Tuesday, March 26, 2019


Maybe built in the seventh century over the BARRACKS OF THE FIFTH COHORT OF THE FIRE FIGHTERS, part of the Praedia Dominica, i.e. the areas belonging to the emperor, hence the name of the church
Rebuilt in about 820 for Pope Paschal I (817/824)
Restored 1514 by Andrea Contucci aka Andrea Sansovino (1460/1529) for Leo X Medici (1513 /21)

Wood paneled with symbols inspired by the Marian litanies 1566 for Cardinal Ferdinando de' Medici
Frieze by Pietro Bonaccorsi aka Perin del Vaga (1501/47) and Giulio Pippi aka Giulio Romano (1499/1546)

Decorative frescoes with “Litany to the Virgin” 1876 by Alessandro Mantovani, Giovanni Brunelli and Luigi Roncati

Sixteen made out of gray granite and two of pink granite of Aswan

1920/30 Gisberto Ceracchini (1889/1982)
“He interrupted his studies after primary school to devote himself to painting as an autodidact. As he himself said, (Marsan, 1983) he had no other masters but nature and himself. His Tuscan origin was also instrumental in orienting him towards studies and the choice of the great artistic-figurative local tradition as a source of inspiration. Since 1915 he settled in Rome, where he met the circle of artists and writers hanging out in the 'third room' of the Aragno Coffee Bar (in Via del Corso), a circle which would have great influence in his cultural formation” (Susanna Zatti - Dizionario Biografico degli Italiani)
Above the arch “Christ between two Angels and Apostles”, below “Moses and Elijah”, in the apse “Mary and Child Enthroned with Angels and Pope Paschal I kneeling down” dating back to the years 817/824 during the pontificate of Paschal I
“Looking at the people, Paschal I (depicted with the square nimbus to indicate that he was living when the mosaic was made) appears as if he is delivering the Virgin Mary to the faithful and, through Her, Jesus. (...) The features of both the Virgin Mary and the angels are executed according to the artistic canon Byzantine and monastic and not according to the Roman iconography of Mary as Queen. It could be the work of Asian artists who came to Rome during the iconoclast persecution” (Official web site of S. Maria in Domnica - www.santamariaindomnica.it )
In small lateral lunettes “St. Zachary with priestly vestments and censer, with, in the lower part, St. John the Baptist and the angel inspiring St. John the Evangelist” maybe by Lazzaro Baldi (about 1624/1703) or by his pupil G.B. Lenardi. The paintings were irretrievably ruined by some repainting applied in later periods
“In the paintings of S. Maria in Domnica are present some of the compositional features typical of both Lazzaro Baldi and G.B. Lenardi as the construction of a space created with a vanishing point, denied, however, by architectural elements which make up almost wings of a stage set within which the scene takes place. It is a scheme also appearing in the canvas by Baldi 'Solomon worships idols' and 'St. John of God cure plague victims' kept in the Galleria Spada in Rome” (Andreina Draghi)
At the end of the naves “Ancient Roman Sarcophagi”

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