|San Patrizio a Villa Ludovisi|
|English name:||St Patrick's at the Villa Ludovisi|
|Dedication:||Patrick of Ireland|
|Built:||Early 20th century|
|Address:|| 31 Via Boncompagni |
|Phone:||06 42 03 12 01|
San Patrizio a Villa Ludovisi is a 19th century convent and titular church at Via Boncompagni 31 in the rione Ludovisi. It is one of the two national churches of Ireland (the other being Sant'Isidoro a Capo le Case). Picture of the church at Wikimedia Commons. 
The remote origin of the church lies in the lost ancient church of San Matteo in Merulana near the Lateran, which was given to the Augustinian Friars in 1477. The community here was predominantly Irish by the early 18th century, and have kept this identity from then on. However, they lost their church when the French demolished it in 1810. To compensate, they were given Santa Maria in Posterula in 1819, which was an old monastic church of a defunct order of monks called the Celestines.
This church and its attached convent was right next to the river in the rione Ponte, to the east of the Ponte Sant'Angelo. Unfortunately, this meant that it was doomed once it was decided to enclose the Tiber in embankments to stop its regular floods. The complex was condemned and demolished as a result in 1888, and the friars had to find a new home.
Fortunately for the community (although not for civilization), the famous Villa Ludovisi with its delectable gardens had just been sold off by its owner, the site cleared and the land divided up into building lots. This happened in 1885, despite international outcry. The friars obtained a large corner plot in the new neighbourhood, and laid the foundation stone of their new convent in the year that the old one was destroyed.
The architect was Aristide Leonori, and the main mover was one of the friars called Fr Patrick Glynn who came from Limerick. The project called for a very substantial church with an attached convent in a coherent design, but unfortunately the cost stretched the funds available. The church was only completed and opened in 1911, twenty-three years after its inception.
San Benedetto Abate -nunsEdit
There are some odd references to a community of Benedictine nuns in the same street, apparently associated with the friars. Diego Angeli, writing in 1903, had this to say:
"San Benedetto Abate. There is a small church attached to a convent of English Benedictine nuns in the Via Boncompagni. It was built in 1899, the architect being Alberto Manassei. In 1901 the church was taken from the nuns and given to the Augustinians. The ceiling vault and the apse are decorated with frescoes. On the main altar is an altarpiece of The Blessed Virgin, a copy of an original by Carlo Maratta at San Carlo al Corso. To the left is the chapel of St Benedict, with a copy of an icon kept at San Benedetto in Piscinula."
Other references indicate that the convent was founded in 1897, that the abbess only was English, and that it was going to be sold off as a hospital (by the friars?) in 1901.
This obscure church apparently only lasted for two years. Something horrible seems to have happened to the nuns here here, but what? There are no references online to this church after 1903, or to exactly where in the street it was.
The architect Manassei is famous for his Palazzo delle Assicuriazione Generale, which is the massive building on the east side of the Piazza Venezia.
The church has had no major subsequent history of note. The friars have been successful in making it a centre of Irish expatriate and pilgrim life in Rome.
Layout and fabricEdit
The church is basilical in plan, and is large. Firstly, there is a two-bay narthex which is incorporated into the convent. Then follows a four-bay nave with aisles, the bays being deep. Finally there is a semi-circular external apse. There is no transept, but the aisles have little apses at their far ends.
The roofs of the main nave and the apse are pitched and tiled, but the aisle roofs are flat. The fabric is of pink brick, with some stone detailing especially on the façade. There seems to be no campanile -where are the bells?
The church is on a corner site, and so has a prominent civic presence. The left hand side wall fronts the Via Abruzzi, and the apse looms over a filling station on the Via Sicilia. These external walls are rendered in a pinkish red, and the rooflines have stone cornices with dentillations. Below the rooflines of the nave, aisles and main apse are lines of stone tracery in the form of pendant arcades of semi-circular arches -these run above the side apses.
The aisle walls have eight tall round-headed windows each, with archivolts above looking like eyebrows, but the main nave side walls have only four windows each. The apses have no windows.
The church façade is incorporated into the convent frontage as one piece of design, which is described as Tuscan Romanesque. Here, the pink brick is unrendered. The main gabled façade fronts the central nave, while the two identically designed convent blocks flanking it, slightly recessed, front the aisles.
The design is complex, and could be accused of being fiddly. There are two storeys. The single doorway is in a mediaeval-style arched doorcase with three orders of molding enclosing a tympanum with a mosaic depicting St Patrick Being Commissioned by Pope Celestine I. This doorway has a porch or prothyrium with a gable. and this is supported on a pair of spindly grey marble Composite(ish) columns. Flanking the entrance is a pair empty of round-headed niches sheltered by molded archivolts supported by free-standing columns in the same style. The walling in this part of the first storey is in brick.
Above the top of the entrance arch, and partly obscured by the porch gable, is a wide frieze of vine-leaf decoration that runs across the entire frontage including the convent blocks. This is in stone. Also in stone is the entire horizontal zone above it, which has a recessed portion containing windows behind an arcade of nine arches separated by more of the same sort of columns. This is sheltered by a projecting cornice with modillions which runs across the entire façade.
The second storey is in brick again. It has a majestic central window, arched with a projecting molded archivolt supported on a pair of the trademark columns themselves supported on projecting brackets. There are three lights to this window, in an arcade of three arches separated by another pair of columns. Above the arcade is a device in the form of a Celtic cross. The top of the windows's archivolt has an acanthus leaf finial, and below the window is carved a coat-of-arms.
The main window is flanked by a pair of smaller windows with the same eyebrow archivolts as with the aisle windows. The gabled roofline has a cornice with dentillations and modillions large enough to be brackets, and a stone Celtic cross finial is on the apex. Below the cornice is an arcade of fifteen arches with free-standing columns supported on brackets; the central arch under the gable apex is slightly larger than the rest, and contains a mosaic of St Patrick telling the snakes to go away. (Ireland has no snakes, and the legend is that the saint got rid of them. In reality, they never got back after the last Ice Age.)
Immediately inside the entrance, on the left, is an anonymous Pietà which shows the entombment of Jesus.
Once through the narthex which is incorporated structurally into the convent building, you are in a nave with aisles and a flat unpainted wooden ceiling. There are four bays, separated by pillars revetted in alabaster, but each bay contains two arcade arches separated by pink granite columns with intricately carved foliage capitals. The floor is of marble, in an appealing design.
The presbyterium is in a large apse with a conch. The apse wall is revetted in pale green marble, with mosaics of SS Patrick, Bridget and Columba now obscured by the new altar. In the conch is a spectacular mosaic by Rodolfo Villani of 1929. It shows St Patrick Converting the High King at Tara, and shows the saint explaining the doctrine of the Trinity with the aid of a shamrock leaf. The text below is a quotation from the saint's writings: Ut Christiani ita et Romani sitis ("So that you may be Christians like the Romans").
In the left hand aisle is an altar dedicated to the Sacred Heart, with an altarpiece depicting The Last Supper by Silvio Galimberti.
In the right hand aisle is the altar of Our Lady. The altarpiece is an old icon of her, brought here from Santa Maria in Posterula after that church was demolished. It is 14th century, painted on slate.
There is a daily Mass in Italian at 7:45.
On Sunday there is a Mass in English at 10:00 (sorry, no Gaelic), and one in Italian at 11:30.
The friars consider one of their main outreaches to the Irish nation is through arranging weddings for Irish people wishing to marry in Rome. If you are interested, contact them through their website (see below).
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