Known as
Oratory of St. Lawrence since 1318
1543 Domenico De Ario from Ticino for Cardinal Juan Alvarez
de Toledo
Renovated
in 1630 by Domenico Castelli (1582/1657) for
Urban VIII Barberini (1623/44)
The church
is also known as Sts. LAWRENCE AND HIPPOLYTUS and it seems that
originally there were two separate oratories in the area dedicated to the two
saints: the Oratory of St. Hippolytus of the fourth century and the Oratory of
St. Lawrence corresponding to this church
SMALL BELL
TOWER of 1734
It was
rebuilt in the nineteenth century
In the
basement dating back to the ancient Roman times there is the well in which,
according to tradition, St. Lawrence was imprisoned in the year 258 AD
The urban
prefect had ordered him to deliver the riches of the church and he showed up
with a group of poor people. With the water of the well he had baptized his
jailer Hippolytus who converted and was executed also
COUNTER FAÇADE
“Madonna
and Child” an early work by the Venetian Carlo Saraceni
(1579/1620)
Restored in
1951
Above the
entrance of the chapel “Funerary memory of Cardinal Giustino Olivieri” 1632 by
an anonymous seventeenth-century artist
In the
vault fragment of a fresco with “Eternal God”, the only remnant of the
disappearance decoration of about 1628 by G.B. Speranza
(about 1600/40)
“St. Lawrence baptizes Hippolytus
and his family” by Andrea Camassei (1602/49)
“The painting
is a typical example of the Roman Classicism of the thirties of the seventeenth
century, and it took place in the cultural area that referred to Domenichino
and Nicolas Poussin, the leading exponent of which was Andrea Sacchi” (Sandra
Suatoni)
On the
right “Martyrdom of St. Lawrence”
and on the left “Charity of St. Lawrence”
by Marco Marco aka Marco del Ruspoli from Civita Castellana (1712/78) little known pupil of
Marco Benefial
“Judging
from the rare works attributed to him (the only other painting that is
certainly his is the Blessed Joseph Calasanz in the Church of the Stigmata),
Caprinozzi was an eclectic artist who mixed components of the seventeenth
century derived from Bologna with strong references to Benefial and Trevisani
in the coloring and in the pathetic cadences” (Sandra Suatoni)
CHAPEL OF
THE LEFT
Altarpiece “The Martyrdom of Sts. John and
Paul” by an anonymous
seventeenth-century artist
ON THE LEFT
WALL
“Virgin Mary between Sts. Margaret
and Elizabeth of Hungary” by an anonymous artist
of the end of the seventeenth-century
SACRISTY
“Marble
bust of Pope Urban VIII Barberini (1623/44)” by an unknown
artist from the workshop of Gian Lorenzo Bernini
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