Church of Saint Susanna. Church of santa susanna in rome, italy

Santa Susanna

Santa Susanna (Italian: Chiesa di Santa Susanna alle Terme di Diocleziano) is the titular church on the Quirinal in Rome, opposite Santa Maria della Vittoria.

Santa Susanna is the national church of the United States Catholics. It was erected next to the site of the martyrdom of Saint Susanna and is the result of several reconstructions. The most recent reconstruction was carried out under the leadership of Carlo Maderna, in 1603. In many art history textbooks, Santa Susanna is mentioned as the first example of Baroque architecture in history. The facade of the church is the first example of facades with two or more orders built on top of each other, which became widespread in the 17th century.

Titular Church

The Church of Santa Susanna is a titular church with the title of Church of Santa Susanna. At different times its abbots were:

Asello (494-?); Rustico (590-?); Konon (683?-686); Sergius I (686?-687); Giovanni (745- to 761); Leonzio (761- to 795); Leo III (795); Leo IV (914-928); Giovanni (964- to 1012); Giovanni (before 1012-before 1033); Giovanni (1033- to 1062); Pietro (1062- to 1091); Rangier (1091-1096); Gezo (1106 - around 1112); Pietro Gherardesca (1117-1130); Stanzio (1130-1133); Jordan Santa Susanna (1145-1165); Ermanno, detto il Maestro (1165 or 1166 - around 1170); Lesbio Grassi (1170-1173); Pietro de Bono, Can. Reg. (1173-1187); Alessio (1188-1189); Gianfelice (1190-1194); Benedetto (1201-1212); Aldobrandino Caetani (1219-1221); Geoffroy Barbeau (de Barro) (1281-1287); Benedetto Caetani, apostolic administrator (1288-1294); Pierre d "Arrablay (Arabloy) (1316-1328); Andrea Ghini Malpighi (Malpigli) (1342-1343); Pierre Bertrand (1344-1361); Filippo Ruffini (Gezza), O. P. (1378-1380/1384); Francesco Carbone , O. Cist. (1384-1392); Pierre de Thury (1385-1410), pseudo-cardinal of Clement VII Benedict XIII and Alexander V; Varembon, O. S.B. (1440-1449), pseudo-cardinal of the antipope Tommaso Parentucelli (1446-1447); Alessandro Oliva Sassoferrato, O. E.S. A. (1463-1463); ue (1467-1483); Lorenzo Cibo de Mari (1489-1491); Juan de Borja Llancol de Romani (1492-1503); Leonardo della Rovere Grosso (1508-1517); -1522); Vacant (1522-1528); Antonio Sanseverino, O. S. Hier. Jacques d "Annebaut (1550-1557); Vacant (1557-1561); Girolamo Seripando, O. S.A. (1561-1563); Francisco Pacheco de Toledo (1564-1565); Bernardo Navagero (1565); Francesco Alciati (1565-1569) ; Girolamo Rusticucci (1570-1597); Anne d'Escars de Giury, O. S.B. (1604-1612); Gaspar Borja y Velasco (1612-1616); Scipione Cobelluzzi (1616-1626); Giulio Cesare Sacchetti (1626-1652); Giambattista Spada (1654-1659); Pietro Sforza Pallavicino, S. I. (1659-1660); Carlo Carafa (1665-1675); Bernhard Gustave von Baden-Durlach, O.S.B. (1676-1677); Vacant (1677-1686); Marco Antonio Barbarigo (1686-1697); Daniello Marco Delfino (1700-1704); Lorenzo Corsini (1706-1720); Jose Pereira de Lacerda (1721-1738); Vacant (1738-1747); Raniero Felice Simonetti (1747-1749); Vacant (1749-1756); Luca Melchiore Tempi (1756-1757); Ludovico Valenti (1759-1762); Vacant (1762-1802); Carlo Crivelli (1802-1818); Vacant (1818-1835); Giuseppe della Porta Rodiani (1835-1841); Ignazio Giovanni Cadolini (1843-1850); Vacant (1850-1856); Alessandro Barnabo (1856-1874); Bartolomeo d'Avanzo (1876-1884); Francis Patrick Moran (1885-1911); François-Virgil Dubillard (1911-1914); Giorgio Guzmini (1915-1921); Joannie Vincenzo Bonzano (1924-1927); Alexis-Henri Marie Lepissier, O. M.I. (1927-1936); Arthur Hinsley (1937-1943); Edward Aloysius Mooney (1946-1958); Richard James Cushing (1958-1970); Humberto Suja Medeiros (1973-1983); Bernard Lowe (25 May 1985-).

The Great Roman Empire at one time borrowed a religious model from the civilization of the Ancient Greeks. A whole galaxy of deities, their assistants and offspring migrated from ancient Greece straight to Roman Olympus, changing only their names. After 8 centuries, philosophers and nobles lost faith in their gods. By the end of the 1st century AD, Christianity arose in the depths of the prosperous empire.

Terms

By the end of the 4th century, paganism was forgotten, and Christianity became the official religion. Temples and sanctuaries of ancient deities were urgently destroyed or rebuilt to suit the needs of the new faith. Continuing centuries-old traditions, church ministers received basilicas (ancient Greek: βασιλική) - “royal houses” at their disposal. This type of structure is characterized by the shape of an elongated rectangle with an odd number of naves (usually 3, less often 5). Another distinctive feature of the basilica is the absence of a clearly defined dome.

In addition to being a purely architectural term, “basilica” is also a special title in the Catholic Church. The oldest and most significant churches and cathedrals for Catholics are honored to receive from the Pope the title of basilica of one of five degrees (archbasilica, great, papal, patriarchal and minor).


Since the emergence of Christianity, there has been an unspoken division into Western and Eastern branches. The first was the Catholic Church with the primacy of the Popes, and the second was Orthodoxy with the patriarchate in Constantinople. Centuries-old disagreements between the Latin and Orthodox churches on a number of church dogmas led to the fact that in 1054 Pope Leo IX and Patriarch Michael Cerularius betrayed each other with mutual anathema.

The Great Schism not only forever divided Christians into Orthodox and Catholics, but also influenced all areas, including the appearance of church buildings. Thus, the image of basilicas began to be inherited to a greater extent by Catholic architecture. In the Middle Ages, the Romanesque style evolved into Gothic, and later into Baroque and Rococo. In the general sense, a “temple” (Orthodox chormъ) is a house in which there is an altar and church rituals are performed.


Orthodox architecture acquired its own model of the church - the “cathedral” (Old Slavic collection). Derived from the Old Slavonic “gathering,” that is, a place for gathering, a cathedral is the main church of a settlement, where services and rituals take place. It is the cathedrals that are characterized by the Byzantine domed style of construction and the pronounced cruciform shape of the buildings.

Catholic churches of Rome

Since the Catholic faith was born and strengthened in Rome (Latin Catholicismus - “universal”, “one”), most of the churches in the city are Catholic churches and cathedrals. The oldest and most titled churches in Rome are located on the territory of the capital and city-state of the Vatican. The pontificate spared no expense on their decoration, restoration and maintenance, so the capital’s churches are a breathtaking sight.

Lateran Basilica

The main cathedral of Rome - (Basilica di San Giovanni in Laterano) was founded in the 4th century. One of the first Christian churches is the “archbasilica”, in which the papal throne and pulpit are located. In its external and internal design, this cathedral has retained many elements of the early Christian era. The medieval design of the facade carefully hides the ancient mosaics from precipitation and direct sunlight.

The interior of San Giovanni in Laterano is replete with paintings on the theme of Genesis, as well as the acts of the apostles Paul and Peter. Inside the temple are richly decorated chapels containing the tombs of pontiffs and famous citizens of Rome.

Address: Piazza di San Giovanni in Laterano, 4

Lateran Palace

The monastery of the pontiffs, located next to the Lateran Basilica, was built in the 4th century. Until the beginning of the 14th century, the palazzo invariably fulfilled its role until the pontificate was moved to French Avignon. After several reconstructions it has a typical palace appearance.
In modern times, the Lateran Palace houses one of the Vatican museums.

The Catholic Holy of Holies or Chapel Sancta Sanctorum (lat. Sancta Sanctorum) evokes special reverence among visitors. The chapel dedicated to St. Lawrence contains the tombs of the popes. Many relics were moved from the Holy of Holies to the Lateran Basilica. Of the valuables remaining in the chapel, the miraculous 6th century icon with the face of Jesus is valued. Also preserved are frescoes from the 13th century and sacred gifts sent in the 8th century from Constantinople.

Address: Piazza San Giovanni in Laterano

Basilica of San Clemente

First of all, it is interesting as a real monument of history and archeology. The foundation of the building was laid in the 1st century AD. consul Titus Flavius ​​Clement, who was related to the Caesars. During the persecution of Christians, a noble Roman secretly sheltered adherents of the faith, including St. Peter. In the 4th century, the estate was turned into an ancient Christian temple. The modern façade of the church is a striking example of Romanesque architecture, characteristic of the 12th century.

Among the relics kept in the basilica, the following are especially revered: the relics of St. Clement, one of the first Christian bishops, and the hieromartyr Ignatius the God-Bearer. The ancient Catholic church is located near the Lateran Basilica and the Colosseum.

Address: Via Labicana, 95

Santa Maria Maggiore (Basilica di Santa Maria Maggiore)

Papal basilica, founded in the 5th century AD. on the Esquiline Hill in Rome. The Catholic Church is dedicated to the Holy Virgin Mary. The external style is a combination of strict Romanesque and more luxurious Rococo. A high bell tower rises above the church.

The interior is very impressive with early Christian mosaics, rich decoration of the naves, as well as luxurious chapels in which pontiffs and famous Italians rest.

Address: Piazza di S. Maria Maggiore, 42

St. Peter's Basilica (Basilica di San Pietro)

It is one of the four patriarchal basilicas of the eternal city, has a respectable size and solemn decoration. Officially founded in the first half of the 17th century, the cathedral is located on the spot where, according to ancient legends, in the 1st century AD. Saint Peter was buried. Outstanding medieval architects had a hand in creating the grandiose temple: Donato Bramante, Raffaello Santi, Giovanni Lorenzo Bernini and Michelangelo Buonarroti.

In front of the luxurious snow-white facade of the cathedral lies a vast circular area. On major church holidays, as well as on special occasions, ceremonies take place within the walls of the cathedral with the participation of the Pope. The cathedral and the square together can accommodate up to 460 thousand parishioners.

Address: Piazza San Pietro, Città del Vaticano

San Paolo fuori le Mura

The Great Papal Basilica, by the standards of Emperor Aurelian (3rd century AD), is located behind. The church was built by Constantine the Great on the site of the supposed burial place of St. Paul. The vast building is decorated with antique columns. Of great interest is the gallery filled with portraits of pontiffs.

Over the past centuries, the temple has been repeatedly looted and burned. The mosaics of the 5th century and some elements of interior decor have survived to this day. Much of the interior was recreated during a large-scale reconstruction in the 19th century. During excavations, an ancient stone tomb was discovered under the main altar, in which the relics of the Apostle Paul allegedly rest.

Address: Piazzale San Paolo, 1

Church of the Holy Name of Jesus (Il Gesu)

The main temple of the Jesuit order is dedicated to the name of the son of God, and therefore its short name sounds like the Church of the Gesu (Jesus). A small white building nestles comfortably in the historical center of Rome. The temple was built in the 16th century by the famous architect Giacomo della Porta, an adherent of pretentious mannerism.

Visitors are especially impressed by the painted ceilings of the nave and dome of the church. The characters from the Bible and holy scripture are made so skillfully that they look three-dimensional.

Address: Via degli Astalli, 16

San Carlo alle Quattro Fontane

Medieval church built by the architect (Francesco Borromini) for the canonization of Cardinal Carlo Borromeo. The silhouette of the temple, as well as its external decoration, is filled with graceful lines and ornate flourishes of the Baroque style. The building is crowned with a high oval dome, decorated on the inside with stucco with a geometric pattern. The interior is dominated by white color and baroque stucco.

Interestingly, the Church of San Carlo is located near the street of four fountains (Via delle Quattro Fontane), decorated with 4 Renaissance fountains of the 16th century.

Address: Via del Quirinale, 23

Sant'Ivo alla Sapienza

The interior of the church is characterized by Borromini's white color and exquisite decoration. The high dome of the temple is covered with intricate stucco.

Address: Corso del Rinascimento

Basilica Sant'Agnese in Agone

The church, consecrated in the name of St. Agnes of Rome, was built in the 17th century by Girolamo Rainaldi. Borromeo gave the final appearance to the temple, so the façade of the building combines mannerism and baroque. The interior of the temple is replete with marble bas-reliefs. The painted dome creates a special atmosphere. The sarcophagus of Pope Innocent X is kept in the chapel.

Basilica of St. Agnes stands on Piazza Navona, rich in other attractions of Rome.

Address: Piazza Navona / Via S. Maria dell'Anima 30/A

Santa Maria della Concezione dei Cappuccini

The crypts of the Capuchin Church cause special awe among visitors. Six underground rooms contain decorations made from the remains of monks. About 4 thousand servants of God who died from the 16th to the 19th centuries were moved from the Roman cemetery to the crypt. The chilling decor of skulls and bones was performed by servants of the order.

Address: Via Vittorio Veneto, 27

Santi Apostoli

The Catholic Church, founded in the 6th century AD, originally worshiped the apostles James and Philip. Over the past centuries, the name of the church has changed to the Holy Apostles or 12 Apostles. The three-nave Romanesque basilica significantly updated its appearance in the 18th century. A student of the great Bernini, Carlo Fontana, transformed the modest temple into a majestic Baroque building.

The tombs of Pope Clement XIV by Cannova and Cardinal Pietro Riario stand out in the interior. And also the fresco by Domenico Muratori “The Martyrdom of St. Philip and Jacob."

Address: Piazza dei Santi Apostoli, 51

Santa Susanna alle Terme di Diocleziano

The modest church was erected in the 5th century on the site of the martyrdom of Saint Susanna of Rome. The temple building was rebuilt several times. It is noteworthy that the current façade of the church is considered one of the first examples of the Baroque style. The inside of the church is richly decorated with decorative panels and sculptures. The main altar is decorated with paintings depicting St. Susanna.

At the moment, Santa Susanna is the main Catholic church for US citizens.

Address: Via 20 Settembre, 14

Castle of the Holy Angel (Castel Sant'Angelo)

- This is an ancient historical monument with an intricate fate. A squat, rounded monument arose on the banks of the Tiber in the 2nd century AD. Emperor Hadrian planned to use the building as a family mausoleum. In the 6th century, the tomb acquired its current name, by the will of Pope Gregory I, who saw an angel descending to the dome of the mausoleum.

In the Middle Ages, the pontificate actively used the mausoleum for its needs, including for secret movement between the Vatican and Rome. By the 16th century, the castle was converted into a real fortress, in which Pope Clement VII hid from Spanish troops. Subsequently, the Castel Sant'Angelo became a dungeon for the defenders of the capital.

Address: Lungotevere Castello, 50

Basilica of Maxentius and Constantine (Basilica di Massenzio di Costantino)

Or the New Basilica was once the largest Christian temple in Rome. The idea of ​​​​building a basilica in 312 was visited by Emperor Maxentius, who soon fell at the hands of his successor, Constantine. The building had an unprecedented height - about 40 m and an impressive area - 4 thousand m2.

The main decoration of the basilica was a large statue of Emperor Constantine. Currently, the church is part of the dilapidated ruins of the Roman Forum (Latin: Forum Romanum).

Address: Clivo di Venere Felice, Foro Romano

Orthodox churches of Rome

Church of the Holy Great Martyr Catherine (Chiesa di Santa Caterina Martire)

Inside the temple, frescoes and a carved iconostasis made by representatives of the Moscow Theological Seminary stand out. The Orthodox Church is rich in valuable relics: the relics of saints, in particular Catherine, a piece of the Life-giving Cross of the Lord. The Church of the Great Martyr Catherine is subordinate to the Moscow Patriarchate.

Address: Via del Lago Terrione, 77

St. Nicholas Church (Chiesa Ortodossa Russa di San Nicola Taumaturgo)

The decoration of the church is a gilded iconostasis of the 19th century, decorated with the faces of the Great Martyr Catherine and the Holy Queen Helen. Especially valuable shrines: the icon of the Mother of God, painted by monks from the holy Mount Athos. Icons of St. Nicholas the Wonderworker and Alexander Nevsky, the face of the Savior and the Mother of God. A cross with holy relics enclosed in it, donated by the prince Christopher Gergievich.

Address: via Palestro, 69/71

Carlo Maderno (1556, Capolago on Lake Lugano, -1629, Rome) - Italian architect of the early 17th century, founder of the early Baroque style.

He studied in the workshop of his maternal relative, Domenico Fontana. In 1576 Maderna came to Rome, where he began working as a mason. Together with his uncle Giovanni, he built fountains and water pipes. In particular, he designed the fountain in St. Peter's Square. For some time, Carlo completed buildings begun by other architects, for example, Palazzo Chigi after Giacomo della Porta.

Church of Santa Susanna

The architect's independent creativity first manifests itself in the work on the facade of the Church of Santa Susanna, which was completed by 1605. Despite the obvious general similarity of the composition with the main facade of the church of Il Gesù (the church in Rome, built by the architect Giacomo Vignola, had a great influence on all subsequent church buildings), the appearance of Santa Susanna is distinguished by a more enhanced plasticity.

Church of Santa Susanna (Chiesa di Santa Susanna alle Terme di Diocleziano). An early example of Baroque architecture

The façade is divided into two tiers. In the lower tier, the architect used half-columns, which create the impression of a protruding row of columns. Here Maderna first used the practice of a balustrade over the pediment of the portal. It emphasizes the general upward direction of the façade, created by a grouping of powerful vertical elements. Maderna continued the construction begun by G. da Vignola. The master returned to the concept in which the facade should be simple, but at the same time dominant in the building. The architect uses decorative elements and sculpture to create laconic and simple forms, but giving rise to rich emotions.

The second work, the Church of Santa Maria della Vittoria, was erected by Charles Maderna in 1605. But here the master only owns the majestic interior (despite the small size of the building). The facade was completed by 1620 by the architect J.B. Soria, leaving only the general appearance of the structure and the crowning balustrade introduced by Charles Maderna.

Church of Santa Maria della Vittoria. She became famous thanks to the emphatically theatrical decoration of the Cornaro Chapel.

St. Peter's Basilica (Basilica di San Pietro)

Maderna also played a decisive role in the final stage of construction of St. Peter's Basilica, which took about a hundred years to complete. He transformed the appearance of the central plan of the cathedral from a “Greek” one to a “Latin cross” with a chapel and a long nave. Ultimately, Maderna built the facade, which then became the central focus of the cathedral, where the Benediction Box for the Pope was later located. The architect planned to place bell towers along the edges of the facade, but his plan was disrupted by defects in the foundation of the building.

St. Peter's Basilica (Basilica di San Pietro in Vaticano) - Catholic cathedral, the central and largest building of the Vatican

Religious architecture

In the field of religious architecture, Charles Maderna owns two more works: he erected the domes of the churches - San Giovanni dei Fiorentini and San Andrea della Balle (construction began by Olivieri, the facade was completed by Rainaldi in 1664). However, the architect had nothing to do with the overall composition of these churches. The nature of Carl Madern's work as an architect who prepared the ground for the flowering of the Roman Baroque was clearly manifested in his last creation - Palazzo Barberini.

The most famous architectural works of Carlo Maderna:

1. Palazzo Mattei di Giove (Rome, 1598 - 1617).

2. Facade of the Church of Santa Susanna (Chiesa di Santa Susanna, Rome, 1605).

3. Church of Santa Maria della Vittoria (Santa Maria della Vittoria, Rome, 1605).

Susanna was the niece of Pope Gaius and a relative of Emperor Diocletian. Having received an excellent home upbringing, she was considered a very educated and intelligent girl. Despite her external beauty, she was distinguished by her firm faith and ardent love for Jesus Christ. Observing chastity, Susanna refused her proposed marriage to Diocletian's adopted son, Galerius, who later became emperor. Angered by this behavior of his relative, Diocletian ordered the girl to be beheaded. As legend has it, Susanna was executed in her father's house, on the site of which a small house of worship. Susanna's courage and unshakable faith amazed her relatives - they all also converted to Christianity and were executed.

In the 8th century By the will of Pope Leo III, the prayer house was destroyed, and in its place the construction of a basilica with three naves began. In the second half of the 15th century under Pope Sixtus, it was decided to rebuild the basilica into a smaller Church of Santa Susanna, consisting of one nave and two side chapels.

Facade Santa Susanna, overlooking Piazza San Bernardo, was realized in the Baroque style by the famous Carlo Maderna in the first decade of the 17th century and is recognized as one of the best examples of this architectural movement. The interior of the church is distinguished by its luxury and richness of decoration, which is distinguished by magnificent paintings. The 16th-century frescoes adorning the walls of the nave are dedicated to stories from the life of Saint Susanna. The luxurious coffered ceiling made of wood is decorated with gilded elements. In its central part you can see a three-dimensional image of the Virgin Mary. The semicircular apse is decorated with paintings, which are also dedicated to the life of Susanna. The scene of her martyrdom is depicted in the altarpiece, behind the main altar.

During archaeological excavations carried out under the church, the remains of ancient structures were discovered, among which, as researchers suggest, there is part of a medieval basilica and the ruins of an ancient villa where Susanna’s parents lived. Today, the artifacts found can be seen under the glass floor in the sacristy.

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Santa Susanna ( Santa Susanna), having been a monastic titular church in the early 17th century, is currently the national church of the United States. It is dedicated to Saint Susanna and its full name is Santa Susanna alle Terme di Diocleziano ( Santa Susanna alle Terme di Diocleziano ).

The first Christian place of worship appeared here at the end of the 3rd century and was a private house in which the community gathered. Christians of this period refrained from any decorative elements of identification with their religion, making such houses difficult to identify. However, in the 19th century, a building from that time was excavated under the existing church, and its walls correspond to the walls of the church.

According to one tradition, the titulus was located here ( titulus) Pap Roman Guy (283 - 296). Titleuses ( tituli ) were the first parish churches in Rome, and the title of Gaius was listed in the synod of 499(although it is not certain that this Guy and Pope Roman - one person). According to another tradition, Gaia's titulus was located under the (no longer existing) church of San Gaio, which was nearby.

Jerome's late 6th century martyrology reports: « Romae, ad duas domos iuxta dioclecianas, natale Sce. Susanne » (In Rome, in these two buildings about [ baths ] Diocletian, martyrdom of Saint S mustache Anna ). The name hints that the original temple was created from two private houses, and that mustache Anna may have been the leader or patron of the community.

ABOUT However, tradition claims that she was a Roman virgin martyr. The legend of this was written for her in the 6th century. In this romantic fiction, Guy is mentioned as her uncle and Gabinus is named as her father. Perhaps these are the names of the real homeowners. The church in legend is called the place of martyrdom C mustache Anna and has since become the center of her veneration.

The first mention of the title of Santa Susanna is found in the synod of 595, where the title of Guy was no longer noted. This seems to confirm their identity, but the possibility of the existence of two separate tituli cannot be denied.

Again according to tradition (not documented), the first basilica was built on this site in 330 under Emperor Constantine. Liber Pontificalis mentions that Sergi's dad th I (687 -701) decorated it, and dad Adrian I (772 - 795) restored.

Under Pope Leo III (795 - 816) the church has already been completely restored. It was previously thought that this was a simple restoration, but recent archaeological research has proven otherwise. The result of the work was a T-shaped basilica with a transept and a nave with side galleries with 12 columns each. Above these galleries there were galleries for women, and behind the altar there was an apse. The apse shell was decorated with a mosaic showing the Pope with Emperor Charlemagne. The halos around the Pope and the Emperor are square, indicating that by the time the work was completed they were still alive.

Dad moved the relics here Felicata of Rome, which were previously located in her former basilica over the catacombs of Massimo.There is a fresco in the sanctuarywith her image.

After the 8th century, Rome abandoned its hills, which became mainly vineyards. The Church of Santa Susanna was the only original building left on the site, but it was so isolated that visiting it became dangerous due to robbers. It was mentioned in the Turin catalog of 1320 as a titular church for a Presbyterian cardinal, in which six priests served. They almost certainly didn't live there. Under Pope Sixtus IV (1471 - 1484) another reconstruction was carried out. The church was seriously reduced, destroying the side galleries.

In 1587 Pope Sixtus V transferred the church and neighboring building to the new Cistercian community nuns , founded a year ago by the Brotherhood of St. Bernard. For her, the church was rebuilt again between 1593 and 1603. The architect was Carlo Maderno and this made his career. And the result of his work was the building that we see now. The monastery turned out to be so successful that he was able to found a subsidiary commune in Nepi in 1618.

The nuns were expelled by the French under Napoleon from 1811 to 1814. After 1870 they were re-dispossessed by the Italian government. They were left with only a small part of the monastery.

In 1921, Pope Benedict XV allowed to open a church Santa Susanna as the national church of the United States. Based in New York, pastoral responsibility was given toMissionary Society of St. Paul, Apostle , or Paulist Fathers .

In 1924, Cardinal Oresto Giorgi opened a lawsuit against the government, arguing that the church and monastery originally belonged to the cardinals, not the monastic community, and therefore their confiscation was illegal. The litigation ended successfully and in 1968 the property was completely transferred to the nuns by Cardinal Richard Cushing.

The community of Cistercian nuns in the monastery at the church was very small and in 2015 was reduced to one person - Signora Maria Assunta Cappiotti.

Sharing the church between the nuns and the Paulist Fathers turned out to be not the best idea. Complaints regarding the latter's noisy and active activities began in the late 20th century. A major breakdown occurred when the church was closed due to a rickety ceiling and faulty electrical wiring. The Paulistas refused to vacate their home, which adjoined the closed church, but were expelled in 1989 by the nuns who actually owned the property.

In 1993, when the church was opened and the Paulistas decided to resume their activities, the personal intervention of Pope John Paul II was required, to achieve an agreement to prohibit Americans from entering the monastery and sharing the sacristy.Shared use of the church was also divided over time.

The next major restoration of the building was announced in 2013, after which the church was closed again. And there is no suggestion that it will open soon.

The building of the Church of Santa Susanna is short in length, with two large side chapels framed by triumphal arches and an almost square sanctuary with a semicircular apse. There is no transept. Behind the apse are the nuns' choir, a separate building, although connected to the church, although not located on the main axis of the church. To the left of the apse is a bell tower with large arched openings on each side, topped by a low onion-shaped dome. It is practically invisible from the street.

The early Baroque facade, as already mentioned, was created by Carlo Maderno in 1603 (five years before he began work on the facade of St. Peter's Basilica in the Vatican) and is considered his masterpiece. The façade has two tiers with five vertical zones on the lower and three on the upper.

The lower tier contains six Corinthian columns, and its corners are marked by a pair of Corinthian pilasters. Columns and pilasters support an entablature with the inscription on the border: HIER EPIS PORT CARD RUSTICUCIUS PAPAE VICAR AD MDCIII(Jerome Rusticucci, Cardinal, Bishop of Porto and Papal Vicar, 1603 AD). This is a thanks to the cardinal, who oversaw the start of construction, although he died before the construction of the façade, in 1597.

The large entrance has a decorated door frame with a segmented pediment decorated with the head of a winged cherub. Above the entablature is a second, triangular pediment. On either side of the entrance are a pair of statues in arched niches with their triangular pediments, Saint Susanna on the left and Saint Felicita of Rome on the right. It is possible, although not certain, that it is the work of Stefano Maderno, Carlo's brother.

The upper tier is decorated with six complex pilasters corresponding to the columns of the lower one. They support an entablature with a huge triangular pediment, decorated with a coat of arms and, unusually, having a balustrade. In the center of the tier there is a balcony, which also has a balustrade. The arch of the balcony is created by a pair of Ionic columns supporting a segmented pediment and is decorated with an image of the rising sun.

On this tier there is another pair of statues depicting Saints Gaius and Genesius by Giovanni Antonio Paracci. Their niches are richly decorated with wreaths and heads of cherubs. An interesting detail are the small triangular pediments inserted into the gaps of the b O bigger ones.

Overall, the facade serves as an excellent early example of the fully formed Baroque style, demonstrating the completion of the transition to it from the Renaissance and Mannerism.

The interior design of Santa Susanna is also by Carlo Maderno and is made in the vibrant style of late Mannerism. All the walls of the church are covered with frescoes and present a huge contrast with the bar O Maderno's hard work in nearby Santa Maria della Vittoria.

The nave has four Doric pilasters supporting statues on pedestals. The statues depict the main prophets - Isaiah, Jeremiah, Ezekiel and Daniel. They were created by Giovanni Antonio Paracci. Six paintings of the Old Testament Susanna on the walls were painted by Baldassare Croce. According to legend, Susanna was a Jewish woman who was falsely accused of unclean blood and saved by the prophet Daniel. The flat wooden ceiling is also attributed to the work of Baldassare Croce. It is elaborately carved and gilded and depicts Our Lady with the coat of arms of Rusticucci.

The altar is raised above the crypt, the entrance to which is protected by a D-shaped balustrade. The apse frescoes by Cesare Nebbia depict scenes from the legendary life of Saint Susanna. On the left, Maximian, son of Emperor Diocletian, addresses her. On the right, she refuses to worship idols. Four panels show her Apotheosis - Susanna in the middle, angels at the edges and Christ holding a crown waiting at the top.

Gilded stucco - garlands, fruits, scrolls, cherubs - the work of Matteo Zoccolini. In the pilasters of the apse arch there are two statues of Saints Peter and Paul by Paracci.

The altar is flanked by two Ionic green marble columns bearing a divided triangular pediment with angels holding a cross. The altarpiece by Tommaso Laureti depicts Decapitation of Saint CmustacheAnna . Below the image is a grille designed to allow the nuns to join the Mass taking place at the altar.

On the left wall of the presbytery there is a large fresco depicting Martyrdom of Saint Gabinius Croce's work. On the right - with an image Martyrdom of Saint Felizata and her Seven Sons by Paris Nogari.

On the left side of the nave is the Chapel of St. Lawrence, also known as the Peretti Chapel. It was designed by the architect Domenico Fontana and frescoed by Giovanni Battista Pozzo. The altar image of the work of Nebbius depicts Martyrdom of Saint Lawrence .

On the left in the chapel are relics of Saint Genesius of Arles, also known as Genesius the Comedian, who was martyred and is the patron saint of actors. Painting Baptism of Saint Genesius belongs to Croce.

On the right are the relics of Pope Eleutherius (175 - 189). His body was transferred from San Giovanni della Pigna by Camilla Peretti, sister of Pope Sixtus V, in 1591. The fresco depicting him was made by Pozzo. It shows Eleutherius being dragged by horses and burned on a grate as Emperor Commodus looks on.

The relics of Felicata and one of her seven sons are also kept here, under the altar. They were moved here from the catacombs of Massimo by Pope Leo III when he rebuilt the church.

On the right side of the nave is the chapel of Our Lady of Mercy. Two modern frescoes depict Saints Benedict and Bernard, patrons of the Cistercian order. They replaced two paintings by Avanzino Nucci that were moved to the choir loft. The altarpiece is one of several copies of an ancient original that was located in Santa Maria della Consolazione and was stolen from there.

The nuns' choir, built in 1597, is behind the high altar. It is a rectangular room with a flat wooden ceiling bearing the coat of arms of Cardinal Rusticucci. Choirs were organized by Pope Pius V and are considered the best surviving ones in Rome. Wall frescoes by Francesco Mezzetti depict scenes from In this place hello. In addition to them, there are four works by Nucci with images yami Saints Benedict, Bernard, St. mustache Anna and Scholastica.

In 1991, during excavations carried out under the sacristy, a 2nd century sarcophagus with a human skeleton was discovered, on which were carefully laid layers of a picturesque fresco. The style of the fresco allows it to be dated to the 8th century, which means it was placed on a skeleton during the restoration under Pope Adrian I. Why this was done remains a mystery. Before the church was closed for renovations, the fresco could be seen in the sacristy. It is unknown whether it will be available after the opening of the church. It depends entirely on the nun who lives here.

The fresco is pentagonal. It depicts the Madonna and Child between two women identified as Saints Agatha and Susanna. In the corners are Saints John the Baptist and John the Evangelist. Between two quotes from the Gospels in Latin is the Lamb of God. Fragments of other saints have also been restored. The excavation site containing the sarcophagus is left open and protected by a glass floor.

As mentioned, Santa Susanna is currently closed to the public. Previously, it was open from 9:00 to 12:00 and from 16:00 to 19:00. Tours started at 10:30.