Peterborough Cathedral.
© Chef @ Sweetbriar Dreams
www.sweetbriardreams.blogspot.co.uk
Text from The Saint Andrew Daily Missal,
unless otherwise stated.
Saturday after Ash Wednesday.
Station at Saint Tryphon’s
(now at Saint Augustine’s).
Indulgence of 10 Years and 10 Quarantines.
Violet Vestments.
English: The Church of Saint Augustine, Rome.
Italiano: San’Agostino, Rome.
Photo: October 2005.
Source: Own Work.
Author: Lalupa
(Wikimedia Commons)
The Station at Rome was, previously, at the Church of Saint Tryphon, who died a Martyr in The East. This Church having been destroyed, the Station was removed, under Pope Clement VIII, to a neighbouring Church, that of Saint Augustine. [Editor: The Church Commemorates the Feast Day of Saint Tryphon on 10 November.]
The High Altar,
Sant'Agostino, Rome.
Photo: July 2007.
Source: Own work.
Author: SteO153
Permission: CC-BY-SA-2.5
(Wikimedia Commons)
In this hard struggle, Jesus will come to our aid (Postcommunion), as He did to the Apostles and “heal our bodies and our Souls by Fasting” (Collect), as He healed all the sick in the country of Genesareth.
Mass: Audívit Dóminus.
Preface: For Lent.
The Altar and Tomb of Saint Monica of Hippo,
at Sant’Agostino in Campo Marzio Church, Rome.
Photo: March 2011.
Source: Own work.
Author: Bocachete
(Wikimedia Commons)
Sant’Agostino is a Church in Rome, not far from Piazza Navona. It is one of the first Roman Churches built during the Renaissance. The construction was funded by Guillaume d'Estouteville, Archbishop of Rouen and Papal Chancellor. The façade was built in 1483 by Giacomo di Pietrasanta, using Travertine taken from the Colosseum. It is a fine, plain work of the Early-Renaissance Style.
The most famous work of art, presently in the Church, is the Madonna di Loreto, an important Baroque painting by Caravaggio. The Church also contains a Guercino canvas of Saints Augustine, John the Evangelist, and Jerome; a fresco of the Prophet Isaiah, by Raphael; and the statues of The Virgin and Child, by Andrea Sansovino, and of The Madonna del Parto (Our Lady of Childbirth), by his pupil, Jacopo Sansovino.
The latter sculpture is reputed by Tradition to work miracles and was, according to a legend, based on an ancient statue of Agrippina holding Nero in her arms.
In 1616, the 17th-Century Baroque artist, Giovanni Lanfranco, decorated the Buongiovanni Chapel (in the Left Transept) with three canvasses and a ceiling fresco of the Assumption. The Church also houses Melchiorre Caffà’s sculpture “Saint Thomas of Villanova Distributing Alms”, completed by his mentor, Ercole Ferrata. Pietro Bracci designed and sculpted the polychromatic tomb of Cardinal Giuseppe Renato Imperiali (1741).
In 1616, the 17th-Century Baroque artist, Giovanni Lanfranco, decorated the Buongiovanni Chapel (in the Left Transept) with three canvasses and a ceiling fresco of the Assumption. The Church also houses Melchiorre Caffà’s sculpture “Saint Thomas of Villanova Distributing Alms”, completed by his mentor, Ercole Ferrata. Pietro Bracci designed and sculpted the polychromatic tomb of Cardinal Giuseppe Renato Imperiali (1741).
English: “Madonna di Loreto”, by Caravaggio
Deutsch: Altargemälde der Cavaletti-Kapelle
in Sant’Agostino in Rom, Szene: Madonna der Pilger.
Date: 1603 - 1605.
Current location: Church of San’Agostino, Rome.
Source/Photographer: The Yorck Project:
10.000 Meisterwerke der Malerei.
DVD-ROM, 2002. ISBN 3936122202
Distributed by DIRECTMEDIA Publishing GmbH.
Permission: [1]
(Wikimedia Commons)
The Church contains the tomb of Saint Monica, mother of Saint Augustine, and that of Fiammetta, lover of Cesare Borgia and a famous courtesan.
Sant’Agostino was once noted for the presence of a number of courtesans and prostitutes in its Congregation.
This stational church, of course, has a complicated history. The original church, a small classic Italianate structure of which some sketches remain, was dedicated to the Eastern Church martyr, S. Trypho.
ReplyDeleteSometime in the 1280s, this church was given to the Order of S. Augustine, so they could be closer to the Roman Curia. The location is easily overlooked, as this Roman Pilgrim has overlooked it on many occasions, since it is so near the Piazza Navona and its beautiful soaring “dueling churches,” and the much more impressive sites of the Pantheon, the Gesu, and the Dominican Gothic church of Santa Maria sopra Minerva. The ancient church fell into disrepair, and was mostly torn down in the 1500’s but some of it was incorporated into the Augustinian convent next-door.
This new basilica, dedicated to their patron saint, was commenced next to the ancient church of S. Trypho, in 1479. As you can see from Zephyrinus’ pictures, it is mostly decorated in the High Baroque style, and as the informative notes of Zephyrinus observe, it has many notable artworks, especially the Caravaggio of the “Madonna di Loreto” (painted sometime in 1604–1606, not long before the troubled artist’s death in 1610); but it has as well many other wonders of post-Baroque art, including “Ezekiel” (1860s) by Pietro Gagliardi, a great ceiling fresco by Gagliardi, and high baroque works such as the fresco “Prophet Isaiah”(1512) by Raphael and a statue “Saint Anne and Virgin with Child”(1512) by Andrea Sansovino. Indeed, an art museum in itself.
During the anti-clerical governments of the late 19th century, the church, the adjacent monastery, and valuable adjacent buildings (the Augustinians owned an entire block, in a very desirable part of Rome) was seized from the Augustinians by the state, and it remains owned by the state of Italy to this day. Of course the atheist state did this “entirely for the good of the poor people.” Of course. (the “poor people” are still waiting for their fair share. But that’s the way it goes with atheist totalitarian states.)
As Dom Lefebvre, OSB, observes in his liturgical notes, the readings of this Saturday after Ash Wednesday remind the catechumens to focus on the Lenten fast (Collect) and trust in Our Lord (the Gospel of our Lord, walking on the water across the stormy lake, Mark 6:47-56).
Good thoughts for the pilgrim, Roman Catholic around the world.
—note by Dante Peregrinus
Another outstanding Commentary (and travel guide) from our Roman Correspondent, Dante P.
DeleteThank you.
Zephyrinus learned a lot from this Comment and particularly liked the idiom of “Christ walking on the water across the stormy lake”.
A marvellous likeness of, both, this ongoing Lent and our Pilgrimage through life's vicissitudes.