Maybe end
of the thirteenth century or beginning of the fourteenth century
In 1486
Pope Innocent VIII Cybo (1484/92) granted it to the Compagnia del Gonfalone (Company
of the Banner)
It was
rebuilt at the end of the fifteenth century and consecrated in 1511
Restorations
in 1605 and in the years 1721/23
It was
rebuilt again with a new FAÇADE in
the years 1761/67 by Marco David (active in Rome
1754/65) for Cardinal Flavio Chigi
In 1911 it
was entrusted to the Missionari Figli del Sacro Cuore Immacolato di Maria Padri
or Claretiani (Missionary Sons of the Sacred Heart of Mary or Claretian
Fathers)
Also known
as S. Lucia della Chiavica (St. Lucy of the Sewage) for the adjacent
cloaca (sewer) that used to flow into the Tiber River
INTERIOR
Decorated
in the years 1859/66 for the architecture by Francesco
Azzurri (1831/1901) and for the paintings by Cesare
Mariani (1826/1901)
Clearly
inspired by the work of Michelangelo's frescoes in the Sistine Chapel:
In the
central part “Episodes from the history of the
Archconfraternity of the Banner: foundation, approval and charitable activity”,
between the windows “Constance, Charity, Charity and Faith”, virtues
inspirational for the Archconfraternity executed in the years 1863/67 by Cesare Mariani
Frescoes in
the upper part “Deborah” and “Judith”, in the lower part “Architecture” and “Painting”
and on the pillars “Tobias”
and “Daniel”
by Cesare Mariani
“Tobias and
Daniel are references to St. Lucy representing respectively the healing of the
eyes and the prophetic vision, thus alluding to one of the main reasons for the
devotion to St. Lucy: the recovery of sight both physically and spiritually”
(Daniele Ferrara)
PILLARS
THAT DIVIDED THE CHAPEL
Frescoes on
the right “Nehemiah”
and “Ezra”,
on the left “Zerubbabel”
and “Jeremiah”
by Cesare Mariani
“These
figures of the Old Testament, referring to the issues of slavery and redemption
of the Jewish people celebrate the work of the Confraternity. The figures are
monumental and show evident similarities to models of Michelangelo and Raphael”
(Daniele Ferrara)
1st
RIGHT - CHAPEL OF Sts. THOMAS OF VILLANOVA AND FRANCIS DE SALES
On the
altar “Virgin Mary with Sts. Thomas of
Villanova and Francis de Sales” 1765 by Salvatore Monosilio (known from 1744/d. 1776) from
Messina in Sicily
On the
right “Funerary monument of Bishop Nicholas Maria Nicolai” 1833 by Giuseppe De Fabris (1790/1860)
2nd
RIGHT - CHAPEL OF St. LUCY
Statue “St. Lucy”
1861 by Scipione Tadolini (1822/92) in an
aedicula in neo-Renaissance style
On the
sides frescoes “Chastity”
and “Charity”
by Cesare Mariani
3rd
RIGHT - CHAPEL OF Sts. PETER AND PAUL
Above the
altar “St. Peter and St. Paul on the
road of martyrdom” by the Sicilian Mariano Rossi (1731/1807)
“To
Neoclassicism, popular when his artistic personality was already well formed
and defined, Rossi granted only the choice of subjects of many of his works
according to the patterns that this artistic movement considered to be in
vogue, but his style of painting was not affected by the new artistic ideas.
Indeed, the Neoclassical painting style was underlaid by well-defined laws that
impoverished the means of the painter who, concerned exclusively with such
laws, would lose sight of the problems of light, color, fresh air and movement,
ending up creating cold and abstract compositions immersed in a frozen light” (Antonella Tedesco -
www.abitarearoma.net/s-giuseppe-alla-lungara-e-le-opere-di-mariano-rossi)
Vault of
the apse “St. Bonaventure has the vision of
the Virgin Mary” by Cesare
Mariani (1826/1901)
On the wall
of the apse two episodes of the history of the Archconfraternity:
On the left
“Giovanni Cerrone appointed
prefect of Rome” and on the right “Prisoners freed by the
Archconfraternity of the Banner pay homage to Pope Sixtus V Peretti (1585/90)”
by Cesare Mariani
“The first
episode recalls the role that, according to tradition, the Confraternity had in
the peaceful ouster of Luca Savelli (usurper of power in the city during the
stay of the Pope in Avignon) and in the appointment on Capitoline Hill of the
wise Giovanni Cerrone. The second episode is significant for the importance
that the Confraternity had under Sixtus V for the task of freeing the slaves, a
subject widely covered on the walls of the nave. Mariani proves to be a skilled
painter of history insisting rhetorically on the dramatic effect of the
composition, a trend widespread in the artistic culture of the period that
finds similarities with the contemporary operas” (Daniel Ferrara)
1881 Giuseppe Rinaldi
In the
central aedicula “Virgin Mary of the Banner” copy maybe madeby Livio Agresti (about 1508/79) of the Madonna Salus
Populi Romani in S. Maria Maggiore
In the lunette
above “God Eternal Father” by Erminia Pompili Maldura
3rd LEFT -
CHAPEL OF St. BONAVENTURE
Above the
altar “St. Bonaventure in prayer at the
feet of St. Francis of Assisi” 1765 by Giorgio Gaspare von Prenner (1720/66) from Vienna
2nd LEFT -
CHAPEL OF THE CROSS
Above the
altar “Wooden Crucifix” of the sixteenth century
On the
sides frescoes “Our Lady of Sorrows” and “St. John Evangelist” by Paolo Mei (1831/1900) pupil
of Cesare Mariani
1st LEFT -
CHAPEL OF S. CHARLES BORROMEO AND OF THE BLESSED GREGORIO BARBARIGO
Above the
altar “St. Charles Borromeo and the
blessed Gregory Barbarigo” by Eugenio
Porretti (active in the eighteenth century)
For some
years contemporary paintings by various artists have been exhibited in the
church
SACRISTY
Marco
David (active in Rome
1754/65)
On the
altar “Crucifixion” maybe by Ermenegildo Costantini
(1731/91)
PALAZZETTO
DEL GONFALONE (Small Palace of the Banner)
1650 and
rebuilt in the second half of the eighteenth century maybe by Marco David (active in Rome 1754/65)
Now is the
seat of the Ufficio per la Giustizia Minorile del Ministero della Giustizia (Office
for Juvenile Justice of the Ministry of Justice)
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