Sts. ANNE AND JOACHIM AT THE FOUR FOUNTAINS

SS. ANNA E GIOACCHINO ALLE QUATTRO FONTANE
Via del Quirinale 24 - Sconsacrata

Small church built in 1611 with a Spanish convent for the Congregation of the Discalced Carmelites
Rebuilt with expansions in the years 1638/49 by Paolo Marucelli (1594/1649)

The work was completed by Alessandro Sbrenchio for Alexander VII Chigi (1655/67)

The Carmelites left the complex in 1807

Restorations in 1846 when it was sold with the convent to the Belgian Ecclesiastical College
Other renovations in 1931
The building is privately owned since 1972

PENDENTIVES
“Saints missionaries in Belgium” 1853 by Enrico Dobbelaer

LUNETTES
Above the niches of the two side altars, on the right “Holy monks comforting a sick nun” and on the left “Conversation between two sisters” about 1727 by Pietro Nelli (active in Rome 1700/50)

TO THE RIGHT OF THE MAIN ALTAR
“Tomb of Augustus Vittorio Misson” Belgian soldier 1862 by Pietro Galli (1804/77), a pupil of Bertel Thorvaldsen

MAIN ALTAR
“The Holy Family with Ss. Joachim and Anne” painted in the seventeenth century

TO THE LEFT OF THE MAIN ALTAR
“Tomb of Alfredo De Limminghe” papal knight 1861 by Pietro Galli
In the church there are other graves of papal soldiers

Sts. ANDREW AND CLAUDE OF THE BURGUNDIANS

SS. ANDREA E CLAUDIO DEI BORGOGNONI
Piazza S. Claudio/angolo Via del Pozzetto

Built in 1652 in lieu of a pre-existing chapel for the colony of French Burgundians which increased greatly in the years 1632/42 after the Thirty Years War and after a famine
At that time, about 12,000 Burgundians migrated to Rome
Another wave of refugees arrived in 1678

Rebuilt 1729 by Antoine Dérizet (1697/1768)

Now the church is run by the Blessed Sacrament Fathers
It is always open to the perpetual adoration of the Sacrament

FAÇADE
In two niches, on either side of the door, on the left “St. Andrew” 1771 by Luc Breton and on the right “St. Claude” 1771 by G.A. Grandjaquet two sculptors from Burgundy

“Closely related to the works of 1729 was the arrangement of the square just outside St. Claudius, which at the time was divided by that of S. Silvestro by a line of buildings. But the carefully studied effect of proportions that the square must have had was unfortunately totally lost after the demolition, around 1940, of the line of buildings with the subsequent unification of the two squares” (Angelandreina Rorro)

PENDENTIVES
Stuccos “Evangelists” by Pierre de l'Estache (about 1688/1744)

1^st RIGHT - CHAPEL OF St. JOSEPH
In the altar “St. Joseph between two angels” by Guido Francisi
On the left “Dream of St. Joseph” and on the right “Flight into Egypt” 1949 by Cleto Luzzi (1884/1952)

RIGHT ALTAR 
Above the altar “St. Claude recommends to St. Charles Borromeo the citizens of the Franche-Comté” 1731 by Placido Costanzi (1702/59)
On the right “St. Claude” 1939 by Cleto Luzzi

MAIN ALTAR
Canopy of the end of the nineteenth century flanked by two angels where the Sacrament is normally exposed
Fresco in the upper part “Eternal God Blessing” by Antonio Bicchierai (1688/1766)

LEFT ALTAR 
“Resurrection” 1740 by Jean François de Troy (1679/1752)
On the right “St. Andrew” 1939 by Cleto Luzzi (1884/1952)

OLD SACRISTY
Two paintings with the same subject “Sts. Andrew and Claude entrust to Our Lady the citizens of Franche-Comté” one by the Belgian Louis Cousin aka Luigi Gentile (1605/67), the other by Pietro Barbieri (1684/1730), a pupil of Carlo Maratta

NEW SACRISTY
“Adoration of the Blessed Sacrament” by Eugenio Cisterna (1862/1933)

Sts. AMBROSE AND CHARLES ON THE CORSO

SS. AMBROGIO E CARLO AL CORSO
Via del Corso 437

It replaced S. Nicola de Tofo national Church of the Lombards since 1471

Work began in 1612 with Onorio Longhi (1568/1619), after the canonization of St. Charles Borromeo in 1610, and continued from 1619, the year of the death of Onorio Longhi, until 1640 with his son Martino Longhi the Younger (1602/60)
Works finished in the years 1668/69 with Pietro Berrettini aka Pietro da Cortona (1597/1669) who designed the apse, the dome and the stuccos in the interior

FAÇADE
1682/84 G.B. Menicucci and Fra Mario da Canepina from a project of Cardinal Luigi Omodei
The construction of the church took therefore 72 years

In the PIAZZA AUGUSTO IMPERATORE behind the church, at the sides of the APSE, gigantic statues “St. Ambrose” by Arturo Dazzi (1881/1966) and “St. Charles Borromeo” by Attilio Selva (1888/1970)

The church is not aligned with Via del Corso because it followed the alignment of the ancient church of St. Nicholas: it originally faced a small square and buildings that used to separate the church from the Via Lata (now Via del Corso)

“The apse was not created to be seen in an open space, which followed the demolition implemented in 1936/40 for the isolation of the Mausoleum of Augustus, but it once stood with its dome at the bottom among the small streets and alleys typical of the urban fabric of Roman Baroque” (Simonetta Ceccarelli)

Seat of the Confraternity of the Lombard Nation

STUCCOS by Cosimo Fancelli (1620/88) and his brother Giacomo Antonio Fancelli (1619/71), designed by Pietro da Cortona

CENTRAL NAVE “The Fall of the Rebel Angels” 1677/79, PENDENTIVES “Evangelists” 1671/72, VAULT, TRANSEPT and PRESBITERY “Glory of St. Charles” 1677, APSE “St. Charles and the plague” all works by Giacinto Brandi (1621/91)

NICHES OF THE NAVES AND OF THE DEAMBULATORY
“Ten plaster statues of saints” 1677/82 masterpiece by Francesco Cavallini (known since 1672/1703)

“These statues were the largest commission of this clever decorator; they are of unequal value and overall show a close affinity with the style of the turbulent Ercole Antonio Raggi. Cavallini did not learn, however, neither from Raggi nor from Ferrata: he was a disciple of Cosimo Fancelli the most important brother of Giacomo Antonio” (Rudolf Wittkower)

“Monochrome and fake stucco” 1677/80 by Paolo Brozzi

CEILINGS OF THE NAVES AND OF THE DEAMBULATORY
ELEVEN FRESCOS painted in the years 1678/81

From right:
“Temperance” by Paolo Albertoni (about 1670/after 1695)
“Justice, Peace, Law and Truth” by Girolamo Troppa (1630/after 1710)
“Religion, Fortress, Purity and Chastity” by G.B. Beinaschi (1638/88)
“Devotion” by Carlo Ascensi
“Humility, Prayer, Perfection and Fortitude” by G.B. Boncuore
“Glory of Angels” by Luigi Garzi (1638/1721) a pupil of Andrea Sacchi, later influenced by Carlo Maratta
It is behind the altar in the opposite direction to the others because it had to be visible through the arch closed later by the painting by Maratta
“Vigilance” by Ludovico Gimignani (1643/97)
“Patience, Tolerance and Discretion” by Fabrizio Chiari (about 1615/95)
“Faith” by Luigi Garzi (1638/1721)
“Charity” by Francesco Rosa (known since 1674/d. 1687)
“Hope and Truth” by Pio Paolini

1^st CHAPEL ON THE RIGHT
“Christ and Sts. Ambrose and Charles” maybe by Pier Francesco Mazzucchelli aka Morazzone (1573/1626)

2^nd RIGHT - CHAPEL OF THE VIRGIN MARY AUXILIUM CHRISTIANORUM (Help of Christians)
Altar piece with the same of the chapel painted in the nineteenth century

3^rd RIGHT - CHAPEL OF THE HOLY FAMILY
On the left “Madonna with St. Francis” by Pier Francesco Mazzucchelli aka Morazzone

RIGHT TRANSEPT - ALTAR OF THE IMMACULATE CONCEPTION
1769 maybe by Paolo Posi (1708/76) with a copy in mosaic of the altar piece “Immaculate Conception” by Carlo Maratta in the Cybo Chapel in S. Maria del Popolo
On the side statues: on the left “David” by André Jean Lebrun and on the right “Judith” by Pietro Pacilli (1716/after 1769)

MAIN ALTAR
“Glory of Sts. Ambrose and Charles with St. Sebastian, Virgin Mary and the Redeemer” 1685/90 by Carlo Maratta (1625/1713) restored after a fire in 1831 by Vincenzo Camuccini (1771/1844)

DEAMBULATORY
Unique in Rome, evidently inspired by the Duomo of Milan: in a niche behind the altar there is the heart of St. Charles Borromeo
Above there is a banner with “St. Charles in adoration of the Virgin Mary and Child” by an artist of the school of Giacinto Brandi

LEFT TRANSEPT 
“Altar of the Most Holy” 1929 by Cesare Bazzani (1873/1939) which imitates the opposite transept
Altar piece “The Lord and praying angels” 1632 by Tommaso Donini (or Luini) aka Caravaggino (1601/37)
On the sides statues “Religion” by Eugenio Maccagnani (1852/1930) and “Faith” by Guido Galli (1873/?)

3^rd LEFT - CHAPEL OF St. OLAV
1893 with painting of the Norwegian king saint “St. Olav” by the Polish Pius Welonski
On the left “Agony in the Garden” by Pasquale Rossi
On the right “Holy Family” by Cristoforo Roncalli aka Pomarancio (1552/1626)

2^nd LEFT - CHAPEL OF S. FILIPPO NERI
Paintings on the sides: on the left “Communion of St. Stanislaus Kotska” and on the right “St. Aloysius Gonzaga among the lepers” by Giacomo Zoboli (1681/1767)

1^st CHAPEL ON THE LEFT
Above the altar “Preaching of St. Barnabas” by Pier Francesco Mola (1612/66)

ANTICHAMBER OF THE SACRISTY
“Crucifixion” by Guillaume Courtois aka Borgognone (1628/79)

LARGE SACRISTY
“St. Ambrose and two deacons” by Tommaso Donini (or Luini) aka Caravaggino (1601/37)
Above the doors “Marble busts of the Cardinal Omodei and Cardinal D'Adda” by Agostino Cornacchini (1683/1740)

ORATORY OF St. AMBROSE
Sculptures “Deposition” and two “Sibyls” about 1583 by Tommaso Della Porta (about 1550/1606)

St. VITALIS

S. VITALE
Via Nazionale 194

412, consecrated by Pope Innocent I (401/417) as Titulus Vestinae for the donation of the matron Vestina who wanted to help, with the proceeds from the sale of her jewelry, an already existing chapel dedicated to the brothers martyrs Gervasio and Protasio sons of Vitalis to whom it was eventually dedicated at the end of the sixth century

The church is officially known as BASILICA OF Sts. VITALIS, VALERIS, GERVASE AND PROTASE. Valeria was Vitalis’ wife
S. Vitalis was a martyr of the first century from Milan whose worship had however been discredited because the evidence of his martyrdom was considered false

Largely rebuilt about 800 by Leo III (795/816)
Restored 1475 a fundamentis (from the foundations) as the inscription on the lintel of the entrance portal mentions and reduced in size by excluding the two side naves by Sixtus IV Della Rovere (1471/84)

Granted to the Jesuits in 1598 and fully restored by them with the donation of Isabella Della Rovere who, as Vestina 1200 years before, had sold her jewels

Restorations 1937/38 during which the gap with Via Nazionale was filled with the addition of the staircase by Carlo Forti

Via Nazionale corresponds to the ancient Vicus Longus and it is at the same elevation of the valley between Quirinal Hill and Viminal Hill. The original level of the valley was that of the church

1940/48 restorations that restored the original appearance of the narthex

Here the “Capitoline Venus” of the Capitoline Museums was found

Magnificent WOODEN DOORS with “The Martyrdom of Sts. Vitalis, Gervase and Protase, stories of St. Ignatius and St. Francis Xavier” about 1605 maybe by Giacomo Taurino and Giovanni Paolo Taurino Brothers and Jesuits from Milan

FLOOR and CEILING 1931/34

DECORATIONS OF THE INTERIOR
Designed in 1597 by the Jesuit Father G.B. Fiammeri for Clement VIII Aldobrandini (1592/1605)

COUNTER FAÇADE
On the left “Martyrdom in Syria of Sts. Vittore and Corona”, on the right “Soldier sprinkled with honey” 1599 by Tarquinio Ligustri (about 1563/1621)

WALLS
Frescoes “Martyrs of saints” and architectural structure painted with “Paired columns, friezes and floral festoons” by Annibale Priori and from 1599 to 1603 by Tarquinio Ligustri
“Prophets” maybe by Andrea Commodi (1560/1638), first master of Pietro da Cortona

RIGHT NAVE
Fresco “The Martyrdom of St. Andrew Tribune”

1^st ALTAR ON THE RIGHT
“Triumph of the holy virgins” about 1598/1600 by G.B. Fiammeri
Fresco “Martyrdom of the Egyptian monk Paphnutius”

2^nd ALTAR ON THE RIGHT
“Assumption of the Virgin Mary” about 1598 maybe by G.B. Fiammeri
Fresco “St. Ignatius of Antioch mauled by lions” with the Colosseum in ruins

PRESBYTERY
On the right “Stoning of St. Vitalis” 1601/03 by Agostino Ciampelli (1565/1630)
Plaster statues “St. Ambrose” and “St. Augustine” of the end of the sixteenth century
On the left “Martyrdom of St. Vitalis” 1601/03 by Agostino Ciampelli
Plaster statues “St. Gregory the Great” and “St. Jerome” of the end of the sixteenth century

MAIN ALTAR
In between two black columns of Portoro “Sts. Vitalis, his wife Valeria and their children Gervase and Protase” beginning of the 1600s by an anonymous seventeenth-century artist
On the right “Martyrdom of St. Protase” and on the left “Flagellation of St. Gervase” about 1599 by Andrea Commodi (1560/1638)
Altar front in flowered alabaster of the end of the seventeenth century

APSIDAL BASIN
“Way to Calvary” about 1599 by Andrea Commodi

“A strength of Nordic ancestry pervades the scene. In this representation the human suffering of Christ is focused in the fast pace of the minor episodes - like the sad task of the erection of the crosses - connected, in the intense colors of the landscape and in the changing tones of an exasperated late Mannerism by a spirit of deep participation” (Alfredo Melchiorre Gunter)

WALL OF THE APSE
Above “Angels” maybe by Agostino Ciampelli
In the lower right side “Victory of Gideon over the Midianites” and on the left side “Samson finding honey in the lion's mouth” maybe by Tarquinio Ligustri

LEFT NAVE
Fresco “Martyrdom of St. Clement”

2^nd ALTAR ON THE LEFT
Modern picture of the Sacred Heart
Frescoes “Beheading of St. Januarius”, “Extermination of the 40 Martyrs of Sebaste” and “Martyrdom of Sts. Martinianus, Saturninus and of the two brothers”
“Wooden Crucifix” by an anonymous eighteenth-century artist

1^st ALTAR ON THE LEFT
“Saints Confessors of the Faith” maybe by Giuseppe Penitz

St. VALENTINE

S. VALENTINO
Via Germania 13/Viale XVII Olimpiade - Villaggio Olimpico

 1986/87 Francesco Berarducci (1924)
It has a basilica plan, with peculiar use of metallic structures as well as bricks, travertine and tuff
“The materials used in this project are poor, inspired by an archaeological taste. Masonry brick, with inserts of tuff and travertine, belong to a generic Roman idea, while the glass and steel of the roof, devoid of any bombast, refer to industrial archeology” (Giorgio Muratore)

St. URBAN AT THE CAFFARELLA

S. URBANO ALLA CAFFARELLA
Via della Caffarella/angolo Vicolo di S. Urbano

 Church of the tenth century adapted in the TEMPLE OF CERES AND FAUSTINA part of the Pago Triopio of Herodes Atticus of the second century AD

Prostyle tetrastyle with columns of Pentelic marble from the quarries near Athens which were owned by the Herodes Atticus himself

Herodes Atticus was a wealthy Athenian born in about 100 AD chosen by Antoninus Pius as a tutor of their adopted sons Marcus Aurelius and Lucius Verus and charged with the killing of his wife Annia Regilla who had brought him as a dowry the property on the Appian Way
After the acquittal he showed off glaring manifestations of mourning, including the consecration to the infernal gods of his possessions on the Appian Way which, since then, took the name of Triopio derived from Triopas, the Thessalian hero who had founded the sanctuary of Demeter at Cnidus

It was probably an earthquake (in an undefined period) to cause damage to the vestibule, which led in 1634 to the buffering of the intercolumni. On the same occasion the LITTLE BELL TOWER was erected

Original paintings replaced with frescoes “New Testament Stories, S. Urban and S. Cecilia” 1011

CENTRAL OCTAGONAL AREA OF THE CEILING
Ancient painting only partially preserved with “Two figures, maybe Herodes Atticus and his wife Annia Regilla”
The “stucco frieze” is also ancient and original as well as the structure of the vault

CRYPT
“Madonna with Child between Sts. Urbano and John” tenth century

At the foot of the hill on which the temple stands, in the direction of the Almone stream is the NYMPHEUM OF EGERIA, a rectangular room with vault in opus mixtum preceded by a projecting porch

St. THOMAS MORE

S. TOMMASO MORO
Via dei Marruccini 1

 1921/26 Giuseppe Gualandi (1866/1945) in Gothic Revival style

The original name was S. MARIA AUSILIATRICE DEL PURGATORIO (St. Mary Helper of the Purgatory) and it was dedicated to Sir Thomas More in 1974
Thomas More (1478/1535) was a lawyer, humanist and statesman. He rebelled against the Protestant Reformation and Henry VIII and he was beheaded for his rebellion

St. THOMAS IN PARIONE

S. TOMMASO IN PARIONE
Via di Parione 33

Consecrated by Pope Innocent II Papareschi (1130/1143) in 1139, although the original church is much older
Rebuilt 1582 by Francesco Capriani aka Francesco da Volterra (1535/94) for Mario and Camillo Cerrini
It was the headquarters of the Society of scribes and writers

It is entrusted to the Ethiopian community that celebrates Mass accompanied by Copt songs and Egyptian instruments such as the sistrum

Here Gian Lorenzo Bernini (1598/1680) got married in 1639 with Caterina, younger than him by 20 years: in 33 years of marriage they had five sons and six daughters

Restoration of the interior in 1848 by Antonio Cipolla (1822/74) and in 1886

MAIN ALTAR
“Madonna and Child”, a recent picture of Ethiopian school

AT THE SIDES OF THE MAIN ALTAR
On the right “Card. Gregorio Barbarigo” and on the left “S. Filippo Neri” (St. Philip Blacks in English) maybe by Domenico Palombi, one of the collaborators of Pietro da Cortona

ALTAR ON THE LEFT
“Crucifixion” of the eighteenth century

St. THOMAS IN FORMIS

S. TOMMASO IN FORMIS
 Via di S. Paolo della Croce 10

Maybe it dates back to the tenth century
Mentioned in the sources for the first time in 1209

Former Benedictine abbey donated by Pope Innocent III dei Conti di Segni (1198/1216) to the Trinitarian Fathers of St. John De Matha

The French St. Jean De Matha (1154/1213) had here the headquarters of the Fathers, and adapted part of the monastery as a hospital to assist the poor, the sick, the pilgrims and the slaves who had been rescued, according to the purposes of the order

The building was raised at the end of 1500s
Restored in 1663 and 1787

So named for the nearby Aqueduct of Claudius (Forma Claudia in Latin), which, in fact, in this section is an extension of Nero’s Aqueduct

Above the door of the TRINITARIANS’ HOSPITAL interesting Cosmatesque mosaic “Jesus freeing two slaves, a white one and a black one” 1218
It alludes to the mission of Trinitarian Fathers, expressing a concept of equality among races, being in this well ahead of its time
To the left “Virgin Mary, St. Boniface Martyr and St. Francis of Assisi with Pope Boniface IX (1389/1404)” by Girolamo Siciolante da Sermoneta (1521/80)

St. THOMAS OF CANTERBURY

S. TOMMASO DI CANTERBURY
Via di Monserrato 45

Mentioned in the sources for the first time in the eighth century

Since 1363 it is called SS. Trinità degli Scozzesi (Holy Trinity of the Scots) with adjoining hospice for the British, the Societas Pauperum Anglorum

At the end of the fifteenth century it was dedicated to Thomas Becket (1118/70)
After the English schism it became the refuge of the English believers who escaped the persecution of Henry VIII and in 1538 Cardinal Reginald Pole (cousin of Henry VIII) was elected governor of the institution

It was restored in 1575
It was renovated and equipped with a bell in the years 1680/85

Rebuilt in the years 1866/88 by Luigi Poletti (1792/1869), who was succeeded in 1873 by Pietro Camporese the Younger (1792/1873)
Interior decoration by Virginio Vespignani (1808/82)

“To a careful observer it would be obvious the stylistic diversity between the outside and the inside of the church, typical of the nineteenth-century eclecticism. Here dystonia is present with the treatment of Romanesque exterior 'non-façade' with which contrasts the interior in pure Byzantine style (...) a triumph of gold and color. (...) The church was elaborately frescoed in its entirety by Roman craftsmen, who mostly remained anonymous, according to the style typical of the Nazarenes” (Massimo Alemanno)

MATRONEUM
On three sides with thirty-four tempera paintings “Tales of Catholic England” about 1887 by anonymous roman artists influenced by the purist style of the Nazarenes who also made the sixteen “Medallions with saints” in the nave
On the right side of the matroneum “St. Gregory the Great” by Giuseppe Cesari aka Cavaliere d'Arpino (1568/1640)

MAIN ALTAR
“Holy Trinity with Angels, saints and Sts. Thomas of Canterbury and King Edmund” about 1583 by Durante Alberti (1538/1616)

LEFT NAVE
“Tomb of Cardinal Christopher Bainbridge” Archbishop of York d. 1514 maybe by Nicola Marini

IN THE ENDONARTHEX
To the left “Tomb of Thomas Dereham” with allegorical figures “Faith” and “Loyalty” 1739 by Ferdinando Fuga (1699/1782) with sculptures by Filippo Della Valle (1698/1768)
“Monument of Martha Swinburne” by the Irish Christopher Hewetson (about 1739/1797)
Martha Swinburne was the daughter of Henry Swinburne and died in 1778 at 10 years of age

English College

CHAPEL OF THE SODALITY OF OUR LADY
End of 1500 for the Society of Jesus

Frescoes in the vault “Assumption of the Virgin Mary among angels and apostles” and two ovals with “Angels” attributed to Andrea Pozzo (1642/1709) who maybe also painted the fragment of fresco with architectural perspectives in the garden

Main altar
Copy of the end of 1500s “Birth of the Virgin Mary” by Sebastiano Luciani aka Sebastiano Del Piombo (1485/1547) in S. Maria del Popolo

St. THOMAS AI CENCI

S. TOMMASO AI CENCI
Piazza delle Cinque Scole

It appears for the first time in the sources on the year 1114 in the MONTE CENCI area as mentioned in a plaque embedded in a wall in the atrium

Second consecration in 1240, maybe after a restoration

It was known as In Capite Molarum for the nearby mills (molendinis in Latin) along the River Tiber or In Mercatello for the square where the market was held weekly

It was built on the site of the TEMPLE OF CASTOR AND POLLUX, where the two huge statues of Castor and Pollux with horses were found and moved in 1585 on the Capitoline Hill

It was restored in the years 1559/75 for the Cenci family (Rocco Cenci, his nephew Christopher and the latter's son Francis, who in turn was the father and rapist of Beatrice Cenci) who had the patronage since 1554

“The origins of the Cenci family, despite the claims of two thousand years of antiquity, date back reliably to the mid-fourteenth century (...). They were engaged in commercial activities and were in close relationship with the Roman aristocracy. Since this period, progressive acquisitions of properties in the area by members of the family lead to the establishment of an actual fortress, with towers, residential wings and services for common use - a balneum (bathing complex), an oven, a loggia, slaughterhouses and warehouses - the center of which was the church of St. Thomas” (Angela Catalano)

Restored in 1881
It belongs to the Brotherhood of the coachmen

COUNTER FAÇADE
Lunette “Christ and the Samaritan Woman at the Well” and “Two Evangelists” by an anonymous artist of the end of 1500s just like the other two on either side of the main altar

On the right “Banner with Enthroned Virgin Mary and Child (back) and Our Lady of Sorrows between angels with symbols of the Passion (front)” by an anonymous artist of the beginning of the 1700s

1^st RIGHT - CHAPEL OF THE CROSS
“Wooden crucifix” 1700

MAIN ALTAR
The altar is supported by “Two trapezophori with lions’ feet in white marble”
Round panel in turquoise murra, a very rare marble
Baptismal font resting on “Triangular base with dolphins and acanthus leaves” both of the Augustan period (27 AC/14 BC), and probably found in the area
Tabernacle and balustrade 1626
Altarpiece “Incredulity of St. Thomas” 1612 by Giuseppe Vermiglio (1585/1635), the only authentic work of this painter from Piedmont influenced by Caravaggio

2^nd LEFT - CHAPEL OF St. FRANCIS
Vault “Stories of St. Francis” in 1612 by a late Mannerist anonymous artist influenced by Cavalier d’Arpino
Altarpiece “St. Francis praying in front of the crucifix” by an unknown artist of the end of 1500s

1^st LEFT - CHAPEL OF OUR LADY OF THE BAR
Cenci family patronage since 1453
Above the altar “Nativity of Jesus”, on the left “Nativity of the Virgin Mary” and on the right “Annunciation” 1565 by Girolamo Siciolante da Sermoneta (1521/80) a pupil of Perin del Vaga for Valerio Cenci
On the pilasters “Prophets” and on the vault “Stories from the life of St. Joachim” by Sermoneta with assistants

SACRISTY
“Cinerary urn” of the first century BC used as a water reservoir

St. TERESA OF THE CHILD JESUS IN PANFILO

St. TERESA DI GESÙ BAMBINO ​​IN PANFILO
Via Gaspare Spontini 17

1928/32 Guglielmo Palombi
Dedicated to St. Therese of Lisieux (1873/97)
Stained glass windows of 1978

CHAPEL OF THE RELICS
Veil that St. Therese of Lisieux dressed when she came to Rome to ask the pope to enter the Carmelite Order at 15 years of age

APSE
“S. Teresa scattering flowers “by Ernesto Ballarini (1845/1922)

CATACOMBA DI S. PANFILO
Catacomb of St. Panphilus

It is located under the church
S. Panphilus was a martyr killed on the year 309
Three floors underground up to 20 m (65.6 feet) deep
On various walls there are frescoes with “Biblical scenes”

At n. 53 of Via Giovanni Paisiello, with entrance through a trap door in the middle of the road, there is a HYPOGEUM of the first half of the fourth century carved into the stone, distinct from the Catacomb of St. Pamphilus
It is a private tomb of one or more Christian families with galleries and a large cubicle with walls painted

St. TERESA OF ÀVILA

S. TERESA D'AVILA
Corso d'Italia 37

1901/02 Tullio Passarelli (1869/1941)
Next door there is the General Curia of the Discalced Carmelites
It was built in Romanesque Revival style

In the FAÇADE
“Two marble lions” by Armando Brasini (1879/1965)

In the BRONZE PORTAL
Reliefs “Stories of St. Teresa” 1983 by Fra 'Serafino Melchiorre
“Statue of St. Teresa” by Giuseppe Trabacchi (1839/1909)

St. THEODORE

S. TEODORO
Via di S. Teodoro 7

Sixth century
Reconstructed 1454 maybe by Bernardo Rossellino (1409/64) for Nicholas V Parentucelli (1447/55)

SMALL SQUARE AND STAIRS
1703/05 Carlo Fontana (1634/1714)
It is dedicated to the martyr Theodore, a Roman Legionary, killed in Turkey being beaten with rods, tormented with steel combs and then burned alive, fully deserving the title of Megalomartyr
In the 1500s here was kept the Bronze She-Wolf of the Capitoline Hill
The Titulus S. Theodori was reestablished on December 2, 1959 by Giovanni XXIII Roncalli (1958/63)

Giovanni Paolo II (1978/2005) granted the use of the Church to the Ecumenical Patriarch of Constantinople and to the Greek Orthodox community in Rome, from July 1, 2004, to the presence of Patriarch Bartholomew I of Constantinople

RIGHT ALTAR
“S. Crescentino” by Giuseppe Ghezzi (1634/1721)

APSE
Mosaic “Redeemer among the Sts. Peter, Paul, Theodore and another Saint (S. Cleonico?)” VI century