Santa Francesca Romana Church

Rome, Italy

Santa Francesca Romana church was built in the second half of the 10th century, incorporating an 8th-century oratory that Pope Paul I excavated in the wing of the portico of the Temple of Venus and Roma. It was rebuilt by Pope Honorius III in the 13th century, when the campanile was built and the apse was decorated with mosaics of a Maestà, the Madonna enthroned accompanied by saints. The interior has been altered since. Since 1352 the church has been in the care of the Olivetans. In the 16th century, the church was rededicated to Frances of Rome, who was canonized in 1608 and whose relics are in the crypt. Its travertine porch and façade is by Carlo Lambardi, and was completed in 1615.

The interior, a single nave with side chapels, was rebuilt by Lombardi beginning in 1595. In the middle of the nave is the rectangular schola cantorum of the old church, covered in Cosmatesque mosaics. Another prominent feature is the confessional designed by Gian Lorenzo Bernini (1638-49), in polychrome marbles with four columns veneered in jasper.

The church houses the precious Madonna Glycophilousa ('Our Lady of Tenderness'), an early 5th-century Hodegetria icon brought from Santa Maria Antiqua. The twelfth-century Madonna and Child that had been painted over it was meticulously detached from the panel in 1950, and is now kept in the sacristy.

The ancient oratory on which the current church was built was located by Pope Paul I on the place in which Simon Magus died. According to this legend, Simon Magus wanted to prove his powers as stronger than those of the apostles, and started levitating in front of Sts. Peter and Paul. The two apostles fell on their knees preaching, and Simon fell, dying. The basalt stones where the apostles were imprinted by the knees of the two apostles and are embedded in the wall of the south transept.

The tomb of Pope Gregory XI, who returned the papacy to Rome from Avignon, reconstructed to a design by Per Paulo Olivieri (signed and dated 1584) is in the south transept.

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Details

Founded: 10th century
Category: Religious sites in Italy

Rating

4.6/5 (based on Google user reviews)

User Reviews

J R (2 months ago)
Great church very beautiful, kind of hidden by Colosseum, great artwork
Joshua Polivka (4 months ago)
Great historical site!
Victoria Thomas (5 months ago)
Really lovely and very quiet. Nice respite after the busy Colosseum
Ulet Natalius (10 months ago)
Entry is free of charge, despite located inside the Roman ruins complex. The decorations inside this ancient temple turned into a Catholic church is brilliant and amazing. Remember to keep your voices down.
Stanimira Gospodinova (10 months ago)
It was very quiet, no tourists at all. Interesting architecture with lots of ornaments on the walls and ceiling.
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Limburg Cathedral

The Cathedral of Limburg is one of the best preserved late Romanesque style buildings. It is unknown When the first church was built above the Lahn river. Archaeological discoveries have revealed traces of a 9th-century church building in the area of the current chapel. It was probably built in Merovingian times as a castle and the chapel added in the early 9th century.

In 910 AD, Count Konrad Kurzbold (cousin of the future King Konrad I) founded a collegiate chapter of 18 canons, who lived according to the rule of Bishop Chrodegang of Metz, on the hilltop site. The original castle chapel was torn down and a three-aisled basilica was built in its place. The foundations of this basilica have been found beneath the present floor.

The construction of current cathedral is dated to 1180-90. The consecration was performed in 1235 by the archbishop of Trier. It seems certain that the cathedral was built in four stages. The first stage encompassed the west facade, the south side aisle, the choir and the transept up to the matroneum. This section forms the Conradine church. The second stage consisted of the addition of the inner pillars of the south nave. In this stage the bound system was first introduced. In the third phase, the matroneum in the southern nave was built. The fourth stage included the north side of the transept and the choir matroneum. By this stage Gothic influence is very clear.

The interior was destroyed by Swedish soldiers during the Thirty Years War (1618-48) and reconstructed in a late Baroque style in 1749. The Baroque renovation was heavy-handed: the surviving medieval stained glass windows were replaced; all the murals were covered up; the ribs of the vaults and columns of the arcades were painted blue and red; the capstones were gilded; the original high altar was replaced. The colorfully painted exterior was coated in plain white and the central tower was extended by 6.5 meters.

The collegiate chapter of Limburg was dissolved in 1803 during the Napoleonic period, but then raised to the rank of cathedral in 1827 when the bishopric of Limburg was founded. Some renovations in contemporary style followed: the walls were coated white, the windows were redone in blue and orange (the heraldic colors of the Duke of Nassau) and towers were added to the south transept (1865).

Further changes came after Limburg was incorporated into the Kingdom of Prussia in 1866. It was now the Romantic period and the cathedral was accordingly restored to an idealized vision of its original Romanesque appearance. The exterior stonework was stripped of all its plaster and paint, to better conform with the Romantic ideal of a medieval church growing out of the rock. The Baroque interior was stripped away and the wall paintings were uncovered and repainted.

Further renovations came in 1934-35, enlightened by better knowledge of the original art and architecture. Art Nouveau stained glass windows were also added. A major restoration in 1965-90 included replastering and painting the exterior, both to restore it to its original appearance and to protect the stonework, which was rapidly deteriorating while exposed to the elements.

The interior is covered in medieval frescoes dating from 1220 to 1235. They are magnificent and important survivals, but time has not been terribly kind to them - they were whitewashed over in the Baroque period (1749) and uncovered and repainted with a heavy hand in the Romantic period (1870s) before finally being restored more sensitively in the 1980s.