Baroque Churches: Gesu, Rome

Monday 23 August 2021

Gesu, Rome

This is the mother church of the Society of Jesus (or Jesuits) and is one of the most influential of all Baroque buildings, for the facade has been the model for countless Jesuit churches throughout the world. I will admit that in my first visits to Rome I scarcely noticed it and just popped in once briefly. This is because Rome is full of overpowering buildings from competing periods and ...yes... how little I knew of Baroque...and how much I have to learn!

This great building comes from the Counter Reformation period following the Council of Trent (1545-63) Rome and the papacy had suffered from the seismic shock of the sack of Rome by unpaid rowdy German troops in 1527, and then soon after the Lutheran reformation and Protestant upheaval in the Netherlands. It was time for major reflection and reform - hence the Council. What kind of church building was appropriate in this new age? The Medieval church plan was usually lengthwise on one axis - like a shoebox and often with arms or transepts so it resembled a crucifix. In practice this had led to aisles along the axis and taking on the appearance of a forest, also with enclosed chapels and separated choir. I think we often forget how compartmentalised our great medieval churches were in England before later ages, especially in the 19th century, cleared out the screens and created overall vistas. In Italy Bramante and others had favoured a central plan (or Greek cross) with dome over the central point. During the 16th century a revised axial plan began to be used - something of a compromise solution. Aisles were done away with, and might be replaced by side chapels but the maximum impact was straight down the main axis to the high altar situated in a shortened apse. A dome over the space before the apse would act as a means of pulling the building together at the junction of the nave and short transepts. Plenty of space was needed to accommodate the large congregations and the emphasis was to be on the preacher in a single space, and with a clear view of ceremonial. I am reminded of the same emphasis on preaching in the first Dominican and Franciscan churches in the 13th century. Three more large Roman churches were to come : Chiesa Nuova (S. Maria in Vallicella) 1575 for St Philip Neri's Oratorians ; S. Andrea della Valle 1591 for the Theatines and S. Ignatius 1626 for the Jesuits.

Construction of the Gesu began in 1568 and was funded by Cardinal Alessandro Farnese. The architect was Giacomo Barozzi da Vignola (1507-73).After his death the work was continued by Giacomo della Porta : this included the vault, dome, apse and facade. It is perhaps with the facade that the difference made by Della Porta is most apparent. Architectural historians argue over the relative features of the unbuilt facade design by Vignola versus the Della Porta product. For me it is the large scrolls or volutes over what would have been the side chapels which make this a step forward (some would call Mannerist) and it is when we go inside we experience real Baroque, especially with the 17th century interior decoration.

St Ignatius Chapel on the left and looking toward high altar
By corona239 - Own work, CC BY 3.0,

Originally the interior was to be restrained and ascetic. The cavernous barrel vault and interior was whitewashed. The brilliant coloured interior decor took over during the 17th century. Now the whole place is ablaze with polychrome marble, bronze sculpture, stucco and gilding. Pride of place to me goes to the dazzling nave fresco The Triumph of the Name of Jesus, by Giovan Battista Gaulli, called Baciccio. (1639-1709). He worked for 30 years with Bernini and this is regarded as his masterpiece (1672-83). In it he uses two of Bernini's big ideas to perfection : breaking the frame of the painiting and embedding masses of figures in unified areas of colour. Furthermore the surrounding putto sculpures by Antonio Raggi (designed by Gaulli some say) entirely complement the fresco. The Asam brothers must have been well familiar with it and carried the inspiration back to Germany years later.

The altar in the right hand side chapel was designed by Pietro de Cortana and is dedicated to St Francis Xavier. There is a powerful picture of his martyrdom above by Carlo Maratta.

The altar on the left side chapel is the tour de force for St Ignatius Loyola with the body of the Saint in a tomb of gilded bronze below. It was designed by the Jesuit Andrea Pozzo in 1696.He employed the best artists available at the time to create a worthy memorial for the Order's founder. This must be one of the most spectacular chapels in Rome.

The original Baroque high altar was replaced by a more sober neo-classical one in 1834. This only serves to emphasise the high drama of the two chapels to left and right.