Chiesa Nuova

Church of the Nativity of the Virgin

This building is located on a light natural depression in the plain of the Champ de Mars, regarded by the Romains as one of the entries in the Enfers and place of worship of the infernal divinities, named Tarentum .

As of the 13th century there are traces of a church dedicated to the Nativity of the Virgin, been dependant on the parish of San Lorenzo in Damaso. At the 15th century and the 16th century, the church was known like " Santa Maria in Puteo albo " , because of an antique curbstone of well in white Marble.

Madonna Vallicelliana

One preserved a miraculous image of the Virgin at it: a fresco of the 14th century, initially preserved outside. One tells that in 1535, the image had bled, after being wounded by a stone; a popular worship had been followed from there. In 1574 the fresco was entrusted to the vice-chancellor of the church of Vallicella and was preserved in the sacristy, before being placed on the major furnace bridge of the Chiesa Nuova .

Construction of Chiesa Nuova

In 1551 holy Philippe Néri founds the “Congrégation of the Oratory”, then recognized by Gregoire XIII in 1575. In the bubble of recognition, the pope entrusted to the new congregation the church in vallicella , which was not any more in good state. The architect Matteo de Città di Castello thus accepted the responsibility of build a “new church” ( chiesa nuova ). In 1577, was finally celebrated the first mass in the new building, equipped with only one nave and four vaults on each side, still covered of a roof out of wooden. The church and the vaults were decorated with stucco and polychrome marble, according to projects of Domenico Fontana and Giovanni Antonio Dosio.

In 1586 work was entrusted to Martino Longhi old the, architect of confidence of the principal sponsor of work, the cardinal Pier Donato Cesi. After the death of the cardinal work continued and the semicircular Abside of layout, the Transept and the Coupole which surmounted it, were inaugurated in 1591.

Between 1594 and 1617, according to a project of Giacomo beyond Changed tonic to 1585 and implemented by Giovan Battista Guerra as superintendent of work, the original structure with single nave was amplified by the opening of the side chapels, in order to leave space for two relatively narrow side aisles. One added also two vaults, one on each side.

During the same time, Angelo Cesi, bishop of Todi and brother of the cardinal, financed work of the frontage, which also started in 1594 according to a project of Fausto Rughesi and concluded in 1605, in spite of an interruption of 1598 with 1603, the contiguous staircase being finished only in 1614. The tympanum which crowns the frontage over all the width is undoubtedly due to an intervention of Carlo Maderno.

The bell-tower was added in 1666 by Camillo Arcucci. The right-sided of the building, after the opening of the street which skirts it, was covered in 1675 with bricks by Carlo Rainaldi. The cupola was modified in 1650 by Pietro da Cortona, which added to it a surmounted lantern of a small cupola to allow a sharper interior lighting. The marble pavement was entirely remade in 1895. Formerly on a small closed place, the church and the Oratoire of the Filipinos give on the Corso Vittorio Emanuele since his opening in 1885. In small space which remainder is a monument with Pietro Metastasio and a fountain (Fontana della Terrina), moved since the Campo de' Fiori.

The frontage

The frontage is presented with two series of Pilastre S coupled, those which surrounding the central door being replaced by embedded columns. On the Entablature of the first level, the inscription recalls the Commanditaire ( Angelus Caesius, episc tudertinus fecit anno Dom MDCV - " Fact by Angelo Cesio, bishop of Todi, in 1605").

The central door, broader than the two side ones, is surmounted, with the top of the entablature of the first level, of a Tympan, decorated statue of the " Madonna Vallicelliana". The inscriptions which decorate the three doors present to the center the names of the two titular saints of the Church, the Madone and Saint Gregoire large the ( Deiparae Virgini and Gregorio magno ), as well as the verse of the Cantique of the Canticles applied to the Immaculate Conception ( tota will pulchra are on the left amica mea and and mackled not is in you on the right).

At the higher level, related to the inferior by two side volutes similar to those of the frontage of the church of Gesù, a square window surrounded by a shelter with a tympanum decorates the center, and on the sides, two framed niches of smaller shelters shelter the statues of saint Gregoire the large one and Saint Jerome, carried out by Giovanni Antonio Paracca.

Naves

The central nave is flanked of two side aisles, they same decorated each of five vaults.

On the sides of the central nave, with the top of the arcs which allow the junction with the side aisles, like on the wall interior of the frontage, are fifteen oval fabrics within gilded frameworks, realized between 1697 and 1700, which represent l'" History of the hello of the humain" kind; through various episodes of the Old and New Testament.

Starting from the bottom:

On the interior wall of the frontage, the stuccos of Ercole Ferrata represent the allegories of the " Contempt of the monde" and of the " Silence". The angels and the cherubs of the side aisle, completed in 1698, are of Giacomo Lavaggi, Bernardino Cametti, Pietro Balestra, Giuseppe Raffaelli and Michele Maglia.

Frescos of Pietro da Cortona

The Vault, the Cupola and the Apse, originally just bleached according to a desire of saint Filippo Neri, were then decorated of Fresque S by Pietro da Cortona between 1647 and 1666.

On the vault the fresco presents " the Madonna and holy Philippe Néri" and to the episode of the vision of 1576 returns during the construction of the church: the Madonna appears supporting a beam which threatens to collapse with the top of the vault where one kept the the Blessed Sacrament and the " Madonna Vallicelliana" during work.

In the apse the " is represented; Virgin assomptée among the angels and the saints" ; on the cupola the " Triumph over Trinité" (" God the Father and Christ" on the cupola and l'" Saint" spirit; in the Lantern). On the sides of the cupola the biblical Prophet S Jérémie, Ézéchiel, Isaïe and Daniel.

Transept and presbytérium

The three naves emerge in the vast space of the Transept, covered with crossed with the central nave of the cupola. At the ends of the side arms, two vaults open, while on the bottom, open still two vaults with several parts, on the two sides of the Presbytérium, itself closed by the semicircular apse.

In the transept, decorations in stucco are of Cosimo Fancelli and Ercole Ferrata; it is about Allégorie S of the Foi and the Espérance (left arm), of the Charité and the Religion (right-hand man).

In the right-hand man of the transept, one placed in the Années 1920 the Pupitre out of wood drawn for a convent by Francesco Borromini (1638-1642).

In the chorus of presbytérium the walls of the Stalle S go up with 1640, the seats themselves being posterior not very. The organ and the small choruses on the sides are decorated of Monstrance S of wood gilded of 1698.

Major furnace bridge and paintings of Rubens

On the major furnace bridge, built between 1596 and 1599, was to be a fabric of the " Nativité" of Federico Barocci, which was never carried out.

In 1608 one decided to place the miraculous image of the " there; Madonna Vallicelliana" , which was inserted in a decoration out of slate, painted by Rubens with concentric circles d'" Angel S and Chérubin S adorants" , laid out around a niche for the venerated image. This statue itself was protected by a copper plate, also painted by Rubens with a " Madonna with child who bénit" , plate which can be removed, thanks to a system of cords and pulleys, in order to expose the image to the veneration.

On the side walls of presbytérium two other paintings of Rubens, also carried out on slate, represent " Gregoire saint the large one, Papias and Holy Maur " (wall of left) and " Holy Flavie Domitille, Holy Nérée and Holy Achilles " (wall of right-hand side).

The patron of this great pictorial unit was the bishop of Milan Federico Borromeo.

With the top of the tympanum overhanging the furnace bridge a shelter shelters a " Crucifix" out of polychrome wood, of Guillaume Berthelot, 1615. In 1697 one added two more statues d'" Anges" , by Francesco Maratti.

The gate vault of the furnace bridge, in Bronze gilded, with angels in flight, was carried out in 1672 by Ciro Ferri.

Vaults of the naves

The vaults gave initially on large the nave, only with the origine ; when one added the two side aisles, the vaults all were rebuilt, between 1594 and 1606.

Vault of the Purification

First vault of the nave of left. Entrusted in sponsorship to Fabrizio and Cesare Mezzabarba, of Pavia, it had been intended for the exposure of the miraculous image of the " Madonna Vallicelliana". At the time of rebuilding works, sponsorship passed to the cardinal Agostino Cusani and in 1854 to the counts Polidori.

Decoration in stucco dating according to the rebuilding is due to Stefano Longo, the executives of the frescos in the vault were completed in 1620 by the Cavalier of Arpin (" Ambroise" saint; , " Augustin" saint; and " Holy Monique"). The frescos, damaged, underwent a restoration in 1885.

The decoration of the furnace bridge is a fabric of 1627, also of the Rider of Arpino : the " Purification of Vierge".

Vault of the Magi or the Epiphany

Second vault of the nave of left. Entrusted in sponsorship in 1578 to Porzio Ceva, notary of the Camera Apostolica .

The decoration of the furnace bridge, works of Cesare Nebbia in 1578, represents l'" Worship of Mages".

After the rebuilding, the new decoration of the vault, polychrome marble and stucco on the vault, was still entrusted to Stefano Longo and was completed in 1619, taking again the reasons for the vault of the Purification. The frescos of the vault, in bad condition, were probably completed in 1625 by Baccio Ciarpi.

Vault of the Nativity

Third vault of the nave of left. Entrusted in sponsorship to Silvio Antoniano, cardinal future, in 1580.

The table on the furnace bridge, of Lasting Alberti, represents l'" Worship of the bergers" (going back to before 1590). After the rebuilding, the vault was decorated with stuccos (Giovanni Guerra) and with frescos (Niccolò Pomarancio), lost.

Vault of the Visitation

Fourth vault of the nave of left. Entrusted in sponsorship to Francesco Pizzamiglio, Venetian, in 1582. In the middle of the 18th century it returned in Filippo Sicurani.

The decoration of the furnace bridge, Federico Barocci, date of 1586. It represents the " Visitation" and she was particularly appreciated by Philippe Néri.

After the rebuilding, which was completed only in 1611, decoration in stucco was carried out until in 1617 and the following year, were ordered the frescos of Carlo Saraceni ( Saint Matthieu, Saint Jean the Evangelist and Saint Jean Baptiste , the latter being disappeared).

Vault of the Annunciation

Fifth vault of the nave of left. Entrusted to the sponsorship of the family Ruspoli, bankers florentins, in 1589.

In 1591 the original decoration of the frescos was finished, by Andrea Lilio, of which that of the arc (" remains; Birth of the Virgin with Joachim and Anne" announces; , " Rebecca with the puits" , " Rachel hides the idoles" , l'" Immaculate Conception" , " Bunch of the ground promise" , " Marry Canticle of Cantiques" and " The wife enters the room of the banquet"). The decoration of the furnace bridge, finished the same year, and representing l'" Annonciation" , of Domenico Cresti (known as the " is a work; Passignano").

Within sight of the bad condition of the frescos, they were replaced by polychrome decorations of marbles and stucco, according to an order of 1662).

Vault of the Crucifix

First vault of the nave of right-hand side.

Entrusted to the sponsorship of Camillo Caetani, patriarch of Alexandria then of Paolo Paganino, Modena, then of the family Rossi and finally, in 1746, with the marquis Giacomo Vettori.

The decoration of the furnace bridge, by Scipione Pulzone, represents the " Crucifix" : it was completed not very front 1586.

Under sponsorship of Paganino and after the rebuilding, decoration was remade in 1621, with stucco in the arc (decorations carried out by Stefano Longo : allegories of Justice and the Force) and in the vault, where one sees frescos with the oil of Giovanni Lanfranco (" Crowning of épines" , " Flagellation" and " Prayer with the jardin").

Vault of Pietà

Second vault of the nave of right-hand side. Entrusted to the sponsorship of Pietro Vittrici, " guard-robe" of the pope, then in Ermete Cavalletti.

After the rebuilding, it was decorated with polychrome marble and stucco (1612) like with frescos of Angelo Caroselli (" Suaire" in the arc and " Pietà between David and Isaïe" in the vault).

On the furnace bridge the " had been placed; Put at the tomb of Christ " Caravage (1602), which stolen by the French in 1797 and was replaced by a copy of Michele Koeck ; after the restitution of the original, it was preserved in the Art gallery of the Musées of the Vatican.

Vault of the Rise

Third vault of the nave of right-hand side.

Entrusted to the sponsorship of Tiberio Ceuli, Roman banker, in 1581. In 1868 sponsorship returned to the family De Villanova Castellacci.

The decoration of the furnace bridge representing l'" Ascension" is due to Girolamo Muziano, before 1587. After the rebuilding it was decorated with polychrome marbles and stucco, and was devoted in 1607. The frescos were carried out by Benedetto Piccioli after 1624 (" San Coprete" , " Alexandre" saint; and " San Patermuzio").

Vault of Pentecost

Fourth vault of the right nave. Entrusted in 1579 to Vincenzo Lavaiana, banker of Pisa, which yielded it, at the time of the reorganization, with Diego del Campo, Flemish, secret chamberlain of the pope. In 1728 sponsorship passed to the count Pierre Giraud.

The decoration of the vault (" Seven chandeliers" , " Baptism of Christ" and " Brace with the tables of Loi"), completed in 1602, is due to Egidio della Riviera.

The decoration of origin was a " Descent of the Saint" Spirit; Flemish Painter Wensel Cobergher (1607), but it was replaced in 1689 by the current one, a fabric of Giovanni Maria Morandi on the same subject.

Pinelli vault

Fifth vault of the right nave.
Entrusted to the financing of the banker génois Giovanni Agostino Pinelli, treasurer of the pope.

It still acts for the main thing, of original decoration in stucco, which goes back to 1587, according to a project of Giacomo della Porta.

One finds there also frescos of Aurelio Lomi:

Scenes of the life of the Virgin and Scenes of the childhood of Jesus under the arch,
Dormitio Virginis , Crowning of the Virgin Mary and Funeral of the Madonna on the vault
Rébecca and Eléazar and Yaël and Sisera on the walls.

The original decoration of the furnace bridge, with the Assumption and the apostles of Giuseppe Ghezzi, was replaced in the middle of the 17th century by a fabric on the same subject of Giovanni Domenico Cerrini.

Vaults of the transept

The two vaults at the ends of the transept were modified by moving back the unit, like the vaults of the side aisles: this work took seat in 1634 for the vault of the Presentation.

Vault of the Presentation of the Virgin

At the left end of the transept.

Built in 1589 with the expenses of the bishop Angelo Cesi, its decoration is due to Martino Longhi old the in 1591 with polychrome marbles and two green marble columns to the furnace bridge.

In 1592 the two niches accepted the statues of Pierre saint and holy Paul, works of Giovanni Antonio Paracca and in 1603 the decoration of the furnace bridge was put in place : " Presentation of Marie to Temple" of Federico Barocci.

After work of modification, the decoration of the frescos on the vault was remade, with the " stories of Anne, Elcana and Samuel" , of Alessandro Salucci.

Vault of the Crowning of the Virgin

At the right end of the transept.
She was entrusted in 1591 to Alessandro Glorieri, apostolic Nonce with Naples.

In 1592 one builds the major furnace bridge of it, with columns of green marble similar to those of the vault of the Presentation opposite. It is in 1594 that the vault is devoted, once realized very elaborate decoration, out of polychrome marbles. The niches shelter two statues, of " Saint Jean Baptiste" and " Jean saint Évangéliste" of Flaminio Vacca.

The decoration of the furnace bridge, representing the Crowning of the Virgin , painted by the Riding of Arpin, had been finished in 1615, but was improved two years later by the same author, at the request of the congregation.

Vault of saint Philippe Néri

On the left presbyterium.
Preceded by an oval hall of form of Luca Berrettini, it is built between 1600 and 1606 at the expenses of Neri Del Nero , relative of the saint, on a project of Onorio Longhi, and is decorated with marble and materials invaluable (Marbre, Albâtre, Jaspe, Nacre, Lapis-lazuli, Corail, onyx, Agate and Améthyste).

The cupola with the lantern with the top of the furnace bridge are of Pietro da Cortona (1650).

On the walls and the vault are placed fabrics of Cristoforo Roncalli, the Pomarancio , are carried out between 1596 and 1599 (perhaps replaced by a second series of the same painter in 1620), which represent scenes of the life of the saint ( Philippe dares to sing the angels , Philippe cures Clément VIII , Philippe saves a disciple of the drowning , Philippe in extase near a patient , Philippe choît in a cellar and is saved by an angel , Philippe in extase in church vestments , Mort of Philippe , Aumône of Philippe with the angel , Philippe ressuscite Paolo Massimo , Saint Jean Baptiste appears in Philippe ).

For the furnace bridge was carried out the table of Guido Reni presenting " Saint Philippe Néri and the Madonna of Vallicella" , then moved in the convent and replaced here by a mosaic on the same subject, of Vincenzo Castellani (1765 - 1774).

The furnace bridge is made up around a crystal ballot box which preserves the body of the saint, with a money mask, while decorations were modified until the 19th century.

Vault of Saint Charles Borromée

On the right presbyterium.
The idea of a vault dedicated to saint Charles Borromée was under discussion since 1604, with the support of the cardinal Federico Borromeo, but it was possible to carry out this project only starting from 1663, thanks to the marquis Orazio Spada. The project of Camillo Arcucci with three successive parts, decorated sumptuously, was completed in 1679.

The first part, an octagonal hall, is decorated with black marble plates, placed there in 1733, which make memory of the family members bienfaitrice.

The central part, of the elliptic and covered shape of a vault, was carried out by Giuseppe Brusati Arcucci, nephew of the architect, with the assistance of Carlo Rainaldi. It comprises four framed niches of columns which should have contained statues.

Decoration (Glory with the currency of Saint Charles, Humilitas , of 1667, the " Anges" and four medallions with the Attack against saint Charles , the Holy Charles, Philippe Néri and Felix de Cantalice , the common Prayer of saint Charles and saint Philippe and the Meeting of saint Charles and saint Philippe ) are due to Giovan Francesco Of Rossi. On the ground, the blazon of the Spada family. On the walls, tables of Luigi Scaramuccia of 1673 (the Alms of saint Charles and Holy Charles among pestiferous the ).

The last part contains the furnace bridge with its decoration of Carlo Maratti (the Madone and the Jesus child between the saints Charles Borromée and Ignace de Loyola , of 1672 - 1679). The fresco on the vault, with the the Holy Spirit , was carried out in 1729.

External bonds

Description in Italian

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