Preparatory
sketches for paintings on canvas in the nave of St. Clement executed in
the years 1711/16 including “Glory of St. Clement” by Giuseppe
Chiari (1654/1727) for the ceiling of the church
“As it has
been pointed out, the central figure is derived from the assumption of Annibale
Carracci in S. Maria del Popolo, but the reference point is the Allegory of
Mercy painted by Carlo Maratta in Palazzo Altieri in 1676. Fidelity to the text
of his teacher borders here on plagiarism, or perhaps indicates the use of the
original cartoons, in the group of two putti supporting the anchor down”
(Lorenza Mochi Onori)
“Stories of
St. Clement and St. Ignatius of Antioch” for the walls of the church by some of
the best painters in Rome in the second decade of 1700s:
“Death of S. Servolo” by Tommaso
Chiari (1665/1773) brother of Giuseppe
“St. Clement imposes the veil to St. Domitilla” by Pietro
de Pietri (1663/1716)
“Among the
works of this cycle it is one of those that show 'more intensely maratta-like'
features. With a composition of light classical approach proposing 'in
decidedly eighteenth century tone, the golden language of Raphael'. The
peculiar character of this sketch that marks also other works by De Pietri (for
example, the Madonna and Child with Saints in S. Maria in Via Lata) is this
intimate aspect, and it is one of the most original outcomes of Maratta's
period' (Casale)” (Lorenza Mochi Onori)
“Martyrdom of St. Clement” by Giovanni
Antonio Grecolini (1675/1725)
“Translation of the body of St. Clement” by Giovanni
Odazzi (1663/1731)
“The sketch
shows less freshness than the final version as a fresco. Some indecisions show
up affecting mainly the faces of St. Clement and the prelate behind. The
prelate knelt before the body of St. Clement recalls a figure of G.B. Gaulli,
the St. Nicholas, in the altarpiece in St. Mary Magdalene, which inspired
Odazzi some other times as well” (Lorenza Mochi Onori)
“Trajan condemning St. Ignatius of Antioch” by Giovanni
Domenico Piastrini (1678/1740)
“St. Ignatius of Antioch meets St. Polycarp in Smyrna” by Giacomo
Triga (1674/1746) pupil of Benedetto Luti
“Giacomo
Triga, little-known pupil of Benedetto Luti, a virtuoso of the Pantheon, worked
for the Patrizi and the Theodoli families, and in some Roman churches such as
the Basilica of Sts. John and Paul, St. Francis of Paola and S. Marcello al
Corso” (Lorenza Mochi Onori)
“Martyrdom of St. Ignatius of Antioch” by Pier
Leone Ghezzi (1674/1755)
“As Casale
mentioned, this painting by Ghezzi in the Clementine series is presented as
'the less academic and more whimsical of the group' and 'hard to the limits of unpleasantness.
But original' due 'to an compositional vehemence impatient of conventions and
rules of composition” (Lorenza Mochi Onori)
“Miracle of St. Clement in the Crimea” by Sebastiano
Conca (1680/1764)
“It has been
emphasized the differentiation of this sketch from the rest of the series for
both the bright colors with respect to the general preference for crayon-like
colors, and for the adoption of a small size that allows the presence of
several figures without creating a scrum. ( ...) It as also noted by Casale
(1998) that it is the masterpiece of the clementine series, a work in which the
author reconciles the update on Maratti's reforms with a style that 'shows an
early Rococo expression' (Sestieri)” (Francesca Mochi Onori)
They are
models for the paintings in the side chapel of the Virgin of Seven Sorrows in S.
Marcello al Corso, showing with their bright colors the influence
of Corrado Giaquinto's painting
Extraordinary
“Assumption of the Virgin” by Ludovico
Mazzanti (1686/1775) a Gaulli's student, sketch for the 1720 fresco on
the ceiling of the left transept of S. Ignatius
“Death of S. Joseph” 1712 by Francesco
Trevisani (1656/1746) from Istria
It is a study
for the altarpiece of the second chapel on the right in the church of St.
Ignatius
Sketch of “Last meeting of Sts. Peter and Paul” for the 1766 canvas in the church
of S.
Lucia al Gonfalone, and preparatory sketch of '“Adoration of the
Magi”, a work in S.
Giuseppe alla Lungara, by the Sicilian Mariano
Rossi (1731/1807)
“In the Last
meeting of Sts. Peter and Paul mix, in a studied intersection of levels that
follow the development of the action, relations with the work of Corrado
Giaquinto but, as Giancarlo Sestieri pointed out, in an 'extreme simplification
of form, based on an essentially linear conciseness' and 'developed especially
in the footsteps of Marco Benefial and Francesco Mancini'“ (Lorenza Mochi
Onori)
“Allegories
of the four elements: water, air, fire and earth” 1767/68 by the Roman Stefano Pozzi (1699/1768) for the lunettes of the
vault of a Cabinet in the Palazzo Doria Pamphilj
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