The Basilica of San Simpliciano is the second oldest church in the form of a Latin cross, first erected by Saint Ambrose. It is dedicated to Saint Simplician, bishop of Milan.
The site of the present church was occupied in the 3rd century AD by a pagan cemetery. There St. Ambrose began the construction of the Basilica Virginum ('Basilica of the Virgins'), which was finished by his successor Simplicianus, who was buried there. A brick with the mark of the Lombard King Agilulf shows that repairs were made between 590 and 615 AD.
In the ninth century the Cluniac Benedictines took possession of the church. In 1176 the church became famous when, according to the legend, the bodies of the martyrs housed here flew as doves to the field of Legnano, landing on the City's Carroccio, (a ceremonial war waggon) as a sign of the imminent victory against Frederick Barbarossa's army.
When the building was modified between the 12th and the 13th centuries, giving it the present Romanesque appearance, the original walls were preserved to a height of 22 meters. On the night of 6–7 April 1252 the body of Peter of Verona (later St. Peter Martyr) lay in state after his assassination. A great multitude came to watch vigil, and the origins of Peter's cult began, as people started to report miraculous occurrences. In 1517 it was acquired by the Benedictines of Montecassino, who remained here until 1798, when the convent was secularized and for a time turned into barracks. In the 16th century the Spanish governor Ferrante Gonzaga had the bell tower lowered by 25 meters. The dome and the side wings were also modified in 1582. Other interventions were carried out in the 19th century, with poor results, while the façade was reworked in 1870. In 1927 stained-glass windows portraying episodes of the battle of Legnano were added.
On the façade, the arcades that surmount the portals indicate the presence of an ancient portico, now disappeared. The upper part, the most modified in the 19th century, has two mullioned windows in the centre, an upper triple mullioned window and decorative arches. Late Renaissance mullioned windows also decorate the bell tower.
The interior is on the Latin cross plan, with a four-bay nave and two aisles. The transept is divided into two aisles.
The side chapels have decorations from various eras, from Renaissance to Baroque, Rococo and Neoclassical. In the right transept is a painting by Alessandro Varotari (Il Padovanino) portraying the Defeat of the Cammolesi. Next to the apse entrance are saints frescoed by Aurelio Luini. The apse vault is decorated by what is considered Ambrogio da Fossano's masterwork, a wide Incoronation of Mary.
Also on the left of the apse is the entrance to the small sacellum dedicated to the Martyrs of Anaunia, not before the end of the fourth century, as in a passage in Maximus of Turin's Sermo 81 Maximus designates himself a witness of the martyrdom of three missionary priests in 397 at Anaunia in the Rhaetian Alps.
The western wall of the transept has a Marriage of the Virgin by Camillo Procaccini.References:
The famous Italian Medici family have given two queens to France: Catherine, the spouse of Henry II, and Marie, widow of Henry IV, who built the current Luxembourg palace. Maria di Medici had never been happy at the Louvre, still semi-medieval, where the fickle king, did not hesitate to receive his mistresses. The death of Henry IV, assassinated in 1610, left the way open for Marie's project. When she became regent, she was able to give special attention to the construction of an imposing modern residence that would be reminiscent of the Palazzo Pitti and the Boboli Gardens in Florence, where she grew up. The development of the 25-hectare park, which was to serve as a jewel-case for the palace, began immediately.
The architect, Salomon de Brosse, began the work in 1615. Only 16 years later was the palace was completed. Palace of Luxembourg affords a transition between the Renaissance and the Classical period.
In 1750, the Director of the King's Buildings installed in the wing the first public art-gallery in France, in which French and foreign canvases of the royal collections are shown. The Count of Provence and future Louis XVIII, who was living in Petit Luxembourg, had this gallery closed in 1780: leaving to emigrate, he fled from the palace in June 1791.
During the French Revolution the palace was first abandoned and then moved as a national prison. After that it was the seat of the French Directory, and in 1799, the home of the Sénat conservateur and the first residence of Napoleon Bonaparte, as First Consul of the French Republic. The old apartments of Maria di Medici were altered. The floor, which the 80 senators only occupied in 1804, was built in the middle of the present Conference Hall.
Beginning in 1835 the architect Alphonse de Gisors added a new garden wing parallel to the old corps de logis, replicating the look of the original 17th-century facade so precisely that it is difficult to distinguish at first glance the old from the new. The new senate chamber was located in what would have been the courtyard area in-between.
The new wing included a library (bibliothèque) with a cycle of paintings (1845–1847) by Eugène Delacroix. In the 1850s, at the request of Emperor Napoleon III, Gisors created the highly decorated Salle des Conférences, which influenced the nature of subsequent official interiors of the Second Empire, including those of the Palais Garnier.
During the German occupation of Paris (1940–1944), Hermann Göring took over the palace as the headquarters of the Luftwaffe in France, taking for himself a sumptuous suite of rooms to accommodate his visits to the French capital. Since 1958 the Luxembourg palace has been the seat of the French Senate of the Fifth Republic.