Deriving from the hospitality it gave to the Roman legions and other favors done to the city.
Silver badge with a roman she-wolf milking the twins on a green garden surmounted by an ancient crown with a little black and white pennon inside a silver and red bordered shield with red and silver crosses.
White and black flag bordered in orange.
Et urbus et Senarum Signum et Decus (The coat of arms of Rome, the honor of Siena) .
Faithfulness.
Bakers
72
Saint Rocco the confessor, August 16 (celebrated on the first Sunday of September).
Camollia
"Romolo e Remo", Via Pian d'Ovile, 94
Via Vallerozzi, 63
via Vallerozzi, 63
Situated in via Vallerozzi. Built in the 16 century, once belonging to the brotherhood of Saint Rocco. On its side there is a column with a wolf, given as a present from the city of Roma. As with other sisters, the Oratorio della Contrada della Lupa is also due to a lay company. Some confreres who formed the Compagnia di San Rocco, protector of the plague victims, detached themselves from the Compagnia Laicale di San, based in what is now via Garibaldi, and decided to build an oratory in the Rione di Vallerozzi where to meet. The starting date of the construction is uncertain but in any case it can be placed at the beginning of the second decade of the 1500s. Some documents from 1533 speak of works to be carried out in the square overlooking the Oratory and in 1575 Cardinal Bosio wrote of the existence, in a Sienese church, of a painting depicting San Rocco with two angels in relief on the sides: this shows that, at the time, it was already being officiated in the oratory. In front of the church, in 1548, a column was raised with the Roman she-wolf which is now located in the Sala delle Vittorie and has been replaced by a new sculpture donated by the Municipality of Rome in 1966. In the seventeenth century not all the districts had their own headquarters and therefore coexisted with the lay companies. But as with other similar situations, the cohabitation between the Contrada and the religious body became difficult so much that in 1743 the city magistrate pronounced himself in favor of the freedom of the wolvers who had to have free access to the oratory to hold meetings and celebrate religious functions. With the suppression of the Lay Companies, imposed in 1785 by Leopoldo II, the wolvers asked, and obtained, the use of the Church of San Donato in Via Montanini (located in the current square of the Fonte dell'Abbondanza), but the Contrada asked the Archbishop Tiberio Borghese to obtain the church dedicated to San Rocco; on February 8, 1786 the request was granted by entrusting the task of carrying out the functions to the parish priest of San Donato who had signed the petition for the wolvers. Many and valuable works of art present in the Oratory; these include: "The Assumption of Mary" by Ventura Salimbeni; "The Twelve Apostles" by Astolfo Petrazzi; "San Michele Arcangelo" by Francesco Rustici; 'Visitazione' by Bernardino Vanni; "Circumcision" of unknown of the sixteenth century .; paintings by Bernardino Mei, Simodio Salimbeni and Deifebo Burbarini. The Oratory has a historic organ which is housed in a choir above the entrance door built in 1878, based on a design approved by a commission formed by Girolamo Rubini and the famous artists Giuseppe Partini and Tito Sarrocchi. The organ was commissioned in late 1879 to the illustrious organ builder Nicomede Agati and his nephew Luigi (his uncle was already very old). On 1 August 1880 the organ was already placed in the choir with its harmonic "box" designed, it seems, by Giuseppe Partini. The instrument has come to our days almost unchanged in the structure. Its state of efficiency gradually deteriorated until extraordinary maintenance was carried out in 1986. Joined to the Oratory is the so-called Cappellone di San Rocco, another symbolic place for wolves culture and art. Between the end of the sixteenth century and the beginning of the following century, the lay company that bore the name of the saint undertook a pictorial initiative of wide scope through the "story" - with a wide cycle of frescoes - of the salient facts of life and miracles of the saint. Of the certain heavy financial burden that this operation entailed, the documentation was lost, but the date left by a stucco master on the first time (1605) and the inscriptions in the explanatory captions of some "stories" (1606, 1609) in addition to the signatures and two dates (Rutilio Manetti and .. 1605, 1610) allow us to date the frescoes in the second half of the first decade of the seventeenth century. The frescoes of the first span with "Stories from the life of San Rocco" and those of the second span to Crescenzio Gambarelli ("Scenes from the life of the Saint" - 1605) are due to the aforementioned Rutilio Manetti. Within a niche, enclosed by a painted architecture, on the wall opposite the entrance is the large statue of San Rocco - polychrome terracotta - which was previously in the apse of the Oratory. According to Piero Torriti "despite the lackluster and clumsy compositional structure, it still denotes hints of Cozzarelli".
Built by Giovanni Barsacchi, with a wolf made of bronze, work of the sculptor Emilio Montagnani (1962).