Built,
according to tradition, by Constantine (306/337) on the site where St.
Lawrence was killed on an iron grill in the year 258 AD
Late
sources mention that near the church there was a thermal building known as
LAVACRUM AGRIPPINAE
First
mentioned by the sources only in the sixth century, also with the name of S.
Lorenzo in Formosa
Rebuilt in
the fourteenth century and in the years 1574/75 by Francesco Capriani aka Francesco da Volterra (1535/94) for Cardinal Guglielmo
Sirleto
Wooden door
carved in 1684
COURTYARD
On the
right there is a medieval house
To the left
“Statue of St. Bridget” 1964 by Axel Wallenberg
(1898/1996)
INTERIOR
Decorated
in the years 1756/57
VAULT
“Glory of
St. Lawrence” about 1747 by Antonio Bicchierai
(1688/1766) helped by Niccolò Lapiccola
(1727/90)
1st
RIGHT - CHAPEL OF St. CLARE
Altarpiece “Miracle
of St. Clare” 1756 by Antonio Nessi (active
1739/73)
On the
right “Funerary monument with bust of Cardinal Guglielmo Sirteto” d. 1597,
patron of the church, by Giovanni Antonio Parracca aka Valsoldo
(?/1642-46)
2nd
RIGHT - CHAPEL OF Sts. CRISPIN AND CRISPINIAN
“Sts. Crispin and Crispian” maybe by Giovanni Francesco Romano
3rd
RIGHT - CHAPEL OF THE IMMACULATE CONCEPTION
“Immaculate
Conception” 1757 by Giuseppe Ranucci
PRESBYTERY
Large
fresco “Martyrdom of St. Lawrence and stories of his life”: “Meeting with St.
Sixtus II (257/258)”, “Judgment of Valerian”, “Incarceration of a deacon”, “Conversion
of the neophyte” about 1590/91 by Pasquale Cati
(1537/1612)
“Echoes of
the paintings by Taddeo and Federico Zuccari and the inheritance of
Michelangelo - the painter went down in history as a student of Michelangelo -
are alongside realistic visions and perspective gimmicks of great skill,
exemplified in the drapes that come out of the space of the scene” (Rosanna
Barbiellini Amidei)
Vault of
the apse in white and gilded stucco of the first half of the eighteenth century
by Niccolò Cartoni
MAIN ALTAR
Urn with
the relics of Sts. Crispin and Crispinian
At the
sides of the altar oil pantings on wall “St. Michael the Archangel” 1602 by Riccio Bianchini and “Archangel Raphael with Tobias”
1755 by Antonio Bicchierai (1688/1766)
On the left
“Wooden cross” of the fifteenth century
3rd
LEFT - CHAPEL OF THE CROSS
“Crucifix
between the Virgin Mary and St. John the Evangelist with the Eternal Father
above” 1684 by an anonymous seventeenth-century artist
2nd
LEFT - CHAPEL OF St. BRIDGET
On the
altar “St. Bridget in ecstasy” in 1757 by Giuseppe
Montesanti
This was
the original place of burial of S. Bridget of Sweden (1303/73) which was later
moved to Sweden by her daughter
In the urn
under the altar there are, since 1892, the remains of St. Victoria martyr
Right wall “Sarcophagus
with twisted columns and winged geniuses” third century AD which, according to
tradition, was the first tomb of St. Bridget
1st
LEFT - CHAPEL OF St. FRANCIS
Formerly
painted in 1590 by Cherubino Alberti (1553/1615)
Altarpiece “St.
Francis stigmatized” about mid-1700s by Niccolò
Lapiccola (1727/90) who maybe reproduced the type of the earlier
painting by Alberti
“In the
altarpieces we perceive a classical character, corresponding to the will of the
nuns, but in keeping with the passing of the poetics of the Baroque style; the
eighteenth-century decoration of the church is made in a classical language of
simplified forms between arcadia and neoclassicism” (Rosanna Barbiellini
Amidei)
SACRISTY
“Marble
tabernacle for the Holy Oil” 1625 in Early Renaissance style
UNDERGROUND
CHAPEL
Oven in
which, according to tradition, St. Lawrence was cooked
Monastery of the Poor Clares
Adjacent to
the church, where the nuns used to distribute pane e perna, bread and
ham, from which maybe, according to some, the name of the street derives.
Others connect it to the worship of Pan of which a colossal statue was found
here
The
monastery was home to St. Bridget of Sweden
It was
expropriated in 1873 and here were moved the scientific faculties of the
University of Rome
In the
Faculty of Physics operated their fundamental experiments on atomic energy
young scientists who were members of the GROUP OF VIA PANISPERNA,
including Enrico Fermi and Ettore Majorana. The Atomic Age, therefore, began
here
Here
was established the MUSEO DELLA FISICA E CENTRO STUDI “ENRICO FERMI” (Museum of
Physics and Centre for Studies “Enrico Fermi”) to promote research and
disseminate scientific knowledge
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