Santa Maria della Vigna in Citadel

Santa Maria della Vigna is a Catholic minor basilica in Rixia municipality, Citadel, located in 16 Vigna Road（葡园路16号）, and the official address, 43 North Guangping Street （广平门北路43号）, is actually the office of the Theatine fathers here; and its main entrance is on 151 Rixia Avenue（日下大道151号）. Located near the old city walls at its northeast, it is a major exponent of mid-2110s and neo-baroque style architecture and art. It has the dignity of minor basilica since 2167 and is governed by the Theatine fathers.

## History

### An earlier church

This church was initially out of city walls, when it was built as a parish church in 1832A.E. and was dedicated to Saint Thomas the Apostle. A vineyard (vigna) nearby leads to its present name. It was taken by the Theatine fathers in 1903 A.E., when the new parish church (now demolished and partially incorporated to another church) finished, and it was re-dedicated to Mary. The city wall was partly pulled down later, and this section, which is close to the city center, soon developed. The original church was with a nave and two aisles, which did not contain chapels.

### The present church

After this section (Quarter Rixia, “beneath the sun”) became densely populated due to the rapid development of the outskirts of the old city, the old buildings (mostly taverns and small houses) were demolished, while the church was only preserved and refurnished at the personal expense of Count Ludovico Carafa Firrao, who bought a palace nearby. He died suddenly in 2109, and the church soon fell into disrepair.

In 2113, Giulio Giglioli, Titular Archbishop of Sidon and new nuncio to the emperor, started to fund the remodeling and reconstruction of this church. Nobles and riches who recently emigrated there, as well as local residents, funded the project as well. It was greatly enlarged, and the former convent attached to it was incorporated into the church. Theatine fathers, who used to live there, built another house at the left side of the new church. On 15 August 2119, both the church and the facade completed, and Giglioli was appointed cardinal earlier that year. He himself and Bartolomeo Albicini, the new nuncio, consecrated the church.

From 2173, a major extension of Vigna Road cut the present convent, and some of the Theatine fathers moved southwards to another house attached to the church.

## Exterior

### Layout

It is a large church, although long and narrow: The plan is based on a Latin cross. Structurally there is a nave of seven bays with aisles, however the nave is relatively narrow (10m), to fill the space of aisles and chapels (7m each). Then comes the transept, the ends of which protrude slightly beyond the side walls of the nave. The dome is over the crossing. There is a wide sanctuary of one bay with a large semi-circular apse, and on each side of the sanctuary is a narrow octagonal chapel. A passage leading to the sacristy is beside the chapel on the right, and there are two more exits to the convent.

### Facade

The exterior was designed by Domenico della Porta, in Baroque style, with a tall and sumptuous travertine facade. An eagle was placed on the volute, as eagles both resembles the cardinal (Giglioli) and the pope (Aurelio Fabrizio Mandosi, pontificate 2118-2129) in their respective family coat-of-arms. On the right of the church there was the palace of Malvasia family; however, the family branch died out in 2137, and the palace was sold to the government, which used it as the department of buildings and public finance.

### Dome

The dome, with a diameter of 19 meters and a height of 75 meters, was somehow relatively large comparing to the 79-meter-long nave and a transept of only 32 meters wide. A crown was placed beneath the cross, as it is also present in Giglioli (and also Mandosi)’s family coat-of-arms. It was initially criticized as grotesque, as well as the transept; when including the chapels, it is as wide as the nave.

## Interior

Interior of the new church is richly decorated, in the shape of a Latin cross, with a relatively long and narrow nave and a high transept, flanked by fourteen side chapels. These chapels are deep, narrow and high. Two additional chapels overlook the apse. Each chapel has a little dome itself.

### Counter-Facade

The counter-facade wall above the entrance showed the pope (Mandosi)’s coat-of-arms, and a long inscription about the remodeling. On the right side of the entrance was the funeral monument of nuncio Bartolomeo Albicini (2064-2123), who died before his alleged promotion to the cardinalate, and was buried in this church (his heart was taken to his native city years later). The deceased prelate was shown in a medallion, with fame carrying it on a pyramid-shaped base. His heraldry above was lift by a deer. Monument to Dianora Masseri Merlini (2056-2124), a prolific writer at the time (and also a relative of B.Albicini. Dianora's mother, Clara Merlini, is Bartolomeo's maternal aunt.), was on the left side. A window with curved top was held between two floating angels. Some call the entrance “the Albicini-Merlini chapel”, for the close relationship between these two deceased.

### Nave

The nave has seven bays. The pillars between the chapels have gigantic and gracile Corinthian pilasters in white with gilded capitals. Also, some sects of the old church survived, including the delicate fresco by Simon Calvados(1920A.E.), now displayed above the nave. On the floor there are several tombstones of interest, including pioneering anthropologist Jean Asselin (2062-2147, his monument with bust is on one of the pilasters), Comedian Paul O’Connor (2045-2110), and prime minister Mary Sutton-Boncompagni (2069-2161). She forbade erecting any funeral monuments for her in testament, however after her death in 2161, although initially she was buried under the simple tombstone with only eulogy and heraldic achievement, her remains except for heart was moved to the national cemetery five years later, with a rather extravagant monument.

### Dome

The fresco of the dome was painted in 2118 by Carlo Sassoni, showing the Assumption of Mary.

### Sanctuary

The high altar was designed also by Porta, sometimes regarded as his masterpiece. The altarpiece is old, formerly in Teverina, a *Santa Maria Regina Coeli* by Lucia Ferratini (1594-1674), one of her finest works. In the conch above there is a fresco cycle by Giulia Fontana, finished in 2129.

### Side Chapels

There are sixteen family chapels and two more altars; the descriptions of chapels are from the right-hand side of the altar, proceeding anticlockwise.

### Giglioli Chapel

Commissioned by Cardinal Giulio Giglioli(2067-2143), who was a papabile in the 2140 conclave, was not completed until 2125. Its richness of decorations fully reflects the importance of this prelate to the church. The altarpiece, brought by Giglioli in 2120 from the demolished theatine church of Rossano, was by Alfonso Cresti (Alfonso da San Felice) in 1602A.E. The altar itself was of polychrome marble and supported by a pair of angels. The monument to the cardinal was on the right wall, although he was actually buried in his titular church in Teverina. This marble monument depicts the cardinal in a niche, kneeling before the altar, in cardinal’s vestments, with his coat-of-arms high on the wall. It was by Felice Alessandri in a realistic style. The monument to Alessandro Giglioli(2083-2150), the cardinal’s nephew who was made hereditary count in 2145, is opposite to his, although in a simplified manner and without a niche. Their family palace in Citadel is close to the church.

### Chapel of the Crucifix

At the end of the transept there was an altar, and a gilded wooden Crucifix. It was comparatively plain. However, Zhu Changshi (朱昌时，2044-2125), the renowned educator, was buried in front of it under a simple inscription.

A funeral monument to two prime ministers, Xiao Gongdu and Xu Zhongli, is placed on the wall. It is probably the most spectacular artwork here. It is paid by cardinal Xu Shiji (2091-2180), who was archbishop of Citadel in 2160s. Both prime ministers are his uncles, and both are catholic.

### Xu Chapel

Commissioned by Xu shiji（徐世基，2091-2180）, in memorial to his parents. Xu is a nephew of prime minister Xu zhongli（徐中立，2065-2150）.

### Sceriman Chapel

Commissioned by Zaccaria Sceriman (2034-2120), a wealthy merchant who emigrated to Citadel in 2090s. His youngest child, Serafino Sceriman (2081-2154) took care of this chapel. Zaccaria married secondly a sister of prime minister Cristoforo Sagredo (2080-2157). Zaccaria, Serafino, Ludovica Delfin (Serafino’s wife) and Gasparo (2110-2182, Serafino’s son, a prelate then a minister) was buried here, and on the wall, there are four monuments to them in black marble. On the floor is the tombstone of Laura and Domenica, respectively daughter of Zaccaria and Serafino. The fifth and Sixth monuments, both bust on a marble plaque, was placed on the entrance: they are the monuments of Isidoro Sceriman (cardinal 2162,2112-) and Serafina Sceriman (2115-), children of Serafino who are still alive in 2180s. It is a little crowded overall.

### Albergati Scappi Chapel

Commissioned by cardinal Ludovico Scappi (2100-2178), who was nuncio to emperor from 2138 to 2141. The Scappi di Bisignano branch became extinct in 2178 with the death of cardinal, and the title was transferred to Niccolo Albergati (2116-2191, nephew of cardinal Fabio Albergati), who married Ludovico's niece. Thus, the chapel belongs to the Albergati family (Duke of Collina branch). Although cardinal Scappi was buried in Cathedral of Castello, there is a brief epitaph and arms commemorating him in this chapel, at the left side of the altar. An altarpiece was commissioned by the cardinal in 2145, and the chapel was dedicated to Saint James. The side paintings were by Annibale Besozzi (Martyrdom of San Pietro and San Luigi giving alms) in 1720, from the demolished Scappi chapel. A floor plaque serves as the tombstone of Giacomo Scappi, the cardinal's brother, and Filippa Scappi, the cardinal's niece. In 2189 the two side paintings were removed to contain monuments of Ludovica Scappi and Niccolo Albergati. The couple was portrait in the gesture of praying, although at a first glance it would rather be chatting. Those paintings were moved back again in 2191, at Niccolo's death, and their monuments were moved to their private chapel.

### Attipetty chapel

The Attipetty family, originally from Eruveli in Karu Nadu, is a prominent Catholic family of merchants. Daniele Attipetty (2046-2129), flourished in cotton trade, moved to Citadel in 2100s. His son, Thomas Attipetty (2069-2135) was raised to viscount in 2115. The family commissioned the chapel with a certain taste, often seen as exotic. However, it is more or less bound to the self-construction of an independent identity.

### Martelli Frescobaldi Chapel

Commissioned by marquis Giovanni Battista Martelli Frescobaldi (2054-2132), the chapel was a masterpiece of art.

### Alberini Chapel

The second chapel from entrance, on the right, is the Alberini chapel, although commissioned firstly by Donato Ferratini Petrignani, however at his death in 2117, his heirs refused to retain an expensive and lavishly decorated chapel. Thus Alberto Alberini (2068-2139), a recently enriched small noble who bought a palace nearby, became the new patron. The Alberini family rose to prominence only in 2150s, so the decoration was rather plain except for the altar which was re-installed later.

### Serra Chapel

The first chapel on the right is commissioned by Niccolo Serra (2054-2110), an opulent banker, and his brother, cardinal Ottavio Serra (2059-2127). The Serra Palace on 87-89 Rixia Avenue was a major architectural accomplishment in the 2110s. Niccolo's grandson, Giacomo Serra (2109-), became Minister of Finance in 2164, and was created marquis of Cassano in 2169. Neither Niccolo nor Ottavio was buried here, but Giacomo Serra redecorated it in 2170 and had his monument placed on the right wall. High on the wall is his white marble bust placed in a niche under his coat-of-arms, and a lengthy epitaph on the black marble plate (in the shape of a scroll) commemorates the *cursus honorum* of the deceased. On the left wall is the monument to Agostino Serra (2130-*,* Giacomo's cousin, who was viceroy of summonte for six years. After a brief mandate of vice-minister of finance, he entered the ecclesiastical state, and was appointed treasurer then cardinal in 2189. The monument was finished in 2179 albeit only his heart was buried here (his remains are in his title, San Giorgio in Palatio in Teverina). Two marble bas-reliefs now in Serra chapel in Teverina were commissioned by Ottavio Serra, during his archiepiscopate in Citadel (2122-27). They were moved to Teverina when replaced by the monuments standing there now.

### Giudice Chapel

The first chapel on the left, now named Giudice d'Afflitto chapel, was sponsored by count Giandomenico del Giudice (2054-2115), and his children. On the death of his grandson, cardinal Giandomenico Giudice il Giovane (2122-2205, cardinal secretary of state 2172-2179), the Giudice family died out and Innico Caracciolo d'Afflitto, the cardinal's nephew, inherited the surname and the chapel. It is known for the asymmetric design, but actually it is due to a halfway redesignation. A monument to Giandomenico del Giudice was placed on the left wall in 2116, and opposite of it was the (unfinished) monument to Ascanio del Giudice, his son. However, after Ascanio's death in 2129, his children had an exhausting litigation on the inheritance, as Ascanio designed his brother Alfonso his executor of will and forbade two of his children to inherit his estate. Substantially Ascanio's younger brother Niccolo and his son Giandomenico del Giudice inherited the chapel, but the Archbishop of Citadel intervened based on canon law. Niccolo tried to remodel the chapel and removed Ascanio's monument. However, when the left wall was completely redesigned in 2136, Niccolo himself died without a child. Giandomenico inherited the whole chapel at the instance of his uncle Alfonso, who was archbishop of Terranova at the time. Giandomenico, as a moderator, only adjusted some minor discords. Thus, the large painting by Gennaro Aleandro Betti on the right wall was kept untouched. The arms on the sides of altar belong to the cardinal. The chapel is dedicated to Saint Girolamo Corbera, who was a cardinal and bishop of Goti, who died assisting people during a plague in 1890A.E. He was canonized in 2036. A marble statue of saint is by Ercole Alamanni (1972-2050).

### Fani Monterenzi Chapel

Fabio Fani, a young country noble who entered the state bureaucracy recently, married a rich heiress, contessa Claudia Monterenzi in 2061 A.E., and added the surname Monterenzi to his own. It is his second son, Mario Fani Monterenzi (2070-2150) who commissioned the chapel.

### Bichi Ruspoli Chapel

Bichi Ruspoli had been flourished in trade. Although ennobled for centuries, the family members sometimes still carry on their mercantile business. When Prudenzia Bichi Ruspoli died without an heir in 2083, her second cousin, Renato Bichi Ruspoli Gori Pannilini took over the family business. His son and universal heir, Vincenzo Bichi Ruspoli Gori Pannilini (2075-2150), a "Citadelized" noble, commissioned the chapel. Metella, Carlo, Urbana, Antonio and Bartolomeo, Vincenzo's children from his second marriage, carried on the further construction.

### Entonga Chapel

Jeremy Entonga (2054-2134), A wealthy agricultural investor, became a minister in 2110s, and his children (including cardinal Bartolomeo Entonga) commissioned the chapel to commemorate their father.

### Bianchetti Manzoli Chapel

It is also known as Malvasia chapel, until this family branch died out in 2137. Count Bernardo Bianchetti Manzoli, a distant relative (and close neighbor) of Malvasia bought the chapel and had it partially reconstructed.

### Artaud Chapel

Henri Artaud de la Ferriere, count of Rochecorbon, was minister of finance, then prime minister from 2106 to 2108 A.E. After his retirement he commissioned this chapel. At his death in 2115, his nephew Henri-Francois Artaud, Archbishop of Citadel (2057-2137, archbishop 2127-37), ordered its further embellishment. It is different from other chapels because the altar is placed on the right wall. Opposite to it is the grandiose monument to archbishop Artaud, whose coat-of-arms, held by a *putto*, rests on the ground left to him. The prelate in his full vestments is in white marble, and two figures representing fame and virtue aids him. A bronze skeleton behind the veil grabs him on the back. It is sometimes criticized as overcrowded and lack of balance, but certainly an important piece of artwork. Saint Henry of Rossano, depicted on the altarpiece, is also of good quality.

### Spada Chapel

It originally belongs to the Bardi family, however after the family got somehow impoverished after their dashing investment in the 2150s, they sold the chapel in 2162 to Spada Cenami family, another mercantile dynasty (nevertheless, the Bardi family regained its wealth through another investment later). Then the Spada redesigned the chapel.

### Chapel of Our Lady of Monte Verde

It houses a notable icon, our lady of Monte Verde.

A funeral monument to Ludovico Masseri Merlini (2089-2169) is placed here in 2172, at the height of neo-baroque style. This grandiose monument was designed by Giandomenico Massarelli. Merlini himself came from a legal background and entered the prelature later. After a prestigious career as papal judge, he was appointed judge of the supreme tribune of second empire, then its dean (2164-65). After his retirement in 2166 he donated a huge amount of money to this church.

### Corsini Quaratesi Chapel

This chapel is on the left side of the altar, facing the nave. It was patronized by the Corsini Quaratesi family, who built their new family palace a block away from the church. Alessandro Corsini, Archbishop of Rossano (2065-2130), personally involved the construction.

### Sacristy

Most of the monuments and tombstones from the earlier church was placed inside the sacristy. Also, the imposing monument to Giacomo de'Bardi (2049-2114) was moved here after the remodeling of Spada chapel.