It is incredible that I have done some 80 posts over 4 years and none feature churches from Italy! Baroque started in Italy! It is time to remedy this. Where to start?
It has to be in Rome. Walking around early one evening in early 2006 we investigated a grand church with pillared facade like a temple near the Tiber. I remember the candlelit interior and the staggering altar like some golden vision. The above photo and little video below give you the idea.
Santa Maria in Campitelli began in the 15th century as a dependant chapel of St Maria Aracoeli on the Capitoline Hill nearby. Campitelli may derive from Campodoglio (Capital). A new parish was founded in 1618 and was entrusted to the Clerks Regular of the Mother of God and this remains today. In 1656 the Roman Senate approved a new church to house a famous icon which it was hoped would protect the local population from the plague then raging in the south of Italy. It was finally consecrated in 1728. The design had been made by Carlo Rainaldi and was built 1662-75.
There is an English connection. Henry Benedict Stuart, brother of Charles Edward Stuart (the Young Pretender) spent his time rather differently from his brother. Whereas Charles Edward grew fat and went to seed, he became Cardinal Stuart and was Cardinal Deacon 1747-1807 with this church being the centre for the conversion of England! Henry Benedict was connected with this church 1747-59.
Flickr Creative Commons denvilles_duo
It has an unusual plan and has not the usual longitudinal plan with nave, transept and crossing. The nave is like a Greek cross with two large transepts and extra little chapels nestled around both sides of the transepts. The sanctuary forms another Greek cross with a semicircular apse and dome. The interior is pale grey with a barrel vault. High over the main altar in the sanctuary, the shrine of the Madonna del Portico glistens spectacularly. It is a Gloria : architectural use of stucco rays of light around the icon. It is likely that this was influenced by the great throne of St Peter in the apse of St Peter's by Bernini from the previous year. Although it is only 25 cm high this famous icon is traditionally 6th century from the hospital of St Galla and venerated by Pope Gregory the Great. Scholars believe it is really 13th century. Rainaldi used both colour and control of light to accentuate this great altar during the day. The Asam brothers must have known and loved this church.cf Weltenburg.
I realise that I have only scratched the surface in my coverage of this great building. I had no idea that night I first saw it that it would stay with me for years and that it is such a masterpiece. John Varriano in Italian Baroque and Rococo Architecture (OUP 1986)says "Rainaldi's interior is a perfect expression of the sensibility of the High Baroque" and "to enter the building is to have one of the most splendid and solemn architectural experiences in Rome" When this pandemic is over let's hope I to return to do a full tour of Roman Baroque with camera!
Here is the footnote : we returned to Rome for Easter in 2024 : first time I have ever not been singing or playing organ at Easter in over 30 years! This church was a must see.
Here are my photos from 2024
Pope Alexander VII offers the church to the Virgin, GV Conti (1925).
Gloria altar now attributed to Giovanni Antonio de Rossi, based on idea from Carlo Rainaldi.
The transepts are a disappointment.
All emphasis had to be on main altar
Chapel of St Anne This typifies Baroque for me - flying putti echoing the painting
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