In its oldest architectural typology, the church represents the first example in Rome of a basilica with three apses. The church, with a basilica plan, has three naves divided by pillars and currently features a semicircular apse. The basilica has been completely restored twice. The first series of interventions took place from 1571, when the last bay of the right nave was transformed into a chapel dedicated to St. Andrew, until 1611, when, at the initiative of Cardinal Peretti, the windows were enlarged, and finally in 1618 when the organ loft was built. In 1869-1870, Pope Mastai carried out a new radical restoration, which included, among other things, the reconstruction of the apse and the demolition of the ancient bell tower. In 1928, the ceiling collapsed, destroying part of the painted decoration by Fontana (1827-1908). Since then, the ceiling has exposed beams.
**Description:** At the end of the left nave is the image of the Madonna and Child, also known as the Madonna delle Grazie. The authors of the painting are Belizo pictor presbiter and Bellushomo pictor, who signed the work. The image is a canvas on panel, in Byzantine style, whose high artistic value was revealed by restorations in the last century. According to I. Toesca, it most likely replaced an older image (I. Toesca, *L’antica Madonna di Sant’Angelo in Pescheria*, p. 4).
**Date of use:** Between the years 1000 and 1100
**Image:** Icon
The church of Sant’Angelo in Pescheria houses the icon of the Madonna and Child, most likely painted between the 11th and 12th centuries. According to I. Toesca, who studied the icon, it may have replaced an older image. The earliest reliable testimony of the image’s presence is found in the apostolic visitation of September 1, 1625: *”In capite navis quae est a cornu Evangelii, prima est cappella sub invocatione Sanctissimae Virginis, quae asseritur de juspatronatus D. Ducis Caesarini. Habet iconam unam cum imagine Beatissimae Virginis argentea corona, aliisque gemmis decorata, ampla coronide marmorea et columnis aeque marmoreis circumdatam, circam quam pendent nonnullae tabellae votivae tam argentae quam lignae.”* (Vatican Secret Archives, Armadio VII, 111, c. 137). An inscription recorded by the so-called Spanish anonymous, Francisco de Mena (actually Portuguese), and also cited by Forcella (*Iscrizioni delle chiese di Roma*, p. 402, n. 462), would attest to the painting’s presence in the church at least since 1478.
Between the late 8th century and early 9th century, the relics of St. Symphorosa and her sons were transferred to the church, as evidenced by an inscription on a lead plaque discovered in 1559. On May 20, 1347, Cola di Rienzo, after attending thirty masses of the Holy Spirit at Sant’Angelo in Pescheria on the eve of Pentecost, marched armed to conquer the Capitoline Hill. Between 1823 and 1847, Cardinal Vicar Annibale della Genga, later Pope Leo XII, revived the practice of preaching to Jews, setting it at five times a year in the church of Sant’Angelo in Pescheria. This custom lasted for a few years until Pius IX abolished it.
After the parish was suppressed, Pius X transferred the Collegiate to San Lorenzo in Lucina, where the Clerics Regular Minor relocated. The church is a cardinal deaconry.
Next to the altar with the icon is a marble coat of arms of the noble Cesarini family, who likely held patronage rights starting with Cardinal Giuliano Cesarini, who was a deacon of Sant’Angelo in Pescheria.
Via della Tribuna di Campitelli, 6, 00186 Roma, Italy
