It is an ancient and medieval district full of narrow lanes and twisting alleyways. All … More restorations followed in the 18th century. There is a comment in a work called Miscellanea by Venantius Fortunatus (latter part of the 7th century), which indicates that the saint was martyred in the reign of Marcus Aurelius, about the year 177. The 19th century sculptor who provided a copy for the Catacomb of San Callisto corrected this. Between these apertures are crossed palms and lilies in stucco. The tympanum of the pediment had a smaller oculus, matching one still to be found at the other end of the church. He may also have been responsible for the convent entrance block on the piazza, erected in 1742 and with an impressive propylaeum bearing the coat-of-arms of Cardinal Troiano Acquaviva d'Aragona who had inherited the cardinalate title from his uncle in 1733. These slabs were once laid in the floor, as you can tell from the wear that they have suffered. Details. However, the nuns now realize the importance of the work and the interest shown in it, and have regularized access by payment. Historians formerly guessed that these pits belonged to a corarium or tannery recorded as having been in the locality, but the present consensus rejects this. Popular points of interest near the accommodation include Pantheon, Palazzo Venezia and Piazza Venezia. The scrollwork is embellished with flowers and little animals, and also with little tondi containing portrait busts. This entrance is exactly on the major axis of the church. The original location was here, but it was moved to the right side of the courtyard in the Middle Ages and only put back in 1929. The central nave has its own pitched and tiled roof, and the left hand aisle has its own lower roof. The visible structures are 15th century. St Cecilia in Trastevere Since they were enclosed, they were not allowed into the body of the church. Paschal I appears in the mosaic in the apse; his halo is square to show that he was still alive when the mosaic was made. She is here because she mentioned how much she liked the church when she visited Rome. Hence all the fanciful etymologies in the devotional literature are worthless and can be ignored, as this was not a personal name. The church contains two altarpieces by Guido Reni: Saints Valerian and Cecilia and a Decapitation of Saint Cecilia (1603).[4]. The ancient Roman structures around the crypt are difficult for the casual visitor to interpret, and even the archaeologists are not in full agreement. To either side of the vestibule is a small square ancillary room, the right hand one entered from the vestibule and the left hand one from the left hand aisle. Santa Maria in Trastevere Santa Cecilia San Francesco in Ripa San Crisogono Mentioned in … To the right of the main door is the tomb of Cardinal Adam Easton of Easton in Norfolk, England (died 1398), who was titular of this church. Stefano Maderno's beautiful effigy inspired several other similar works in Rome, for example the altar effigy at Sant'Anastasia. Santa Cecilia in Trastevere is a 9th century monastic and titular church and minor basilica located at Piazza di Santa Cecilia 22 in Trastevere. The entrance is closed off with a grille, but you can look through this to see frescoes of the school of Pinturicchio, all executed by Antonio da Viterbo nicknamed Il Pastura. The first unambiguous documentary reference, apart from the legend, is in the list of priests attending a synod u… Some of the walls were rather crudely decorated with frescoes depicting curtains (vela), and these were renewed when the baptistery was renovated by Pope Paschal. If you go to San Saba on the Aventine, you will find an ancient basilica with no ceiling and an open roof, just like this one used to be. Valerian and companions, on the other hand, are now thought to have had nothing to do with her. Note the organ being played, her attribute as patron of musicians (in mediaeval times, she was thought to have been its inventor). This painting is now considered by art critics to demonstrate a turning-point in the history of Western art. Perhaps the main attraction is Pietro Cavallini's Last Judgment fresco, often cited as the masterpiece of the artist who, with Giotto, was a prominent Late Gothic artist and a forerunner of the early Renaissance. Below this mosaic panel was the cycle of frescoes on the life of St Cecilia by Pomarancio. Basilica di Santa Cecilia in Trastevere. Gualtiero Bassetti Sanctae Caeciliae The relief of the Madonna and Child is of the school of Mino da Fiesole. However, on the right hand side there are several ancillary structures. There was a restoration in 1957. Further work was done in excavating under the church in 1958, resulting in the present underground area, and the bapitstery under the Chapel of Relics was excavated in the 1980's and 1990's. Anderson, Roma - n. 0075 - Roma - Chiesa di S. Cecilia.jpg 770 × 597; 353 KB 22 Piazza di Santa Cecilia The frescoes were plastered over in a remodeling under Cardinal Francesco Acquaviva in 1724, which included building an enclosed choir, the floor of which cuts off part of the Last Judgement. As a cardinal he was improsoned and almost executed by Pope Urban VI, who was arguably a lunatic, but was spared through the personal intervention of King Richard II of England. Did the bath-house influence the author of the legend, or the legend influence those who discovered the bath-house? There was a lead pipe serving as a water inlet, and this has the names of both SS Cecilia and Chrysogonus on it. Santa Cecilia is a basilica church with no transept and a north tower. The garden was laid out as an initiative by Cardinal Bonaventura Cerretti in 1929. This statue could be conceived as proto-Baroque, since it depicts no idealized moment or person, but a theatric scene, a naturalistic representation of a dead or dying saint. The altar frontal is Cosmatesque in style. They then became seriously corrupt, and were definitively ejected in 1527. (This is the object of some popular devotion.) The first storey has a row of three shallow recesses in the form of arches, and this is a common design feature of these campanili. The side portals are rectangular, and above each is a panel bearing a stucco relief of palm branches in a crown. To the right of the tomb (and invisible from the gate) is a fresco of the cardinal with Pope St Pius X. Rome2rio makes travelling from Roma Termini to Santa Cecilia in Trastevere easy. These were looted from a very high status context. On the right are St Peter, St Valerian and St Agatha. Cardinal Rampolla wished to restore the church to its presumed mediaeval appearance, but could do little apart from having the crypt built. It merely reads: Franciscus, titu[lus] Sanctae Caeciliae car[dinalis] de Aquaviva. The mediaeval doorcases are molded, in pavonazzetto marble. It is feasible that the basilica built by Pope Paschal was not on the site of the older church, but that the latter awaits discovery nearby -perhaps adjacent to the baptistery on the other side. The revised Roman martyrology, 2004, has this carefully worded entry on her feast-day of 22 November: Memoria sanctae Caeciliae, virginis et martyris, quae duplicem illam palmam Romae in coemeterio Callisti via Appia pro Christi amore consecuta esse traditur, cuiusque nomen titulus ecclesiae Transtiberinus antiquitus praebet. The two women are depicted as Byzantine princesses; the white dots on their garb represent pearls, and their red shoes are a sign of the highest rank. The Cappella Ponzani or Ponzianica is structurally mediaeval and seems to have been added in the late 13th century. A Cosmatesque floor was laid, and this has also gone. ), Sebastiano Conca, Guido Reni, Stefano Maderno. One hopes that he was naïve instead of having a sick sense of humour, because a split pomegranate is an ancient erotic symbol of Venus (if you can't work it out, this is not the place to explain). “Trastevere” (trahs TAY veh ray) means “Across the Tevere.” “Tevere” is the Italian name for the Tiber, the large river that flows through Rome. The solid balustrade above the entablature was added by Fuga, and has five flaming urn finials. These are the apostles. The Latin is bad in places: Haec domus ample micat variis fabricata metallis, olim quae fuerat confracta sub tempore prisco, condidit in melius Paschalis praesul opimus. He did so, was baptized, and was hence martyred together with his brother Tiburtius and a soldier involved in their detention called Maximus whom they converted. The original church was constructed in the fourth century; during the ninth century, Pope Paschal I had remains which were supposedly hers buried there. It was here from 1562 to 1661. A room was inserted into the old horrea, and this had eight brick-lined cylindrical pits inserted into the floor. St Mary Magdalen. Fortunately, he left alone a strip of mediaeval mosaic just under this. Certain historians have suggested that these two sites concerned two Cecilias, with the one at the church simply being the original owner of the property where the titulus was founded. Patrizia Marchetti: Santa Cecilia in Trastevere. ("At Rome, in the cemetery of Praetextatus on the Appian Way, [the commemoration of] the saints Tiburtius, Valerian and Maximus, martyrs."). It is of Paolo Emilio Sfondrati, the cardinal who arranged the exhumation of St Cecilia in 1599 and who died in 1618. The ceiling of Cappella dei Ponziani was decorated God the Father with evangelists (1470) by Antonio del Massaro (Antonio da Viterbo or il Pastura). Under the Chapel of the Relics are the remains of a large room with an apse and a mosaic floor; this room was restored in the 3rd century. You can see it at the end of the corridor beyond the gate. Doing away with the saintly Cecilia proved a difficult job for the Romans. Some people wonder whether the statue has a face. St Teresa of the Child Jesus, at the far end. The monastery was then given to the Benedictine nuns of the long-established monastery of Santa Maria della Concezione in Campo Marzio by Pope Clement VII (1523-1534). The floor within this enclosure is of opus sectile work, with a central porphyry tondo bearing an inscription commemorating Cardinal Paolo Sfondrati, titular priest of the church 1591-1618 (don't mistake this for the epigraph by Maderno mentioned below). The central portal is arched, with a molded archivolt and a strap finial on the keystone. There is a very shallow tiled pyramidal cap, and an unusual set of four finials on the corners in the form of cubes with little pyramidal caps. The Cappella delle Reliquie was frescoed and provided with an altarpiece by Luigi Vanvitelli. Today we are on-location in Trastevere. In the audience are SS Valerian, Tiburtius and Urban. Before the 18th century restoration, the mosaic was larger and also occupied the upper part of the apse wall. Here is the entrance to the crypt, nowadays kept locked. On 14 April there is this entry, not connected to the above: Romae in coemeterio Praetextati via Appia, sanctorum Tiburtii, Valeriani et Maximi, martyrum. 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