Cathedral Church of St. Michael the Archangel
The ancient parish church, built around 1400, was dedicated to St. Angelo and was placed in front of the palace Riario. Only a few books from the parish will have a vague news of the early church that had a nave with a semicircular apse and a tower with two belfries with mullioned windows and spire pyramid. It was restored between 1595 and 1596, following the implementation of Straight Street and the bridge of Riario and expanded between 1618 and 1624. After 1817 the church was completely rebuilt - a project of the famous architect Giuseppe Valadier - due a massive fire that destroyed the building structures, with irreparable damage also to the archives and the vestments. Survived only two works of fine workmanship: the central panel of a triptych of SS. Salvatore and a framework dedicated to the Madonna del Soccorso. The two paintings can be seen in two different altars. Are unknown to the authors and the historical period; can be traced back to the late fifteenth century. In the church are preserved today some seventeenth-century paintings, including two well-restored, a discreet artistic value. Behind the altar, in addition to other paintings of saints, there is a painting representing the Archangel St. Michael. Encased in wooden choir is found a beautiful white marble ciborium finely worked in relief, for the custody of Oil Santo, where we read the date "MCCCCLXXXXIII".
St. Mary of Consolation
The original church, which began around 1515, it was completed in 1526. It was later greatly modified and extended by the card. Alessandro Farnese, nephew of Paul III and was consecrated July 15 1565. The care of the shrine was entrusted to the Franciscan friars in that, adjacent to the building, was built a convent (completed in 1582), which remained active until 1870. in 1960 he was shot down because it felt unsafe. Around 1591, the church was restored and enriched by the will of the Cardinal Odoardo Farnese, instructing the architect Girolamo Rainaldi. The church, with a nave, is baroque; consists of eight chapels lateraliricche golden stucco, a choir located behind the main altar and sacristy with large closets artistic. The individual chapels were decorated by the noble families of the time. The first chapel, going to the right, is dedicated to Our Lady of Providence; in it is a canvas depicting the Madonna with the sides Pope St. Sylvester and St. Bonaventure. Below is the chapel, donated by Antonio Moscheni from Bergamo, dedicated to the Immaculate Conception, represented in a fresco surrounded by angels. The third chapel, with a painting of the school of Mattia Preti depicting the deposition of the Lord, is dedicated to Our Lady of Mercy; Also this was donated by Moscheni. Last on the right is the chapel dedicated to St. Francis and Our Lady of Loreto. In 1662 it was enriched by a wooden crucifix of fine workmanship, the work of the friar Vincenzo da Bassiano. The chapel was donated by the Bolognese Taddeo del Forno (Swashbuckler), nano Court of Farnese. The first chapel on the left, for those who enter, is dedicated to St. Francis with a picture that represents the moment of prayer for the indulgence of the Portiuncula. Most recently it was discovered that the painting is the work of the painter Anni9bale Carracci and a sketch of the same is in the Louvre in Parigi.Nella second Franciscans are depicted St. Clare and St. Elizabeth with St. Rose of Viterbo, S. Sebastian and S. Lorenzo. The next is dedicated to St. Anthony of Padua; built by Jacopo Nardelli is adorned with a painting by Innocenzo Tacconi disciple of Annibale Carracci. The fourth chapel is dedicated to Our Lady of the Rosary; there is preserved an artistic wooden statue of the Virgin and a painting of the Madonna and baby Jesus attributed to Carlo Maratta. Of great artistic value is the temple of gilded wood, designed by Vignola, above the high altar. At the center is placed an oval fresco depicting the Madonna of Consolation. Dating from the late twelfth century, a tradition was found miraculously in the country and was revered even before the construction of the Church itself. The artistic coffered ceiling is decorated with paintings and large wooden statues representing St. Egidio Patron of Caprarola, St. Anthony, St. Francis, the Annunciation, St. Bonaventure, the statues of the Powers, of St. Elizabeth, S . Louis King of France, St. Clare, Wisdom, Fortitude, Honor, St. Louis, St. John the Apostle and St. Bernardine of Siena. Valuable portal wooden entrance, enclosed in an artistic frame stone which reads the date of building the Church (1526); is artistically carved and on it you can see beyond the author's name, date of creation (1564)
Located at the foot of the country since the beginning of the sixteenth century, was restored by Vignola, as shown by an archive document of 1569 and was already completed in 1599. As in the initial project, consists of a large room with a only altare.Nel 1973, the last restoration of the Church, which has allowed the reopening to the cult, was demolished a wooden ceiling painted coffered (dilapidated), to the advantage of the beautiful trusses still in sight. On the main altar is a painting (early XVII cent.) Depicting the SS. Trinity, the Virgin Mary with baby Jesus, the four evangelists and St. John the Baptist fanciullo.Sulla right wall there are two niches, with the sides painted, containing the paintings depicting the beheading of John the Baptist (1618) and the martyrdom of St. Sebastian (1610) .On the first niche of the right wall is a painting of the Holy Family (sec. XVII) and second a fresco depicting the Nativity (1599) flanked by St. John the Evangelist and St. Stephen. behind the Church and as a continuation of it, was built in 1873 ilConvento of Divine Love that greeted the Augustinian nuns when they were confiscated to St. Rocco. This is a modern building with a large garden and equipped with every comfort. The sisters who are dedicated, among other things, the education of children through the management of a kindergarten, provide for the care of the Church.
Chiesa of the Madonna delle Grazie in CaprarolaChiesa of Our Lady of Grace in Caprarola Located just outside the town on the road carbognanese, dates from the late sixteenth secolo.E 'a single nave with three altars. The wall behind the main altar, as well as the scene of the Annunciation and frescoes of saints martyrs, preserves a beautiful image of the Virgin and Child. Special features of the Church is the division in two of the central compartment of the same with a front enclosed by a wall of granite and wrought iron gate definitely dating from the time of construction. On the right wall is a fresco depicting Santa Lutgard in prayer and in the left a fresco depicting the hermit St. Jerome in meditation. After a period of neglect, the Church has been restored several times.
Chiesa and Convent of St. Teresa in Caprarola Already in 1620, Cardinal Odoardo Farnese (whose portrait you see, entering over the doorway of the Church) in Caprarola promoted the foundation of a monastery that would have entrusted to the Carmelites and the Church annexed to be dedicated to St. Mary and St. Sylvester. He continued as a local cult linked to the tradition according to which, the Pope Sylvester I, fleeing from persecution in Rome, he would've been in a cave near the ditch called "Pilo". Later the church was dedicated to St. Teresa reformer of the Carmelite Order. The work for the Church and the Convent, under the direction of the architect Girolamo Rainaldi, were completed in 1623, in fact, on November 1, the religious community settled there officially. Maintenance and restoration were carried out on several occasions; 1954 is the renewal of the floor of the Church and the elimination of many superstructures. The location of St. Teresa, located outside the country, like that of the other elements of the urban structure of Caprarola, not accidental, but linked by a narrow geometric relationship with the Farnese Palace. The report design convent-castle, which spells out the link between the Lord and the Religious Order, already stressed by the presence of the Casino withdrawal of the Cardinal at the building of the Carmelites, was accentuated by another project: the construction of a direct connection (in particular a bridge) between the Palace and Convent, materialization of the visual axis from the Palace that frames the facade of the Church. Symmetrically to the complex of the Carmelites, from across the country, over the moat of the Madonna delle Grazie, would rise a convent for the Capuchins, which is also connected directly to the palace, thus creating a triangle in which the dwelling is baronial would be placed as the top preferred. The project was never completed. The facade of the Church, is harmonious and slender peperino worked, topped by Farnese lilies. The architectural ensemble is completed by two lateral bodies in which there have been built for guests. The interior has a nave with three altars as suggested Cardinal Odoardo Farnese, surmounted by as many valuable paintings. The painting above the altar is attributed to Guido Reni (a copy is in the Church of S. Marcellino in Rome, via Merulana) and depicts the Virgin and Child, the sides St. Teresa and St. Joseph (1623). That right of the altar, representing St. Anthony of Padua preaching to the fish on the beach in Rimini (1627/1629), is Alessandro Turchi said Orbetto. The painting above the altar of the left, by Giovanni Lanfranco, representing St. Sylvester Pope celebrating a rite Baptistery of St. John Lateran with a thread tying the lips of a terrible dragon (1627/1629). Above the confessionals there are paintings representing episodes from the Old Testament and executed by the Flemish between Luca di San Carlo. The convent is rich in seventeenth-century furnishings and a scholarly library
Rocco or Chantry of caduti
Piazza Romei and Church of St. Rocco today Shrine of the fallen .Posta on the square in front of the Farnese palace was built between the fifteenth and sixteenth centuries. Was modified and embellished between the sixteenth and seventeenth century, following the construction of the adjacent convent of the Augustinian Sisters. It is currently used as a Shrine of the Fallen. It is a small building that is very rich in stucco friezes and of good quality, as well as the coats of arms of the Farnese family and a painted coffered ceiling. What most attracts attention are the frescoes, typically Tuscan school of the late '500, which probably were made by the same artists who worked at that time, in the Palazzo Farnese.
S. Maria Assunta
La was built around the XIII - XIV century since, being incorporated in the current building Fusaro, it is assumed it had been a dependency of the former castle of Vico. The current Renaissance building, which has a single nave, with a semicircular apse is probably the result of many remakes from five days to nostri.Pur not very big, originally, in addition to the greater, had four side altars of which, after the restructuring sixteenth, remain the second left and the second right. On the left wall, where he was the first altar, there is a painting of the sixteenth century that depicts a group of saints. Continuing, there is an altar redone recently, dedicated to Our Lady Addolorata.Qui you see, in a niche, a beautiful statue of size that is carried in procession on Good Friday. Between these two works, protected by a bulletin board, is preserved fresco depicting the Madonna and Child, surrounded by former voto.E 'work quite fine, dating from the fourteenth secolo.Addossato the wall of the choir, in a small temple in wood, houses a small panel painting depicting St. Mary Assunta.Di Tuscan school, you can probably be dated to the XIV-XV secolo.Il small presbytery is surrounded by a wooden choir where, in addition to the date of restoration (1853) , the symbol of the Brotherhood of Death and Prayer he used the church as sede.L'altare right retains a small painting on canvas, the deposition of Jesus from the cross, encased in a larger fresco depicts where the Saints and in top, the sides of the picture, you see two angels in prayer. Both of Viterbo school, perhaps the workshop of Antoniazzo Romano, are dated to the fourteenth or fifteenth century. Immediately to the right of the entrance you see a painting of the Crucifixion; well executed probably goes back to the sixteenth century. Of particular interest is the font entrance, white marble finely worked on a foot of lava stone; is Romanesque and dates back to the XI-XII century, the Church also has a coffered ceiling wooden dipinto.
Edificata family Moscheni adjacent to the Church of St. Lucia in the late sixteenth century, followed the same fate. Reduced to a pile of crumbling ruins, was demolished and in its place were built houses and a small chapel dedicated to St. Lucia and St. Anne. Still remains the distinctive and elegant bell tower of granite that was used also for the Church of St. Lucia. Originally the small nave was placed across the entrance door that opened onto the street because of Pilo and the apse was not in symmetry, in 1762 the Brotherhood who administered the Church there erected a wall. After many years, doing renovation work, the wall was knocked down and was unearthed a beautiful fresco depicting the Pentecost with Mary and the Apostles in the lower and the Holy Spirit between clouds and angels at the top. On the wall there was a painting of downed St. Anne, St. Sylvester Pope, St. Charles Borromeo, St. Lucia and St. Teresa. The fresco, the early seventeenth century, according to historian Italo Faldi, can be attributed to the painter Filippo Caparozzi Viterbo. In the sacristy, which was located in front of the entrance, there was a fresco of St. Anne with the Virgin Mary and baby Jesus. Currently, only behind the altar of the chapel, it keeps the face of the Virgin of Tears and the statue of St. Lucia who were in the church of the same name. OUR LADY OF
Trattasi a Church of recent construction built between the resorts "Paradisa" and "Magliano". Work started in 1988 was completed in 1990. Originally designed by architect Cosimo Colesante of Viterbo, has been subject to changes and embellishments by architect Michele De Meo of Rome. The Church has a modern very sober, it has a single nave, with smooth walls and ceiling. The floor is in Florentine terracotta and the high altar of granite, dedicated to Our Lady of the Blessed Sacrament.