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Santi Michele due east Magno is a 12th century national church, very heavily restored in the 18th century, hidden away just east of St Peter's at the west end of Borgo Santo Spirito. The postal address is Largo degli Alicorni 21, in the rione Borgo. Pictures of the church at Wikimedia Eatables are hither. There is an English Wikipedia page hither.

Information technology is the national church of the Netherlands.

Contents

• i Proper name
• 2 History
  • 2.1 Schola Frisonum
  • 2.two Heart ages
  • 2.iii Remodelling
  • ii.4 Modernistic times
• 3 Exterior
  • iii.1 Layout
  • 3.2 Campanile
  • 3.3 Façade
• 4 Interior
  • iv.1 Nave
  • 4.2 Tondi of saints
  • iv.3 Sanctuary
  • four.iv Right alley
  • four.5 Chapel of Remembrance
  • iv.6 Chapel of Our Lady of Sevenwouden
  • iv.seven Scala Santa
  • 4.8 Left aisle
  • 4.9 Titus Brandsma room
  • 4.10 Catacomb
• v Access
• 6 Liturgy
• seven External links

Proper noun [ ]

The unique joint dedication is to St Michael the Archangel and to St Magnus, bishop of Anagni. (Beware of erroneously reading the name every bitSan Michele Magno,or "St Michael the Great" in Italian.)

The church is as well known in Dutch every bit theKerk van de Friezen,"Church of the Frisians".

History [ ]

Schola Frisonum [ ]

The foundation of the church is non documented, just it is confidently surmised that it originated as the chapel of the Schola Frisonum. This is better translated as "Expatriates' Lodge for Frisians" rather than the more usual "School". Information technology was a place where Western frisian pilgrims and expatriates could club, encounter and conform their affairs, and was one of four such Germanic national institutions around the Old St Peter's in the early Middle Ages (the others belonged to the Franks, Lombards and Saxons; the last ane has a memory in Santo Spirito in Sassia).

This 1 was kickoff recorded in 799, although the church is only mentioned in 854. Undocumented tradition claims that an earlier church building here was built past St Boniface (675-754).

A grand years ago, Frisia consisted of the coastal parts of the Netherlands and what is now called Friesland in Germany and Kingdom of denmark. Although its political identity was imperceptible, back then information technology had a linguistic 1 and a proto-national identity accentuated past the missionary activities of St Willibrord, Apostle of Frisia, who stock-still his cathedral at Utrecht.

Middle ages [ ]

Saracen pirates raided Rome in 845, and plundered St Peter's and the surrounding area. Every bit a result a defensive wall was built effectually the schola, and remains may still be found of this. However, the erstwhile church was nevertheless apparently badly damaged or destroyed in the Sack by the Normans in 1084.

Hence it was completely rebuilt in 1141, and the surviving campanile added. At this signal the relics of St Magnus of Anagni were enshrined, and the church'south dedication hence changed when the new building was consecrated by Pope Innocent II . Allegedly Frisian pilgrims mistook this Italian bishop for Magnus Forteman, an eighth century hero of theirs. They managed to get hold of his relics, just the pope heard about it and prevented them taking them dorsum home -except for one arm. Equally a compromise, the departer community in Rome was allowed to keep the rest.

Pope Eugene Four suppressed the schola in 1446, and from then on the church belonged to the Affiliate of St Peter'southward. It was entrusted to an Archconfraternity of the Blessed Sacrament, and became a parish church in 1508.

Remodelling [ ]

In that location was a major restoration between 1756 and 1759. The builder was Carlo Murena, who in his remodelling preserved the mediaeval plan.

Part of the complex that resulted was the Scala Santa, a steep flight of xxx-three stairs from the Borgo Santo Spirito straight into a side chapel of the church building. Like the more famous Scala Santa stairs at the Lateran, an indulgence is offered here if you climb them on your knees. (Don't confuse this way in with the normal ane, mentioned in the note on access below.)

Mod times [ ]

A major burn in 1860 caused serious damage.

In 1929 the church building was made extraterritorial; that is, it remained part of Italy, but was from so on administered exclusively by the Vatican. The parish was suppressed, initially merging with Santo Spirito in Sassia (the simply parish in the Borgo is now Santa Maria in Traspontina). The confraternity remained in charge.

Since 1989 the church has been used by the Dutch customs in Rome. In 1990, UNESCO put the church building on the World Heritage Listing as office of its inclusion of the Extraterritorial Properties in the Centro Storico.

A major new restoration was completed in 2011, and the church at present looks very smart and in skilful condition.

Outside [ ]

Layout [ ]

The church is surrounded by taller buildings to due north and west, and is invisible from the street. It is perched on the northernmost outlier of the Janiculum hill, which is why admission is by stairs.

It is an aisled basilica having a nave of six bays, a sanctuary occupying a further bay and an external segmental apse. Chapels flank the sanctuary at the ends of the aisles, the left manus one giving access to theScala Santa.The offset bay of the nave is flanked by a pair of custodians' chambers, but the right hand one at present gives access to the so-called Room of Titus Brandsma and too a petty terrace with a skilful view of the campanile.

1 of the best depictions of the exterior is by the Dutch artist Maurits Cornelis Escher , more famous for his works inspired by non-Euclidean geometries. It is in the National Gallery of Canada, and there is a weblink (see below).

Campanile [ ]

The Romanesque campanile is more than xx metres high, and was built around 1150. It was in bad shape for a long time, but was restored in 1993. It is located next to the right, south alley of the church, nearly the entrance, and is at an angle to the major axis (Escher got this wrong when he showed it parallel to the axis).

The entrance portal; the church is up the stairs and on the left.

It is difficult to get a view of information technology without visiting the church building, and the photos online have been taken from neighbouring buildings. At that place is a view, albeit distant, from the Castel Sant'Angelo. The all-time view would exist from the southward, from the grounds of what was the Villa Barberini and is now a private sports footing attached to the Pontifical Urbaniana University. You need a personal contact to go far here.

If you can get into the church, turn right immediately upon entering and go up the stairs to a little terrace next to the campanile in social club to run across information technology.

Despite its lack of civic presence, the campanile is a high quality pattern. It is in brick, and has 3 storeys above the roofline. Two opposing faces of each storey accept arcades of three arches, separated by stone columns with imposts. The other ii faces accept two arches. String courses run circular the tower at the level of the arch springers, and are continued over the arches, and there are projecting cornices separating the storeys as well.

Façade [ ]

The façade is very simple. In that location is an archway porch with parvise to a higher place, which forms a narrow two-storey frontage. The first storey but has an arched portal without imposts, and the second one a rectangular window with a heraldic glaze-of-artillery above. The storeys have very shallow Doric pilasters at the outer corners, and are separated by an entablature frieze without architrave or cornice. There is a triangular pediment, which is now blank but looks as if it once contained a fresco. Everything is rendered in vivid white.

Peeping over this façade is the nave terminate of the church itself, which has a segmental lunette window in its pediment.

Interior [ ]

Nave [ ]

In that location is a nave with aisles, and a apartment wooden ceiling which runs uninterrupted from the archway terminate to the triumphal arch of the apse, covering the presbyterium too.

The arcades are interesting; there are three large arches on each side, but these are separated past two rectangular openings in lieu of arches. Above the rectangular openings are big tondi showing saints, with 2 more than nearly the triumphal arch and besides the entrance making eight in all.

To a higher place the arches are rectangular clerestory windows, with 2 more near the triumphal curvation once again making a total of eight. These are separated by panels with stucco decoration, and sit down on cornices. These side wall cornices are supported rather awkwardly past Doric pilasters in shallow relief, rising from the springers of the arcade archivolts.

Before the 18th century restoration, each arcade had seven ancient marble columns and the present pillars still apparently contain these.

The ceiling is coffered, and is tricked out in grey, white and orange. In that location is a large stucco relief in the centre, showing the Keys of St Peter being held by angels. The keys are non crossed, which is the heraldic signifier for the Chapter of St Peter which owns the church and which is commemorated in the inscription next to the triumphal arch.

Over the archway is the bow-fronted cantoriaor gallery for musicians, which has a solid balustrade embellished with heraldry. In the far wall of this is the organ, inserted into a pedimented aedicule crowned by a large stucco glaze-of-artillery with festoons. The organ itself has been recently ascribed to Giovanni Corrado Verlé (1701-77).

In the left hand corner by the entrance is an epigraph of effectually 1300, describing the arrival of the relics of St Magnus.

Near the entrance also is the font, unusual because the church is not parochial. It was originally carved for a church in Maastricht in 1925, and provided with a gilded metallic cover by Bert Kreijen. Information technology shows St Servatius, founder of the city's diocese.

Since the recent renovation the final two trophy of the nave have been occupied by a choir, with seating salvaged from that provided for the bishops at the Second Vatican Council held in St Peter's.

Tondi of saints [ ]

The eight tondi mentioned accept fresco portraits of saints, certain of which were important in the evangelization of the Netherlands. They are helpfully labelled, and are: St Boniface, Pope St Leo III, St Abundius the Sacristan (of St Peter's), St Willibrord, St Charles Borromeo, St Theodore the Sacristan (also of St Peter'south), St Swithbert and Bl Anthony Fatati, bishop of Ancona.

These tondi are anonymous, 18th century.

Sanctuary [ ]

The sanctuary is structurally part of the nave, only ends in an alcove with its own triumphal arch. This is supported by a pair of narrow Doric pilasters with imposts, the capitals and imposts of which are carried around the apse wall to course an entablature.

The aedicule of the loftier altar is set correct into the curved alcove wall, and has a pair of Corinthian columns with gilded capitals, in what looks similarverde antico.The triangular pediment overlays the entablature, with the apse conch above.

The altarpiece is by Niccolò Ricciolini (1687-1759), and shows the two patron saints. Also featured is Castel Sant'Angelo, a reminder of the vision of the archangel to Pope Gregory the Great in that location (hence the name).

Some care has been taken with the chantrypro populo,in front end of the high altar. It is made upward of an ancient carved marble sarcophagus, with an odd epigraph reading:Hic lapis est in quo natu[m] Te[m]plo obtulit olim more than Hebreoru[m] Virgo Maria suum("This is the stone on which the Virgin Mary brought her offspring into the Temple co-ordinate to the former custom of the Hebrews").

Correct alley [ ]

The right hand aisle contains a side altar defended to the Immaculate Conception of Our Lady, with a good stucco depiction of her in loftier relief.

Beyond is a memorial to Nicola Spedalieri 1795, with a expert painted portrait.

Chapel of Remembrance [ ]

At the cease of the alley is the Chapel of Remembrance, dedicated to the memory of deceased patrons of the church. Across this is a separate room, the so-calledCoemeterium,which is dedicated to the retention of members of the Eucharistic confraternity.

Chapel of Our Lady of Sevenwouden [ ]

At the end of the left hand aisle is a chapel dedicated to Our Lady of Sevenwouden. There is a copy here of the statue of her, venerated at Bolsward.

Here is also a division wall made up of bricks from ruined convents and churches in the Netherlands, which were collected over several years by Lodewijk Damsma.

Scala Santa [ ]

The Scala Santa, a steep set of stairs from the Borgo Santo Spirito into the above chapel, was restored in 2000. Opposite its tiptop end is a wall crucifix.

It is a devotional copy of the famous Scala Santa near the Lateran, which is a staircase of twenty-viii marble steps allegedly used by Christ during is judgment by Pilate at Jerusalem. A plenary indulgence is offered to those climbing the staircase on their knees, while meditating on the Passion. Equally a special concession, this indulgence also applies to the staircase in this church.

In the street, y'all will detect a pedimented doorway with a tondo over information technology, showing a mosaic ofJesus the Nazarene.This is e'er locked, but you can access the staircase from its top.

The original staircase at the Lateran is clad in well-worn wood, and climbing upwardly information technology on your knees is not likewise uncomfortable. However, the staircase hither is in uncovered marble and is much more challenging. The writer has washed both, and can vouch for this!

Left alley [ ]

The most notable burying in the church building is of Anton Raphael Mengs, a great German painter of the 18th century, and his memorial at the end of the left hand alley is by Vincenzo Pacetti, 1778. It has a cameo relief portrait guarded past putti.

The left paw aisle also contains a side altar dedicated to SS Peter and Paul, and the altarpiece depicting them is past Ludovico Stern, 1709-77.

Here also is a good Baroque wall memorial to Leonardo Santi, 1668. The painted portrait is engaging, although unflattering.

Titus Brandsma room [ ]

Attached to the church is the so-called Titus Brandsma Hall, which is a visitor facility for lectures and receptions. It contains a modern bust of Brandsma, martyred by the Nazis, which is by Josephine Kortman-Hilders. Admission is up the stairs at the bottom right paw corner of the nave.

Catacomb [ ]

A burying crypt was made between 1618 and 1628. An interesting thing nearly this crypt is that men, women and children were cached separately. Three signs marked virorum, mulierum and infantium mark their respective sections.

Access [ ]

You may have trouble in finding the church building, and too in finding it open up when you do if you just turn upwardly. Firstly, look for a tall arched portal with a triangular pediment containing an icon with its own little segmental pediment. This icon is in mosaic, and shows the Annunciation.

The but view of the church when it is shut, at the top of the stairs.

Go upwardly the stairs, through a gate in a set of railings and turn left.

Co-ordinate to the church's website (July 2018), the standard opening hours are:

Tuesdays and Fridays 15:00 to xviii:00, except between 1 Jan and Ash Wednesday;

Wednesdays 10:00 to 13:00 WHEN THERE IS A PAPAL AUDIENCE;

Saturdays ten:00 to 13:00;

Sundays 10:00, for Mass.

The opening times, in Dutch, Italian and English language.

Guided tours are given, and you lot can buy postcards and books.

Liturgy [ ]

Mass is celebrated in Dutch on Sunday at ten:30, preceded by a talk on the church building if there are pilgrim groups present.

Y'all tin take coffee with the worshippers after Mass. If you cannot speak Dutch, y'all will discover that most Dutch people nowadays speak proficient English. They are friendly here, and are proud of their church building.

See the church's website for the horarium hither, for other liturgical celebrations ("dagmis" ways "day Mass").

External links [ ]

Official diocesan web-page

Italian Wikipedia page

Interactive Nolli Map Website

Church's website (in Dutch)

Info.roma web-folio

"Romeartlover" web-page

Escher engraving

Weblog with skillful photo of interior

"Medioevo.roma" article on mediaeval church (in Italian)

"Romasegreta" spider web-page (with skillful photo of campanile)

Roman Despatches - blog with gallery

diamondaffir1942.blogspot.com

Source: https://romanchurches.fandom.com/wiki/Santi_Michele_e_Magno

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