One of the oldest churches in Genoa, San Siro occupies the site of a former church originally dedicated to the apostles. In later centuries, the church was renamed after St Syrus of Genoa, a beatified bishop. Originally the cathedral of Genoa, it stood outside of the original walls, and was vulnerable to attacks from Saracen pirates; the title of Cathedral was transferred to San Lorenzo. There is another church dedicated to San Siro, San Siro di Struppa, outside the city center.
Legend holds that the bishop was able to banish a Basilisk that dwelt in a well adjacent to the church; a plaque on a nearby house recalls the miracle. This event is represented in a medieval bas relief on the portico arcade next to the church, as well as a fresco by Carlone in the apse.
From the tenth to 12th centuries, building of the original Romanesque structure of the church and bell-tower proceeded. In 1478, a fire destroyed much of the church. Nearly a century later, prodded by Cardinal Vincenzo Giustiniani and the Pallavicini family, reconstruction was begun following the demands of Counter-Reformation architecture, with a main central nave. That nave was frescoed by Giovanni Battista Carlone with Conversion of St Peter, Martyrdom of St. Peter, and Death of Simon Magus. Paolo Brozzi completed the quadratura decoration. The chapel of the Pietà was commissioned by Taddeo Carlone in 1595 (and completed by 1606 by the marble-carvers Santino Paracca, called Valsoldo, and Alessandro Ferrandino). In 1904, the romanesque bell-tower, due to its perilous situation had to be demolished and was never rebuilt.
Other works of art include the Triumph of the Cross in the cupola by Carlone, and canvases of the Annunciation, Birth of Mary, and St Anthony by Orazio Gentileschi (the brother of Aurelio Lomi). Other artists with paintings in the church include Domenico Fiasella, Giovanni Domenico Cappellino, Andrea Semino, Giacomo Lomellini, Cristoforo Roncalli, Gregorio De Ferrari, Domenico Piola (2nd chapel on right), and a Decapitation of Saint by Carlo Bononi . The church contains a number of sculptures by Taddeo Carlone. The main altar design and sculpture were completed by Pierre Puget.References:
The Kalozha church of Saints Boris and Gleb is the oldest extant structure in Hrodna. It is the only surviving monument of ancient Black Ruthenian architecture, distinguished from other Orthodox churches by prolific use of polychrome faceted stones of blue, green or red tint which could be arranged to form crosses or other figures on the wall.
The church is a cross-domed building supported by six circular pillars. The outside is articulated with projecting pilasters, which have rounded corners, as does the building itself. The ante-nave contains the choir loft, accessed by a narrow gradatory in the western wall. Two other stairs were discovered in the walls of the side apses; their purpose is not clear. The floor is lined with ceramic tiles forming decorative patterns. The interior was lined with innumerable built-in pitchers, which usually serve in Eastern Orthodox churches as resonators but in this case were scored to produce decorative effects. For this reason, the central nave has never been painted.
The church was built before 1183 and survived intact, depicted in the 1840s by Michał Kulesza, until 1853, when the south wall collapsed, due to its perilous location on the high bank of the Neman. During restoration works, some fragments of 12th-century frescoes were discovered in the apses. Remains of four other churches in the same style, decorated with pitchers and coloured stones instead of frescoes, were discovered in Hrodna and Vaŭkavysk. They all date back to the turn of the 13th century, as do remains of the first stone palace in the Old Hrodna Castle.
In 2004, the church was included in the Tentative List of UNESCO"s World Heritage Sites.