Sts. ANDREW AND CLAUDE OF THE BURGUNDIANS

SS. ANDREA E CLAUDIO DEI BORGOGNONI
Piazza S. Claudio/angolo Via del Pozzetto

Built in 1652 in lieu of a pre-existing chapel for the colony of French Burgundians which increased greatly in the years 1632/42 after the Thirty Years War and after a famine
At that time, about 12,000 Burgundians migrated to Rome
Another wave of refugees arrived in 1678

Rebuilt 1729 by Antoine Dérizet (1697/1768)

Now the church is run by the Blessed Sacrament Fathers
It is always open to the perpetual adoration of the Sacrament

FAÇADE
In two niches, on either side of the door, on the left “St. Andrew” 1771 by Luc Breton and on the right “St. Claude” 1771 by G.A. Grandjaquet two sculptors from Burgundy

“Closely related to the works of 1729 was the arrangement of the square just outside St. Claudius, which at the time was divided by that of S. Silvestro by a line of buildings. But the carefully studied effect of proportions that the square must have had was unfortunately totally lost after the demolition, around 1940, of the line of buildings with the subsequent unification of the two squares” (Angelandreina Rorro)

PENDENTIVES
Stuccos “Evangelists” by Pierre de l'Estache (about 1688/1744)

1^st RIGHT - CHAPEL OF St. JOSEPH
In the altar “St. Joseph between two angels” by Guido Francisi
On the left “Dream of St. Joseph” and on the right “Flight into Egypt” 1949 by Cleto Luzzi (1884/1952)

RIGHT ALTAR 
Above the altar “St. Claude recommends to St. Charles Borromeo the citizens of the Franche-Comté” 1731 by Placido Costanzi (1702/59)
On the right “St. Claude” 1939 by Cleto Luzzi

MAIN ALTAR
Canopy of the end of the nineteenth century flanked by two angels where the Sacrament is normally exposed
Fresco in the upper part “Eternal God Blessing” by Antonio Bicchierai (1688/1766)

LEFT ALTAR 
“Resurrection” 1740 by Jean François de Troy (1679/1752)
On the right “St. Andrew” 1939 by Cleto Luzzi (1884/1952)

OLD SACRISTY
Two paintings with the same subject “Sts. Andrew and Claude entrust to Our Lady the citizens of Franche-Comté” one by the Belgian Louis Cousin aka Luigi Gentile (1605/67), the other by Pietro Barbieri (1684/1730), a pupil of Carlo Maratta

NEW SACRISTY
“Adoration of the Blessed Sacrament” by Eugenio Cisterna (1862/1933)

St. NICHOLAS OF THE PREFECTS

S. NICOLA DEI PREFETTI

Via dei Prefetti 34

Maybe built in the eighth century. Mentioned in the sources for the first time in the twelfth century

The name probably derives from some relationship with the nearby headquarters of the Prefecture of Rome

In the years 1524/26 it was occupied by St. Cajetan of Thiene and his companions becoming the first church of the order of the Regular Clerks also known as Theatins founded in 1524 by St. Cajetan of Thiene and Gian Pietro Carafa, later Paul IV (1555/59)

1729 rebuilt and rededicated by Pope Clement XIII Orsini (1758/69)

FAÇADE

1674 inserted between the wings of the former Dominican convent

INTERIOR

1860/62 restoration by Paolo Belloni

Pictorial decoration 1914/17 by Cleto Luzzi (1884/1952)

VESTIBULE

“Funerary epigraphs of the poet Francesco Lorenzini and the Canon Giuseppe Paolucci, one of the founders of the Academy of Arcadia” 1746

COUNTER FAÇADE

Paintings “St. Pius V in prayer” between “Angels musicians” in monochrome by Cleto Luzzi

VAULT

In the center “Glory of St. Nicholas of Bari” about 1730 by Giacomo Triga (1674/1746), a pupil of Benedetto Luti, who maybe also painted the boards with the “Stations of the Cross”

Six medallions “Four Cardinal Virtues” and “Two angels with inscriptions” by Cleto Luzzi

1^st CHAPEL ON THE RIGHT

Modern plaster statue of the “Sacred Heart”

2^nd CHAPEL ON THE RIGHT

Above the altar “St. Nicholas of Bari resurrecting three children” by an anonymous seventeenth-century artist

TO THE RIGHT OF THE ALTAR

“Funerary monument of Giovanna Ripario” who died in 1863, when she was twenty years old exactly on the day of her wedding, with a bust by an anonymous nineteenth-century artist

PRESBYTERY

On the altar most venerated “Seventeenth-century wooden Crucifix” of the Confraternita del Santissimo Crocifisso Agonizzante (Brotherhood of the Holy Cross in Agony)

It is related to a miracle which occurred in 1740: the Crucifix remained unharmed during a fire in the Oratory at St. Nicholas in Arcione that melted down even the bronze candlesticks and a bronze medallion hung on the Crucifix. It was moved here in 1848

Under the Crucifix there is a painting of the Virgin Mary known as “Mater Misericordiae” by an anonymous seventeenth-century artist

Walls painted on the right “Pietà”, on the left “Agony in the Garden” and in the lunette “Choir of Angels” 1914/17 by Cleto Luzzi

TO THE LEFT OF THE ALTAR

Monumental “Funerary memory of the spouses Antonio Cassetta and Maria Teresa Sturbinetti” 1868 by Luca Carimini (1830/90) inspired by the Renaissance monuments of Andrea Bregno

2^nd LEFT - CHAPEL OF THE ROSARY

Gorgeous “Altar frontal in gilt bronze” of the second half of the nineteenth century by unknown Roman craftsmen

Eighteenth-century altar sculpture “Madonna of the Rosary” with dress decorated in silver and gold

1^st CHAPEL ON THE LEFT

Above the altar “Madonna and Child with Sts. Joseph and James” 1859 by Vincenzo Pasqualoni (1819/80), a pupil of Tommaso Minardi

St. JOSEPH AT THE HOUSES' END

S. GIUSEPPE A CAPO LE CASE

Via Francesco Crispi 24

1588 next to the Monastery of the Discalced Carmelites

It was rebuilt in 1628 with the monastery for Cardinal Marcello Lante

In the original church there used to be the famous painting “St. Teresa of Avila receives a gold necklace from the Virgin Mary” about 1613 (some say about 1618) by Giovanni Lanfranco (1582/1647) now in the new Monastery of the Discalced Carmelites in Via della Nocetta 83

The painting was immediately very successful with the public

Involving the viewer emotionally and assuming the role of mediation between the world of the faithful and of the divinity, it constituted one of the first expressions of baroque sensibility in Italian art

“At this stylistic stage Lanfranco leaves the more robust plasticity sometimes derived from Ludovico Carracci and the use of light derived from Bartolomeo Schedoni only to get new elegance and a formal refinement, derived from early Roman 'Correggiesque' works by Annibale Carracci, combined with an atmosphere enveloping light and shade and a phosphorescent light (backlighting effects), reminiscent of the contemporary works of Orazio Borgianni. This phase lasted from about 1614 to 1618 and it is documented by a large number of works, often requested from outside Rome, which mark the success and prestigious location that Lanfranco had reached” (Erich Schleier - Dizionario Biografico degli Italiani Treccani)

1^st ALTAR ON THE RIGHT

“Holy Family” 1938 by Cleto Luzzi ( 1884/1952 )

2^nd ALTAR RIGHT

“S. Melania” by an anonymous nineteenth-century artist

MAIN ALTAR AND TABERNACLE

Bartolomeo Breccioli (?/1639), deteriorated

Fresco “Dream of St. Joseph” about 1635 by Andrea Sacchi (1599/1661)

One of his sisters was a nun and used to live in the monastery. The painting was later restored by his pupil Carlo Maratta

Behind the altar there are the HOLY STAIRS 1718 by Tommaso Mattei (1652/1726), a pupil of Carlo Fontana

The sisters climb the stairs on their knees praying. It was built because, as the nuns were in seclusion, they could not go on pilgrimage to the original Holy Stairs

1^st ALTAR ON THE LEFT

Painting “St. John the Baptist, Prophet Elisha and Angels” by an anonymous seventeenth-century artist

In the former monastery the GALLERIA D’ARTE MODERNA DI ROMA CAPITALE (Gallery of Modern Art of Rome Capital of Italy) is now housed