These fortifications were created in the difficult for the papacy times, between the XI and XIII centuries, in order to protect the buildings found here, but also the nearby Basilica of St. John on the Lateran (San Giovanni in Laterano) and the bishop’s palace located there. Their appearance had to command respect and drive away invaders, especially since the windows, which are visible in the fortification walls today, were not there in the past. They were not created until the XVII and XVIII centuries, in order to allow a little light into the rooms of the Augustinian Sisters, who still reside within until this very day. The silhouette of the enormous eastern apse, visible from here, gives us a foreshadowing of the imposing size of the church, which we are about to witness. When we reach the gates of this fortress, we will stand in front of something like gates of a ruined manor house, whose walls fell victim to centuries-long negligence. There are no decorations or architectural elements to speak of. Even the sturdy bell tower is more reminiscent of a defensive tower than a slender and elegant campanile which we are familiar with from other Roman churches. It should come as no surprise – it also had to fulfill the defensive purposes of this place. After passing through the main gate, we find ourselves in a completely new dimension of reality. Walking among the moss-covered walls of the courtyard finished off with a portico, we will notice the remains of paintings from the XVI century. Among the winding columns there are two scenes from the life of the Virgin Mary. One depicts her birth, the other the Presentation of the Virgin in a temple. Their author is an unknown, highly-talented, Florentine artist.

After crossing this representative portico we find ourselves in another courtyard, in whose walls there are columns and narrow, as if arrow slits, windows. These courtyards, following each other seem strange, however everything in this complex seems unusual, especially the repeating, put in for unknown reasons columns and visible outlines of arcades. Let us stop for a brief moment at these two courtyards. The first, which does not seem overly interesting, served the initial church as an atrium, with a fountain in the middle, which is today visible in the monastery viridary. When we enter the second courtyard, the church façade will appear to us in a rather large perspective foreshortening. It may be difficult to imagine but we now find ourselves in space which used to be a church. The building, which we are going to see soon was initially twice as large as it is today. Currently, this is only testified to by the columns visible in the wall, which in the XI century separated the main nave of the initial church from its side nave.

Entering the basilica, we get a feeling of inconsistency, but at the same time an authentic longevity of this place, The dark, badly-lit interior is not however, overwhelming, but in a way somewhat sad. It cannot be livened up, either by the beautiful Corinthian columns, or the fragments of Ionian columns protruding out of the walls, the wonderful frescos from the XVI century, and even the graceful Renaissance tabernacle placed on the wall. Upon closer inspection we also notice the beautiful Cosmatesque floor, which unfortunately ends in the side naves. There is some unspoken, strange wrong which had been inflicted upon this church. Its extent can only be understood by a careful analysis of the subsequent stages of its creation.

This place was first mentioned at the end of the V century in the Liber Pontificalis, meaning a list of donations and papal foundations, a document from which, in many cases we acquire the only information regarding early Roman, Christian churches. From it we find out that a tituli Aemilianae had existed here. The next mention of it is from the year 595 and it speaks of a tituli called the Sanctorum Quattuor Coronatorum. Therefore, the initial meeting place of Christians, which owes its name to its benefactors was replaced in the following century with a name taken from holy patrons – four crowned by suffering early-Christian martyrs (the English name of the church is: the Basilica of Four Crowned Martyrs or in other words, The Four Crowned Saints). Who were they? According to a legend, these were four anonymous guards of Emperor Diocletian, who died a martyr’s death at the beginning of the IV century, for refusing to venerate the god Asclepius. In the VII century they were given names: Severus, Severian, Carpophorus and Simplicius, which however, had nothing to do with these soldiers. These were the names of four other martyrs from Albano, who also died for the faith. However, that is not all, since we have another, this time a larger, five-person group of stonemasons from Pannonia, who refused to make a sculpture of the aforementioned Asclepius and because of it were martyred and drowned. Nevertheless, in the IX century during the pontificate of Pope Leo IV, the earthly remains of nine martyrs were brought to this church, although it did not change its initial dedication. The crypt under the main altar still houses their remains to this very day.

However, let us return to the building itself. Initially it was a simple, rather broad (the size of the present-day church), four-sided building with an apse – the remains of the ancient structure from the IV century, which was not adapted for the needs of the church until the VII century during the pontificate of Pope Honorius I. Yet this place experienced a true construction boom two centuries later, thanks to the aforementioned Leo Iv. This pope spared no expenses, creating a grand three-nave basilica with an apse in the east and an atrium in the west. It was 50 meters in length, while its size is testified to by the number of columns supporting it (16 in one row). In time chapels were added to the side naves. The only thing that reminds us of the former glory and splendor of the church today, is its transept, with a width that was similar to naves at that time, and an enormous  apse, blown out of proportions in comparison to the rest of the building. Historical documents show that the pope furnished it with silver decorations and liturgical accessories. However, the work of Leo IV did not last. In the XI century, due to Normans who came to rescue Pope Gregory VII, the church was destroyed. Besides the church itself, the people who inhabited Celio Hill also suffered, while those who survived simply fled. The area, which had previously been teeming with life, became desolate, while meadows filled its landscape for centuries. And although, the church was rebuilt at the order of Pope Paschal II in 1116, it definitely lost in size. This is one of those rare cases, when a church was made smaller and not enlarged with the passage of time. We do not know if it was for financial reasons, nevertheless the grand building lost nearly half of its length and a lot of its width. From the sixteen columns only five remained. In truth, the only thing that was preserved was the main nave, which was in turn divided with granite columns into three new ones. Despite all the damages, the pope still transferred his residence here since the Lateran Palace was in ruins. He resided here until his death, and afterwards, subsequent ones, uncertain of their safety did likewise, as the palace on the Lateran was being rebuilt. The rest of the buildings was taken over by the convent of the Benedictines, which came to this deserted location in 1138 and remained here for the following four centuries. The Benedictines extended the church and the monastery, giving it the form of a difficult to conquer fortress, in which important guests were welcomed. Unfortunately, in the following centuries, the friars were unable to prevent the gradual deterioration of the church, despite the fact that there were always founders who wanted to enrich he building with paintings and gifts. Due to the hopelessness of the Benedictines the monastery was given over to the cloistered Augustinian Sisters in 1564, and they ran an orphanage for girls here until 1872.

The basilica interior, despite its inconsistency, hides within several interesting artistic objects, dating back anywhere between the IV to XVII centuries. It must be added, that it was in this last century that the church was thoroughly renovated. The magnitude of this renovation is still visible today. It is enough to look around – a column protruding out of the wall here, a Baroque altar inaptly covering old paintings there, a Renaissance tabernacle emerging out of a wall covered with Baroque frescoes in yet another place. The old columns were built over during the pontificate of Paschal II, while on the surface a row of images of the saints was created in the XIV century. And thus, on the side columns (uncovered in the XX century) of the old church visible in the walls, as well as on the enterance wall we will notice saints, most likely the namesakes or the patrons of the funders, who cared for the decorations of the church interior at that time. Unfortunately, we cannot unambiguously recognize all the figures, nor the idea which guided their creators, as is the case with Rainaldus. On the enterance wall, on the pilaster, there is an image of a bishop, whose name is known, since it is visible below (Rainald). At the feet of the dignitary there are two monks, depicted in microscopic dimensions, therefore in accordance with the medieval canon of depicting those who are insignificant. One of these is a Benedictine (the one in a dark habit), the other a Cistercian (in a white habit); they seem to be thoroughly involved in an ongoing dispute, but what it concerns, and what was the role of the aforementioned bishop in it, that we do not know.

In further parts, there are more, this time seated men, including St. Augustine and three others, unknown by name. On a perpendicular wall, there is a beautiful and rare in Rome motif – The Barque of St. Peter, symbolizing the power and strength of Catholics united in faith, then another unidentified saint. On the other side (on the enterance wall), there is a similar row of saints. It starts off with St. Anthony and St. Catherine of Alexandria, followed by a moving and oft-recalled in the Middle Ages scene of the Vir Dolorum, meaning the representation of Man of Sorrows (the suffering Christ among angels, showing his wounds inflicted during the Crucifixion), which is accompanied by, on both sides, by the most important Roman saints Peter and Paul (with a sword). Further on, there is a well-preserved image of St. Bartholomew (with his own flayed skin upon his shoulders), then an image of an unknown bishop and a representation of St. Bernard, a monk at his feet. Behind the altar found here, there is another inseparable pair, meaning two saint deacons, important in Rome – Stephen and Lawrence. And here is where the medieval story of this church ends – which as we know – in subsequent centuries fell into ruin. Therefore, the exceptional example of art of the early Renaissance is surprising indeed – a tabernacle of Pope Innocent VIII, built into the wall, which is attributed to the outstanding Andrea Bregno or his workshop.

The aforementioned XVII-century renovation, did not provide the church with great works of art. But one does amaze. In the left nave there is an altar, in which the relics of the head of St. Sebastian are stored (the rest of the relics are found in the Church of San Sebastiano fuori le mura). There is an interesting painting there, which can be attributed to one of the Caravaggionists, depicting a wounded Sebastian treated by Irene and Lucina (1630). The method of presenting the figures emerging out of the darkness does not show any great talent of its creator, however neither is it an average work. Its author, was none other than the principal critic of the painting style of Caravaggio and at the same time his biographer – Giovanni Baglione. As can be seen, tastes change in time, especially since at the time when this painting was created the ingenious Caravaggio had already been dead for twenty years. On the opposite side, worth mentioning is a late-Baroque, rather pompous (as was fit for a papal official), funerary monument of Luigi d’Aquino from the end of the XVII century.

The reconstruction of the church, or more appropriately its miniaturization is especially visible when we look at its apse, which was once again decorated with frescoes in 1632 by the Florentine painter Giovanni Mannozzi. In the top part they represent the tragic story of four soldiers, while below there are those which tell the story of the aforementioned stonemasons from Pannonia. At the top of the apse, there is a vision of paradise, in which the martyrs find eternal peace in company of angels and other saints.

The basilica cannot be left, without seeing the monastery cloisters, created for the Benedictines who had once resided here. On the left side of the church, behind a curtain there is a ribbon with a bell. After pulling it, we hear a sound and after some time, somebody will come and open the door (in the past these were sisters) and for a small fee allow us to immerse ourselves in the atmosphere of this medieval structure. Reportedly the cloisters are some of the first, if not the first, created in Rome. They are also some of the most beautiful. In the city on the Tiber, we will find several magnificent structures of this type, some are fairy-tale-like, “showered” with gold, however the charm of the ones found here is a whole different story indeed. They are cozy, small in proportions, frugal in decorations, but artistically refined, as it should be with a typical Benedictine structure. They are from the XIII century and are made up of repeating double columns, which make up the arcades. Their capitols are rather modest, similar to the stylized lotus flowers. The prevailing silence is only interrupted by the sound of water, coming out of the fountain. It is surrounded by flower beds, while the paths covered with light-colored gravel, which rustles under our feet, make this sound seem unbearable in this oasis of peace. The cloister walls are fitted with numerous architectural and decorative elements, including many epitaph inscriptions, which were discovered during archeological works at the beginning of the XX century. Among them, we will find both ancient ones as well as early-Christian ones. On the left, there is a Chapel of St. Barbara, the only preserved from among those created during the times of Leo IV, one of those which was initially accessed from the side nave of the church. Its dark interior had previously been illuminated with only a small window. Today inside, we can admire the remains of frescoes – those depicting Madonna with Child as well as fragments with the image of St. Barbara and another unidentified saint. They are from the XII and XIII centuries and in the past filled all the walls and the vault of the chapel. The exceptionally preserved marble consoles with decorative capitols clearly indicate how important this chapel was to its founder – Pope Leo IV.  We must imagine it, colorful, adorned with frescoes, decorated with liturgical vessels, and shining with marble. Today it only shows us its brick insides, although it kept the unique atmosphere of contemplation and spirituality of those times.

If one visits the church in the evening hours, he or she may witness an exceptional event. In the altar, the hostesses of this church appear – the Augustinian Sisters, who had lived here for ages, enclosed in cloisters, nuns known for their beautiful choir singing, who meet here to rehearse, at the same time transporting us close to heaven.

A structure, which merits particular attention in the monastery and church complex is the San Silvestro Oratory, with the exceptionally preserved frescoes from the XIII century. It can be reached turning left after leaving the church. With some luck, we will be able to immerse ourselves in the unique atmosphere of this place alone, and get to know one of the greatest propaganda stories of our times. Another object, which can now be seen by tourists, is the medieval, representative room in the monastery tower, adorned with rare frescoes, which can however, be accessed only at certain times of the day (Gothic Hall).