SS. TRINITÀ DEI MONTI
Piazza
Trinità dei Monti 3
The
construction began in 1502 for the French king Louis XII (reigned 1498-1515)
and it was consecrated in 1585 for Pope Sixtus V Peretti (1585/90)
FAÇADE
1584 maybe
by Giacomo Della Porta (1533/1602) but, more
likely, by Annibale Lippi (active in Rome in the
second half of the sixteenth century), son of Giovanni Lippi aka Nanni di
Baccio Bigio, and Gregorio Caronica,
collaborator of Giacomo Della Porta
STAIRS
1587 by Domenico Fontana (1543/1607) with ancient capitals and
reliefs
Sixtus V
wanted two side ramps, not a front ramp, so as not to hinder the Via Felice,
which had just been opened
In 1798 the
church was used as a stable by French revolutionary troops
In 1800 the
vault collapsed
Restored
1816 by Carlo Francesco Mazois (1783/1826) for
the French King Louis XVIII (he reigned in the years 1814/24)
French National Church granted to the French nuns of the
Sacred Heart
INTERIOR modified in 1774
1st RIGHT - ALTOVITI
CHAPEL
Above the
altar “Baptism of Christ”, on the sides “Stories of St. John
the Baptist” about 1580 by G.B. Naldini (about
1537/91)
“All in all,
in the art of this successor of Vasari there is certainly still alive a great expression
of the old tradition. The accuracy and security of the drawing style of Naldini
are still due mostly to his master, Pontormo” (Hermann Voss)
3rd
RIGHT - DELLA ROVERE CHAPEL
Frescoes 1548/60 by Daniele
da Volterra (1509/66) helped by Marco Pino aka Marco
da Siena (about 1525/87), Pellegrino Tibaldi (1527/96),
Giovanni Paolo Rossetti, Michele Alberti (active in the years 1535/82) and the Spanish Gaspar Becerra (1520/70):
In the
center, above the altar “Assumption” with a portrait of Michelangelo staring at the viewer
On the
right “Presentation in the Temple” by Daniele
da Volterra
On the left
“Massacre of the Innocents” by Michele
Alberti
“To save space,
Daniele da Volterra imagined the altar of the chapel as the tomb around which
the apostles gathered, so that they, at the side of the altar, came to stand
directly on the floor, it was an innovation that sparked a lot of discussion
but on the whole failed, and rightly so. More important as a composition is the
scene of the Massacre of the Innocents executed by Alberti, worthy of praise
for the great spatial arrangement, which features the theme of the stairs, and
the richness of the plastic patterns” (Hermann Voss)
4th
RIGHT - ORSINI CHAPEL
Above the
altar “Flagellation” 1817 by the French Louis Vincent Palliere (1787/1820)
Frescoes “Scenes of the Passion of Christ” by Paris
Nogari (about 1536/1601)
On the
walls “Gravestones of Cardinal Rodolfo Pio da Carpi and of Cecilia Orsini” 1567
by Leonardo Sormani (before 1530/after 1589)
6th
CHAPEL ON THE RIGHT
Frescoes of
the beginning of 1500s of Umbrian school, maybe
by a follower of Perugino
OVAL CHAPEL
Altar on
the right “St. Michael the Archangel” about 1758 by Domenico Corvi (1721/1803) from Viterbo
MAIN ALTAR
Designed in
1676 by Jean de Champagne
On the
right “St. Louis receiving the royal crown” 1820 by Charles
Theenin
In the
center “Crucifixion” by Cesare Nebbia (1536/1614)
On the left
seventeenth-century copy of the “Deposition” by Daniele da Volterra
CHAPEL TO
THE LEFT OF THE MAIN ALTAR
Above the
altar “Coronation of the Virgin Mary” by Federico
Zuccari (about 1542/1609)
7th
LEFT - PUCCI CHAPEL
“Stories of
the Old and of the New Testament” 1520/27 by Pietro Bonaccorsi aka Perin del Vaga (1501/47)
“The main
scene is a Visitation rich of figures and architectural elements. It later
became the visual model for numerous religious ceremonies” (Hermann Voss)
The cycle
was completed in the years 1563/66 by Taddeo Zuccari (1529/66)
and, after his death in 1566 by his younger brother Federico
Zuccari
6th
CHAPEL ON THE LEFT
On the
right “The Wise Virgins and the Foolish Virgins” and on the left “The Prodigal
Son” by Alexander Maximilian Seitz (1811/88), a
pupil of Friedrich Overbeck and father of Ludovico Seitz
5th
LEFT - MASSIMO CHAPEL
“Eternal
Lord with the dead Christ”, “Assumption, Augustus and the Sibyl” began in 1537
by Pietro Bonaccorsi aka Perin del Vaga in
collaboration with Daniele da Volterra (1509/66)
Completed
in the years 1563/89 Federico Zuccari and Taddeo Zuccari. Little remains of the original
decoraion
4th
LEFT - CARDELLI CHAPEL
Above the
altar “St. Joseph with the Child Jesus” about 1840 by Lucien
Theophile Langlois (1803/45)
3rd
LEFT - ORSINI CHAPEL
Above the
altar “Immaculate Conception” 1830 by Philipp
Veit (1793/1877) the best colorist among the Nazarene painters
On the
right “Annunciation” and on the left “Visitation” by Joseph
Ernst Tunner (1792/1877) another Nazarene painter, a pupil of Philipp
Veit
2nd CHAPEL ON THE LEFT
Above the
altar “Deposition” 1541/45 by Daniele
da Volterra (1509/66) commissioned by Elena Orsini. It was originally
located in the Orsini Chapel
“It still
shows the influence of Perin del Vaga in the restless and moved arrangement of the
drapes; but what for the latter was resolved in a sophisticated formal
elegance, it does translates here into a more tense and dramatic vision. The
work is one of the most representative of the second phase of the Mannerist
style not only for stylistic originality due to the animated monumentality and to
the accurate breakdown of the levels, but also for the personal reading of the
cultural components that converge in here: from the lesson of the Tuscan
artists of the previous generation, like Rosso Fiorentino, to the formal and
philosophical torment of the last period of Michelangelo’s life” (Carlo
Bertelli, Giuliano Briganti, Antonio Giuliano)
Other frescoes 1571/77 by Paolo
Céspedes and Cesare Arbasia
1st
LEFT - CHAPEL OF THE CRUCIFIXION
Granted in
1574 to Marcantonio Borghese whose children commissioned “Stories of Passion” 1589/90
by Cesare Nebbia (1536/1614)
The “Crucifixion”
was moved behind the altar and now there is a plaster cast of the destroyed “Pietà” of the Cathedral of Munster by Wilhelm Theodor Achtermann (1799/1844)
VESTIBULE
OF THE SACRISTY
“Coronation
of the Virgin Mary”, “Annunciation” and “Visitation” by Taddeo Zuccari (1529/66)
“Taddeo
Zuccari died thirty-seven year old and at the peak of his success. If one would
take a look at the work of his whole life, it looms very clearly the image of a
new generation that is no longer content to latch on to the school of Raphael
or Michelangelo, a generation aspiring to a kind of art that would like to
blend the best of both artists, pictorially fused together with the echo of a
third one: Correggio” (Hermann Voss)
CORRIDOR
“Meridian”
1687 designed by the French Emanuel Maignan (1601/76)
to figure out the time of the major cities in the world when it was noon in
Rome
Maignan
also painted the amazing “Anamorphosis” with landscape and St. Francis of Paola
hermit in Calabria
Another
anamorphosis by his pupil Jean François Niceron has been lost
CLOISTER
Lunettes
painted with “Stories of St. Francis of Paola” by:
Giuseppe Cesari aka Cavalier
d'Arpino (1568/1640), Paris Nogari (about 1536/1601), Cristoforo
Roncalli aka Pomarancio (1552/1626), Girolamo
Massei (?/1614-19), Giacomo Semanza
(1580/1638) and Marco Marchetti aka Marco da Faenza (about 1526/88)
“Portraits of the Kings of France”
1616 by Avanzino Nucci (1552/1629) and others
REFECTORY
La plus belle salle à manger qu'il eut dans
Rome (the most
beautiful dining room to be found in Rome) with quadrature architecture
representing “Stories of the Order of the Minims” 1694 by Andrea Pozzo (1642/1709)
HERMITAGE
ROOM
Small room known
as “Room of ruins” painted like the interior of an ancient temple in ruins in
1760 by Charles Louis Clérisseau (1721/1820)
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