1439 on the
site of the 1419 oratory of the Blessed Nicola da Forca Palena
Completed
in the sixteenth century
Restored in
1949
St.
Onuphrius was a martyr of the fourth century, patron saint of weavers
Three
lunettes with stories of St. Jerome: “Baptism”, “Vision” and “Temptation” 1605 by Domenico Zampieri aka Domenichino (1581/1641) for Cardinal Girolamo Agucchi
This work
was the personal Roman debut of Domenichino, after having worked with Annibale
Carracci in the Farnese Palace
Above
the door - Lunette
with “Two Sibyls” by Agostino
Tassi (1578/1644)
OUTER
LUNETTE ABOVE THE PORTAL OF THE CHURCH
“Madonna
and Child” 1600 by Claudio Ridolfi
1st
RIGHT - CHAPEL OF St. ONUPHRIUS
Two
spandrels with “Annunciation” by Antonio Aquili aka
Antoniazzo Romano (about 1435-40/1508)
Round panel
“Eternal Father” maybe by Baldassare Peruzzi
(1481/1536)
Stucco and
frescoes by G.B. Ricci (about 1550/1624)
Above the
altar “Madonna of Loreto” 1604/05 by Annibale
Carracci (1560/1609) and his workshop, consisting at the time of Domenichino, Sisto Badalocchio
(1585/1645), Francesco
Albani (1578/1660) and Giovanni Lanfranco
(1582/1647)
“The
charming painting mixes the depiction of the miraculous transportation of the
house of the Virgin Mary from Nazareth to Loreto, to the well-known theme of
the intercession of prayer for the souls in purgatory, on which, to extinguish
the ardor of the flames within which they are immersed, the Child is pouring
water from a jar” (Daniele Benati)
TO THE
RIGHT OF THE MAIN ALTAR
“Funerary Monument of
Giovanni Sacco” of the school of Andrea Bregno (1418/1503)
and, in the lunette, fresco “St. Anne teaching reading to Mary” by unknown artist of Umbrian or Roman school
Frescoes “Stories of Mary” 1503/06 maybe first work in Rome by
Baldassare Peruzzi (1481/1536), according to
Giorgio Vasari
3rd
CHAPEL ON THE LEFT
“Funerary Monument of
Cardinal Filippo Sega” with portrait of Domenico Zampieri aka Domenichino (1581/1641)
2nd
LEFT - CHAPEL OF THE HOLY TRINITY
In the
vault “Trinity” by Francesco
Trevisani (1656/1746)
“Funerary Monument of
Torquato Tasso (1544/95)” 1857 by Giuseppe De
Fabris (1790/1860)
The great
poet from Sorrento renewed the genre of the epic poem with his Gerusalemme Liberata (Jerusalem
Delivered) completed in 1575
“I went to
visit Tasso's tomb of and I cried. This was the first and the only pleasure I
have felt in Rome” (Giacomo Leopardi)
Votive lamp design by Duilio
Cambellotti (1876/1960)
SACRISTY
Fresco in
the vault about 1723 by Girolamo Pesci (1679/1759)
On the
right “Blessed Peter of Pisa” by Francesco Trevisani
(1656/1746)
Fifteenth
century lunettes with “Stories of St.
Onuphrius” painted in the seventeenth century by Claudio
Ridolfi, Giuseppe Cesari aka Cavalier d'Arpino
(1568/1640) and Vespasiano Strada (1582/1622)
UPSTAIRS
In a
corridor wall “Madonna of the donor” by Giovanni
Antonio Boltraffio (1466-67/1516),
mistakenly believed by Leonardo da Vinci
Museo Tassiano
Torquato Tasso Museum
Housed in
the two rooms where the great poet Torquato Tasso (1544/95) lived the last
period of his life and where he died on April 25, 1595
“Jerusalem
Delivered is a revised version of a historical event in which the author
inserted different themes to present a vision of a world full of conflicts and
contradictions, in which are fighting on the one hand the angelic powers and
the Christian sense of the marvelous, on the other hand the powers of hell and
other diabolical magic. (...) Tasso suffered ostracism from the Accademia della
Crusca (...) and was not liked by Galileo Galilei, who in his 'Considerazioni al Tasso'
(Thoughts about Tasso) even
defined the poem a 'junk of crammed words'. However, since the eighteenth
century Tasso was unquestionably included in the canon of the greatest Italian
poets together with Dante, Petrarch and Ariosto. Throughout the history of
Italian poetic language he was a crucial pivot point: the gatherer of the
manifold experiences of rhetorical and stylistic renaissance as well as the
forerunner of modern developments (...). For Giacomo Leopardi he was an example
and an essential reservoir of peculiar and daring language and style, and in
episodes of mannerism of twentieth-century poetry is not uncommon to detect the
presence Tasso, for example in Ungaretti” (Enciclopedia Treccani)
Among the objects exhibited:
FIRST ROOM
Mask taken
from his corpse, the urn that kept his ashes for many years, a metal crucifix
given to him by the Pope and bequeathed by him to the monks, four chairs, a
wooden casket adorned with twelve statues of saints, an inkwell made of wood,
one small oval mirror, the yellow band with which he girded
SECOND ROOM
Various
manuscripts and old editions of the Jerusalem Delivered and of other works of
his
No comments:
Post a Comment