1660/66
masterpiece by Francesco Borromini (1599/1667)
It replaced
the church built in 1634 by Bernini which was elliptical with a main entrance
directly on Via di Propaganda
“It is a
radical revision of the structures of St. Mary of the Seven Sorrows and of the
Oratorio dei Filippini. Articulation is here in an order large and small
derived from the Capitoline Palaces. A continuous system ties together all
parts of the building in all directions. The line-skeleton structure has become
of the utmost importance - there is almost no wall between the tall pillars! -
and even the dome was sacrificed to the structure. No post-Renaissance building
in Italy has come so close to the Gothic structural principles. It was truly a
new and challenging solution and its compelling simplicity and logic ends
properly Borromini's activity in ecclesiastical architecture” (Rudolf
Wittkower)
Borromini's stuccos completed after his death
by Francesco Fontana (1668/1708) Carlo Fontana's
son
Subsequent
interventions in 1815 and 1955 painted arbitrarily Borromini's surfaces
Restoration
in 1955 by Clemente Busiri Vici (1887/1965) who
got rid of some nineteenth-century additions
According
to an unconfirmed anecdote Borromini would have taunt Bernini sculpting a papal
Chigi coat of arms with the donkey ears on a corner facing the Palace of
Bernini
The coat of
arms was actually made and was present until at least 1722, when Filippo
Juvarra (1678/1736) drew it. Bernini would have replied by carving a penis on
the shelves of a balcony of his palace overlooking one side of the Palazzo di
Propaganda Fide
1st
CHAPEL ON THE RIGHT
“Conversion
of St. Paul” about 1634 by Carlo Pellegrini
(1605/49) although some sources cite it as designed by Bernini
2nd
CHAPEL ON THE RIGHT
“Madonna
with Sts. Charles Borromeo and Filippo Neri” about 1665 by Carlo Cesi (1626/86)
MAIN ALTAR
“Adoration
of the Magi” by Giacinto Gimignani (1606/81)
Above “Delivery
of the Keys to St. Peter” about 1673 by Lazzaro Baldi
(about 1624/1703)
Stuccos in
the upper part and over the window of the choir by Cosimo
Fancelli (1620/88)
2nd
CHAPEL ON THE LEFT
“Crucifixion
between Sts. Francis Xavier and Francesco di Paola” by Ludovico Gimignani (1643/97) son of Giacinto
1st
CHAPEL ON THE LEFT
“The
Calling of Sts. Peter and Andrew” 1634 by Andrea
Camassei (1602/49) copy from the original of Giorgio Vasari
IN THE
NICHES
“Six
seventeenth-century busts of benefactors of the Congregation” of high quality
and generic attribution to school of Alessandro Algardi
with “Basis of black marble from Belgium” by Francesco
Borromini
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