At the blind end of the corridor is a statue of St Sebastian by Lorenzetto, who died at Rome in 1541. Over the bust of the deceased is a relief showing the discovery of the relics of St Cecilia. The mediaeval doorcases are molded, in pavonazzetto marble. The centre of the vault has a large fresco by Sebastiano Conca from about 1727, depicting the Coronation of St Cecilia in Heaven. Today we are on-location in Trastevere. This structure would have been 1st century BC. He was responsible for "de-baroquing" several ancient churches, but was not able to get his hands on this one. The sanctuary wall cuts off the final structural bay of the nave. Note the organ being played, her attribute as patron of musicians (in mediaeval times, she was thought to have been its inventor). The Cappella Rampolla is a modern addition at the end of a corridor leading from this door. The architect was Pietro Bracci. Courtyard, facade, and medieval tower. In 1586, the nuns commissioned Pomarancio to paint a (now lost) fresco cycle of the Life of St Cecilia in the apse below the (then larger) mosaic. The ends of the loggia have a pair of Corinthian pilasters clad in a grey-veined marble, the cladding having been added by Fuga. The work was done in 1470. On 14 April there is this entry, not connected to the above: Romae in coemeterio Praetextati via Appia, sanctorum Tiburtii, Valeriani et Maximi, martyrum. Around 1300 the interior of the church was entirely redecorated. Details. The unfortunate solution was to box the columns into thicker pillars, trabeate every other arch and infill its tympanum. Up to then in Italy, mediaeval painting was derivative of the Byzantine style but here we have the evidence for the beginning of the return to the Classical style of ancient Rome. According to the account, the location of the relics in the catacombs of Callistus had been forgotten but he was favoured with a dream featuring the saint who pinpointed the site for him. The work dates to 1767. 22 Piazza di Santa Cecilia The central Lamb of God is standing on a hexagonal device, which probably represents the font of baptism. If he had succeeded, the church would have joined several others in the city which suffered ideological restorations between 1870 and the Second World War. This surprisingly early date was supported by the famous historian and archaeologist Giovanni Battista de Rossi, who also claimed to have pinpointed the original place of burial in the Catacombs of Callistus. Three longitudinal rows of grey granite derivative Composite columns (a total of twelve, with a further eighteen against the walls) support an arcaded vault with rosettes on the archivolts and seraphs and scrollwork in the vaulting. The suggestion was obviously made that this was the original house where Cecilia lived and which was converted into a church. The church of Santa Cecilia is another great church that you shouldn’t miss in Trastevere. Looking for a cheap car rental in Santa Cecilia in Trastevere? The monument had been dismantled and the bits dispersed, but was reunited and restored in 1891. These are his only known painted works, as he is better known as an architect. These frescoes are thought to have been by Fabrizio Parmigiano and Marzio Ganassini. The Basilica of Santa Cecilia in Trastevere in Rome is named for the patron saint of music, who was martyred and died around the year 230 at the site where the church was built. The altarpiece is by Giovanni Baglione, who seriously did not get on with Caravaggio, and was painted in 1601. The visible structures are 15th century. Between these apertures are crossed palms and lilies in stucco. There were several additions and alterations to the church in the 12th and 13th centuries. These light the nuns' choir. Since 1527, a community of Benedictine nuns has lived in the monastery next to Santa Cecilia, and has had charge of the basilica. 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. There, you will see a small oculus in the roof gable above the apse, and in the triangle of the gable some mediaeval frescoes. It has a central nave with two side aisles, separated by arcades with twelve ancient columns each (now hidden inside pillars). See Catacomba di Pretestato. Because the monastic cloister is immediately against the left hand side wall of the church, there are no external chapels there. Did the bath-house influence the author of the legend, or the legend influence those who discovered the bath-house? The ancient bapitstery was filled in, to raise the floor level to match that of the church. 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. The legend states that Cecilia was a young noblewoman who had taken a private vow of virginity before marrying a pagan called Valerian. 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 His predecessors include: are Pope Stephen III, Pope Martin IV (1261-1281), Adam Easton (1383), Pope Innocent VIII (1474-1484), Thomas Wolsey (1515), Pope Gregory XIV (1585-1590), Michele Mazzarino (1647), Giuseppe Doria Pamphili (1785), Mariano Rampolla (1887-1913), and Carlo Maria Martini (d. 2012). Popular points of interest near the accommodation include Pantheon, Palazzo Venezia and Piazza Venezia. Anna Maria Panzera and Mario Bagordo: La Basilica di S. Cecilia. The interior of the coffin he had lined with silk fabric. They provided a group of sisters as a nucleus of a new community, which started life in 1530. The monument was moved to here in 1957 because it was obstructing the entrance to the Ponziani Chapel. The nave is frescoed with the Apotheosis of Santa Cecilia (1727) by Sebastiano Conca. A surviving documentary reference of 1073 mentions that an altar was consecrated "in her [Cecilia's] bath", which must be this chapel. In 1599, while leading a renovation of the church, Cardinal Paolo Emilio Sfondrati had the remains, which he reported to be incorrupt, excavated and reburied. The Cappella Rampolla almost amounts to a separate building, and is a narrow rectangle with a separate apsed presbyterium. Along its top are bronze pomegranates shown spilt open, which are here because the fruit was a family symbol of Cardinal Francesco Acquaviva. This is certainly not how she was laid out in her coffin, so (if Maderno is to be taken literally in his claim that he sculpted what he saw) those responsible for the exposition must have manipulated her remains so as to leave them in such as position. The first leads through a tiny antechamber to the Cappella del Crucifissione (which is actually adjacent to the right hand ancillary chamber of the entrance vestibule), and the second opens into St Cecilia's Bath-House. 06 71 88 626. The effigy is in Parian marble, which contrasts effectively with the blackness of the niche in which it is placed. There was a lead pipe serving as a water inlet, and this has the names of both SS Cecilia and Chrysogonus on it. A room was inserted into the old horrea, and this had eight brick-lined cylindrical pits inserted into the floor. One of the lesser-known churches in Rome, Santa Cecilia in Trastevere Basilica is a fantastic stop if you are exploring Trastevere neighborhood. The vault has the Eternal Father with the four evangelists, while the side walls have saints. This altered the appearance of the basilica much more radically than the 18th century works. Tradition holds that the church was built over the house of the saint. 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. Subscribe via iTunes Scroll to see some pics we discuss in the episode. The artist responsible for the altarpiece is unknown, although it is in the style of the Cavalier d'Arpino. The present Chapel of the Bath, on the right hand side of the main church, poses a historical problem. The Gothic canopy was made, and signed, by Arnolfo di Cambio in 1293. So, try to arrive earlier rather than nearer the end. The saint is shown doing penance in the Judaean desert. The marble statue of her here was installed by Cardinal Ceretti in 1925, after she had been canonized. 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. In a nearby room there is a domestic pagan shrine consisting of a niche with a tufa relief of Minerva in front of an altar. Among the artifacts remaining from the 13th century edifice are a mural painting depicting the Last Judgment (1289–93) by Pietro Cavallini in the choir of the nuns, and the ciborium (1293) in the presbytery by Arnolfo di Cambio. Anderson, Roma - n. 0075 - Roma - Chiesa di S. Cecilia.jpg 770 × 597; 353 KB Trastevere Santa Cecilia Guest offers a continental or buffet breakfast. The statue depicts the three axe strokes described in the 5th-century account of her martyrdom. The triumphal arch of the apse is flanked by a pair of busts in large niches, over long dedicatory inscriptions. They are: St Benedict, because the nuns are Benedictine. You can see it at the end of the corridor beyond the gate. The work shows Christ holding a rolled-up scroll and giving a blessing, while being pointed at by the Hand of God the Father. Its decoration includes the coat of arms and the dedication to the titular cardinal who paid for the facade, Francesco Cardinal Acquaviva d'Aragona. These angels and the wise virgins are thought not to have been by Arnolfo, but to be of his school. They are woven from lambs' wool, the lambs being provided by the Cistercian Trappists. However, the present received opinion is that the work is by Girolamo Rainaldi, with the statuary by Pietro Bernini who was father of the famous Gian Lorenzo. Below, twelve lambs are shown leaving Jerusalem and Bethlehem and approaching the Lamb of God. (People do, but only barbarians.). His successor as cardinal, Cerretti, is also commemorated here by a bas-relief which is by Carlo Quattrini of 1936. The ancient church of Santa Cecilia in Trastevere was built by Pope Paschal I (r. 817-24) to house the remains of St Cecilia and her husband St Valerius, which were transferred to the church from the catacombs of San Callisto in 820. The inscriptions found in Santa Cecilia, a valuable source illustrating the history of the church, have been collected and published by Vincenzo Forcella.. The archivolts of the arcades are molded, and every other arch is infilled with a tympanum bearing either an eagle within a wreath with palm branches or a mitre with flower bouquets. 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. Two other putti are above the outer pair of posts. It is a very attractive Gothic composition, with another recumbent effigy shown on a bier and with a relief carving above of the Madonna and Child in a mandorla. It used to be part of a larger scheme depicting the legend of St Cecilia, but the rest was destroyed together with further scenes showing the martyrdoms of SS Vincent, Laurence and Stephen the Holy Deacons. Zanna did the putti in the vault. Whether you're searching for hotels in Santa Cecilia in Trastevere on business, or hunting for a family getaway, Santa Cecilia in Trastevere hotel options are only a click away. It is known that there were other frescoes in the main nave from the evidence of small surviving fragments, and these seem to have been by Cavallini also or of his school. There used to be a Benedictine nunnery at Sant'Agnese fuori le Mura, but in 1479 Pope Sixtus IV shut it down because the sisters had become corrupt. Even worse, the Pomarancio frescoes in the apse were destroyed together with part of the mosaic. The nave has eleven bays, originally separated by twelve Corinthian columns in the arcades on each side. The altarpiece fresco depicts Our Lady with SS Stephen and Francesca. Maderno added bronze relief panels to each side of his sculpture, depicting SS Cecilia, Valerian, Urban, Tiburtius, Maximan and Lucy. It seems that there was some sort of joint administration of the two basilicas at the time. martyrologies) place her martyrdom in the great persecution under the emperor Diocletian, at the start of the 4th century. The monument was made by Paolo Romano, and was only finished several decades after the cardinal died. At the end of the 13th century a programme of embellishment of the interior was carried out, which involved frescoes on the walls and a new ciborium or baldacchino put up in 1283. The whole project was executed between 1291 and 1293, and seems to have resulted in a fresco cycle featuring scenes from the Old and New Testaments. At first glance, the main nave may disappoint. On the opposite side is the tomb of Cardinal Niccolò Forteguerri (died 1473), partly by Mino da Fiesole. This chapel is private. The archaeological excavations under the church revealed much of interest, but nothing Christian that could be traced back to the period of the church's foundation, so there is no help there. Santa Cecilia in Trastevere Piazza Santa Cecilia, 2, Rome, Italy 06-5899289. The architect was Giovanni Battista Giovenale, who executed the project between 1899 and 1901 as a place to re-enshrine the sarcophagi holding the relics of SS Cecilia, Valerian, Tibertius and Maximus. The external entrance loggia is mediaeval, erected in the 12th century but altered by Fuga. There was a restoration in 1957. Also, galleries above the arcades were enclosed to form passages to a choir above the entrance; these features were for the use of the nuns. The campanile has had a slight lean for a long time. Hence, some publications quote a date of around 225 for St Cecilia's martyrdom. Here, the formation of adipocere is a plausible explanation for the incorruption. The side portals are rectangular, and above each is a panel bearing a stucco relief of palm branches in a crown. Take your favorite fandoms with you and never miss a beat. There is an entrance fee of 2-5 euros, which is in addition to what you pay to enter the underground areas. Gualtiero Bassetti 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. Frescoes Mon–Sat 10am–12:30pm Transportation Bus: H, 44, or 125/Tram: 8 Phone 06-45492739 Prices Church free admission; Cavallini frescoes 3€; excavations 3€ Web site Santa Cecilia in Trastevere Also there is an enclosure doorway leading into the present nuns' choir, which has an altarpiece depicting a Crucifixion between SS Ursula and Cecilia. These are of different sizes, with the central one being largest, the two flanking it narrower (these are now trabeated, with infilled tympani), and the outer two narrower still. 1291 Mosaic Basilica of Santa Maria in Trastevere, Rome The scroll in the woman's hand () links her to the bride in the Song of Solomon.It reads Leva eius sub capite meo et dextera illius amplesabitur me, "His left hand is under my head, and his right hand shall embrace me" (2:6, 8:3).Christian writers interpret the bride as Ecclesia, the Church: see my page on Ecclesia. This is the only surviving painting by Cavallini (apart from a water-colour), and ranks as among one of the most important art-historical works in the world. This is plausible for other tituli associated with obscure female martyrs, for example Santa Sabina, but in the case of St Cecilia the tradition in the 5th century influencing the author of the legend seems to have been well established. There is a semi-circular external apse, but no transept or side apses. San Giovanni is involved because the canons there are in charge of Sant'Agnese. She is the patron of musicians. It is in the form of a Gothic tomb-chest, with a recumbent effigy on top. Once inside, you find yourself in a shallow vestibule separated from the main nave by an arcade of five arches. The Romanesque campanile is over the lower end of the right hand aisle, and the external chambers itemized above (except the far ancillary rooms) are under a pitched and tiled roof which also covers the right hand aisle. The present appearance of the chapel is the responsibility of the famous early 20th century architectural historian Antonio Muñoz, and was finished in the same year. There is a good Paschal candlestick in the form of a twisted barley-sugar columns with Cosmatesque inlay to the right of the ciborium. 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