The lantern differs, since the window slits are rectangular and the hemispherical lead cupola fits on top without a brim. It is one of the seven traditional pilgrimage churches of Rome. Pope Gregory XVI (1831-46) ordered a restoration of the ceiling, and had his coat-of-arms inserted therein. Previously, the church could only be accessed by steps down from the level of the atrium. It should be remembered that these were not part of the catacombs originally. Select an option below to see step-by-step directions and to compare ticket prices and travel times in Rome2rio's travel planner. The evidence presented for a 1st century date for the catacombs is discredited. San Sebastiano fuori le mura (Saint Sebastian outside the walls), or San Sebastiano ad Catacumbas (Saint Sebastian at the Catacombs), is a basilica in Rome, central Italy.Up to the Great Jubilee of 2000, San Sebastiano was one of the Seven Pilgrim Churches … Tel: 06 780 8847. Immediately to the right of the entrance is an attractive white marble Baroque monument to Altobello de Ense from Montecorvino (which one?) The engaging bust is in a dark grey marble scallop shell. As with the rest of the Archeological Park of Appia Antica, the way to get to the basilica is by the 118 bus from Piramide or Circo Massimo metro stations. Across the road is a monument in the form of a free-standing Corinthian column in grey granite, erected by Pope Pius IX in 1852. It is north of the "Large Villa" and consists of a small courtyard in black and white mosaic. On the corresponding right hand side, a two-roomed edifice was entered from the bottom right hand corner of the basilica -this is the so-called Mausoleum of the Five Sarcophagi. Some ended up (allegedly) at Soissons in France, and the head was enshrined under the high altar at Santi Quattro Coronati. Here, the figure of the saint and the angel holding a palm branch are in the round, on a painted background. Italiano: San sebastiano fuori le mura è una chiesa di Rome in Italia. It's not much from the outside but is attractive inside and houses some relics associated with St Sebastian, including an arrow he was allegedly shot … The reason for this was originally so that a chariot racing round the outside of the curve would travel exactly the same distance as one on the inside. A niched aedicule with a pair of columns painted to resemble marble was built against this chamber. Denomination: The Cistercian monastery was suppressed by the French at the start of the 19th century. Finally behind the apse and ambulatory, just to the left of the major axis, is the so-called Platonia which is an irregularly polygonal structure with its own rather haphazard tiled roof slightly lower than that of the ambulatory. The Cistercian monastery reached its apotheosis when it became the Generalate of the entire Order in 1699 under Cardinal Giovanni Maria Gabrielli as Abbot General. Titular church The walls of these covere… "Romeartlover" web-page with 18th century engraving (the author notes the inaccuracy of this. To the left are the parish facilities, with a very useful set of toilets. The Hermes one has a mosaic floor, and deservedly famous frescoes comprising a Gorgon's head in the vault and a beautiful composition featuring a bowl of fruit and birds including a partridge and a parrot. The Innocentiores one has the best vault, with lotus and acanthus leaf decoration and a peacock. This entire complex is identified as a cult-centre of the Apostles Peter and Paul, the Memoria Apostolorum, which is the subject of a long-running scholarly controversy. Find all the transport options for your trip from Sorrento to San Sebastiano fuori le mura right here. The architect was Carlo Fontana, who also provided a new sacristy next door near the high altar. The trapezoidal portico on the east side was more substantial -the so-called Triclia (so-called because it is thought to have been the setting for funerary banquets), and this also had figurative frescoes. He was a doctor of medicine, and chose to be buried here because St Sebastian was a patron of plague sufferers -he died of it himself. This features floral festoon, vine scrolls, putti and the Keys of St Peter. These were excavated in the 1920's. Over the door is a fresco showing The Penitent St Jerome. De San Sebastiano fuori le mura ("Sint-Sebastiaan bûten de muorren"), of de San Sebastiano ad Catacumbas ("Sint-Sebastiaan op de katakombes"), is in basilyk yn Rome, Itaalje. The altarpiece is so bad as to be winsome. He moved the saint's remains into his present chapel, providing the noted sculpture there now, and converted the former shrine into the Chapel of the Relics. Above, the second storey has four short blind pilasters melding into a blank frieze below the ceiling. Above is a winged putto's head with swags. However the San Callisto catacomb is shut on Wednesdays, and apparently this driveway is too. The guide should also point out a fresco showing a little girl called Liberia, standing in the orans position between a lamb and a dove. It has a central lantern. He was buried at San Bernardo alle Terme, but his heart was interred here according to his wish. The guide will point out the many graffiti on the surviving red plaster surfaces in the triclia, which are in Greek, Latin and Aramaic or Syriac. Address: In the Middle Ages, before the rebuilding, in front of the church was a walled atrium or courtyard with a single gate fronting the Via Appia. Leggi di più. Hence the space is also called the Lapidary Museum. When the tour is assembled, the guide will take you down a set of stairs to the left at the far end of this room. The design echo from the façade is obvious. It is actually on the ground floor of the main monastery wing abutting on the church on this side, and an exit door into the monastery grounds is in the far left hand corner as you go in. The arches in the nave side walls do not form arcades. Initially it was called Basilica Apostolorum, the Basilica of the Apostles, and was dedicated to SS Peter and Paul. The particular quarry here was being used for burials towards the end of the Republic, and in the 1st century AD a double row of columbaria or storage units for cremation ashes was built above it. Behind the apse of the basilica is an annexe called the Platonia, which has its own entrance arrangements (now disused) already described above. There is actually a persuasive argument that none of the basilicas built by Constantine functioned as churches originally except San Giovanni in Laterano, that is to say as places where Mass was celebrated at an altar with a congregation in attendance. On the ceiling is God the Father with Saints by Pietro da Cortona 1618, and on the wall is a badly perished Madonna and Child with SS Sebastian and Lucina by Marco Tullio Fontana. The apsidal chapel itself is in cream and gold, with two rectangular black marble frames and a matching doorway in the back giving access for the priest saying Mass. This work is arguably a better design than the main church façade. There should be a model of the ancient basilica and catacombs here as well. There was an underground well, accessed by a flight of steps in the courtyard, and on the south side the so-called "delta-cell" which was an apsidal chamber entered through three portals separated by columns. This used to be for the saint's shrine-niche in the catacomb, in a level abandoned perhaps in the 9th century. The aedicule is by Flaminio Ponzio, and has two pairs of verde antico Composite columns on high two-storey plinths with the upper parts panelled in alabaster. If so, it is pretty certain that they were pillaged from an ancient edifice somewhere. The former read unum ex quinque altaribus ("one of five altars"), which is a reference to the gaining of an indulgence for visiting the basilica and praying at an altar. The fabric was in opus vittatum, which consists of courses of tufa ashlar blocks alternating with brick. These used to have frescoes thought to be of the 5th century, when the edifice was built, but these have perished. Above the door is a mediaeval epigraph provided with a Baroque frame. A three-storey monastery wing was added to the left hand side of the nave, and a tower campanile built in the far corner to replace the demolished mediaeval one. The triumphal arch is one of the four pendentive arches of the dome, which is undecorated except for stucco winged putto's heads at the bottoms of the pendentives, and dentillation in the moldings. These two rows flanked a lane leading off the Via Appia, and to the south-west was was built the so-called "Large Villa" in the same century. Pictures of the church at Wikimedia Commons are here. The conch has three sectors each displaying crossed palm branches, a wreath and arrows. Apparently this chapel was dedicated to the Assumption of Our Lady until the end of the 19th century. This used to be at one end of the narthex of a large mausoleum with an apse, which has otherwise vanished. "), but the cardinal is actually asking you to pray for his soul. A simple aedicule having a pair of Ionic pilasters supporting a triangular pediment, in white with gilded highlights, frames the altarpiece. This contains the famous detail that he had been tied to a tree and used for archery practice, and this is how he is invariably represented in art. The rest were kept in a chapel dedicated to the saint at St Peter's. The archivolt is actually higher than the ceiling, which has a niche for it, and on the keystone is the Borghese coat-of-arms yet again. The work had to be finished by Giovanni Vasanzio, whose real name was Jan van Santen and who signed off the completed project in 1613. It … Roman Catholic The one here was probably an ex-voto, and might have been given as an offering to the god Rediculus after a successful journey and return. Hence, the conclusion is drawn that a cult-centre to the Apostles was founded here in that year. La basilica di San Sebastiano fuori le mura è un luogo di culto cattolico di Roma, nel quartiere Ardeatino, sulla via Appia Antica al numero 136. The untrue story of the pope's martyrdom was originally associated with the Catacombe di San Callisto, but when those catacombs were lost to view the ones at San Sebastiano were mistakenly thought to be them. One popular traditional surmise has been that the relics of the two apostles were taken from their tombs in St Peter's and San Paolo fuori le Mura to here for safe-keeping during a persecution by the emperor Valerian, and subsequently returned before (or when) their basilicas were built. The decoration of each sector alternates, with either a star within an octagon with crossed lilies below and a scallop shell above, or a Chi-rho within a tondo with crossed palms below and above. Recently the round-headed recesses have been provided with a pair of pictures, depicting Pope St John Paul II to the left, and Bl Teresa of Calcutta to the right. Il Sabato e nei giorni prefestivi alle ore 18.00. This is a large marble box containing a famous statue of the dying saint by Antonio Giorgetti, one of Bernini's pupils. The relics of the saint were brought from St Peter's in 1218, and enshrined in a rectangular crypt under the lower left hand side of the present church. However documentary evidence is lacking, and later tradition attributed the foundation to Pope St Damasus (366-84) who composed epitaphs for the catacomb here. If the latter, waiting until the Mass is finished can be an opportunity to view this chapel, which is otherwise kept locked (but please don't disturb those giving their thanksgiving). In ancient times the locality was called catacumbas from the Greek 'katà kymbas', meaning 'near the hollows' -a reference to local quarries. The Franciscans have remained in charge to the present day. 1615. Other traditional details, including the year of his martyrdom as being 288, derive from a 5th century legend which is now regarded as fictional. To the right in the courtyard is the modern entrance to the catacombs, where you buy your ticket. Review of Basilica San Sebastiano Fuori le Mura. San Sebastiano fuori le mura è stata eretta parrocchia il 18 aprile 1714, con bolla di Papa Clemente XI. There is a large oculus. The picture shows Our Lady allowing the saint to hold the Christ-child. There was a major change in about the middle of the 3rd century. The hollow of the Piazzuola was filled in, and its mausolea buried, to provide a platform for a trapezoidal courtyard, 23 by 18 metres. Two pairs of brick pilasters, the inner ones doubletted along their outer edge, stand on stone plinths and have swagged Ionic capitals incorporating the Barberini eagle. The doorway beyond the chapel leads to a set of stairs down to the catacombs. As a young priest he found spiritual benefit in sitting in the catacombs all night after other visitors had left, in the dark and perfect silence. You will get to see a very limited portion of these. The wall in which the arch is set is actually a screen, and has sunken panels imitating the arrangement in the counterfaçade. Where the two enclosures met is a confused set of walls of at least two building campaigns and focusing on an edifice on the plan of a Latin cross with apse. Here, all those in the visitable galleries have been broken open and there are two possible reasons for this. Before 1970 they were celebrated together liturgically, but now any priest who wants to say a sanctoral Mass on that day must choose one or the other. - da Marzo a Ottobre dalle 7.00 alle 18.30; - da Novembre a Febbraio dalle 8.00 alle 17.30. In the break hangs a floral swag. San Sebastiano fuori le mura. There is evidence that access was initially maintained when the 4th century basilica was built over it, but this was cut off probably in the 9th century. It is part of the Memoria Apostolorum, the original Christian cult centre here. These were funerary chambers sponsored by individual families, or by professional groups, associations and clubs. The molding of the window frames is taken around panels above their lintels. See Sant'Agnese fuori le Mura -Basilica Constantiniana for another example of doubt over the roofing arrangements of these structures. It was found by archaeologists in the early 20th century, and moved to here. This belonged to an original 4th century annexe of the basilica, which was later mostly demolished and replaced with a row of three apsidal mausolea. Then comes one of the doorway arrangements just described, and finally another pilaster pairing with the near hand one of the first arch. This was fronted by an atrium on the site of the present courtyard, and had a tower campanile behind it on the left hand side. Above the loggia, the actual church frontage sported a large round window with rose tracery, flanked by the outlines of a pair of blocked round-headed windows. Santa Maria Addolorata a Piazza Buenos Aires, Nostra Signora del Santissimo Sacramento e Santi Martiri Canadesi, Sant'Agnese fuori le Mura -Basilica Constantiniana, It is apsidal in form, with the tall aedicule against the back of the curve and a diapered bronze grating shutting it off. Above the arches is an entablature with is a marble frieze having an inscription commemorating the Borghese rebuilding: Scipio Card[inale] Burghensius, S[acrae] R[omae] E[cclesiae] Major Penitentiarius, An[no] Dom[ini] MDCXII. A rose garden that he established here became internationally famous, and he donated a noted library to the monastery when he died in 1711. The basilica had catacomb visitors all to itself until archaeologists set to work to trace the other lost catacombs of the city. This applied even to the nearby Catacombe di San Callisto. The building had the same plan as edifices of the same date at San Lorenzo fuori le Mura and Sant'Agnese fuori le Mura as well as three elsewhere (Santi Marcellino e Pietro ad Duas Lauros, Basilica Anonima della Via Ardeatina and Basilica dei Gordiani). The drum has four windows, separated by four tablets identifying the martyrs and with each topped by a crown and crossed palms. This Basilica is in the same area as the catacombs of St Sebastian. That is, it had a semi-circular far end which is a layout technically called circiform in English architectural parlance, meaning "in the form of a circus" (an ancient Roman one, that is). As a result, the Church undertook a campaign of bringing all the venerated relics of martyrs within the city walls, where they were re-enshrined in the various churches. The details include Borghese dragons and eagles, as well as palm branches of martyrdom. The quarries mentioned were caves dug out when mining pozzolana for making cement, the earliest human activity discernible here. The right hand frame has an epigraph describing the commissioning of the chapel, while the left has a niche containing an unhappy pot plant. In the 9th century the city lost control of its surrounding countryside to marauders such as the Muslim pirates from North Africa, also Lombard barbarians and simple outlaws. The aedicule matches that of the chapel opposite. The Cistercian monastery failed in the mid 16th century, and was suppressed in 1584. Rome2rio makes travelling from Sorrento to San Sebastiano fuori le mura easy. There are three on each side, each flanked by a pair of blind pilasters which support the entablature. The dimensions here were originally 74 by 28 metres, typical for the set of six. The entablature floats from posts at either end, themselves above blind pilasters at the corners of the storey. 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