The Catacomb of Generosa is part of an archeological complex, rich of remains not just Christian, but also pagan. The catacomb is situated inside a hill and occupies a single level. The former entrance of the catacomb, just like other Roman catacombs, was inside a basilica, built under Pope Damasus I in the second half of 4th century, whose remains have been discovered by Giovanni Battista de Rossi in the 19th century. In the apse a fenestella confessionis (little window for confession) allowed to see the main place of worship, while a side door gave access to the catacomb.
According to the tradition, the catacomb first served as burial place for martyrs Simplicius and Faustinus, killed in 303 under Diocletian. The hypogeum graveyard served mainly for the entombment of the farmers of the surroundings and therefore it shows a sober and poor style. Near 382 Pope Damasus built the semi-hypogeum basilica and the catacomb ceased being a graveyard and became a place of worship of the martyrs there buried. In 682 Pope Leo II moved the relics of the martyrs of Generosa in the church of Santa Bibiana on the Esquiline Hill: the catacomb was thereby gradually abandoned and its location was forgotten.
The discovery, in the 19th century, of marble inscriptions inspired the interest of the archaeologist Giovanni de Rossi, who in 1868 discovered the remains of the basilica and soon after the Catacomb of Generosa. The catacomb was restored in the 1930s by Enrico Josi. Further archaeological campaigns were carried out between 1980 and 1986.
The most important place of all the catacomb is the martyrs crypt, at the back of the apse of the external basilica. It hosted a fresco with Byzantine features, called Coronatio Martyrum, dating back to 6th century. It portrays five figures: the central one is Christ, handing out the crown of martyrdom to Simplicius, with Beatrix at his side; on the left of Christ are Faustinus, bearing the palm of martyrdom in his hand, and Rufinianus. The fresco was seriously damaged when Giovanni Battista de Rossi, in the 19th century, attempted to tear it off.References:
The Cloth Hall in Kraków dates to the Renaissance and is one of the city's most recognizable icons. It is the central feature of the main market square in the Kraków Old Town (listed as a UNESCO World Heritage Site since 1978).
The hall was once a major centre of international trade. Traveling merchants met there to discuss business and to barter. During its golden age in the 15th century, the hall was the source of a variety of exotic imports from the east – spices, silk, leather and wax – while Kraków itself exported textiles, lead, and salt from the Wieliczka Salt Mine.
Kraków was Poland's capital city and was among the largest cities in Europe already from before the time of the Renaissance. However, its decline started with the move of the capital to Warsaw in the very end of the 16th century. The city's decline was hastened by wars and politics leading to the Partitions of Poland at the end of the 18th century. By the time of the architectural restoration proposed for the cloth hall in 1870 under Austrian rule, much of the historic city center was decrepit. A change in political and economic fortunes for the Kingdom of Galicia and Lodomeria ushered in a revival due to newly established Legislative Assembly or Sejm of the Land. The successful renovation of the Cloth Hall, based on design by Tomasz Pryliński and supervised by Mayor Mikołaj Zyblikiewicz, Sejm Marshal, was one of the most notable achievements of this period.
The hall has hosted many distinguished guests over the centuries and is still used to entertain monarchs and dignitaries, such as Charles, Prince of Wales and Emperor Akihito of Japan, who was welcomed here in 2002. In the past, balls were held here, most notably after Prince Józef Poniatowski had briefly liberated the city from the Austrians in 1809. Aside from its history and cultural value, the hall still is still used as a center of commerce.
On the upper floor of the hall is the Sukiennice Museum division of the National Museum, Kraków. It holds the largest permanent exhibit of the 19th-century Polish painting and sculpture, in four grand exhibition halls arranged by historical period and the theme extending into an entire artistic epoch. The museum was upgraded in 2010 with new technical equipment, storerooms, service spaces as well as improved thematic layout for the display.
The Gallery of 19th-Century Polish Art was a major cultural venue from the moment it opened on October 7, 1879. It features late Baroque, Rococo, and Classicist 18th-century portraits and battle scenes by Polish and foreign pre-Romantics.