HOLY TRINITY OF THE SPANISH PEOPLE

SS. TRINITÀ DEGLI SPAGNOLI
Via Condotti 41

1741/46 Emanuel Rodriguez Dos Santos (about 1702/74) for the Bishop Diego Morcillo of the Order of the Shod Trinitarians who sent 200,000 pesos from Peru

The Portuguese architect was joined in the years 1741/44 by Giuseppe Sardi (1680/1753)

There was a dispute between the Trinitarians and Dos Santos, who was considered too experimental

“If the extreme attention to detail has led to describe, as a recurring feature of the works of Dos Santos, a certain 'over-emphasis of detail with respect to the structural frame' (A. Marino), also evident in the façade of the church in question, however, Dos Santos was not lacking quality as an urban planner, evident in the brilliant solution of the inclusion of the church itself in the urban context: the qualification of the surrounding space is achieved through the 'creation of a plastic-spatial structure able to blend seamlessly with the urban surroundings' (Tafuri)” (Daria Colonna)

The church was consecrated in 1750
It passed in 1895 to the Spanish Dominicans

FAÇADE
ABOVE THE PORTAL there is the sculptural group “Angel freeing two chained slaves” by Pietro Pacilli (1716/after 1769)
In the NICHES statues of the founding saints of the order: on the left “St. Felix of Valois” and on the right “St. John of Matha” by Pascasio La Tour

“On entering the church one is struck by the tone of polite composure and consistency of style that characterizes the decoration as a whole, conceived and developed within a few years, both in terms of general fittings and for the individual works of art. About the latter, the Longhi even coined the formula of 'culture of Via Condotti' to indicate that interesting episode of Roman artistic life represented by paintings of the Trinity of the Spaniards” (Daria Colonna)

VAULT

“St. John de Matha in glory” 1748 by Gregorio Guglielmi (1714/73) who also painted “Virgin Mary among the Trinitarians” in the CEILING OF THE CHOIR BALCONY

“He was perhaps the greatest exponent of Roman Rococo. He gave his figures, although hoisted between daring perspectives and unbelievable foreshortenings, a full-bodied and clear corposity, with a new attention derived from the Enlightenment focused on the new spectacle of the world, on familiar and exotic habits. After 1750 he also, like Giaquinto, left the city, to carry out his brilliant career as a fresco painter at the major courts of northern Europe” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)

CHAPEL TO THE RIGHT OF THE VESTIBULE
Above the altar “Good Shepherd” by Antonio Gonzalez Velazquez (1723/93), a pupil of Corrado Giaquinto

“The theme of derivation from Murillo with a strong devotional message is treated with a pictorial refinement, sensitive to the teachings of his master” (Daria Colonna)

On the left “S. Miguel de Los Santos” 1779 by Andrea Casali (1705/84), a pupil of Sebastiano Conca and Francesco Trevisani. He painted sixteen canvas in this church

1^st RIGHT - CHAPEL OF St. CATHERINE OF ALEXANDRIA
Above the altar “Martyrdom of St. Catherine of Alexandria” 1764 maybe by Giuseppe Paladini (1721/94) but, more likely, by Andrea Casali
On the left “Miracle of the wheel” and on the right “St. Catherine of Alexandria ascends to heaven” 1771 by Andrea Casali

2^nd RIGHT - CHAPEL OF St. FELIX OF VALOIS
Above the altar “Sts. John de Matha and Felix of Valois” 1775
On the right “Vision of St Felix of Valois” and on the left “Miracle of St. Felix of Valois with the blind child” 1776 all works by Andrea Casali

3^rd RIGHT - CHAPEL OF THE PIETÀ
Above the altar “Deposition of Christ between Mary Magdalene, Mary and St. John the Evangelist” 1777
On the right “Fall under the Cross” and on the left “Flagellation” 1777 all works by Andrea Casali

MAIN CHAPEL
Above the altar “The Holy Trinity assists in the liberation of a slave carried out by an angel” about 1749 by Corrado Giaquinto (1703/66)
It is a splendid work of solemn monumentality and exceptional richness of color, typical features of his maturity
Paintings on the walls “Innocent III dei Conti di Segni (1198/1216) recognizes the Trinitarians” and “Two Founders of the Order”
Frescoes in the dome “Abraham and the Three Angels” and pendentives “Evangelists” 1750 by Antonio Gonzàlez Velàzquez (1723/93) of such excellent workmanship technique that they have led to the belief (rebutted) that they had been retouched by Francisco Goya in 1770

3^rd LEFT - CHAPEL OF THE IMMACULATE CONCEPTION
Above the altar “Immaculate Conception” 1750 by Francisco Preciado (1713/89), a pupil of Sebastiano Conca
On the right “Annunciation” and on the left “Assumption of the Virgin Mary” 1781 maybe by Michele Espinosa de la Torre or Andrea Casali

2^nd LEFT - CHAPEL OF St. JOHN DE MATHA
Above the altar “St. John De Matha” by Gaetano Lapis (1706/76) who also studied with Sebastiano Conca
On the right “St. John De Matha receives money from the Virgin Mary to free slaves” 1779 and on the left “Miracle of St. John De Matha” 1776 by Andrea Casali

1^st LEFT - CHAPEL OF St. AGNES
Above the altar “Martyrdom of St. Agnes” 1750 by Marco Benefial (1684/1764)
This painting is among the most unorthodox and dramatically effective of all the ecclesiastical paintings of the eighteenth century in Rome
On the right “St. Agnes goes to martyrdom” and on the left “Apparition of St. Agnes to her parents” 1773 by Andrea Casali

SACRISTY
1758 Marco David (active in Rome 1754/65)
Vault “St. Ambrose and the two founder saints among angels, slaves and heretics” about 1747 by Gregorio Guglielmi (1714/73)
“Bust in a round frame of Bishop Diego Morcillo” who commissioned the church, by Gaspare Sibilla (about 1723/82)

CONVENT
Paintings by Francisco Preciado (1713/89), Giuliano Presutti (active 1490/1554) and Antonio Gonzàlez Velàzquez (1723/93)