Wednesday, December 12, 2018

HOLY CROSS AND St. BONAVENTURE OF THE PEOPLE FROM LUCCA

S. CROCE E S. BONAVENTURA DEI LUCCHESI
Via dei Lucchesi 3
Built in the years 1575/80 for Gregory XIII Boncompagni (1572/85)
The church incorporated two medieval churches, the oldest of which reused an ancient building of the second/fourth century AD
In the twelfth century the second church was built over the first one with the name of S. Nicolao de Trivio
From the fifteenth century the church took the name of S. Nicolao de Porcis or S. Nicola de Portiis from the name of the family De Portiis who lived in the area or perhaps even for the ancient Forum Suarium, the pork market that until the fourth century AD included also this area
It was granted by the Colonna family in 1536 to the Capuchins who moved in 1631 to their new church, S. Maria della Concezione
The church was in the same year assigned to the nation of Lucca and took its present name

FAÇADE and INTERIOR 1682/95 maybe by Mattia De Rossi (1637/95)

1859/63 interior restoration by Virginio Vespignani (1808/82)

CEILING
“The emperor Heraclius returns the Cross in Jerusalem”, “Angels with the shroud of Veronica”, “Angels and the Holy Face” and “Putti with symbols of the Passion” 1673/77 by the Lucchese Giovanni Coli (1636/81) and Filippo Gherardi (1643/1704)

COUNTER FAÇADE
In the upper part statues “S. Paolino” and “S. Frediano” by an unknown pupil of Camillo Rusconi

To the right of the entrance “Monument to Monsignor Fabio Guinigi” d. 1691

To the left of the entrance “Monument to Bishop Fatinello Fatinelli” d. 1719
He was a lawyer and paid for the decorations of the Chapel of S. Zita, the most beautiful in the church

1st RIGHT - CHAPEL OF St. ZITA
Altarpiece “St. Zita converts the water into wine for the poor” a good work by Lazzaro Baldi (about 1624/1703) from Pistoia, a pupil of Pietro da Cortona
Above the altar “Two putti” maybe by Lorenzo Ottoni (1648/1736)

2nd RIGHT - CHAPEL OF THE HOLY TRINITY
1701 Simone Costanzi (active in Rome from 1695/d. 1709)
Above the altar “Immaculate” by Biagio Puccini (1673/1721) from Lucca
On the walls “S. Frediano saves Lucca from flooding by diverting the course of the River Serchio with a rake” the only Roman work by the Lucchese Francesco Del Tintore (1645/1718) and “St. Lawrence Giustiniani frees a possessed woman” by Domenico Maria Muratori (1661/1742)

3rd RIGHT - CHAPEL OF THE ARCHANGEL RAPHAEL
Above the altar “Archangel Raphael” by the Lucchese Agostino Tofanelli (1770/1834) for his son Raffaele who had died prematurely

MAIN ALTAR
Decoration 1745 by Giovanni Antonio Perfetti (?/1754) renewed during the nineteenth century restoration by Virginio Vespignani (1808/82)
On the altar “Holy Face” by Francesco Buonamici, a copy of the crucifix carved, according to tradition, by Nicodemus and with the face executed by angels, kept in the Cathedral of Lucca
Christ is crucified with four nails and is dressed with the so-called colobium, a tunic with sleeves characteristic of Eastern iconography, the prototype of which in Italy is located in S. Maria Antiqua
Frescoes on the walls “Stories of the Holy Face”: on the right “Seleucio, last guardian of the statue in the Holy Land, reveals where the image is located” and on the left “The ship with the Holy Face arrives in Luni” about 1862 by Francesco Grandi (1831/91), a pupil of Tommaso Minardi

In the main altar relics of St. Aurelia, martyred, according to tradition, under Aurelian (270/275)

DOME
“Angels and symbols of the Passion” by the nineteenth-century painter Ercole Ruspi

PENDENTIVES
“Prophets” also by Ercole Ruspi

3rd LEFT - CHAPEL OF THE ASSUMPTION
Above the altar “Assumption between Sts. Jerome and Francis” maybe by Antonio Alberti aka Barbalonga (1600/49) the best pupil of Domenichino
Frescoes on the ceiling and walls badly damaged with “Saints” maybe by Marco Tullio Montagna (1594/1649) pupil from Velletri of Federico Zuccari

2nd CHAPEL ON THE LEFT
Above the altar “Coronation of the Virgin” by an unknown seventeenth-century artist
In the lower part on the right “Funerary Monument of Alessandro Gaetano Buttaioni” with bas-relief by Adamo Tadolini (1788/1868)
“Monument of the painter Stefano Tofanelli (1752/1812)” with a portrait painted by his brother Agostino Tofanelli (1770/1834)

1st LEFT - CHAPEL OF THE CROSS
Decorated with marble in 1723
“Wooden Crucifix” of the eighteenth-century
On the sides “Crowning with Thorns” and “Ecce homo” maybe by Giovanni Coli e Filippo Gherardi

UPPER CHURCH OF S. NICOLA DE PORTIIS
It dates back to the twelfth/thirteenth century and it is now used by the nuns as an oratory

LOWER CHURCH OF S.NICOLA DE PORTIIS
Two aisles divided by three brick pillars
Important complex of frescoes from the late fourteenth century inserted between ornamental motifs:

In the first arch
“St. Christopher with Christ Child on his shoulders” and “Crucifix between the Virgin Mary and St. John the Evangelist”

In the keystone
“Mystic Lamb”

Intrados of the first arch
“Archangel Gabriel slaying the dragon” and “Virgin Mary and Child”

Back wall
“Figure of prayer”

Above the arch between the two aisles
“Annunciation”

In the right aisle
“Townscape” an almost unique work in the late medieval Roman painting

Intrados of the last arch
Fresco of the fifteenth century with “St. Nicholas” with below “Tombstone” of a certain Elizabeth, who was the nurse of King Matthias I Corvinus of Hungary (about 1440/90). The plaque was made by his son, who maybe was the sculptor Andrea Bregno (1418/1503)

St. CHRYSOGONUS

S. CRISOGONO
Piazza Sidney Sonnino 44

Fifth century as a basilica with the name of Titulus Chrysogoni on the remains of a building dating back to the early imperial age
It was enlarged in the eighth century by Gregory III (731/741) who also had the roof remade and promoted a new decoration
Rebuilt in the years 1123/29 for Cardinal Giovanni da Crema
Fully restored in the years 1620/26 by G.B. Soria (1581/1651) for Cardinal Scipione Caffarelli Borghese nephew of Paul V (1605/21)
Last renovation in the years 1863/66
It is the national church of the Corsican Nation

BELL TOWER 1124

It is the only church in the world dedicated to St. Chrysogonus, martyred in Aquileia in the year 303 AD
Beautiful coffered ceiling with paintings mirroring the wonderful cosmatesque FLOOR, the best preserved in Rome and one of the most beautiful

CENTER OF THE CEILING
Copy of the painting “Triumph of St. Chrysogonus” by Giovanni Francesco Barbieri aka Guercino (1591/1666)
The original was stolen in 1808 and it is now in the Stafford House in London

TWENTY-TWO COLUMNS IN GRANITE among the largest, precious and rare in Rome. They used to be decorating some ancient Roman building

TO THE LEFT OF THE ENTRANCE
“Monument of Cardinal Giovanni Jacopo Millo” by Carlo Marchionni (1702/86) with statues by Pietro Bracci (1700/73)

RIGHT NAVE
“Three Archangels” by Giovanni Mannozzi aka Giovanni da S. Giovanni (1592/1636)
“St. Frances of Rome” and “Crucifixion” by Paolo Guidotti aka the Cavalier Borghese (1560/1629)

HEAD OF THE RIGHT NAVE - CHAPEL OF THE MOST HOLY SACRAMENT
1641 maybe by Gian Lorenzo Bernini (1598/1680)
On the altar “Guardian Angel” by Ludovico Gimignani (1643/97) covered by an eighteenth-century painting
In the vault “Trinity and angels” Giacinto Gimignani (1606/81), father of Ludovico
On the sides “Funerary Monuments of Monsignor Gaudenzio Poli and Cardinal Fausto Poli” about 1680 with busts by Giuseppe Mazzuoli (1644/1725)

PRESBYTERY
Ceiling “Blessed Virgin Mary” by Giuseppe Cesari aka Cavalier d'Arpino (1568/1640)

APSE
In the lower part mosaic “Madonna and Child with Sts. James and Chrysogonus” about 1290 maybe by Pietro de' Cerroni aka Pietro Cavallini (about 1240/about 1325)

CANOPY of the high altar by G.B. Soria (1581/1651) who used “Four pillars of alabaster” formerly used in the ancient basilica of the fifth century
Under the altar relics of one hand and skullcap of St. Chrysogonus

LEFT TRANSEPT
Pipe organ 1938 by Giuseppe Migliorini

CHAPEL IN THE LEFT NAVE
Embalmed body visible in a glass case of the Blessed Anna Maria Taigi (1769/1837)
Born in Siena she lived in Rome from the age of six and worked here as a waitress
She was equipped with incredible prophetic powers that made her announce thousands of historical events before they happened
She claimed to see a mysterious mystical solar orb that was always present above and in front of her

From the sacristy it is possible to go down to the

PALEO CHRISTIAN AND HIGH MIDDLE AGES BASILICA

On the right side
Frescoes of the eleventh century with stories of Sts. Benedict and Sylvester: “Pope Sylvester capturing the dragon”, “St. Pantaleon healing the blind man”, “St. Benedict healing the leper” and “Saving of S. Placido”

On the left side
Frescoes in panels and medallions shaped as clypei of the eight and tenth centuries with “Saints and Martyrs”

“The remains of the classical period discovered during the investigation of the Lower Basilica of St. Chrysogonus allow to reconstruct the ancient Roman street level, nearly 6 m. below the current level, and document the transformation of one (or more?) domus in a titulus, a hall for Christian worship similar to a 'parish' avant la lettre, that, since the beginning of the fifth century AD took the shape of the basilica, with a nave and an external ambulatory (narthex). The Roman house - made entirely in bricks - is almost 2/3 of the volume of the basilica. To build it the forepart of the narthex to the east was added, and the walls were prolonged toward west- in 'opus listatum' with alternating bricks and tufa rocks - in order to build the presbytery and the apse” (Flavia Frauzel - www.trasecoli.it)

St. COSIMATO

S. COSIMATO
Piazza S. Cosimato 76
1069 as Ss. Cosma, Damiano, Benedetto e Emerenziana (Sts. Cosmas, Damian, Benedict and Emerenziana) near the monastery of mid tenth century
Restored in 1246 and rebuilt with the monastery for Sixtus IV Della Rovere (1471/84)

PORCH of the twelfth century

TWO CLOISTERS:
The first floor of the first cloister dates back to 1246 and the second floor to the time of Sixtus IV
The second cloister dates back entirely to the time of Sixtus IV
The name Cosimato is a “Trastevere” contraction, a local corruption of the name Cosmas and Damian, and indeed there has never been a St. Cosimato, even in the legends

INTERIOR
Redecorated in 1871

LEFT BACK WALL
“Madonna Enthroned with Sts. Francis and Clare” by Antonio del Massaro aka Antonio da Viterbo or il Pastura (about 1450/1516)

MAIN ALTAR
Built in 1639 with venerated painting “Madonna and Child” of the end of the thirteenth century, moved here from the ancient Basilica of St. Peter
The painting was stolen, and when it was found in the river, it was recovered personally by Pope Leo X Medici (1513/21) who had it post in a tabernacle on the Ponte Senatorio (Bridge of the Senators), the current Ponte Rotto (Broken Bridge)
Later the painting was seen emanating light miraculously and it was placed in S. Cosimato

ANNEXURE TO THE SACRISTY
Seven paintings from the Oratory of S. Angelo in Pescheria by Giuseppe Ghezzi (1634/1721), Lazzaro Baldi (about 1624/1703) and Borgognone
Now in the complex there is the OSPEDALE NUVO REGINA MARGHERITA, New Hospital Queen Margherita

Monday, November 26, 2018

St. CLAIRE

S. CHIARA
Piazza S. Chiara
The original construction of the building dates back to the fifteenth century
Carlo Borromeo assigned to the Franciscan Sisters the building where they established their house called Casa Pia in honor of Pius IV Medici (1559/65). The church yet to be built should have been called S. Pius I
Built in 1582 by Francesco Capriani aka Francesco da Volterra (1535/94) for Gregory XIII Boncompagni (1572/85)
Restored 1627/28 for Cardinal Scipione Caffarelli Borghese (1577/1633) and assigned to the Poor Clares under its present name
In 1814 it passed to the Brotherhood of St. Gregory the Wonderworker and the Poor Clares were transferred
In 1855 the roof collapsed and the church was abandoned
It was rebuilt in the years 1883/90 by Luca Carimini (1830/90)

FAÇADE
Luca Carimini. Sculptures on the façade “Madonna and Angels” and “Saints” by Domenico Bartolini

LEFT TRANSEPT
Altar piece “St. Clare adoration of the Eucharist” maybe by Angelo Caroselli (1585/1652)

2nd CHAPEL ON THE LEFT
Altar piece “Holy Family” 1863 by Vincenzo Pasqualoni (1819/80)

St. CAESAR OF THE APPIAN WAY

S. CESAREO DE APPIA
Via di Porta S. Sebastiano
Built in the eight century AD over an ancient building of the second century AD, maybe part of the BATHS OF COMMODUS
Rebuilt at the end of the sixteenth century maybe by Giacomo Della Porta (1533/1602)
Karol Wojtyla was the titular cardinal of this church for 11 years until 1978, when he was elected pope
Also known as S. Cesareo in Turrim or, erroneously, from the sixteenth century, as S. Cesareo in Palatio
It was confused with the homonymous church no longer existing identified in 1907 by Alfonso Bartoli in a cubiculum (bedroom) of the Domus Augustana on Palatine Hill, in which a small apse had been obtained in the back wall. At the time of the excavations some painted figures were still fairly well identifiable in the cubiculum

PRESBYTERY
Enclosure of the presbytery, pulpit, altar frontal and chair reassembled at the end of the sixteenth century using also “Cosmatesque elements” from St. John Lateran

Canopy of the end of the sixteenth century

Above the chair
Fresco of the fifteenth century “Madonna and Child”

Mosaics with “Eternal Father in glory” in the apse and “Annunciation” on the outside of the triumphal arch 1603 from cartoons by Giuseppe Cesari aka Cavalier d'Arpino (1568/1640) who maybe also painted the panels in the attic with “Stories of Sts. Ippolitus and Cesareus”

ARCHAEOLOGICAL EXPLORATIONS
Mosaic floor in black and white with “Marine scenes” of the second century AD that covers the entire area of the church
A little further along the Appian Way is the CASINA DEL CARDINAL BESSARIONE (Small Villa of Cardinal Bessarion) of the mid-fifteenth century with inside part of the original frescoes

St. CATHERINE OF THE WHEEL

S. CATERINA DELLA ROTA
Piazza di S. Caterina della Rota
Mentioned in the Mirabilia Urbis Romae, a guide for pilgrims who visited Rome, in the twelfth century as S. MARIA IN CATERINO or IN CATERINE
Mentioned by a papal bull in 1186 as S. MARIAE IN CATHERINA

There are two hypotheses to explain the present name:

1) Maybe it comes from a certain Caterina, who must have founded the church, and whose name must have been kept in the name of the church, just as it happened for the churches of S. Lorenzo in Lucina or S. Lorenzo in Miranda

2) Maybe it comes from a misunderstanding: attached to the church there was a hospital for prisoners rescued from the hands of the Muslims of Tripoli and Tunis. They used to hang their chains at the altar of the Virgin Mary, in memory of the liberation, hence the name de catenariis

Over time, this expression was transformed into Caterina (Catherine), and then the cult of St. Catherine of Alexandria replaced that of the Virgin Mary
The rota refers to the instrument of torture of the saint who was killed in the early fourth century
Restored in the eighties of the sixteenth century by Ottaviano Nonni aka Ottaviano Mascherino (1524/1606) and about 1730, the period to which dates the façade designed by an unknown architect
Restored again in the years 1857 and 1879
It is since 1929 the church of the palafrenieri (grooms) or the papal sediari, people who supported the gestatorial chair of the pope and accompanied the papal carriage

WOODEN CEILING
1587/88 moved here from the destroyed Church of St. Francis near Ponte Sisto (Sixtus Bridge) destroyed in 1879 to build the Tiber Walls

1st NICHE ON THE RIGHT
Above the altar “Rest on the Flight into Egypt” and in the lunette “Two prophets and two putti” 1549 by Girolamo Muziano (1532/92)

“If in the lunette the influence of Michelangelo is evident, in the night scene of the panel, the artist resorts to Venetian models (Tintoretto, Sebastiano del Piombo) who had such a big part in his training” (Daniele Ferrara)

“Many elements of the style of Muziano remind us of Sebastiano del Piombo: the attitude full of quiet dignity of his figures, their restrained movements, the simple nobility of the clothes' motives, the wide technique, which still recalls Venice, the colors mostly gentle and harmonious” (Hermann Voss)

2nd NICHE ON THE RIGHT
“Wooden crucifix” maybe of the end of 1500s maybe by an anonymous Flemish artist

3rd NICHE ON THE RIGHT
“Altar of St. Anne” 1933. Sculptural group “St. Anne and the Virgin Mary” from the Monastery of the Most Holy Conception in the Campus Martius

MAIN ALTAR
“Glory of St. Catherine of Alexandria” painting of the nineteenth century by a certain Zucca
On the right fresco “God the Father in between angels and cherubs” maybe by Francesco Nappi (c. 1565/1630)
Nappi also painted the fresco in the apse to the left of the high altar beneath which there is the painting “Sts. Peter and Paul” by an anonymous artist of the end of the seventeenth century influenced by Carlo Maratta

“A sort of expressionistic epilogue of the parable of Francesco Nappi” (Claudio Strinati)

To the left of the main altar there is a “Case for the Holy Oil” of the beginning of the sixteenth century, in the form of a marble shrine

“The chorus joins the nave with three apses and, with its plan as a clover, it is the most interesting element of the structure of the church: Mascherino's drawing depicting the layout of the church kept in Rome at the National Academy of St. Luke is not still a sufficient element to understand whether the rare form with three apses would be his creation or if it would constitute a medieval legacy instead” (Daniele Ferrara)

3rd NICHE ON THE LEFT - DE MONTE ALTAR
Frescoes “Madonna and Child with Sts. Catherine of Alexandria and Apollonia” 1569 maybe by Domenico Zaga or Michele Grechi

2nd NICHE ON THE LEFT
“Miracle of St. Valeria” nineteenth century copy of Francesco Kech from the original painted for the Basilica of St. Peter by Giovanni Antonio Galli aka the Spadarino (1585/about 1653)

According to tradition, St. Valeria was beheaded for her faith and then she took her head in front of her bishop, S. Martial, who had made her convert

1st NICHE ON THE LEFT
“Funerary Memory of Giuseppe Vasi (1710/82)” engraver, architect and landscape painter born in Corleone in Sicily, famous for his detailed views of Rome

Wednesday, November 21, 2018

St. CATHERINE OF THE ROPE MAKERS


S. CATERINA DEI FUNARI
1560/64 Guidetto Guidetti (about 1498/1564) for Cardinal Federico Cesi patron of the Society of the Miserable and Precarious Virgins
It replaced the former S. Catharina Domne Rosae of the twelfth century, which, in turn, had replaced a three-aisled basilica, S. Maria de Donna Rosa in Castro Aureo
Dedicated to S. Catherine of Alexandria martyr of the fourth century, decapitated after resisting to starvation and the crushing with a toothed wheel
The current name comes from the ropes makers who used to work nearby

From 1543 up to 1611 every 25 November, on the day of St. Catherine, from the adjacent monastery, a procession of miserable and precarious virgins used to begin. They were daughters of courtesans or prostitutes put on display so they could marry with a large dowry
On Sunday a Mass for the Indians speaking Kerala is celebrated

“The undisputed quality of design of Guidetto Guidetti, a yet little-known figure, were chiefly directed to the exterior of his architectural achievements. They are emblematically expressed in this unique façade, where the study of the architectural mass and the accurate ornamentation of the outside contrasts vividly with the interior of the church. In fact, internally the church, despite being characterized by six chapels decorated with frescoes, is presented as a simple and bare room covered by a vault without color effects, communicating a certain severity as a whole to the discerning visitor” (Stefania Quattrone)

COUNTER FAÇADE
“St. Catherine before the Empress” by Federico Zuccari (about 1542/1609)
1st RIGHT - BOMBASI CHAPEL
“St. Margaret” 1599 by Annibale Carracci (1560/1609) for Gabriele Bombasi, autographed replica, with some variations, of the St. Catherine of 1592 for the altarpiece of the Cathedral of Reggio Emilia now in the Louvre

“The strong chiaroscuro that stains the face of the saint, the bright colors of the clothing, the material almost Titianesque of the colors with which are described the landscape and the dragon on the ground, combined with the reprise, in the cyma, of the Correggio fragment detached from the apse of Parma's Cathedral, place this work in a moment of intense relationship with the Lombard-Venetian culture” (Silvia Ginzburg)

“He enlarged the form of pictorial language beyond the strictly devotional limits and reviving the old values of the great Italian tradition. The drawing from life, considered as an essential method of work, the sensitivity to organic form and plastic structure connect in fact Annibale back to the great legacy of mature Renaissance” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)

As witnessed by Bellori, Caravaggio stopped to look at this painting for a long time and then said: “I am glad that in my time I see a painter”
In the cyma “Coronation of Mary” designed by Annibale Carracci but executed by one of his pupils, maybe by Innocenzo Tacconi (active in Rome 1607/25)
2nd RIGHT - RUIZ CHAPEL
Jacopo Barozzi aka Vignola (1507/73) for the abbot Spanish Philip Ruiz
Above the altar “Deposition” by Girolamo Muziano (1532/92) who also painted the frescoes on the sides and on the vault with “Scenes from the Life of Christ”, “Prophets” and “Saints”
On the pillars on the right “St. Mark” and “Christ carrying the cross”, on the left “St. Luke” and “Ecce homo” 1571 by Federico Zuccari (about 1542/1609), painted on blackboard
3rd RIGHT - SOLONE CHAPEL
Ottaviano Nonni aka Ottaviano Mascherino (1524/1606)

“The client is identified in the family Solone, named as Soiano in the documents, but that does not appear as the name of any known Roman family. The most reliable interpretation results, probably and simply, from the expression itself by Mascarino '(...) of Solon' (of the big sun), i.e. of the family whose coat of arms is represented by a large beaming sun: the Della Vetera family” (Website of the Conservatorio S. Caterina della Rosa - www.ipabsantacaterina.it)

On the altar “Assumption” 1598, unfinished masterpiece by Scipione Pulzone (about 1550/98)
Frescoes on the vault and under the arch “Life of the Virgin”, “Marian Symbols” and “Prophets” by Giovanni Zanna aka Pizzica who maybe also painted on the side walls on the right “St. Catherine of Alexandria” and on the left “St. Lucia”

MAIN CHAPEL
Guidetto Guidetti (about 1498/1564) with changes made in the eighteenth-century
Altar piece “Glory of St. Catherine” by the Sienese Giovanni Sorbi (1695/about 1764)
On the sides “St. Augustine” and “St. Monica” by the Neapolitan Alessandro D'Elia, who also made the bezel “Elevation to the sky of St. Catherine”
Of the original decoration of the sixteenth century remains:
In the vault “Glory of St. Catherine” maybe by Livio Agresti (about 1508/79)
On the right “Martyrdom of St. Catherine” and on the left “Dispute of St. Catherine” 1573 by Federico Zuccari
Monochrome bands on the sides, on the right “Sts. Sisinius and Saturninus” and on the left “Putti” and “Sts. Romanus and Augustine” by Raffaellino Motta aka Raffaellino da Reggio (1550/78)

3rd LEFT - TORRES CHAPEL
Above the altar “Stories of St. John the Baptist” 1573 by Marcello Venusti (about 1512/79) on slate

“That imperceptible distressing, unsatisfied and unstable feeling that always accompanies crisis caused by the decline of old ideals, pushes another student of Perin del Vaga, Marcello Venusti, to beat a street full of hijackings, looking for new encounters and new experiences (...). His St. John the Baptist is a work that revises themes of Sebastiano del Piombo and Raphael according to meanings of Florentine flavor almost similar to Andrea del Sarto” (Federico Zeri)

“He seemed to have found in the technique of oil painting on slate the best expression of his art. Painter influenced by Northern European painters, in Rome he was under the influence of Sebastiano del Piombo, and, especially, Michelangelo, great friend of his and the godfather of his son” (Website of the Conservatorio S. Caterina della Rosa - www.ipabsantacaterina.it)

SIDE ENTRY
Here there was originally a chancel
On the right wall “Funerary Roman Tombstone”
1st LEFT - CANUTO CHAPEL
For the bishop Andrea Canuto whose tombstone is in front of the chapel
Above the altar “Annunciation” copy from original by Marcello Venusti
Basin and arch “Life of the Virgin Mary”, “Prophets”, “David” and “Moses” 1610 by Girolamo Nanni