The Catacombs of San Gennaro are underground paleo-Christian burial and worship sites in Naples, Italy, carved out of tuff, a porous stone. They are situated in the northern part of the city, on the slope leading up to Capodimonte, consisting of two levels, San Gennaro Superiore, and San Gennaro Inferiore.
Originally, there were three separate cemeteries, dedicated, to Saint Gaudiosus (San Gaudioso), Saint Severus (San Severo) and St. Januarius (San Gennaro). These catacombs in Naples are different from their Roman counterparts in that they have more spacious passageways along two levels. The lower level is the oldest, going back to the 3rd-4th century and may actually be the site of an earlier pre-Christian cemetery later ceded to the new sect. It apparently became an important religious burial site only after the entombment there of Bishop Agrippinus. The second level was the one expanded so as to encompass the other two adjacent cemeteries.
The foundation of San Gennaro extra Moenia church is connected with the catacombs. The first structure was probably the result of the fusion of two ancient burial sites, one from the 2nd century CE that contained the remains of Saint Agrippinus of Naples, the first patron saint of Naples, and the site from the 4th century CE that contained the remains of St. Januarius, the patron saint of the city.
The site was consecrated to Gennaro (Januarius) in the fifth century on the occasion of the entombment there of his remains, which were later removed to the Cathedral of Naples by Bishop John IV (842-849) in the 9th century. As the burial areas grew around the remains of Gennaro so did underground places of worship for the growing Christian faith. An early example of religious use of the catacombs is the Basilica of Agrippinus dating to the fourth century. An altar and chair are carved from the tuff creating a meeting place for worshipers. Other ritual spaces included a confessional, baptismal font, a carved tuff table used as a seat for a consignatorium (area for confirmation), or oleorum table for holy oils, and possibly, monastic and hermit cells.
Until the eleventh century the catacombs were the burial site of Neapolitan bishops, including Quodvoltdeus, the exiled bishop of Carthage who died in 450 AD. Between the 13th and 18th century, the catacombs were the victim of severe looting. Restoration of the catacombs was made possible only after the transfer of skeletal remains to another cemetery. During WWII the catacombs were used by the local population as a place of shelter. The Catacombs were reopened in 1969 by the Archbishop of Naples and modern excavations started in 1971.References:
The St Sophia's Cathedral was built between 1045-1050 inside the Novgorod Kremlin (fortress). It is one of the earliest stone structures of northern Russia. Its height is 38 m. Originally it was taller, for during the past nine centuries the lower part of the building became concealed by the two-metre thick cultural layer. The cathedral was built by Prince Vladimir, the son of Yaroslav the Wise, and until the 1130s this principal church of the city also served as the sepulchre of Novgorodian princes. For the Novgorodians, St Sophia became synonymous with their town, the symbol of civic power and independence.
The five-domed church looks simpler but no less impressive than its prototype, the thirteen-domed St Sophia of Kiev. The cathedral exterior is striking in its majesty and epic splendour evoking the memories of Novgorod's glorious past and invincible might. In the 11th century it looked more imposing than now. Its facade represented a gigantic mosaic of huge, coarsely trimmed irregular slabs of flagstone and shell rock. In some places (particularly on the apses), the wall was covered with mortar, smoothly polished, drawn up to imitate courses of brick or of whitestone slabs, and slightly coloured. As a result, the facade was not white, as it is today, but multicoloured. The play of stone, decorative painting and the building materials of various texture enhanced the impression of austere simplicity and introduced a picturesque effect.
The two-storied galleries extend along the building's southern, western and northern sides, with a stair-tower constructed at the north-eastern corner. The cathedral has three entrances - the southern, western and northern, of which the western was the main one intended for ceremonial processions. A gate standing at the entrance is known as the Sigtuna Gate (mid-12th century); according to legend, it was brought from the Swedish town of Sigtuna in 1187. The second name of the gate derives from the town of Magdeburg, where it was made. The two leaves are decorated with biblical and evangelical scenes in cast bronze relief. In the lower left corner there are portraits of the craftsmen who created this superb specimen of medieval Western European bronze-work. An inscription in Latin gives their names, Riquin and Weissmut. The small central figure - judging from an inscription in Slavonic - is a representation of the Russian master craftsman Avraam, who assembled the gate.
There is yet another bronze gate in the cathedral, called the Korsun Gate. Made in the 11th century in Chersonesos, Byzantium, it leads from the southern gallery into the Nativity Side-Chapel. Legend has it that the gate was handed over to Novgorod as a gift of Prince Yaroslav the Wise (c. 978 - 1054).
The interior of the cathedral is as majestic as its exterior. It is divided by huge piers into five aisles, three of which end in altar apses. In the south-western corner, inside the tower, there is a wide spiral in relatively small, modest buildings of the 12th - 16th centuries.