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Santa Maria dei Sette Dolori, Rome

1655 establishments in Italy17th-century Roman Catholic church buildings in ItalyBaroque architecture in RomeChurches of Rome (rione Trastevere)Francesco Borromini buildings
Roman Catholic churches completed in 1655Roman Catholic churches in Rome
Trastevere Complesso monastico di S. Maria dei Sette Dolori
Trastevere Complesso monastico di S. Maria dei Sette Dolori

Santa Maria dei Sette Dolori is a Baroque church in Rome built attached to a convent in the rione of Trastevere, located on Via Garibaldi, near the intersection with Via dei Panieri. Construction of the church was begun in 1643 with plans by Francesco Borromini, annexed to an Augustinian nunnery that was founded by Camilla-Virginia Savelli Farnese, Duchess of Latera. However, when the fortunes of the House of Farnese declined, so did the funding for the church, and by 1655 the work was stopped. The convent underwent a number of tribulations during the nineteenth century, however, it was not deconsecrated in 1873, as were many other monasteries. Since then, the nunnery has slowly ebbed and most of the convent is now the Hotel Donna Camilla Savelli. The Diocese presently lists the church as being in the care of the few remaining nuns of the order of Suore Oblate del Santo Bambino Gesù. The monastery also served as a place to hide Jews from the fascist authorities active in the Holocaust during World War II. The facade of the church remains in brick, deprived of decoration. It has concave front and some odd-shaped windows that underscore Borromini's Baroque idiosyncrasies. The interior still contains some of the marble sculptural decorations plus a St Augustine and the Mystery of the Trinity by Carlo Maratta and a canvas by Marco Benefial.

Excerpt from the Wikipedia article Santa Maria dei Sette Dolori, Rome (License: CC BY-SA 3.0, Authors, Images).

Santa Maria dei Sette Dolori, Rome
Via Garibaldi, Rome Municipio Roma I

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N 41.889944 ° E 12.466306 °
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Santa Maria dei Sette Dolori (Santa Maria della Scala)

Via Garibaldi
00120 Rome, Municipio Roma I
Lazio, Italy
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Trastevere Complesso monastico di S. Maria dei Sette Dolori
Trastevere Complesso monastico di S. Maria dei Sette Dolori
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Tempietto del Bramante
Tempietto del Bramante

The so-called Tempietto (lit. 'small temple') is a small commemorative tomb (martyrium) designed by Donato Bramante, possibly built as early as 1502 in the courtyard of San Pietro in Montorio, in Rome, Italy. Commissioned by Ferdinand and Isabella of Spain, the Tempietto is considered a masterpiece of High Renaissance Italian architecture.After spending his first years in Milan, Bramante moved to Rome, where he was recognized by Cardinal Giuliano della Rovere, the soon-to-be Pope Julius II. In Rome, Bramante was able to study the ancient monuments firsthand. The temple of Vesta at Tivoli was one of the precedents behind the Tempietto. Other antique precedents Bramante was able to study in Rome include the circular temple of the banks of the Tiber, Temple of Hercules Victor, believed at the time to be a temple of Vesta. However, circular churches had already been employed by early Christians for martyriums, like Santa Costanza, also in Rome. Bramante would have been aware of these early Christian precedents, and as a result, the Tempietto is circular. The Tempietto is one of the most harmonious buildings of the Renaissance. The temple was constructed from bearing masonry. The circular temple supports a classical entablature, and was framed in the shadowy arch of the cloister. It is the earliest example of the Tuscan order in the Renaissance. The Tuscan is a form of the Doric order, well suited for strong male gods (such as Hercules) so Tuscan was well suited for St. Peter's. It is meant to mark the traditional exact spot of St. Peter's martyrdom, and is an important precursor to Bramante's rebuilding of St. Peter's. Given all the transformations of Renaissance and Baroque Rome that were to follow, it is hard now to sense the impact this building had at the beginning of the 16th century. It is almost a piece of sculpture, for it has little architectonic use. The building greatly reflected Brunelleschi's style. Perfectly proportioned, it is composed of slender Tuscan columns, a Doric entablature modeled after the ancient Theatre of Marcellus, and a dome. Bramante planned to surround the building with concentric rings of colonnades, the columns of which would have been radially aligned to those of the Tempietto, but this plan was never executed.