Sunday, May 26, 2019


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)
Above the altar “St. Peter Fourier and the Virgin Mary” about 1730 by Francesco Antonozzi

“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

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

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

“Crucifix” in front of which young Roman couples used to swear eternal love


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

“Stoups” in marble 1664/65 by Andrea Baratta

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”

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

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)
“Vows of the Augustinian Order: Humility, Chastity, Obedience and Poverty” 1643 by Pietro Paolo Ubaldini (about 1614/about 1684)

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

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

“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


1546 with the adjoining monastery on the site of the ancient TEMPLE OF MINERVA FROM CHALCIDICE
Founded by S. Ignatius of Loyola to accommodate women badly married, or married women in public sin without fear of God and shameless of men who wanted to rehabilitate themselves
Renovated with the monastery in the years 1668/71 by Giovanni Antonio De Rossi (1616/95) and 1671/96 by Carlo Fontana (1634/1714) who also designed the interior
“A masterpiece of improvisation is the church for the Augustinian of St. Martha at the Collegio Romano. It was a sixteenth-century church with a single nave that Fontana modified by adding the side chapels and raising the vault considerably. The interior decoration as well was probably designed by Fontana and executed by Leonardo Retti and G.B. Gaulli” (Helmut Hager - Dizionario Biografico degli Italiani Treccani)
1852 by Luigi Poletti (1792/1869)
The property of the church passed to the Italian State in 1872. Since then it was used as barracks and military store
The MONASTERY is now the seat of the Rome Police First District
The CHURCH was saved in the sixties from being transformed into a the gym after a strong media campaign and now is home to conferences, conventions, exhibitions and concerts
It is owned by the Ministry of Heritage and Cultural Activities
G.B. Gaulli aka Baciccio (1639/1709) with Paolo Albertoni (1670/after about 1695) and Girolamo Troppa (1630/after 1710) who also did the frescoes in the presbytery
Sculptures by Leonardo Retti (active 1670/1709)

Tuesday, April 9, 2019


The original church was built in the eighth century above the TEMPLE OF MINERVA FROM CHALCIDICE, on the site of the present church of S. Marta, and it was destroyed after five centuries
It was rebuilt from 1280 until mid-1300s for the Dominicans in this place, a short distance from the original site, while retaining the same name
In the early sixteenth century Giuliano Giamberti aka Giuliano da Sangallo (1445/1516) modified the presbytery
In the beginning of the seventeenth century Carlo Maderno (1556/1629) enlarged the apse, coated the interior and modified the FAÇADE
1848/55 Father Girolamo Bianchedi restored the interior in Gothic style with Neo-Gothic frescoes and decorations by Bernardino Riccardi, Carlo Gavardini (1811/69) and Tommaso Oreggia
The busts of Dominican friars are by Pietro Gagliardi (1809/90), Filippo Baldi and Raffaele Casnedi
In the church there is a huge number of tombs of nobles and prelates especially Tuscan ones, having this been the church of the Florentines before the construction of S. Giovanni dei Fiorentini
Here is buried the great painter and architect Antonio Gherardi (1638/1702)
In the adjacent convent in the PALAZZO DELLA MINERVA (Minerva's Palace) the ceremony of abjuration used to take place, imposed to condemned heretics and schismatics by the court of the Holy Inquisition

To the left of the entrance, in the lower part, “Tomb of Virginia Pucci Ridolfi” d. 1568 by an anonymous Tuscan sculptor 
To the left of the entrance, in the upper part, “Bust of Lesa Deti” mother of Pope Clement VIII Aldobrandini (1592/1605) maybe by Ippolito Buzio (1578/1659) 
On either side of the entrance, to the left “Tomb of Diotisalvi Neroni” d. 1482 and, to the right, “Tomb of G.B. Galletti” about 1554

Right Nave

1636 for Cardinal Scipione Caffarelli Borghese (1577/1633)
Completely renovated in 1724 by Filippo Raguzzini (1680/1771)
Above the altar “Noli Me Tangere” by Marcello Venusti (about 1512/79)
On the left “Bust of Ladislao d'Aquino” titular Cardinal of S. Maria sopra Minerva, by Francesco Mochi (1580/1654)

Above the altar “St. Louis Bertrand” 1673 by G.B. Gaulli aka Baciccio (1639/1709)
Above “St. Dominic” by an unknown artist of the seventeenth century
In the vault “Stories of St. Dominic” by Gaspare Celio (1571/1640)

“Portrait of Natale Moncardi” by Pietro Tenerani (1789/1869)

Above the altar “St. Rose of Lima”, walls and vault with “Stories of St. Rose of Lima” by Lazzaro Baldi (about 1624/1703)

“Funerary Memory of Carlo Emanuele Vizzani” 1661 by Domenico Guidi (1625/1701)

Above the altar “St. Peter Martyr” about 1688 by Bonaventura Lamberti (about 1653/1721)
Side walls with paintings “Adoration of the Shepherds” and “Resurrection” and lunettes with “Sibyls” and “Prophets” by Battista Franco (1498/1561) 
Vault “Scenes from the Life of Christ” and monochrome under the arch and pillars with “Symbols of the Evangelists” and “Scenes of the Old Testament” by Girolamo Muziano (1532/92)

“Bust of Francesco Neri” by Giulio Mazzoni (about 1525/after 1589)

Restored 1600 by Carlo Maderno (1556/1629)
Above the altar “Annunciation and Cardinal Juan de Torquemada with the Virgin Mary handing the dowry to a group of girls dressed in white” 1500 last masterpiece by Antonio Aquili aka Antoniazzo Romano (about 1435-40/1508)
“The painting was meant to celebrate the charity role of the brotherhood and also to remember the founder, the Dominican Cardinal Torquemada. The painter took leave from his city with a painting of a strong archaic footprint but not without openings to the refined elegance of Florentine painting of the end of the century. Figures differ hierarchically, as it was used in the Middle Ages, and the Cardinal and the three girls are inserted in the space between the angel and the Virgin Mary, in their shrunken condition of human beings, but nevertheless related to the supernatural event by the bag with money that the Virgin Mary gives to one of the girls. With this work of extraordinary quality and of remarkable formal results, Antoniazzo ends his work as a painter on board and from now on his role would become increasingly marginal in the Roman art scene” (Anna Cavallaro)
On the left “Tomb of Urban VIII Castagna (1590)” 1613 by Ambrogio Buonvicino (about 1552/1622). His was the shortest papacy in history, twelve days only! 
The frescos on the vault and lunettes with “Assumption and Crowning of the Virgin Mary with Angels” are one of the last works by Cesare Nebbia (1536/1614)

1600/11 Giacomo Della Porta (1533/1602) replaced upon his death by Carlo Maderno (1556/1629) for Clement VIII Aldobrandini (1592/1605)
Above the altar “Institution of the Eucharist” 1609 by Federico Fiori aka Barocci (1535/1612)
“In the glories of angels by Barocci, in his sentimental abandon to all the secondary circumstances of biblical events, in his landscape painting, one recognizes, in a genuine and spontaneous form, the religious sensibilities of the average Italian, who, in order to portray and make understood extravagant concepts, cannot do without the idea of supernatural in the stories of saints. (...) From a political and cultural point of view it is the automatic reaction of the Roman popular spirit to the advance of Germanism, because this is the way in which the South understood instinctively the Reformation movement with its mystic of the spirit” (Hermann Voss)
Niches on the right “St. Sebastian” by Nicolas Cordier (1567/1612), on the left (maybe) “St. Clement Pope” by Ippolito Buzio (1578/1659)
“Funerary monuments of the Aldobrandini family” Silvestro and his wife Lesa Deti, father and mother of Clement VIII, work by Giacomo Della Porta and his collaborator Girolamo Rainaldi (1570/1655)
Statues of “Silvestro Aldobrandini” and “Lesa Deti” by Nicolas Cordier
Statues on the right “Prudence” by Ippolito Buzio and “Justice” by Giovanni Antonio Parracca aka Valsoldo (?/1642-46)
Statue on the left “Charity” by Nicolas Cordier and “Religion” by Camillo Mariani
“Angels” high above the altar by Ambrogio Buonvicino (about 1552/1622), on the right by Stefano Maderno (1560/1636), on the left by Camillo Mariani
“Della Porta and Maderno were nothing more than the first among equals in the coordination of the work. Group works became the rule in the period from Sixtus V until the end of the pontificate of Paul V, but the artists, though engaged in the same work, followed often very different lines” (Rudolf Wittkower)
“Funerary monument of Cardinal Francesco Bertazzoli” Bishop of Palestrina by Rinaldo Rinaldi (1793/1873)

Above the altar “Sts. Raymond of Peñafort and Charles” maybe by Nicola Magni
On the right “Tomb of Bishop Juan Díaz de Coca” about 1473 by Andrea Bregno (1418/1503) with fresco “Christ the Judge with Angels” by Antonio Aquili aka Antoniazzo Romano (about 1435-40/1508)
“A witness to the original appearance of the majority of Roman funerary monuments of the fifteenth century for its integrity is the tomb of the Castilian Bishop Juan Díaz de Coca, where the fresco with the deceased bishop kneeling to the left of the sarcophagus on which rests, on opposite side, the bishop's miter with ribbons hanging in admirable perspective, is a unique insert by the Roman painter within the tomb by Bregno. The painting, recently confirmed to have been painted by Aquili, shows an early interest for landscapes - here rendered with a middle hill sprinkled with sparse bushes - that will find more space in the works of the eighties and nineties. Impressive is also the extraordinary architecture in the upper part, open on a naturalistic blue sky painted on top of the monument, according to perspective solutions already influenced by Melozzo” (Anna Cavallaro)
On the left “Tomb of Bishop Benedetto Soranzo” 1495 maybe by Andrea Bregno

“Sts. Agatha and Lucy with breasts and eyes on the trays” by Girolamo Siciolante da Sermoneta (1521/80)

Right Transept

Entrance arch maybe by Mino da Fiesole (1429/84), Andrea del Verrocchio (1435/88) and Giuliano da Maiano
On the right “Triumph of St. Thomas Aquinas and miracles of the Crucifix” 1488/93 by Filippino Lippi (about 1457/1504) for the Neapolitan Cardinal Oliviero Carafa
“Since Vasari's time, Lippi's Roman frescoes were considered a turning point in his work and, without doubt, the evident antiquarian taste is the most obvious aspect of this change. During his Roman years Lippi devoted himself assiduously to the exploration and study of ancient monuments (...). Lippi retraced and actualized what Donatello had experienced some fifty years before and his antiquarian Roman experience was carried out into the scope of well-identified Florentine tradition (Parlato, 1990). Such interest was linked to his ability to build through the ancient ornamentation an emblematic repertoire referring both to Carafa's family coat of arms and to 'comments' of the individual scenes. (...) The search for unity between painting and architecture together with the tight monumentality of composition is another innovative aspect of the frescoes of S. Maria sopra Minerva. The Triumph of St. Thomas Aquinas is designed with obvious theatrical gimmicks, even more manifest in the famous preparatory drawing (London, British Museum), for example in suggesting a link between the painted scene and the space of the chapel, prospectively amplified in the turbulent Assumption of the Virgin” (Enrico Parlato - Dizionario Biografico degli Italiani Treccani)
“The individuality, the great value that Andrea del Castagno used to exalt in the historical man, is reduced here to singularity, a freak of nature, even the architecture here becomes a natural oddity” (Giulio Carlo Argan)
In the vault “Sibyls” by Raffaellino del Garbo (about 1466/1524)
On the left “Tomb of Pope Paul IV Carafa (1555/59)” by Pirro Ligorio (about 1513/83)

“Tomb of Guglielmo Durand” 1296 by Giovanni di Cosma (about 1230/about 1295)

Above the altar “St. Peter presents five blessed to the Virgin Mary” by Carlo Maratta (1625/1713)
In the lunette “Glory of the Trinity” 1671/72 by G.B. Gaulli aka Baciccio (1639/1709)
Busts of “Lorenzo Altieri”, father of Pope Clement X Altieri (1670/76), and “Giovanni Altieri”, brother of Clement X by Cosimo Fancelli (1620/88)

Above the altar “Virgin Mary of the Rosary” by Michelangelo Cerruti (1663/1748)
On the right “Tomb of Cardinal Domenico Capranica” by artists of the school of Andrea Bregno (1418/1503)
Frescoes on the walls “Stories of St. Catherine of Siena” 1578/79 by Giovanni De Vecchi (about 1537/1615)
In the vault “Mysteries of the Rosary” 1575 by Marcello Venusti (about 1512/79) and on the right “Crown of Thorns” by Carlo Saraceni (1579/1620)
The body of St. Catherine of Siena was kept in this chapel from 1430 to 1855
In the upper part ORGAN 1630 for Cardinal Scipione Caffarelli Borghese (1577/1633) decorated by Paolo Marucelli (1594/1649)


Marble statue “St. John the Baptist” 1858 by Giuseppe Obici (1807/78)

“Sarcophagus of St. Catherine of Siena (1347/80)” 1430 maybe by Isaia da Pisa (active 1447/64) or, more likely, by an unknown Roman marble sculptor
Inside there is the body of St. Catherine of Siena from which various parts were removed over the centuries to be worshiped as relics: 
The head and the thumb of the right hand are in the Basilica of St. Dominic in Siena. The head was severed in 1381, the year after her death 
In the monastery of the church of S. Maria del Rosario a Monte Mario is preserved the relic of the left hand with the sign of the stigmata 
The left foot is preserved in the church of Sts. John and Paul in Venice 
A rib is the Sanctuary of St. Catherine in Astenet in Belgium
In the niches at the sides of the sarcophagus “Four Cardinal Virtues” painted in about 1858 by Francesco Podesti (1800/95)

They were designed by Antonio Cordini aka Antonio da Sangallo the Younger (1483/1546) with prophets and reliefs 1541 by Bartolomeo Bandinelli aka Baccio Bandinelli (1488/1560)
On the left “Leo X Medici (1513/21)” with statue by Raffaello da Montelupo (about 1505/57)
It is the first time that a pope is depicted seated, blessing and with the keys in his hand
On the right his cousin “Clement VII Medici (1523/34)” 1536/40 with statue by Giovanni Lippi aka Nanni di Baccio Bigio (about 1513/68)
Tombstones in the floor of the humanist Cardinal Pietro Bembo d. 1547 and Cardinal Girolamo Casanate d. 1700, founder of the Casanatense Library

“Statue of the Risen Christ” 1519 by Michelangelo Buonarroti (1475/1564) executed in Florence in 1521 and remodeled in Rome first by Pietro Urbani and later by Federico Frizzi
The band of gilded bronze is not original and it was applied to hide the nakedness. It was also applied a “shoe” of metal in the right foot, to protect the marble that used to be kissed by the faithful
“After the great Greek sculpture, Michelangelo was the first to fully understand the identity of the nudity and the first to apply it to the great art of figures. Before him, nudity had been studied for scientific purposes, and just to help in designing the robed figure. Michelangelo saw that it was an end in itself, and an essential object of his art. For him, nudity and art were synonyms” (Bernard Berenson)

Left Transept

On the right
“Tomb of Cardinal Domenico Pimentel” about 1654 design by Gian Lorenzo Bernini (1598/1680) with statues executed by Ercole Ferrata (1610 /86) (Cardinal, Faith and Wisdom), Giovanni Antonio Mari (Justice) and Ercole Antonio Raggi (1624 /86) (Charity)
To the right of the tomb of Cardinal Pimentel “Tomb of Latino and Matteo Orsini” two monuments of the fourteenth century assembled together in 1650
“Tomb of Cardinal Carlo Bonelli” 1674 by Carlo Rainaldi (1611/91) with statues by Ercole Ferrata (1610/86) (“Eternity holding a putto with round portrait in relief of the cardinal”) and pupils:
Giovanni Francesco De Rossi (active 1640/77) (“Prudence” and “Justice”), Filippo Carcani (active 1670/91) (“Charity”), Michel Maille aka Michele Maglia (active in Rome in the second half of the seventeenth century) (“Religion”) and Francesco Aprile (?/1685) (“Putti” in alto)

On the left
“Tomb of Cardinal Michele Bonelli” nephew of St. Pius V Ghislieri (1566/72) carried out in 1611 from a project by Giacomo Della Porta (1533/1602) with statues sculpted in 1604:
“Cardinal Michele Bonelli” by Giacomo Longhi Silla (known after 1568/d. 1619), on the right “Prudence” by Stefano Maderno (1560/1636) and on the left “Religion” by Pompeo Ferrucci (about 1566/1637)

On the floor
“Tombstone of Guido di Pietro, aka Fra' Giovanni da Fiesole, aka (also) Fra Angelico (about 1395/1455)” 1455 by Isaia da Pisa (active 1447/64) rearranged in 1979 by Mario Paniconi (1904/73) and Giulio Pediconi (1906/99)
The Dominican monk Fra Angelico died in a nearby convent. He is known as Beato Angelico (Blessed Angelic) in Italian
He was actually proclaimed blessed only by Pope John Paul II in 1984. However he was described as “Beato” soon after his death both for the emotional devoutness of his paintings, and for his human qualities

Above the altar “Virgin Mary and Child” workshop of Fra' Giovanni da Fiesole aka Fra Angelico (about 1395/1455)
On the left “Tomb of Giovanni Arberini” of the fifteenth century with Roman sarcophagus maybe by Agostino di Duccio (1418/about 1481) or Mino da Fiesole (1429/84)

1725 Filippo Raguzzini (1680/1771)
On the right “Monument of Pope Benedict XIII Orsini (1724/30)” 1730 by Carlo Marchionni (1702/86) with statues “Pope” and “Purity” by Pietro Bracci (1700/73), “Humility” by Bartolomeo Pincellotti (active since 1735/d. 1740)
Front of sarcophagus “Roman Council chaired by Benedict XIII Orsini” by Carlo Marchionni
“The pope is bare-headed, bent on one knee and he is facing the altar: the model had been anticipated 60 years earlier by Bernini in the tomb of Alexander VII, although it had not been followed in any of the papal tombs later. But whereas the kneeling pope by Bernini shows an unshaken faith, an attitude of prayer almost impersonal and eternal, Bracci sculpted his Benedict XIII as a man of less strong constitution, who seems to be aware of the tribulations of the human heart and the fragility of the existence of man” (Rudolf Wittkower)
Frescoes in the vault by Carlo Roncalli
On the left “Statue of the Virgin Mary, Jesus and St. John the Baptist” by Francesco Grassia (active in the seventeenth century)

Above the altar “Virgin Mary with Child and St. Hyacinth” 1598 by Ottavio Leoni (1578/1630)
To the left of the altar “Tomb of Andrea Bregno (1418/1503)” about 1506 maybe by Luigi Capponi (active end of 1400s/beginning of 1500s)
ORGAN in the upper part 1613

Left Nave

1733. Above the altar “St. Pius V raises the cross after the victory of Lepanto” by Andrea Procaccini (1671/1734)
On the right “St. Pius V” 1672 by Lazzaro Baldi (about 1624/1703)
On the left “Assumption of the Virgin Mary” by Lazzaro Baldi and faldstool (or folding chair for the clergy) that used to belong to St. Pius V
In the vault frescoes by Michelangelo Cerruti (1663/1748)

“Monument of Ottaviano Ubaldini Gherardesca” with cherubs by Giuliano Finelli (1602/53), maybe his first work

“Funerary Monument of Maria Raggi”, Dominican sister, about 1647 by Gian Lorenzo Bernini (1598/1680)
“It is above all the idea, the concept, to be new and brilliant. The tomb of Maria Raggi contains a fabric with multiple layers of meanings. It looks like the cloth is blown away to reveal the portrait of the dead woman. But the portrait is also an appearance, carried aloft by putti and her soul must have been floating in the sky. Bernini does conjure a visionary similarity and petrifies the evanescent. He created such iconoclastic images not to shock, but to attract the viewer to the deep meaning of his work. Portraits, memorials, devotional images, heavenly revelations: Bernini blends these disparate genres into one: no matter what mood we approach this tomb, one will eventually experience them all in our real life” (Howard Hibbard)
1596. Above the altar “St. James the Greater” by Marcello Venusti (about 1512/79)
“He himself, who had been the most faithful heir of Michelangelo, translating into valuable and approachable forms the troubled thoughts of the master, in the last years of activity he was able to find his Lombard roots, keeping away, just like Girolamo Muziano, from any theatricality to focus on results of absorbed severity and intense naturalism. This St. James, so awkward and imposing not to be able to find a comfortable accommodation in the niche behind him, seems as if he just popped out of a painting by Moretto from Brescia, with that good-natured air and those peasant clothes” (Vincenzo Farinella)
On the walls “Funerary monuments of Maria Colonna (on the right) and Livia and Carlotta Lante della Rovere (on the left)” by Pietro Tenerani (1789/1869)

Above the altar “St. Vincent Ferrer at the Council of Constance” 1584 by Bernardo Castello (about 1557/1629)

“Funerary monument of Giovanni Vigevano” 1630 by Gian Lorenzo Bernini (1598/1680)

“Funerary monument of Fabio and Ippolito De Amicis” by Pietro Berrettini aka Pietro da Cortona (1597/1669)

Above the altar “Redeemer” maybe by Pietro Vannucci aka Pietro Perugino (about 1450/1523)
On the right statue “St. Sebastian” maybe by Mino da Fiesole (1429/84) or Michele Marini
On the left statue “St. John the Baptist” 1602/03 by Ambrogio Buonvicino (about 1552/1622)

Altarpiece “St. John the Baptist” and frescoes on the vault dating back to the beginning of the seventeenth century by Francesco Nappi (about 1565/1630) in collaboration with Agostino Tassi (1578/1644)
Busts and funerary monuments of the Naro family including “Orazio Naro and Maria Giulia Cenci” and, behind pews, on the left “Cardinal Gregorio Naro” d. 1634 and on the right “G.B. Naro” by Giacomo Antonio Fancelli (1619/71), the sculptor of the Statue of the Nile River in the Fountain of the Four Rivers in Piazza Navona, with his brother Cosimo Fancelli (1620/88)
“The stiff and iconic portrait of G.B. Naro utterly fails to match the refined quality of the modeling that characterizes the bust of the vigorous praying prelate, Cardinal Gregorio Naro, completed in 1642 by Giacomo Antonio Fancelli, designed by Gian Lorenzo Bernini” (Alfredo Marchionne Gunter)
“Funerary monument of the archaeologist Raffaello Fabretti” about 1700 with bust by Camillo Rusconi (1658/1728)

Above the altar “Christ between St. Catherine of Siena and St. Margaret Mary Alacoque” 1922 by Corrado Mezzana
On the left “Bust of Girolamo Butigella” about 1515 maybe by Jacopo Tatti aka Jacopo Sansovino (1486/1570)

“Tomb of Francesco Tornabuoni” by Mino da Fiesole (1429/84)
In the upper part “Tomb of Cardinal Tebaldi” 1466 by Andrea Bregno (1418/1503) and Giovanni Duknovich aka Giovanni Dalmata (about 1440/1510)

“Glory of St. Dominic” maybe by Giuseppe Puglia aka il Bastaro (about 1600/36)
“Virgin Mary and Child with Sts. Peter and Paul” by Marcello Venusti (about 1512/79)
“Conclaves in the sacristy of S. Maria sopra Minerva in 1431 with the election of Eugenius IV Coldumer (1431/47) and in 1447 with the election of Nicholas V Parentucelli (1447/55)” by G.B. Speranza (about 1600/40)
“Crucifixion with Dominican saints” 1637/38 by Andrea Sacchi (1599/1661)

1559 Guidetto Guidetti (about 1498/1564)
Frescoes of the seventeenth century by Giuseppe Puglia aka il Bastaro, Francesco Nappi (about 1565/1630) and others