Many years ago, we attended a wedding ceremony in this church. We wanted to know more about the basilica and, while we were around the Aventine, decided to visit it again. The church was built on the former house of Sabina, a rich woman who was converted by Seraphia, a Greek slave of hers, and who died in 114 during a persecution of the Christians. It is interesting to note that Seraphia is the name of the woman who wiped the face of Jesus and whom afterwards was known as Veronica ('vera icona' = true portrait). Probably it is the best preserved among the early Christian churches although it has been heavily restored over the years. It has a similar design to the great basilica of Sant'Apollinaire Nuovo in Ravenna, which was built later. The Basilica of Santa Sabina was built by Peter of Illyria during the reigns of Popes Celestine I and Sixtus III, as testified by the magnificent golden mosaic inscription opposite the apse. Peter of Illyria founded the church and the convent precisely where the house of the martyr stood. Sadly nearly all of the original mosaic decoration, which would have been as sumptuous as that of Ravenna's basilicas, has disappeared. The sole survivor is this important 5th-century dedicatory inscription. The lengthy Latin text, written in gold on a blue background, is flanked by two female figures who personify the Church of the Jews and the Church of the Gentiles (other groups, outsiders). Sabina was a rich matron of Avezzano in the region of Abruzzi, who lived in the 4th century, beheaded under the Emperor Vespasian, or perhaps Hadrian, because she had been converted to Christianity. As was the custom until late ancient times, the building was constructed with re-used materials, including 24 marble columns from the nearby temple of Juno Regina. The inside of the church, with a typical layout of the early Christian basilicas, is with three naves, divided by 24 re-used columns of Prokonnesian marble (from the Marmara island, Turkey) with perfectly matched Corinthian columns and bases. The original fifth-century apse mosaic was replaced in 1559 by a very similar fresco by Taddeo Zuccari. The imposing apse, crowned by a triumphal arch, is decorated with Christ among the apostles. The floor is covered with numerous tombstones: among them the fourteenth-century burial of the Master General of the Dominican order, Muñoz de Zamora (he was a Spanish Dominican friar who became the seventh Master General of the Dominican Order in 1285, and later a bishop) stands out. In fact, unlike the other tomb slabs present in the basilica, it is decorated in some parts with a mosaic. It is Rome's only surviving mosaic tomb, dating from around 1300. The portal is a magnificent door made of cypress wood dating back to the fifth century, surrounded by a marble door frame. This door, restored in later year, presents a number of scenes from the Old and New Testaments including what is believed to be one of the oldest representations of the Crucifixion. It was restored in 1836, but only 18 of the original 28 panels have survived. Its marble frame is made of 3rd-century marble spoils. Another interesting feature is a small, isolated column, set at a lower height in a niche. This unusual feature shows how much lower the floor of the previous structure would have been: this may have belonged to Santa Sabina’s original house or, in any case, another earlier Roman structure. A number of changes were made to the church over the years, including a restoration under Pope Leo III and a redecoration under the archpresbyter Eugenius II in 824-27. The interior is very bright, thanks to the row of large windows in the clerestory plus three in the apse and five in the facade. In the 9th century, it was enclosed in a fortification area. The interior was largely renovated by Domenico Fontana in 1587 and by Francesco Borromini in 1643. Of the Baroque reconstructions only the two lateral chapels with a quadrangular plan covered by a dome remain, dedicated to St. Hiacynth on the right, and St. Catherine of Siena on the left. The latter one is a lavish and ornate Baroque work: the architct was Giovanni Battista Contini and the patrons were a patrician Tuscan family, the Elci. This is the reason why it is called also 'Cappella d'Elci'. The upper part of the central nave, equipped with a modern coffered ceiling (1938), was once covered with mosaics; today, however, only the spaces between the arches are decorated with emblems in opus sectile, a popular Medieval Roman art technique where materials were cut and inlaid into walls and floors to make a picture or pattern. In 1874 the Municipality of Rome used the convent building as a hospital, on the occasion of a cholera epidemic that hit the city. This basilica is still surprising with its treasures. As recently as 2010, a seventh-century fresco was unveiled that appears to be a depiction of Jesus, Virgin Mary, and the apostles Peter and Paul. We would suggest to read some material and literature before the visit. It was a very interesting experience. So quiet, so serene, no crowds. Very close to a small park with a beautiful view of Rome. We loved the 'Mascherone' fountain nearby, too. Recommended.

I visited the Dominican Monastery alongside the beautiful Basilica of Santa Sabina and aside from the staggering view from the outside terrace there were the excavations beneath which were amazing. The whole visit was fantastic.