TIBURTINA WAY

VIA TIBURTINA
Via Tiburtina

Extremely ancient road probably drawn on protohistorical routeslinked to transhumance

It was used by the pilgrims who visited the shrines of Tibur, Tivoli today
Later it became the road used by the Roman nobility to sojourn in summer villas in the surrounding countryside

The beginning of the road was Porta Esquilina (The Arch of Gallienus) of the Servian Wall and it used to pass the Aurelian Walls through the Porta Tiburtina (St. Lawrence Gate)

It was extended in 307 BC up to Corfinium (current Corifinio near L'Aquila) in the territories of the Equi and Marsi peoples, at the behest of the consul Marcus Valerius Maximus with the name of VIA TIBURTINA VALERIA, to facilitate political control of Rome in those provincial areas

In less than 200 km across the Apennines it used to connect Rome with the Adriatic Sea, reaching up to Ostia Aterni, today's Pescara
It still connects today Rome with Pescara with the name STRADA STATALE 5 VIA TIBURTINA

From the Tiburtina Valeria road came off two important roads:

VIA EMPOLITANA from Tivoli to Ciciliano (Empolum), Bellegra and Olevano

VIA SUBLACENSE commissioned by Nerone (54/68) for access to his villa in Subiaco

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

TOWER OF THE CONTI FAMILY

TORRE DEI CONTI
Via di Tor de' Conti/Largo Corrado Ricci

1203 Marchionne Aretino, known as the “Prince of the military architects” for Innocent III of the Conti from Segni (1198/1216)
It was also known as Torre Maggiore (Major Tower) because of its size: the original height had to be about 50-60 m (165-200 feet), whereas the current hight is 29 m (95 feet)

In 1348 the tower became uninhabitable for an earthquake and it was abandoned until 1620, when it was rebuilt
Other earthquakes followed in 1630 and in 1644

Subsequent restructuring occurred at the end of 1600s under Alexander VIII Ottoboni (1689/91), with the construction of the two reinforcement buttresses

Currently it houses offices of associations and of the local Roman government
It was built on one of the corners of the ancient TEMPLE OF PEACE of the years 71/75 built for Vespasian (69/79)

BATHS OF TRAJAN

TERME DI TRAIANO
Via delle Terme di Traiano

104/109 Apollodorus of Damascus for Trajan (98/117) after the fire that destroyed the Domus Aurea in the year 104

Whole area 330 x 315 m (1,090 x 1,030 feet)
Central part 212 x 190 m (700 x 620 feet)

First complete example of “great baths” in Rome with exedra and better layout in relation to the sun and to the prevailing winds like the bathing complexes of Ostia, Caracalla, Diocletian and Decius

The Baths of Titus and the Baths of Nero were oriented north south, affected perhaps by the adjacent buildings
The tank of the baths was the large room known as SETTE SALE (Seven Rooms), actually nine corridors (the last two were discovered in 1760, but the original name lingered) of same width but of different length, oriented north south as the Domus Aurea

BATHS OF DIOCLETIAN

TERME DI DIOCLEZIANO
Via Enrico De Nicola 74

298/306, the largest baths in ancient Rome
According to the inscription in Room Five of the Museum of the Baths they were built in less than eight years

Begun when Maximian (286/305) was back from Africa (298) and finished after the abdication of Diocletian (284/305) and Maximian (May 1, 305), but before the death of Constantius (25 July 306)

Eusebio said that for the construction were employed 40,000 Christians

Area of about 380 x 370 m (1247 x 1214 feet)
They were fed by the Aqua Marcia acqueduct

The plan is similar to that of the Baths of Trajan:

CALDARIUM not circular but rectangular with three niches

TEPIDARIUM and NATATIO arranged along the minor axis

GYMNASIUMS at the sides of the major axis

APODYTERIUM (near the gymnasiums)

AUDITORIA

LIBRARIES in which the books of the Basilica Ulpia were transported to 200 years old and apparently abandoned

The bricks with stamps all date back to the period of Diocletian

The complex could have been used by more than 3,000 people, double the Baths of Caracalla
It remained in operation until the time of the war between the Goths and Byzantines (535/553)
The name remains in the name Termini (Thermae) given to the nearby Termini Train Station

“The eight largest public bathing establishments (among the eleven known) covered all together an area of about 47 hectares (116 acres). There was also an extraordinary number of private ‘balnea’, scattered in all districts of the city: 856 were recorded in the fourth century AD” (Filippo Coarelli)

MUSEO NAZIONALE ROMANO - MUSEO DELLE TERME

Museum of the Baths

Branch of the MUSEO NAZIONALE ROMANO (National Roman Museum) which is made out of five different museums in five different locations. The other four are Palazzo Massimo, Crypta Balbi, Palazzo Altemps and Museo del Palatino

The Baths of Diocletian housed the first branch ever of the National Roman Museum which opened in 1890

The museum was completed in the thirties and renovated in the nineties of the 1900s
The rooms of the Baths from the first to the eleventh are being restored

Garden of the Sixteenth Century

Statues, steles, sarcophagi and funerary altars

At the center fountain with “Colossal cantharus in marble” 2 m (6.6 feet) high decorated with Cupids

Entrance Hall

Frescoes found after restoration “Woman with two children” beginning of the eighteenth century, maybe by Giovanni Odazzi (1663/1731)

“Sarcophagus with Dionysian procession”

“Statue of man with toga” second century AD with head not pertinent

“Funerary altar of the scribe of the curule aedile Quintus Fulvius Priscus and his brother”

EPIGRAPHIC COLLECTION

One of the most important collections in the world with nearly 10,000 ancient inscriptions, which corresponds to about 10% of all epigraphic inscriptions found in Rome

Exhibit with evolution from the most rare inscriptions of the Archaic period to the thousands of imperial age

Room One

“Fragment of the Forma Urbis” representing the Temple of the Castors

Room Two

Copy (the original is in the proto-historic museum) of “Vase with the oldest Greek inscription found in Italy” ninth century BC from Osteria dell'Osa

Copy of the “Lapis Niger”

“Lapis Satricanum” from the Temple of Mater Matuta in Satrico, where he this base offered to Publicola, first Roman consul in 509 BC, was re-used

“Helmet, armor and weapons” of warrior from Lanuvium about 470 BC

“Bronze foil” with a dedication to Castor and Pollux, second half of the sixth century BC, from the thirteen altars in the sanctuary of Lavinium

Room Three

Materials and inscriptions of the fourth and third century BC from Rome and Lazio region

“Small base votive offering to Aesculapius” found in the Tiber River

“Crown of limestone dedicated to Fortuna Primigenia” from Palestrina

“Truncated pyramid of peperino stone dedicated to Aeneas” from Lavinium

“Marble base used as a fountain with metal letters” from the Temple of Hercules in Borgo S. Giovanni near Lanuvio

“Votive complex” with three terracotta statues seated and two standing of the fourth and third century BC from the sanctuary of Demeter and Kore at Ariccia

Room Four

Inscriptions dating back to the period of the late republic

“Base of Lucius Mummius consul in 146 BC” from Fregellae

Two “Small bowls” 63 BC with electioneering for Catiline and Marcus Porcius Cato

“Plaque” dedicated to the baker Eurisace and his wife

“Laudatio Turiae” praise inscribed on marble for a courageous wife during the civil wars

Room Five

Imperial Age. The figure of the emperor

“Dedicatory inscription of the Baths of Diocletian”

“Base with bronze plate” for the statue of Tiberius (14/37) dedicated by the Aenatores (musicians)

“Base in marble for series of statues of members of the Julio-Claudian family” also dedicated by the Aenatores

Upstairs there are epigraphs of the second and third century AD including: “Base for Julia Domna, wife of Septimius Severus (193/211) as mater castrorum”

Room Six

Strata of Roman society

“Inscription commemorating the historian Tacitus”

“Sarcophagus of the eques Aurelius Julianus for his son Marcus Aurelius Romanus with scene of Ulysses and the sirens” third century AD

“Sarcophagus of the eques Julius Achilleus with pastoral scenes” about 270

Lead pipes with marks

Oil lamps

Cast (original is in the garden) of the “Huge inscription for the funerary monument of Epaphroditus, freedman of Nero (54/68)”

Room Seven

Administration of the empire

Bronze “Tabula Alimentaria” of the Baebiani from the Liguria region, 101 AD. They were deported en masse in the Irpinia region in Southern italy

“Inscription for the career of Lucius Lucilius Julianus praetorian prefect”

“Wall with graffiti” from the barracks of the fire brigade

Room Eight

Roman Businesses

“Funerary altar of Aurelia Nais, fish seller “

“Eulogy of the freed Allia Potestas” from Via Pinciana

“Memorials of gladiators”

“Funerary stele of Licinia Amias” with fish, Christological acrostic IΧΘΥΣ formed from the initials of the phrase Ἰησοὺς Χριστὸς Θεοῦ Υἱὸς Σωτήρ which means Jesus Christ, Son of God, Savior in Greek

“Altar of Marcus Antonius Terentius, cattle dealer”

“Altar of a mime from the Sanctuary of Hercules Victor at Tivoli” 199 AD

“Iron collar for slave”

“Sarcophagus of the shoemaker Tits Flavius Trophimas”

Room Nine

Religions in Rome

Inscriptions for the worship of ancestors, Penati, Lari and Mani

Christian and Jewish inscriptions

Statutes (leges) that regulated worship in associations of faithful as the “Lex familiae Silvani” or the “Lex colleges salutaris Dianae et Antinoi”

“Inscriptions for the worship of Anna Perenna” with witchcraft curses found in 2000 near the fountain and sacred source of Anna Perenna in Piazza Euclide

Cult of Mithras with “Statuette of Petrogenitus Mithras” (born from a rock) and polychrome relief with “Mithras tauroctonous” (bull killer)

“Idol of the Janiculum Hill” maybe Egyptian Osiris or Syrian Adonis mid-fourth century AD from the Syrian Sanctuary

Educational Room

Production process of epigraphs and examples of false pieces

Room Ten

Large tombs of the Platorinis and of the Via Portuense

Finally opened to the public in 2009 with 57 years of delay since the, at the time, planned opening. During all this long time the room was always deemed unusable

Probably the hall was originally one of the two entrances to the complex

LARGE TOMB KNOWN AS PLATORINI’S TOMB

Discovered in 1880 on Via Lungara and rebuilt in 1911

The burial chamber is preceded by the statues of “Sulpicius Platorinus” and of his daughter “Sulpicia”, of the first century AD

Inside were relocated urns, richly decorated with reliefs of ox skulls and garlands of fruit

TWO TOMBS BUILT AS CHAMBERS

Carved into the tufa stone discovered in 1951 on Via Quirino Majorana

They were part of a necropolis that developed along the Via Portuense between the end of the first and third century AD:

“First tomb”

There are niches on the walls and vaulted ceiling, decorated in white stucco with floral motifs and mythological figures, including the Dioscuri, Eros riding and Seasons

Allegorical representations allusive to the immortality of the soul and the journey that the soul will have to make to reach the place of the blessed

“Second tomb”

Arched niches. It is painted inside with images that now, thanks to a careful restoration, are presented in all their polychrome glory

On the left side “Two peacocks with a crater”, on the right side “Figures playing ball and other conversing, while a giant baby moves around with a tripod”

Also in the room there are:

“Sarcophagus with Dionysus and Ariadne” from the Via Labicana

“Two sinks” not funerary, one in yellow marble from Tunisia and the other in granite

“Statues” placed in the niches of the thermal baths’ walls

PREHISTORY AND PROTOHISTORY

Pleistocene (geological period from 2,000,000 to 10,000 BC)

Ages in relation to man:

Paleolithic divided into three phases: the lower, early Stone Age (2,500,000/120,000), medium (120,000/36,000), higher (36,000/10,000)

Mesolithic: bows and arrows, villages (10,000/7500)

Neolithic: introduction agriculture, use of clay and ceramics (7,500/5,700)

Eneolithic (or Chalcolithic): Copper Age (5,700/2,300), Bronze Age (2,300/1,100), Iron Age (1100/800 late prehistory - early history)

Materials of the various phases of the CULTURE OF THE LAZIO REGION especially from the following sites:

Osteria dell'Osa near Gabii (“Pot” with the oldest Greek inscription found in Italy, ninth century BC)

La Rustica

Laurentino

Fidenae (hut)

MICHELANGELO’S CLOISTER

Traditionally attributed to Michelangelo Buonarroti (1475/1564) who worked for the church of St. Mary of the Angels in 1561, but maybe only suggested the design that was initiated by his pupil Jacopo Del Duca (about 1520/1604) in 1565 and ended only in the early seventeenth century

Second floor finished in 1676 and fountain dating back to 1695

Restored in 2000

A corner “Door painted in trompe l'oeil with Carthusian friar Fercoldo father of Pope Clement IV (1265/68)” in 1855 by Filippo Balbi (1806/90)

First Wing

Sculptures

Two “Headless statues sitting down” of the Julio-Claudian period from Torpignattara

“Headless statue with armour” from Via Prenestina

“Headless statue of man in heroic semi-nudity” from S. Giovanni Incarico

“Woman standing headless” maybe priestess of Ceres of the second century AD

Various funerary altars including “Titus Aspulenus Carellianus” dead only five years old and “Sarcophagus of child with Centauromachy and Gigantomachy”

Three “Sileni squatting” maybe used as telamons

Second Wing

Sarcophagi

“Sarcophagus with the discovery of the sleeping Ariadne” from Sts. Nereus and Achilleus

“Sarcophagus with two winged genies supporting the clypeus with underneath Ocean and Tellus and at the sides the centaur Chiron training Hercules” from Via Casilina

Stretch of an ancient road

“Sarcophagus with the myth of Medea” from Palazzo Caucci

Small sarcophagi for children

Two “Coffins of the kline type” of the first century AD

Third Wing

Funerary altars and reliefs with portraits of deceased

“Aphrodite draped”

“Child asleep with lantern”

Two “Statues of women in the archaic style”

“Funerary relief with centaur who kidnaps a nymph” from Via Prenestina

Fourth Wing

Religious idols

“Drunken Dionysus”

“Dionysus with a panther”

“Headless satyr carrying a flask of wine”

“Hercules”

“Aphrodite”

“Hera”

Two “Altars for Diana”

Two statues of “Boys sitting”

Statue of “Headless athlete” from Via Ostiense inspired from the original by Polykleitos of Argos (about 490/about 425 BC)

OCTAGONAL ROOM

Room with eight sides located in the southwest corner of the Baths of Diocletian

It is also known as Sala della Minerva (Hall of Minerva) and it is believed to be a minor frigidarium for ablutions

In 1609 it was included in the group of barns of the city of Rome that were transformed in the Pius Institute of General Charity in the nineteenth century
In 1878 was used as a headquarters of the Normal School of Gymnastics and later became the Minerva Movie Theater
In 1928 it was adapted to Planetarium by Italo Gismondi

Now it is part of the National Roman Museum

According to Filippo Coarelli it was built on the TEMPLUM GENTIS FLAVIAE from which would originally come the Agonal Obelisk now in Piazza Navona

Built in about 94 by Domitian (81/96) on the place where he was born for the worship of his gens (extended family)
He maybe moved here from the Mausoleum of Augustus the ashes of his father Vespasian and of his brother Titus

He was buried here himself (Suetonius says that, after his assassination, it was his nurse Phyllis to secretely bring the ashes in the temple and to mix them with those of Giulia) together with Julia, daughter of Titus and his mistress, the two Flavia Domitillas, wife and daughter of Vespasian and Flavio Sabino brother of Vespasian who had died in the year 69 during ths skirmishes against the supporter of Vitellius

TEMPLE OF HONOR AND VIRTUE

TEMPIO DI HONOS E VIRTUS
Piazza di Porta Capena

Built in the year 234 BC
The location just outside Porta Capena is known, but no trace of it remains

Augustus (27 BC/AD 14) fixed to May 29, the date of the feast of Honos and Virtus

TEMPLE OF HONOS
Built by Quintus Fabius Maximus the Procrastinator (275/203 BC)
Honos was the deified personification of Honor, maybe specifically Military Honor, revered in Rome from the third century BC on

TEMPLE OF VIRTUS
Added in 208 BC by Claudius Marcellus, the conqueror of Syracuse
Virtus was the deified personification of Military Virtue and almost always appears with Honos in literary and epigraphic sources
“All the figurative monuments present Honos as male personification, almost always as a kind of a young man covered with pallium on one shoulder and on the lower part of the body, with naked chest, and bearing in one or both hands attributes, including frequently a cornucopia and an olive branch. We cannot exclude that these iconographic characters would be the main differentiation in worship between Honos and Virtus, the latter being constantly represented with military attributes (helmet) as a warrior god” (Giovanni Scichilone - Enciclopedia dell’Arte Antica Treccani)

VALLE THEATER

TEATRO VALLE
Via del Teatro Valle 21

1726/27 Tommaso Morelli (active first half of the eighteenth century) for the Marquis Camillo Capranica and for Domenico Valle who, although he was called Valle, did not give the name to the theater, which was named for the place called “alla valle” (on the valley), the ancient STAGNUM AGRIPPAE on which it was built

The original building was made of wood

Restored 1820/22 by Giuseppe Valadier (1762/1839) with the neoclassical FAÇADE and Giuseppe Camporese (1763/1822) who was the project manager
A collapse in the stage, however, made Valadier drop out of favor and he was replaced by Gaspare Salvi (1786/1849)

Here were held premieres of operas by Gioachino Rossini Demetrio e Polibio and Cenerentola (Cinderella), as well as the premieres of four operas by Gaetano Donizetti and various drama works by Gabriele D'Annunzio as well as Six Characters in Search of an Author by Luigi Pirandello
It is the oldest of the Roman theaters still active

ROSSINI THEATER

TEATRO ROSSINI
Via S. Chiara 14

1874 Virginio Vespignani (1808/82)

Here were represented mainly shows in Roman dialect
It was closed in 1886 and reopened in 1950 by the will of Checco Durante, poet and actor who used to express himself in Roman dialect, and who directed the theater

Since 1990 the direction passed to Alfiero Alfieri, another talented actor specialized in Roman dialect
The theater originally had 600 seats, now reduced to 200 and it was renamed TEATRO ROSSINI - RENATO RASCEL in 2005

ARGENTINA THEATER

TEATRO ARGENTINA
Largo di Torre Argentina 52

Opened in 1732 and designed by the Marquis Girolamo Theodoli (1677/1766) for Duke Giuseppe Sforza Cesarini

In 1826 were added LOBBY, FOYER and FAÇADE (hitherto missing) by Pietro Holl (1780 / 1855-56)

In 1843 it was bought by Prince Alessandro Torlonia

Renewal in the years 1859/61 by Nicola Canevari

In 1869 it passed to the City of Rome for 100,000 scudi

Total reconstruction 1887/88 by Gioacchino Ersoch (1815/1902)

The restoration of 1926 by Marcello Piacentini (1881/1960) and the restoration of the years 1967/71 have almost completely cleared Ersoch’s reconstruction
The restoration of 2011/12 have given back the original soft color to the façade

In 1816 here was performed the world premiere of the opera The Barber of Seville by Gioachino Rossini which ended in a fiasco
Already for the second performance the success was huge and the public went to Rossini’s house Rossini to celebrate after the show. The composer disappointed by the premiere had not gone to the theater and, hearing the uproar, at first he was afraid that people were coming there to beat him up

The Teatro Argentina was also the venue of the world premieres of the works by Giuseppe Verdi I Due Foscari in 1844 and La Battaglia di Legnano in 1849, the latter during the revolutionary period of the Roman Republic at the presence of the national heroes Giuseppe Garibaldi and Goffredo Mameli
From the first half of the twentieth century prose was staged in this theater

FLAMINIUM STADIUM

STADIO FLAMINIO
Viale Maresciallo Pilsudski/Viale Tiziano/Via Dorando Petri

 1957/59 Pier Luigi Nervi (1891/1979) and his son Antonio Nervi (1925/79) on the area of the destroyed Stadio Nazionale (National Stadium), later known as Stadio del Partito Nazionale Fascista (Stadium of the National Fascist Party) and finally Stadio Torino (Turin Stadium), which had been designed by Piacentini, Pardo and Guazzaroni in 1911

24,000 places of which 8,000 are covered

The shelter of the grandstand juts of about 14 m (46 feet)
Here were held many pop and rock concerts including those of Michael Jackson (two dates in 1988 and one in 1992) and U2 in 1987

Sts. NEREUS AND ACHILLEUS

SS. NEREO E ACHÌLLEO
Viale delle Terme di Caracalla 28

595 on the Titulus Fasciolae mentioned in the sources since the year 377
The fasciola was the bandage fallen from the wounded foot of St. Peter while being led to martyrdom

The church was moved to the present site in 814 for Leo III (795/816)

Reduced in size in 1475 for Pope Sixtus IV Della Rovere (1471/84)

Restoration with frescoes and altar raised on the occasion of the Jubilee of the year 1600 for Cardinal Cesare Baronio
It was dedicated on that year to Nereus and Achilleus servants of Flavia Domitilla and martyrs, according to tradition, with her in Terracina under Trajan (98/117)

NAVES
Frescoes “Stories of martyrs” maybe by Niccolò Circignani aka Pomarancio (about 1520/98)

PRESBYTERY
On the right “Candelabra” of the fifteenth century from the Basilica of St. Paul Outside the Walls and “Ambo” with a base made out of porphyry from the Baths of Caracalla

Enclosure of the choir of the twelfth century with Cosmatesque pieces
Ciborium of the sixteenth century
Episcopal chair of Vassallettos’ workshop

SIDE OF THE ARCH OF THE APSE FACING THE NAVE
Mosaic “Annunciation”, “Theotokos” and “Transfiguration” about 815 the only section left of the mosaic of the time of Leo III (795/816)

Sts. LUKE AND MARTINA

SS. LUCA E MARTINA
Via della Curia 2/Clivo Argentario

 Dedicated at the time of Pope Honorius I (625/638) only to S. Martina, martyred under Septimus Severus (193/211) on the ancient CURIA HOSTILIA

Rebuilt in 1256

Restored with the rise of the floor in 1593 by Ottaviano Nonni aka Ottaviano Mascherino (1524/1606), after it had been granted in 1588 to the Academy of St. Luke founded in 1577 by Girolamo Muziano (1532/92)
So the title of St. Luke was added

Restored again in the years 1635/64 by Pietro Berrettini aka Pietro da Cortona (1597/1669)

Works completed in the years 1674/77 by Ciro Ferri (1634/89), a pupil of Pietro da Cortona

“The pylons strongly projecting, fronted by the double pillars, seem to have the wall crushed in the middle, so that the warp seems to be the result of a compression always going on. Absolutely different from any façade of any previous church, it prepares the visitor for the understanding of the internal structure, because the treatment of the wall and the articulation of the premises are explained here in a different key. Cortona think in terms of flexibility of the plastic mass of the walls, and through this he gets the dynamic coordination of exterior and interior. To him can be assigned the honor of having erected the first of the great highly personal and completely homogeneous churches of the Baroque style” (Rudolf Wittkower)

From here it used to begin the procession known as Candelora (Candlemas) established by Gelasius (492/496) to replace the pagan festival of the Lupercalia

Here are buried the artists Pietro Da Cortona, Sebastiano Conca (1680/1764), Luigi Canina (1795/1856), G.B. Soria (1581/1651), Lazzaro Baldi (about 1624/1703)

Design of the area outside 1932 by Gustavo Giovannoni (1873/1947) for the opening of Via dei Fori Imperiali

“In his constructive architecture Cortona eliminated the figurative elements which made such an integral part of his painted architecture. One can not imagine a stronger contrast with the concept of the architecture by Bernini. For Bernini, the very meaning of architecture conceived classically was summarized in realistic sculpture. A similar sculpture would have hidden the wealth and complexity of the work of Cortona. His effervescence here reaches its climax with the absolutely unprecedented wildly undulating shapes of the coffers of the dome. The personal design of these coffers found no imitators” (Rudolf Wittkower)

PENDENTIVES
Sculptures “Symbols of the Evangelists” 1730:
“St. Mark” by Filippo Della Valle (1698/1768),”St. Matthew” by Camillo Rusconi (1658/1728), “St. Luke” and “St. John” by G.B. Maini (1690/1752)
On the floor of the nave tomb of Pietro da Cortona

TO THE RIGHT OF THE ENTRANCE
“Tomb of the artist Giovanna Garzoni” by Mattia De Rossi (1637/95) with maybe portrait of Carlo Maratta (1625/1713)

RIGHT END SIDE
“Martyrdom of St. Lazarus” by Lazzaro Baldi (about 1624/1703). On the left there is his grave
In a niche on the right relief “Ecstasy of St. Mary Magdalene” by Alessandro Algardi (1598/1654)

MAIN ALTAR
“Recumbent statue of St. Martina” 1635 by Niccolò Menghini (about 1610/55)
Above the altar “St. Luke painting the Virgin Mary” by the Sienese Antiveduto Grammatica (about 1572/1626), maybe copy from the original by Raphael now at Palazzo Carpegna

LEFT END SIDE
“Assumption and St. Sebastian” 1740 by Sebastiano Conca (1680/1764). On the right there is his grave
On the left of “Tomb of Luigi Canina” by Pietro Tenerani (1789/1869)

LOWER CHURCH

At the entrance
“Monument of G.B. Soria (1581/1651)”

In the octagonal room
Stucco relief on the altar “Dead Christ with the Virgin Mary and the Father” 1638/39 by Alessandro Algardi
Statues in the niches “Cecilia”, “Agnes” and “Martina” by Cosimo Fancelli (1620/88), “S. Eufemia” by Pompeo Ferrucci (about 1566/1637)

In the church
“Altar of S. Martina” by Pietro da Cortona
Terracotta in the chapel to the left of the corridor “Sts. Epifanius, Concordio and a companion” 1634 by Alessandro Algardi