Theodoli Chapel (Santa Maria del Popolo)

The chapel with the altar statue of Saint Catherine by Giulio Mazzoni

The Theodoli Chapel or Chapel of Saint Catherine «del Calice» (Italian: Cappella Theodoli, Cappella di Santa Catarina del Calice) in the Basilica of Santa Maria del Popolo in Rome is an important monument of Roman Mannerism. Although less known than some of the other side chapels of the same church it is a major work in the oeuvre of Giulio Mazzoni. The chapel opens at the end of the left arm of transept next to the famous Cerasi Chapel.

History

Stucco angels in the corner of the ceiling with the symbols of episcopal authority in the background.

The construction of the chapel coincides with the renovation of the whole building in the mid-sixteenth century. On 10 December 1552 the Vicar-General of the Lombard Congregation allowed the Augustinians to assign two empty chapels to new holders: one of them was located „apud cappella Fusari vulgariter nuncupata la Madonina” and it had been requested by Traiano Alicorni, a Milanese nobleman and protonotary apostolic.

On 27 June 1553 the chapel was granted to Alicorni, and re-dedicated to Saints Lucy, Nazarius and Celsus. The dedication to the most important martyrs of Milan is easily explained by the origins of the Alicorni family. After the death of Traiano Alicorni the property was inherited by his sons, Fausto and Giovanni Battista who began to build a tomb in memory of their father. Soon, however, the chapel was returned to the Augustinians, who assigned it to Girolamo Theodoli, the Bishop of Cádiz, on 24 December 1569.

The two families were linked by their common homeland, Romagna. The new owner employed the same artist, Giulio Mazzoni of Piacenza, who had already been entrusted by the Alicorni, and maintained the original dedication of the chapel with the addition of Saints Jerome, Catherine and John the Baptist.

The work on the inner decoration had been started by Traiano Alicorni. He commissioned Giulio Mazzoni in a contract dated to 15 October 1555. The artist undertook the task for the considerable sum of 800 scudi and pledged to finish it within two years. He was still working on it ten years later. Previously the Theodoli Chapel was thought be a late work of Mazzoni but this was disproved by the discovery of the contract.

The iconographic themes of the paintings help to differentiate the two commissions: the vault is part of the first phase from the 1550s as well as the two lunettes with the Sibyls and the Prophets. The third lunette with the figure of Saint Jerome should belong to the Theodoli phase like everything else in the lower parts. The marble statue of Saint Catherine on the altar also belongs to the post-1569 phase.

Originally the chapel was called Santa Caterina «del Calice» or «del Cadice» to distinguish it from the Chapel of Santa Caterina «del Portogallo» in the right aisle. There are stucco chalices with ribbons and vases on the spandrels and the statue of Saint Catherine was holding up an antique chalice at least until the first quarter of 18th century (now replaced by a bronze palm). The symbol of the chalice alluded to the city of Cádiz and the bishopric.

The completion of the Theodoli Chapel could be placed around 1575 because Mazzoni returned to Piacenza in the next year. The chapel was refurbished by Marquis Girolamo Theodoli about 150 years later. The large stucco cartouche above the entrance arch with the coat of arms of the Theodoli family probably belongs to this phase. The paintings were restored and refreshed by Giacomo Triga, the court painter of marquis. The 18th century redecoration is probably related to the Jubilee Year of 1725 but the intervention did not significantly alter the 16th century aspect of the chapel.

Description

White stucco angels holding a medaillon of St John the Baptist.

According to art historian Patrizia Tosini the altar statue is a mature work of the artist and opened a new era in Mannerist sculpture with its solemn and soft cloths, proto-classicist attitude, composure and chiaroscuro features, „far removed from the rigidity and hyperbole of his contemporaries”. Even the setting of the statue (documented in its present form from the middle of the 17th century) in a Tuscan-style altar made entirely of white marble, evokes more the coldness of certain 19th century funerary monuments, than the colorful and imaginative architectural structures of mid-sixteenth century Roman art. The statue bears the signature of the artist on its pedestal: JULIUS MAZZONUS PLACENTINUS PICTOR ET SCULPTOR.

God the Father among angels on the right hand wall.

The vault is divided into trapezoidal panels which are separated by delicate white and gold stucco bands of vases and candelabra. Pairs of dainty stucco angels are resting on the edges of the lunettes in the corners. The trapezoidal panels are filled with paintings of the Four Evangelists and an Angel in flight with a laurel wreath in the central medallion. In the three lunettes are paintings of the Sybils, Sybils and Prophets and the Dispute of Saint Jerome. According to the modern critics significant parts of the painted decoration were executed by Mazzoni while others are contributions of his workshop. The differentiation was made more difficult by a repainting of the frescoes in the 18th century (especially the figure of St. John the Evangelist and the lunettes).

The two lateral apses with medallions of Sts. Jerome and John the Baptist celebrate the patrons of Girolamo Theodoli. The painted medallions are held by pairs of white stucco angels.

There are two huge 16th century paintings of the Virgin of the Annunciation and the Angel of the Annunciation on the side walls; the first was repainted from scratch by Giacomo Triga in the beginning of the 18th century, whereas the second was only retouched and retained its typically Mannerist style. Above them two smaller panels depict God the Father among angels and the Dove of the Holy Spirit among angels.

One element of the decoration is a bit enigmatic: the presence of two plaster statues of Saints Peter and Paul which are perhaps the works of one of Mazzoni’s assistants. The two sculptures show no iconographic relevance to the dedication of the chapel, and could possibly be justified in the light of the adjacent Cerasi Chapel which was previously dedicated to the patrons of Rome.

The entrance of the chapel is barred by a wrought iron rail. The entrance arch is much lower than the corresponding arch of the transept and its outer surface is decorated by the stucco coats-of-arms of the noble Theodoli family. The soffit of the arch is divided into rectangular panels and bands with floral and foliate stucco ornaments against a red or green background. The soffit of the arch above the shallow niche of the altar is decorated in a similar way.

Bibliography

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