Sant'Agostino in Campo Marzio

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Sant'Agostino in Campo Marzio

Sant'Agostino (Rome);  facade

Denomination : Roman Catholic
Patronage : St. Augustine
Rank: Basilica minor
Order : Augustinian (OSA)
Cardinal Deacon : Jean-Pierre Bernard RICARD
Parish : Sant'Agostino in Campo Marzio
Address: Via della Scrofa, 80 - 00186 Roma

Coordinates: 41 ° 54 '3 "  N , 12 ° 28' 27"  O Church Sant'Agostino (Latin Sancti Augustini), fully Basilica di Sant'Agostino in Campo Marzio is a church the teacher Augustine dedicated Ordenskirche the Augustine Eremiten in Rome . It has been one of the title churches of the city of Romesince 1587and waselevatedto a minor basilica in 1999. It is located in Piazza Sant'Agostino, approx. 150 m northeast of Piazza Navona in the VIII. Rione Sant'Eustachio . Well-known artists such as Isaia da Pisa , Raffael , Andrea and Jacopo Sansovino , Caravaggio u. a. created works of art for the church, which was built in the early Renaissance and remodeled in the 18th and 19th centuries. St. Monika von Tagaste , mother of Augustine, is buried in the church.

Sant'Agostino - main nave

historical overview


In 1286 the Roman nobleman Egidio Lufredi gave the Augustinian order in Santa Maria del Popolo some land in the Martius campus to build a church and a monastery . Pope Honorius IV. (1285–1287) confirmed this donation and assigned the existing church of San Trifone to the order. This was a small hall church from the 11th century, which was east of the present church in Via della Scrofa and was demolished in the course of the renovations in the 18th century. This church was associated with a cardinal title that was not transferred to Sant'Agostino until 1587.

Building history

City view 1474 Strozzi
Mino da Fiesole - Guillaume d'Estouteville

Pope Boniface VIII granted the Augustinian order, besides Santa Maria del Popolo, a second monastery in Rome in 1296. The construction of a new church, which was planned from the beginning, was started in the second half of the 14th century and completed around 1446 - only a few historical sources are available on this. In 1430, at the instigation of Pope Martin V, the relics of St. Monika von Tagaste of Ostia , where she died in 387, was transferred to Rome. They only found their place in the church of San Trifone before they could be reburied in the left chapel next to the main altar of the church of Sant'Agostino in 1455.

Guillaume d'Estouteville , of the French aristocracy and appointed cardinal in 1439, lived in the palace of Sant'Apollinare opposite the church. He was several times Camerlengo of the College of Cardinals and protector of the Augustinian Order of Hermits in Rome. In the years 1479-1483, under the pontificate of Pope Sixtus IV , he initiated the reconstruction of the church and financed the measures. Giacomo di Pietrasanta worked as a builder, an experienced stonemason who was verifiably active on the construction sites of St. Peter and the Palazzo Venezia . He was supported by his colleague Sebastiano Fiorentino. On the facade, the year of completion of the church - which is also the year of death of the cardinal - is carved in large Roman numerals: 1483.

In the 17th century the church and the convent underwent numerous renovations. In 1601 a cloister was built, and in 1620 the architect Antonio Casoni extended the convent building along Via della Scrofa. In 1630 further work on the monastery buildings by the architect Orazio Turriani can be verified . Under Pope Alexander VII , from the Chigi family and Cardinal of Santa Maria del Popolo, the sacristy is relocated to the monastery building, which is now directly adjacent to the church on the eastern side. From 1659 he had the Biblioteca Angelica built and the space in front of the church and the staircase redesigned by the well-known Baroque master builder Francesco Borromini, who was mainly active in Rome . From 1673, the building ensemble of church, convent and library was supplemented by additional monastery buildings on Via dei Pianellari by the architect Giovanni Battista Covini.

In the middle of the 18th century, the order general Augustinus Gioia (1695–1751), with the support of Pope Benedict XIV. Commissioned the architects Luigi Vanvitelli and Carlo Murena with the fundamental renovation of the convent and the library building (1745–1763), which in retrospect was almost a new building equaled. The subsequent Prior General Franciscus Xaverius Vásquez (1753–1785) initiated the redesign of the sacristy with its rounded corners and hollow vaults . Any structural damage to the church made extensive renovation necessary from around 1752, in particular a renewal of the crossing dome .

The interior design and decoration was carried out, as is customary in churches of the mendicant orders, by numerous foundations and patronages, which at the beginning of the 16th century also included the well-known courtesan Fiametta. Important cardinals and bishops were buried in the church and some of them were given elaborate wall niche tombs from the early Renaissance. The current spatial impression goes back to the redesign of the church interior in the years 1852-1856. The pillars and wall surfaces were lavishly clad with marble and painted with frescoes by the Roman painter Pietro Gagliardi between 1855 and 1868 , in particular the ceilings and the sides of the three naves, the crossing with the new dome and the transept. In the central nave there are scenes from the Marian cycle, on the pillars depictions of the prophets.

After the annexation of the Papal States by the Kingdom of Italy in 1870, the church and monastery were nationalized. In 1930 the Augustinian order got the church back. The library remained in state ownership and has been under the Italian Ministry of Culture since 1975. The convent building has been the seat of the public prosecutor's office since 1932, with the exception of a small part that remained for the Augustine monks.


Main portal of Sant'Agostino

Exterior construction

Except for the facade, the exterior is devoid of ornamentation, large-scale lines, surfaces and body dimensions determine the architecture. The facade is the representative element and unfolds its effect in its clarity and simplicity. Today only the left outside of the church can be seen, the right side was integrated into the construction of the monastery building. The apse of the left transept from the 14th century is still original. The brick buttress that dominates the left aisle roof is striking .


The structure and design of the travertine facade is based on the facade of the Augustinian church of Santa Maria del Popolo , which was built a few years earlier, and is therefore one of the first Renaissance facades in Rome. The interior structure of the church is indicated in the facade structure by pilasters and the high central part. The trapezoidal cornices and the mighty tympanum divide the facade into two horizontal fields. The ornamentation on the volutes is already more developed. The numerous glare fields and the three oculi above the portals structure the lower part of the facade. The elaborately crafted, Ionic main portal, dating from the 15th century, is surrounded by an intricate marble frame and a triangular gable bearing the coat of arms of Cardinal d'Estouteville and the inscription INDULGENTIA PLENARIA QUOTIDIANA PERPETUA PRO VIVIS ET DEFUNCTIS ( Complete, continuous, daily drainage for the living and the dead ). The heavily weathered fresco above the main portal shows the handing over of the rules of the order to the Augustinian monks (Fig.) . The builder of the church is immortalized in the distinctive inscription: GUILLERMUS DE ESTOUTEVILLA EPISCO. OSTIEN.CARD. ROTHOMAGEN. SRE CAMERARIUS FECIT ( Guillaume d'Estouteville, Bishop of Ostia, Cardinal of Rouen, Camerlengo of the Holy Roman Church built it ) and below it the year MCCCCLXXXIII (1483), which is both the year of completion and the year of death of the cardinal.

Church building

Floor plan of the basilica

The church is a three-aisled basilica with an exceptionally high and narrow central nave. The main nave is constructed in a ratio of 2: 1 to the transepts. The massive, round-arched arcades form the basis for the upper cladding, interrupted in each yoke by 2 round-arched windows . The vaulting of the nave follows the bound system, i.e. H. a yoke of the central nave combines 2 yokes of the aisle on both sides. Originally six side chapels in the form of conches were set into the outer walls, two of which were omitted over time, one for the left side exit and one for the access to the new sacristy on the right. The transept is kept narrow and extends little beyond the line of the nave with its chapels. An apse with a chapel forms the end . The staggered choir is formed by four chapels at different depths, with the one-bay main chapel with a semicircle and the side chapels each terminating with a straight choir. When it was built, there was a second chapel on the right with the former sacristy, before it was integrated into the monastery building. In the crossing there is a pendentive dome with a light-flooded lantern, which the architects Vanvitelli and Carlo Murena did not build until the 18th century, as did the bell tower in its current form.

Many of the architectural proportions and measurements correspond to Augustinian numerology and symbolism - Augustine loved the allegorical meanings of numbers, e.g. B. the number 12, which symbolizes the universality of the Church, the 12 tribes of Israel and the 12 apostles. In Sant'Agostino, 12 columns support the main nave, there were once 12 side chapels and 12 windows illuminate the church. The number 7 stood for Augustine for the Old Testament and the 8 for the New Testament, together they make up the number 15 - together, 15 yokes support the main nave and the side aisles.


The church holds numerous works of art of the highest order.

Madonna del Parto
The prophet Isaiah and Anna the three of them

Main nave

Immediately to the right after the main portal is the one that is highly admired by the population

  • Madonna del Parto (1) (Madonna of the Birth), formerly also known as Madonna del Sasso . This sculpture was commissioned from Jacopo Sansovino in 1516 by the merchant Giovanni Francesco Martelli for his patronage altar . For centuries this Madonna has been visited by pregnant women, implored for assistance and given countless votive offerings. Her left foot was so badly rubbed off by the many pious hands that it had to be protected with a silver coating.

On the third pillar on the left of the main nave are two of the church's most important works of art, commissioned by the Luxembourg humanist and apostolic pronotary Johannes Coricius around 1510:

  • The fresco The Prophet Isaiah (2) by Raphael , who carried it out between 1511 and 1512 . The model for Raphael was the depiction of Michelangelo's prophets in the lunettes of the Sistine Chapel . The inscription in the tabula ansata above the figure of the prophet Isaiah indicates a. a. towards the founder. The scroll in the prophet's hand reproduces a quote from the book of Isaiah. Soon after its completion, the fresco by Daniele da Volterra was restored for the first time and subsequently revised several times, most recently in 1998.
  • The marble group Anna with Madonna and Child (3) underneath (fig.) Is by Andrea Sansovino , created between 1510 - 1512 . Giorgio Vasari praises this work in his vite .
  • The pulpit (fig.) Made of polychrome marble - on the fourth, right-hand pillar of the main nave - is the work of the stonemason Carlo Spagna and was completed in 1644. In the front panel it bears the religious symbol with the pierced flame heart, as a symbol of love for God, but also of love for one's neighbor ("You have wounded my heart with your love" (Confessions 9.2) and the cross, the symbol that stands above everything and to which all are referred.


Right wing

  • Cappella di Sant'Agostino (9) (Fig.)

It is consecrated to the namesake of the church, St. Augustine, and its iconographic program is entirely geared towards the Doctors of the Church and the Order. Its current shape, forming the right apse of the transept, was given to the chapel from 1636 according to a design by the architect Vincenzo della Greca. The altar, consecrated in 1628, dominates the center of the apse with its altarpiece of St. Augustine, John the Evangelist and St. Jerome , a work by the Baroque painter Guercino . It is flanked by four pillars made of African marble. The oil paintings on the sides are attributed to Giovanni Lanfranco : St. Augustine receives the Savior as a pilgrim (left) and St. Augustine defeats heresy (right). In the apse calotte, richly adorned with gilded stucco, there are three frescoes depicting scenes from the life of Augustine by Giovanni Battista Speranza (1600–1640).

  • The grave monument for Cardinal Curia Giuseppe Renato Imperiali (fig.) († 1737) to the left of the chapel, the great-nephew of Cardinal Lorenzo, who has a similar monument in the left transept, was designed by Paolo Posi ; the allegorical sculptures pity , strength and fame are works by Pietro Bracci (1741).


Crossing dome

The dome rests on four pillars via four pendentives. The frescoes in the dome are by Pietro Gagliardi from the 19th century. On the floor to the left of the high altar, a marble slab commemorates the theologian and humanist Cardinal Egidio da Viterbo (Fig.) , Prior General of the Augustinians, to whom Martin Luther's trip to Rome in 1511 led.

Left wing

  • Cappella di San Tommaso di Villanova (14) (Fig.)

The end of the left transept is formed by St. Chapel consecrated to Thomas von Villanova , Archbishop of Valencia and Augustinian monk. The patronage is held by the Pamphilj family . In 1660, Prince Camillo Pamphilj financed the rich furnishings of the chapel, the design of which was made by Pietro da Cortona and executed by Giovanni Maria Baratta . The life-size, expressive marble sculpture on the altar of St. Thomas von Villanova and Mercy (Fig.) By Melchiorre Cafà was completed after his death by his master Ettore Ferrata from 1663 to 1669. The stucco reliefs on the sides episodes from the life of the saint were created by Andrea Bergondi around 1760.

  • The grave monument for Cardinal Lorenzo Imperiali (Fig.) († 1673), to the right of the chapel, is the work of the Tuscan sculptor Domenico Guidi . It depicts the cardinal immersed in prayer, surrounded by allegorical representations of time, death and fame.

Apse chapels, choir and high altar

High altar
  • Cappella di San Nicola da Tolentino (10) (fig.)

The chapel to the right of the main altar is dedicated to St. Nicholas of Tolentino , the miraculous preacher and first saint of the Augustinian order. The interior decoration, especially the frescoing of the ceiling, donated by Vincenzo Tutavilla, Count of Sarno, took place after the reintroduction of the name feast of St. Nicholas by Pope Sixtus V. 1585. The scenes from the life of St. Nikolaus come from Giovanni Battista Ricci and Vincenzo Conti. The four doctors of the church on the four vault axes were painted by Andrea Lilli da Ascona and Giovanni Battista Ricci, the remaining frescoes by Pietro Gagliardi around 1861: e.g. B. Vision of St. Nicholas during mass (right), end of the plague in Cordoba (left). The altarpiece is the work of Tommaso Salini St. Nicholas steps on the devil, the world and the flesh , in the style of Caravaggio at the beginning of the 17th century.

  • The high altar (11) , which almost completely covers the choir and apse, is a design by Gian Lorenzo Bernini or Orazio Turriani, the monastery architect from 1626 to 1628 on behalf of the Prior General Hieronymus de Ghettis de Roma. In the base of the altar parts of the original altar pendulum (1485) are still preserved. The center of the altar is formed by a richly decorated aedicule in which there is a Byzantine Madonna. It is an icon of the Hodigitria type , which, according to an inscription on its back, comes from the Hagia Sophia in Constantinople and was brought to Rome by the donor named Clemente de Toscanella in 1482 after the conquest of the city. But it may also be an Italian work from the 14th century. The altar structure is closed at the top by a tympanum with an inscription in honor of the Virgin.
  • The choir and apse can be entered through two passages to the right and left of the main altar. On the sides of the passages there are pairs of putti (fig.) (Fig.) ; Works by Pietro Bracci . The frescoes on the side walls and the apse dome were created by Pietro Gagliardi (1855–1868) as part of the renovation of the painting of the church. The choir stalls date from 1760.
Cappella Santa Monica
  • Santa Monica Cappella (12)

The chapel to the left of the main altar is St. Monika von Tagaste , mother of Augustine, consecrated. It was commissioned by Maffeo Vegio and has been restored several times over the centuries. The grave monument for the saint (fig.) On the left wall consists of the original sarcophagus and the reclining figure ascribed to Isaia da Pisa (1455). The original inscription on the funerary monument (fig.) Can now be seen in one of the two courtyards in Via della Scrofa. In 1566 the grave monument was changed. The figures of the four doctors of the church, once part of the ensemble, are now in the vestibule (15) of the left side exit. During the renovation work carried out by Vanvitelli, the remains of the saint were placed in the green marble urn under the altar. Her grave monument in the niche on the left wall is made up of pieces from earlier tombs. The altarpiece, a work by Giovanni Gottardi from around 1760, depicts The Madonna between Saints Augustine and Monica . The frescoes on the ceiling from the 16th century are by Giovanni Battista Ricci; they put God the Father in the center and scenes from the life of St. Monika in the spandrels. The frescoes on the sides and in the right lunette date from the 19th century. On the right wall is the grave monument for Cardinal Pietro Grifi from Forlì († 1516), papal legate under Pope Alexander VI. in France and England. The grave slab for Maffeo Vegio (Fig.) , Also a work ascribed to Isaia da Pisa, was formerly in the chapel. In the course of the renovations, it was removed and walled up on a wall in the courtyard in Via della Scrofa.

  • Cappella dell'Incoronazione della Vergine (13)

The chapel for the Coronation of the Virgin is consecrated to Augustine and Wilhelm von Malavalle , to whom the strict male order of the Wilhelmites goes back. The Bongiovanni family commissioned the painter Giovanni Lanfranco to furnish it between 1613 and 1616. It is one of his early works. On the altar: the coronation of the Virgin and Saints Augustine and Wilhelm - although both lived in different times and regions, they are often depicted together. On the right side wall: Augustine in meditation on the Trinity , on the left side wall: St. Wilhelm is healed by the virgin . The frescoes in the right lunette and on the ceiling: The apostles in front of the empty tomb of the Virgin and Assumption .

Chapels in the right aisle

Cappella del Crocifisso
  • Cappella di Santa Caterina d'Alessandria (4) (fig.)

The chapel is dedicated to St. Catherine of Alexandria . In the 16th century, the patronage was entrusted to the Mutini family, who also arranged for the decoration with stucco and gold ornaments. In the 18th century the patronage passed to the Gottifredi family. The chapel was restored and the angels with the symbols of St. Catherine painted over the two tombs. The altarpiece shows the Coronation of St. Katharina (oil on slate) by Marcello Venusti (1550–1560). The smaller paintings on the sides: St. Lawrence of Rome and on the left St. Stephanus (oil on paper) are also works by Venusti. In the apse calotte the cardinal virtues are depicted in three round pictures (16th century).

  • Cappella di San Giuseppe (5) (Fig.)

The chapel is dedicated to Saint Joseph. The original decoration was carried out by Avanzino Nucci (1587–1588) on behalf of Cardinal Giovanni Battista Castagna, later Pope Urban VII . Two fragments of these frescoes are still preserved on the side walls: John the Evangelist (right) and John the Baptist (left) as well as the three round pictures in the apse calotte depicting the legends of the Virgin . In 1859 the painter Pietro Gagliardi took over the patronage of the chapel, financed its restoration and painted two paintings for it, which are now in the sacristy: The Marriage of the Virgin and The Passage of St. Joseph . The altarpiece Madonna della Rosa is a copy of Raphael's painting of the same name and comes from the otherwise unknown painter Domenico Spagnolo.

  • Cappella di Santa Rita (6) (Fig.)

The chapel is St. Consecrated to Rita of Cascia . In 1670, Bishop Giuseppe Eusanio took over the patronage from the Benimbene family and financed the renovation work by Giovan Battista Contini . The altarpiece by Giacinto Brandi (1670) represents The Ecstasy of St. Rita . The frescoes in the vault and the oil paintings on the sides are by Pietro Locatelli, a pupil of Pietro da Cortona (around 1686): in the vault the apparition of St. Rita ; on the right wall St. Rita as a child surrounded by bees and on the left the passing of St. Rita .

  • Cappella di San Pietro (7) (Fig.)

The chapel was originally dedicated to the Annunciation , since the Casali family, the apostle Peter, took over the patronage. Of the original furnishings of the chapel, only the tempera in the tympanum of God the Father, ascribed to Pinturicchio , surrounded by cherubim (Fig.) Has been preserved. On the altar is the marble group The Handing Over of the Keys by Giovanni Battista Cassignola (1569). The frescoes Angels in the vault and on the side walls on the right The Immaculate Conception and on the left The Assumption are by Giuseppe Vasconio (early 17th century) .

  • Cappella del Crocifisso (8) (fig.)

The chapel is dedicated to Christ crucified . The Conti family has held the patronage since the first half of the 18th century . The remarkable crucifix carved and framed in wood dates from the late 15th century and is possibly a Northern European work. The wall was clad in polychrome marble in the middle of the 17th century. The decoration with gilded stucco in the three spandrels of the dome and the group of figures above the tympanum of angels with the Passion tools also come from this period . St. Filippo Neri is said to have held his daily devotions in front of this crucifix when he was studying with the Augustinians in Rome.

Chapels in the left aisle

  • Vestibule (15) - left side exit

Originally there was a chapel at this point of the left aisle, which was replaced in 1661 by today's vestibule with an exit to Via dei Pianellari. In the course of the redesign, some of the church's remarkable works of art found their new place here: A relief with a crucifix and the two saints Cosmas and Damian (Fig.) Is attributed to the sculptor Luigi Capponi . The four church fathers: Augustine, Gregory the Great , Ambrosius of Milan and Jerome, attributed to Isaia da Pisa , were in the chapel of St. Monica. The grave monuments for Giovanni Antonio Lomellini (fig.) , For Pentesileia Grifi and for the archdeacon Carlo Verardi (fig.) Date from the early 16th century. The relief of Christ carried by two angels above the door (fig.) Is attributed to Giovanni Dalmata .

  • Cappella di San Giovanni da Facondo di Sahagún (16) (fig.)

The chapel is dedicated to St. Consecrated to John of Sahagún . In 1660 Princess Camilla Orsini Borghese took over the patronage. The oil painting on the altar miracle and vision of the saint and the wall paintings are by Giacinto Brandi , around 1660: The saint frees a possessed person (right), the saint with the sick (left) and in the apse calotte the saint helps the sick and the vision of the Trinity .

Caravaggio - Madonna di Loreto
  • Cappella di Santa Apollonia (17) (fig.)

The chapel was dedicated to St. Dedicated to Apollonia . The altarpiece St. Apollonia in the dungeon is the work of Girolamo Muziano (around 1585). The oil paintings on the sides are by Francesco Rosa, a student of Nicolas Poussin : The Martyrdom (right), The Innocence (left), as well as the fresco in the calotte Glorification of St. Apollonia , all dated around 1660.

  • Cappella di Santa Chiara da Montefalco (18) (Fig.)

The chapel was originally dedicated to St. Claudius von Condat , in the middle of the 18th century St. Consecrated to Clare of Montefalco . The altarpiece Christ Appears to Saint Clare is the work of the Neapolitan Sebastiano Conca (around 1751). The frescoes in the apse and on the sides date from the 18th century: Saint Clare in prayer (right), Saint before Christ (left) and in the apse calotte by Girolamo Nanni legends about the saint and the instruments of the Passion .

The chapel was originally under the patronage of the Attavanti family from Florence, who took over Angelo Piò in 1645 and commissioned Gian Lorenzo Bernini to redesign the room. The chapel is dedicated to the Assumption of Mary . The altarpiece The Assumption in Heaven , a work by Bernini employee Guido Ubaldo Abbatini (1649) and the ceiling fresco with the angels in the clouds take up the theme. In the course of the renovation work by Vanvitelli and Carlo Murena, the painting was destroyed and Sansovino's group Anna was put in the niche instead . Since then the chapel has also been called the Annenkapelle . In 1981 the group of figures was put back in the main nave. Today the decoration consists of two similar grave monuments: on the right for Angelo Pio († 1649) and on the left for his nephew Baldassarre († 1674).

  • Cappella Cavalletti or Cappella della Madonna di Loreto (20) (Fig.)

The original name of the chapel was Cappella della Pietà . In September 1500 Michelangelo Buonarrotti was commissioned to make an altarpiece for the church. However, he left Rome soon after and was unable to carry out the job. An unknown maestro Andrea was then commissioned to make a Vesper picture ( Tavola della Pietà ) for the chapel, which was attached in 1502. In 1506 the famous courtesan Fiammetta bought the chapel. In 1603 the family of the apostolic notary Ermete Cavalletti took over the patronage, consecrated it to the Madonna of Loreto and commissioned Caravaggio to make the altarpiece Madonna di Loreto , better known as Madonna dei Pellegrini (Madonna of the Pilgrims). The Augustinians gave the Vesper picture to Cardinal Scipione Caffarelli Borghese . Caravaggio's Madonna was placed above the altar of the chapel in 1606. In the apse and on the side walls there are frescoes by Cristoforo Casolani (early 17th century): St. Wilhelm von Malavalle (right), St. Maria Magdalena (left), in the apse calotte The Annunciation , The Coronation of Mary and The Birth of Jesus .



The access to the new sacristy is located between the Cappella del Crocifisso and the right transept (Fig.) . The old sacristy, which was accessible from the right transept, fell victim to an expansion of the convent building in 1646. The new sacristy was built between 1756 and 1760, possibly based on a design by Luigi Vanvitelli, by the architect Carlos Murena as a square room with rounded corners. The ceiling paintings were carried out by Pietro Gagliardi in the 19th century. To the left of the entrance the bust of the cardinal and custodian of the Vatican libraries Enrico Noris (1631–1704), to the right that of the church historian Onofrio Panvinio (1530–1568) and above the entrance the bust and a plaque for the builder and patron of the church Cardinal Guillaume the Elder 'Estouteville (Fig.) . Noteworthy on the right side of this room are two prelate tombs from the 15th century, in which the dead are depicted as gisants on ancient sarcophagi : Cardinal Alessandro Oliva di Sassoferrato (Fig.) And Bishop Giorgio Bonannunzio (Fig.) .



The history of the organs goes back to the year 1431. The current instrument (Fig.) Dates from 1905. It was built by the organ builder Carlo Vegezzi-Bossi. The organ has 32 stops on three manuals and a pedal . The actions are pneumatic.

I main work C – a 3
Principals 16 ′
diapason 8th'
Dulciana 8th'
Flauto 8th'
Ottava 4 ′
Duodecima 2 23
Decimaquinta 2 ′
Ripieno Grave IV
Ripieno Acuto III
Tromba 8th'
II Rückpositiv C – a 3
Bordone 16 ′
Principals 8th'
Unda Maris 8th'
Salicionale 8th'
Flauto 4 ′
Ottava Eolina 4 ′
Flautino 2 ′
III Swell C – a 3
Principals 8th'
Bordone 8th'
Viola gamba 8th'
Voce Celeste 8th'
Coro Viole 8th'
Flauto Armonico 4 ′
Ottava Eolina 4 ′
Pienino III
oboe 8th'
Voce corale 8th'
Pedal C – f 1
Contrabbasso 16 ′
Subbasso 16 ′
Basso 8th'
Bordone 8th'
violoncello 8th'
Bombarda 8th'

Monastery and cloister

Andrea Bregno, Luigi Capponi - Tomb C. Ammanati

The Augustinian monastery adjoining the church was originally built in the 15th century at the same time as the church and gradually expanded over the centuries. In the 18th century, the architect Carlos Murena completely redesigned the monastery and cloister , possibly based on plans by Luigi Vanvitelli . On the left side of the cloister there are four grave monuments from the 15th century:

  • Bishop Ottaviano Fornari from Genoa († 1496) (Fig.) , Attributed to the Andrea Bregno school .
  • Bishop Jacopo Ammanati-Piccolomini († 1479) (Fig.) By Andrea Bregno and Mino da Fiesole
  • Cardinal Giovanni Giacomo Schiaffinati († 1497) (Fig.) , Attributed to the Andrea Bregno school.
  • Costanza Ammanati († 1477) (fig.) By Andrea Bregno and Luigi Capponi .

Today the building is the seat of the General Public Prosecutor's Office (Avvocatura dello Stato).

Biblioteca Angelica

To the east of the church is the entrance (Fig.) To the Biblioteca Angelica . It was founded in 1604 by Bishop Angelo Rocca (1546–1620) the head of the Vatican printing press under Pope Sixtus V , who made his private book collection with 20,000 volumes available to the Augustinians. It is a publicly accessible research library with a focus on beautiful literature and literary history, church history, the Reformation and the Counter-Reformation. Since the conquest of Rome by the troops of the Kingdom of Italy in 1870, the library has been administered by the Italian state and is subordinate to the Italian Ministry of Culture. The Biblioteca Angelica has been the seat of the Accademia dell'Arcadia since 1940 , to which Goethe belonged.


  • Courtesan Church: During the Renaissance period, the church was frequented by many Roman courtesans. They were asked to listen to the weekly penitential sermon there. The women had benches reserved for them in the first rows. Attending church, however, also gave them the opportunity to show themselves, to attract attention and to show off their magnificent robes. They were often accompanied by a swarm of admirers and servants. On August 28, 1497, the feast of Augustine, Pope Alexander VI celebrated. a public fair in Sant'Agostino. The papal master of ceremonies Johannes Burckard noted in the diary: Everything was out of order. Whores (meretrices) and other rabble (viles persone) stood everywhere between the altar and the cardinals ... I could not create order when the Pope went ... the mess and disorder was too big . The courtesan Beatrice da Ferrara described in a letter to Lorenzo de 'Medici : This is how I confessed, half contrite, to the preacher of Sant'Agostino; I tell him because we all - who are hookers (puttane) in Rome - come to his sermon, where in front of such a remarkable audience he wanted nothing but to convert us all. What a difficult undertaking! Here, in the sacred ground, many of the famous courtesans had their tombs: Giulia Campana, Tullia d'Aragona and their sister Penelope; not least Fiammetta, Cesare Borgia's lover , who had her own magnificent chapel, today's Cappella Cavalletti, in the church. Thus people of the highest rank were buried among the courtesans. The courtesan's tombs were removed from the church in the course of the Counter-Reformation and no trace of them has survived today.
  • Gregorovius reported: At the funeral, when the dead Camerlengo Guillaume d'Estouteville was carried to Sant'Agostino on January 24, 1483, the monks of Santa Maria Maggiore and the Augustinian brothers beat each other furiously with the large funeral torches because they wanted to steal the gold brocade in which the cardinal lay wrapped. Many swords were drawn and it was only with great effort that the body of that famous church prince was rescued in the sacristy, where it was immediately plundered.
  • Martin Luther traveled to Rome in 1510/11 and stayed there for 4 weeks. It is very likely that he lived in the monastery of Sant'Agostino, as this was also the official seat of the order general Egidio da Viterbo at the time .
  • In the small, winding courtyard (Via della Scrofa, 80) two spolia from the Cappella di Santa Monica can still be seen: the original inscription panel of the sarcophagus of St. Monika and the tombstone for Maffeo Vegio ; The latter was originally located in the chapel, but was later removed and used as the kitchen table in the monastery from 1870 to 1948.
  • On the west wall of the church, in Via dei Pianellari, there is a prohibition sign (Fig.) From 1646: it is strictly forbidden to deposit any waste in the vicinity of the church .

See also


  • Diego Angeli: Le chiese di Roma: guida storica e artistica delle basiliche, chiese e oratorii della città di Roma , Roma, Società editrice Dante Alighieri di Albrighi, Segati e C., 1955.
  • Valeria Annecchino: La Basilica di Sant'Agostino in Campo Marzio , Edizioni d'Arte Marconi (No. 38), Genova 2006.
  • Mario Armellini: Le chiese di Roma dal Secolo IV al XIX , Edizioni del Pasquino, Roma 1891.
  • Johannis Burchardi: DIARIUM sive Rerum Urbanarum Commentarii (1483-1506); Ernest Leroux, Paris 1884.
  • Francisco Delicado: Ragionamento del Zoppino ; Longanesi & C. Milano 1969.
  • Heinz-Joachim Fischer : Rome. Two and a half millennia of history, art and culture of the Eternal City. DuMont Buchverlag, Cologne 2001, ISBN 3-7701-5607-2 (pp. 236-237).
  • Christoph Luitpold Frommel : The architecture of the Renaissance in Italy , CH Beck, Munich 2009, ISBN 978-3-406-58142-7 .
  • Guida d'Italia - Roma , Touring Club Italiano, Milano 2007, ISBN 88-365-4134-8 .
  • Anton Henze: "Art Guide Rome" , Philipp Reclam GmbH, Stuttgart 1994, ISBN 3-15-010402-5 , (pp. 147-150).
  • Stefano Infessura: Diario della città di Roma (1303-1494); Forzani E C. Tipografi del Senato, Roma 1890 Valeria.
  • Jürgen Krüger, Martin Wallraff: Luthers Rom , Philipp von Zabern, 2015, ISBN 978-3-8053-4869-0 (p. 74 ff.).
  • Mauro Lucentini: ROM - ways through the city , Pattloch Verlag, Munich 2000, ISBN 3-629-01621-9 .
  • Alexander Nagel: Michelangelo's London 'Entombment' and the church of S. Agostino in Rome in Michelangelo, Selected Scholarship in English Vol. 1 - Life and Early Works; William E. Wallace; Washington University; Garland Publishing; New York & London 1995, pages 164 ff.
  • Claudio Rendina: Le Chiese di Roma, Newton & Compton Editori, Roma 2007. ISBN 978-88-541-0931-5 (p. 17 ff.).
  • Claudio Rendina: Cardinali e Cortigiane , Newton Compton Editori, Roma 2007, ISBN 978-88-541-0864-6 . (Pp. 51,83,84).
  • Christina Strunck (ed.): Rome - masterpieces of architecture from antiquity to today , Michael Imhof Verlag, Petersberg 2007, ISBN 978-3-86568-186-7 (p. 169 ff.).
  • Gabriella Serio: I tesori nascosti di Roma , Newton Compton editori, 2014, ISBN 978-88-541-6858-9 .
  • Tobias Güthner: Florentine merchants and bankers in Rome . Dissertation at the Faculty of History and Art Studies at the Ludwig Maximilians University in Munich 2010. Pages 130 ff.

Web links

Commons : Sant'Agostino (Roma)  - Album with pictures, videos and audio files

Individual evidence

  1. ^ Diocese of Rome
  2. "centum millibus aureorum" (with 100,000 gold coins)
  3. ^ Ministero dei beni e delle attività culturali e del turismo
  4. Avvocatura dello Stato
  5. J. Burckhardt: Art of the Renaissance in Italy - p. 103: ... notorious for the ugliness of the volutes, which also spoil Pontelli's smallest building, the cathedral of Turin ...
  6. A. Henze: Reclam's Art Guide Rome, p. 121
  7. V. Annecchino: S. 3
  8. V. Annecchino: S. 6
  9. Anna, mother of the virgin, the virgin Theotokos and Christ - Jo (hannes) Cor (icius)
  10. Isa 26: 2 Open the gates, that a righteous people may enter, who keep faithfulness.
  11. Giorgio Vasari; Le Vite (1550); Andrea dal Monte Sansovino: He (Sansovino) made a saint Anna on a pilaster in the nave in Sant Agostino in Rome , embracing our Madonna with Christ on her shoulder, a little less than life-size ... and this work was so valued that one has to For years she wrote sonnets and Latin poems to her praise.
  12. COELI GAVDIVM MVNDI AVXILIVM; PVRGATORII SOLATIVM ( Joy of Heaven, Help of the World, Consolation of Purgatory )
  13. V. Annecchino: S. 28
  14. The tomb in which the body of St. Monika was situated at the mouth of the Tiber (Ostia) for 1040 years; Caused by the miracles that happened for their transfer, the conscientious sons arranged for a transfer from the obscure place to a more important one, in the year of salvation in 1566
  15. Tobias Güthner: Florentine merchants and bankers in Rome p. 130 ff.
  16. Alexander Nagel, p. 164: … per officio cantato ne la cappela della Pietà per l'anima de la Fiammetta
  17. Andrea Lonardo: La Madonna dei Pellegrini di Caravaggio nella basilica di Sant'Agostino in Roma: dalla leggenda alla realtà storica
  18. V. Annecchino: S. 19
  19. Information on the organ (PDF; 93 kB)
  20. Johannis Burchardi Diarium sive Rerum Urbanum Commentarii (1483-1506), pages 399 u. 400: Omnia fuerunt sine ordine: meretrices et alie viles persone steterunt from omni parte, inter altare et cardinales. ... non potui, in medio servientium armorum nostrorum et cursorum Pape ordinem dare quod inter altare et cardinales essent meretrices medie et alii; nimia fuit confusio et inordinatio .
  21. Claudio Rendina: Le chiese di Roma, pages 83 u. 84
  22. Ragionamento del Zoppino p. 50: La Fiammetta ancor fe 'bel fine, e ho visto in Santo Agustin la sua cappella
  23. ^ Gregorovius: Rom , Vol. VII.3, p. 259
  24. Jürgen Krüger, Martin Wallraff: Luthers Rom, page 76 ff
  25. ^ Philippe Sénéchal; Le tombeau de Melchiorre Baldassini retrouvé à Chaalis , In Revue de l'Art, 1999 No. 124, p. 59
  26. The road inspector forbids the creation or dumping of any kind of rubbish around the church and monastery of Sant'Agostino under the penalty of personal arrest, 25 gold scudi, three stilts and others, according to the decree of July 6th 1646