Saturday, June 13, 2015



It was built on the site of the church of S. Lucia Vecchia (S. Lucy Old) of the eighth century, also known as S. Lucia in Xenodochio or in Cantosecuto

1544/47 for the Arciconfraternita del Gonfalone (Confraternity of the Gonfalon or banner) founded, according to tradition, in 1264

Since the end of fifteenth century the Confraternity was dedicated to the organization of processions and sacred plays

They used to organize also the reenacting of the Good Friday at the Colosseum that was banned by Pope Paul III Farnese (1534/49) for the crudeness realistic and uncontrolled reactions that it gave rise to, leading even to the killing of some actors who were simulating the killing of Jesus

The scenes painted in this oratorio were probably inspired by the sacred play of Good Friday

Lower order of the FAƇADE 1576/80, higher order completed within 1663 from the project by Domenico Castelli (1582/1657)

From 1960 it was assigned to the Polyphonic Roman Choir which has its concerts here

Wooden ceiling carved in 1568 by Ambrogio Bonazzini with a central “Madonna welcomes the brothers under her cloak”

Mannerist decorations on the walls, one of the most important pictorial translation of the religious and cultural ideals accrued during the Council of Trent the requests of which are perfectly interpreted here:

“Twelve scenes of the Passion” interspersed with spiral columns and topped by “Prophets and Sibyls” 1569/75

“Large collective enterprise of devotional character to the realization of which a large group of artists participated, all formed in the mannerist style. In their works one can distinguish a slow but inexorable process of assimilation of the mannerist language in academic formulations designed to more clearly express devotional values in tune with the needs of piety proper of the cultural climate of the Counter-Reformation” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)

From the end of the right wall:

“Entry of Christ into Jerusalem” 1569 by Jacopo Zanguidi aka Bertoja (1544/74) who began, coordinated and probably planned the whole cycle

“Last Supper” by Livio Agresti (about 1508/79)

“Agony in the Garden” maybe by Domenico da Modena

“Taking of Christ” maybe by Marcantonio Del Forno

“Christ before Caiaphas” by Raffaellino Motta aka Raffaellino da Reggio (1550/78)

On the entrance wall:

“Flagellation of Christ” 1573/74 by Federico Zuccari (about 1542/1609)

“Here become explicit the scattered and underground references of many sacred Mannerist figures to the stage space of the mysteries of the medieval tradition. The drama, which has Christ as its protagonist, is performed with the curtain open on the forefront of what could be legitimately defined as a dedicated place the sides of which are crowded with the audience, figures of the side scene and veritable Sprecher; and each figure has a tacit message to communicate: some target the senses to accommodate an emotional involvement and some, more thoughtful, show the emblems of ascetic religious meditations, as if to suggest to the faithful the attitude to have before the scene of the Passion commemorated on the wall for them” (Antonio Pinelli)

Above the entrance door:

“Banner with the Trinity and the Virgin Mary expanding her mantle to accommodate members of the Gonfalon” about 1575 by Cesare Rienzi

“King Solomon” by Matteo da Lecce (about 1546/1616)

“Crowning with Thorns” 1576 by Cesare Nebbia 1576 (1536/1614)

Continuing on the left wall:

“Ecce Homo” 1576 by Cesare Nebbia

“Road to Calvary” and “Crucifixion” about 1574 by Livio Agresti (about 1508/79)

“Deposition from the Cross” maybe by Giacomo Rocca (1592/1605)

“Resurrection” about 1572 by Marco Pino aka Marco da Siena (about 1525/87)

“The characteristic of the style of Marco da Siena, as it is also evident in the frescoes of the Castel Sant'Angelo, is the strong modeling, of highly plastic effect. There is also the exaggerated anatomy and the desire for contrast and opposites, typical of the imitators of Michelangelo. A significant example is provided by the Resurrection, where the secondary figures formally seek to dominate that of the Risen with strong movements” (Hermann Voss)

On the Altar:

“Crucifixion” 1557 by Roviale Spagnolo (about 1511/82)

Organ of the second half of the eighteenth century


Three paintings of the seventeenth century from churches destroyed in the 1920s and 1930s:

“Holy Trinity with Sts. Venancio and Ansuino” by Luigi Garzi (1638/1721)

“Guardian Angel” by Giacinto Brandi (1621/91)

“Madonna of the Rosary” by an unknown artist of the school of Carlo Maratta

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