St. MARY OF THE VEGETABLE GARDEN

S. MARIA DELL'ORTO

Via Anicia 10

Begun in 1495 and continued slowly maybe by an unknown artist follower of Bramante or by Giulio Pippi aka Giulio Romano (1499/1546) for the CONFRATERNITY OF THE TWELVE COLLEGES OF ARTS AND CRAFTS: Merchants; Brokers of the port; Mills owners and their apprentices; Grocers; Vegetables sellers; Fruits sellers; Pasta artisans and retailers and their apprentices; Chicken sellers; Cobblers; Chestnut sellers; Wine sellers; Barrels handlers at the port

Finished without façade in the years 1554/60 by Guidetto Guidetti (about 1498/1564)

FAÇADE

1566/68 Jacopo Barozzi aka Vignola (1507/73), finished in the upper part 1576/77 by Francesco Capriani aka Francesco da Volterra (1535/94)

It is the church of the Japanese community in Rome that celebrates a Mass here every third Sunday of the month

The connection with Japan goes back to a miracle happened on June 8, 1585: the first -ever embassy from Japan, during the visit to Gregory XIII Boncompagni (1572/85), had gone to take a trip to the sea near the coast

The pope wanted to surprise his guests and sent his musicians to meet them on many small boats with full sails , flags and flames, gilded stern s and bows covered by beautiful pavilions

Once they arrived at sea a terrible storm struck them and the Japanese guests. At that time the musicians remembered Our Lady of the Vegetable Garden to whom they said a short prayer as they were going past the church, because at the time the church was still visible from the Tiber River

The invoked her and immediately the storm subsided. Since then and for many years, the popes' musicians every June 8 used to gather at St. Mary of the Vegetable Garden to sing Mass in memory of the grace received

INTERIOR

Decorated by Luigi Barattoni (active first quarter of the eighteenth century) and Gabriele Valvassori (1683/1761), who designed the stucco CEILING and the beautiful FLOOR laid out over the years 1747/56 with friezes of fruits, vegetables and working tools

“About the stuccos decorating the vaults of the church, it should be added that an old legend passed down orally - but that for some time found hospitality in some publications - wants that such lavish ornamentation was mixed in with the first gold that came from America with Christopher Columbus. Suggested probably by the particular year of foundation of the Brotherhood (1492), the legend is actually devoid of any possible foundation. A much more authoritative tradition, in fact, wants that gold used as decoration for the coffered ceiling of S. Maria Maggiore, although even in this case there isn't any document to confirm the tradition. However, on purely theoretical basis, the legend about St. Mary of the Vegetable Garden may have some truth. It seems, indeed, that the work at S. Maria Maggiore had produced several parings and scraps, all of which were carefully preserved, so that some infinitesimal amounts could be donated by the Reverend Chapter - for devotion, with symbolic purpose - to those who had made ​​the request in order to mix paints, fillers and anything else needed for the decoration of other churches” (Web Site of the Venerable Confraternity of St. Mary of the Vegetable Garden - www.santamariadellorto.it)

VAULT

Central nave “Assumption of the Virgin Mary” 1706 by Giacinto Calandrucci (1646/1707), a pupil of Carlo Maratta

COUNTER FAÇADE

Gilded wooden balcony with organ of the mid-1800s

To the left “Dream of St. Joseph” and on the right “Adoration of the Shepherds” by Giuseppe Orazi (seventeenth century) and Andrea Orazi (1670/after 1724)

THREE SMALL VAULTS IN THE RIGHT NAVE

“Glory of Mary, St. Catherine and St. Bartholomew” 1708 by Giuseppe Orazi and Andrea Orazi

1^st RIGHT - ANNUNCIATION CHAPEL (College of the Merchants and of the Brokers of the Port)

Above the altar “Annunciation” in 1561 by Federico Zuccari (about 1542/1609)

On the right “Archangel Gabriel” 1875 by Virginio Monti (1852/1942)

On the left “St. Joseph” 1878 by Giovanni Capresi (1852/1921)

2^nd RIGHT - CHAPEL OF St. CATHERINE OF ALEXANDRIA (College of the Pasta Artisans)

Above the altar “Mystic Marriage of St. Catherine”, on the right “St. Peter” and on the left “St. Paul” 1711 by Filippo Zucchetti (active 1694/1712)

In the vault “Angels with the symbols of martyrdom” 1711 by Tommaso Cardani

3^rd RIGHT - CHAPEL OF Sts. JAMES, BARTHOLOMEW AND VICTORIA (College of landlords, tenants and sharecroppers of vineyards)

Above the altar “Virgin Mary and Sts. James, Bartholomew and Victoria” and side paintings “Martyrdom of Saints” 1630 by Giovanni Baglione (1566/1643)

RIGHT TRANSEPT - CHAPEL OF THE HOLY CRUCIFIX (College of the Chicken Sellers)

“Wooden crucifix” of the seventeenth century

On the walls “Stories of the Passion” 1595 by Nicolò Martinelli aka Trometta (about 1540/1611)

Under the arch “Resurrection of Christ” 1703 by Giacinto Calandrucci

OVER THE DOOR OF THE DRESSING ROOM

“Descent of the Holy Spirit” 1704 by Andrea Procaccini (1671/1734) and “Angels” in stucco by Leonardo Retti (active 1670/1709)

MAIN ALTAR

Designed by Giacomo Della Porta (1533/1602)

“Venerated image of the Madonna and Child” of the fifteenth century which, believed to having miraculous healed an incurable infirmity in 1488, motivated the construction of the church

APSE (College of the Fruits Sellers)

“Life of the Virgin Mary” about 1560 by Taddeo Zuccari (1529/66) and Federico Zuccari

Lateral walls and lunettes “Life of the Virgin Mary”:

On the right “Birth of the Virgin Mary” and on the left “Presentation at the Temple” 1598 by Giovanni Baglione (1566/1643)

“The fresco on the left with the Presentation in the Temple has a special feature: besides the Renaissance clothes of the characters, the scene takes place at the foot of a staircase that ends with the glimpse of a building, which is precisely the church...of St. Mary of the Vegetable Garden” (Web Site of the Venerable Confraternity of St. Mary of the Vegetable Garden - www.santamariadellorto.it)

In the upper part STAINED GLASS WINDOW with Marian Crest curiously formed by fruits and vegetable

AT THE CENTER OF THE VAULT OF THE TRANSEPT

“Immaculate Conception” and in the spandrels “Virtues of the Blessed Virgin Mary” in 1703 by Giuseppe Orazi (seventeenth century) and Andrea Orazi (1670/after 1724)

Stucco statues on the triumphal arch 1704 by Leonardo Retti (active 1670/1709)

OVER THE DOOR OF THE SACRISTY

“Meeting of Joachim and Anna” 1704 by Andrea Procaccini (1671/1734) and “Angels” in stucco by Leonardo Retti

LEFT TRANSEPT - CHAPEL OF St. FRANCIS OF ASSISI (College of the Mills' Owners)

“Statue of St. Francis” by an unknown artist of the seventeenth century

On the walls “Stories of St. Francis” in 1595 by Nicolò Martinelli aka Trometta (about 1540/1611)

Under the arch “Glory of St. Francis” 1703 by Mario Garzi son of Luigi Garzi (1638/1721)

THREE SMALL VAULTS IN THE LEFT AISLE

“Glory of St. Sebastian, St. John the Evangelist and St. Charles Borromeo” 1706 by G.B. Parodi (1674/1730)

3^rd LEFT - CHAPEL OF Sts. CHARLES BORROMEO, AMBROSE AND BERNARDINO OF SIENA (College of the Cobblers)

Above the altar “Madonna and Child with saints”, on the right “St. Ambrose on horseback sending away Aryans from Milan” and on the left “St. Charles Borromeo attends the plague sufferers” 1641 by Giovanni Baglione (1566/1643)

2^nd LEFT - CHAPEL OF S. JOHN THE BAPTIST (Company of the young grocers)

Architecture by Gabriele Valvassori (1683/1761)

Above the altar “Baptism of Jesus” 1750 by Corrado Giaquinto (1703/66)

On the right “St. John the Baptist Preaching” and on the left “Beheading of St. John the Baptist” 1749 by Giuseppe Ranucci

1^st LEFT - CHAPEL OF St. SEBASTIAN (College of the vegetable sellers)

Above the altar “St. Sebastian cured by Angels”, on the right “St. Anthony of Padua” and on the left “St. Bonaventure” 1624 by Giovanni Baglione

“Above the altar there is a remarkable St. Sebastian Tended by Angels (painted in 1624, as can be seen from a preparatory drawing in the Louvre), which inserts in a Carracci-like formal composition generic formal references to Caravaggio and a neo-Venetian color quality, probably derived from Domenico Fetti, definitely studied by Baglione during his recent visit to Mantua” (Carla Guglielmi Faldi - Dizionario Biografico degli Italiani Treccani)

ORATORY

It stands on the spot where the hospital once stood

Sixteenth-century wooden ceiling

There is a SMALL MUSEUM with emblems and banners of the various colleges

Paintings maybe by Giovanni Odazzi (1663/1731)

The interior of the church appears in the 1945 film directed by Roberto Rossellini Roma Città Aperta (Rome Open City). In the fiction it is the parish of Don Pietro played by Aldo Fabrizi

The exterior of the church as shown in the movie is that of St. Helena outside Porta Maggiore in the Casilino neighborhood instead

SALVIATI PALACE

PALAZZO SALVIATI

Via della Lungara 82-83

1520/27 Giulio Pippi aka Giulio Romano (1499/1546) for Filippo Adimari chamberlain of Pope Leo X Medici (1513/21)

Completed 1552/68 by Giovanni Lippi aka Nanni di Baccio Bigio (about 1513/68) for Cardinal Bernardo Salviati

From 1883 to 1943 it was the headquarters of the Military School of Rome

It was restored and enlarged in 1933

It originally faced the Leonino Port disappeared after the construction of the embankments of the Tiber

On October 16, 1943 1,022 Roman Jews were brought here, and two days later deported to Auschwitz. Only sixteen survived

In 1945 it was for a full year Hospital of the Canadian Armed Forces

Between 1946 and 1950 it was the Military Tribunal

Since 1971 is home to the Centro Alti Studi per la Difesa (Centre for High Defense Studies)

LIBRARY

Three rooms with ceilings decorated in 1883 with “Scenes of battles of the Risorgimento and other military episodes” and “Groups of plants and flowers” by Annibale Brugnoli (1843/1915)

CHAPEL

Paintings by Santi di Tito (1536/1603)

MASSIMO AT THE COLUMNS PALACE

PALAZZO MASSIMO ALLE COLONNE

Corso Vittorio Emanuele II 145

1159, formerly known as Palazzo del Portico (Palace of the Portico) and part of the houses of the Massimo family

It was built over the ruins of the auditorium of the ODEON OF DOMITIAN (81/96), theater with 10,000 seats south of the Stadium of Domitian (Piazza Navona) used for music competitions that were part of the Certamen Capitolinum

1532/36 rebuilt by Baldassarre Peruzzi (1481/1536) of whom is the architectural masterpiece

The building is still owned by the Massimo family one of the oldest in Rome, legendarily connected to Quintus Fabius Maximus the delayer, but historically documented “only” from the year 999

PORTICO

Beautiful ceiling with wonderful portal that leads into the VESTIBULE with stuccos

Two narrow courtyards that allow light to reach even the lower floors, with sculptures and archaeological finds, including a “Venus Anadyomene”

LOGGIA

Wooden ceiling with stuccos maybe by Baldassarre Peruzzi or Pietro Bonaccorsi aka Perin del Vaga (1501/47)

ENTRANCE HALL

Frieze “Stories of Fabius Maximus” by Daniele da Volterra (1509/66)

TAPESTRY ROOM

Flemish tapestries and frieze of Baldassarre Peruzzi

RED SALON

Frieze painted with scenes of the “Foundation of Rome” by Giulio Pippi aka Giulio Romano (1499/1546)

In addition heavenly hall and reception room

CHAPEL OF St. PHILIP NERI

On the second floor

Here St. Philip Neri (1515/95) on the 16^th of March 1583 resurrected for a short time the fourteen year old Paolo son of Fabrizio Massimo. After he confessed, he asked to die to join her sister who had died a few days before, so St. Philip Neri blessed him and Paul died again

Every March 16^th a religious ceremony takes place here and the building is open to all

“Miracle of St. Philip” by Cristoforo Roncalli aka Pomarancio (1552/1626)

MACCARANI STATI PALACE

PALAZZO MACCARANI STATI

Piazza S. Eustachio 83

About 1523 Giulio Pippi aka Giulio Romano (1499/1546) for Cristoforo Stati, Registrar of Rome

Formerly known as Palazzo Stati Cenci

It belonged to the Cenci family, to the Maccarani family and to the counts of Brazzà

Since 1972 it belongs to the government and it houses SENATORS OFFICES, SERVICES AND LOCAL GOVERNMENT OFFICES

COURTYARD

Grotesque decoration of the sixteenth century

LIVING ROOM ON THE MAIN FLOOR

Frieze “Lovers beloved of the gods”

GREAT HALL

Frieze “Stories of Caesar” fresco dating back to the sixteenth century maybe by Pietro Bonaccorsi aka Perin del Vaga (1501/47), and artists of his workshop including Luzio Romano and Prospero Fontana (1512/97), father of Lavinia Fontana

BARBERINI PALACE - NATIONAL ART GALLERY (tenth part)

Room XI - Raphael's Influence

Vault: “Scene of Genesis with God calling upon Adam and Eve to grow and multiply” about 1612 by Antonio Viviani aka il Sordo

“Lamentation over the Dead Christ with St. Paul and a Donor” and “Lamentation” by Giacomo Raibolini aka Giacomo Francia (1486/1557) son of the more famous Francesco Francia

“Marriage of the Virgin Mary” 1526 by Vincenzo Tamagni (about 1492/1530)

“The Holy Family with St. John” by Innocenzo da Imola (about 1484/1550)

Sculpture “Eros and Anteros” by Pierino da Vinci (about 1530/53) with the two sons of Venus, representing the carnal and the spiritual love

Room XII - Raphael

Vault: “Three angels appear to Abraham announcing the pregnancy of Sarah” about 1612 Antonio Viviani aka il Sordo

“Fornarina” 1520 by Raffaello Sanzio (Raphael) (1483/1520) perhaps Margherita Luti, a baker's daughter of Trastevere

“No portrait is superior to the portraits of Raphael, faithful rendering of bodily and spiritual qualities. And they are faithful to the literal truth, remarked in a most ruthless light, but rebuilt with intellectual and artistic energy, to be placed, in such genre, between the constellations” (Bernard Berenson)

“Madonna and Child,” by Pietro Bonaccorsi aka Perin del Vaga (1501/47)

Panels with allegories “Pandora opens the jar of defects and Minerva reproaching Cupid” and “Madonna with Child” about 1523 by Giulio Pippi aka Giulio Romano (1499/1546)

It is also known as Madonna Hertz because it was donated to the Gallery by Henrietta Hertz in 1915

“Because of some similarity with the Fornarina, it is assumed that the young girl loved by Raphael has been portrayed here in the likeness of the Virgin Mary. Unlike the master from Urbino, however, Giulio Romano shows a female figure drawn with less pronounced and gentler features, by introducing stylistic elements that are typical of the early Mannerism. As evidence of a new and subjective interpretation of the artist, the background of the sacred scene is a domestic, simple and intimate ambience, where one can see many fine details and, in the gloom beyond the door, the candor of a little dove” (Official website of the Barberini Gallery - www.galleriabarberini.beniculturali.it)

“Ceres” about 1512 maybe by Baldassare Peruzzi (1481/1536)

“Triptych with the Entombment of Christ” by the Dutchman Maarten van Heemskerck (1498/1574)

He lived in Rome during the years 1532/36 documenting with accurate drawings the Roman monuments and ruins

ALBERINI PALACE

PALAZZO ALBERINI

Via del Banco di S. Spirito 12

Maybe begun in 1512 by Donato Bramante (1444/1514) with the ground floor

Continued in the years 1515/19 maybe by Giulio Pippi aka Giulio Romano (1499/1546) or Raffaello Sanzio (Raphael) (1483/1520) for Giulio Alberini and leased to the Florentine bankers Bonaccorso Rucellai and Bernardo da Verrazzano

Completed in 1521 by Pietro Rosselli (c.1474/after 1531)

It was later called PALAZZO CICCIAPORCI

Heavily restored for the Calderai family in 1866 by Antonio Sarti (1797/1880)

After a restoration of the Studio Gigli that lasted two years, in 2009 the palace became the HEADQUARTERS OF THE GUCCI FASHION HOUSE

VATICAN MUSEUMS - ROOM OF THE FIRE OF BORGO

Stanza dell’Incendio di Borgo

The iconographic program alludes to the function that the room had at the time of Julius II when here met the Holy See's highest court, the Signatura Gratiae et Iustitiae, chaired by the pontiff

The room later became Leo X's dining room

The paintings aim to exalt the policy of Leo X by references to events in the lives of popes with the same name, Leo III and Leo IV

VAULT

Commissioned in 1508 by Julius II to Pietro Vannucci, aka Pietro Perugino (about 1450/1523). Raphael did not touch the work of his teacher

In the four round panels “Holy Trinity”, “Creator enthroned between angels and cherubs”, “Christ as Sol Iustitiae and tempted by the devil”, “Christ between Mercy and Justice”

WALLS

Painted in the year 1514/17 by the pupils of Raffaello Sanzio (Raphael) (1483/1520) for Leo X Medici (1513/21) who used the room as a dining room and wanted to show on the walls his political aspirations

Raphael produced himself only cartoons and drawings, as he was busy as architect of the new Basilica of St. Peter and had been appointed Superintendent of the Antiquities of Rome

“Fire in the Borgo neighborhood” close to the Vatican, extinguished, according to the Liber Pontificalis, by the blessing of Pope Leo IV (847/855) in 847

Almost completely painted by Giulio Pippi aka Giulio Romano (1499/1546) and Giovanni Francesco Penni (about 1496/1528)

In the background there is the façade of the old Basilica of St. Peter

“The spatial composition does not tend to harmonize in a balanced structure the subsequent units of the action, as well as the architecture does not form an organic dimensional container: they appear rather like slipping surfaces, like scenes and backdrops for theater, offering to the story a symbolic reference to the place and allowing figures to emerge in leading roles, dominating the scene, isolated and mighty. Here the style of Raphael has a radical transformation, which opens a new course in the history of painting: Raphael leaves the tension to comparisons with nature and the basis of organic form inherited from 1400s, altering the harmonious and proportional foundation of fifteenth-century perspective. His interest focuses on the expressiveness of the individual elements, giving up their integration” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)

“The favor with which the two figurative inventions of the 'Boy embracing the column' and the 'Woman with the pitcher on her head' in the Fire of Borgo were received and proposed again in many representations in the sixteenth century cannot be explained only by the typically Mannerist taste for ennobling quotations, but also by their specific iconographic role: they propose themselves to viewers as spectators in the image, suggesting indirectly, but with the evidence of two wonderful vivid dramatic inventions, some type of reaction, a behavior pattern, a proposal for self-identification” (Antonio Pinelli)

“The fresco of the Fire in the Borgo Neighborhood with its definitive overcoming of the symmetry in architecture, with the increase of spatial impression of the whole and the high motion content of each single figure indicates further progress (...). Some of the individual figures, for the lovely agreement between the motives of the clothing and the movement, belong to the most beautiful things that Raphael ever created” (Hermann Voss)

“Coronation of Charlemagne” by S. Leo III (795/816), by Giovanni Francesco Penni, with the help of Giulio Romano, where Charlemagne is represented with the face of the French king Francis I and Leo III with the face of Leo X

It alludes to the agreement signed in Bologna in 1515 between Francis I and Leo X

“Naval Victory of Leo IV over the Saracens” at Ostia in 849 by Giulio Romano, with Leo IV represented as Leo X

Behind him are portraits of Cardinal Bernardo Dovizi da Bibbiena and Cardinal Giulio de' Medici, cousin of the Pope, who would later himself become pope with the name of Clement VII (1523/34)

The painting alludes to the desire of Leo X to organize a crusade against the Turks. He failed and it was the last time anybody tried to organize a crusade

“Oath of St. Leo III” maybe by Giulio Romano or Pietro Bonaccorsi aka Perin del Vaga (1501/47)

Leo III (795/816) was purified with a unilateral statement in St. Peter's Basilica of “false accusations” on December 23, 800, two days before crowning Charlemagne emperor

We do not know what kind of charges they were and, in any case, at the time it was enough to assert one's innocence before God to be believed innocent. The character with the gold chain on the left is Charlemagne

The painting alludes to the Lateran Council of the years 1512/17 that Leo X was leading at that time, during which he reaffirmed the bull of Boniface VIII Unam Sanctam according to which the pope was accountable only to God

It has been suggested that the Reformation could have been avoided if the reforms of the Lateran Council had been more innovative or fully implemented. The promulgation of the 95 theses of Martin Luther in fact took place only six months after the closing of the Council itself

“The spiritual tension that had supported the programs of the first two rooms relaxes here to give way to the courtesan celebration of the reigning pope” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)

In the lower part of the wall monochrome paintings “Six seated figures of emperors and kings protectors of the Church”