Via del Corso 437
It replaced S. Nicola de Tofo national Church of the Lombards since 1471
Work began in 1612 with Onorio Longhi (1568/1619), after the canonization of St. Charles Borromeo in 1610, and continued from 1619, the year of the death of Onorio Longhi, until 1640 with his son Martino Longhi the Younger (1602/60)
Works finished in the years 1668/69 with Pietro Berrettini aka Pietro da Cortona (1597/1669) who designed the apse, the dome and the stuccos in the interior
FAÇADE
1682/84 G.B. Menicucci and Fra Mario da Canepina from a project of Cardinal Luigi Omodei
The construction of the church took therefore 72 years
In the PIAZZA AUGUSTO IMPERATORE behind the church, at the sides of the APSE, gigantic statues “St. Ambrose” by Arturo Dazzi (1881/1966) and “St. Charles Borromeo” by Attilio Selva (1888/1970)
The church is not aligned with Via del Corso because it followed the alignment of the ancient church of St. Nicholas: it originally faced a small square and buildings that used to separate the church from the Via Lata (now Via del Corso)
“The apse was not created to be seen in an open space, which followed the demolition implemented in 1936/40 for the isolation of the Mausoleum of Augustus, but it once stood with its dome at the bottom among the small streets and alleys typical of the urban fabric of Roman Baroque” (Simonetta Ceccarelli)
Seat of the Confraternity of the Lombard Nation
STUCCOS by Cosimo Fancelli (1620/88) and his brother Giacomo Antonio Fancelli (1619/71), designed by Pietro da Cortona
CENTRAL NAVE “The Fall of the Rebel Angels” 1677/79, PENDENTIVES “Evangelists” 1671/72, VAULT, TRANSEPT and PRESBITERY “Glory of St. Charles” 1677, APSE “St. Charles and the plague” all works by Giacinto Brandi (1621/91)
NICHES OF THE NAVES AND OF THE DEAMBULATORY
“Ten plaster statues of saints” 1677/82 masterpiece by Francesco Cavallini (known since 1672/1703)
“These statues were the largest commission of this clever decorator; they are of unequal value and overall show a close affinity with the style of the turbulent Ercole Antonio Raggi. Cavallini did not learn, however, neither from Raggi nor from Ferrata: he was a disciple of Cosimo Fancelli the most important brother of Giacomo Antonio” (Rudolf Wittkower)
“Monochrome and fake stucco” 1677/80 by Paolo Brozzi
CEILINGS OF THE NAVES AND OF THE DEAMBULATORY
ELEVEN FRESCOS painted in the years 1678/81
From right:
“Temperance” by Paolo Albertoni (about 1670/after 1695)
“Justice, Peace, Law and Truth” by Girolamo Troppa (1630/after 1710)
“Religion, Fortress, Purity and Chastity” by G.B. Beinaschi (1638/88)
“Devotion” by Carlo Ascensi
“Humility, Prayer, Perfection and Fortitude” by G.B. Boncuore
“Glory of Angels” by Luigi Garzi (1638/1721) a pupil of Andrea Sacchi, later influenced by Carlo Maratta
It is behind the altar in the opposite direction to the others because it had to be visible through the arch closed later by the painting by Maratta
“Vigilance” by Ludovico Gimignani (1643/97)
“Patience, Tolerance and Discretion” by Fabrizio Chiari (about 1615/95)
“Faith” by Luigi Garzi (1638/1721)
“Charity” by Francesco Rosa (known since 1674/d. 1687)
“Hope and Truth” by Pio Paolini
1st CHAPEL ON THE RIGHT
“Christ and Sts. Ambrose and Charles” maybe by Pier Francesco Mazzucchelli aka Morazzone (1573/1626)
2nd RIGHT - CHAPEL OF THE VIRGIN MARY AUXILIUM CHRISTIANORUM (Help of Christians)
Altar piece with the same of the chapel painted in the nineteenth century
3rd RIGHT - CHAPEL OF THE HOLY FAMILY
On the left “Madonna with St. Francis” by Pier Francesco Mazzucchelli aka Morazzone
RIGHT TRANSEPT - ALTAR OF THE IMMACULATE CONCEPTION
1769 maybe by Paolo Posi (1708/76) with a copy in mosaic of the altar piece “Immaculate Conception” by Carlo Maratta in the Cybo Chapel in S. Maria del Popolo
On the side statues: on the left “David” by André Jean Lebrun and on the right “Judith” by Pietro Pacilli (1716/after 1769)
MAIN ALTAR
“Glory of Sts. Ambrose and Charles with St. Sebastian, Virgin Mary and the Redeemer” 1685/90 by Carlo Maratta (1625/1713) restored after a fire in 1831 by Vincenzo Camuccini (1771/1844)
DEAMBULATORY
Unique in Rome, evidently inspired by the Duomo of Milan: in a niche behind the altar there is the heart of St. Charles Borromeo
Above there is a banner with “St. Charles in adoration of the Virgin Mary and Child” by an artist of the school of Giacinto Brandi
LEFT TRANSEPT
“Altar of the Most Holy” 1929 by Cesare Bazzani (1873/1939) which imitates the opposite transept
Altar piece “The Lord and praying angels” 1632 by Tommaso Donini (or Luini) aka Caravaggino (1601/37)
On the sides statues “Religion” by Eugenio Maccagnani (1852/1930) and “Faith” by Guido Galli (1873/?)
3rd LEFT - CHAPEL OF St. OLAV
1893 with painting of the Norwegian king saint “St. Olav” by the Polish Pius Welonski
On the left “Agony in the Garden” by Pasquale Rossi
On the right “Holy Family” by Cristoforo Roncalli aka Pomarancio (1552/1626)
2nd LEFT - CHAPEL OF S. FILIPPO NERI
Paintings on the sides: on the left “Communion of St. Stanislaus Kotska” and on the right “St. Aloysius Gonzaga among the lepers” by Giacomo Zoboli (1681/1767)
1st CHAPEL ON THE LEFT
Above the altar “Preaching of St. Barnabas” by Pier Francesco Mola (1612/66)
ANTICHAMBER OF THE SACRISTY
“Crucifixion” by Guillaume Courtois aka Borgognone (1628/79)
LARGE SACRISTY
“St. Ambrose and two deacons” by Tommaso Donini (or Luini) aka Caravaggino (1601/37)
Above the doors “Marble busts of the Cardinal Omodei and Cardinal D'Adda” by Agostino Cornacchini (1683/1740)
ORATORY OF St. AMBROSE
Sculptures “Deposition” and two “Sibyls” about 1583 by Tommaso Della Porta (about 1550/1606)
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