ST. AUGUSTINE (first part)

S. AGOSTINO

Piazza S. Agostino 6

The original church dates back to 1296, built for Boniface VIII Caetani (1294/1303)

Enlarged and restored in the years 1479/83 by Giacomo da Pietrasanta (active from 1452/d. about 1497) and Sebastiano Fiorentino (active 1479/83) for the powerful and extraordinary wealthy Cardinal Guillaume d'Estouteville, chamberlain of Sixtus IV Della Rovere (1471/84) and protector of the Augustinians

The FAÇADE was built with marble taken from the Colosseum

“This is one of the first Renaissance façades in Rome, really interesting because it shows, even with some disproportions and a lack of consistency on the whole, the typical desire of the time to research and experiment with new architectural solutions” (Valeria Annecchino)

Transformed in 1756/61 by Luigi Vanvitelli (1700/73) who reworked also the bell tower. He was at the same time engaged in the construction of the humongous Royal Palace of Caserta and he had therefore entrusted the work on his behalf to Carlo Murena (1713/64)

It was restored again in the nineteenth century until 1870

St. Augustine (354/430), one of the fathers of the church, was born in Africa, in Algeria and died in Ippona, in Sardinia, where he was bishop. He is buried in Pavia. He founded the Order of the Hermits focused mainly on charitable activities and the study of theology

In the past the church had a unique feature in Rome: it was the only one to admit courtesans and it houses the tombs of some of them: Fiammetta, the lover of Cesare Borgia, Giulia Campana with her daughters, Penelope and the famous Tullia d'Aragona

It was the first church in Rome for which a dome was built. The present dome was rebuilt by Luigi Vanvitelli

It was a church so important that even Michelangelo Buonarroti (1475/1564) was commissioned a painting for the church, the “Entombment”, unfinished and now in the National Gallery in London

COUNTER FAÇADE

On the left “Madonna of Childbirth” 1521 by Jacopo Tatti aka Jacopo Sansovino (1486/1570), pupil of Andrea Sansovino (he inherited his nickname) for the heirs of the Florentine merchant Giovanni Martelli who had built the chapel

The statue was originally known as Madonna del Sasso (Our Lady of the Stone) and is still very much venerated among Roman pregnant women who frequently leave messages of prayer or thanksgiving at the statue

The tradition began in 1820 after a husband, worried about the pregnancy of his wife, had his prayer answered. He had kept a lamp on in front of the statue day and night

Probably Jacopo Sansovino was inspired by an ancient statue in porphyry representing Apollo seated, kept in a Roman palace at the time and now in the Archaeological Museum of Naples

To the left of the Madonna of Childbirth “Tomb of Francesca Faggioli” d. 1661 wife of the painter Francesco Cozza (1605/82) who painted the portrait on the monument

The very large ORGAN dates back to 1905

STOUPS

Two basins shell-shaped in black marble supported by two angels in white marble: “Raphael” on the left 1650 by Cosimo Fanzago (1591/1678) and “Gabriel” on the right 1660 by pupils of Fanzago

CENTRAL NAVE

“In the Renaissance church more light had been planned, not only from the windows now closed on the right-end side, but also from the windows, now closed as well, which opened in every chapel. Brightness was widespread and enhanced by the whiteness of the pillars, covered with travertine up to a third of their height and by the whitewashed walls. The Renaissance church expressed in full, with its harmonious proportions and its diffuse light, the ideal of composed beauty of Christian humanism, for which aesthetic was deeply connected to the values and truths of faith. Medieval reminiscences perhaps due to the building traditions of the architect and workers, are visible in the strong upward thrust of the architectural framework as well as in the use of external buttresses at the sides” (Valeria Annecchino)

The church was painted in the years 1855/68 by Pietro Gagliardi (1809/90) helped by his nephew Giovanni and Enrico Marini with the following works:

On the walls of the nave “Stories from the Life of the Virgin Mary”, whose sketches are kept at the Museum of Rome, which correspond to “Jewish Heroines” foretellers of the Virgin Mary, and on the VAULT “Abraham and David”

On the PILLARS “Five prophets authors of Marian prophecies” and in the PRESBYTERY “Scene of the triumph of Mary after her death”

3rd PILLAR ON THE LEFT

Fresco “Isaiah the Prophet” of 1512 Raffaello Sanzio (Raphael) (1483/1520) clearly inspired by the figures by Michelangelo in the Sistine Chapel

In the parchment unrolled by the prophet are these word in Hebrew: “Open the doors so people who believe enter” (Isaiah - XXVI, 2)

Below “Madonna and Child with St. Anne” 1512 by Andrea Contucci aka Andrea Sansovino (1460/1529)

There is an interesting contrast between the realistic facial features of St. Anne and the beautifully and abstractly classic look of the Virgin Mary

Both works were commissioned by Giovanni Goritz from Luxembourg

The day of St. Anne all the poets of Rome used to hung their poems around the statue, they would go to Mass and then they would all eat at Goritz's home near Capitoline Hill

PULPIT

Completed in 1644 and maybe designed by Vincenzo Della Greca (1592/1661) who, at that time, was the architect of the monastery

Magnificent polychrome marble inlays representing Augustinian symbols

         Right End Side of the Church

1^st RIGHT - CHAPEL OF S. CATHERINE OF ALEXANDRIA

White and gold stucco dating back to the sixteenth century with paintings retouched in the nineteenth century

“Monuments of Stefano and Lorenzo Mutini” beginning of 1600s

“St. Catherine of Alexandria” oil on slate, on the right “St. Lawrence” and on the left “St. Stephen” oil on paper, about 1550/60 by Marcello Venusti (about 1512/79)

2^nd RIGHT - CHAPEL OF St. JOSEPH

“Madonna of the Roses” 1589 copy by Domenico Spagnolo from the original Madonna of the Veil that Raphael did for S. Maria del Popolo. Now it is in Chantilly

In the apse three round panels “Stories of the Virgin Mary” frescoes about 1587/88 by Avanzino Nucci (1552/1629) for Cardinal G.B. Castagna later Urban VII (1590), who was pope for only twelve days, the shortest papacy in history

On the right “St. John the Evangelist” and on the left “St. John the Baptist” maybe by G.B. Montagna recently rediscovered

On the right “Tomb of Pietro Gagliardi” who had painted the two side paintings now moved into the sacristy after the discovery of the frescoes by G.B. Montagna

3^rd RIGHT - CHAPEL OF S. RITA

1672 G.B. Contini (1641/1723). S. Rita after praying to share the sufferings of Christ on the Cross was given a thorn from the crown in her forehead and kept it there for fifteen years

“Ecstasy of S. Rita” about 1674 by Giacinto Brandi (1621/91) for the princess Camilla Orsini Borghese

In the apse “S. Rita miraculously introduced into the convent by her patrons saints Augustine, Nicholas of Tolentino and John the Baptist”, on the right “S. Rita as a girl surrounded by bees” and on the left “Death of S. Rita” about 1686 by Pietro Locatelli (about 1634/about 1710), a pupil of Pietro da Cortona

4^th RIGHT - CHAPEL OF St. PETER

Marble group “Delivery of the Keys” 1596 by G.B. Cotignola

In the pediment table “God the Father” of the end of 1400s by the school of Pinturicchio

Apse “Musical Angels”, on the right “Immaculate Conception” and on the left “Assumption” beginning of 1600s by Giuseppe Vasconio, pupil of Guido Reni

5^th RIGHT - CHAPEL OF THE CROSS

“Wooden cross” end of 1400s, before which St. Philip Neri used to pray during the period of his studies in the adjacent convent

Above the pediment “Angels in stucco with symbols of the Passion” mid seventeenth century by an anonymous seventeenth-century artist

RIGHT TRANSEPT

Renovation begun in 1636 by Vincenzo Della Greca (1592/1661)

In the apse frescoes: “Conversion of St. Augustine” on the right, “Glory of St. Augustine intercessor” in the center and “St. Augustine meditates on the Trinity” on the left by G.B. Speranza (c. 1600/40)

“Sts. Augustine among St. John the Evangelist and St. Paul the First Hermit” by Giovanni Francesco Barbieri aka Guercino (1591/1666)

Canvas at the sides: on the right “St. Augustine defeat heresies” and on the left “St. Augustine welcomes the Redeemer in the guise of a pilgrim” by Giovanni Lanfranco (1582/1647)

On the left “Tomb of Cardinal Giuseppe Renato Imperiali” designed by Paolo Posi (1708/76) in 1741 with sculptures by Pietro Bracci (1700/73). The mosaic portrait of the cardinal was made by Ludovico Stern (1709/77) and executed by the mosaicist of St. Peter's Basilica Pietro Paolo Cristofari (1685/1743)

Cardinal Giuseppe Renato Imperiali was the great-grandson of Cardinal Lorenzo Imperiali buried in the left transept

On the right “Baptism of St. Augustine” by Pietro Gagliardi (1809/90)

To the right of the main altar

CHAPEL OF St. NICHOLAS OF TOLENTINO

S. Nicholas of Tolentino (1249/1305) was the first Augustinian saint to be canonized and he is patron of the souls in Purgatory

Frescoes and stucco work on the ceiling “Stories of St. Nicholas of Tolentino” about 1585/90 by G.B. Ricci (about 1550/1624) and Vincenzo Conti (second half of 1500s/about 1620)

The extraordinary decorative apparatus can well mask the fact that the right side of the chapel is longer than the left

Frescoes on the side walls, “Four Blessed of the Augustinian order”, on the right “End of the plague in Cordova” and on the left “Vision of St. Nicholas during the celebration of the Mass” about 1850 by Pietro Gagliardi (1809/90)

Altar “St. Nicholas of Tolentino” by Tommaso Salini (about 1575/1625) painter influenced by Caravaggio

Main Altar

1627 maybe Gian Lorenzo Bernini (1598/1680) or Orazio Torriani (about 1601/about 1657)

Extraordinary “Temple-like tabernacle with dome” made of precious marbles sent from the West Indies by the Augustinian missionaries

Altar “Madonna Odighitria” maybe Byzantine

On the broken pediment two statues of “Angels kneeling” by the great Giuliano Finelli (1602/53) from terracotta models of Gian Lorenzo Bernini

On the doors on the sides “Two pairs of putti” on the left by Pietro Bracci (1700/73) and on the right by Bartolomeo Pincellotti (known from 1735/d. 1740)

In the upper part stained glass window “St. Augustine defeats heresy” by the master glassmaker Antonio Moroni (1825/86) who also made windows in other churches in Rome

St. AGNES IN AGONE

S. AGNESE IN AGONE

Piazza Navona/Via S. Maria dell'Anima 30a

In the eighth century a small chapel was built here, on the spot where, according to tradition, St. Agnes was exposed naked and was covered by her hair that had miraculously grown, only to be killed shortly afterwards

In 1123 the chapel was converted into a small basilica by Callistus II (1119/24) with entrance from today's Via dell'Anima

Reconstruction began in 1652 by Girolamo Rainaldi (1570/1655) and his son Carlo Rainaldi (1611/91) for Innocent X Pamphilj (1644/55)

Continued in the years 1653/57 by Francesco Borromini (1599/1667)

“While retaining the Greek cross plan designed by Rainaldi, Borromini demolished the previously built part of the façade and built it on a concave plant pushing it back towards the square. Two towers resting on the two side wings indicate the desire to enhance the light mass of the dome set on a high drum. Since then the type of the dome, the prototype of which dates back to that Michelangelo will see a progressive reduction of mass and a tendency to be thinner and slighter if taller” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)

“The viewer feels drawn into the cavity of the façade above which looms the concave mass of the drum. Nobody can overlook the fact that Borromini, while employing the traditional grammar of motives, repeated here the spatial inversion of the façade of S. Ivo” (Rudolf Wittkower)

“In architecture Baroque religious art curved forms, concave and convex, appear more and more often to make communicable feelings and actions such as the bodily presence, the attraction, the embrace” (Paolo Portoghesi)

It was completed in the years 1657/72 by Carlo Rainaldi with advice, especially for the interior, by Gian Lorenzo Bernini (1598/1680) for Donna Olimpia Maidalchini Pamphilj after the death of her husband, the pope's nephew Camillo Pamphilj

It was owned by the Doria Pamphilj family until 1992 when it was granted to the Vicariate of Rome

BELL TOWERS

Antonio Del Grande (about 1625/79) and Giovanni Maria Baratta (known from 1644/d. after 1679) from a design by Francesco Borromini

DOME

“Glory of Paradise” 1670/89 by Ciro Ferri (1634/89) for G.B. Pamphilj

Despite the 19 years which he had had to paint it, Ciro Ferri was unable to complete the work and it was finished after his death by his pupil Sebastiano Corbellini

PENDENTIVES

Magnificent “Cardinal Virtues” 1668/71 first frescoes by G.B. Gaulli aka Baciccio (1639/1709):

From the right

“Temperance, with the symbol of the muzzle held by the little angel on the top right, crowns Chastity while trampling the seductive figure of Lust with the wings of the partridge in her hand. In front of them Anteros defeats Eros and a unicorn in the background alludes to Temperance”

“Justice with sword and scales crowned by two angels and kissed by Peace holds an olive branch. Crushes under her foot the monstrous War with serpent's tail and watches the boards supported by Law. In the background Truth with the sun in hand”

“Prudence with two faces looks in the mirror to both past and future, while Providence equipped with rudder and crowned with wheat triumphs over Fortuna lying blindfolded and beautifully half-naked”

“Fortitude triumphant over a pagan statue and a brazier toppled turns to the angel with the cross pointed by the Charity”

Baciccio obtained the commission of the frescoes from the Pamphilj family thanks to Gian Lorenzo Bernini. When they were shown for the first time they were accused of “lust” for the sensuality and the attitude of some of the virtues

ABOVE THE DOORS

Between pairs of pilasters there are “Eight marble bas-reliefs with angels bearing the attributes of saints venerated in the church” 1658/59 by Ercole Ferrata (1610/86) and Domenico Guidi (1625/1701)

RELIEFS AND STATUES ON THE SEVEN ALTARS:

In the apses of the altars stuccos with “Angels and putti with attributes of the saints depicted in the marble reliefs below” by Alessandro Algardi (1598/1654) completed after his death by his pupils Domenico Guidi and Ercole Ferrata from designs by Ciro Ferri

Interestingly, the saints represented in the altars were all chosen from among the youngest martyrs of the Christian church

From the right

“Death of S. Alexius of Rome” in front of Innocent I (401/417) after being recognized by the parents 1660/63 by Giovanni Francesco Rossi (known 1640/77)

Statue of “St. Agnes” 1660 by Ercole Ferrata

Represents the moment when St. Agnes remained miraculously unharmed by the flames

The chapel is lined with ancient green Thessalian marble, which overlaps the ancient yellow marble pilasters with capitals of marble from Carrara. The false perspective is also made with extraordinary marbles such as coral breccia or bardiglio

“It reminds for certain aspects the S. Susanna by Duquesnoy, as also here the dress is relatively smooth and supports the structure of the body, while the head is derived as much from Duquesnoy as from classic Niobids. But no artist who worked in 1660 in the orbit Bernini could return to the classical purity of Duquesnoy in 1630. Following the example of the statues of saints by Bernini, Ferrata represented a transitory moment, we are witnessing a dramatic moment: the power of her prayers makes her immune from the holy fire. It creates a formal and emotional restlessness, in stark contrast with the purist trends of the thirties” (Rudolf Wittkower)

Stuccos with “Musical Angels” 1662/64 by Paolo Landini

In the side walls two pairs of “Alabaster oval medallions with faces of saints and popes” not precisely identified

“Martyrdom of St. Emerentiana” 1668/1709 by Ercole Ferrata who made the lower part. It was finished after his death in 1709 by Leonardo Retti (active 1670/1709)

Emerentiana was the foster sister of St. Agnes and she ended up being stoned to death during the funeral of her sister

“The clear and simple tripartite arrangement seems the result of a dogmatic application of Algardi's principles. While the type of the saint also shows here a careful study of the S. Susanna by Duquesnoy, and while some characters are clearly inspired by the relief of Attila, Ferrata returns for the figures of the attackers and of the mother and child to the most classic of Baroque painters, Domenichino. The sculptural principles applied by Retti in the upper half of the survey are in contrast with those of the lower half” (Rudolf Wittkower)

MAIN ALTAR

1720/21 from a design by Carlo Rainaldi executed by Francesco Moderati (about 1680/after 1724) with “Four columns of ancient green marble” maybe from the destroyed Arch of Marcus Aurelius on Via del Corso

“Three putti” by G.B. Maini (1690/1752) holding a cartouche with the phrase Among born of women there is none greater than John for G.B. Pamphilj (Innocent X) who had wanted the main altar to be dedicated to the saint who bore his name

“Angels” in 1856 stucco on the pediment by Antonio Della Bitta (1807/about 1879)

Altar “The two holy families” 1677/83 masterpiece by Domenico Guidi (1625/1701)

Continuing from the high altar towards left:

“Martyrdom of St. Cecilia” visited by Urbano (222/230) 1662/66 by Ercole Antonio Raggi (1624/86)

The relief was originally commissioned in 1660 to Giuseppe Peroni (about 1626/63), a pupil of Algardi who died leaving the life-size model that was taken up by Raggi

“The influence of Algardi is to be located in the middle division and in the differentiation between the calm faith of the pope and the excited crowd on the right. The individual style of Raggi is evident in the extremely elongated proportions of the figures, the slender build, the elegant movements as well as in the fall of drapery, which reveal a restless and nervous temperament. Contrary to Ferrata, Raggi refused the lessons learned by Domenichino. Compared to the terse composition of the relief of St. Emerentiana, the figures in the work of Raggi appear crowded in complicated groups almost confused. It goes to show his indifference for the classical dogma of clarity expressed with a minimum number of figures. On the other hand, the magnificent angel with a palm, absolutely Bernini-like shows the sweetness and tenderness of feelings, characteristic of the art of Raggi” (Rudolf Wittkower)

Statue of “St. Sebastian” 1717/19 by Pietro Paolo Campi (known 1702/40), a student of Pierre Legros

“St. Eustace among the beasts” 1666/69 by Melchiorre Caffà (1636/67)

The poor young Maltese sculptor died shortly after the start of the work which was finished by Ercole Ferrata with Giovanni Francesco Rossi in a rather academic way, a far cry from the plastic feeling of the brilliant Caffà

The model in terracotta of this relief is in Palazzo Venezia

“Caffà can be considered the most important personality of the generation after Bernini, but he died too young to achieve a leading position and to exert a role in the development of Italian sculpture. (...) His teacher, Ercole Ferrata, had introduced him to the style of Algardi, but far more decisive for him was the impression created by the works of Bernini: that character in them of final achievement was certainly of great importance for the process of maturation of the younger artist. Once convinced of the validity of the style now developed, he was bent on perfect it to virtuosity, soften it, refine it in aesthetic terms. (...) Since this, the oldest known of his works, Caffà goes beyond Ferrata, adopting the illusionistic 'bottom to top' typical of Bernini's reliefs. In the apparent recklessness of the model, in which constantly the level of projection changes, and in the dissolution of the constituent links, there is in embryo a new concept - which is late Baroque - of the relief” (Rudolf Preimesberger - Dizionario Biografico degli Italiani Treccani)

RIGHT OF THE ALTAR OF S. SEBASTIAN - CHAPEL OF S. FILIPPO NERI

Restored 1859 by Andrea Busiri Vici (1818/1911) with decorations by Annibale Angelini (1812/84)

In a silver reliquary there is the alleged skull of S. Agnes

Vault “Virgin Mary receives S. Filippo Neri in heaven (known as St. Philip Neri in English)” about 1663 by Francesco Allegrini (1587/1663)

From the chapel it is possible to enter the crypt of the monumental tombs of Pamphilj arranged in 1864 by Andrea Busiri Vici

LEFT OF THE ALTAR OF S. SEBASTIAN - CHAPEL OF St. FRANCES OF ROME

Here, according to tradition, the saint was baptized

Fresco “St. Frances of Rome assumed into heaven” by Francesco Cozza (1605/82)

Altar and baptismal font of St. Agnes consisting of a block of stone from the old oratory. At the sides “Angels” by Andrea Bolgi (1606/56)

Marble relief on the altar “St Frances of Rome shows the rule book flanked by an angel” by an artist of Algardi's school, maybe Domenico Guidi

ABOVE THE ENTRANCE

“Monument of Innocent X” Pamphilj with “Justice” and “Religion” 1730 by G.B. Maini (1690/1752)

The Pope's body was buried in the crypt of the Pamphilj to the right of the altar. For days after his death the corpse had been in a warehouse for tools of the Basilica of St. Peter at the mercy of mice to the neglect of the family

Above beautiful “Choir” by Carlo Rainaldi 1659/62 with “Angels caryatids” by Domenico Poli and Isidoro Baratta

Organ of 1914 that replaced the seventeenth century one of which some elements were reused

SACRISTY

1658/66, designed by Francesco Borromini

Fresco on the vault “Glory of St. Agnes” 1664 Paolo Gismondi aka Paolo Perugino (1612/85)

Frescoes in the presbytery “Stories of Mary” 1660 by Francesco Allegrini (1587/1663)

Angels and holy water fountain 1666 by Andrea Baratta (about 1595/1666)

CRYPT

Three rooms derived from the Circus of Domitian (81/96) with fornix (from fornix derives the verb fornicate) which is traditionally considered the brothel of the story of St. Agnes

The three rooms were rearranged in 1885 by Andrea Busiri Vici (1818/1911)

It is believed to be the place where, according to tradition, Saint Agnes was killed with a sword thrust in her throat immediately after she revived the young man who had fallen dead during an attempted rape against her

“Roman floor mosaic”

On the walls

“Traces of medieval frescoes” maybe of the thirteenth century, covered in 1893 by Eugenio Cisterna (1862/1933), who imitated the style of early Christian art deemed appropriate in those spaces, and perhaps inspired by the earlier thirteenth-century frescoes

Above the altar

Relief “Miracle of the hair of St. Agnes” designed in 1653 by Alessandro Algardi (1598/1654) and executed in 1663 by Giovanni Buratti

St. AGATHA OF THE GOTHS

S. AGATA DEI GOTI

Via Mazzarino 16

It is mentioned in the sources for the first time in 467 when the Goth general Flavius Ricimer wanted it to be decorated with a mosaic in the apse which eventually collapsed in 1589

Maybe it was originally dedicated to the Savior

It was the only church in Rome dedicated to the worship for the Aryan Gothic community

In 592 it was consecrated to the Catholic rite and to St. Agatha of Sicily by Gregory I the Great (590/604)

According to the Acta Sanctorum (the main collection of literary sources relating to the saints of the Catholic Church, written in the seventeenth century), in fact, St. Agatha, a native of Catania, had freed the city from the Goths with a miracle

It was restored by S. Leo III (795/816) and S. Leo IV (847/855), who entrusted it to the Benedictines

It was restructured in the years 1633/35 by Domenico Castelli (1582/1657) for Cardinals Antonio and Francesco Barberini

It is also known as S. AGATA IN CAPITE SUBURRAE named after the nearby Suburra neighborhood or S. AGATA DE CABALLO from the ancient name of the Quirinal Hill

It hosted the Irish College for 90 years from 1836 to 1926 in the adjacent building in Via Mazzarino. It is currently officiated by Irish monks

FAÇADE

1729 Francesco Ferrari (active in Rome 1721/44)

ATRIUM

Inscriptions and sculptures from ancient and medieval including in the left arm “Head of a woman on column” maybe of the fifth century AD

At the center “Well” of the sixth century with the carved insignia of Cardinal Nicolò Ridolfi, nephew of Clement VII Medici (1523/34)

INTERIOR

It still has the plan of the fifth century with Goths particularities as the two arched windows in the apse now walled in, the dosserets above the capitals and the use of the Byzantine foot as unit of measurement

During the renovation of the seventeenth-century the arches were reduced from seven to five

COUNTER FAÇADE

Organ 1703 for Cardinal Carlo Bichi who was buried in the left aisle

Canvas “Fortress” on the left and “Humility” on the right by Paolo Gismondi aka Paolo Perugino (1612/85), a student from Perugia of Pietro da Cortona

CEILING

1633, coffered with golden bees, symbols of the Barberini family

ABOVE THE ARCHES

“Eight medallions of Irish saints” 1863 reminiscent of the period between 1836 and 1926 during which the church was run by Irish monks

UPPER SIDE WALLS

Six paintings with “History of St. Agatha” about 1633/36, recently restored, by Paolo Gismondi aka Paolo Perugino:

On the right

“Martyrdom of St. Agatha at the order of Quintianus”, “St. Agatha resisting the temptations of Aphrodisias and her daughters” and “St. Agatha rejects offers of jewelry from Aphrodisias and her daughters”

On the left

“St. Peter appears to St. Agatha locked up in jail”, “St. Agatha at the stake” and “St. Agatha on her deathbed surrounded by weeping women and angels”

ON THE RIGHT WALL

“Tomb of Cardinal Giovanni Marco y Catalan” d. 1841

END OF THE RIGHT AISLE - CHAPEL OF St. AGATHA

Statue in gilded wood “St. Agatha” 1681 by an anonymous seventeenth-century monk

Gilded wood reliquary with the relics of Greek martyrs from the Catacomb of S. Callisto transported here at the will of Leo IX (1049/54)

MAIN ALTAR

From the window of the altar it is possible to see the urn with other relics of Greek martyrs

“Cosmatesque Ciborium” XII/XIII century, reassembled in the years 1928/32 by Gustavo Giovannoni (1873/1947) who put philologically together the scattered pieces found in the church and in the garden

In the years 1931/33 the PRESBYTERY was painted simulating marble

APSE

“Glory of St. Agatha” about 1633/36 Paolo Gismondi aka Paolo Perugino who also painted the two allegorical figures in the spandrels in front of the arc: on the left “Faith” and on the right “Hope”

“These works gave some reputation to Gismondi, despite the pictorial language full of hesitations and quotes from Michelangelo to the Cavalier d'Arpino, although here he proves he is still a novice painter, and uncertain in terms of form, revealing, in his immature Cortona style, obvious limitations in the definition of the faces, in the drafts of color and in the construction of space” (Giovanna Mencarelli - Dizionario Biografico degli Italiani Treccani)

END OF THE LEFT AISLE - CHAPEL OF THE VIRGIN MARY

1681 “St. Gaspar Bertoni” 1991 Aronne Del Vecchio (1910/98)

Frontal with three reliefs: “Adoration of the Shepherds” and small round reliefs “Annunciation” and “Assumption” in the first half of 1600s by an artist influenced by François Duquesnoy (1597/1643)

ON THE LEFT WALL

“Tomb in stucco of Cardinal Carlo Bichi” first half of 1700s by the Roman Carlo De Dominicis (1696/1758), his first public commission. The Cardinal had wanted and paid for the splendid organ in the counter-façade

“The free treatment of this monument, executed in stucco, does not suggest a sympathy of the artist for the classical idiom of the Academy of St. Luke. Indeed, in the years between 1725 and 1733 De Dominicis collaborated with the more anti-classical architect of his generation: Filippo Raguzzini, papal architect under Benedict XIII and leading exponent of the Rococo in Rome” (John Varriano - Dizionario Biografico degli Italiani Treccani)

St. AGATHA OF SICILY

S. AGATA

Largo S. Giovanni de Matha 91

The first mention of the church in any of the sources dates back to 1121

Rebuilt in 1671 but only completed in the years 1710/11 by Giacomo Onorato Recalcati (?/1723)

Restored in 1821

VAULT

“Assumption” and apse by Girolamo Troppa (1630/after 1710)

3^rd CHAPEL ON THE RIGHT

“Our Lady of the Rosary” by Biagio Puccini (1673/1721) from Lucca, student, as well as Troppa, of G.B. Gaulli aka Baciccio

MAIN ALTAR

“Martyrdom of St. Agatha” by Biagio Puccini

Very dramatic and explicit painting with the representation of the torture that, according to tradition, the poor saint from Catania in Sicily suffered in the third century AD: her breasts were eradicated with pliers

3^rd CHAPEL ON THE LEFT

“Crucifixion” by Biagio Puccini

At the altar there is the venerated statue of “Our Lady of Carmel” better known as Madonna de Noantri (Our Virgin Mary) carved in cedar wood and carried in procession during the summer festival in the Trastevere district known as FESTA DE NOANTRI (Festival of Ourselves)

It was a member of the Order of Carmelites, the Englishman St. Simon Stock, who created the feast of Our Lady of Mount Carmel, after the mountain range in Palestine where monks lived following the example of the prophet Elijah, and where tradition has it that there the Virgin Mary appeared to Stock on July 16, 1251

It is said that the statue was found by some fishermen after a storm near the mouth of the Tiber. The “Madonna Fiumarola” (Virgin Mary of the River) was given to the Carmelites (hence the name Lady of Mount Carmel) in Trastevere

Having become the protector of Trastevere, the statue was placed in a chapel, built in 1600 by Cardinal Scipione Caffarelli Borghese (1577/1633), specifically to shelter it

The chapel was demolished in 1890 for the construction of the Viale del Re (Avenue of the King), today's Viale Trastevere and, after a few decades in S. Giovanni Battista dei Genovesi, the statue was placed in the church of St. Agatha of Sicily

From here, every year on the first Saturday after July 16th (day of the apparition of Our Lady on Mount Carmel) during the Festa de Noantri, the statue, covered with jewels and precious clothes, is carried in procession through the streets of the district to the Church of S. Crisogono where it remains for eight days before returning to the church of St. Agatha of Sicily

Originally some bold young men, also known as cicoriari for being collectors of chicory in Campoli, near Frosinone, in two processions used to carry on their shoulders the heavy structure with the statue. Later it was established a special brotherhood, the so called carriers

Today in addition to religious events there are also shows, cultural events and walks among stalls selling sweets, toys and crafts