 | Rome Churches - Others Reviews | Tips 1 - 10 of 115 |  |
It was late and I was rushing to arrive for the beginning of Mass the Sunday after Easter. Unsure of exactly the address, I got off the bus on Via September XX as I spotted the facade of a church right across the street. I entered just as a throng of people were being herded out - fleetingly wondering why so many people were there. I took a place and Mass began. During Mass I glanced over to a Chapel on my left and was shocked to see a magnificent sculpture - Bernini's Ecstasy of Sain Teresa (photo 1). I stood transfixed for long enough to be standing as everyone else was seated - it took 2 pages of my missle for me to catch up.
I thought I had found the Church of Santa Susanna and the American community - I was, in fact, a couple doors away and in the Church of Santa Maria della Victoria - this tip should have been entitled "wrong church - right pew." Also, I now knew why the Mass I had expected to hear in English was in Italian. After Mass I was privileged to move closer to the art works and appreciate a full view of this great masterpiece.
Photo 2 - Bernini's Ecstasy of St Teresa with the extremely controversial double interpretation of the angel/saint relationship. At the two sides Cornaro family members witness the event from balcony "stage boxes."
More Detail in the BERNINI TRAVELOGUE - ITALY page. Address: Via XX Settembre 17Directions: North of Termini and Piazza Republica
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Agone (agonistic) is a reference to the races which took place in the Stadium.
The initial plan for Santa Agnese was designed by Girolamo Rainaldi helped by his son Carlo. Work started in 1652, but one year later Francesco Borromini replaced Rainaldi and modified almost entirely the design of the façade, which was expanded to include parts of the Pamphili palace, thus gaining space to erect the two bell towers. Borromini designed also the dome on a high drum.
In 1655 Pope Innocentius X died and soon Borromini lost the support of Prince Camillo Pamphili who recalled Carlo Rainaldi, who completed the façade by 1666. Although Rainaldi modified some aspects of the façade, of the towers and of the dome the overall impression is of consistency in style.
Santa Agnese represented the solution vainly pursued for St Peter's by Bernini and it became a model for having a balance between the dome and the façade of a church. Each of the bell towers has a clock: this occurs also in St Peter's and in SS. Trinità dei Monti. The clocks indicated two different times: the Italian time and the European time (Tempo Ultramontano): W. J. Goethe gave a detailed description of the two practices in his Italienische Reise - September 17, 1786.
Typically, the church has the dove of the Pope everywhere.
Reference text by permission Roberto Piperno for non-commercial purpose only Address: Piazza NavonaDirections: Rome Center
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The architect Gian Lorenzo Bernini considered this small church near the Quirinal as his only perfect work (build from 1658 to 1678 with the assistance of de Rossi). He often came here sitting and looking at the polychrome marbles, the gilded stucoes and that marvelous oval dome with clerestory windows and a central glazed lantern cupola.
Bernini had refused any payment for his work on this church belonging to the Jesuits like the Gesù (ref. my tip).
The altar is on the short axis of the ellipse flanked by two pairs Corinthian columns in red marble. The painting above the altar represents the Martyrdom of the Apostle Andrew by Guillaume Courtois caled "Borgognone".
There are four chapels; St Stanislas Kostka is enshrined in the second chapel on the left.
The floor is beautiful made of Bardiglio marble with polychrome inserts.
The visit of Sant'Andrea al Quirinale was a real pleasure. I must say that I had the impression to be in a theatre instead of a church.
Open 8-12 and 16-19 h Address: Via del Quirinale 29
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This is another remarkable baroque church of Rome on an oval design, built by Francesco Borromini at only 200 m from St. Andrea al Quirinal also on an oval plan (by Bernini).
On a small building site next to the Quatro Fontane crossroad the architect Borromini started the building in 1638 on an oval plan but oriented longitudinally. The elliptic plan gives the illusion of a big space.
The dome is oval with caissons of various shapes, octagonal, hexagonal and cross-shaped. In the centre is the symbol of the Trinity, the emblem of the religious order of the Trinitari. The main purpose of the order founded in the 12th c. was the redemption of Christians captured and enslaved by Moslems. The church is dedicated to St. Charles Borromeo.
I visited this rather sober church, which is mostly white, after St. Andrea and I must say that I preferred the polychrome decor of Bernini's interior.
The baroque façade of San Carlo is amazing by the combination of convex and concave lines.
The architect never submitted a bill for his work. A room outside the sacristy was set aside for Borromini's tomb, but it remains empty as he committed suicide.
The frontage needs some cleaning. The traffic on the via del Quirinale has done no good to the frontage of the church a well to the four fountains on the corners of the street.
Open 9-13 (Monday - Saturday) and16-18 h [Monday Friday].
Sunday 12-13h (mass at 11h) Address: Via del Quirinale 23Directions: At the 4 Fontane corner.
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We knew this relict was in the ' Santa Prassede ',
we we were quit curious about it.
On one side of the chuch in one of the niches
there is this little glass cabinet with a little
pilar in it. We stared a little bit to it and we both
were wondering the same thing. How can
a person be tied down tho this. There must be
some sort of mistake. No?
Well , how convenient. You just have to take a
look in the niche besides that. They made a
painting on how that was done.
1233 - that date? Jezus died in 33 after Jezus?
Right. But 1233 is the year this little pilar
came from Jeruzalem.
Just A few things kept me busy.
Who had been taking care of this pilar all the time?
It must heve been to heavy to carry it in a
backpack? The accuracy of the painting -
how did they know? And many many more
things that cross my mind.
Did anybody knew this pilar was of historic
significance back then?
Hey , I'm not sugesting it is a fake.
I just wanted to know more. Leave a Comment Address: Via Santa PrassedeDirections: Near piazza di San Maria Maggiore
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Cecilia house was standing where now the
'Santa Cecilia in Trastevere' is located.
There are still remains under the church.
Cecilia had aristocratic blood in her vains ,
and she was a Christian. At that time
Christianity was still forbidden.
And the one thing they didn't want was an
aristocratic lady that became a Christian.
So - please read the next sentences well -
they tried to boil her to death , but that method
failed.
They cut of her head of , and that did work.
Her connection with music comes from her
wedding day. With her little organ she sang a
song for her futur husband - not chosen-
to have respect for her virginity , since she
was a Christian.
Hallaluja. Paolo Emilio Sfondrati - you'll meet
his story later , had the chuch restored in
1599. The chuch was probably erected in the
4th century after she was burried in the catacombs.
In the 9th century they moved het bones overhere.
The story goes that when cecilia's
grave was opened in this chuch , her body
was still intact and the statue is made after
her body. That faded to dust after 'Stefano
Moderno' , the artist , had seen it.
But that story was added later.
Ironic enough , we were there on Sunday morning ,
and the choir we heard during the mass
was the worst thing I've ever heard since a
long time. Leave a Comment Address: Piazza de Santa CeciliaDirections: Trastevere - not that far from the little island in the Tiber.
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Among the most beautifull and finest mosaics
can be found in the' Santa Prassede church.
Pope Pachalius I had the 'Capella di St. Zeno'
decorated in honor of his mother..
It was done by the best professionals at that
time : the Byzantium workmen.
It was done shortly after this church was build.
Through the centuries this church has been
redecorated manny times but these artworks
are still original.
In the apsis you can see the two ex-holy
ladies 'Prudenziana and Prassede'. I told
you the story , remember?
In the picture I show you one of the mosaics.
It is the tomb chapel of the family.
It was made in honour of the popes mother
'Theodora'. When this mosaic was made she
was still alive. You can tell by the square
aureole. She is the only woman in Rome
who was honored this way. Leave a Comment Address: Via Santa PrassedeDirections: Near Piazza de Santa Maria in Maggiore.
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Lot's of giggles and tittering about this work of art. And I must admit, the look on the saint's face does have more than a tinge of carnal pleasure to it.
Who knows what the saint was thinking (or feeling) when she described this moment in her memoirs?
But I have a pretty good idea what Bernini was thinking.
In many ways it is a bizarre and spectacular scene he has designed. There are literally theater boxes on the side of the chapel, with viewers watching St. Theresa's "union" with Christ. Obviously, the Baroque era was a wonderful and interesting time to be religious! The angel on the left is about to pierce the saint's heart with an arrow. The cascaded, opulent folds of her robes intensify the look on her face.
This scupture is incredible. You feel forced to ask: How is it possible that a human being carved this out of stone? How is it possible?
If you're near the train station of Piazza della Republica - you're only about a five minute walk to the church (St. Mary of Victory) and this famous masterpiece and chapel - both designed by the genius Gian-Lorenzo Bernini. He used natural lighting in the "theater/chapel" best seen in the afternoon of a sunny day.
Like most churches, open 7 a.m. to 1 p.m, then 3 p.m. to 7 p.m. Leave a Comment Address: 17 Via XX Settembre, near Largo Santa SusannaDirections: Via XX Settembre, near the Moses Fountain, just 200 meters northwest of Piazza della Republica. Near the American church, Santa Susanna
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A symbolic figure from unknown descent ,
with a lance heated in flames ,
came and shoved the lance deep into her
bosom. She felt the intense love of God
inflame inside of her.
It was an intense pain and pleasure
at the same time.
Alleluja. - that was the subject of the statue in
the 'Santa maria della Vittorio'. If it comes to
sculptures still the talk of the town if you ask me.
It is a bizar work of art.
You see teresa - who was a Spanish lady
(1515 - 1582) - Teresa di Avila wrote
'conception of the divine love.' - hanging
with a huge cape draped along her body
with this angel with an arrow who is just
about to stack her again.
Simply , amazing , the expresion on their faces.
Even more weird!
Their are two tribunes on either side of the
statue. It was quit common to have an image
of the donator somewhere visible in the art work.
But it has never been done like this.
Their are two tribunes sculptured with
'Federigo Cornaro and even some of his
ancestors. Also that is very well done -
it's a 3d composition.
It is as if they are looking to a play in a theater.
O yes , the divine light is symbolized by rays
of gold in the back. You can help the divine
light a bit by putting a coin it the machine
so the statue get lightened.
The entrance to see this chuch is free. Leave a Comment Address: Via XX septembre 17Directions: A litle walk from metro Republica.
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A small square was the quiet approach to S. Andrea della Valle the church with the second largest dome in Rome. Here is set the first act of Tosca, although in the church you would vainly look for the portrait of Marchesa Attavanti. The second act is in Palazzo Farnese and the third in Castel Sant' Angelo.
The church was begun in 1591 and mostly completed by Carlo Maderno in 1608-1621 at the expense of Cardinal Alessandro Peretti-Montalto nephew of Sixtus V. It is named "della Valle" because it was built near Palazzo Valle. The fine façade by Carlo Rainaldi was added in 1665 at the expense of Cardinal Francesco Peretti, nephew of Cardinal Alessandro. This was during the pontificate of Alexander VII so that we have in the same church the influence of Sixtus V (Peretti) and the influence of Alexander VII. In the 1930s a fountain which previously was in S. Giacomo in Scossacavalli was moved to the square opposite S. Andrea della Valle.
Photo and reference text by permission Robert Piperno non-commercial purpose only
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