santa maria in via lata

After the rebuilding, the church was parochial and was administered by a college of secular priests. The name Via Lata does not refer to the little street to the north of the church, which is actually named after the church and not the other way round. An altar in the lower church has a marble bas relief by Cosimo Fancelli. The high altar Madonna Advocata (1636) is one of the few paintings in churches attributed to Bernini (perhaps by Santi Ghetti). Each face has a tall round-headed soundhole, flanked by a pair of Ionic pilasters at the corners -except that the surfaces of the pilasters are actually strap curlicues with incurved volutes below the capitals. A visit to Santa Maria in via Lata represents just the start of the adventure when you use our Rome online road trip planner to plot your vacation. The wooden choir stalls were executed by Francesco Speranza in 1628. Take your favorite fandoms with you and never miss a beat. An angel and a putto are disporting themselves. The vaults are painted in what looks like 19th century style, featuring cornucopias and foliage sprays with scallops all in gold on green with red bordering containing putto's heads, the vault rib angles being highlighted in pale blue. There are murals from the 7th to the 11th centuries, some of which have been detached from the walls and taken to the Crypta Balba to preserve them. He re-consecrated the crypt chapel in 1661, with a new altar bearing a marble bas-relief by Cosimo Fancelli. They founded a convent here in 1969 dedicated to Our Lady, Mater Unitatis, and run a Eucharistic Ecumenical Centre (Centro Eucaristico Ecumenico). It has a terracotta relief of The Rest on the Escape to Egypt by Fancelli. The sixth bay has a large elliptical painting of Our Lady of the Rosary by Giovanni Domenico Piastrini (1678-1714).

There was a restoration of this ceiling in 1863, as an epigraph in the coffer nearest the entrance points out (as well as indicating that Pope Pius IX put up the funding). The second room is the original diaconia chapel, with a walled-off apse to the east (on the right as you enter from Room I).

The bronze busts, partly gilded, are by different sculptors of the school of Bernini. The fourth bay contains an altar dedicated to St Joseph, and the altarpiece by Giuseppe Ghezzi depicts St Joseph with the Christ-Child, Venerated by SS Nicholas and Blaise. The wall has seven sections corresponding to the nave bays, three of which are blank. Apparently the work by Camassei depicted The Eternal Father, in which case Traversari turned him into Our Lady. The entrance block is an architecturally separate add-on, and is substantially higher than the main body of the church. The first documented cardinal was actually a pseudocardinal, later Antipope Theodoric in 1100. The large circular painting at the near end of this aisle is The Baptism of Christ by Agostino Masucci. The accessible bit comprised two rooms, the old oratory (with its apse walled off) and the room to the south. Santa Maria in via Lata is located in Rome. It claimed the relics of St Cyriac, formerly enshrined at San Ciriaco a Via Ostiense, together with companion martyrs Largus and Smaragdus. The curiously designed second story has another loggia, the void of which is defined by an entablature supported by columns. The Palazzo Doria Pamphilj was to take over much of the site, but that lay in the future. There are three bells, two of which bear dates: 1615 and 1465. One pillar has Cosmatesque decoration. Hotels near Santa Maria in via Lata: (0.02 mi) Hotel Caravita (0.02 mi) UNIQUE, AMAZING OVERLOOKING THE TREVI FOUNTAIN, LUXURY FLAT 90m2, Up to 4 sleeps (0.02 mi) TREVI FOUNTAIN HOUSE (0.02 mi) CHARME APARTMENT AT TREVI FOUNTAIN (0.03 mi) I Tre Moschettieri Luxury Guest House; View all hotels near Santa Maria in via Lata on Tripadvisor It is worth looking up into the barrel-vaulted ceiling of the loggia. It is now not very interesting, because the frescoes it once had have rotted away.

A fragment of another pluteus is also in this room, this one pierced. The nave side walls above this in turn have windows, the central pair being round. This conflicts with a similar tradition concerning San Paolo alla Regola.

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