The saint's devotion was so strong that the Emperor fainted, and later converted to Orthodox Christianity. The temple, located very near Piazza della Repubblica, is one of the most surprising and unique in the city thanks to its ruined façade that contrasts with its vast and sensational interior. On the right side of the chapel are depicted SS Valerian and Cecilia, and on the left Saint Francis Receiving the Stigmata, both by Baglione. The site where Santa Maria degli Angeli e dei Martiri was erected was where the Baths of Diocletian had been founded, an impressive demonstration of the glory of the Roman Empire until, in an intent to conquer Rome, the Goths cut the water supply of all the aqueducts of the city, and the baths had to be abandoned. One of the cypress trees growing here may have been planted when the monastery was founded. However, the nearest block of buildings belong mostly to the museum not the church. The sculptures to the right of the altar depict The Meditation (1874) and The Prayer (1875), and are stucco copies of statues at the entrance to the Verano cemetery near San Lorenzo fuori le Mura, by Francesco Fabi-Altini. Buona domenica a tutti. The side walls of the chapel have two interesting tombs. The chapels used to be passageways to two identical ancient rooms containing cold plunge pools. St Bruno, their founder, had been called to Rome by Pope Urban II, his disciple, to be a papal adviser. Santa Maria degli Angeli e dei Martiri, better known by its shorter name Santa Maria degli Angeli, is a unique Renaissance church in Rome. Before the altar on the left hand side are two doors; the further one leads to the sacristy, and the nearer one to the Cybo Chapel. The road distance is 418 meters. The altarpiece was painted by Giovanni Baglione. In 1749, major alterations to the church were decided upon by the monks and carried out by Luigi Vanvitelli as the main architect in preparation for the Holy Year of 1750. There is an English Wikipedia article here. The new road layout was put in place in 1887, and the symmetrical arcaded buildings following the exedra arc were completed in 1898. This architectural space was the right arm of the transept in Michelangelo's design, and was decorated by Vanvitelli in the same way as the corresponding entrance pronaos opposite. It was originally made for the altar of Tabitha in St Peter's, where again it has been replaced by a mosaic copy. An enormous piazza, the Piazza delle Termini, ran along the south-east, south-west and part of the north-west sides of the monastery and the Pope used to muster his soliders there in times of trouble. An arch stretches above the sarcophagus, symbolizing fame and glory. Santa Maria degli Angeli was the official state church during the Kingdom of Italy (1870-1946). The sculptor later turned towards a style more abstract and futuristic than the figurative sculpture shown here. Buses: 36, 60, 61, 62, 84, 90, 116, 170, 492 and 910. If you walk into the apse and get transported in time back to ancient days, you would find yourself in a swimming pool. WEB TEAM. It is an important work of art by Giuseppe Gallo, and depicts the crucified Christ taken down from the Cross. Oddly, St Bruno has two chapels in this church; this is the little one, and the big one is at the north-west end of the transept. The design is divided into eight sectors by black radii, and these radiate from a central yellow disc representing the sun through a white zone to an outer blue zone. What now passes for the façade is a concave fragment of wall of the former caldarium, which is a mess although it is impressively thick brickwork. In the centre of the base is a relief portrait in a clipeus. The façade is by Vanvitelli again. The artist Carlo Maratta (1625–1713), responsible for the Chapel of St Bruno and the painting of The Baptism of Jesus, is buried here. This too was made by Canonica, in 1948. Santa Maria degli Angeli houses an impressive orga, recently bought, with 5,400 tubes. Michelangelo added four pedimented niches to the walls between the chapels and main passageways, and these are all now occupied by funerary monuments. There is a door, now restored, below the painting which gave access to the choir from the monastery after 1867 when the main altar was moved. It is a minor basilica as well as being parochial, titular and formerly monastic. $186.89 per adult. Then it provided the standard for local Roman time until 1846, when it was replaced by a cannon being fired at noon from the Janiculum. The glasswork contains three prismatic lenses designed by the Mexican astronomer Salvador Cuervas, and these focus an image of the sun on the floor below on the days of the equinoxes (together) and the two solstices. Rather, the ancient layout had four plunge pools in adjacent small rooms. By the 16th century, the complex was covered in rampant vegetation, and was inhabited by many wild animals. The cross vault was decorated by Antonio Bicchierai (1688-1766) and Giovanni Mozetti. This was the cold room, a vast hall located transversely to the major axis with three cross-vaulted bays marked out by eight monolithic granite columns. It was originally made for St Jerome's altar in St Peter's, but was moved here. These four elements are the symbols of the four Evangelists. After moving to Rome in 1527 to be chaplain of Cardinal Francisco Maria del Monte he began to campaign for the devotion to be liturgically honoured. 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