The Church of Sant’Angelo in Pescheria is located behind the propylaeum of the Portico d’Ottavia in Rome. It owes its name to a no longer existing fish market and contains works of art by Benozzo Gozzoli, Giorgio Vasari and others.
A brief history of the church of Sant’Angelo in Pescheria in Rome
Built around the year 755, the church was initially dedicated to San Paolo. Construction had been ordered by Pope Stefano II, who was pope from 752 till 757, and also had the relics of saints Sinforosa and Getulio and their seven children brought to the church. Pope Stefano II really ought to have been Stefano III, but his predecessor (also called Stefano) died 4 days after having been elected, but before he was consecrated. For this reason, in official documents he is often referred to as Stefano II (III).
After a reconstruction in the 12th century, the church got its present name. “Pescheria” refers to the fish market that, until the 19th century, used to be held in the Portico d’Ottavia.
A two floor bell tower was added in the 13th century, and collapsed four centuries later. Other restorations took place in the mid-16th century, in 1611 and in 1741.
In 1610, a sarcophagus was found in the church, with an inscription in Latin saying: “Here rest the bodies of the holy martyrs Symphorosa, her husband Zotius (Getulius) and their sons (Crescente, Giuliano, Primitivo, Nemesio, Giustino, Statteo and Eugenio), transferred by Pope Stephen”.
The last important reconstruction took place in 1867, under Pope Pius IX. The architect Alessandro Betocchi moved the apse further back, added a new campanile and redid the floor.
What to see in the church of Sant’Angelo in Pescheria
Exterior
The propylaeum of the Portico d’Ottavia functions as a sort of atrium of the church. There is no real facade. The portal, with a triangular tympanum, is quite sober. The only decoration is formed by three columns of the Portico d’Ottavia, incorporated in the wall. The church exit is an equally unobtrusive side door in the left wall.
Interior
The church consists of three naves. The central one is both taller and wider than the side naves, separated by pillars. The multicolored coat of arms of the Fishmongers’ Guild is depicted on the central part of the floor. Apart from the obvious fish, a deer (symbolizing nobility) and two geese (loyalty) are depicted. The geese had earned their reputation for loyalty when Rome was attacked by the Gauls. When the latter tried to climb the Capitol Hill, Juno‘s sacred geese started quacking loudly. The Romans woke up and managed to fend off the attackers.
Counterfacade
The interior wall of the facade is decorated with paintings imitating marble decorations. The 19th century organ is protected by a sparsely decorated wooden container with a coat of arms. A fragment of the cornice of the tympanum of the propylaea of the Portico d’Ottavia is visible near the top. Plaques commemorating the consecration of both the original church and its reconsecration are attached on either side of the vestibule.
Right nave
The altarpiece of the Chapel of San Giuseppe (1R) depicts the “Holy Trinity between Saints Lorenzo and Ciro” by Giovanni Battista Brughi. The work dates back to the late 17th/early 18th century. The chapel was originally dedicated to the Holy Trinity.
The Chapel of the Holiest Sacrament used to be the Chapel of Sant’Andrea and was dedicated to the patron saint of the fishmongers. The mid-16th century altarpiece, attributed to Giorgio Vasari, depicts “Sant’Andrea Bearing his Cross”. Bernardino Cesari painted the “Vocation of Sant’Andrea” (1619) on the right wall. The vault frescoes are attributed to Innocenzo Tacconi and depict events from the life of Sant’Andrea.
Presbytery and apse
The altarpiece below the semi-circular apse is attributed to the workshop of Cavalier d’Arpino. Depicting “The Archangel Michael Defeating the Demon”, it dates from the first half of the 17th century. The two paintings on the sides of the arch depicts events from the life of San Francesco Caracciolo. The relics of the martyr saints Getulio and Sinforosa and their children are preserved at the altar. The sarcophagus below the altar contains relics of San Ciro di Alessandria.
Left nave
The left nave starts with a closed off space. Now used for storage, this used to be the ground floor of the first campanile of the church.
The Cappella del SS. Crocifisso consists of a plasterwork tabernacle with fake marble paintings decorating the side parts. The two plaster sculptures flanking the crucifixion depict the Madonna and Saint John the Evangelist.
The Cappella della Madonna delle Grazie (2L) is decorated with a fresco depicting a “Madonna with Child and Angels”, painted around 1450 by Benozzo Gozzoli. Originally decorating the external hall of the clergy house, the work was later moved to its present spot for preservation purposes. The altar itself is the work of Giacomo della Porta. It is adorned with the coat of arms of the family who had it constructed. The wooden statue on the right (“San Giuseppe and Child”) is a recent addition.
The door in the left wall leads directly outside. Although hardly recognizable as a church portal, it has become the main entrance to the church. The marble holy water font flanking the door dates from the 18th century.
Giacomo Richebach (1776-1841) was a mathematician and astronomer. The 18th century monument in his honor consists of a plaquetopped by a bust.