It was
built on the site of the church of S. Lucia Vecchia (S. Lucy Old) of the
eighth century, also known as S. Lucia in Xenodochio or in
Cantosecuto
1544/47 for
the Arciconfraternita del Gonfalone (Confraternity of the Gonfalon or
banner) founded, according to tradition, in 1264
Since the
end of fifteenth century the Confraternity was dedicated to the organization of
processions and sacred plays
They used
to organize also the reenacting of the Good Friday at the Colosseum that was
banned by Pope Paul III Farnese (1534/49) for the crudeness realistic and
uncontrolled reactions that it gave rise to, leading even to the killing of
some actors who were simulating the killing of Jesus
The scenes
painted in this oratorio were probably inspired by the sacred play of Good
Friday
Lower order
of the FAÇADE 1576/80, higher order completed within 1663 from the project by Domenico Castelli (1582/1657)
From 1960
it was assigned to the Polyphonic Roman Choir which has its concerts here
Wooden
ceiling carved in 1568 by Ambrogio Bonazzini
with a central “Madonna welcomes the brothers under her cloak”
Mannerist
decorations on the walls, one of the most important pictorial translation of
the religious and cultural ideals accrued during the Council of Trent the
requests of which are perfectly interpreted here:
“Twelve scenes of the Passion” interspersed with spiral columns
and topped by “Prophets and Sibyls” 1569/75
“Large
collective enterprise of devotional character to the realization of which a
large group of artists participated, all formed in the mannerist style. In
their works one can distinguish a slow but inexorable process of assimilation
of the mannerist language in academic formulations designed to more clearly
express devotional values in tune with the needs of piety proper of the
cultural climate of the Counter-Reformation” (Carlo Bertelli, Giuliano
Briganti, Antonio Giuliano)
From the end of the right wall:
“Entry of
Christ into Jerusalem” 1569 by Jacopo Zanguidi aka
Bertoja (1544/74) who began, coordinated and probably planned the whole
cycle
“Last
Supper” by Livio Agresti (about 1508/79)
“Agony in
the Garden” maybe by Domenico da Modena
“Taking of
Christ” maybe by Marcantonio Del Forno
“Christ before Caiaphas” by Raffaellino Motta aka Raffaellino da Reggio (1550/78)
On the entrance wall:
“Flagellation of Christ” 1573/74 by Federico
Zuccari (about 1542/1609)
“Here become
explicit the scattered and underground references of many sacred Mannerist
figures to the stage space of the mysteries of the medieval tradition. The
drama, which has Christ as its protagonist, is performed with the curtain open
on the forefront of what could be legitimately defined as a dedicated place the
sides of which are crowded with the audience, figures of the side scene and
veritable Sprecher; and each figure has a tacit message to communicate: some
target the senses to accommodate an emotional involvement and some, more
thoughtful, show the emblems of ascetic religious meditations, as if to suggest
to the faithful the attitude to have before the scene of the Passion
commemorated on the wall for them” (Antonio Pinelli)
Above the entrance door:
“Banner
with the Trinity and the Virgin Mary expanding her mantle to accommodate
members of the Gonfalon” about 1575 by Cesare Rienzi
“King
Solomon” by Matteo da Lecce (about 1546/1616)
“Crowning
with Thorns” 1576 by Cesare Nebbia 1576 (1536/1614)
Continuing on the left wall:
“Ecce Homo” 1576 by Cesare Nebbia
“Road to Calvary” and “Crucifixion” about 1574 by Livio Agresti (about 1508/79)
“Deposition
from the Cross” maybe by Giacomo Rocca (1592/1605)
“Resurrection” about 1572 by Marco Pino aka Marco da Siena (about 1525/87)
“The
characteristic of the style of Marco da Siena, as it is also evident in the
frescoes of the Castel Sant'Angelo, is the strong modeling, of highly plastic
effect. There is also the exaggerated anatomy and the desire for contrast and
opposites, typical of the imitators of Michelangelo. A significant example is
provided by the Resurrection, where the secondary figures formally seek to
dominate that of the Risen with strong movements” (Hermann Voss)
On the Altar:
“Crucifixion”
1557 by Roviale Spagnolo (about 1511/82)
Organ of
the second half of the eighteenth century
ROOM BEHIND
THE ALTAR
Three
paintings of the seventeenth century from churches destroyed in the 1920s and
1930s:
“Holy
Trinity with Sts. Venancio and Ansuino” by Luigi Garzi
(1638/1721)
“Guardian
Angel” by Giacinto Brandi (1621/91)
“Madonna of
the Rosary” by an unknown artist of the school of Carlo
Maratta
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