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Don’t you love it when you find something special without even trying?
Recently, while in Rome, I was out for a walk headed toward nowhere in particular. Enjoying a gelato, the sunshine and my leisurely stroll, I was paying attention to the intricate and elegant architecture of the area.
Walking along the Via del Quirinale, I noticed a church on my left. Noticing people entering, I decided to take a look inside.
The Church of Sant’ Andrea al Quirinal is a Roman Catholic church built for the Jesuit seminary on the Quirinal Hill. Commissioned in 1658, the church was constructed in 1661 and designed by Gian Lorenzo Bernini, who considered it one of his most perfect works.
And perfect it was!
A rotunda-type oval church, with the high altar placed on the short axis, makes it much closer to the entrance than most churches and the first thing I set my eyes upon. Drawn in due to the placement, my gaze was transfixed on the red marble columns flanking the incredible, breathtaking altar and the painting of The Martyrdom of Saint Andrew by Guillaume Courtois, topped with three-dimensional golden cherubs and a marble figure of Saint Andrew resting on the pediment high above the altar, arm outstretched and gazing upward.
Finally, tearing myself away, I began to inspect each of the chapels, moving to the right of the altar. The Chapel of St. Francis Xavier, showcases three canvases by Baciccio depicting the Baptism, Preaching and Death of St. Francis Xavier. Gazing upward, the ceiling presents a painting of The Glory of St. Francis Xavier by Filippo Bracci.
The Chapel of the Passion, has three canvases with scenes from the Passion of Jesus Christ by Giacinto Brandi and the chapel to the left of the altar, The Chapel of Saint Stanislaus Kostka, houses the shrine of the saint, a bronze and lapis lazuli urn and a painting of the Madonna With Child and Saint Stanislaus Kostka. Make sure to check out the ceiling fresco by Govanni Odazzi.
Another chapel is dedicated to Saint Ignatius of Loyola and showcases paintings by Ludovico Mazzanti of the Madonna and Child and Saints and Adoration of Kings and Shepherds. Another magnificent ceiling painting, Glory of the Angels, commanded my attention here also.
The final altar, located between the Chapel of Saint Stanislaus Kostka caught my eye with the large crucifix. In this chapel, I discovered the tomb of King Charles Emmanuel IV of Sardinia and Piedmont, who abdicated in 1815 to enter the Society of Jesus and lived in the Jesuit novitiate, adjacent to the church, until his death in 1819.
Many other intricately carved statues grace the pediments above the chapels and the domed ceiling is centered with an oculus allowing the church to be lighted naturally. Bringing my attention to the floor, I was entranced by the amazing inlaid mosaics which mirrors the elliptical dome overhead. Bernini did not want large funerary monuments within the church to ruin the architectural lines, so the mosaics mark the grave of those such as Cardinal Giambattista Spinola.
As I was moving through the church, I noticed a sign near a doorway. As if there wasn’t enough to captivate my attention, I discovered that for a small fee, I could visit the Rooms of Saint Stanislaus Kostka in the Jesuit novitiate, attached to the church, as well as the sacristy, which has been described as the most beautiful in the city. Not seeing many people heading that way, I decided that my curiosity needed to be satisfied.
Paying the sacristan on duty, I was then directed me up a stairway. Entering a small room, I discovered paintings and information about Saint Stanislaus Kostka. As I walked into the rooms that the saint spent his final years, what caught my eye…and actually, caught me a bit off guard…was a life-size marble statue depicting the dying saint, designed by Pierre Legros. Portrayed at the age of 18, the saint rests on a marble bed and holds in one hand, a small framed image of the Virgin Mary and a real rosary in the other. Surrounded by paintings from his life, the Baroque decor is even more engaging, painted deep red and trimmed in an abundance of gold.
Relics belonging to the saint are displayed in a case the left and two altars fill the wall spaces. The rooms were so mesmerizing and yet so intimate, not something you get to experience in the normal course of a church visit.
After my descent to the bottom level, I was greeted once again by the sacristan, who then led me into the sacristy and turned on the interior lights. As my eyes adjusted, I thought, “Indeed, this could be one of the most beautiful in Rome.” The dark wood altarpiece displays a painting, Immaculate Conception, by Andrea Pozzo, but the ceiling is the magnificent that I have ever seen. The multi-dimensional fresco depicts the Apotheosis of St. Andrew by Govanni de Brosso and is worthy of more than a few minutes of anyone’s time. Take a seat and stay awhile!
Finally, as my visit was drawing to a close, I took one more round in the church and then stepped outside to take a better look at the exterior. A simple beauty, marked by a semicircular porch with two Ionic columns invites visitors in to its exaggerated beauty on the inside.
As I stood contemplating what I had just witnessed, a couple walked up near me and read about the church from a guide book they were carrying. Seeming a bit hesitant about whether or not to take the time to enter, I encouraged them to do so. To not enter and miss one of Rome’s treasures would be just as a Jesuit devotee dying at the young age of 18.
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Sant’Andrea al Quirinale
- Address: Via del Quirinale 29.
- Hours: Monday-Friday 0830-1200, 1500-1900. Saturday and Sunday 0900-1200, 1530-1900.
- Admission: free. €2.00 for entrance to Chapel of St. Stanislov and sacristy.
- Getting There: From the Fontane del Tritone near the Barberini Metro station, walk up Via delle Qattro Fontane. Turn right at Via del Quirinale; pass the church San Carlo alle Quatro Fontane (built by Bernini’s rival, Borromini). Pass the park and Sant’Andrea is on the left at the end of the gardens.
Massive crowds fill the interior every day seeking to inspect this architectural phenomenon. Though classified as a temple, it is unknown how worship was conducted here as it is quite different from many other ancient Roman temples. Today, though, many take a seat near the altar, head bowed in prayer and contemplation…appropriate as its inception as a church when Byzantine emperor Phocas bequeathed it to Pope Boniface IV in AD 608.
Interspersed between the bays are the tombs of many famous figures from Italian history…painters Raphael and Annibale Carracci, composer, Arcangelo Corelli and architect Baldassare Peruzzi as well as the Italian kings, Vittorio Emanuele II and Umberto I. There are also many paintings that adorn the walls, the best known being the Annunication by Melozzo da Forli.
After my visit was complete, I stepped out into the piazza to take a better look at the fabulous temple from afar. The crowds were probably as thick here as they were inside, however, I was able to step up onto the raised platform that surrounded the amazing fountain that holds court in the center of the square.
If you are on your way to the Piazza Navona, or just in the area, step inside to see this incredible architectural gem and then have a seat around the beautiful fountain. Grab a gelato or a drink and relax for a while.
Entering the complex near the Arch of Titus, we discovered many paths throughout to survey the area in its entirety, encompassing the two basilicas, Fulvia Aemilia, a 100 meter public hall with a two-story porticoed facade dating back to 179 BC and Basilica Julia, built by Julius Caesar on the site of Basilica Sempronia in 54 BC. The Tempio di Antonino e Faustina, erected in AD 141 and transformed into a church in the 8th century (Chiesa di San Lorenzo in Miranda) and the Temple of Romulus are two of the most intact buildings on the premises. Near the Temple of Romulus, you will find the Basilica of Maxentius, the largest building on the forum, originally measuring 100 meters by 65 meters.
Also on the Via Sacra, we discovered the Casa delle Vestali, the home of the virgins who tended the sacred flame in the Tempio di Vesta. These priestesses, aged between six and ten years, were selected from aristocratic families to serve in the temple for thirty years. So great was the responsibility of keeping both the flame and their virginity intact that the penalty of flogging and/or death was imposed for those who did not adhere to the orders. The statues which honor these virgins line the Via Sacra and though most are in good condition, a many are missing their heads.
At the end of the Via Sacra, we came upon the Arco di Settimio Severo, a 23 meter high structure, built in AD 203 and dedicated to the emperor and his two sons, Caracalla and Geta. The arch commemorated the Roman victory over the Parthians.
The remains of the Rostri could be seen in front of the arch. This elaborate podium was the site of Mark Antony’s famous, “Friends, Romans and countrymen…” speech. Facing the Rostri is the Colonna di Foca (Column of Phocus) which fronts what once was the Forum’s main square.
Palatine Hill is connected to the Forum and at the center of the seven hills of Rome. Standing above the Forum, it was once the place where Imperial palaces were built. Heading uphill, we made our way through the grounds.
The Houses of Augustus and Livia, are still standing and in good condition and house some impressive art and frescoes. Tours of both of these impressive structures are available, however, advance tickets were required and we were not in possession. If you can secure them ahead of time, it is worth the effort in order to check out Augustus’ private study.
The Palatine Museum is also open to the public and contains a display of Roman statuary and findings from the hippodrome, however, being the end of our day, we decided that this would have to wait until another visit.
Having been to this architectural phenomenon at least five or six times, I never tire of seeing its structural prowess which has withstood the elements for so many years. I enjoy meandering through the passageways and gazing out on the arena which was the site of much action in its early years.
The Colosseum is the largest amphitheater in the world, measuring 186 meters long, 156 meters wide and 50 meters high!
There were three stories, each containing columns of a different style. The bottom columns were from the simple Doric order, the center, Ionic and the top, Corinthian. 
The emperor’s enjoyed the entertainment so much that they not only organized the events but also paid for them, allowing for the free entry of those desiring to attend. By also providing food, they ensured their popularity and support.
Emperor Vespasian’s son, Titus, was the first to hold games to commemorate the completion of the Colosseum. These games continued for 100 days. Gladiatorial games continued until the fifth century and animal hunts until the sixth.
Those with weak constitutions were not encouraged to attend as many events were quite brutal. During certain games held by the emperors, around 10,000 animals were killed in a single day.
A large number of rooms and underground passages were located beneath the Colosseum. Here, gladiators and animals waited to meet their fate. There were also thirty-six trap doors which could be used for special effects. 
Restoration efforts began in the 1990s and can still be seen continuing today. Funding from the admittance of thousands of visitors each year allow for the preservation of this mighty monument.
There is a ticket booth within the Colosseum, however, you can avoid waiting in line twice, once for the ticket purchase and once for entry. A new ticket office has been opened across from the Colosseum and alongside the entrance to the Roman Forum. After purchasing ticket, make sure to enter the line for entrance at the Colosseum. Tickets can also be purchased online and and by telephone.
Located near the intersection of Via del Gambero and Via della Mercede, San Silvestro, is hardly noticeable with other, more grand churches in the area. An unassuming building of a yellowish color with architectural details in limestone, its most notable features are the four baroque statues of San Silvestro by Lorenzo Ouone, Saint Stephen by Michelangelo Borgognone, Saint Clare by Guiseppe Mazzoni and Saint Francis by Vincenzo Felice at the apex. It doesn’t stand out or appear to be a church, however, as you approach from Piazza di San Silvestro, you realize that this is not the facade of the actual church. The street exterior lures you into an atrium which sequesters it from the busy Roman streets. The walls here are embedded and decorated with fragments of early Christian and pagan monuments and sculpture, many with inscriptions, obtained from excavations and restorations and the church’s entrance is at far side. Most interesting here is an ancient sarcophagus and several antiquated columns on the right side of the atrium.
In the 17th century, the 135-step staircase was designed by little-known architect and sculptor, Francesco de Sanctis. The steps, built during a two year span, from 1723 to 1725, were intended to connect the newly built Trinita dei Monti church, owned by the French, and the Piazza di Spagna, home of the Spanish Embassy, signifying the newly-established peace between France and Spain.
After leaving the church, I was determined to head toward the recently refurbished Fontana di Trevi (Trevi Fountain), but there was a brief detour that I was determined to make.
Making my way down Via Gregoriana, I finally headed to the Trevi Fountain to see it once again devoid of the scaffolding that had marred its beautiful veneer the last time I had walked past.
Like the Spanish Steps, the well-known Trevi Fountain has become a place where tourists and locals meet and hang out, grabbing a nearby gelato while admiring the roaring water cascading from the monument.
And, while you are at it, make sure to throw a coin from your right hand over your left shoulder and make a wish! It will ensure that you will return to Rome one day!
