Italian painter an mosaicist (end of the thirteenth century). He decorated with mosaics, with a friar called Jacopo da Camerino, S. Giovanni in Laterano's apse in Rome in 1291 (iter 4) and, by himself that of the basilica, also in Rome, of S. Maria Maggiore, in 1295 (iter 3) . Torriti 's personality, although carefully studied, does not appear to be entirely clear also because the two apsidal mosaics (of which, in addition, the one in S. Giovanni in Laterano is much restored) probably replaced others of early Christian age, so that it cannot be excluded that their iconography, or even part of the execution, could be residues of the original mosaics and must therefore not be credited to Torriti . In the mosaic in the Laterano, in fact, the depiction of the Redeemer and of the Cross among the Saints faithfully re-takes early Christian schemes and symbols. In S. Maria Maggiore's apse (iter 3) , instead, in a clypeus held by Angels the Crowning of the Virgin is depicted, while all around a florid decoration of acanthus crowns unfolds with well-placed ornamental motifs, them too of early Christian origin; lastly, the lower part of the basin is occupied by a band of mosaics with Stories of the Virgin . This faithfulness to the early Christian tradition appears to be linked also to Byzantine residues, that are evident, for instance, in the adamant draping of the great figures in the Crowning ; yet Torritti does not lack of grandiosity in his composition taste nor of a delicate colorist sensitivity, that makes use of clear tints, in which silvery, greenish, rose and mother-pearly tonalities predominate. Based on these two works, Torriti has been credited with, more or less doubtfully, a mosaic on the side door of S. Maria d'Aracoeli in Rome (iter 1) and with a group of frescoes in the highest registers of the walls of Assisi superior basilica's nave, performed as a continuation of Cimabue's decoration. Almost all the critics agree in referring these frescoes to Roman maestros; Torriti , that here could have drawn from Cimabue and Cavallini's examples to give more substance to his own art, can be assigned with, among others, the scenes of the Cattura di Cristo and the Sacrificio di Abramo , in which there seems to be a perceptible recollection of the classical tradition.