Sunday, February 10, 2019

St. JEROME OF CHARITY

S. GIROLAMO DELLA CARITÀ
A small church was built on the site where, according to tradition, St. Jerome on the year 382, was a guest in the house of the saint matron Paola
Known since 1492
Assigned in 1524 to the Arciconfraternita della Carità (Archconfraternity of Charity)
The church is linked to the figure of S. Filippo Neri (1515/95), known as St. Philip Neri in English
He lived for 33 years in the adjacent convent, in a room where there used to take place frequent meetings between four saints: Filippo Neri, Charles Borromeo, Ignatius of Loyola and Felice da Cantalice
In a barn adjoining the church S. Filippo Neri established the institution of the oratory
A fire in 1631 damaged the church
Rebuilt in the years 1632/37 by Francesco Peparelli (active since 1626/d. 1641)
Restored in the years 1652/60 by Domenico Castelli (1582/1657)

1660 completed by Carlo Rainaldi (1611/91) after the death in 1657 of Domenico Castelli who had already designed in 1647

FLOOR
Made of marble, 1660 by Alessandro Sarti

CEILING
1587 by the master carpenter Andrea Tozzi

1st RIGHT - CHAPEL OF OUR LADY or SPADA CHAPEL
1654 Giovanni Somazzi for Virgilio Spada
It is traditionally attributed to Francesco Borromini (1599/1667), of whom in fact there is only one project for the front of the altar and nothing else

Above the altar
“Madonna and Child” by an anonymous Sienese painter of the fifteenth century

At the sides of the altar
“Two medallions embossed with Sts. Francis and Bonaventure” by Pietro Paolo Naldini (1619/91)

On the right wall
“Tomb of Giovanni Spada” by Cosimo Fancelli (1620/88)

On the left wall
“Tomb of Lorenzo Bernardino Spada” by Ercole Ferrata (1610/86)
“Ferrata proved to be a faithful executor of the drawings supplied to him, showing a remarkable ability to adapt his style to the task requested. It is however acknowledged in him a tendency to tone down excessively dramatic and pathetic images in the name of that idea of Classicism of which he was then the main representative in Rome” (Gerardo Casale - Dizionario Biografico degli Italiani Treccani)

Above the graves
“Six medallions embossed with illustrious ancestors of the Spada family”, three on each side:
“Amadore I with his brother Aleramo Spada” and “Pietro di Cecco and Serrone di Pietro Spada” by Pietro Paolo Naldini
“Amadore with his son Mengo Sword” by Ercole Antonio Raggi (1624/86)
“Amadore II Spada” by Francesco Baratta (about 1590/about 1663)
“Mutio with his nephew Antonello Spada” by Ercole Ferrata
“Ghino di Mengo Spada” by Giuseppe Perone

On the threshold of the chapel
Sculptural group in bloodstone with “Angels kneeling and tending tablecloth for the Eucharist” by Antonio Giorgetti (known from 1660/d. 1669), a pupil of Alessandro Algardi
The angel on the left has movable wooden wings in faux marble used as small door of the chapel
“Borromini had little to do with the project (...) and anything with its execution. The lavish style of the chapel is very different anyway from the one of the architect from Canton Ticino in his late period. It remains a masterpiece of Baroque Roman for the highly theatrical effect and the use of pictorial marquetry and marble slabs with fake damasks” (Olga Melasecchi)

2nd RIGHT - CHAPEL OF THE CROSS
It was remodeled in 1717, the year to which frescos and stuccos date back to
Above the altar “Wooden crucifix” mid-1400s in front of which tradition has it that S. Filippo Neri used to celebrate Mass

RIGHT TRANSEPT
“Tomb of the Earl Asdrubale from Montauto” 1629 Pietro Berrettini aka Pietro da Cortona (1597/1669)
“The baroque style is detectable in the original cyma around the portrait, with the ends curled and the hanging festoons, imitated by Carlo Maratta for his own grave at S. Maria degli Angeli” (Olga Melasecchi)

TO THE RIGHT OF THE MAIN ALTAR
CHAPEL OF St. JOHN THE BAPTIST formerly CASALI CHAPEL and later MARESCOTTI CHAPEL
Altarpiece “Madonna and Child with Sts. Joseph, John the Evangelist and John the Baptist” by Durante Alberti (1538/1616) who also painted the frescoes with “Stories of Jesus” damaged by a fire in 1630 and by some bad restorations in the eighteenth century

MAIN ALTAR
1645/47 Carlo Rainaldi (1611/91) for Fantino Renzi and his nephew Scipione Gisleni who are buried here and whose “Busts” by the school of Algardi are inserted in the walls
“Communion of St. Jerome” 1797 copy by Antonio Corsi from the famous 1614 original by Domenichino which was originally here and is now in the Pinacoteca Vaticana

TO THE LEFT OF THE MAIN ALTAR
ANTAMORO CHAPEL
1707 by the great architect Filippo Juvarra (1678/1736)
“He solved the narrowness of the available space creating movement with the ellipsoidal shape of the plan, opening a large oval window at the end and expanding the stucco decoration in the lantern where it ends in a glory of cherubims. The concave shape of the altar is a counterpoint of the convex part of the steps” (Olga Melasecchi)
Statue of “S. Filippo Neri” by Pierre Legros (1666/1719) perhaps also the author of the reliefs with “S. Filippo Neri in the Catacomb of St. Sebastian” and “S. Filippo Neri sees the souls of his penitents going to heaven” also attributed to Camillo Rusconi (1658/1728)

2nd LEFT - CHAPEL OF St. CHARLES BORROMEO or MALAGOTTI CHAPEL
“Madonna and Child appearing to Sts. Carlo Borromeo and Filippo Neri” by an unknown artist of the first half of the seventeenth century
On the sides “Fake perspectives” and “Annunciation” about 1748 by Girolamo Mengozzi aka Colonna (1688/1774) from Ferrara

1st LEFT - CHAPEL OF St. PETER
“Handing of the keys” maybe by Girolamo Muziano (1532/92)
Prospective frescoes by Girolamo Mengozzi aka Colonna

SACRISTY
Walnut furniture attributed to Filippo Juvarra (1678/1736)
“S. Filippo Neri in adoration of the Madonna and Child” about 1639 maybe by Pietro Barbieri (1684/1730) pupil of Carlo Maratta

CONVENT
In Via S. Girolamo della Carità 63
Rebuilt in the years 1632/37 by Francesco Peparelli (active since 1626/d. 1641)
Paintings with connections to S. Filippo Neri including “S. Filippo Neri in adoration of the Madonna and Child” about 1640 by Emilio Savonanzi (1580/1660) from Bologna

St. JEROME OF THE CROATS

S. GIROLAMO DEGLI ILLIRICI
Late fifteenth century on the area of a previous church of the eleventh century known as S. Marina
Sixtus IV Della Rovere (1471/84) assigned this area to the community of immigrants from Dalmatia and Illyria, the so-called Schiavoni, fled from their country for the invasion of the Turks. He built three large blocks along the river with their new church in the middle
It was rebuilt in the years 1588/89 by Martino Longhi the Elder (1534/91) for Sixtus V Peretti (1585/90) using for the FAÇADE his design that had been rejected for the Chiesa Nuova
The trimonzio (three mounds) and the coat of arms of Sixtus V on the pediment were made with marble taken from the Septizodium
It is the National Church of Croats

VAULT

COUNTER FAÇADE
On the right “Nicholas V” and left “Sixtus V” by Pietro Gagliardi

TO THE RIGHT OF THE ENTRANCE
“Funerary Monument of Paolo Gozze” d. 1660 by an anonymous artist of the school of Alessandro Algardi

1st RIGHT – ANNUNCIATION CHAPEL
To the right “Funerary Monument of Fortunato Rudel and Maria Iacoangeli”
To the left “Funerary monument of Bartolomeo Rudel and Teresa Gatti” both in marble 1869 by G. Carnevale

2nd RIGHT - CHAPEL OF OUR LADY OF THE STAR
Altarpiece “Madonna of the Star” 1745 by Filippo Bracci (1727/after 1746)
To the right “Birth of Mary” and to the left “Assumption of the Virgin Mary” mid-nineteenth century by Pietro Gagliardi

3rd RIGHT - CHAPEL OF S. ANNA
Altarpiece “Madonna and Child with St. Anne” 1631 by Giuseppe Puglia aka Bastaro (about 1600/36)
To the left “Monument to Luigi Lezzani” maybe by Ignazio Jacometti 1861 (1819/83)

RIGHT TRANSEPT
Huge “Adoration of the Magi” 1847/50 by Pietro Gagliardi (1809/90)

PAINTED FAKE DOME
“Triumph of the Trinity” about 1589/90 orchestrated by Giovanni Guerra (1544/1618) with Paris Nogari (about 1536/1601), Avanzino Nucci (1552/1629), Paolo Guidotti aka Cavalier Borghese (1560/1629), Andrea Lilio (about 1555/1632) and Antonio Viviani aka il Sordo (1560/1620)
“The perfect homogeneity between the decorations of the painted architecture and the real one emphasizes the spatial unit, perhaps to the detriment of the effect of illusionistic perspective for the excessive overhang of the architectural elements; however, finding the right spot, one is able to admire this fake dome, so important an antecedent in the history of Roman painted architecture” (Rosanna Barbiellini Amidei)

On the right
At the center
On the left
“St. Jerome dispute with the heretics” about 1588/89 by Antonio Viviani aka il Sordo (1560/1620), a pupil of Federico Fiori aka Barocci, and Andrea Lilio (about 1555/1632), designed by Giovanni Guerra (1544/1618)

“Glory of St. Jerome” about 1588/89 Paris Nogari (about 1536/1601)
“Hierarchies of angels” by Giovanni Guerra and assistants
“The iconography is rare and seems invented to emphasize the similarities between the actions of Sixtus V and the life of Jerome, in stark contrast to the figure of the penitent hermit who in those years had a large following in the Filippini clergy” (Rosanna Barbiellini Amidei)

1740 designed by Nicola Michetti (about 1675/1758), who also renewed the decorative furnishings of the church

TO THE LEFT OF THE SACRISTY
Sculpture “St. Jerome” by Francesco Grassia (XVII century)

LEFT TRANSEPT
Huge “Crucifixion” by Pietro Gagliardi (1809/90)

3rd LEFT - CHAPEL OF St. JEROME
Above the altar “St. Jerome” 1632 by Giuseppe Puglia aka Bastaro (about 1600/36)
Oval painting “St. Francis” about 1731 by Corrado Giaquinto (1703/66)
On the right “St. Paul in the Areopagus” and on the left “St. John the Baptist in the Desert” by Pietro Gagliardi

2nd LEFT - CHAPEL OF MERCY
Above the altar “Pieta” 1633 by Giuseppe Puglia aka Bastaro
On the right “Crowning with Thorns” and on the left “Christ prays in the Garden” by Pietro Gagliardi

1st LEFT - CHAPEL OF Sts. CLEMENT, CYRIL AND METHODIUS
Altarpiece “Sts. Clement and Methodius show the relics of St. Clement to Pope Hadrian II” 1650 Benigno Vangelini, artist who is not known for any other work

Saturday, February 9, 2019

St. JOHN OF THE PINE CONE

S. GIOVANNI DELLA PIGNA
Known since the year 955
It was given in 1585 to the Confraternita della Pietà ai Carcerati (Brotherhood of Mercy for Prisoners) who had it rebuilt in the late seventeenth century by Angelo Torrone
The Brotherhood was established in 1575 at the behest of the French Jesuit Giovanni Tallier. He was confessor in Roman prisons and organized a group of volunteers who took care of prisoners
In 1579 Gregory XIII Boncompagni (1572/85) promoted it to Archconfraternity
The church was renovated in the years 1700, 1837 maybe by Virginio Vespignani and 1983
It is in the district that took its name from the ancient bronze pine cone, which was found here. It was part of the decoration of the TEMPLE OF ISIS who was in this area and it was probably a fountain
It was placed in the atrium of the Basilica of St. Peter and it is now in the Courtyard of the Pine Cone in the Vatican Museums
The district was formerly called “Porcari District” from the noble family that had homes here in the Middle Ages: Stefano Porcari conspired against Nicholas V Parentucelli (1447/55) to make Rome a republic but he was hanged
Near the door “Tombs of Nicola, Giuliano and Giovanni Porcari” with mosaics of the fourteenth century
1st ALTAR ON THE RIGHT
“Martyrdom of S. Eleuterio” 1738 by Giacomo Zoboli (1681/1767)

2nd ALTAR ON THE RIGHT
“Conversion of S. Genesio” by an anonymous eighteenth-century Roman artist

Altarpiece “St. John the Baptist” about 1628 last work of Baldassarre Croce (about 1553/1628)
On the cyma “Pietà” about 1690 by Luigi Garzi (1638/1721)

2nd ALTAR ON THE LEFT
“Vision of St. Teresa of Avila” end of 1600s maybe by Antonio Gherardi (1638/1702)

1st ALTAR ON THE LEFT
“Madonna of S. Maria Maggiore” interesting work painted in archaic style by an anonymous seventeenth-century artist
It seems as if the ancient iconic image protector of Rome kept in the Basilica of St. Maria Maggiore would take full form in a new Baroque dimension and walk towards the viewer between adoring angels
Further on in the aisle “Funerary memory of Gaspare Elia” 1624, the benefactor of the Confraternity of Mercy for Prisoners which bequeathed his fortune

St. JOHN OF THE MALLOW PLANT

S. GIOVANNI DELLA MALVA
Known since 1123 as Sancti Iohannis Prope Portam Septimianam
Restored in 1475 for Sixtus IV Della Rovere (1471/84)
Demolished in 1818 as it was in ruins and rebuilt in the years 1845/51 by Giacomo Monaldi (1819/1905) for the Dukes Grazioli
It is dedicated to the IMMACULATE VIRGIN MARY, St. JOHN THE BAPTIST AND St. JOHN THE EVANGELIST as stated in a plaque inside the church
The current name, attested only from 1367, can either be derived from the mallow plant that used to grow nearby or from the corruption of the name Mica Aurea (golden sand), a name which in medieval times was given to the part of Janiculum Hill still known as Montorio
Furthermore, in some catalogs of Roman churches it is called Sancti Iohannis in Mica Aurea
“According to the practice of the time, the design of the Monaldi radically changed the original shape of the building: the longitudinal plan became a Greek cross, surmounted by a hemispherical dome 'with no drum and set on three perimetrical steps with function of containing pressure' (De Tomasso). (...) The language of Monaldi, fully drawing on the architecture of the sixteenth century, it is most often marked by a great stylistic sobriety. Definitely more daring and overloaded, in tune with the tastes of the period, are the decorations of the interior, that Monaldi used to treat with care in every detail” (Raffaella Catini - Dizionario Biografico degli Italiani Treccani)
MAIN ALTAR
“Virgin Mary between Sts. John the Baptist and John the Evangelist” by an anonymous seventeenth-century artist

Saturday, January 19, 2019

St. JOHN OF THE FLORENTINE PEOPLE

S. GIOVANNI DEI FIORENTINI
Commissioned by Pope Leo X Medici (1513/21) who chose the project by Jacopo Tatti aka Jacopo Sansovino (1486/1570) for the Arciconfraternita di S. Giovanni Battista della Pietà dei Fiorentini (Confraternity of St. John the Baptist of the Mercy of the Florentine People)
The Confraternity was founded after the plague of 1448 and originally had its headquarters in the now disappeared Church of S. Pantaleone
Projects for the church had also been presented by Raphael, Baldassarre Peruzzi and Antonio da Sangallo the Younger
Begun in 1519 by Jacopo Sansovino and continued in 1521 by Antonio Cordini aka Antonio da Sangallo the Younger (1483/1546) until Leo X's death on that same year when the works for the church were interrupted
The works continued from 1534 until 1546, year of the death of Sangallo
In 1559 Pope Pius IV Medici (1559/65) commissioned a new project to Michelangelo Buonarroti (1475/1564), which was carried out slowly from 1560 until 1564, the year of the death of the master
Between 1564 and 1575 S. Filippo Neri (known as St. Philip Neri in English) was rector of the church
From 1583 to 1598 Giacomo Della Porta (1533/1602) resumed the works according to the plans by Sangallo
From 1598 to 1614 Carlo Maderno (1556/1629) completed the works with the Dome 1612/13, the choir, the transept and also, since 1607, the Ospedale di S. Giovanni Battista della Nazione Fiorentina (Hospital of St. John the Baptist of the Florentine Nation) demolished during the Fascist period
The church is also famous for the fact that entry to pet animals is allowed
It is the National Church of Florence

1734 Alessandro Galilei (1691/1737)
“Having excluded the possibility, suggested by Giovanni Bottari, of adapting Michelangelo's project for San Lorenzo in Florence, Galilei opted for a basilica, referring to Roman solutions of the sixteenth century and especially the works of Sebastiano Serlio and Antonio da Sangallo the Younger but making a strong simplification. (...) The primacy of architecture over decoration, the free interpretation of the Renaissance treatises as well as the tradition, the rationalism of scientific matrix, the repeated use of the geometry of the elements and symmetry relationships represent, as a whole, some of the emerging features of the work of Galilei aimed at obtaining a measured and rigorous language, that would combine Florentine, Roman and English influences” (Silvia Cusmano - Dizionario Biografico degli Italiani Treccani)
Coat of arms of Clement XII Corsini (1730/40) on the façade 
“S. Maria Maddalena de' Pazzi” by Salvatore Sanni
“St. Philip Benizi de Damiani” by Francesco Queirolo (1704/62)
“S. Pietro Igneo” by Simone Martinez (1689/1763)
“Charity” and “Fortress” 1749/51 by Filippo Della Valle (1698/1768)
“S. Bernardo degli Uberti” by Gaetano Altobelli
“Blessed Eugene deacon” by Pietro Pacilli (1716/after 1769)
S. Caterina de' Ricci” by Giuseppe Canard
Reliefs from the left:
“Visitation to St. Elizabeth” by Paolo Benaglia (?/1739)
“Baptism of Christ” by Pietro Bracci (1700/73)
“Beheading of John the Baptist” by Domenico Scaramuccia
The three bells of the small BELL TOWER were bought in 1583 and come from English churches
Above the entrance ORGAN in golden wood dating back to 1673

FLOOR
Half of 1800s from a design by Gaspare Salvi (1786/1849). Restored in 1893

Right Nave of the Church

1st RIGHT - CHAPEL OF St. VINCENT FERRER
Above the altar “St. Vincent Ferrer” about 1604 by Domenico Crespi aka Passignano (1559/1638)
On the floor “Tombstone of the Marquis Onofrio Del Grillo” and thirteen coats of arms of Florentine families
This is the Marquis Del Grillo made famous in Italy by the film Il Marchese del Grillo in 1981 by Mario Monicelli with Alberto Sordi

PILLAR BETWEEN 1st and 2nd CHAPEL
Cross that once belonged to S. Filippo Neri (1515/95)

Above the altar “Glory of St. Philip Benizi de Damiani” end of seventeenth century by an unknown Florentine artist
On the vault frescoes “Fall of the Idols”, “Martyrdom of St. Simeon” and “Martyrdom of St. Jude Thaddeus”
On the sides “Stories of Sts. Simon and Jude Thaddeus”:
“The frescoes by Gentileschi are very interesting for the expressiveness of the characters and the representation of the clothing. Stylistically, one notes, next to a moderate Caravaggio trend, the obvious influence of the frescos in the nave of S. Maria Maggiore (1593) and in the transept of St. John Lateran (1599/1601), collective enterprises to which Gentileschi himself took part. From the cycle in the Lateran basilica, he took important cues from the Cavalier d'Arpino, who was the construction manager and from Giovanni Baglione” (Daniele Ferrara)
Coats of arms of Florentine families on the floor. The first from the left near the balustrade is the coat of arms of Carlo Maderno's family

PASSAGE TO THE SACRISTY
Memory funeral on aedicula of the years 1749/50 with “Bust of Pope Clement XII Corsini (1730/40)” about 1742 by Filippo Della Valle (1698/1768)

3rd RIGHT - CHAPEL OF St. JEROME
Above the altar “St. Jerome penitent” 1599 by Santi di Tito (1536/1603) who also worked on the small paintings on the side with moralistic-apocalyptic scenes echoing the contemporary sermons of Girolamo Savonarola, namesake of the saint to whom the chapel is dedicated
“Santi di Tito and his pupils aspire to a chromatic style light, bright, perfectly in tune with the ancient traditions. This gives the paintings of this school an archaistic character, as if they were stained glass windows, which continues until the seventeenth century and it is even transplanted into Roman land by artists such as Agostino Ciampelli” (Hermann Voss)
To the right “St. Jerome writing the Vulgate in the study with three virtues” 1599 by Ludovico Cardi aka Cigoli (1559/1613)
To the left “Construction of the church with Michelangelo and St. Jerome” 1599 by Domenico Crespi aka Passignano (1559/1638)
Stucco and frescoes of the end of 1500s maybe by Stefano Pieri (1542/1629)

Above the altar “Virgin Mary appears to St. Philip Neri in heaven with Sts. Peter, Paul, and Mary Magdalene” copy from an original by Carlo Maratta at Palazzo Pitti

LAST PILLAR ON THE RIGHT
“Monument to Francesca Riccardi” 1700 previously attributed to Ercole Antonio Raggi, but recently assigned to the Florentine Lorenzo Merlini (1666/1745)
“The result of a sophisticated cultural language, the figure of the attractive marquise, even if clearly inspired by the Roman sculptors Lorenzo Ottoni and Camillo Rusconi, seems to contract debts mainly from the Florentine style, evident not only in the Verrocchio-like neo-Renaissance air, but also in the hedonistic composition of the image evidently derived from his knowledge of works of his master G.B. Foggini, not immune to references to classical statuary and to the new pre-rococo French style” (Sandro Bellesi – Dizionario Biografico degli Italiani Treccani)

Altarpiece “The Martyrdom of Sts. Cosmas and Damian” 1669 by Salvator Rosa (1615/73)
This painting was the subject of a famous and controversial “challenge” to Michelangelo: Salvator Rosa boasted of being able to paint a better nude figure than those of the great master
“One of the rare altar paintings by the Neapolitan artist, which in this Roman work - criticized by his contemporaries - joined the baroque emphasis of the composition with the expressive naturalism of the characters” (Daniele Ferrara)
Niches in the upper right “Bust of Ottaviano Acciaioli” about 1659 by Ercole Ferrata (1610/86) and in the upper left “Bust of Ottaviano Corsini” about 1641 by Alessandro Algardi (1598/1654)

Presbytery and Side Chapels

1612/14 by Carlo Maderno (1556/1629) and Matteo Castelli (1560/1632) with fifteenth-century “Madonna and Child” by an unknown artist with style similar to the Lippis, linked to a miraculous event:
The image was hit by a bocce player who was paralyzed until he obtained, through prayer, forgiveness from the Virgin Mary
Frescoes “Stories of the Virgin Mary” 1615 by Agostino Ciampelli (1565/1630) and stucco work by Pietro da Siena
To the right “Death of the Virgin Mary” 1616 by Anastasio Fontebuoni (1571/1626)

Planned already in 1634 by Pietro Berrettini aka Pietro da Cortona (1597/1669)
A sham structure remained in place until 1656, the year in which Francesco Borromini (1599/1667) took over. He changed slightly the project and worked on it until his death, when Pietro da Cortona returned
It was completed in the years 1673/76 by Ciro Ferri (1634/89) pupil of Pietro da Cortona, who followed the project of his master
Because of the quarrels over this project, the long friendship between Pietro da Cortona and Borromini, the two great masters of Baroque art, was affected
It is the first example of theatrical conception of an altar with light coming from hidden windows, later used in a similar way by Bernini
“If Bramante universalism tends to identify a system of rules and reasoned exceptions, Baroque is by its nature away from the role of binding rules and opens a space for experimentation from which new rules arise continuously. The centripetal situation of the sixteenth century is replaced in the seventeenth century by a centrifugal situation consecrating the freedom of the artist” (Paolo Portoghesi)
Impressive marble group “Baptism of Christ” 1667/69 by Ercole Antonio Raggi (1624/86)
The group had been originally commissioned to Francesco Mochi but he was not able to see his work located in the spot it had been commissioned for. It is now visible in Palazzo Braschi

Statues “Justice” to the right by Michelangelo Anguier and “Fortitude” on the left by Leonardo Reti

AT THE SIDES
“Falconieri Monuments” begun by Francesco Borromini and finished by Ciro Ferri:
To the right “Orazio Falconieri and his wife Ottavia Sacchetti” with “Statue of Charity” 1665/69 by Domenico Guidi (1625/1701)
The monument in the lower part dates back to 1733
To the left “Monument of Cardinal Lelio Falconieri” with “Statue of Faith” about 1667 by Ercole Ferrata (1610/86)

Francesco Borromini. The crypt is not used because it is subject to flooding

Above the altar “Bronze Crucifix” maybe by Paolo Sanquirico (1565/1630) from the model by Prospero Antichi detto Prospero Bresciano (active from 1580/d. after 1592), who maybe made also other stucco decorations in the chapel representing “Episodes from the Ancient Testament”
To the left “Road to Calvary” with lunette “Crowning with Thorns”
To the right “Agony in the Garden” with lunette “Derision of Christ” 1621/24 masterpieces by Giovanni Lanfranco (1582/1647) who also made “Evangelists” in the spandrels and “Ascension” in the vault for the Sacchetti family
“The decoration of Lanfranco is an important step in the evolution of the artist that would soon lead to the baroque decoration of the Assumption in the dome of S. Andrea della Valle: the 'breakthrough' of the vault inspired by Correggio and the figure of Christ floating with the angels in golden sky, represent the terminal phase of a thematic route that begins from the images on the walls” (Daniele Ferrara)

IN A NICHE
“Reliquary with the foot of St. Mary Magdalene” which, as the sign on the side says, was the first foot to enter the tomb of the Risen Christ

Under the DOME
In the church the painter Ludovico Cardi aka Cigoli (1559/1613) is also buried

Left Nave of the Church

LEFT TRANSEPT
Above the altar “Assumption of St. Mary Magdalene to Heaven” about 1662/65 maybe by the Sienese Astolfo Petrazzi (1583/1665)
Sculptures in the upper part “Angel Musicians” by Giuseppe Ghezzi (1634/1721)
Niches at the top:
To the right “Funerary monument of Antonio Barberini” 1629 maybe by Giuliano Finelli (1602/53) commissioned by Carlo Barberini
To the left “Funerary monument of Pier Francesco Rossi” 1673 by Domenico Guidi (1625/1701)

LAST PILLAR
To the left “Monument of Girolamo Samminiati” 1733 by Filippo Della Valle (1698/1768)
To the right “Monument of Alessandro Gregorio Capponi” 1746 by Ferdinando Fuga (1699/1782) with sculptures by Michelangelo Slodtz (1705/64)

Above the altar “St. Francis” maybe by Santi di Tito (1536/1603) or by Jacopo Ligozzi (1547/1627)
Frescoes “Stories of St. Francis”:
To the left “Honorius III Savelli (1216/27) confirming the Franciscan rule” and to the right “Preaching of St. Francis before the Sultan” about 1586/87 by Niccolò Circignani aka Pomarancio (about 1520/98)
“The frescoes by Circignani are an important stage of his artistic career, at this stage geared toward rigorous monumentality, based on architectures that enhance the depth of perspective” (Daniele Ferrara)
At the center of the vault “Angels musicians bearing roses” about 1684/87 by Giuseppe Ghezzi (1634/1721)

ON THE PILLAR BETWEEN THE 5th AND THE 4th CHAPEL
“Funerary Monument of Marco Panvini Rosati” 1826 by Pietro Tenerani (1789/1869)

On the altar “Death of St. Anthony of Egypt” 1612 by Agostino Ciampelli (1565/1630)
“It's undoubtedly the most successful Roman altarpiece of the Florentine painter. The simple, expressive manner, in which the event is represented in the lower half of this painting has an immediate impact as few works of Ciampelli, generally more proficient than deep. Even the gentle ascent of the soul (in the guise of a cute boy) helped by groups of angels has the power to steer with the beautiful rhythm of his movement” (Hermann Voss)
Frescoes in the vault “Stories of St. Lawrence”: in the center “Glory of St. Lawrence”, on the right “St. Lawrence shows the judges the poor to whom he distributed the goods” and on the left “St. Lawrence meets St. Sixtus II (257/258)” about 1612 by Antonio Tempesta (about 1555/1630)
Statues at the sides of the altar “St. Francis” and “St. Dominic”, “Angels” on the pediment and side pictures in stucco with “The Calling of St. Peter” and “Conversion of St. Paul” about 1659/63 by Giovanni Angelo Canini (1609/66)

3rd CHAPEL ON THE LEFT
On the altar “Preaching of St. John the Baptist” by Salvio Savini

Above the altar “Virgin Mary and S. Maria Maddalena de' Pazzi” first half of 1600s by Francesco Curradi
Frescoes in the vault “Stories of St. Egidio, St. Luke and the Virgin,” on the left “Clothing of Carlomanno” and on the right “Virgin Mary and St. Luke” about 1592/98 by the Florentine Giovanni Balducci aka Cosci (about 1560/after 1631)

On the altar “St. Sebastian Tended by the Holy Women” about 1650 by G.B. Vanni
On the right “St. Stephen I” by an unknown artist
On the floor twelve coats of arms of Florentine families

Museo d'Arte Sacra

Museum of Sacred Art
In the building to the right of the church built in 1939 by Bruno Maria Apollonj Ghetti (1905/89)
It replaced the demolished Ospedale di S. Giovanni Battista della Nazione Fiorentina (Hospital of St. John the Baptist of the Florentine Nation)
48 WORKS ON DISPLAY IN 7 ROOMS, including:
“Bust of Antonio Cepparelli” 1622 by Gian Lorenzo Bernini (1598/1680)
“Bust of Antonio Coppola” 1614 by Pietro Bernini (1562/1629), attributed by some art historians to Gian Lorenzo Bernini who would have painted when he was sixteen
“St. John as a child” about 1500 attributed in the past to Mino del Reame, Donatello and Jacopo Sansovino but now attributed by some scholars, based on recently discovered documents, to none other than a young Michelangelo Buonarroti (1475/1564)
“Bust of Pietro Cambi” 1627 by Pompeo Ferrucci (about 1566/1637)
“Relief depicting Madonna and Child with St. Anne” maybe by Pierino da Vinci (about 1530/53)
 Various precious reliquaries