1470
simultaneously with the Ospedale della Consolazione (Consolation
Hospital) built behind the church and abolished in 1936
It was
rebuilt in the years 1583/1600 by Martino Longhi the
Elder (1534/91)
Completed
1827 by Pasquale Belli (1752/1833), the
architect of the plan for the Basilica
of St. Paul Outside the Walls
The origin
of the name of the church dates back to 1385, when a nobleman condemned to
death, Giordanello degli Alberini, paid two florins of gold, so that an image
of the Virgin Mary was placed here to “console” the last moments of people
condemned to death
This was in
fact a place for executions until 1550
1st
RIGHT - MATTEI CHAPEL
“Stories of
the Passion of the Christ”
Above the
altar “Crucifixion”
On the
walls “Flagellation” and “Ecce homo”
On the
ceiling “Washing of the Feet”, “Last Supper”, “Christ in the Garden” and “Capture
of Christ”
On the
lunettes “Moments of Christ's Passion”
In the
corners “Evangelists” 1556 masterpiece by Taddeo
Zuccari (1529/66)
With the
work in this chapel the painter from the Marche region was so successful that
he was highly regarded and received a number of job's offers
“Not only
the painting technique and the colors but also the composition reveal how
Taddeo was deeply fascinated by Correggio. The group on the right in the
foreground in the Capture of Christ, for example, refers to a Correggio's
composition. The figure of the young man clearly reveals his model, both in his
movement and in the compositional intentions. Similarly to Correggio here also
the diagonal slant of the figure in the foreground is replicated by the main
group in the background. But this diagonal on the right by Zuccari corresponds
to a similar diagonal on the left side. Just like his Florentine
contemporaries, a crossing of diagonals is generated, which makes the central
group stand out dramatically. Except that this solution, in contrast to the
hustle and bustle of figures by Bronzino and Vasari, so hard to take in with
our eyes, carries with it a clear separation of the individual scenes” (Hermann
Voss)
2nd
CHAPEL ON THE RIGHT
Above the
altar “Pellucchi Altar Piece: Madonna
and Child with Saints and Patron” 1575 masterpiece by Livio Agresti (about 1508/79)
3rd
CHAPEL ON THE RIGHT
Remarkable
gate and “Stories of Jesus and the Virgin Mary” by Giovanni
Baglione (1566/1643)
Designed by
Martino Longhi the Elder
Medieval fresco “Madonna of Consolation”
repainted by Antonio Aquili aka Antoniozzo Romano
(about 1435-40/1508)
On the
sides “Nativity of the Virgin Mary”
and “Assumption of the Virgin Mary”
by Cristoforo Roncalli aka Pomarancio
(1552/1626)
Choir and
organ 1674
5th
CHAPEL ON THE LEFT
“Scenes of
Mary and Jesus” by Antonio Circignani aka Pomarancio
(about 1568/1629), son of Niccolò Circignani who was the master for Cristoforo
Roncalli
All of the three
artists had the same Pomarancio nickname as they all came from Pomarance, near
Pisa
Frescoes “Stories
of St. Andrew” by Marzio Colantonio Ganassini
(active in Rome in the early seventeenth century)
3rd
CHAPEL ON THE LEFT
Frescoes “Life
of the Virgin Mary” by Francesco Nappi (about
1565/1630)
2nd
CHAPEL ON THE LEFT
Above the
altar “St. Francis Receiving the Stigmata” by an anonymous
seventeenth-century artist
1st
CHAPEL ON THE LEFT
Marble
relief “Mystic Marriage of St. Catherine”
1530 by Raffaello da Montelupo (about 1505/57)
SACRISTY
Bas-relief
with “Crucifixion in between the Virgin Mary and St. John” by Luigi Capponi (active at the end of the fifteenth
century/beginning of the sixteenth century)
Fragments
of frescoes on the walls by Antonio Aquili aka Antoniozzo
Romano
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