The church of San Francesco d'Assisi a Ripa Grande in Trastevere is the first Franciscan church of Rome, the Franciscan Sanctuary of Rome, the only monastery where St. Francis lived, and where you can visit the room.
The facade of the church (architect Mattia de Rossi, 1682) is baroque, simple and divided in two orders, with Doric pilasters that divide the lower floor into five compartments, while the upper floor is limited to the central nave. The bell tower, built in 1734, replacing the medieval one.
The interior has a Latin cross with three naves and chapels in the nave has three right and three in the left. The aisles are divided by Doric pillars holding up the cornice, on which rests the vault. The environment is typical Franciscan, without pomp or luxury, but still decorated with many works and funeral monuments that adorn the pillars and walls.
At the entrance you can see two funerary monuments of Senator Thomas Ray and his wife Hortense Spinola, attributed to Jerome Lucenti, dating from the seventeenth century. As for the pillars, on the second to the left is the monument to the Ven. Innocent from Chiusa, holy friar and great mystic, of G. B. Mola, while on the second to the right is the monument to the preacher, mystic and poet Bartolomeo Cambi from Salutio, with portrait on canvas, erected by Pope Benedict XIV.
The high altar, baroque polychrome marble, has been made by the architect Franciscan Fr. Secondo from Rome (1746). At the center you can see the wooden statue of St. Francis in Ecstasy supported by angels, the sculptor Franciscan Fr. Diego da Careri, dating back to before 1660. On either side we can see the two plaster statues, made by fr. Secondo from Rome, representing Faith and Charity, dating back to 1751.
Designed by the architect Fontana, we note the crucifix in wood by fr. Angelo from Pietrafitta (XVII century) and the frescoes of the vault and the corbels by fr. Emanuele da Como (next to 1701). While the corbels are depicted some of the saints, the vault is the Eternal Father.
On the left wall there is the tomb of the Card. Michelangelo Ricci (next to 1682) with the bust attributed to Domenico Guidi, while the right one is the tomb of Stephen Brandi.
Under the altar of gray marble, in 1695 was placed the urn with body of S. Clement, donated to the church by Bishop Peter Lambertini.
Architect Carlo Fontana. The altarpiece, the paintings on the walls and the ceiling frescoes are made by the Bolognese Domenico Muratori (post 1749) and depict scenes from the life of St. John of Capestrano.
On the altar we can see S. John of Capestrano at the Battle of Belgrade on the right wall the Saint during the siege of Vienna by the Turks, and on the left wall the Saint preaches in Perugia and the destruction of the instruments of vice. In the vault is painted Glory of the Saint, while in the lunettes the Birth and the Death.
Architect Corbelli Giovanni (1686). The altarpiece with Holy Family and God the Father is made by Legnanino or Legnani Stefano (1685), while the frescoes on the walls of the vault and the corbels are made by Giuseppe Passeri. On the right wall we can see the Escape to Egypt, while on the left the Dream of S. Joseph. In the vault we find the Choir of Angels.
Under the altar there is the shrine with the body of S. Leontia martyr, while on the right wall there is the tombstone of Simplicie Verecondie, and of fr. Simplicio from S. Elia, cited in the manuscript of P. Lodovico da Modena, as a lay brother of the Roman Province Reformed OFM, long lived in
San Francesco a Ripa, where he died the 23rd February 1656.
In the glass case on the left we can see the wooden statue of the Blessed Virgin Mary Refuge of Sinners.
Chapel of St. Peter of Alcantara or Rospigliosi-Pallavicini
Architect Nicholas Michetti (1710). The altarpiece shows St Peter of Alcantara and St. Paschal Baylon in Eucharistic adoration and it is, along with medallions of the vault, the work of Giuseppe Bartolomeo Chiari. The tombs, of the family Rospigliosi-Pallavicini, are made by the brothers Mazzuoli of Siena (1713).
On the left side we can see the tombs of Lazarus and Stefano Pallavicini, created for the architectural part by Michetti, while the statues of Fortitude and Justice and the medallions with portraits of the deceased created by Giuseppe Mazzuoli. On the right wall there is the Monument of Maria Camilla and Giovan Battista Rospigliosi, with the statues of Charity and Prudence and the busts of the two deceased always performed by Mazzuoli. Above the graves we can see the skeleton of Death in bronze by Michele Garofolino.
The chapel has a pavilion vault covered with gilded stucco framing the arms Pallavicini Rospigliosi and four ovals representing allegories of virtues. In the lantern frame format, with a rich garland of flowers, there is the Dove of the Holy Spirit.
Down the aisle, next to the chapel Rospigliosi-Pallavicini, we find the altar of St. Giacinta Marescotti, with the wooden statue attributed to Fr. Diego de Careri (XVIII century), and two columns made of rare African marble.
Architect Giacomo Mola (1625). The altarpiece by Giovan Battista Gaulli or Baciccia (1675) depicts St. Anne, the Virgin and the Infant Jesus. The lying statue, in Carrara marble, is the agony of the Blessed Ludovica Albertoni by Gian Lorenzo Bernini (1675), the last work of the great sculptor worked all of his hand.
On the wall to the right we can see a fresco by unknown (1540) depicting the Blessed Ludovica, which is the true portrait of the blessed, who lived and worked in Rome between 1473 and 1533, mother of the poor and benefactor of orphans, she is the patroness of the Brothers of the Secular Franciscan Orden and Roman patroness of the City of Rome.
On the left wall there is the fresco of St. Chiara. The frescoes of the corbels are in tempera unknown and represent the four Roman Saints: Cecilia, Agnes, Francesca Romana and Ludovica Albertoni.
The dome and lantern represent the festive Choir of Angels, perhaps made by Celio or one of his pupils.
There are also the plaque in the Chapel of Ludovica Albertoni, in the floor, in front of the steps of the altar, and the balustrade with the coat of arms of House Altieri, perhaps from 1702, a small fresco of St. Charles Borromeo (XVII century) on the left wall and above a reminiscent of the Senate (1625), which required as a public holiday the 31st of January, the day the Blessed died.
At the bottom of the left aisle we find the altar of St. Anthony of Padua, with wooden statue of the seventeenth century by Fr. Diego da Careri.
To the right of the altar of St. Antonio find the Tomb of Bishop Luigi Maria Cardelli OFM, who died in 1868, with a side view of the bas-relief bust of white marble.
This chapel is also called "the Pietà" because the altarpiece was the Pietà painted by Annibale Carracci and donated by Lucrezia Paganica Mattei, which was taken by Napoleon in 1797 following the armistice with Pius VII and it is now in the Louvre Museum . The copy of this painting is now on the front door of the sacristy. The current altarpiece is a copy of S. Archangel Michael by Guido Reni, originally attributed to Mallenghi (1660), has been claimed by Anna Menichella to Charles Cignani.
On the right wall we can see the monument of Cardinal Orazio Mattei with bust of Lorenzo Brass (1687), while on the left the monument of Laura Frangipani (after 1635), wife of Ludovico Mattei Paganica by Francesco Peparelli and bust of Andrea Bolgi (1637).
The frescoes in the lunettes representing the miracles approved for beatification of St. Charles of Sezze are works of the Roman painter Marcello Sozzi (1882).
Under the altar there is the bronze urn containing the body of St. Charles of Sezze (next to 1670), the humble and simple friar minor, an apostle of Trastevere, a writer of ascetic works, mystical and spiritual, stigmatized by the Holy Eucharist, in fact he received a wound to the heart while he was attending the Holy Mass.
Chapel of the Annunciation
The altarpiece is a table of Cecchino (Francis) Salviati, 1535, depicting the Annunciation to Mary. The Chapel at the beginning of the seventeenth century was painted by Giovan Battista Ricci from Novara, said Navarro, with scenes from the life of the Madonna, with the Major Prophets, with the four Evangelists and the Sibyls.
The vault is a magnificent Glory of the Father. Under the floor lie the mortal remains of the Servant of God Father Joseph Spoletini (1870-1951), who died here in the odor of sanctity, famous and sought after confessor.
In the four pinnacchi enclosed by gold stuccoes, we can see the four evangelists.
With regard to the right wall, there is a fresco in the lunette of the Visitation of the Virgin to St. Elizabeth, and two pictures of the corners Sibilla Cumana, in the central part there is a marble plaque dedicated to Bernardina de Rustica Castellanis and sides of the prophets Jeremiah and Solomon.
Instead, looking at the left wall, in the lunette there is the Nativity of the Virgin and, in the corners the Libyan Sibyl and Sibyl Ellespontica, in the central part there is a plaque commemorating the decree of indulgence of Gregory XV in 1622 and in the sides of the prophets David and Isaiah.
On the back wall, in the lunette above the paddle in the corners of the window we can see the Sibyls Lamia and Phrygia.
Of an unknown architect. The altarpiece of Martin De Vos (1560) shows the privilege of the Immaculate Conception of Mary. On the right wall we can see a painting by Antonio della Cornia (XVII century) depicting the Assumption of the Virgin, in the left wall a painting by Simon Vouet (1614), which represents the birth of the Virgin Mary.
The vault is a dome with fresco depicting Father, Son and Holy Spirit Dove crowning the Immaculate in the triumph of Angels. The spandrels of the vault represent the Sibyls Cumana, Phrygia, and Libyan Delphic.
The baptismal font of the seventeenth century, precious Numidian marble, was donated by Pope Pius X in 1906, when the church became a parish.
Above the entrance door of the sacristy there is a painting by an unknown artist of the sixteenth century, which is a copy of the Pieta by Annibale Carracci.
On entering the sacristy, on the left there is an iron gate that leads to the Oratory of the Secular Franciscan Orden, a lounge decorated in 1973 for the meeting of associations. On the altar there is the picture S. Elizabeth treating a sick person (in the appearance of Christ) in 1837, perhaps by Octave Hauser.
From Sacristy to access the hostel of St. Francis, where are the tombstones of the family Anguillara: Pandolfo in the dress of a Franciscan tertiary (Pandolfo II or his nephew), the Count Francesco, son of Everso, with the military armor, and finally the last are depicted Eleonora Anguillara Santacroce and Lucrezia Orsini dell'Anguillara. In front we can admire a beautiful wooden crucifix of the late fifteenth century, before which B. Ludovica Albertoni prayed.
It is made by the architect Longhi Honorius, and dates back to 1608. The walnut stalls of are made by Franciscans artisans, cabinet-makers of the seventeenth century. The two-manual organ with 26 registers, are real work of the company Vincenzo Mascioni Cuvio-Varese (1956).
High on the wall above the door step of the sacristy, we can admire a large canvas depicting P. Salvatore Lilli from Cappadocia, martyred in Turkey in 1895. The work was performed in 1981 by the painter Alberto De Rossi, probably in preparation for the beatification by Pope John XXIII in 1982.
In the wall right behind the main altar there is a painting of Madonna Enthroned with Child Blessing on his knees, by an unknown artist of the nineteenth century. In the back of the main altar there is a monogram of the Eucharist with golden sunburst, a Franciscan coat of arms in black marble and white marble frame (1746) and under the niche a small Crucifix in bronze.
On the right wall of the choir, before the exit to the convent, there is a plaque in memory of Cardinal Lelio Biscia, cleric of the Apostolic Chamber (he built the choir at his own expense, as mentioned, in 1608) and under his coat of arms in white marble.
On the wall above the exit door by the choir we see an unknown tapestries of the thirteenth century with the apparitions of Jesus and Our Lady to St. Francis. This is the famous vision of the Portiuncula.
The church of S. Francesco a Ripa was sought rest after this life of famous men, both clerical and lay, starting with the founder Pandolfo dell'Anguillara.
The charity associated with poverty in the sons of St. Francis, as it was full of gratitude to the benefactors, always greeted kindly requests of those who did not have a place for the rest after death. In S. Francesco a Ripa exist, therefore, the tombs of the Della Rovere family, Moroni, Ricci, Rospigliosi, Massimi, Vinciguerra, Conca, Baccelli, etc.. there are the tombs of the benefactors of the Friars, of the Franciscan Secular Orden, but there is also the common grave, for all those who wished to be buried there.