Thursday, March 14, 2019


Original church built in the fifteenth century
Rebuilt in the years 1694/1720 by the Roman priest Giuseppe Faraldi

1727 maybe by Filippo Raguzzini (1680/1771)
The BELL TOWER dates back to 1952
The name of the church comes from the brick factories with kilns that were present in the area

Above the altar “Holy Trinity and Saints” 1737 by Onofrio Avellino (about 1674/1741), a pupil of Francesco Solimena

“Virgin Mary of the Graces” by the Belgian Gilles Hallet (1620/94)

Above the altar “Holy Family and St. John the Baptist” by Giuseppe Chiari (1654/1727) favorite pupil of Carlo Maratta
On the right “Nativity” by Nicolò Ricciolini (1687/1772)
On the left “Rest on the Flight into Egypt” by Pietro Bianchi aka il Creatura (1694/1740) Roman pupil of Benedetto Luti and Baciccio
“In 1707, aged 13, Pietro Bianchi won a competition of the Academy of St. Luke, hence his nickname 'Creatura' (small baby) with which he was mocked by the other competitors for his young age and his physical features is not particularly developed. This was the first in a series of successes. Bianchi was not a very prolific artist; biographers describe him as shy and reticent, never satisfied and almost obsessed with details. It seems that he was often distracted from his work to help friends; works attributed to him include drawings and models for the sculptors Filippo Della Valle, G.B. Maini and Pietro Bracci. Much of his work has been lost or not yet identified” (William Crelly - Dizionario Biografico degli Italiani Treccani)
Lunettes “Preaching of St. John the Baptist” and “Beheading of St. John the Baptist” about 1721 masterpieces by the great Roman painter Marco Benefial (1684/1764)
The terribly bloody beheading of St. John the Baptist is a tour de force of composition with excruciating crossed diagonal and blood dripping not only from the poor physically tortured neck of St. John the Baptist, but also, figuratively, from every square inch of the painting 
“The public debut of Benefial is marked by rebellion against the academical practices dominating Roman art at that time, and his whole life is marked by controversy stances. (...) (In his painting) is always possible to isolate examples of an icastic, vivid representation of reality, of singular naturalistic clarity” (Evelina Borea - Dizionario Biografico degli Italiani Treccani)
In the dome very damaged frescos by Pietro de Pietri (1663/1716)

Above the altar “Crucifixion” by the Roman Odoardo Vicinelli (1683/1755)

No comments:

Post a Comment