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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 Lo Duca, had a vision of angels in the ruins in 1541. Pope Pius IV ordered then ordeed a church built there.
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 splendour of the imperial baths.
The church was granted to the Carthusians. They had a monastery built adajcent to it, possibly to a design by Michelangelo.
After the unification of Italy in 1870, the Carthusians were evicted from the buildings, which for some time was used as a military barracks.
It was eventually handed over to the Fransiscan Order of Minims.
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 was given the status of basilica by Pope Benedict XV in 1920.
Today, it is served by diocesan clergy, and is a parochial church.
The present titular of this church is H.E. William Henry cardinal Keeler, archbishop of Baltimore.
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.
The exterior is unique for a church, as the outer walls of the Baths of Diocletian are partially preserved. The 16th century facade was demolished in the 20th century to expose these walls.
There is a statue of St Bruno of Cologne (1035-1101), founder of the Carthusians. It was made by Jean Antoine Houdon between 1766 and 1768. Pope Clement XIV is reputed to have said that the statue was so lifelike that it would have spoken if the order had not forbidden it (the Carthusians take a vow of silence). His head is bowed in humility and thoughtfulness, and the statue is placed so that the saint is turned towards the centre of the apse.
The floor was laid in the 18th century by Giuseppe Barbieri. On the left side is the Meridian Line, a sundial laid down along the meridian that crosses through Rome, at latitude 15o. At true noon, about 12.15 pm (1.15 pm in summer time), the sun casts its light dead on this line. If you look at the right side of the transept wall, you can see that part of the cornice has been cut away to provide the effect. The markings were made by the astronomer, mathematician, archaeologist, historian and philosopher Francesco Bianchini. Bianchini had been commissioned by Pope Clement XI to make them for the Holy Year of 1700. It took a bit longer; they were comleted in 1703 with the assistance of the astronomer G.F.Maraldi.
The tomb of Pietro Paulo cardinal Parisi was erected in 1604 by the cardinal's nephew, Bishop Flaminio of Bitonto.
Костанци П. {p0013}
Одацци Дж. {1056}
Сюблерас П.-Х. {p0014}
Месса св. Василия {p0014}
Непорочное зачатие {1057}
Падение Симона
On opposite sides in the right arm of the transept, above the funarary monuments, are the two paintings Baptism of Water and Baptism of Desire by Francesco Trevisani, painted in the 18th century. The latter refers to a concept in the Catholic understanding of baptism; cathecumens who die before they can be baptised are considered as being baptised through their desire for the Sacrament.
Adoration of the seven angels
The choir stalls and decorations were made by Vanvitelli. He also altered the plan, so that the sanctuary got an polygonal shape, and he made a new high altar. It was altered again, more or less to its present state, in 1867.
The chancel is protected with metal barriers with the arms of the Carthusian Order, golden stars and harp-shaped gates. This was designed by Angelo Santini, with the ornaments designed by Giuseppe della Riccia.
In the apse, there are two doors surmounted by busts, one of St Charles Borromeus and one of Pope Pius IV. At one side are memorials to Pope Pius IV and cardinal Serbelloni, the first titular of the church. The door opens into the ancient chancel, which has been restored. Directly above the door is an enshrined copy of the sculpture St Bruno of Slodtz, made for San Pietro in Vaticano in 1744 and moved here. The vault in the apse was frescoed by Daniele Seyter; the motif is Assumption of the Virgin and Virtue.
Романелли Дж.Ф. {1094}
Сейтер Д. {1096}
Введение во храм {1094}
Млекопитательница {1095}
Мученичество св. Севастьяна
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