Maybe built
in the eighth century. Mentioned in the sources for the first time in the
twelfth century
The name
probably derives from some relationship with the nearby headquarters of the
Prefecture of Rome
In the
years 1524/26 it was occupied by St. Cajetan of Thiene and his companions
becoming the first church of the order of the Regular Clerks also known
as Theatins founded in 1524 by St. Cajetan of Thiene and Gian Pietro
Carafa, later Paul IV (1555/59)
1729
rebuilt and rededicated by Pope Clement XIII Orsini (1758/69)
1674
inserted between the wings of the former Dominican convent
1860/62
restoration by Paolo Belloni
Pictorial
decoration 1914/17 by Cleto Luzzi (1884/1952)
VESTIBULE
“Funerary
epigraphs of the poet Francesco Lorenzini and the Canon Giuseppe Paolucci, one
of the founders of the Academy of Arcadia” 1746
Paintings “St.
Pius V in prayer” between “Angels musicians” in monochrome by Cleto Luzzi
In the
center “Glory of St.
Nicholas of Bari” about 1730 by Giacomo Triga (1674/1746),
a pupil of Benedetto Luti, who maybe also painted the boards with the “Stations of the
Cross”
Six
medallions “Four Cardinal Virtues” and “Two angels with inscriptions” by Cleto Luzzi
1st
CHAPEL ON THE RIGHT
Modern
plaster statue of the “Sacred Heart”
2nd
CHAPEL ON THE RIGHT
Above the
altar “St. Nicholas of Bari
resurrecting three children” by an anonymous
seventeenth-century artist
TO THE
RIGHT OF THE ALTAR
“Funerary
monument of Giovanna Ripario” who died in 1863, when she was twenty years old
exactly on the day of her wedding, with a bust by an anonymous
nineteenth-century artist
On the
altar most venerated “Seventeenth-century wooden Crucifix” of the Confraternita
del Santissimo Crocifisso Agonizzante (Brotherhood of the Holy Cross in
Agony)
It is
related to a miracle which occurred in 1740: the Crucifix remained unharmed
during a fire in the Oratory at St. Nicholas in Arcione that melted down even
the bronze candlesticks and a bronze medallion hung on the Crucifix. It was
moved here in 1848
Under the
Crucifix there is a painting of the Virgin Mary known as “Mater Misericordiae” by an anonymous
seventeenth-century artist
Walls
painted on the right “Pietà”, on the left “Agony in the Garden” and in the
lunette “Choir of Angels” 1914/17 by Cleto Luzzi
TO THE LEFT
OF THE ALTAR
Monumental “Funerary memory of
the spouses Antonio Cassetta and Maria Teresa Sturbinetti” 1868 by Luca
Carimini (1830/90) inspired by the Renaissance monuments of Andrea
Bregno
2nd
LEFT - CHAPEL OF THE ROSARY
Gorgeous “Altar
frontal in gilt bronze” of the second half of the nineteenth century by unknown Roman craftsmen
Eighteenth-century
altar sculpture “Madonna of the Rosary” with dress decorated in silver and gold
1st
CHAPEL ON THE LEFT
Above
the altar “Madonna and Child
with Sts. Joseph and James” 1859
by Vincenzo Pasqualoni (1819/80),
a pupil of Tommaso Minardi
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