Before describing the church itself it is worth devoting a few words to the architect and art historian Antonio Muñoz who lived in the first half of the XX century and was the head of the Department of Culture in the Fascist government of Benito Mussolini. It was he, who in a significant way, contributed to the restoration of the original face of numerous churches (Santa Sabina, Santi Quattro Coronati, San Giorgio in Velabro). During these procedures all elements added over the centuries were destroyed especially those of the Baroque, arriving at the original tissue – in the case of the Church of Saint Balbina – medieval. Ancient marble incrustations had disappeared from its face previously in the turmoil of history. One may pose a question, how can we be sure that they had existed at all. This is proven by the remains of other churches from those times (Sant’Andrea Catabarbara). Thanks to Muñoz the windows in the church, partially walled-up, were “opened” and decorated with characteristic for this architect traceries in the form of a truss. In the floor on the other hand, he placed several incrusted plates and mosaics which were discovered during the construction of a new city road – via dei Fori Imperiali.

The single-nave hall, which was adapted into a church, was created at the slope of Small Aventine in the IV century and constituted part of the urban villa, of the Roman consul and city prefect, Lucius Fabius Cilo, erected two centuries prior. What had been happening with the complex until the end of the VI century – we do  not now. However, in a church document from that time (report from a synod in the year 595) there is information regarding the so-called titulus sancta Balbinae, meaning a church dedicated to St. Balbina. Among researchers of early-Christian architecture there is a common conviction that it was created as a private foundation of an unknown Balbina, whose name, in time gave the assumption to create a legend about a martyr, who became the patron of this very church. Therefore, here we have a typical for the early-medieval Church practice of transferring a name of the founder or owner of a structure to a patron, whose story had to be made up.

There is little knowledge about the further fate of the church. We know that in the IX century it was under the care of Greek monks of the Byzantine rite. They lived in the nearby monastery buildings adapted from an ancient complex. Later the monks were replaced with Benedictines in the XI century, who probably left in the same century. At that time the complex fell into ruin. The marble plates were taken apart, while the mosaics were flooded. Both the church and the fortified in the meantime monastery remained in an area which became nearly completely deserted surrounded by vineyards and wastelands. Only the ruins of the Baths of Caracalla were located nearby. Subsequent popes attempted to save the structure, its interior was decorated with frescoes, however nothing could stop its gradual deterioration. The lonely church caught interest of the nephew of Pope Paul II – Marco Barbo, who at the end of the XV century renovated its roof – still today we can witness its wooden, open construction, so unusual for Roman buildings. In later years popes remembered this neglected church from time to time. Pope Clement VIII desired to provide it with a new look as part of the Jubilee Year of 1600, which is testified to by a fresco in the apse depicting Christ in glory, surrounded by angels and saints sitting at his feet – Balbina, her father Quirinus (on the right), as well as Felicissimus. On either side of the apse there are images of saints Peter and Paul. This fresco was painted in 1599 by a Florentine painter, Anastasio Fontebuoni, who dared to create a rather unusual for that time image of a half-nude, muscular Savior. The painting most likely replaced the mosaics from IX century, which we are only familiar with thanks to their description. They were to represent Christ with disciples on both his sides.

Today we stand in the interior which seems wounded and disfigured. As opposed to, for example, the Basilica of Santa Sabina it does not emanate with mystical aura, although numerous endeavors and reconstruction attempts were made to restore its medieval appearance. This is where the Schola Cantorum (a place for medieval singers) from the XII century comes from, which today stands in the center of the church and which was put up, based on traces of architectural evidence, by Muñoz. We are also transported to early Middle Ages by a bishop’s throne found in the apse, decorated with a Cosmatesque mosaic. Although it has been heavily restored, it is a relic from most likely the XIII century. In front of it there is a sarcophagus in the form of an ancient bath made of red jasper in which the relics of saints venerated in this church, who can be seen – as was previously mentioned – in the apse (Balbina, Quirinus, Felicissimus) venerated in this church, were stored.

In the deep interchangeably semi-circular and rectangular niches (six on either side), which serve as chapels, superimposed upon each other paintings were uncovered during archeological works – a testimony of more attempts to add splendor to this place by anonymous artists and founders. A repeating motif is Madonna with Child. And although they are badly preserved they are interesting examples of medieval art in the Eternal City.

In the first niche on the right (from the enterance) there is a fourteenth-century fresco depicting the enthroned Madonna with Child among four saints. Unfortunately it has been heavily damaged by a door that was made in the middle (now once again walled-up). In the following (fourth from the enterance) we will notice a beautiful, made in marble relief depicting the scene of the Crucifixion with the figures of Our Lady and St. John standing under the cross. It was created in 1460 and is attributed to significant artists of that time – Mino de Fiesole and Giovanni Dalmata. Interestingly  enough, this plate was located in the old Constantine Basilica (San Pietro in Vaticano), where it adorned the tombstone of Pope Paul II. In time the papal sarcophagus was moved to the Vatican Grottoes, while the relief adorning it was transferred here, probably due to the protector of the church and the pope’s nephew – Cardinal Marco Barbo. On the other hand, in the sixth niche on the left (from the enterance) barely visible frescoes are preserved, in which single figures are recognizable, as well as the remains of a frieze with the scene of the Crucifixion of St. Peter (upside down) and we can only guess, that perhaps in the past this chapel was dedicated to the saint apostle. The side wall is decorated with a scene of similar theme – it is the Crucifixion of Christ with accompanying saints: Our Lady and John the Evangelist. The third niche on the left is probably the best preserved of all the chapels. It is decorated by a twelfth-century fresco depicting once again the Madonna with Child enthroned among figures of saints. The tondo visible above this scene shows the visage of Christ and is attributed to an anonymous master from the school of Pietro Cavallini.

Leaving the church, our attention is attracted to an object of particular beauty – the tomb of the papal chaplain Stefano de Surdis from the beginning of the XIV century, completed by Giovanni di Cosma, which we are made aware of by an inscription. This medieval sarcophagus decorated with Cosmati-style mosaics was also initially located in the old Basilica of San Pietro in Vaticano and was moved here when it was reconstructed in the XVI century.

In the middle of the XIX century the monastery buildings found next to the church were enlarged and a juvenile detention center was established inside. At the end of this century an orphanage was set up. Today the buildings still serve a social function. They do not arouse admiration but are worth looking at, especially  since the main enterance is often closed, while the side enterance is found in the upper corner of church and the buildin can be accessed (although not always) through this enterance. Then we will be able to see the remains of brick walls which still remember the times of antiquity.

Masses are rarely celebrated in the church and one must be lucky indeed to get inside – but it is definitely worth it. Especially since it is not part of any tourist route and we can be nearly certain that – if we are able to find ourselves inside – we will experience its exceptional atmosphere in complete silence and solitude.