This too was made by Canonica, in 1948. There is a relief on the Carrara marble base. The original layout involved the frigidarium being converted as it was found, with the entrance in the south-east short side and the high altar at the other, north-west end. Later were added some scenes from the life of St Bruno; the ceiling fresco shows his apotheosis. These house eight large paintings most of which were originally in San Pietro in Vaticano, and were moved here in the 18th century. Rather, the ancient layout had four plunge pools in adjacent small rooms. Further, the vault of the transept is undecorated, being simply whitewashed, which hints that the scheme was abandoned before completion. Just previous to this change of use, the room had been decorated lavishly in a late Baroque style by an artist thought to be Luigi Garzi from Pistoia (1653-1721). Completed in 1702, the object had a threefold purpose: the pope wanted to check the accuracy of the Gregorian reformation of the calendar, to produce a tool to predict Easter exactly, and, not least, to give Rome a meridian line as important as the one Giovanni Domenico Cassini had recently built in Bologna's cathedral, San Petronio. Raising the floor truncated the red granite Roman columns that articulate the transept and its flanking spaces. It is proposed to replace this by a work on the same subject by by Giuseppe Ducrot. The sarcophagus is of red granite from Aswan in Egypt, matching the ancient columns, and is placed in the transept floor. The Basilica of St. Mary of the Angels and the Martyrs (Latin: Beatissimae Virgini et omnium Angelorum et Martyrum, Italian: Santa Maria degli Angeli e dei Martiri) is a basilica and titular church in Rome, Italy, built inside the ruined frigidarium of the Roman Baths of Diocletian in the Piazza della Repubblica. The altar itself was made from bits of an older altar, and was constructed by Francesco Fontana in 1864. Finally, a new high altar was recently placed in the body of the presbyterium, replacing the former altar for parish Masses. Santa Maria Degli Angeli e Dei Martiri In 1541, a Sicilian priest Antonio Lo Duca had a vision that he destroyed the Baths of Diocletian and built the church in that place. This longitudinal roofline of the transept has three gables over windows of the same style as that mentioned, although the outer pair only have single lights.  Since 1687, the following prelates have served as cardinal protector of Santa Maria degli Angeli e dei Martiri: Diagram of Bianchini's meridian, from his, The hole in the church's wall from which the sun can shine through and onto the meridian line. As mentioned, Vanvitelli extended the entablature above these ancient columns to run all round the pronaos just described, and also the corresponding pronaos of the presbyterium. The two bronze entrance doors are important works of modern sculpture by the Polish artist Igor Mitoraj, and were completed in 2005. Next to this and nearer the sanctuary is The Martyrdom of St Sebastian by Domenichino. The presbyterium itself was designed by Clemente Orlandi on the occasion of the arrival of the first of the large paintings from St Peter's; he also designed the chapels at the ends of the transept. The baths themselves occupied an enormous edifice with bilateral symmetry, on a transverse rectangular plan and with the major axis of symmetry running north-east to south-west. The previous titular of this church was William Henry Keeler, Archbishop of Baltimore . In 2006, Polish-born sculptor Igor Mitoraj created new bronze doors as well as a statue of John the Baptist for the basilica. By the 16th century, the complex was covered in rampant vegetation, and was inhabited by many wild animals. No good Christian would look at them, and even a pagan with any self-respect would turn away disgusted". This was controlled by an accurate chronometer. In general, the background decorative elements of the vestibule and passageways are by Vanvitelli. He provided four naiads in bronze, subduing aquatic creatures, and (later) a central figure of a water-god. Thus the church is the focus of an important part of the modern city's layout, and hence it is even more of a pity that it does not have its own monumental entrance façade. The saint's devotion was so strong that the Emperor fainted, and later converted to Orthodox Christianity. The far end of the presbyterium forms a sanctuary which is approached by a flight of four steps. Address: Sure it has vaulted ceilings, gorgeous frescoes and adorned domes. It is an important work of art by Giuseppe Gallo, and depicts the crucified Christ taken down from the Cross. Diocesean The prior of the Carthusian charterhouse, Fr. Inside the interior, darkened by covering the windows, Polaris, Arcturus and Sirius were observed through these holes with the aid of a telescope to determine their right ascensions and declinations. Santa Maria degli Angeli e dei Martiri was designed by Michelangelo and is the only Renaissance style church in Rome. At Santa Maria degli Angeli, Michelangelo achieved a sequence of shaped architectural spaces, developed from a Greek cross, with a dominant transept, with cubical chapels at each end, and the effect of a transverse nave. This was first designed by Michelangelo, and later altered when Pope Benedict XIII directed that the Carthusian monks should no longer use the Vanvitelli choir in the presbyterium. The niche opposite used to have a stucco statue of St John the Baptist but this was destroyed in 1894. The Chapel of St Bruno was built in 1620 and paid for by the Polish Monsignor Bartolomeo Povusinski. The characters in the latter painting are all connected to the founding of the church; we find Pope Pius IV, Cardinal Serbolloni, Emperor Charles V, Antonio Lo Duca and many more. The church is build by Michelangelo in the ancient ruins of the Baths of Diocletian. The 18th century painting The Fall of Simon the Sorcerer (see above for background information), by Pierre-Charles Trémollière, is a copy of a 16th century painting by Francesco Vanni now over the altar of the Sacred Heart in St Peter's. They said it was a Turkish bath at first. The Fall of Simon the Sorcerer by Pompeo Batoni, painted in 1765, is one of two paintings with this subject in the church. The fourth niche. The meridian line built here is 45 meters long and is composed ofbronze, enclosed in yellow-white marble. The three figures of Christ, Our Lady and the Archangel Gabriel have arms amputated, and this detail is an allusion to the damaged Classical statues that used to be displayed in the adjacent museum. 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