas” or “Father” — “Pope”.
Tom Holland, “When Christ conquered Caesar”, UnHerd, 2020-04-10.
April 4, 2025
QotD: Nero’s persecution of the early Christians
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