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085-Santa Maria Degli Angeli E Dei Martiri (085/17) Santa Maria degli Angeli e dei Martiri ! Santa Maria degli Angeli e dei Martiri, usually known only as Santa Maria degli Angeli, is a titular basilica church in Rome, built inside the frigidarium of the Baths of Diocletian, dedicated to the Blessed Virgin Mary, to the angels and to the Christian slaves who died building the Baths of Diocletian. It is on the Piazza della Repubblica, and near the Termini train station. The church is also a personal monument of Pope Pius IV, whose tomb is in the apsidal tribune. History The church was built in the remains of the Baths of Diocletian by orders of Pope Pius IV (1559-1565), after a Sicilian priest, Fr. Antonio Del Duca, had a vision of angels in the ruins in 1541. The church was born as a result of the papal bull of Pope Pius IV of 27 July 1561 and took the name of “Beatissimae Virgini et omnium Angelorum et Martyrum”. Michelangelo designed it and started the work in 1563, and after his death in 1564 (incidentally the same year that Fr. Del Duca died) his design was completed by Jacopo Del Duca, nephew of Fr. Antonio and pupil of Michelangelo. Although the interior has changed considerably and the floor has been raised a few feet, this is one of the places where you can best appreciate the size and splendor of the imperial baths. (1) (2) (a) The church was granted to the Carthusians, who moved from their former monastery at Santa Croce in Gerusalemme. They had a monastery built adajcent to it, possibly to a design by Michelangelo. The great cloister, around which are arranged the individual cells of the hermit monks, was built to the north-east of the church and did not respect the surviving ruins. To the south of this, next to the church, was built a much smaller cloister which also survives. However, adjacent ancient chambers to the north-east and the north-west of the eastern palaestra were incorporated into the monastic complex and are now part of the Museo Nazionale Romano. (1) In 1702, Pope Clement XI inaugurated a sundial on the floor of the church, the so-called Linea Clementina. It was designed by Francesco Bianchini, and its function was to check the validity of the new Gregorian calendar. This was especially important as regards the date of the Spring Equinox, since the date of Easter depended on it. (1) In 1749, major alterations were carried out by Luigi Vanvitelli in preparation for the Holy Year of 1750. Beforehand, the main entrance was on the short south-east side, which was hence the nave. Vanvitelli transferred the entrance to the long south-west side, turning the subsidiary side entrance into the main (085/17) entrance. The two entrance vestibules were turned into side chapels (this part of the scheme slightly pre- dated Vanvitelli's work), and the entrances blocked up by the new chapel altars. He then demolished Michelangelo's blocking wall opposite the new main entrance, and made a presbyterium out of the passageway to the nautatio. Finally, he knocked a hole in the ancient screen wall on the south-west side of the nautatio in order to add an apsidal choir which intruded into the nautatio and touched the small cloister. (1) After the unification of Italy in 1870, the Carthusians were evicted from the buildings, which for some time was used as a military barracks. Then it housed the major collection of the Museo Nazionale Romano, but this has now been moved to the Palazzo Massimo alle Terme, leaving behind an enormous collection of epigraphs which is housed in modern halls as part of the Museo Nazionale delle Terme. Visitors to this are also able to view the monastic cloisters. (1) It was eventually handed over to the Franciscan Order of Minims, and finally to the diocesan clergy. (1) (2) In 1896, the wedding of the Prince of Naples, later King Victor Emmanuel III, raised the status of the church. It has since been the scene of religious ceremonies promoted by the Italian State. The church became titular in 1906, and was given the status of minor basilica by Pope Benedict XV in 1920. Later it had a restoration which entailed the demolition of Vanvitelli's façade in order to reveal the surviving fabric of the caldarium. Today it is served by diocesan clergy, and remains a parish church. (1) (a) A very good organ was inaugurated in 2000, and there is a noted schola cantorum or choir. (1) Exterior The exterior is unique for a church, as the outer walls of the Baths of Diocletian are partially preserved. The 16th century façade was demolished in the 20th century to expose these walls. If you walk over to Via Parigi, you can look down into the remains of the Certosa, the monastery where you can see cells used by Carthusian hermits when Santa Maria degli Angeli was part of their chapterhouse. The Museo Nazionale delle Terme, an excellent archaeological musuem, is located in another part of the baths. There is a campanile, not easily visible from the street. It is just to the left of the far left hand corner of the main apse, and has an unusual L-shaped plan formed of two slab walls with Baroque scrolling on top. Each wall has two round-headed bell apertures, one above the other. (1) Façade (A) What now passes for the façade is a concave fragment of wall of the former caldarium. A modern skin of brick covers the central part of this, and this contains two identical round-headed portals separated by a round-headed niche which looks as if it should have a statue but only contains a worn antique column capital. The church's name is above the portal. (1) Bronze doors The two bronze entrance doors are important works of modern sculpture by the Polish artist Igor Mitoraj, and were completed in 2005. The doors were mounted on the entrance, replacing wooden doors, on February 28, 2006. The left hand one depicts the Resurrection, and the right hand one the Annunciation. Most of the surfaces of both doors are blank, showing textured and patinated metal, but out of the surfaces emerge dismembered figures and heads as if they were floating in water. The three figures of Christ, Our Lady and the Archangel Gabriel have arms amputated, and this detail is an allusion to the damaged Classical statues that used to be displayed in the adjacent museum. The figure of Christ is further divided into four by two slashes in the form of a cross. On the insides of both doors are large figures of Archangels. (1) (a) (085/17) ! Interior Circular Vestibule (B) The first room you enter was a passage hall in the Baths, between the calidarium (hot bath, now lost) and the tepidarium (luke-warm bath). The latter is now the vestibule, although Michelangelo had it as a side annexe with a subsidiary entrance. It is circular, with a projecting chapel on each side. To the left is the Chapel of St Mary Magdalene, which is also the baptistery, and to the right is the Chapel of the Crucifix. (1) The dome is coffered with rosettes, and its oculus contains an important modern piece of stained glass entitled Light and Time by Narcissus Quagliata and inaugurated in 1999 (33). Both Michelangelo and (085/17) Vanvitelli had installed lanterns for the dome, but both failed structurally and the 20th century skylight that replaced it also let in the rain. The present work has the shape of a segment of a sphere about 3 metres across, and has a sunburst motif in white, black, yellow and several shades of blue. 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. 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. The glass cupola is not attached to the ancient roof fabric, but rests on three gilded steel spheres and thus leaves a narrow gap all round for ventilation. (1) Michelangelo added four pedimented niches to the walls between the chapels and main passageways, and these are all now occupied by funerary monuments. The description below is anticlockwise from the entrance. (1) The first niche. (1) The artist Carlo Maratta (1625-1713), responsible for the Chapel of St Bruno and the painting of “The Baptism of Jesus”, is buried here. He designed the funarary monument himself, and it may have been erected by Francesco Mara, his son. Maratti definitely made the marble bust on the monument, which is just to the right as you enter the vestibule. (1) (2) (a) The Chapel of the Crucifix (2) was built in 1575 for the Roman banker Girolamo Ceuli. The altarpiece, depicting The Crucifixion, is attributed to Giacomo della Rocca, a pupil of Daniele da Volterra. The same artist decorated parts of the walls and vault with frecoes, which unfortunately were badly restored in 1838. The sculptor Pietro Tenerani (died 1838) is buried on the left side of the chapel. The monument is a ‘gabled niches,' supported by Ionic columns and with a bust of the artist, and a door which symbolizes the entrance to Hades, the Land of the Dead. A small funerary monument to his wife, Lilla Montebbio, is placed in the opposite wall.
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