1662/80 Carlo Rainaldi
(1611/91) for the Confraternity of Suffrage
“There is a
plan dating back to 1662 that demonstrates the existence of an original design
for the church with an elliptical layout, which was never executed. (...) The
Roman architect experimented then some of the most innovative ideas of the
Roman architectural culture of the mid-seventeenth century, but they were
rejected by the confraternity in favor of a more traditional scheme. (...) The
simplicity of the interior is also reflected on the outside, in one of the simplest
façades of Rainaldi's repertoire” (Federica Maria Papi)
Restored in
1868 by Tito Armellini
VAULT
“Coronation
of the Virgin”, “Coats of arms of the Archconfraternity of the Banner and of
Pius IX” above the arches of the central nave “Heroines of the Old Testament
prefiguring the Virgin Mary” 1868 by Cesare Mariani
(1826/1901)
LUNETTE IN
THE COUNTER FAÇADE
“Two Saints”
1868 by Cesare Mariani
1st
RIGHT - CHAPEL OF THE NATIVITY
Above the
altar “Adoration of the Magi”
On the
right “Dream of St. Joseph” and on the left “Adoration of the Shepherds” by G.B. Natali (1630/96)
On the
right “Funerary memory of the painter Pietro Neri” d. 1678 and on the left “Tomb
of the engraver Gaspare Moroni” d. 1678 maybe by Pietro
Paolo Naldini (1619/91)
2nd
RIGHT - CHAPEL OF MARIA CONSOLATRIX AFFLICTORUM (Virgin Mary consoling
the afflicted)
Designed by
Carlo Rainaldi
“Holy image”
of the eighteenth century brought from Mexico by the Jesuit Father Ximines
On the
right “Jacob's Dream” by Giacinto Calandrucci
(1646/1707) a pupil of Carlo Maratta
On the left
“Sacrifice of Isaac” by Girolamo Troppa
(1630/after 1710)
3rd RIGHT - MARCACCIONI CHAPEL
1674 G.B. Contini
Altarpiece “Madonna
and Child” sixteenth century painting on board
On the
right “Adoration of the Magi” and on the left “Birth of Mary” by Giuseppe Chiari (1654/1727), a pupil of Niccolò
Berrettoni (a pupil of Carlo Maratta) who had begun the pictorial decoration
MAIN ALTAR
1674 Carlo Rainaldi
Above the
altar “Our Lady of Suffrage with souls of the Purgatory” first public
commission of Giuseppe Ghezzi (1634/1721)
Lunette
frescoes and vault about 1675 “Assumption in Glory” and “The Lord among the
angels” by G.B. Beinaschi (1638/88) follower of
Lanfranco's Baroque opposed to Maratta's Classicism. Apparently Maratta visited
this church and when he saw these paintings he went out without saying a word
“Beinaschi
shows a distinct similarity to paintings by Lanfranco. Even if he could not
have been for obvious chronological reasons (Lanfranco died, in fact, in the
year 1647) a direct student, he was in fact among his most loyal follower.
Lanfranco's influence persisted and was even enriched with new ideas during
Beinaschi's stay in Naples. (...) He was able to recall the teachings of the
art of Lanfranco without being restricted to being a slavish and late imitator,
but rather with a certain expressive propriety, sometimes even intelligently
expanding on the Correggio's components of Lanfranco's art” (Oreste Ferrari - Dizionario Biografico
degli Italiani Treccani)
3rd
LEFT - CHAPEL OF THE CRUCIFIX
“Wooden
crucifix” first half of the eighteenth century
On the
sides “Gravestones of the Mazzetti family”
2nd
LEFT - CHAPEL OF St. JOSEPH CALASANZ
Altarpiece “St.
Joseph Calasanz with the Child” first half of the eighteenth century by an artist of the Roman School
On the
sides “Miracle of St. Joseph Calasanz” and “Death of St. Joseph Calasanz” by Sebastiano Ceccarini (1703/83)
1st
LEFT - CHAPEL OF THE Sts. HYACINTH AND CATHERINE OF SIENA
1685
formerly of the Oliva and later of the Armellini family
Above the altar
“Virgin Mary and Child with Sts. Catherine of Siena and Hyacinth” by Daniele Seiter (1649/1705)
ORATORY
“Our Lady
of the Rosary among the angels and Sts. Joseph and Dominic” by Giuseppe Ghezzi (1634/1721)
Two
paintings formerly in the presbytery and moved here in 1868: “Resurrection of
Lazarus” and “Daniel in the lions' den” by G.B.
Beinaschi
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