Chiesa del Gesù — Attraction in Rome

The Chiesa del Gesù is more than just a church; it is a symbol of the power of the Jesuit order and one of the most striking examples of the Baroque style in Rome. It served as a model for countless Jesuit churches around the world. The church's crowning glory is the fresco on the nave vault by Giovanni Battista Gaulli (known as Baciccia), "The Triumph of the Name of Jesus." It is the pinnacle of illusionism: the figures seem to float in mid-air, transcending the frame and casting painted shadows on the architectural elements. In the center shines the monogram of Christ—IHS—to which the righteous strive, while the wicked are cast downwards. The Altar of St. Ignatius of Loyola, located in the left transept, is considered one of the most sumptuous altars in Rome. It is decorated with gold, silver, and precious stones, including a huge lapis lazuli globe (the largest lapis lazuli object in the world, although it is actually travertine covered with lapis lazuli plates). Every day at 5:30 PM, a unique mechanical performance, the "Baroque Machine" (Statue Performance), takes place here. Accompanied by solemn music and prayers, a large painting by Andrea Pozzo slowly descends using a system of cables and counterweights, revealing a gilded statue of Saint Ignatius hidden behind it, illuminated by bright lights. It is a veritable theater within the church walls, designed to captivate the imagination of the faithful. Beneath the altar, a richly decorated bronze urn holds the relics of Ignatius of Loyola, the founder of the Jesuit order. The church has a mirror, tilted at an angle, so visitors can admire the incredible ceiling paintings in detail without straining their necks. Also, don't forget to visit the Camera di Sant'Ignazio (Saint Ignatius' Rooms), located next to the church, where unique perspective paintings by Andrea Pozzo have been preserved.

Here we have another in an amazingly long line of churches in Rome that I must recommend with the faint "Well, if you're passing by, it would be kind of terrible not to go in, but you don't really need to make any particular trip over to it."

But here it is with five stars. It is one of the most amazing interiors I have ever seen. It is in the top 100 ever!

Unfortunately 78 of those are in Rome.

So, yes, Rome, fecund, bursting at the seams Rome is our first problem. Without any Caravaggio painting, Borromini architecture, Bernini Sculpture (though supposedly he prayed here regularly) or point of total differentiation from other Baroque interiors I have to take a few moments of trying to sort out Del Gesu from the other churches we went into. What I remember is that there was some construction going on, altering the approach and access to the church. I remember how it is just off the unappealingly busy street Corso Emmanuale. And I remember we went in there three or four times, mostly because I forgot whether I'd been in there or not, or forgot what it looked like and thought I should take another look.

The inside of Del Gesu looks like this:

There is a clear and beautiful Autumn day. The sky is full of grand, puffy clouds that threaten no rain and look like fairy castles in the air. You have the sharpest knife in the world. So, idly, to test your knife, you cut into the belly of the clouds.

Del Gesu is what spills out.

The Church of the Gesù, consecrated in 1584, is the first Jesuit church in the world and a model for Baroque religious architecture. It was commissioned by Saint Ignatius of Loyola, founder of the Jesuits, and partially funded by Cardinal Alessandro Farnese. The design was developed by Vignola (structure) and Giacomo della Porta (facade and dome), representing a balance between majestic grandeur and the spiritual rigor of the post-Tridentine era.

The Triumph of the Name of Jesus (1679), painted on the central vault, is one of the greatest masterpieces of Baroque fresco art, created by Giovanni Battista Gaulli, known as il Baciccio. The effect is spectacular: saints and the damned seem to burst out of the ceiling through a masterful use of illusion and stucco. Altar of Saint Ignatius of Loyola: a true Baroque theatrical machine, with lights and music played daily at 5:30 PM. A canvas lifts to reveal a silver statue of the saint. On either side are gilded reliefs and precious marble columns.

Chapel of Saint Francis Xavier: decorated with polychrome marble, it houses a relic of the saint’s arm. Chapel of the Passion: features frescoes by the Jesuit Giuseppe Valeriani and a moving relief of the Flagellation. Tomb of Saint Ignatius: the crypt, sadly not always open to the public, contains the original burial site of the saint before his remains were moved to the main altar. Sacristy: a lesser-known space, rich with artworks, wood carvings, and frescoes, well worth discovering.

La Chiesa del Gesù, consacrata nel 1584, è la prima chiesa gesuita al mondo e un modello per l’architettura barocca religiosa. Fu voluta da Sant’Ignazio di Loyola, fondatore dei Gesuiti, e finanziata in parte da Cardinale Alessandro Farnese. I progetti furono curati da Vignola (struttura) e Giacomo della Porta (facciata e cupola), simbolo dell’equilibrio tra maestosità e rigore spirituale post-tridentino.

Il Trionfo del Nome di Gesù (1679) sulla volta centrale è uno dei massimi capolavori dell’affresco barocco, realizzato da Giovanni Battista Gaulli (il Baciccio). L’effetto è spettacolare: i santi e i dannati sembrano uscire dalla volta grazie a un sapiente uso di illusionismo e stucco. Altare di Sant’Ignazio di Loyola: una vera “macchina barocca” scenografica, con effetti luce e musica ogni giorno alle 17:30. La tela si solleva e svela la statua d’argento del santo. Ai lati, rilievi dorati e colonne in marmi pregiati.

Cappella di San Francesco Saverio: decorata con marmi policromi, ospita una reliquia del braccio del santo missionario. Cappella della Passione: custodisce affreschi del gesuita Giuseppe Valeriani e un suggestivo rilievo della flagellazione. Tomba di Sant’Ignazio: la cripta, purtroppo non sempre aperta al pubblico, custodisce il luogo originario del sepolcro del santo prima della traslazione all’altare. Sacrestia: uno spazio meno noto al pubblico ma ricco di opere, intagli lignei e affreschi.

کلیسای دل جزو که در سال ۱۵۸۴ وقف شد، نخستین کلیسای یسوعی در جهان است و الگویی برای معماری مذهبی باروک به‌شمار می‌آید. این کلیسا به ابتکار سنت ایگناتیوس لویولا، بنیان‌گذار فرقه یسوعیان، ساخته شد و بخشی از هزینه‌های آن را کاردینال الساندرو فارنزه پرداخت. طراحی آن توسط ویگنولا (سازه اصلی) و جاکومو دلا پورتا (نما و گنبد) انجام شد و نشان‌دهندهٔ تعادل بین شکوه معماری و تقوای معنوی پس از شورای ترنت است.

پیروزی نام عیسی (۱۶۷۹) روی طاق مرکزی یکی از شاهکارهای بزرگ نقاشی فرسک باروک است که توسط جووانی باتیستا گائولی، ملقب به ایل باچیتچو، خلق شده. این اثر جلوه‌ای تماشایی دارد: قدیسان و محکومان چنان از سقف بیرون می‌آیند که گویی از آن جدا شده‌اند، به‌کمک بازی استادانه‌ای از توهم بصری و گچ‌بری. محراب سنت ایگناتیوس لویولا: یک «ماشین باروک» واقعی و نمایشی است که هر روز ساعت ۱۷:۳۰ با نورپردازی و موسیقی فعال می‌شود. پرده‌ای بالا می‌رود و تندیس نقره‌ای قدیس نمایان می‌شود. در دو سوی آن، نقوش طلایی برجسته و ستون‌هایی از سنگ مرمر نفیس دیده می‌شود.