Friday, November 15, 2013


Begun in the years 1633/36 by the Milanese architect Carlo Buzio (1608/59)
Completed 1671/80 by Carlo Rainaldi (1611/91) for Monsignor Giorgio Bolognetti bishop of Rieti
It was open to the public only after the death of Monsignor Bolognetti in 1687
"Carlo Rainaldi unified the whole interior not only architecturally but also in terms of colors. His black, brown and reddish marbles, interrupted by the sparkle of white figures, are perhaps the last resoundingly loud symphony of colors of the Baroque style" (Rudolf Wittkower)
Seven canvases "Assumption of the Virgin" at the center and at the sides "Groups of Blessed" and "Evangelists" 1685 by Giacinto Brandi (1621/91)
On the right "Tomb of Monsignor Giulio Del Corno" with Time tearing up the plaque by Ercole Ferrata (1610/86)
Above "King David singing with the harp" Michel Maille aka Michele Maglia (active in Rome in the second half of the seventeenth century)
On the left "Tomb of Monsignor Camillo Del Corno" by Domenico Guidi (1625/1701) with a skeleton that looks at the hourglass. Camillo was Giulio's nephew and client of the two tombs
Above "Moses with the Tablets of the Law" by Girolamo Gramiglioli
1681/83 designed by Carlo Rainaldi
On the right "Pietro e Franceso Bolognetti" by Francesco Aprile (?/1685) and "Mario Bolognetti" by Francesco Cavallini (active 1672/1703)
On the left "Giorgio Bolognetti" (the client) by Francesco Cavallini and "Ercole and Luigi Bolognetti" believed to be sculpted by Michel Maille but eventually proved to be the work of Lorenzo Ottoni (1648/1736)
"As in Bernini's Cornaro Chapel, here there are no coffins, and there is nothing to remember the dead: the illusion had to be as complete as possible. The six dead are represented in subtly different stages of religioƒus enthusiasm. But if you compare these figures with Bernini's Fonseca, one can not see that they are far less convincing and that the more agitated, that of Mario, the closest in style to the late Bernini, appears almost melodramatic in its reverent exuberance. The spatial concepts of the Baroque style found in this church a triumphant achievement, but the religious sentiment that had supported them began to decline" (Rudolf Wittkower)
1678/80 "Coronation of the Virgin" and presbytery vault "Holy Spirit" by Giacinto Brandi (1621/91)
Statues on either side "St. John the Baptist" and "St. John the Evangelist" by Giuseppe Mazzuoli (1644/1725)
1824 Giuseppe Valadier (1762/1839)
Paintings maybe by Giovanni Lanfranco (1582/1647)

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