The Church of Saint Susanna at the Baths of Diocletian is located on the Quirinal Hill in Rome. There has been a titular church associated to its site as far back as AD 280. The current church was rebuilt from 1585 to 1603 for a monastery of Cistercian nuns founded on the site in 1587 which still exists there.
About 280, an early Christian house of worship was established on this site, which, like many of the earliest Christian meeting places, was in a house. According to the 6th-century document, the domus belonged to two brothers named Caius and Gabinus, prominent Christians. Santa Susanna is one of the oldest titles in the city of Rome. The early Christian church, built on the remains of three Roman villas still visible beneath the monastery, was situated immediately outside the wall of the Baths built by Diocletian and the Servian Wall, the first walls built to defend the city. The first three-aisled basilica was almost certainly built under the pontificate of Pope Leo III (795-816).
Pope Leo III rebuilt the church from the ground in 796, adding the great apse and conserving the relics of the saints in the crypt. A vast mosaic of Christ flanked by Leo and the Emperor Charlemagne and Saints Susanna and Felicity on the other was so badly damaged in the 12th century by an earthquake, that the interior was plastered over in the complete renovation that spanned the years 1585-1602 and frescoed by Cesare Nebbia.
Pope Sixtus IV (1475-1477) proceeded to rebuild the Church, probably a single nave with two side chapels. In 1588 it became the last great rebuilding effort of Cardinal Girolamo Rusticucci, Cardinal protector of the Cistercian Order, with construction running from 1595 to 1603.
The altarpiece of the high altar, depicting the beheading of St. Susanna, is by Tommaso Laureti of Palermo (1530-1602). Through the glass floor of the sacristy can be seen part of the early Christian Church and the remains of the Roman house, which is said to be the home of the father of the saint.
The church consists of a single nave, with a circular apse forming two side-chapels. The frescoes of the central nave by Baldassare Croce represent six scenes from the life of Susanna found in the Book of Daniel. The frescoes on the curved side of the apse shows Saint Susanna being threatened by Maximian, but defended by the angel of God and to the right, Susanna refusing to worship the idol Jupiter. Nebbia's frescoes of the dome of the apse depict Saint Susanna flanked on either side by angels with musical instruments. Behind the high altar, the painting depicting the beheading of Saint Susanna is by Tommaso Laureti.
Domenico Fontana constructed the second side-chapel to the left dedicated to Saint Lawrence, commissioned by Camilla Peretti, sister of Pope Sixtus V. The paintings are by the Milanese artist Giovanni Battista Pozzo (1563-1591). The altar painting by Cesare Nebbia depicts the martyrdom of St. Lawrence. In this chapel are venerated Saint Genesius of Rome, patron of actors, in the act of receiving baptism, and the bishop Pope Saint Eleuterus.
The valuable ceiling of the nave and of the presbytery is made in polychromed gilt wood, carved to the design of Carlo Maderno.References:
The Cathedral of Limburg is one of the best preserved late Romanesque style buildings. It is unknown When the first church was built above the Lahn river. Archaeological discoveries have revealed traces of a 9th-century church building in the area of the current chapel. It was probably built in Merovingian times as a castle and the chapel added in the early 9th century.
In 910 AD, Count Konrad Kurzbold (cousin of the future King Konrad I) founded a collegiate chapter of 18 canons, who lived according to the rule of Bishop Chrodegang of Metz, on the hilltop site. The original castle chapel was torn down and a three-aisled basilica was built in its place. The foundations of this basilica have been found beneath the present floor.
The construction of current cathedral is dated to 1180-90. The consecration was performed in 1235 by the archbishop of Trier. It seems certain that the cathedral was built in four stages. The first stage encompassed the west facade, the south side aisle, the choir and the transept up to the matroneum. This section forms the Conradine church. The second stage consisted of the addition of the inner pillars of the south nave. In this stage the bound system was first introduced. In the third phase, the matroneum in the southern nave was built. The fourth stage included the north side of the transept and the choir matroneum. By this stage Gothic influence is very clear.
The interior was destroyed by Swedish soldiers during the Thirty Years War (1618-48) and reconstructed in a late Baroque style in 1749. The Baroque renovation was heavy-handed: the surviving medieval stained glass windows were replaced; all the murals were covered up; the ribs of the vaults and columns of the arcades were painted blue and red; the capstones were gilded; the original high altar was replaced. The colorfully painted exterior was coated in plain white and the central tower was extended by 6.5 meters.
The collegiate chapter of Limburg was dissolved in 1803 during the Napoleonic period, but then raised to the rank of cathedral in 1827 when the bishopric of Limburg was founded. Some renovations in contemporary style followed: the walls were coated white, the windows were redone in blue and orange (the heraldic colors of the Duke of Nassau) and towers were added to the south transept (1865).
Further changes came after Limburg was incorporated into the Kingdom of Prussia in 1866. It was now the Romantic period and the cathedral was accordingly restored to an idealized vision of its original Romanesque appearance. The exterior stonework was stripped of all its plaster and paint, to better conform with the Romantic ideal of a medieval church growing out of the rock. The Baroque interior was stripped away and the wall paintings were uncovered and repainted.
Further renovations came in 1934-35, enlightened by better knowledge of the original art and architecture. Art Nouveau stained glass windows were also added. A major restoration in 1965-90 included replastering and painting the exterior, both to restore it to its original appearance and to protect the stonework, which was rapidly deteriorating while exposed to the elements.
The interior is covered in medieval frescoes dating from 1220 to 1235. They are magnificent and important survivals, but time has not been terribly kind to them - they were whitewashed over in the Baroque period (1749) and uncovered and repainted with a heavy hand in the Romantic period (1870s) before finally being restored more sensitively in the 1980s.