TRICLINIUM OF POPE LEO

TRICLINIO LEONIANO
Piazza di S. Giovanni in Laterano

1743 Ferdinando Fuga (1699/1782) for Benedict XIV Lambertini (1740/58)
Partial reconstruction of the ancient triclinium erected by St. Leo III (795/816) as the dining room of the Patriarchìo (Patriarchate palace)

MOSAIC
“Jesus and eleven apostles” with on the left “Jesus gives the keys to St. Peter and the banner to Constantine” and on the right “St. Peter offers the bishops’ pallium to Leo III and the banner to Charlemagne” 1743 by Pier Leone Ghezzi (1674/1755)

Ghezzi used very few original elements but executed it as a copy of the original, prudently documented by Pier Paolo Cristofari before being destroyed. He had tried to move it of 180 degrees without success
It was originally executed at the time of the institution of the Holy Roman Empire by Charlemagne on the year 800

St. MARY OF THE PRAYER AND DEATH

S. MARIA DELL'ORAZIONE E MORTE

Via Giulia 262

Originally built in the years 1575/76

Formerly known as S. Maria della Morte for the Arciconfraternita della Morte (Confraternity of Death) founded in 1538 that gave burial to the poor

It was rebuilt in the years 1733/37 by Ferdinando Fuga (1699/1782) with the help of Giuseppe Sardi (1680/1753) who was master builder at the time

Ferdinando Fuga asked, as only reward, the right for free burial for himself and his heirs

Golden decorations and other works in the interior done in 1867

Restored in 1975

Since 1992 it has been dedicated to people who had died at work

“For the façade Fuga conceived initially a convex shape and later changed his project, because of the limited space available toward the street and also for his personal stylistic evolution, to a rectilinear structure but with strong visual contrasts” (Daniele Ferrara)

“Ferdinando Fuga demonstrates that he thoroughly studied Borromini, Bernini and Rainaldi regarding the history of this type of building, almost proposing to fix himself a type which would be the synthesis and, at the same time, the adjustment of the different solutions. He does not alter substantially the structure of the Baroque image of space, but, in summarizing it, he almost involuntarily brings the elements to the firmness preached by the classical treatises of 1500s” (Giulio Carlo Argan)

On the walls FRESCOS DETACHED:

Among the chapels to the right

“St. Anthony Abbot and St. Paul of Thebes”

Among the chapels on the left

“St. Simeon Stylites” about 1605 by Giovanni Lanfranco (1582/1647), his first independent works from the Camera degli Eremiti (Room of the Hermits) of the destroyed Palazzina Farnese (Farnese Small Palace)

Above the entrance there is a third fresco covered. The three murals were placed here in 1734

“In this first cycle Lanfranco shows that he was already following a relatively free pictorial line, immune, rather strangely, to the severity of the Roman style of Annibale Carracci” (Rudolf Wittkower)

1^st RIGHT - CHAPEL OF St. CATHERINE OF ALEXANDRIA

On the altar “Mystic Marriage of St. Catherine” by unknown artist of the end of the sixteenth century probably from the old church

2^nd RIGHT - CHAPEL OF St. MICHAEL

1741 Paolo Posi (1708/76)

On the altar “St. Michael the Archangel” about 1740/50 copy by an unknown artist from the original by Guido Reni in the church of S. Maria della Concezione (St. Mary of the Immaculate Conception)

MAIN ALTAR

On the altar “Crucifixion” about 1680 by Ciro Ferri (1634/89), a pupil of Pietro da Cortona, who was here clearly influenced by the painting with the same subject by Guido Reni in in the church of S. Lorenzo in Lucina

2^nd LEFT - CHAPEL OF St. JULIANA FALCONIERI

Above the altar “St. Juliana Falconieri receives the dress from St. Philip Benizi” about 1740 by Pier Leone Ghezzi (1674/1755)

1^st LEFT - CHAPEL OF THE HOLY FAMILY

Above the altar “Rest on the Flight into Egypt” mid-1700s by Lorenzo Masucci (?/1785), son of Agostino Masucci

“The curvilinear and jutting pediments out of the chapels have a slight concavity in contrast with the convexity of the entablature above the choruses and the confessionals: this alternation of form suggests a swaying motion that ends at the chorus, where the arc breaks up the attic on which the dome rests. The undulating outline of the interior is an original design by Ferdinando Fuga, never seen before even considering the interiors of Borromini's churches” (Daniele Ferrara)

SACRISTY

Canvas:

“St. Michael the Archangel defeats the devil” about 1576 maybe by Raffaellino Motta aka Raffaellino da Reggio (1550/78)

“Deposition of Christ” by an unknown seventeenth-century artist

“St. Michael the Archangel save the souls of Purgatory” and “St. Michael the Archangel, the devil and the passing of a dying man” about 1660/70 by Giacinto Brandi (1621/91), originally located in the church at the sides of the altar of St. Michael

UNDERGROUND CEMETERY

Large room originally built in 1762 but resized during the works for building the walls by the River Tiber

For three centuries, from 1552 to 1896, about 8,600 corpses were buried here, with an average of one every two weeks

The decorations with skeletons of people belonging to the Confraternity of Death were very macabre, similar to those in the cemetery of St. Mary of the Immaculate Conception

St. EUSTACE

S. EUSTACHIO

Via di S. Eustachio 19

Maybe founded by Constantine (306/337) on the site where St. Eustace was martyred and buried with his wife and two children, according to tradition, at the time of the reign of Hadrian (117/138)

This is impossible of course, because during the reign of Hadrian there was, according to historical sources, no persecution. Moreover, according to pagan sources such as the Historia Augusta, Hadrian, shortly before his death, had decided to recognize Christianity and was ready to dedicate temples without statues to Christ

St. Eustace, according to tradition, was a Roman army officer named Placido who had a vision of the crucifix between the antlers of a deer as he was hunting

Mentioned as a diaconia at the time of Gregory II (715/731)

A diaconia was an establishment for the care of the poor and distribution of the church's charity in the Middle Ages

Restored and re-consecrated in 1196 by Celestine III Orsini (1191/98), who also built the bell tower reusing the base dating back to about 1090

Complete reconstruction begun in the years 1701/03 by Cesare Crovara (active from 1682/d. 1703) from a design of 1692 by G.B. Contini (1641/1723)

1703/08 further works directed by G.B. Contini after the death of Crovara. He designed the chapels and the porch

1724/27 completion of work with transept and apse by Antonio Canevari (1681/1759), by Nicola Salvi (1697/1751) and, in the years 1728/30, by Giovanni Domenico Navone (known from 1706/d. 1770), thanks to a legacy of Pope Innocent XIII Conti (1721/24)

The construction of the church therefore lasted about 29 years

Restoration in 1861, in the years 1930/40 and 1992

FAÇADE

1701/03 by Cesare Crovara

It was restored in 1992 with the original so-called “color of the air”, a beautiful celestial hue

Above the pediment sculpture “Deer Head” by Paolo Morelli (known from 1712/d. 1719)

The head was not considered similar to that of a deer by most people, so much that there was a lampoon who claimed to not understand why one would confuse deers with donkeys

TO THE LEFT OF THE ENTRANCE

“Funerary monument of Giovanni Giraud” 1843 by Giuseppe Barba

“The interior is a splendid set of architectural structures, figurative elements and ornamental solutions of the more mature Baroque style. Visitor is immediately inserted into a space 'animated' by the intertwining of real or illusory lines and a pleasant harmony of colors and gilding, on which the light is diffused in a game of refractions and references. It seems clear, in this way, as the decoration is not an extrinsic and distracting component, but contributes fully to organize a perfect environment balanced between exuberant magnificence and measured sobriety” (Vincenzo Francia)

COUNTER FAÇADE

Spectacular “Organ” 1764 by Johannes Conradus Werle (1701/77)

Stained glass window with “Penitent Magdalene” of the end of the nineteenth century by Gabriel and Louis Gesta from Toulouse

1^st RIGHT - CHAPEL OF THE HOLY FAMILY

Above the altar “Holy Family in the Temple of Jerusalem” about 1854 by Pietro Gagliardi (1809/90)

On the right “Funerary monument of Luigi Greppi” 1673

In the two ovals on the sides there were two paintings unfortunately stolen not long ago

2^nd RIGHT – ANNUNCIATION CHAPEL

Designed by Ferdinando Fuga (1699/1782)

On the altar “Annunciation” about 1620 by Ottavio Lioni (1578/1630)

3^rd RIGHT - CHAPEL OF THE SACRED HEART OF JESUS

Above the altar “Sacred Heart of Jesus”, on the right “Christ on the Cross and St. Longinus”, on the left “Supper at Emmaus” and other decorations 1934/37 by Corrado Mezzana (1890/1952)

“In his artistic production (...) it is apparent a crystallization of formulas of classical academic style, especially in the works with sacred subjects (...), while in the stamps' designs, to which he devoted himself assiduously since the thirties, Mezzana was able to synthesize the compositional complexity of the details and the expressive immediacy of allegory” (Rosanna Ruscio - Biographical Dictionary of Italian Treccani)

RIGHT TRANSEPT

“St. Jerome penitent” 1725 by Giacomo Zoboli (1681/1767) from Modena

Under the canvas fine “Confessional in wood” by Corrado Mezzana

MAIN ALTAR

1739 by Nicola Salvi (1697/1751) for Cardinal Neri Corsini

On the altar “Martyrdom of St. Eustace” 1725 by Francesco Fernandi aka Imperiali (1679/1740)

The nickname comes from the fact that the artist was protected by Cardinal Giuseppe Renato Imperiali

Under the altar “porphyry urn” which contains the bodies of St. Eustace, his wife Theopista and his son Agapito and his daughter Theopista

CANOPY

1746 Ferdinando Fuga

He devised a remarkable and innovative suspended canopy so not to burden the space

APSE

In the upper part plaster relief “Triumph of the Cross” by Galileo Parisini (1872/1949)

In the niches at the sides plaster statues “Redeemer” and “Immaculate” 1900 by Augusto Foli

“An interesting and original architectural solution can be admired in the transept: the edges are beveled so as to evolve the layout of the church toward an elliptical plan. The elliptical impression is accentuated by the shallow depth of the apse. Elegant balconies accompany, with a smooth convex line, the concavity of the rounded corners” (Vincenzo Francia)

VAULT OF THE TRANSEPT

Fresco with fake dome of 1930

LEFT TRANSEPT

“Meeting of the Virgin and St. Elizabeth” 1725 by Giacomo Zoboli

Under the canvas fine “Confessional in wood” by Corrado Mezzana

PULPIT

Decorated in polychrome marble. Built in memory of the preaching here of Bishop Giacomo Della Chiesa who later became Pope Benedict XV (1914/22)

3^rd RIGHT - CHAPEL OF THE IMMACULATE HEART OF MARY

1771 Melchiorre Passalacqua, son of Pietro Passalacqua, and Agostino Penna (active since 1768/d. 1800)

On the altar ovate painting “Immaculate Heart of Mary” of the Venetian G.B. Casanova (1730/95) copy from an original donated to the church by Charles Emmanuel IV of Savoy

On the right “Holy Family” 1774 by Tommaso Maria Conca (1734/1822) who was a pupil of his uncle, the great Sebastiano Conca

On the left “Flight into Egypt” 1774 maybe by Étienne de La Vallée Poussin (1735/1802) or Michele Paolini

2^nd LEFT - CHAPEL OF St. MICHAEL THE ARCHANGEL

1714/19 Giuseppe Sardi (1680/1753) designed by Alessandro Sperone

Above the altar “St. Michael the Archangel” 1817 copy by Giovanni Bigatti (1774/1817) from the world famous original by Guido Reni in St. Mary of the Immaculate Conception

To the left “Funeral Monument of Teresa Tognoli Samonati Canale” d. 1807

To the right “Funeral Monument of Silvio Cavalleri” d. 1717 Alessandro Sperone with sculptures by Lorenzo Ottoni(1648/1736)

1^st LEFT - CHAPEL OF St. JULIAN HOSPITALLER

Above the altar “S. Julian” in 1706 by Biagio Puccini (1673/1721)

S. APOLLINARIS

S. APOLLINARE

Piazza S. Apollinare 49

Built after the year 638 on the site where the Ludi Apollinares, games in honor of Apollo, used to be held in antiquity

Rebuilt in 1741/48 by Ferdinando Fuga (1699/1782)

The saint of the first century Apollinaris was a native of Antioch in Syria and was the first bishop of Ravenna

VESTIBULE

Much venerated “Image of Our Lady” of the fifteenth century by an artist of the Umbrian-Roman school

This image of the Virgin Mary in 1494 was covered with lime to hide it from the ravages of the soldiers of Charles VIII and was rediscovered by chance in the earthquake of 1648

VAULT

“Glory of S. Apollinare” 1746 by the Roman Stefano Pozzi (1699/1768)

1^st RIGHT - CHAPEL OF S. LUIGI GONZAGA

Altarpiece “S. Luigi Gonzaga” by Ludovico Mazzanti (1686/1775)

2^nd RIGHT - CHAPEL OF St. JOSEPH

Altarpiece “Holy Family” by Giacomo Zoboli (1681/1767)

3^rd RIGHT - CHAPEL OF S. FRANCIS XAVIER

Statue of “St. Francis Xavier” by the extraordinary French sculptor Pierre Legros (1666/1719)

The original statue was holding a crucifix now disappeared

At the saint's feet there is a bronze crab in reference to the miracle that would have taken place in Indonesia during a storm that had caught S. Francis Xavier on board a small boat

During his prayers he tried to touch the stormy sea with a small crucifix that, however, slipped out of his hand

The next day, landed safely on the island of Ceram, he saw a crab approaching him on the beach with his crucifix between its claws

Some scholars doubt the likelihood of this miracle and think it was copied from a Buddhist story, some others even believe that it was Buddhism that took this miracle for itself

MAIN ALTAR

Canvas “St. Apollinaris” by the Bolognese Ercole Graziani (1688/1765)

Above the pediment of the altar “Angels” in marble 1746 by Bernardino Ludovisi (about 1713/49)

“Crucifix and candlesticks” by Luigi Valadier (1726/85)

3^rd LEFT - CHAPEL OF St. IGNATIUS OF LOYOLA

Statue of “St. Ignatius of Loyola” by Carlo Marchionni (1702/86)

2^nd LEFT - CHAPEL OF S. JOSEMARÍA ESCRIVÁ DE BALAGUER

S. Josemaría Escrivá de Balaguer (1902/75) was the founder of the Opus Dei

Recent painting by Angelo Zarcone

1^st LEFT - CHAPEL OF St. JOHN OF NEPOMUK

Altarpice “Mary and St. John of Nepomuk” by Placido Costanzi (1702/59)

In the church is buried the composer Giacomo Carissimi (1605/74) from Marino, who was here the chapel's composer

SACRISTY

The relic of an arm of St. Apollinaris is kept here. The rest of the body is buried in Ravenna

Palazzo di S. Apollinare

Palace of St. Apollinaris

Home of cardinals since the fourteenth century

From 1574 to 1773 it was the seat of the German Hungarian College

Restored in the years 1745/48 by Ferdinando Fuga

It now houses the PONTIFICIA UNIVERSITÀ DELLA SANTA CROCE (Pontifical University of the Holy Cross) owned by the Opus Dei

An extra floor was added in 1853

In the CHAPEL paintings maybe by Andrea Pozzo (1642/1709)

MAFFEI MARESCOTTI PALACE

PALAZZO MAFFEI MARESCOTTI

Via dei Cestari/Via della Pigna 13a

1580 Giacomo Della Porta (1533/1602) for Cardinal Marcantonio Maffei. The construction was interrupted unfinished in 1601 for the death of the client

It was bought in 1746 by the Marescotti family and transformed maybe​by Ferdinando Fuga (1699/1782)

FAÇADE ON VIA DELLA PIGNA 1865 by Antonio Sarti (1797/1880) for the Bank of the Papal States, which had bought the palace it in that same year

The head office of the bank relocated to the Vatican in 1906 and the building was used for the offices of the Vicariate until 1964

It is now home to Catholic organizations such as Azione Cattolica (Catholic Action)

CHAPEL

Ceiling and frieze painted in the fifteenth century

Seventeenth-century frescoes on the walls

PALACE OF THE COUNCIL

PALAZZO DELLA CONSULTA

Piazza del Quirinale 41

1732/34 most important early work of Ferdinando Fuga (1699/1782) for Clement XII Corsini (1730/40)

The building was financed with the proceeds of the lottery and it replaced the Palazzo di Vercelli of the Ferrero family from Piedmont where the Cardinal of Vercelli Guido Luca Ferrero resided

On the façade of Palazzo di Vercelli there were originally frescoes painted in 1517 by Polidoro da Caravaggio (about 1495/1543)

“Fifteenth century echoes are in the façade, reconstructed with a sense of balance and elegance typically Tuscan. Fuga carries out a research for formal purity and rational measure” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)

“The easy virtuosity of Fuga resulted in this first phase of his career in a very refined style with a touch of Tuscan sophistication, so different from the skillful liveliness of Valvassori and from the Roman sense of the grandeur of Salvi” (Rudolf Wittkower)

It was the seat of the Tribunale della Sacra Consulta (Tribunal of the Holy See)

From 1874 it was the seat of the Ministry of Foreign Affairs, and since 1922 of the Ministry of the Colonies, which in 1937 was renamed Ministry of Italian Africa

In 1923 the Colonial Museum was inaugurated inside the building

Since 1955 is the SEAT OF THE CORTE COSTITUZIONALE (Supreme Court)

The original color of the FAÇADE was baby blue, common to many Roman eighteenth-century buildings

On the pediment of the portal “Justice” and “Religion” by Francesco Maini

On the side portals “Trophies” by Filippo Della Valle (1698/1768)

On the balustrade above “Group with two allegorical figures of Fame and Corsini coat of arms” by the Neapolitan Paolo Benaglia (?/1739)

In the COURTYARD splendid double staircase inspired by the exterior staircase of the Palazzo del Gallo of Roccagiovine by the flamboyant Alessandro Specchi

THREE DECORATIVE PHASES:

1) Ceilings 1737/44 by Antonio Bicchierari for Clement XII

2) “Works of Pius VI” and decorations on the ceilings 1787/90 by Bernardino Nocchi (1741/1812) for Pius VI Braschi (1775/99). Bernardino Nocchi also painted the ornamentations that framed the existing paintings by Bicchierai

3) Paintings with floral and narrative subjects to celebrate industrial progress 1870/74 by Cecrope Barilli (1839/1911), Domenico Bruschi (1840/1910) and Annibale Brugnoli (1843/1915). Because of this intervention, most of the previous decorative cycles were destroyed

“In the layout of the rooms, the architect was able to overcome all the difficulties determined by the site plan with intelligence, also exploiting the wedge-shaped areas” (Simona Sperindei)

In the THIRD ANTECHAMBER “Lagoon of Venice” by Achille Vertunni (1826/97)

In the FOURTH ANTECHAMBER “Portrait of Queen Margherita of Savoy” by Guglielmo De Sanctis (1829/1911)

In the STUDIO OF THE PRESIDENT “May” by Giacomo Balla (1871/1958)

In STUDY OF THE VICE-PRESIDENT “Battle” by Giovanni Fattori (1825/1908) and two “Portrait of Girl” by Jean Baptiste Greuze (1725/1805)

In the RED LOUNGE beautiful painting influenced by Caravaggio “Magdalene with the crown of thorns” first half of the seventeenth century by Bartolomeo Cavarozzi (1587/1625)

In the GREEN LOUNGE “Head of boy” in marble by Domenico Trentacoste (1859/1933) from Palermo. At the center of the room “Table with inlaid marble” of the sixteenth century from Florence

In the ANTECHAMBER OF THE STUDY OF A JUDGE huge painting “Landscape with lake” by Achille Vertunni