Berniniin Rome

A tour around thesights of Rome todiscover theMasterpieces ofGianlorenzo Bernini

1. BORGHESE GALLERY

2. THE CHURCH OF SANTAMARIA DELLA VITTORIA

3. SANTA BIBIANA

4. PIAZZA BARBERINI

5. BARBERINI PALACE

6. SANTANDREA ALQUIRINALE

7. SANTANDREA DELLEFRATTE

8. PIAZZA DI SPAGNA

9. PORTA DEL POPOLO

10. SANTA MARIA DEL POPOLO

11. SAN LORENZO IN LUCINA

12. CAMPIDOGLIO [The Capitol]

13. SANTA MARIA SOPRAMINERVA

14. PIAZZA NAVONA

15. SANTA MARIA DIMONSERRATO

16. SAN PIETRO

17. SAN FRANCESCO A RIPA

turismo

Roma for youCollection of information by the Roma City Council

Published by Cosmofilm s.p.a. - Elio de Rosa, EditorEditorial director: Paolo GaleottiText: Sofia BarchiesiEditor: Emanuela BosiLayout: Antonio DAlessandroGraphics: Marco C. MastrolorenziTranslations by: Protos Translations & Communication (Naples - Italy)

Photos:Reverenda Fabbrica di San Pietro Archives: 29, 30, 31, 32Roma Sacra Archives: 10, 11, 16, 17, 18, 19, 21, 22, 25Artistic and Historical Treasures Service of Roma (SBAS): 6, 7, 8, 9, 15, 20Maria Teresa Natali: 24Claudia Primangeli/Soriani f.c.v:Francesca Sinagra/Soriani f.c.v.:Paolo Soriani: 12, 13, 14, 20, 26, 27, 28, 33

3A series of specialistic guides aim to prolong onesstay in Rome; a suggestion for people who havea few extra days and desire to deepen theknowledge of our city.

Carefully studied itineraries to accompany the visitor in the

discovery of the great patrimony of the Renaissance in Ro-

me through the testimonies of great artists such as Cara-

vaggio, Raffaello, Michelangelo.

Walks through baroque art, to admire the splendid architec-

tures by Bernini and Borromini.

Advice for everyone, alike tourists and Romans, in order to

quietly discover and enjoy the testimonies of ages that

played a major part in constructing the extraordinary pre-

sent image of our city.

Tourism OfficeMunicipality of Rome

The m

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1. BORGHESE GALLERY

2. THE CHURCH OF SANTA MARIA DELLA VITTORIA

3. SANTA BIBIANA

4. PIAZZA BARBERINI

5. BARBERINI PALACE

6. SANTANDREA AL QUIRINALE

7. SANTANDREA DELLE FRATTE

8. PIAZZA DI SPAGNA

9. PORTA DEL POPOLO

10. SANTA MARIA DEL POPOLO

11. SAN LORENZO IN LUCINA

12. CAMPIDOGLIO [The Capitol]

13. SANTA MARIA SOPRA MINERVA

14. PIAZZA NAVONA

15. SANTA MARIA DI MONSERRATO

16. SAN PIETRO

17. SAN FRANCESCO A RIPA

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CastelSantAngelo

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PiazzaNavon

Piazza delRisorgimento

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The map

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Piazzadel Popolo

PiazzaNavona

PiazzaVenezia

Villa Borghese1

Piazzadi Spagna

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Pantheon

Colosseo

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Barberini

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BorgheseGallery

T he Villa was built for Cardi-nal Scipione Borghese,nephew of Pope Paul V. Itwas conceived as a centre of en-tertainment and cultural enjoy-ment by the architect FlaminioPonzio at the beginning of the17th century. Later decorated byGiovanni Vasanzio, the interiorwas completely re-arranged byAntonio Asprucci in 1770.The decorations of the saloonsbelonging to that period, werecompletely restored during thecourse of the last work of preser-vation completed in 1997. The vil-la holds the splendid family col-lection started by Scipione Borgh-ese, connoisseur of both classicand modern art.

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Bust of Scipione Borghese

J.W. Baur, View of Villa Borghese (1636)

The goat, Amaltea betweenthe young Jupiter and aFaun is probably the earliestattempt by the young Bernini, dat-ing back to before 1615, to create awork following the style of thesought-after Hellenistic beauty. Thesmall Bust of Paul V completednow with its original plinth, is con-sidered to be the first official workgiven to the young sculptor, around1617, in honour of the Pontiff of theHouse of the Borghese, who alwayskept marble in his study. The Ae-neas and Anchise, the first of thefour famous Borghese groups, probably con-ceived for a different setting - is still tied to thepaternal style where the use of the drill to scoopout deep areas of shadow is typical.

In the Pluto and Proserpine already complet-ed by the summer of 1622 and transferred theyear after, as a gift, to the magnificent residenceof Cardinal Ludovisi, the attempt to represent theforce generated by the violent twisting of thebodies is expressed in a rapid sequence of im-ages. To the rapacious gesture of the god of theinfernal regions echo the atrocious barking ofCerberus and the lost glance of the young girl, in-dicated by a tear andthe waves of the longlocks of hair. If thesearch for balancereaches its highestemotional intensity inthe heroic gesture ofthe David, containedby force in the plinthwhere the arms arecarefully placed, afeverish sensualitypermeates the lastwork of the series.

The Apollo andDaphne, in whichthe metamorphosis

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Apollo and Daphne

The little goat Amantea

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of the nymph narrated by Ovid becomes a usefulpretext to show off, in the vegetable details, thevirtuosity of the collaborator, Giuliano Finelli,and to drum the moralistic message engravedinto the plate on the plinth into the watcher.

In the Bust of Cardinal Scipione Borghese,commissioned by Urban VIII in the summer of1632, the canons of the portrait in movementalready appear coded. The effigy is imposed as aliving thing, palpitating, no longer isolated in arigid conventional pose. The second version,completely identical to the first, was sculpturedfrom behind screens in fifteen nights or, accord-ing to the son Domenico, in only three days, toremedy a defect in the marble still visible alongthe forehead. Compared to the paintings withthe same plastic strength and the acute psycho-logical vision evoked by the dense chromaticpaste and in the close-up of the Self-portrait ofthe young man, in which the hypnotic glanceof the artist betrays a subtle restlessness whichcan still be seen in the later Self-portrait whichseems to be united to that of his lover, CostanzaBonarelli.

In the Portrait of a Young Girl, the colourtakes on a particularly luminous chromatictonality. The Truth was never part of the collec-tion, but was bought in 1924 by his heirs, to

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The Kidnapping of Proserpine Truth

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whom it wasleft in a will. InBerninis in-t e n t i o n s ,Winged Timewho lifts thedrape to re-veal the nudeallegory withthe sun in herhand, shouldhave appearedas an eloquentreply to the violent accusations aimed at thesculptor after the failure of the Vatican cam-paniles project (1646). Even if truth always tri-umphs - he himself had commented with bitterirony - it sometimes arrives late!

In the sketch fixed in 1669, the project for aMonument to Louis XIV which, illustrated themonarch during his French stay was carried outa few years later. The equestrian image, in-spired by the Vatican Constantine in the heroicdress of defender of Christianity, symbolises, inreality, the ascent of Virtue, represented by therocky plinth.

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Galleria Borghese, piazzale del Museo Borghese, 5 - 00197 RomaPhone 06 32.810 199 75.75.10 www.galleriaborghese.it info@galleriaborghese.it.

Times of opening: every day except Mondays, 1st January and the25th December from 9 am to 7 pm. The ticket-office closedbefore 1 hour.

Entrance: complete e 8,50, reduced e 5,25 , free for under 18s andover 65s; e 2,00 for booking.

Services: The museum has special access facilities for handicappedpeople.

The museum, with entrance very two hours, is by limited numbers;for bookings Tel 06 32810. There is a guided tour with art historiansfor each time slot. For bookings for guided tours in foreign languagesand groups of a maximum of 25 people, Phone 06 8555952.

Monument to Louis XIV, sketch

Santa Mariadella Vittoria

The church was consecrated tothe Virgin Mary in commemora-tion of the victory in the battleof the White Mountain near Prague(8th November, 1620). The interior,with a single nave and three chapelson each side, is decorated with a se-ries of military motifs which inspiredboth the ornamental motifs of thesumptuous chancel with the woodenBernini torch holders in the choir andthe allegorical themes which embell-ish the later 18th century vault.Between 1708 and 1711, the pillars ofthe nave were covered with preciousjasper from Sicily, already used in theCornaro altar and in the overlookingchapel which was completed at theend of the 1600s.There are various works held in thechurch, including the St. Francisadoring the Madonna with Child byDomenichino.

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Faade

Interior

The Corna-ro Chapelis a typicalexample of awell-composedBernini. It wascommissioned bythe Venetian Car-dinal, FedericoCornaro, after hisarrival in Roma in1644. The works,completed be-tween 1647 and1651, modifiedthe sober lines ofthe altar, encrust-ed with lapislazuli and formedof a exultation of precious marble and gildedstuccoes. At the centre of the entire plan thereis the sculptured group with the Ecstasy ofSt. Teresa of vila, that is the moment of themystic reverberation of light when the Span-ish Carmelite nun tells of having seen an an-gel on the left, very beautiful pierce the heartwith a long golden dart, and the point seemedto me to be on fire. A beam of light comingfrom the opening cleverly hidden by the altar,illuminates the Carmelite saint while she slideslifeless from the soft bed of clouds, in front ofthe glances of the eight people of the Cornarohousehold (including the client) appearing inthe side arches.

The chapel, a Bernini masterpiece, is still oneof the most surprising representations of theRoman Baroque.

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Church of Santa Maria Della Vittoria, via XX Settembre 1700187 Roma Phone 06 42740571 Fax 06 4825705Times of opening: Every day from 8.30 am to 12 am and from 3.30

pm to 6.15 pm.

Services: The church does not have a ramp for handicapped persons.

The Ecstasy of Santa Teresa vila

The miraculous recovery of the body of the martyr on the 2nd March,1624, obliged, in view of the Holy Year, the radical restoration fi-nanced by Urban VIII, who wanted to give the little church, whichwas then isolated by the urban setting, a new faade. In the well-con-structed architectonic elevation with projecting central body, three-arched porch and deep upper gallery, Bernini supplied an original inter-pretation of the ancient buildings of early Christian worship. The altar-pieces of the saints Demetria and Dafrosa and the frescoes in the churchare by the Florentine, Agostino Ciampelli, and the younger Pietro da Cor-tona. The church was consecrated after the transfer of the reliquaries onthe 14th November, 1626.

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The statue of Santa Bib-iana was commissionedby Urban VIII and sculp-tured for 600 scudi between 1624and 1626. The slender figure insoft drapery which reminds us ofthe severe classic elegance,stands in the deep niche in the al-tar-aedicule, which was also de-signed by Bernini. The saint is de-picted after having suffered mar-tyrdom by whipping, and its cre-ation repeats the virtuosity of thelast Borghese groups, particularlyin the symbolical laurel brancheson the plinth which sources at-tribute to the exceptional exper-tise of Finelli.

Santa Bibiana

Santa Bibiana

Church of Santa Bibiana, via G. Giolitti, 15400185 Roma Phone 06 4465235 Fax 06 4465235www.santabibiana@tiscalinet.itTimes of opening: Every day from 7.30 am to 11 am and from 5 pm

to 7.30 pm.

Services: The church does not have a ramp for handicapped persons.

PiazzaBarberini

The Triton Fountain is in the centre of the famous Piazza Barberiniwhich, announced on the 9th September, 1642, formed the mainitem of urban modernisation of the older Piazza Grimana, thevast area at the top of the residential area (called Head of the Houses),dominated by the sumptuous home which, Bernini himself, had shortlybefore completed for the Barberinis on the model of the Sun Palace.The Singing Triton sits on the enormous shell, in the centre of thefountain, to play the bugle which through a strange quirk of nature,emits a roaring jet of water, symbol of prosperity, instead of a shrill note.

The Fontana delle Api [fountain of the bees], used as a water troughfor horses on the corner of Via Sistina, was inaugurated in 1644 shortlybefore the death of the Pontiff. Dismantled in 1865 and arbitrarily re-as-sembled at the beginning of Via Veneto in an isolated position using theonly surviving item (the central part of the shell with one of the threebees), was inaugurated in January, 1916.

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13The Triton Fountain

BarberiniPalace

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Barberini Palace

National Gallery of Classic Art, via Barberini, 18 00184 RomaPhone 06 4814591 Fax 06 32651329 info@galleriaborgh-ese.it www.galleriaborghese.it/barberini/it

Times of opening: Every day except Mondays, 1st January and 25th De-cember, from 8.30 am to 7 pm.

Entrance: complete e 5,00, reduced e 2,50, free of charge for under 18sand over 65s

Services: The museum has special access facilities for handicappedpeople.

For bookings of guided tours with art historians in foreign languages andfor groups of a maximum of 25 people, Phone 06 8555952 (e 80 in Ital-ian, e 104 in a foreign language)

Built in the park of Cardinal Pio da Carpi, the palace was plannedby Carlo Maderno after ownership passed to Francesco Bar-berini in 1625. Planned as a residence for the papal family, thebuilding was provided with splendid gardens, making a true andproper town house. The later works by Bernini saw the constructionof the central saloon (decorated with the famous fresco by Pietro daCortona), of the gallery with porch below and the great staircase withsquared stairwell. The design of the windows of the central part andthe plan for the great winding staircase can be attributed to FrancescoBorromini. Bought by the State in 1949, the palace holds the NationalGallery of Classic Art that, set up in 1895 and recently inaugurated,collects works dating from the 12th to the 18th Centuries, belongingto noble families (Torlonia, Barberini, Chigi, Sciarra, etc.)

The home of the Nation-al Gallery of ClassicArt is to be found in viadelle Quattro Fontane in themagnificent palace of the Bar-berini family. Here can beseen the Bust of AntonioBarberini, belonging to theearly period of our artist asthe rigid outline of the mantleby the classic portraits shows,while the hand of Finelli canbe recognised in the refinedvirtuosity of the face. It wascommissioned by the brother of Urban VIII,Carlo Barberini, for the funeral monumenterected in the church of the Florentines incommemoration of the murder, in 1559, of thegreat-uncle; exile in Roma among the op-posers of the Medicis power; the bust be-came part of the family portraits commis-sioned by the Pontiff.

In the Bust of Urban VIII, as in the portraitof Scipione Borghese, both commissioned in1632, the eloquent expression of the face ofthe illustrious friend of Bernini reveals tones ofunusual intimacy, completely lacking any en-cumbrance of officialdom. The later bust of thePontiff is, almost certainly, an unsigned workeven if it comes from a lost Bernini prototype.

Two greatly prized canvasses demonstratehis contemporary interest in painting. As inthe Borghese sculpture group, also in theDavid with Goliaths head, could conceal ayouthful self-portrait, painted around 1625.The Portrait of Urban VIII is noteworthy, itis recognised as a splendid autograph datableto around 1632. In the Bust of Clement X,the ritual blessing was to appear even moresolemn in the scenic setting in the niche,crowned by the monumental drape in stuccodrawn up for the Salon of the Library in theAltieri al Ges palace.

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David with Goliaths head

SantAndreaal Quirinale

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16 Faade

I t was Bernini himself who confessed to his son: Ifeel some special pleasure in this one work. Theproject for the church of the Jesuit novitiate fi-nanced by the Pamphilj and begun in 1658 is, in fact,one of the most representative examples of RomanBaroque.

Outside the faade of the building issemicircular and characterised by theprojecting entrance which meets it. In-side, the scenic placing of the high altar isemphasised by monumental columns inmarble. The light that penetrates from thelittle dome alludes to the divine presencethrough the illumination ofthe large caisson vaulting. Af-ter the martyrdom, depictedas a spectacular event in thealtar-piece of the high altar,the apostle, too, poised onthe pediment has reached thebeatitude of heaven populat-ed by pale figures in stucco ina rare balance that comeswith the completion of thechapels entrusted to thefaithful Matthia De Rossi.

The plan of the church isoval; around it there are fivealtars and four passingrooms. On the altars there aresome important paintings bybaroque artists, includingGiovan Battista Gaulli and Gi-acinto Brandi.

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Church of SantAndrea al Quirinale, Via del Quirinale, 2900186 Roma Phone 06 4893187Times of opening: Every day except Tuesdays from 8 am to 12 am

and from 4 pm to 7 pm.

Services: The museum has special access facilities for handicapped people.

Dome

High altar

SantAndreadelle FratteThe church is called delle fratte because, during theMiddle Ages, it was located outside the residential area.After having been, during the Middle Ages, the head-quarters of the Scots, the church was given by Pope Sixtus V(1585), to the Minimum Brothers of St. Francis of Paola. Re-built at the beginning of the 1600s through the interest of theMarquis Paolo Del Bufalo, based on the plans by GaspareGuerra, the church has a taste of the late 1500s. The interiorhas a single nave with barrel vaulting and three chapels oneach side. There are also two of the famous marble angels byBernini for the St. Angelo bridge (regarded by Clement XI astoo fine to be left exposed to the elements, remained in theartists studio and were donated by the nephew in 1729). The chapel of St. Francis of Paola is also very beautiful; it wasbuilt in 1726 by Filippo Barigioni. The Stations of the Crosscreated by various Italian and foreign artists tied to the ring ofthe Nazarenes who frequented the area at the beginning of the1800s, can also be seen.

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18Interior

The Angel ofthe Crossand the Angelwith the Crown ofThorns, originallydestined to decorat-ed the SantAngelobridge were re-placed by copies or-dered by ClementIX to safeguard theprecious marblesfrom the elements.In 1729, the origi-nals which ru-mour had it thatthey were to betransported to Pis-toia, hometown ofthe Pontiff were inthe nearby BerniniPalace when thenephew of thesculptor donatedthem to the altar ofSt. Francis of Paola, in their parish church.The fall of one of the two angels duringtransport broke a wing. In the project of1667, perhaps inspired by the splendid dis-play on the bridge in honour of Charles V,the spectacular celestial procession alongthe way to the Vatican basilica was repeatedto show the pilgrims the reliquaries of thePassion. The work was completed on No-vember 8th, 1671 with the intervention of themost faithful of Berninis students.

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The Church of SantAndrea delle Fratte, Via S. Andrea delleFratte, 1 00186 Roma Phone 06 6793191 Fax 06 6780752Times of opening: every day from 6.30 am to 12.30 am and from 4

pm to 7 pm; Saturdays and Sundays from 6.30 am to 12.30am and from 4 pm to 7 pm.

Services: The museum has special access facilities for handicapped people

Angel

Piazza diSpagna

One of the most fa-mous squares inRome, it gets itsname from the SpanishPalace, headquarters ofthe first European em-bassies established in thecity. Opposite is the fa-mous column, at the topof which is the statue ofthe Immaculate Concep-tion crowned with flow-ers by the Pope everyyear on the 8th October. To one side isthe Propaganda Fide palace, plannedby Francesco Borromini. The arrange-ment of the square was concluded in1700s with the construction of thebeautiful steps leading up to thechurch of Trinit dei Monti. At the footof the steps is the famous fountain byPietro and Gianlorenzo Bernini calledthe Barcaccia from its special shaperesembling a partly submerged boat.

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The Damned Soul and theBlessed Soul came fromthe Building of the Span-ish Embassy after having been inthe church of St. Maria of Monser-rat, and even before, in the churchof San Giacomo degli Spagnoli.Even if their true destination hasnever been clear, or the hypothesisof a location in the Montoya funer-al monument never confirmed, it isprobable that Maffeo Barberinicommissioned Bernini to make thetwo physiognomic studies. Damned soul

The Barcaccia

Porta del Popolo(the Peoples Gate)

The original external structure of the Portadel Popolo dating back to 1561, was com-pleted by Bernini with the elegant copingdecorated with Chigi heraldic motifs (partly elimi-nated) carried out at the same time as the restora-tions to the nearby Augustinian church. The pairof statues of the saints Peter and Paul, originallydestined to go to Ostia Basilica, remained in theinter-columns of the external faade until 1980(they are now in the Roma Museum). A tablet in the attic commemorates the happyentrance on the 23rd December, 1655, of the ex-queen Christina of Sweden. The large square,the result of later works by Valadier, penetratesinto the towns structure creating, to the sides ofthe twin churches of Santa Maria of Montesantoand Santa Maria dei Miracoli, the so-called tri-dent formed by Via del Babbuino, Via del Corsoand Via di Ripetta.

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Santa Mariadel Popolo

The same cardinal Chigi whocommissioned the completionof the family chapel, erected onthe designs of Raphael shortly afterbeing elected Pope, also gave thework of restoring of the entire churchof Santa Maria del Popolo to Berni-ni. The statue of the young Danielpraying wrapped in drapery andmarked by a violent twist and certain-ly inspired by examples of ancientsculpture was added to the statues ofElijah and Jonah.

The exceptional expressive liveli-ness of the Abacuc and the Angel;already given to Algardi and locatedon the right of the altar in November1661; is caught at the border of theniche in a gesture of impertinence ofthe heavenly messenger who is tug-ging a lock of the prophets hair.

Berninis hand can be seen in thesingular model of the hanging Lampwith a pair of flying cherubs, and in thedesign of the large torch holders. Theseries of eight pairs of Saints andMartyrs to the sides of the windowsof the nave, the marble Angels on thealtars in the transept and the scenicdesign of the monumental Organ dec-orated with the heraldic oak of the Chi-gis however, belong to his students.The whole completing the extraordi-nary work by Bernini in the church.

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Church of Santa Maria del Popolo, piazza del Popolo, 1200187 Roma Phone 06 3610836 Fax 06 3203155Times of opening: ferials from 7 am to 12 am and from 4 pm to 7 pm;

festives from 8 am to 1,30 pm and 4.30 pm to 7.30 pm.

Services: The museum does not have special access facilities forhandicapped people

Abacuc and the Angel

Hanging Lamp

The ancient titulus completely rebuilt duringthe first half of the 1600s through the initia-tive of the Regular Minor Clerics of St.Francesco Caracciolo, was completed between1650 and 1652 following the plans of Cosimo Fanza-go. Few works of the ornate baroque style are leftas they were for the most part eliminated in the1800s. Those remaining include the crucifixion byReni on the high altar. In the church, which holds aprecious 13th century Eastercandelabrum, it is still possi-ble to admire the elegant18th century baptistery.

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Aproject for the decoration ofthe chapel of the Annuncia-tion, also called the FonsecaChapel, must have already been incourse when, on the 14th April 1661,the altar was given to the Por-tuguese doctor Gabriele Fonseca,the archiater to Pope Innocent X,noted for having introduced the useof quinine. The theme of the altar-piece of Gimignani supported byangels in flight on a carpet of clouds (partly changed) is a typicalinvention of Berninis, also used in other contemporary designs.The Bust of Gabriele Fonseca, completed perhaps before1664, is caught, in complete harmony with the surroundingspace, in an attitude of great meditation.

Bust of Gabriele Fonseca

Church of San Lorenzo in Lucina, via in Lucina, 16/a00186 Roma Phone 06 6871494 Fax 06 68199122 e-mail: slorenzoinlucina@tin.itTimes of opening: every day from 9 am to 12 am and from 4,30 pm

to 8 pmServices: The museum has special access facilities for handicapped people

San Lorenzoin Lucina

In the Campidoglio(the Capitol)

The decision to erect the Statue of Carlo Barberini in the Campi-doglio (the Captains Salon) was followed by splendid rites in thenearby church of Santa Maria in Aracli, the setting for a monu-mental catafalque by Bernini. For the same church, on the interior wallof the faade, the sculptor designed the splendid Funeral Memorial in

1633 in which, under that of the reigningPontiff, the ecclesia joins with a Virtue to ho-nour the illustrious family name. A similarsign of gratitude was expressed by the cityon the 13th October, 1635, ordering the erec-tion of the Statue of Urban VIII (Salon ofthe Horatii and Curiatii) a real prototype ofits order, completed in 40.

The Head of Medusa, may have beencommissioned by a member of the Senesefamily in collaboration with the Barberinismaybe the cardinal Alessandro who died inRome in 1657.

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The Head of Medusa

Capitoline Art Gallery Piazza del Campidoglio 00186 RomaPhone 06 67102475 Fax 06 6785488 www.museicapitolini.orginfo.museicapitolini@comune.roma.itTimes of opening: every day except Monday, 25th December, the

1st January and 1 May from 9 am to 8 pm.

Entrance: complete e 6,20; free of charge for under 18s and over 65s;singol prenotation e 1,50, school e 6,00, groups e 25,00;e 3,50 free itineraries.

Santa MariaSopra MinervaThe name of the Dominican churcherected in the area which was atone time reserved for Egyptianworship, the Iseum has always been as-sociated with the nearby temple of Miner-va Chalcidica. The interior houses excep-tional works from the end of the 13th cen-tury to the 19th century, when the buildingunderwent a radical restoration. Besidesthe superb cycle of frescoes by FilippinoLippi, the funeral monuments of five Pontiffs fromLeo X to Benedict XIII are important. The 1600s are well represented by the sculptures inthe Aldobrandini Chapel and a famous work byBernini. Catherine of Siena, patron saint of Italyand co-patron saint of Europe; and the Dominicanpainter, Fra Angelico are buried in the church.

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In the Funeral Memorial of Sister MariaRaggi, Bernini codified one of the mostexalting images of Roman Baroque, elab-orating on the motif of the drapery alreadyadopted previously. Commissioned in honourof Cardinal Ottaviano Raggis bequest afterthe election of his nephew in 1647. It remem-bers the Dominican tertiary for whom aprocess of beatification was in progress. Theillustrious nun, who died in Roma in 1600, isdepicted in the bronze clypeus supported by apair of cherubs. The match between polychro-ma marble and the metal items with sparklinggilding is quite distinctive. They include thecardinals emblem opposite the now missingone of Tommaso Raggi, the person responsi-ble for the completion of the work.

Funeral Memorial ofSister Maria Raggi

Faade of the church ofSanta Maria SopraMinerva.

Church of Santa Maria Sopra Minerva, 4200186 Roma Phone 06 6793926 Fax 06 6990672Times of opening: from monday to saturday from 7 am to 7 pm. On

sunday from 8 am to 12 am.Services: The church has special access facilities for handicapped people

The square occupies the arena ofthe ancient Domitian Stadium,erected by the emperor around86 AD., as home for the games in hon-our of Jupiter Capitoline. More than30,000 spectators could be accommo-dated in the tiers which extended towhere, today, the palaces and the 18thcentury church reconstructed by thePamphilij in honour of the martyr St.Agnes (called In Agony) stand.The zone was the site of a lively mar-ket, a privileged place for the Carnivalfun fairs and for the summer flood-ing, an occasion for enjoyment fol-lowing the example of the ancient nau-machia, symbolising the Niles gifts.

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Already partly started by Bernini, the project for a monu-mental fountain was approved on the 10th July, 1648.The construction of the fountain of the rivers, neverthe-less, was designed by Gian Lorenzo Bernini and the work car-ried out between 1650 and 1651 by his students (Baratta, Rag-gi, Fancelli and by Poussin from Lorraine) to whom the alle-gories of the rivers are due: the River Plate, The Danube, theNile (the face of which is hidden since its springs were not then

known) and theGanges. Next to thesplendid creation, in-augurated in June1651 and revived bygilding and polychro-matic retouches tothe landscape is the16th century Fontanadel Moro, completedby Bernini in January,1655.

Piazza Navona

Fontana dei Fiumi(The Fountain of the Rivers)

An old print of Piazza Navona.

Santa Mariadi Monserrato

Church of the Spanish, it was dedi-cated to the worship of the Virginof the famous Sanctuary ofMontserrat in Catalonia (referred to inthe 18th century relief on the exterior por-tal) when, in 1518, it was decided to erectthe present building which was complet-ed later, between 1673 and 1675. In 1822,after restoration work, several preciousworks of art were transferred here; in-cluding the St. Giacomo Maggiore bySansovino and coming from the churchof the same name in Piazza Navona, giv-en over to the French.

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The Bust of Monsignor Pedrode Foix Montoya in the monu-ment to Orazio Torriani, previ-ously in the church of San Giacomodegli Spagnoli, was transferred, at theend of the 19th century, to a room inthe church of Santa Maria di Monser-rato. In the lines of the vault, carvedaround 1622, Bernini succeeded inrendering an image of pulsating vitali-ty, so impressive as to cause in one ofthose present, according to the wittyanecdote told by the sculptor himself,to say This is Montoya petrified!.

Bust of Monsignor Pedro deFoix Montoya.

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Church of Santa Maria di Monserrato, Via Giulia, 15100186 Roma Phone 06 6865865 06 6889651 Fax 06 688965710Times of opening: Saturday from 5 pm to 7pm; Sunday from 10 to

1pm and from 5 pm to 7 pm. The other day only for booking.

Services: The church has special access facilities for handicapped people.

San Pietro

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28 Colonnade

The urban order of the square, decorated by the famousobelisk in 1586, became fundamental to the image of themost holy place in Christianity through the interest ofAlexander VII. With the Bernini Colonnade, conceived at firstin a trapezoid shape and then, on 17th March, 1657, in the pre-sent oval shape, completed in 1659. Even the Maderno faade(now in the original colours that emerged from the restorations)acquired a more solemn aspect. With the laying out of the St.Agnes in September, 1662, the sculptural ornamentation began a formidable parade of 140 statues of martyrs, Pontiffs andfounders of religious orders the straight arms were completedbetween 1701 and 1704. On the death of the Pontiff, the thirdarm, at the end of the present Via della Conciliazione (a result of

the demolition of thespina di borgo) wasnever built, as opposedto the pair of fountains,the last of which wascompleted in June 1677.

Peter was martyred on Vatican Hill.A memorial to the first Pope wassoon built; Constantine, in the 4thcentury built a basilica with 5 aisles overthe venerated tomb. In 1503, after cen-turies of attempts at restoration, PopeJulius II decided to destroy and rebuildthe new St. Peters, following the plansof Donato Bramante. The Architect putup four pillars which were then used tosupport Michelangelos dome. The pre-sent basilica houses works and monu-ments of art and faith.

On the election of Urban VIII in 1623,Bernini got his first great public com-mission, the Canopy, a monumentalbuilding designed to mark the burial place ofSt. Peter. Inspired by ephemeral displayswhich, in the basilica itself, he would havethe chance to set up for the sumptuouscanonisation ceremonies. The first plan,which offered a simpler cover, being aban-doned, the dolphins back structure wasadopted. It was held up by four colossal spi-ral columns, coming from those in the Con-stantine presbytery partly re-used in the sur-rounding Galleries of Reliquaries (1628-41). Begun in July, 1624, the works were fin-ished in 1633, exactly four years after the in-auguration of the bronze columns for whichthe beams of the pronaos of the Pantheonwere sacrificed together with the enormoussum of 80,000 scudos! The colossal statue ofSan Longino in one of the pillars of thedome commemorates not only the relics, inthis case the Holy lance of the Crucifixion but takes on a wider meaning in the grandil-

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Canopy

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oquent gesture thatamplifies the ascen-sional dynamism ofthe canopy.

The project forthe Funeral Monu-ment to Urban VI-II (1627 28) wasbegun at almost thesame time. It wasinserted into aniche in the galleryright opposite the16th century tombof Paul III, a modelwhich was movedaway from for sev-eral completelybaroque innova-tions. The Charity(whose breastswere covered bydrapery in the late1600s as was the

Virtue in the later monument to AlexanderVII) came from marble roughly hewn in 1634.It was flanked by Justice finished around1644. The splendid work, crowned by thestatue of the Pontiff giving the blessing, wasinaugurated on 9th February, 1647.

At the same time, Bernini was given otherprojects tied to the exaltation of the power ofthe Church: the relief of the Pasce ovesmeas (1633 44) in the atrium to the basilicaand, especially, the Monument to Matildedi Canossa, completed in 1637 with helpfrom others. The series of marble clypeusswith Busts of Martyr Pontiffs, presented withthe heraldic dove are due to the large teamof students at the beginning of the Pamphiljpontificate. The ornamental motif is also tobe seen in the pillars of the nave togetherwith the stucco Virtues in the spires of the

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St. Peters Chair

arches (1647-49).Even more impor-

tant are the com-missions obtainedfrom Alexander VII,impatient to submithis majestic plans,beginning with theurban renewal ofthe square to Berni-ni. The Chair of St.Peter is suggestedas the ideal, scenicconclusion of theinterior space, aproblem alreadyconfronted withsuccess in the boldaddition of the ar-chitectonic effect ofthe canopy.

In the year beforethe inauguration,17th January, 1666,the bronze casewith refined floral decorations by Schor, alsoauthor of the paintings on the original glass(replaced in 1911), was made. The two sin-gular architectonic arrangements are closelyconnected to the project of the colonnade,strongly conditioned to the limited availabil-ity of space inside the Apostolic Palaces.With the addition of a scenic drape in stuccoheld up by two cherubs, it was possible tojoin two rooms and enlarge the Sala Regia,at last reachable through the bold perspec-tive deception of the Regia Staircase(1663-66), called by the designer himself anoperation that had I found it written bysomeone else, I wouldnt have believed it.The colossal sculptural group of the Visionof Constantine in the atrium is equallyunique. It had already been designed for the

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Funeral monument of Urban VIII

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interior of the basilica in1654, but completed in1670. The same feverishexaltation, subject ofstrong criticism that ex-cites the first Christianemperor at the sight of thecross permeates the stuc-co drape, creating an im-age so enchanting as to berepeated some centurieslater at the other end ofthe portico.

In the Funeral Monu-ment of Alexander VII,the same drape, held up by

a skeleton, discloses the deception of a doorwhich really leads outside the basilica. Aboveit there was a fresco. Delayed for a long time,the project came into being with the electionof Clement X through the interests of CardinalFlavio Chigi, nephew of the dead Pontiff. De-picted in the statue genuflecting, in 1678there was already a procession of Virtues in-cluding Charity and Truth. The last work byBernini coincided with the Jubilee of 1675,the year in which he finally completed theproject for the Altar of the Holy Sacra-ment, dominated by the precious ciboriumcovered in lapis lazuli towards which the pairof Angels in adoration converge, cast inbronze between 1673 and 74.

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Basilica of St. Peter Piazza San Pietro 00193 Vatican CityPhone 06 69883462 (St. Peters Building); 06 69885435(Parochial Office); 06 69883712 (Sacristy)Times of opening: Basilica: winter from 7 am to 6 pm; summer from 7

am to 7 pm. Vatican Grottoes: winter from 7 am to 5 pm;summer from 7 am to 6 pm. Dome: winter from 8 am to 5pm; summer from 8 am to 6 pm. Historic Museum of St. Pe-ters Treasure: winter from 9 am to 5.30 pm; summer from 9am to 6.30 pm.

Services: The basilica has special access facilities for handicapped people.

Funeral Monument of Urban VIII, detail

San Francescoa Ripa

It was erected over the churchof St. Biagio de Hospitale,where St. Francis of Assisifound hospitality (of whom thereis an ancient image). The recon-struction begun at the beginningof the 17th century was completedfirst with Matthia De Rossi (1681 85) then up to 1687 with Fontana.The 18th century wooden furnish-ings in the sacristy and in the ex-cell of St. Francis are rare.

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After the beatification, in 1671, of the Franciscan tertiary,Ludovica Albertoni (died in the convent in 1533), Ange-lo Paluzzi degli Albertoni undertook to renovate the deco-ration in the family chapel. The project was given to Bernini,forced to work without payment in exchange for the pardon forthe brother involved in a scandal. When, in 1701, the woodendrape lifted to bring to light the sarcophagus - was replaced byMontauto alabaster, the original illumination was also changed

by blocking up awindow. Accord-ing to a recenthypothesis, themystery of theI m m a c u l a t eConception washidden in thestatue.

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Monument of Ludovica Albertoni

Church of San Francesco a Ripa, Piazza S. Francesco dAssisi, 8800153 Rome Phone 06 5819020 Fax 06 5881331Times of opening: every day from 7 am to 12 am and from 4 pm to 7 pm.Services: The church has special access facilities for handicapped people

The l

ife

The life of the artist

Gian Lorenzo Bernini was born in Naples on the 7th Decem-ber, 1598, the city where his father had only just moved towith his wife, the Neapolitan, Angelica Galante, to workon the building site for the Charterhouse of St. Martins. Whenhe returned to Roma, he took part in the works begun by Paul Vin Santa Maria Maggiore, gaining the protection of cardinal Sci-pione Borghese and the chance to show off the precocious talentof his son. An important anecdote attributes cardinal MaffeoBarberini (the future pope Urban VIII) with the phrase aimed atPietro Bernini Be careful. This lad will overtake you a will with-out doubt be more able than his teacher.

Fascinated by the examples of old sculptures, from which hegot the inspiration for the Borghese groups, when cardinal Scipi-one suggested that he might complete his Hermaphrodite (nowin the Louvre) he didnt hesitate in adding the silky softness of amarble mattress to the perturbing sensuality of the statue.

In 1622, he was ready to try a personal work on the Ares (orAchilles) Ludovisi (now in the Altemps Palace), especially inthe feral grimace of the monster on the hilt of the sword. Hav-ing gained the Cross of the Order of Christ in 1621 for havingdone the Portrait of Gregory XV, his fame as a new Michelan-gelo brought him, in the Barberini Pontificate, a long series ofofficial commissions. With his ubiquity he would exercise astrict dictatorship over artists such as Sacchi, Finelli or Borro-mini dragging the clients into mad expenses (the duke ofModena was disposed to spend 3,000 scudi) and his friendsinto exultant criticisms. The poet, Fulvio Testi, had called hima man to make people go mad. A lovable egocentric, a char-acter all fire who, in his private life, loved to be Patron ofthe World, an intolerant lover capable of arming hired assas-sins against the bewitching Costanza Bonarelli suspected ofunfaithfulness.

Successor to Maderno as the architect of St. Pauls and, on thedeath of his father, Architect of the Acqua Vergine, his ascentsuffered a brusque halt after the inquiry on the presumed irreg-ularity in the erection of the Vatican Campaniles (1645-6) which

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GianlorenzoBernini

The life

caused his temporary dismissal.Reinstated by Innocent X, he was to reach the peak of his ca-

reer with the ascension of Alexander VII and the Chigis, forcedto allow a brief absence of the artist (April October, 1665) toplacate the urgent requests of Louis XIV. Even exciting admira-tion at Versailles, the fame of the artist preceded by the superbPortrait of Cardinal Richelieu would cause a climate of diffi-dence in academic spheres that would wreck all his expecta-tions, including the grand project for the Louvre.

In Roma, apart from the strong satires that had compared hisConstantine to a monkey on a camel, other successes awaitedhim and the kindly protection of personages such as father Oli-va and Christina of Sweden, who, the by now old Bernini gavethe Bust of Salvatore to. Among the many children he had byCaterina Tezio, Paolo Valentino would become a sculptor andDomenico, the author of the famous biography of his father,published in Roma in 1713.

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Self-portrait

The w

orks

Hamburg, KunsthalleBust of cardinal Alexander Damasceni-Peretti Montalto

Edinburgh, National Gallery of ScotlandBusto of Monsignor Carlo Antonio dal Pozzo

Florence, Uffizi GallerySt. Laurence on the grid

Florence, Uffizi GallerySelf Portrait (oil on canvass)

Florence, Bargello National MuseumBust of Costanza Bonarelli

London, National GallerySaints Andrew and Thomas (oil on canvas)

London, Victoria and Albert MuseumBust of Thomas Baker

Madrid, Thyssen Bornemisza MuseumSt. Sebastian

Modena, Estense GalleryBust of Francesco I dEste

Paris, Louvre MuseumBust of Cardinal Richelieu

Spoleto, CathedralBust of Urban VIII (bronze)

Toronto, Art Gallery of OntarioBust of Gregory XV

Versailles, CastleBust of Louis XIV

Washington, National Gallery of ArtBust of Monsignor Francesco Barberini

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The main works of Berniniin the great museumsof the world.