Thursday, January 17, 2019


1592/94 by Francesco Capriani aka Francesco da Volterra (1535/94) for Cardinal Antonio Maria Salviati
After Francesco da Volterra's death it was completed in 1600 by Carlo Maderno (1556/1629) who also designed the two twin bell towers on either side of the apse, a unique and distinctive arrangement in Rome
The FAÇADE was designed in the upper part by Carlo Maderno, in the lower part by Francesco da Volterra
It was designed with a clear inspiration from the façade of the Chiesa del Gesù (Church of Jesus) by Giacomo Della Porta
The name indicated the proximity of the church to the Mausoleum of Augustus
It was part of the complex of the Ospedale S. Giacomo (St. James' Hospital) for terminally ill patients, with the exception of those with leprosy and plague. Most of the patients were syphilitic
1861/63 interior restoration work by Gaetano Morichini
1910 faux marble wall cladding

Francesco da Volterra had planned a central hole inspired by the Pantheon, but for static reasons, Carlo Maderno built a roof truss over the great dome
“In the construction of the dome, buttressed by large volutes, the professional probity and technical rigor of Carlo Maderno, acquired in long apprenticeship alongside Domenico Fontana, shine brightly. However, the desire for consistency with the part of the church already built by Francesco da Volterra makes it impossible to experiment new ideas” (Paolo Portoghesi)
“Glory of St. James” 1861/63 by Silverio Capparoni (1831/1907), a pupil of Francesco Podesti who had to intervene to protect him from the negative criticism
It seems that the pope himself Pius IX Mastai-Ferretti (1846/78) had commented when he saw for the first time the painting: “Even the Incurable have their Paradise” in reference to the name of the St. James' Hospital, also known as the Hospital for Incurable Diseases, or for syphilitic

Above the altar “Resurrection” about 1601/03 by Cristoforo Roncalli aka Pomarancio (1552/1626), clearly influenced by the Fall of St. Paul by Caravaggio in S. Maria del Popolo
“Our Lady, St. James and the donor Vittoria Tolfia” about 1610 by Francesco Zucchi (about 1562/1622)
It is very interesting, from a documentary point of view, to note in Zucchi's painting the representation of the rear façade of the Basilica of S. Maria Maggiore before the seventeenth century works by Carlo Rainaldi

High Relief “St. Francis of Paola begs the Virgin Mary for the sick in hospital” 1714 by Pierre Legros (1666/1719) to whom it is assigned also the stucco decoration on the ceiling of the chapel with “Four angels holding the center pane with the dove of the Holy Spirit among cherubims”
The relief includes the painting “Virgin Mary of the Miracles” by an anonymous artist of the first half of 1400s, from a tower of the Aurelian Walls in the stretch along the Tiber River
The tower was known as the Chapel of Miracles: a woman with the appearance of the image of Our Lady in 1525 would have saved a child who was drowning in the Tiber
“The work is distinguished for the technique and the extremely high quality, evident in the modulation of the surface that generates vibrations of luminosity with a great effect” (Daria Colonna)
On the sides “Miracles of St. Francis of Paola” 1714 by Giuseppe Passeri (1654/1714), a pupil of Carlo Maratta
“The affinity to the Rococo style of the paintings, which are among the latest achievements of the artist, has been explained by the critics in the light of the contemporary work of French sculptors in Rome” (Daria Colonna)

Altarpiece “Baptism of Christ” about 1610 Domenico Crespi aka Passignano (1559/1638), a pupil of Federico Zuccari

“Holy Trinity” about 1862 by Francesco Grandi (1831/91), a pupil of Tommaso Minardi
Maybe by Carlo Maderno. The marble was taken from the Mausoleum of Augustus
To the sides of the altar “Epitaph and bronze coat of arms of Cardinal Antonio Maria Salviati” financier of the construction of the church, buried here
On the sides frescoes of the beginning of the seventeenth century, to the right by Francesco Nappi (about 1565/1630) and to the left by Vespasiano Strada (1582/1622)
Frescoes maybe by Francesco Nappi

Wall to the right “Nativity” about 1622/25 by Antiveduto Grammatica (about 1572/1626)
“This work demonstrates the full integration of the Sienese painter to the style of Caravaggio: the reference to the painting of the same subject painted by Caravaggio in Messina has taken forward the hypothesis that Grammatica would have lived in Southern Italy before the execution of this picture” (Daria Colonna)

Statue “St. James” about 1601 by Ippolito Buzio (1578/1659)

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