Church of Santa Maria della Vittoria — Attraction in Rome

Santa Maria della Vittoria is a Baroque jewel tucked away in the heart of Rome, a place where history, faith, and artistic genius converge. From the moment you stand before its stately facade, designed in the early 17th century by Carlo Maderno and completed under Giovanni Battista Soria, you’re struck by the grandeur of the Roman Catholic tradition at its peak. The facade, adorned with intricate carvings and papal crests, invites you to climb its steps and enter a sanctuary that feels both intimate and monumental. Inside, the church is nothing short of breathtaking. It is most famous for housing Bernini’s Ecstasy of Saint Teresa, a masterpiece that brings marble to life with such sensuality and spiritual intensity that it has inspired awe and debate for centuries. Bernini captures a moment of divine rapture with such dramatic flair that even art critics like Irving Lavin and Simon Schama have written extensively on its blend of theatricality and devotion. Beyond Bernini’s work, the church is filled with treasures: vivid frescoes by Giovanni Domenico Cerrini and gilded stucco decorations that immerse visitors in the heavenly opulence of the Baroque era. Each corner seems to tell a story—of devotion, artistic rivalry, and the Catholic Church’s powerful role in shaping the cultural identity of Rome. What makes this church particularly moving is its size. Unlike the grand basilicas of Rome, Santa Maria della Vittoria feels accessible, almost like stepping into a perfectly curated art gallery of the 1600s. Yet, the energy here is undeniably spiritual—one can sit quietly and lose themselves in the interplay of light, color, and stone. Gian Lorenzo Bernini’s masterpiece, The Ecstasy of Saint Teresa, encapsulates the Baroque era’s grandeur and emotional intensity, showcased in its home within the Cornaro Chapel of Santa Maria della Vittoria in Rome. This sculptural ensemble not only serves as a pinnacle of Bernini’s technical mastery but also as a profound spiritual meditation. The central composition features Saint Teresa of Avila in a moment of divine rapture, as described in her own writings. Bernini’s ability to translate her mystical experience into marble is awe-inspiring. The saint’s languid, almost ethereal posture contrasts with the dynamic folds of her habit, which ripple like waves of spiritual ecstasy. The angel, poised delicately above her, holds an arrow with an expression that seamlessly combines tenderness and divine authority. The golden rays cascading from the concealed window above simulate a divine light, creating an interplay of the material and the immaterial. This architectural framing magnifies the transcendent nature of the experience, as if heaven itself breaks into the space of the chapel. The surrounding marble, with its rich tones and textures, further elevates the sense of opulence and devotion. Below, the Cornaro family is depicted in relief, observing the celestial scene from balconies, drawing the viewer into the narrative as witnesses to this mystical event. This ingenious integration of sculpture, architecture, and light exemplifies Bernini’s genius, offering not just an artwork but a theatrical and spiritual experience. The nearby depiction of the Last Supper in gilded relief complements this theme of divine mystery, reinforcing the profound connection between human experience and the sacred. Bernini’s work invites reflection on the nature of divine love and the human capacity for transcendence, making it a timeless masterpiece that continues to inspire awe...

Located at the intersection of via XX Settembre and largo di Santa Susanna, the church of Santa Maria della Vittoria represents one of the most important examples of the Baroque period in Rome.The project was entrusted to the architect Carlo Maderno who built it between 1608 and 1620. Established first as a chapel dedicated to San Paolo by the Discalced Carmelites, it owes its title to the victory of the Catholic army against the Bohemians in the battle of the White Mountain, near Prague, 8 November 1620. At a critical moment in the battle, Father Domenico di Gesù and Maria, army chaplain, intervened in the fight. Hanging from his neck, he had an image representing Mary in adoration of the Child. Rays of light were seen coming out of the portrait that dazzled their opponents, forcing them to flee. On May 8, 1622, the miraculous image was transported to the church, which has since been dedicated to the Virgin Mary. The travertine facade was built in 1626 to a design by Giovan Battista Soria and at the expense of Cardinal Scipione Borghese, in exchange for the statue of the Sleeping Hermaphrodite, found in 1608 during the excavation of the church's foundations. The interior, with a Latin cross layout, has a single nave with a barrel vault and three chapels on each side. For the decorations, Maderno studied a simple style adopted by the Reformation in the other churches of the Order.But the victory of the White Mountain totally changed its fate. Maderno, then, thanks to the numerous offers from all the courts of Europe eager to celebrate the victory, adorned it with white and gilded stuccos in full Baroque style. The paintings of the vault and dome were made by Giandomenico Cerrini, that of the apse by Luigi Serra. The chapels, surrounded by arches decorated with marble, angels, and cherubs, are separated by pillars with golden Corinthian capitals. The noble families who desired it were granted patronage over the chapels, provided that each family decorated them richly, to conform to the style of the church. The result was the creation of magnificent art treasure chests. Among the chapels, that of Cardinal Federico Cornaro family was commissioned to the great sculptor Gian Lorenzo Bernini who endowed it with the well-known sculptural group depicting The Ecstasy of Saint Teresa d'Avila.The sculpture, in marble and gilded bronze, was made between 1647 and 1652. It represents a moment in the life of Santa Teresa d'Avila. In her autobiography, the Saint tells the moment when she had the vivid vision of an Angel piercing her heart with a golden arrow, causing immense joy but, at the same time, a great pain.Even today, this artwork enchants people for the scenic construction that sees the saint suspended in the center of a very white and soft cloud. On the sides of the sculpture, the members of the family who own the chapel observe the scene comfortably seated inside noble stages as if they were in a theater.In the church, there are also works by Guercino, Nicolas Lorrain, and...

I was harassed at Chiesa di Santa Maria della Vittoria on 08/07/2021. (I had to change to wording of my post so that Google would find it appropriate even though what happened then was not) I don’t know the status of the person at the Church, whether he is a priest or just an employee, but his conduct was completely unacceptable. I came to see Bernini’s “The Ecstasy of Teresa”, but was unaware that it was covered for restoration. As I was walking around, looking at the rest of the art in the church, a man who had been in front of the altar speaking with other people came over to me and confirmed that the Bernini was under restoration, but then he continued to began to describe the merits of the other artworks to me. Since I only came to the church to see the art I was glad to receive the information. He gestured to follow him from art work to artwork. Then I followed him behind the altar to an area that had a painting and two wall murals. This is when he began to gesture that I stand in specific places to see the artwork and then he would stand as close to me as possible with his body touching mine. He would then begin to describe aspects of the artwork while the back of his hand, his knuckles, would graze the front of my jeans. When he moved to another artwork he would place his hand on my shoulder or the flat of my back to move me with him. I have never met this man in my life and it is safe to say that this behavior is beyond inappropriate. At first I thought perhaps this is just an extreme form of Italian friendliness, but as he continued describing different artworks he would trail off and his details would become muddled or incorrect as if he was focusing on something else entirely. I wanted to leave but didn’t know how. Finally I was able to mention another exhibition I need to get to and he walked me back to the front without saying anything. I do not take any of these details lightly. But I was deeply disturbed throughout my visit there and after leaving. I am not from Italy and so the best I feel I can do is speak up and make this publicly known. Again I don’t know who this man was or his affiliation with the church, just that he is affiliated in some official capacity because he had keys to the doors...