Sts.PETER AND PAUL

SS. PIETRO E PAOLO
Piazzale dei Ss. Pietro e Paolo 8 - EUR

Begun in 1938, opened in 1955 by Arnaldo Foschini (1884/1968) with the collaboration of Tullio Rossi (1903/97), Costantino Vetriani (1895/1968) and Alfredo Energici (1894/?)

Height 72 m (236 feet)

DOME
In reinforced concrete covered with slate with a diameter of 28 m (92.8 feet)
It is the fourth wider dome in Rome after the Pantheon (43.3 m - 142.06 feet), St. Peter (42.56 m - 139.6 feet) and S. Giovanni Bosco al Quadraro (31 m - 101.7 feet)

ON TOP OF THE STAIRS
Statues “St. Peter” by Domenico Ponzi (1891 /?) and “St. Paul” by Francesco Nagni (1897/1977)

“The filled and swollen forms, featuring the careful modulation of the anatomical figures reveal the choice for a sculpture of architectural mass and plastic volume, which made ​​Francesco Nagni one of the main artists of the celebrative tradition of the Fascist period, facilitating his early participation in the orbit of major public works” (Francesca Franco - Dizionario Biografico degli Italiani Treccani)

HIGH-RELIEF ON THE FAÇADE
“The Handing oo the keys” and bronze portal by Giovanni Prini (1877/1958)

OTHER RELIEFS ON THE FAÇADE
Works by Alessandro Monteleone (1897/1967), Venanzo Crocetti (1913/2003) and Carlo Pini (1902 /?)

INTERIOR
Two “Ambos” in bronze by Duilio Cambellotti (1876/1960)

MAIN ALTAR
Sculpture “Christ Triumphant” by Attilio Selva (1888/1970)
“Crucifix” in bronze by Giuseppe Graziosi (1879/1942)
“Bronze doors of the tabernacle” by Ernesto Vighi (1894/1950)

DRUM OF THE DOME
Four marble reliefs with Evangelists: “St. Luke and St. Mark” by Francesco Coccia (1902/81), “St. John and St. Matthew” by Enrico Castelli (1890/?)

St. PIUS V

S. PIO V
Largo S. Pio V

1952 Tullio Rossi (1903/97)

“St. Pius V is a church considered horrible by the architectural culture of the majority of its parishioners because too mercilessly essential. (...) The architect (...), according to them, has the duty to be a veritable whimsical creator. But what to ask of him, none of the critics desiring whimsicalness knows exactly: decorations in Renaissance style? Plastic movement of space? I think that Tullio Rossi could only design serious architecture, simply and plainly serious, trying, nevertheless, to achieve very high results. (...) The seriousness of his architectural creations reaches, for general and detailed consistency, a high poetic level. Had he tried, contrary to his attitude, to be whimsical, the result would have been well vulgar” (Giancarlo Galassi - Website Archiwatch - archiwatch.it/2010/11/16/una-chiesa-e-una-chiesa)

St. Pius V Ghislieri (1566/72) promoted a Holy League against the Muslims which achieved victory in the naval battle of Lepanto in 1571
He was canonized in 1712

“St. Pius V, a Dominican theologian and inquisitor, when he was elected pope, applied with intransigence the decrees of the Council of Trent and founded in 1571 the Congregation of the Index. He devoted all his energies to the implementation of three ideals: the reform of the Church, the implementation of the decrees of the Council in all countries, the crusade. (...) Equally uncompromising in foreign policy, based primarily on the defense of Catholicism from heresy, and aiming at expanding the jurisdictional rights of the Church, he provoked dangerous tensions in the states of Philip II: in an attempt to promote the accession to the English throne of the Catholic Mary Stuart, he excommunicated Elizabeth, with serious consequences for English Catholics” (Enciclopedia Treccani)

FAÇADE
Coat of arms of Pius XII Pacelli (1939/58) and mosaic on the portal “St. Pius V, Virgin Mary with Child, Christian soldier and the Battle of Lepanto in the background” by Franz Josef Strachota (1911)

INTERIOR
“Stations of the Cross” by Angelo Biancini (1911/88)
Ceramic statue with “Christ showing the Sacred Heart” also by Angelo Biancini

COUNTER FAÇADE
Above the portal statue of “Angel” in plaster by Duilio Cambellotti (1876/1960)
On either side of the portal statues “St. Francis of Assisi” by Alessandro Monteleone (1897/67) and “St. Anthony of Padua” by Michele Guerrisi (1893/1963)

APSE
At the center of “Crucifix” in bronze by Francesco Nagni (1897/1977) and on the sides “Angels holding candles” also in bronze by Goffredo Verginelli (1911/72)
In the side altars there are sixteen other “Angels holding candles” also by Goffredo Verginelli

LEFT AISLE
Baptistery with the bronze statue of “St. John the Baptist” by Goffredo Verginelli

CHAPEL OF St. CATHERINE
Bronze statue of “St. Catherine of Siena” by Antonio Berti (1904/90)
It is flanked by two large terracotta tiles coated in gold “St. Dominic between Sts. Peter and Paul and the Palio of Siena” by Aniellantonio Mascolo (1903/79) from Ischia

1^st CHAPEL ON THE LEFT
Fresco “Baptism of Christ” by Igino Cupelloni (1918/2008)
Here was originally located the baptistery now moved ahead in the left aisle

St. MARY OF GRACES IN THE TRIONFALE NEIGHBORHOOD

S. MARIA DELLE GRAZIE AL TRIONFALE

Piazza S. Maria delle Grazie 5

1941 Tullio Rossi (1903/97)

Built here in 1936 after the destruction of the church in Via di Porta Angelica in order to rearrange Borgo neighborhood. It was known as S. Maria delle Grazie in Porta Angelica

In Via di Porta Angelica, on the corner of a building near Piazza Risorgimento, there is now a mosaic with the image of the icon kept in the church

COUNTER FAÇADE

Painting “Apparition of the Virgin to St. Pius V Ghislieri (1566/72) on the occasion of the Christian victory at the Battle of Lepanto” by Umberto Colonna

PILLARS

Fourteen paintings with “Mysteries of the Rosary” by the Friulian painter Giuseppe Ciotti (1898/1991)

LEFT AISLE

“Icon of Our Lady of Grace with Child” eleventh or twelfth century, brought in 1587 from the Holy Land by the hermit Albenzio De Rossi

St. IGNATIUS OF ANTIOCH

S. IGNAZIO DI ANTIOCHIA

Via Appia Nuova/angolo Via S. Ignazio di Antiochia

1955/57 Tullio Rossi (1903/97)

Dedicated to the bishop of Antioch Ignatius, martyred, according to tradition, in the year 107

“Stations of the Cross” by Alessandro Monteleone (1897/1967)

Stained glass windows “Procession of saints led by St. Ignatius” by Laura Redini Giuliani (1909/1982)

MAIN ALTAR

“Crucifix” in bronze on wooden cross by Francesco Nagni (1897/1977)

Since 1958, in the church is kept the relic of part of the skull of St. Ignatius of Antioch, formerly housed until 1558 in the Basilica of St. Clement and until 1958 in the Church of the Gesù

APSE

Mosaic “Virgin Mary Enthroned” by Gilda Nagni and Francesco D'Urso

St. JOHN BAPTIST DE ROSSI

S. GIOVANNI BATTISTA DE' ROSSI

Via Cesare Baronio 127

1938/40 Tullio Rossi (1903/97)

Frescoes in the nave “Twelve Apostles” by D. Duili

APSE

“St. John Baptist de Rossi in glory between two angels” 1945 by Alessandro Missori

In the church there is the tomb of St. John Baptist de' Rossi (1698/1764)

St. GALLA

S. GALLA

Circonvallazione Ostiense 197

1940 Tullio Rossi (1903/97)

It was built to replace the old church of S. Maria in Portico later dedicated to St. Galla (about 504/550), demolished for the construction of the Palazzo dell'Anagrafe (Palace of the Registry Office)

END OF THE RIGHT NAVE

Canvas “Vision of St. Galla” by an anonymous seventeenth-century artist, formerly in the old church of St. Galla

MAIN ALTAR

“Memorial stone with reliefs” of the Flavian period (69/96 AD), formerly in the old church of St. Galla

Organ with mechanical transmission 1967/2003

St. EMERENTIANA

S. EMERENZIANA

Piazza S. Emerenziana - Quartiere Trieste

1942 Tullio Rossi (1903/97) with the architect Federico Fornari for Pius XII Pacelli (1939/58)

COUNTER FAÇADE

Triptych “St. Emerentiana in glory” 1944 by Olga Biancitti

APSE

Impressive mosaic “Triumph of the Church in the World” 1968 by the Capuchin Father Silvio Alessandri aka Ugolino da Belluno (1919/2002)

The mosaic covers an area of 523 m² (5,630 square feet) more than twice that of the Last Judgment by Michelangelo in the Sistine Chapel (about 200 m²)

About 12 tons of material (13.2 tons) were used for the mosaic

Among the characters represented in the adoring crowd there are also Bobby Kennedy and Martin Luther King both in the left group

“The immense Cross serving as a backdrop for the whole composition, through the multidimensional plans, stands for the cosmic mystery of redemption. Even inanimate nature, fallen under the curse of sin, has participated of the fruits of the Passion and Death of Christ (animals and the stars, arranged with abstract rhythm, around the clypeus surrounding the cross at the top, effectively represent the totality of the non-human world). The fruits of redemption, Grace and Truth are poured out like Pentecostal Fire across humanity that received the word of Christ through the Holy Scriptures symbolized by the four Evangelists at the foot of the Risen Christ. God's people, made up of persons of every race and condition, is cemented by the grace of baptism in a profound unity, and this is all arranged on the same level. But in the Church there is a variety of grades and functions. Hierarchy has, according to the will of Jesus, the task of leading the people of God and of authentically interpreting the revealed word: it is therefore at the center, as the hub of the visible unity of the Church, and closes the vertical line going from the Father and the Holy Spirit through the Word made flesh, testified to us by the four Evangelists” (Don Eutizio Fanano - Web Site of Santa Emerenziana - www.santaemerenziana.org )

St. ANDREW APOSTLE

S. ANDREA APOSTOLO

Via Cassia 731

1941 Tullio Rossi (1903/97)

“Tullio Rossi, who began his work in the study of Clemente Busiri Vici, was busy with renovations and interior design, designed villas, palaces and signed projects of more than forty churches, all in the City of Rome, largely characterized by simple architecture, but with originality of expression and classical ideas: facades with slanted sides, splayed portals, and interiors with trussed roofs and aisles lit by large windows. In 1946, in Florence, he rebuilt the area around Ponte Vecchio and designed, along with American architects, the American Military Cemetery” (Antonio Rossilli)

It took the name of the previous small church, which still stands a few meters further out from Rome (Via Cassia 735), built in the years 1690/95 for Cardinal Antonio Maria Pignatelli who became pope under the name of Innocent XII Pignatelli (1691/1700)

The original church of S. Andrew the Apostle then assumed the name of CHAPEL OF THE INSTITUTE MOST HOLY VIRGIN OF THE URSULINE SISTERS OF GANDINO

The area, which now takes its name from the so-called Tomb of Nero, was part of the villa of the Pignatelli family