Original
church built in the fifteenth century
Rebuilt in
the years 1694/1720 by the Roman priest Giuseppe
Faraldi
1727 maybe
by Filippo Raguzzini (1680/1771)
The BELL
TOWER dates back to 1952
The name of
the church comes from the brick factories with kilns that were present in the
area
Above the
altar “Holy Trinity and
Saints”
1737 by Onofrio Avellino (about 1674/1741), a
pupil of Francesco Solimena
“Virgin Mary of the
Graces”
by the Belgian Gilles Hallet (1620/94)
Above the
altar “Holy Family and St.
John the Baptist” by Giuseppe Chiari (1654/1727) favorite
pupil of Carlo Maratta
On the
right “Nativity” by Nicolò
Ricciolini (1687/1772)
On the left
“Rest on the Flight
into Egypt” by Pietro Bianchi aka il Creatura
(1694/1740) Roman pupil of Benedetto Luti and Baciccio
“In 1707,
aged 13, Pietro Bianchi won a competition of the Academy of St. Luke, hence his
nickname 'Creatura' (small baby) with which he was mocked by the other
competitors for his young age and his physical features is not particularly
developed. This was the first in a series of successes. Bianchi was not a very
prolific artist; biographers describe him as shy and reticent, never satisfied
and almost obsessed with details. It seems that he was often distracted from
his work to help friends; works attributed to him include drawings and models
for the sculptors Filippo Della Valle, G.B. Maini and Pietro Bracci. Much of
his work has been lost or not yet identified” (William Crelly - Dizionario
Biografico degli Italiani Treccani)
Lunettes “Preaching of St.
John the Baptist” and “Beheading of St.
John the Baptist” about 1721 masterpieces by the great Roman painter Marco Benefial (1684/1764)
The terribly
bloody beheading of St. John the Baptist is a tour de force of composition with
excruciating crossed diagonal and blood dripping not only from the poor
physically tortured neck of St. John the Baptist, but also, figuratively, from
every square inch of the painting
“The public
debut of Benefial is marked by rebellion against the academical practices
dominating Roman art at that time, and his whole life is marked by controversy
stances. (...) (In his painting) is always possible to isolate examples of an icastic,
vivid representation of reality, of singular naturalistic clarity” (Evelina
Borea - Dizionario Biografico degli Italiani Treccani)
In the dome
very damaged frescos by Pietro
de Pietri (1663/1716)
Above the altar “Crucifixion” by the Roman Odoardo Vicinelli (1683/1755)
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