HOLY TRINITY OF THE SPANISH PEOPLE

SS. TRINITÀ DEGLI SPAGNOLI
Via Condotti 41

1741/46 Emanuel Rodriguez Dos Santos (about 1702/74) for the Bishop Diego Morcillo of the Order of the Shod Trinitarians who sent 200,000 pesos from Peru

The Portuguese architect was joined in the years 1741/44 by Giuseppe Sardi (1680/1753)

There was a dispute between the Trinitarians and Dos Santos, who was considered too experimental

“If the extreme attention to detail has led to describe, as a recurring feature of the works of Dos Santos, a certain 'over-emphasis of detail with respect to the structural frame' (A. Marino), also evident in the façade of the church in question, however, Dos Santos was not lacking quality as an urban planner, evident in the brilliant solution of the inclusion of the church itself in the urban context: the qualification of the surrounding space is achieved through the 'creation of a plastic-spatial structure able to blend seamlessly with the urban surroundings' (Tafuri)” (Daria Colonna)

The church was consecrated in 1750
It passed in 1895 to the Spanish Dominicans

FAÇADE
ABOVE THE PORTAL there is the sculptural group “Angel freeing two chained slaves” by Pietro Pacilli (1716/after 1769)
In the NICHES statues of the founding saints of the order: on the left “St. Felix of Valois” and on the right “St. John of Matha” by Pascasio La Tour

“On entering the church one is struck by the tone of polite composure and consistency of style that characterizes the decoration as a whole, conceived and developed within a few years, both in terms of general fittings and for the individual works of art. About the latter, the Longhi even coined the formula of 'culture of Via Condotti' to indicate that interesting episode of Roman artistic life represented by paintings of the Trinity of the Spaniards” (Daria Colonna)

VAULT

“St. John de Matha in glory” 1748 by Gregorio Guglielmi (1714/73) who also painted “Virgin Mary among the Trinitarians” in the CEILING OF THE CHOIR BALCONY

“He was perhaps the greatest exponent of Roman Rococo. He gave his figures, although hoisted between daring perspectives and unbelievable foreshortenings, a full-bodied and clear corposity, with a new attention derived from the Enlightenment focused on the new spectacle of the world, on familiar and exotic habits. After 1750 he also, like Giaquinto, left the city, to carry out his brilliant career as a fresco painter at the major courts of northern Europe” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)

CHAPEL TO THE RIGHT OF THE VESTIBULE
Above the altar “Good Shepherd” by Antonio Gonzalez Velazquez (1723/93), a pupil of Corrado Giaquinto

“The theme of derivation from Murillo with a strong devotional message is treated with a pictorial refinement, sensitive to the teachings of his master” (Daria Colonna)

On the left “S. Miguel de Los Santos” 1779 by Andrea Casali (1705/84), a pupil of Sebastiano Conca and Francesco Trevisani. He painted sixteen canvas in this church

1^st RIGHT - CHAPEL OF St. CATHERINE OF ALEXANDRIA
Above the altar “Martyrdom of St. Catherine of Alexandria” 1764 maybe by Giuseppe Paladini (1721/94) but, more likely, by Andrea Casali
On the left “Miracle of the wheel” and on the right “St. Catherine of Alexandria ascends to heaven” 1771 by Andrea Casali

2^nd RIGHT - CHAPEL OF St. FELIX OF VALOIS
Above the altar “Sts. John de Matha and Felix of Valois” 1775
On the right “Vision of St Felix of Valois” and on the left “Miracle of St. Felix of Valois with the blind child” 1776 all works by Andrea Casali

3^rd RIGHT - CHAPEL OF THE PIETÀ
Above the altar “Deposition of Christ between Mary Magdalene, Mary and St. John the Evangelist” 1777
On the right “Fall under the Cross” and on the left “Flagellation” 1777 all works by Andrea Casali

MAIN CHAPEL
Above the altar “The Holy Trinity assists in the liberation of a slave carried out by an angel” about 1749 by Corrado Giaquinto (1703/66)
It is a splendid work of solemn monumentality and exceptional richness of color, typical features of his maturity
Paintings on the walls “Innocent III dei Conti di Segni (1198/1216) recognizes the Trinitarians” and “Two Founders of the Order”
Frescoes in the dome “Abraham and the Three Angels” and pendentives “Evangelists” 1750 by Antonio Gonzàlez Velàzquez (1723/93) of such excellent workmanship technique that they have led to the belief (rebutted) that they had been retouched by Francisco Goya in 1770

3^rd LEFT - CHAPEL OF THE IMMACULATE CONCEPTION
Above the altar “Immaculate Conception” 1750 by Francisco Preciado (1713/89), a pupil of Sebastiano Conca
On the right “Annunciation” and on the left “Assumption of the Virgin Mary” 1781 maybe by Michele Espinosa de la Torre or Andrea Casali

2^nd LEFT - CHAPEL OF St. JOHN DE MATHA
Above the altar “St. John De Matha” by Gaetano Lapis (1706/76) who also studied with Sebastiano Conca
On the right “St. John De Matha receives money from the Virgin Mary to free slaves” 1779 and on the left “Miracle of St. John De Matha” 1776 by Andrea Casali

1^st LEFT - CHAPEL OF St. AGNES
Above the altar “Martyrdom of St. Agnes” 1750 by Marco Benefial (1684/1764)
This painting is among the most unorthodox and dramatically effective of all the ecclesiastical paintings of the eighteenth century in Rome
On the right “St. Agnes goes to martyrdom” and on the left “Apparition of St. Agnes to her parents” 1773 by Andrea Casali

SACRISTY
1758 Marco David (active in Rome 1754/65)
Vault “St. Ambrose and the two founder saints among angels, slaves and heretics” about 1747 by Gregorio Guglielmi (1714/73)
“Bust in a round frame of Bishop Diego Morcillo” who commissioned the church, by Gaspare Sibilla (about 1723/82)

CONVENT
Paintings by Francisco Preciado (1713/89), Giuliano Presutti (active 1490/1554) and Antonio Gonzàlez Velàzquez (1723/93)

St. PASCHAL BAYLON

S. PASQUALE BAYLON
Via S. Francesco a Ripa 20

1123 Callistus II (1119/24) with the name of Sts. Forty Martyrs of Sebaste

According to Christian tradition, the Forty Martyrs of Sebaste were Christian Roman soldiers who refused to recant their religion and were left freezing to death in the year 320, during the persecution of Licinius (306/324)


It was rebuilt in 1486 and restored in 1608


Rebuilt 1744/47 by Giuseppe Sardi (1680/1753) with new dedication on the FAÇADE to St. Paschal Baylon (1540/92) the Spanish saint protector of spinsters. The church is in fact also known as the church of spinsters


St. Paschal Baylon is also the patron saint of pastry chefs, and of women married to men who encountered difficulties in fulfilling their conjugal duties
For this reason perhaps the legend has it that a woman who wanted to awaken the dormant passion in her husband prayed St. Paschal Baylon and she dreamed him recommending a very thick cream, made with sugar, eggs and Marsala wine, which would have restored sexual desire
The thick cream was first named S. Bayon, then Sanbaion and finally Zabaione or Eggnog in English

The church belongs to the Franciscan Order of Friars Minor Spanish


“A significant variation of the longitudinal type is that which shapes here the main nave as a hall, rounding the corners. The common aspiration is to create an illusory perspective depth with a studied arrangement of light sources” (Paolo Portoghesi)


VAULT “Glory of St. Peter of Alcantara” and DOME “Glory of St. Paschal” about 1754 by Matteo Pannaria

MAIN ALTAR
“Martyrdom of the Forty Martyrs” by Arturo Tosi (1871/1956)

1^st CHAPEL ON THE LEFT
Altarpiece “Holy Family” by Francisco Preciado (1713/89), a pupil of Sebastiano Conca

St. PAUL AT THE REGOLA

S. PAOLO ALLA REGOLA

Via S. Paolo alla Regola 6

Founded according to tradition at the time of Pope Sylvester I (314/355) in a house that had already been converted into a chapel

It was known as SCHOLA PAULI (Paul's School) for the tradition according to which St. Paul lived here for two years. Tradition has it also that he wrote here his letters to the Philippians, Colossians, Ephesians and to Philemon which are part of the New Testament

The church was home to corporations including the ones of the Cappellari (hat makers), Vinai (wine makers), Barbieri (barbers), Cicoriari (chicory pickers) and Vaccinari (cowmen) 

Rebuilt since 1687 by G.B. Bergonzoni (1629/92) for the Third Regular Order of St. Francis of the Sicilian Nation

Consecrated in 1728

FAÇADE

Finished in 1721 with a project by Giacomo Cioli (?/1734) executed by Giuseppe Sardi (1680/1753)

1^st RIGHT - CHAPEL OF St. ROSALIA

Above the altar “Sts. Chiara, Rose of Viterbo and Rosalia” maybe by Cristoforo Creo

Oval painting on the right “Martyrdom of St. Erasmus” by Biagio Puccini (1673/1721)

BETWEEN 1^st AND 2^nd CHAPEL ON THE RIGHT

“Tomb of Bishop Pietro Gioeni” d. 1761

2^nd RIGHT - CHAPEL OF St. FRANCIS

Above the altar “St. Francis Receiving the Stigmata” 1695 by Michele Rocca (about 1675/1751) from Parma

Formerly erroneously attributed to Francesco Mazzola, who, just like Michele Rocca, was nicknamed Parmigianino

3^rd RIGHT - CHAPEL OF THE CROSS

Above the altar “Bronze crucifix” attributed to Alessandro Algardi (1598/1654) or Pietro Bracci (1700/73)

ABOVE THE DOOR OF THE ORATORY

Oval painting “St. Thomas Aquinas admires St. Bonaventure who had fallen into a trance” by Biagio Puccini

ORATORY OF St. PAUL

Oldest area of the church built on the ruins of the house, maybe prison, of St. Paul

Rebuilt 1931 by Antonio Muñoz (1884/1960)

Mosaic “St. Paul” by Eugenio Cisterna (1862/1933)

MAIN ALTAR

At the center “Conversion of St. Paul”, on the right “Martyrdom of St. Paul”, on the left “Preaching of St. Paul” about 1701 frescoes by Luigi Garzi (1638/1721), a pupil of Andrea Sacchi later influenced by Carlo Maratta

“Luigi Garzi went to Rome from Pistoia when he was very young (...) He was at the school of Andrea Sacchi whose teachings helped to direct him towards classicism. Sacchi in particular advised him to study the works of Raphael, Domenichino and Nicolas Poussin. Garzi studied also other classicists Emilian painters such as Guido Reni, and he preferred Giovanni Lanfranco above all. He was, however, decisively influenced by Carlo Maratta, 'so that he can be considered, as a painter, on a minor parallel line to Carlo Maratta, but with interesting differences and anticipations of the eighteenth century' (Sestieri, 1994)” (Gerardo Casale - Dizionario Biografico degli Italiani Treccani)

Eighteenth-century choir made out of walnut wood

ORGAN 1763 by Hans Conrad Wehrle (beginning eighteenth century/1771), German organ builder designer of numerous organs for churches in Rome and in the Lazio region, including that of St. Mary Magdalene

Marble tabernacle for the holy oils made in 1535

3^rd LEFT - CHAPEL OF OUR LADY OF GRACE

Above the altar fresco beginning of fifteenth century “Our Lady of Grace” believed to be miraculous, formerly at the entrance of the old church

Above the door of the sacristy

Oval painting “Virgin Mary delivering the Child to St. Clare of Assisi” by Biagio Puccini

2^nd LEFT - CHAPEL OF St. ANNA

Above the altar “St. Anna receives the Child Jesus from the arms of the Virgin” by Giacinto Calandrucci (1646/1707) a pupil of Carlo Maratta

In the vault frescoes “Glory of St. Anna” and “Prophets” by Salvatore Monosilio (active since 1744/d. 1776) who was also a pupil of Maratta

1^st LEFT - CHAPEL OF St. ANTHONY OF PADUA

Above the altar “St. Anthony of Padua with the Child in his arms” by Giacinto Calandrucci

Oval painting on the left “Miracle of the healing of the foot by St. Anthony” by Giacomo Dio

In the aedicula of the altar “Redeemer” fragment of a larger painting by an anonymous artist of the Veneto-Lombardy area

SACRISTY

1712 Alessandro De Grandis

Vault “St. Paul points out to St. John Chrysostom the Virgin Mary in Glory” by Ignazio Stern (1679/1748)

Walnut cabinets of 1736

Insula Romana di S. Paolo alla Regola

Ancient Roman Apartment Block of St. Paul at the Regola

Under PALAZZO SPECCHI, the building dating back to the sixteenth century to the right of the church, archaeologists found in the years 1978/82 a large brick building made out of four floors dating back to the imperial age with medieval phases of construction

Two of the ancient four floors are below the current street level 

The building was originally built at the time of Domitian (81/96 AD) to be used as a warehouse, maybe the HORREA VESPASIANI, used as part of the port and trading activities that took place along the nearby Tiber River

Two rooms in opus latericium (concrete covered with bricks) and two rooms with mosaic floors arranged on roads parallel to the Tiber and slightly sloping towards the river 

In the Severan period (early third century AD), the building was renovated and new warehouses, spacious halls and residential apartments were built. The new structures made the building rise to four stories in height

In the twelfth century on the ancient building a house with a tower was built, which is still visible behind Palazzo Specchi

St. MARY MAGDALENE

S. MARIA MADDALENA

Piazza della Maddalena 53

At first it was just a small chapel built in the fourteenth century

It was given in 1586 to St. Camillus De Lellis as the seat of the Ministers of the Sick

In 1621 room was cleared for a new square in front of the church

It was rebuilt in the years 1631/34 by Giovanni Francesco Grimaldi (1606/80) from Bologna, who especially worked for the convent

The works continued with this sequence of architects:

1673 Carlo Fontana (1634/1714) (dome and vault)

1680/82 Francesco Carlo Bizzaccheri (1655/1721)

1695 Giovanni Antonio De Rossi (1616/95)

Completed in 1699 by Giulio Carlo Quadri and Francesco Felice Pozzoni

FAÇADE

Designed in gorgeous Rococo style

1735 attributed to Giuseppe Sardi (1680/1753) but more likely by the engraver Domenico Barbiani and the Portuguese Emanuel Rodriguez Dos Santos

It is a unique example in Rome of application of the repertoire of ornamental Rococo to exterior architecture

Statues in the lower order “S. Filippo Neri” and “St. Camillus De Lellis” maybe by Paolo Campana

Statues in the higher order “S. Martha” and “St. Mary Magdalene” 1760 by Joseph Canard

It is the Church of the Abruzzo Region

ABOVE THE ENTRANCE

Exceptional ORGAN 1736 by Hans Conrad Wehrle (beginning XVIII century/1771), German organ builder designer of numerous organs for churches in Rome and in the Lazio region

Wooden gilt choir 1729/35 and stuccos done in 1740

VAULT

“Resurrection of Lazarus” and “Six stories of Mary Magdalene” 1730/32 by the Roman Michelangelo Cerruti (1663/1748)

On the walls niches “Statues of the Virtues” in stucco:

On the right “Verecunda”, “Fidelis” and “Lacrimabilis” maybe by Paolo Morelli (active from 1712/d. 1719)

On the left “Humilis” by Carlo Monaldi (about 1690/1760), “Secreta” and “Simplex” 1696 by Giuseppe Raffaelli

1^st RIGHT - CHAPEL OF St. FRANCIS OF PAOLA

It was rebuilt in 1837 by Antonio Cipolla (1822/74)

Above the altar “St. Francis of Paola Resuscitating a Child” 1720 by Biagio Puccini (1673/1721)

2^nd RIGHT - CHAPEL OF THE SALUS INFIRMORUM

Decoration 1718 by Francesco Ferruzzi

Venerated image of “Our Lady of Health” by an unknown sixteenth-century artist

Above the altar “Angels in flight and the Holy Spirit” maybe by Giuseppe Ghezzi (1634/1721)

3^rd RIGHT - CHAPEL OF THE RELICS OF St. CAMILLUS

1757 Francesco Nicoletti (?/1776)

Above the altar “St. Camillus has the vision of the Cross” 1749 by Placido Costanzi (1702/59)

Urn under the altar 1770 by Luigi Valadier (1726/85) with relics of St. Camillus De Lellis

Vault “Glory of St. Camillus” 1744 by Sebastiano Conca (1680/1764)

Passage between the two chapels “Wooden statue of Mary Magdalene” by an unknown fifteenth-century artist

TO THE RIGHT OF THE MAIN ALTAR - CHAPEL OF THE CROSS

1764 Francesco Nicoletti (?/1776)

On the altar “Wooden cross” of the end of the fifteenth century which, according to tradition, he spoke to St. Camillus De Lellis

MAIN ALTAR

1757 Francesco Nicoletti

Above the altar “St. Mary Magdalene in prayer” 1698 by Michele Rocca (about 1675/1751) from Parma

On the sides bas-reliefs: on the left “The three Marys at the Tomb” and on the right “Noli Me Tangere” by Francesco Gesuelli

Sculptural group on the pediment “Angels supporting the cross” by Pietro Pacilli (1716/after 1769)

APSE

“Preaching of Jesus” 1732 by Aureliano Milani (1675/1749)

ARC BETWEEN APSE AND DOME

“Dinner at the Pharisee's house” 1730/32 by Michelangelo Cerruti (1663/1748)

“Cerruti could not be part of the Academy of St. Luke. He opposed it in fact when, for the approval of a new statute that introduced a rigid and binding control of the members of the Academy on all the most important works in the field of fine arts, a dispute arose for the defense of the rights of the artists not belonging to the Academy. (...) Integration and adaptation of figurative painting with the real architecture of the church can be seen in the decoration of the ceiling and the arch of the tribune in St. Mary Magdalene, carried out in 1732 at the behest of father Costantini, provincial of Rome, with a wealth of inventions and innovations. We mention, among other things, the solution of fresco in the tribune in which the Supper in the Pharisee's house is represented as if it were the figuration of a tapestry held and expanded by angels in flight” (Michele Cordaro - Dizionario Biografico degli Italiani Treccani)

DOME

“Holy Trinity in Glory” and spandrels “Doctors of the Church” 1739 by Etienne Parrocel (1696/1774)

TO THE LEFT OF THE MAIN ALTAR - CHAPEL OF THE RELICS

Above the altar “Death of St. Joseph” by Antonio Gagliardi

3^rd LEFT - CHAPEL OF St. NICHOLAS OF BARI

1673 Carlo Fontana

Covered in marble in 1696 by Mattia De Rossi (1637/95) and Francesco Carlo Bizzaccheri (1655/1721)

Above the altar “Christ, Virgin Mary and St. Nicholas of Bari” 1698 by G.B. Gaulli aka Baciccio (1639/1709)

“Using the brightness of Veronese, Baciccio cleared out Roman painting of the seventeenth century, opposing his terse and brilliant color solutions not only to the anachronisms, but also to whatever more advanced one could see in Rome at that time. It would suffice to enter today in any Roman church where there is an altar piece or a fresco by Gaulli to notice the incredible difference in terms of values of light and colors compared to what one could see around. This quality of light and colors, mind you, is not the one of the Thirties, from the Veneto region, inspired by Titian's bodied and dense matter that dissolves the form, but it is substantiated by smooth and unwrinkled surfaces designed with drawing, which, for their uniformity of matter, are even more vivid” (Francesco Petrucci)

On the sides “Miracles of St. Nicholas” by Bonaventura Lamberti (about 1653/1721)

2^nd LEFT - CHAPEL OF St. LORENZO GIUSTINIANI

Above the altar “St. Lawrence Giustiniani adoring the Child” 1704 by Luca Giordano (1634/1705), his last masterpiece

“The speed with which he produced his great improvisations was proverbial, and he was soon nicknamed 'Luca fa presto' (Luca is quick). He considered the whole past an open book for his own purposes. He studied Dürer as well as Lucas Van Leyden, Rubens as well as Rembrandt, Ribera as well as Veronese, Titian as well as Raphael and he was able to paint in any way he chose, but he never copied. He was inspired by all traditions rather than being tied to one and his personal style is always unmistakable. Evidently the purpose of painting for him was fun. In Rome and Venice his influence became extraordinarily strong, and on an international scale the effect of his art cannot be overstated” (Rudolf Wittkower)

Above the pediment of the altar fresco “Angels in Flight” by Girolamo Pesci (1679/1759)

On the left “Tomb of Maffeo Farsetti” 1704 by Giuseppe Mazzuoli (1644/1725)

1^st LEFT - CHAPEL OF THE ASSUMPTION

Above the altar “Assumption” by Girolamo Pesci who also painted the angels on the ceiling

SACRISTY

1739 Francesco Rosa (active from 1674/d. 1687) in rococo style, one of Rome's most beautiful

Closets at the corners 1740 by Domenico Barbiani

In the vault “Glory of Sts. Camillus and Filippo Neri” by Girolamo Pesci

On the first floor CHAPEL OF St. CAMILLUS with his relics 1732 by Emanuel Rodriguez Dos Santos, in the place where St. Camillus died

St. MARY IN MONTICELLI

S. MARIA IN MONTICELLI

Via di S. Maria in Monticelli 28

Maybe built in the seventh century AD over ruins which determined the mound where the church is and from which it took the name monticelli (mounds)

Maybe they were the ruins of a temple in the area of the Circus Flaminius such as the TEMPLE OF NEPTUNE. Filippo Coarelli reckons the Temple of Neptune was actually located in the area of the Manilis' House

In 1089 Pope Urban II (1088/99) transferred here the relics of five martyrs from Palermo

Restored in 1101 for Paschal II (1099/1118)

It was known as Sancta Maria in Monticellis Arenulae de Urbe

1715 transformed for Clement XI Albani (1700/21) by Matteo Sassi (1646/1723) who also designed the FAÇADE with the collaboration of Giuseppe Sardi (1680/1753)

1860 restoration by Francesco Azzurri (1831/1901) for Pius IX Mastai-Ferretti (1846/78) with polychrome marble taken from the columns of the previous church, as they were found embedded in the pillars of the eighteenth-century restoration

Since 1726 it is officiated by the Fathers of the Christian Doctrine

VAULT

“Six heroines of the Old Testament: Esther, Bathsheba, Deborah, Jael, Abighail and Judith” representatives of the main glories of Our Lady, 1860 by Cesare Mariani (1826/1901)

“Highly regarded by the popes, Cesare Mariani began his copious activities under Pius IX in the mid-1800s, and continued until the end of the century under Leo XIII, literally covering of paint vaults, pillars and domes of 13 Roman churches. Appreciated by the House of Savoy, he also contributed to the definition of the image of the emerging unitary Italian state, winning the competition for the first public commission of the new kingdom: the frescoes in the Hall of the Majority, at the current Treasury Palace, where the first ever Council of Ministers Italian met. (...) An artist who played an important role in that particular historical moment of transition between the papal city and the 'Third Rome' (...) His art is defined by critics as 'very flexible', as he knew to adapt it to any client with great ease” (Lauretta Colonnnelli - Corriere della Sera on 3/25/01)

COUNTER FAÇADE

Above the organ “Moses and the Burning Bush” and “Jacob's Dream” by Cesare Mariani

On the choir “St. Cecilia among the angels” by Tommaso Minardi (1787/1871)

To the left of the entrance there is a medieval fragment of a fresco representing perhaps “Paschal II”

FRESCOES ON THE PILLARS

“Evangelists” 1860 by the nineteenth-century painter Ercole Ruspi

1^st CHAPEL ON THE RIGHT

Above the altar “Agony in the Garden” by Odoardo Vicinelli (1683/1755)

On the right wall “Assumption” maybe by Andrea Sacchi (1599/1661)

2^nd CHAPEL ON THE RIGHT

Above the altar “Flagellation” by an anonymous seventeenth-century artist maybe Antonio Carracci (about 1589/1618), son of Annibale

3^rd CHAPEL ON THE RIGHT

Above the altar “S. Ninfa refuses to sacrifice to idols” by G.B. Puccetti (1593/about 1670)

On the left wall “Madonna and Child with martyrs of Palermo” by Etienne Parrocel (1696/1774) formerly on the main altar

AT THE END OF THE RIGHT NAVE - CHAPEL OF JESUS ​​OF NAZARETH

Altarpiece “Jesus Christ” by an unknown seventeenth century artist

This image is famous for a miracle which took place in 1854: apparently the eyes of Jesus in this painting moved

Frescoes of the beginning of the twentieth century by Eugenio Cisterna (1862/1933)

“Tombstone of Gregoria de' Rusticelli” of the fifteenth century

APSE

Fragment of mosaic of the twelfth century with “Head of the Redeemer”

MAIN ALTAR

Relics of the martyrs of Palermo bishop Maximilian, Eustosius, Proculus, Golbodeus and the young girl Ninfa

Above the altar “Presentation of Mary in the Temple” by Alfredo Bea

Walls of the presbytery on the right “Mothers offer their children to Jesus”, on the left “Jesus teaches in the Temple” by Cesare Mancini

AT THE END OF THE LEFT NAVE - CHAPEL OF CESARE DE BUS

Founder of the Congregation of Priests of the Christian Doctrine, exhumed in 1975 when he was beatified

3^rd CHAPEL ON THE LEFT

Above the altar “Preaching of St. John the Baptist” by G.B. Puccetti (1593/about 1670)

Under the altar body of S. Fortunato martyr of the second century

2^nd CHAPEL ON THE LEFT

Above the altar “Wooden Crucifix” traditionally attributed to Pietro de' Cerroni aka Pietro Cavallini (about 1240/about 1325) in front of which it seems St. Bridget used to pray

1^st CHAPEL ON THE LEFT

Above the altar “Flagellation” by the Frenchman Jean Baptiste Van Loo (1684/1745), who studied in Rome with Benedetto Luti

St. MARY OF LORETO IN VIA S. GIOVANNI IN LATERANO

S. MARIA DI LORETO IN VIA S. GIOVANNI IN LATERANO

Via S. Giovanni in Laterano 33/35 - Sconsacrata

About 1700/1720 maybe by Giuseppe Sardi (1680/1753), according to Paolo Portoghesi, for Clement XI Albani (1700/21)

It was demolished in the years 1937/61 with the adjacent monastery for the construction of the Esattoria Comunale (Municipal Tax Building)

It remains only the façade, restored in 2000

During the demolition a Roman mosaic was found with “Battle of gladiators against wild beasts” now kept in the Municipal Tax Building

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