Monday, July 22, 2019

St. PANTALEON

S. PANTALEO
Mentioned in the sources for the first time in 1186
Maybe restored in about 1216 by Honorius III Savelli (1216/27) who entrusted it to English prelates
Originally it had the orientation reversed, with entry from Piazzetta dei Massimi
Granted in 1614 by Paul V Borghese (1605/21) to St. Joseph Calasanz (1557/1648), founder of the Order of the Pious Schools, the first free public schools in Europe that he opened in 1567 near the church of S. Dorotea (St. Dorothy of Caesarea) in Trastevere
Reconstructed in two phases: 1681/82 and 1686/89 by Giovanni Antonio De Rossi (1616/95) for Cardinal Gaspare Carpegna, with the orientation reversed
Last work of Giovanni Antonio De Rossi and his most accomplished piece of religious architecture, although maybe his initial project with a central plan had been rejected by the Order
“The architectural structure of S. Pantaleo is the expression of a first attempt to evolution, if not revolution, of Baroque poetry towards forms that are able to rationalize the means of expression, in the context of a classical language” (Gianfranco Spagnesi)
Dedicated to St. Panteaeon doctor of Nicomedia, martyr in the year 305. In Rome, the name changed to Pantaleo and he became the protector of the lotto players and he was an inspiration for winning numbers. The church was used for a long time for exorcisms

1806 Giuseppe Valadier (1762/1839) for Prince Giovanni Torlonia with “Frieze with weapons and armor” by Pietro Aurelj

Spectacular “Triumph of the Name of Mary” 1687/92 masterpiece by Filippo Gherardi (1643/1704)
Six years before starting this amazing fresco Filippo Gherardi had mourned the death of the painter Giovanni Coli (1636/81), his beloved partner, with whom he wanted to share the grave even though he died 23 years later

1st RIGHT - CHAPEL OF THE CROSS
Sculptural group “Crucified Christ and Mary Magdalene” by an unknown artist of the eighteenth century and fresco with “Landscape”

2nd RIGHT - CHAPEL OF St. JOSEPH
Above the altar “Death of S. Joseph” about 1690 maybe by Sebastiano Ricci (1659/1734) with beautiful still life on the left
Inside the altar there are the relics of St. Flavian martyr

1763/67 designed by Nicola Salvi (1697/1751)
Redesigned and begun by Carlo Murena (1713/64)
Finished in 1802 by Giuseppe Valadier
Relief in stucco “St. Joseph Calasanz and the Scolopi Fathers attend the triumph of Our Lady” 1802 by Luigi Acquisti (1745/1823) with inserted “Madonna of the pious schools” given to the Scolopi Fathers in 1688
Urn containing the body of St. Joseph Calasanz by Carlo Murena

2nd LEFT - CHAPEL OF St. PANTALEON
Above the altar “St. Pantaleon heals the sick” 1689 by Tommaso Caisotti copy from an original of Guido Reni
Inside the altar since 1995 body of blessed Pietro Casani

1740/46. Above the altar “Sts. Joachim and Anne with the Virgin Mary as a young girl” about 1750 Bartolomeo Bosi

SACRISTY
In the passageway of the entry “Tomb of Laudomia Brancaleone” d. 1577 daughter of Giovanni Brancaleone, the knight who led the Italians to victory in the challenge of Barletta in 1503
“Sts. Justus and Pastor” maybe by Cristoforo Roncalli aka Pomarancio (1552/1626) the only painting remaining of the original furnishings

ORATORY OF THE APPARITION
Decorated 1923/25 by Antonino Calcagnadoro (1876/1935)

ROOM OF St. JOSEPH CALASANZ
It is the room where he lived and died in 1648. Frescoes of the sixteenth century

St. ONUPHRIUS

S. ONOFRIO AL GIANICOLO
1439 on the site of the 1419 oratory of the Blessed Nicola da Forca Palena
Completed in the sixteenth century
Restored in 1949
St. Onuphrius was a martyr of the fourth century, patron saint of weavers

Three lunettes with stories of St. Jerome: “Baptism”, “Vision” and “Temptation” 1605 by Domenico Zampieri aka Domenichino (1581/1641) for Cardinal Girolamo Agucchi
This work was the personal Roman debut of Domenichino, after having worked with Annibale Carracci in the Farnese Palace

Above the door - Lunette with “Two Sibyls” by Agostino Tassi (1578/1644)

OUTER LUNETTE ABOVE THE PORTAL OF THE CHURCH
“Madonna and Child” 1600 by Claudio Ridolfi

1st RIGHT - CHAPEL OF St. ONUPHRIUS
Two spandrels with “Annunciation” by Antonio Aquili aka Antoniazzo Romano (about 1435-40/1508)
Round panel “Eternal Father” maybe by Baldassare Peruzzi (1481/1536)

Stucco and frescoes by G.B. Ricci (about 1550/1624)
Above the altar “Madonna of Loreto” 1604/05 by Annibale Carracci (1560/1609) and his workshop, consisting at the time of Domenichino, Sisto Badalocchio (1585/1645), Francesco Albani (1578/1660) and Giovanni Lanfranco (1582/1647)
“The charming painting mixes the depiction of the miraculous transportation of the house of the Virgin Mary from Nazareth to Loreto, to the well-known theme of the intercession of prayer for the souls in purgatory, on which, to extinguish the ardor of the flames within which they are immersed, the Child is pouring water from a jar” (Daniele Benati)

TO THE RIGHT OF THE MAIN ALTAR
“Funerary Monument of Giovanni Sacco” of the school of Andrea Bregno (1418/1503) and, in the lunette, fresco “St. Anne teaching reading to Mary” by unknown artist of Umbrian or Roman school

Frescoes “Stories of Mary” 1503/06 maybe first work in Rome by Baldassare Peruzzi (1481/1536), according to Giorgio Vasari

3rd CHAPEL ON THE LEFT
“Funerary Monument of Cardinal Filippo Sega” with portrait of Domenico Zampieri aka Domenichino (1581/1641)

2nd LEFT - CHAPEL OF THE HOLY TRINITY
In the vault “Trinity” by Francesco Trevisani (1656/1746)

“Funerary Monument of Torquato Tasso (1544/95)” 1857 by Giuseppe De Fabris (1790/1860)
The great poet from Sorrento renewed the genre of the epic poem with his Gerusalemme Liberata (Jerusalem Delivered) completed in 1575
“I went to visit Tasso's tomb of and I cried. This was the first and the only pleasure I have felt in Rome” (Giacomo Leopardi)
Votive lamp design by Duilio Cambellotti (1876/1960)

SACRISTY
Fresco in the vault about 1723 by Girolamo Pesci (1679/1759)
On the right “Blessed Peter of Pisa” by Francesco Trevisani (1656/1746)

Fifteenth century lunettes with “Stories of St. Onuphrius” painted in the seventeenth century by Claudio Ridolfi, Giuseppe Cesari aka Cavalier d'Arpino (1568/1640) and Vespasiano Strada (1582/1622)

UPSTAIRS
In a corridor wall “Madonna of the donor” by Giovanni Antonio Boltraffio (1466-67/1516), mistakenly believed by Leonardo da Vinci

Museo Tassiano

Torquato Tasso Museum
Housed in the two rooms where the great poet Torquato Tasso (1544/95) lived the last period of his life and where he died on April 25, 1595 
“Jerusalem Delivered is a revised version of a historical event in which the author inserted different themes to present a vision of a world full of conflicts and contradictions, in which are fighting on the one hand the angelic powers and the Christian sense of the marvelous, on the other hand the powers of hell and other diabolical magic. (...) Tasso suffered ostracism from the Accademia della Crusca (...) and was not liked by Galileo Galilei, who in his 'Considerazioni al Tasso' (Thoughts about Tasso) even defined the poem a 'junk of crammed words'. However, since the eighteenth century Tasso was unquestionably included in the canon of the greatest Italian poets together with Dante, Petrarch and Ariosto. Throughout the history of Italian poetic language he was a crucial pivot point: the gatherer of the manifold experiences of rhetorical and stylistic renaissance as well as the forerunner of modern developments (...). For Giacomo Leopardi he was an example and an essential reservoir of peculiar and daring language and style, and in episodes of mannerism of twentieth-century poetry is not uncommon to detect the presence Tasso, for example in Ungaretti” (Enciclopedia Treccani)
Among the objects exhibited:
FIRST ROOM
Mask taken from his corpse, the urn that kept his ashes for many years, a metal crucifix given to him by the Pope and bequeathed by him to the monks, four chairs, a wooden casket adorned with twelve statues of saints, an inkwell made of wood, one small oval mirror, the yellow band with which he girded

SECOND ROOM
Various manuscripts and old editions of the Jerusalem Delivered and of other works of his

St. HOMOBONUS

S. OMOBONO
It was built over the pre-existing church S. Salvatore in Portico of the sixth century, in turn built on the ruins of the ancient TEMPLE OF MATER MATUTA 
Rebuilt in 1482 with money from a bequest of Stefano de Satri Baronilis, warden of the nearby hospital of S. Maria in Portico. The tomb of his family is in the church 
Granted in 1575 to the Università dei Sarti (University of the Tailors) who restored it and dedicated it to St. Homobonus Tucenghi from Cremona, who lived in the second half of the twelfth century, protector of clothes collectors 
Other restorations in the years 1767, 1856, 1877, 1942 and 1964

CEILING 
Painting “Virgin Mary between Sts. Homobonus and Anthony” by Cesare Mariani (1826/1901)

3rd CHAPEL ON THE LEFT
“Tomb of the Satri family” of the fifteenth century, with peculiar iconography of the seventeenth century with Eternal Father, divine tailor, making Adam wear a fur

Sunday, July 14, 2019

St. NICHOLAS IN PRISON

S. NICOLA IN CARCERE
Maybe built in the seventh century. Mentioned in the sources for the first time in the ninth century
Renovated in 1128 at the time of Honorius II (1124/30) as evidenced by the plaque at the top of the right nave. Dating back to the same period are the frescoes with “Baptism of Christ”, “Prophets” and “Decorative motifs with plants and animals” detached in 1853 and now in the Vatican Museums
Restored in 1733 with the remake of roof and floor and with the construction of the sacristy
Restored in the years 1846/65 with a new restoration of the roof and the opening of four windows on each side of the nave and two in the transept
It was isolated from adjacent buildings in 1932
The church's name probably derives from an early medieval prison not existing anymore that had to be nearby
On every 6th of December, on the occasion of the feast of St. Nicholas, here the loaves of bread of St. Nicholas were donated to the faithful
Regional Church of Puglia and Lucania regions

FAÇADE
1599 Giacomo Della Porta (1533/1602) for Cardinal Pietro Aldobrandini, restored in 1733, and finally in 1808 by Giuseppe Valadier (1762/1839)
In the reliefs “Eight-pointed stars” symbol of the Aldobrandini family. On the right “Martyrs Mark and Marcellianus”, on the left “St. Nicholas”

BELL TOWER
Probable rest of the fortifications of the Pierleoni family, with bells cast in 1286 by Guidotto Pisano

MAIN NAVE
Ten panels with “Stories of St. Nicholas” 1865/66 by Guido Guidi (1867/1911)
“This was Guido Guidi's first public commission. He was a minor exponent of the Eclectic Roman group of artists lead by Francesco Podesti and Pietro Gagliardi, after the teachings of Purism by Tommaso Minardi” (Angela Catalano)

BEGINNING OF THE RIGHT NAVE
Copy of the “Holy Trinity” by Guercino (in S. Maria della Vittoria) by Constantino Brumidi (1805/80) who maybe also executed the copy of the “Assumption of the Virgin Mary” by Annibale Carracci from the original (in S. Maria del Popolo) in the chapel of the left nave
Constantino Brumidi eventually ended up in Washington where he painted the Capitol for twenty five years

ON THE WALL OF THE RIGHT NAVE
Painting “Madonna and Child” about 1470 by Antonio Aquili aka Antoniazzo Romano (about 1435-40/1508). Some date it to 1486, when an altar was consecrated in the left nave, where perhaps it was originally placed

RIGHT TRANSEPT
“Tomb of Cardinal G.B. Rezzonico” nephew of Clement XIII Rezzonico (1758/69) by the Irish Christopher Hewetson (about 1739/1797)

AT THE END OF THE RIGHT TRANSEPT - CHAPEL OF THE ROSARY
Frescoes inspired by the Eucharist by Giovanni Baglione (1566/1643), the only remnant of the paintings that were in the church at the end of the sixteenth century

APSE
On the basin “Glorification of Christ between the Virgin Mary and St. Nicholas with Triumphant Church in heaven and with Militant Church on earth”, on the hemicycle in the bottom part “St. Nicholas at the Council of Nicaea in 325 hurls anathemas against Arius” by Vincenzo Pasqualoni (1819/80) a pupil of Tommaso Minardi, like Guido Guidi
Painting “St. Nicholas between angels and the three children he resurrected” by an anonymous eighteenth-century artist

MAIN ALTAR
“Urn in green porphyry” about IV/V d.C. from the crypt
“Four angels in bronze holding the altar” by Antonio Della Bitta (1807/about 1879) who also sculpted the famous statue of Neptune in the homonymous fountain that decorates the north of Piazza Navona

TRIUMPHANT ARCH
On the sides “Angels with the symbols of the episcopate and of St. Nicholas” by Guido Guidi

LEFT TRANSEPT
Above the altar “Ascension of Jesus” 1505/06 by Lorenzo Costa (1460/1535)
Lorenzo Costa was one of the most important artists of the schools of Ferrara and Mantua in the sixteenth century. The work was painted for the church of S. Maria Mascarella in Bologna and it was badly cut to fit this altar

CHAPEL IN THE LEFT TRANSEPT - CHAPEL OF THE CROSS
On the altar “Wooden crucifix painted” of the sixteenth century
On the left wall painting “St. Nicholas between Christ and the Virgin Mary” by an unknown nineteenth-century artist

LEFT NAVE - CHAPEL OF OUR LADY OF GUADALUPE
On the altar “Our Lady of Guadalupe” by an anonymous artist, brought from Mexico in 1773 by Jesuit missionaries
Frescoes with “Angels”, “Prophets”, “Annunciation” and “Coronation of the Virgin Mary” 1862 by Luigi Martinori (1828/95)
On the left copy of the “Assumption of the Virgin Mary” maybe by Constantino Brumidi from the original by Annibale Carracci in S. Maria del Popolo
On the right “Annunciation” by an unknown seventeenth-century artist of Tuscan culture

SACRISTY
In the entrance canvas “Immaculate Conception” maybe by Guido Guidi (1867/1911)
“Eighteenth-century wooden crucifix”
Copy painted in 1850 of the “Ecstasy of St. Francis” by Domenichino from the original in the church of St. Mary of the Immaculate Conception

Three Temples under St. Nicholas in Prison

To the right of the church
TEMPLE OF JANUS (maybe) 
264/241 BC Caius Duilius during the First Punic War 
Restored in the year 17 AD by Tiberius (14/37) 
Peripterus hexastyle sine postico (columns all around, six columns in the front, non in the back) with eight columns remaining on the right side and two in front

Under the church
197 BC, the current structure dates back to 90 BC built for one Cecilia Metella 
Peripterus hexastyle in Ionic style

To the left of the church
TEMPLE OF HOPE (maybe) 
260 BC Atilius Calatinus
Peripterus hexastyle with six Doric columns on the left side. Originally on each side there were eleven columns

St. NICHOLAS OF THE PREFECTS

S. NICOLA DEI PREFETTI
Maybe built in the eighth century. Mentioned in the sources for the first time in the twelfth century
The name probably derives from some relationship with the nearby headquarters of the Prefecture of Rome
In the years 1524/26 it was occupied by St. Cajetan of Thiene and his companions becoming the first church of the order of the Regular Clerks also known as Theatins founded in 1524 by St. Cajetan of Thiene and Gian Pietro Carafa, later Paul IV (1555/59)
1729 rebuilt and rededicated by Pope Clement XIII Orsini (1758/69)

1674 inserted between the wings of the former Dominican convent

1860/62 restoration by Paolo Belloni
Pictorial decoration 1914/17 by Cleto Luzzi (1884/1952)

VESTIBULE
“Funerary epigraphs of the poet Francesco Lorenzini and the Canon Giuseppe Paolucci, one of the founders of the Academy of Arcadia” 1746

Paintings “St. Pius V in prayer” between “Angels musicians” in monochrome by Cleto Luzzi

In the center “Glory of St. Nicholas of Bari” about 1730 by Giacomo Triga (1674/1746), a pupil of Benedetto Luti, who maybe also painted the boards with the “Stations of the Cross”
Six medallions “Four Cardinal Virtues” and “Two angels with inscriptions” by Cleto Luzzi

1st CHAPEL ON THE RIGHT
Modern plaster statue of the “Sacred Heart”

2nd CHAPEL ON THE RIGHT
Above the altar “St. Nicholas of Bari resurrecting three children” by an anonymous seventeenth-century artist

TO THE RIGHT OF THE ALTAR
“Funerary monument of Giovanna Ripario” who died in 1863, when she was twenty years old exactly on the day of her wedding, with a bust by an anonymous nineteenth-century artist

On the altar most venerated “Seventeenth-century wooden Crucifix” of the Confraternita del Santissimo Crocifisso Agonizzante (Brotherhood of the Holy Cross in Agony)
It is related to a miracle which occurred in 1740: the Crucifix remained unharmed during a fire in the Oratory at St. Nicholas in Arcione that melted down even the bronze candlesticks and a bronze medallion hung on the Crucifix. It was moved here in 1848
Under the Crucifix there is a painting of the Virgin Mary known as “Mater Misericordiae” by an anonymous seventeenth-century artist
Walls painted on the right “Pietà”, on the left “Agony in the Garden” and in the lunette “Choir of Angels” 1914/17 by Cleto Luzzi

TO THE LEFT OF THE ALTAR
Monumental “Funerary memory of the spouses Antonio Cassetta and Maria Teresa Sturbinetti” 1868 by Luca Carimini (1830/90) inspired by the Renaissance monuments of Andrea Bregno

2nd LEFT - CHAPEL OF THE ROSARY
Gorgeous “Altar frontal in gilt bronze” of the second half of the nineteenth century by unknown Roman craftsmen
Eighteenth-century altar sculpture “Madonna of the Rosary” with dress decorated in silver and gold

1st CHAPEL ON THE LEFT
Above the altar “Madonna and Child with Sts. Joseph and James” 1859 by Vincenzo Pasqualoni (1819/80), a pupil of Tommaso Minardi

Sunday, May 26, 2019

St. NICHOLAS OF THE LORRAINS

S. NICOLA DEI LORENESI
Formerly S. Nicola in Agone, mentioned by the sources for the first time in 1186
It was built with marble taken from the nearby Stadium of Domitian
In 1476 Sixtus IV Della Rovere (1471/84) granted the church of S. Stefano in Regione Pontis (destroyed in 1888 for the construction of the Victor Emmanuel II Bridge) to the four transalpine nations: France, Burgundy, Lorraine and Savoy. Lorraine was independent nation until its annexation to France in 1766
In 1612 the sculptor from Lorraine Nicolas Cordier (1567/1612) left a large sum for the construction of a new national church of Lorraine
In 1623 it was decided to rebuild the old and abandoned S. Nicola in Agone
Rebuilt 1635/36 with new FAÇADE in travertine by the architect from Lorraine François Desjardins, when it was assigned to the Brotherhood of Lorraine

Fully decorated with splendid frescoes in the years 1731/33 by Corrado Giaquinto (1703/66), his first great masterpiece:
Spandrels “Four cardinal virtues”: Prudence, Justice, Fortitude and Temperance
Vault of the presbytery “Three theological virtues”: Faith, Hope and Charity
Counter façade “Angel releasing a prisoner”
“These paintings, made readable again by the recent restoration, marked the Roman debut of the artist, who proved himself master of his own personal language, formed on contemporary Roman examples, while the influence of Francesco Solimena seemed to have somewhat reduced (...). Sign of the success met by Giaquinto with the decoration of the national church of Lorraine was the call to the court of Turin, in June 1733, by Filippo Iuvarra” (Susanne Adine Meyer - Dizionario Biografico degli Italiani Treccani)
“Giaquinto first worked closely with Sebastiano Conca, then ended up distinguishing progressively himself for a more blunt penchant for painting with results of airy and bright rococo, as with these brilliant frescoes” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)
RIGHT CHAPEL
Above the altar “St. Peter Fourier and the Virgin Mary” about 1730 by Francesco Antonozzi

MAIN ALTAR
“St. Nicholas with the three children and a prisoner” about 1676/86 by Nicolas François de Bar aka Nicolas Lorrain or Niccolò Lorenese (1632/95)
In the upper part “Decorations with architectural trompe-l'oeil” 1750 by the Roman architect Giuseppe Silvestri

LEFT CHAPEL
Above the altar “Mystic Marriage of St. Catherine of Alexandria” about 1660/74 by Nicolas François de Bar aka Nicolas Lorrain or Niccolò Lorenese

ABOVE THE FOUR DOORS
Four reliefs in stucco “Stories of St. Nicholas”:
On the right “St. Nicholas elected bishop of Myra” and “St. Nicholas refuses breast milk on Wednesdays and Fridays”
On the left “St. Nicholas child prays during a bath” and “St. Nicholas distributes his possessions to the poor” 1749 by G.B. Grossi, who also sculpted one relief for the Trevi Fountain
During the same period the SIXTEEN PILLARS were coated with Sicilian jasper and yellow marble from Siena by Pietro Mariotti

ABOVE THE FIRST DOOR ON THE LEFT
“Crucifix” in front of which young Roman couples used to swear eternal love

St. NICHOLAS OF TOLENTINO

S. NICOLA DA TOLENTINO
St. Nicholas of Tolentino (1245/1305) was born in the Marche region and lived most of his life in Tolentino, where he also died. He was canonized in 1325
The church was built in 1599 for the Discalced Augustinians
Rebuilt in the years 1619/51 by Bonaventura Cherubino da Spoleto and Martino Longhi the Younger (1602/60)
Completed in the years 1651/54 maybe by Giovanni Maria Baratta (active since 1644/d. after 1679) under the guidance of Alessandro Algardi (1598/1654) for Prince Camillo Pamphilj nephew of Pope Innocent X Pamphilj (1644/55)
The identity of the main architect is not clear and it seems that the prince Camillo Pamphilj himself actively participated in the design of the church, being, as the scholar Passeri wrote, intendentissimo di architettura (extremely knowledgeable in architecture)
With the completion of the church the union of the families Pamphilj and Barberini was sealed. Olimpiuccia Giustiniani, nephew Camillo Pamphilj, married Don Maffeo, heir of the Barberinis
The church was consecrated in 1685
Since 1883 it belongs to the Pontifical Armenian College. Here mass is officiated with the Armenian rite
Restorations in the years 1938/42
1653/70 by Giovanni Maria Baratta
To the left of the façade, above the entrance of the College, ovate with relief “Glory of St. Nicholas” 1664 by Giovanni Francesco De Rossi (active 1640/77)
Next to the window “Religion” and “Charity” 1665 by Andrea Baratta (about 1595/1666), brother of Giovanni Maria
“Octagons with figures of saints”, starting from the entrance:
“St. William of Aquitaine” 1663 by Pietro Paolo Naldini (1619/91)
“Blessed Clare of Montefalco” 1664 by Giovanni Francesco De Rossi, who also sculpted the “Angels” in the counter façade and near the windows
“St. Augustine”, “St. Thomas of Villanova” and “St. Agnes” 1661 by Pietro Sassi
“St. Nicholas of Tolentino” 1656 by G.B. Ferrabosco
Stuccos in the vault by Stefano Roncaglia and Pietro Sassi

PILLARS BETWEEN 1st AND 2nd CHAPELS
“Stoups” in marble 1664/65 by Andrea Baratta

1st RIGHT - CHAPEL OF St. NICHOLAS OF BARI
Above the altar “Miracle of St. Nicholas of Bari who resurrected a child” 1710 by Filippo Laurenzi (active in the eighteenth century)
On the sides “Nativity of the Virgin Mary” and “Coronation of the Virgin” 1680 by Giovanni Ventura Borghesi pupil of Pietro da Cortona

Above the altar “Meeting between Pope Sylvester and St. Gregory” 1908 by Giovanni Gagliardi (1838/1924), grandson of Pietro Gagliardi
On the right “Tomb of Patriarch Antony Peter IX Hassun” d. 1884
On the left “Tomb of Cardinal Gregory Peter XV Agagianian”

3rd RIGHT - LANTE DELLA ROVERE CHAPEL
Above the altar “Sts. Lucretia and Gertrude” old copy from the original by Giovanni Francesco Barbieri aka Guercino (1591/1666) now at the Savoy Gallery in Turin
Walls and dome “Stories of the Sts. Lucretia and Gertrude” 1645/48 by Pietro Paolo Ubaldini (about 1614/about 1684) a pupil of Pietro Berrettini aka Pietro da Cortona
On the right “Tomb of Cardinal Federico Lante Della Rovere” 1775 by Virginio Bracci

RIGHT TRANSEPT
Altar by Giovanni Maria Baratta
Above the altar “St. John the Baptist in the Wilderness” 1668/70 by G.B. Gaulli aka Baciccio (1639/1709) for the prince G.B. Pamphilj
At the center of the vault stucco “St. Thomas of Villanova” by Ercole Ferrata (1610/86) by Camillo Pamphilj
On the sides of the altar “Gravestones of Giuseppe and Nicola Oregi” 1669 for Cardinal Agostino Oregi

1651/55 Giovanni Maria Baratta (active since 1644/d. after 1679) under the guidance of Alessandro Algardi (1598/1654)
Marble altarpiece “Virgin Mary and Child with Sts. Augustine and Monica appearing to St. Nicholas of Tolentino” before 1654 by Domenico Guidi (1625/1701) and Ercole Ferrata (who executed St. Nicholas) designed by Alessandro Algardi
In the upper part marble relief “Eternal Father and Angels” by Ercole Ferrata
Above the pediment “Angels” maybe by Francesco Baratta (about 1590/about 1663)
Gilded stucco in the apse 1656/57 by G.B. Ferrabosco
“In 1654 Algardi was dead and Ferrata, who had become a successful sculptor (...), seemed about to take his place as representative of Baroque classicism. His style formed in contact with the naturalism of Neapolitan artists and later of Bernini, always showed classical cadences, already appreciated by him in Naples with Duquesnoy (admired certainly with interest in his Roman works), and almost imposed on him by the attendance to Algardi's school. The influence of Bernini, inevitable, in Ferrata is, however, always limited, often only episodic” (Gerardo Casale - Dizionario Biografico degli Italiani Treccani)
“Glory of St. Nicholas of Tolentino” 1670/72 by Giovanni Coli (1636/81) and Filippo Gherardi (1643/1704), the first Roman work of these two inseparable friends from Lucca
“In 1669 they were called to Rome by Pietro da Cortona to paint the dome of S. Maria in Campitelli, but when they arrived they found not only that the old master was dead, but also that they had lost most of their possessions, money, and paintings - they used to own works even by Tintoretto and Veronese - on a ship that was attacked by pirates. Moreover, to add insult to injury, it all came to nothing of S. Maria in Campitelli. The two, however, placing themselves under the protection of Cardinal Spada, managed to get the commission of the dome of St. Nicholas of Tolentino. Their fresco (...) although it derives directly, both in the overall composition and in the details, from the fresco by Berrettini in the dome of S. Maria in Vallicella (...), in its lightness, airiness and ease it anticipates the later Baroque style which Baciccio would adopt in the dome of the Gesù church” (Robert Enggass - Dizionario Biografico degli Italiani Treccani)
SPANDRELS
“Vows of the Augustinian Order: Humility, Chastity, Obedience and Poverty” 1643 by Pietro Paolo Ubaldini (about 1614/about 1684)

TO THE LEFT OF THE MAIN ALTAR - CHAPEL OF Sts. MATTHEW AND CECILIA or BURATTI CHAPEL
Above the altar “Apparition of the Virgin Mary to Sts. Matthew and Cecilia” and frescoes in the rest of the chapel with “Stories of Sts. Matthew and Cecilia” 1638/40 by Pietro Paolo Ubaldini
Canvas on the sides “Agony of St. Cecilia” and “Martyrdom of St. Matthew” maybe by an unknown French artist of the early seventeenth century pupil of Guido Reni

LEFT TRANSEPT
On the altar “Preaching of the blessed Gomidas” 1929 by Mario Barberis (1893/1960)
The Armenian priest Gomidas Keumurgian, a native of Constantinople, was martyred in 1707 and was beatified in 1929, the same year in which this painting was executed
Stucco on the vault and “St. Agnes” in the octagon by Ercole Ferrata

Altar designed by Pietro Camporese the Elder (1726/81)
On the altar “Our Lady of Good Counsel” by Cristoforo Unterberger (1732/98)
Stucco decoration around the painting by Vincenzo Pacetti (1746/1820)
On the right “Holy Family” 1790 by Giuseppe Cades (1750/99)
On the left “Annunciation” 1789 by the Capuchin Father Raffaele Minossi
In the lunettes “Sibyls” in monochrome and in the dome “God the Father in Glory” by Ermenegildo Costantini (1731/91)

1668/77. Begun by Pietro Berrettini aka Pietro da Cortona (1597/1669), completed after 1674 by his pupil Ciro Ferri (1634/89) for G.B. Gavotti
“To the typical chromatic chords of Bernini, Pietro da Cortona adds, in contrast with the marble, gilded bronze which, in the ribs, ligaments and finials, has its discontinuous light intertwined with the darker colors of the stone to reach in the Gavotti Chapel an effect of funeral wealth” (Paolo Portoghesi)
Marble altarpiece “Apparition of the Virgin Mary to Antonio Botta” by Cosimo Fancelli (1620/88)
On the right “Statue of St. Joseph” by Ercole Antonio Raggi (1624/86) over the “Tomb of Carlo Gavotti” m. 1690
On the left “Statue of St. John the Baptist” by Ercole Ferrata (1610/86) over the “Tomb of G.B. Gavotti”, uncle of Carlo Gavotti
Medallion in the upper part “St. Charles Borromeo” maybe by Ercole Antonio Raggi
Fresco in the dome “Glory of Angels” begun by Pietro Berrettini aka Pietro da Cortona and finished by Ciro Ferri after the master's death

1st LEFT - CHAPEL OF THE HOLY SEPULCHRE
“The Holy Sepulchre” 1679, exact copy of the one in Jerusalem, formerly in the church of St. Mary of Egypt and moved here in 1921, after it was desecrated to show the Temple of Portunus
It is an important copy because the original in Jerusalem was destroyed by fire in 1808 and rebuilt two years later in a different style
On the altar “St. Filippo Neri in ecstasy in the Church of Minerva” 1728 by Cristoforo Ceo