Church of St Andrew on the Quirinal — Attraction in Rome

In a magical world, slightly better and wiser than this one, where everything is pretty much exactly the same as it is now, except I am quoted far more often, and maybe have a tad less back and sciatica pain, you would be acutely aware that my opinion of Bernini as an architect is a measured one. And there would be no doubt some pithy quote you could trot out to assert that in the irresistible battle between Borromini and Bernini I am ever favoring Borromini.

So what's all this five star hoo-ha around a quintessentially Bernini designed church?

I don't know. Everything is complicated. In the real world I am rarely quoted, my sciatica hurts, and Bernini is given a church to build and it's...

lovely.

And why not? Bernini was a genius, a sculptor on a level with Michelangelo even. So if he wants to set down his hammer and chisel for a bit in order to design buildings, or produce a few albums where he sings standards from the Great American Songbook, or interrupts his obscure blog of blazing visions in order to write 200 reviews of Rome, well, more power to him. Who knows what sort of magic might take place. A jewel box might explode, light could pour down from a half real sun, everything might radiate at a perfect equidistance, and you could see all the stars of the sky, in the middle of the day, unfettered by night.

I love this church. I love its roundness and its elegant stage set fronting onto the street. I love its feeling of completeness inside. Such a spinning kaleidoscope of wholeness, all colors and rich and dazzle and calm. Unlike some churches I might be giving five stars to, this isn't for some featured painting or for some famous statues by, perhaps, Bernini himself inside, it's just for the space, the perfect little building, the sense that every piece of it is taken care of and it all goes together.

The best teacher I ever had, Marc LeSeuer, who lit the first fires in me for the Roman Baroque, all like it was a cool thing no one had heard of for the last hundred years, and maybe they really hadn't heard then, showed us slides of Bernini's work in St. Peters to illustrate. But I think what Bernini was trying to do there is lost a little in so giant a space. Here at modest Sant'Andrea everything is under his command, no longer a stage set, but an environment, something less looked upon and instead more inhabited and felt. There are not so many places in the world like this, not so many people who can do this. Borromini does it twice, at least, and better; Bernini, here, this once.

But does everything have to be measured? Is beauty to be ranked and catalogued? Will every last mote in the Universe be ultimately reviewed on the Internet? Must it all be a contest?

Alas. Yes. And lovely Sant'Andrea al Quirinale comes in third. I'm fine with that. So, I'm sure, is Marc LeSeuer. Borromini would be okay with it too, though a bit touchy at the very mention of Bernini. Bernini himself, long entombed, would, at the hint of the word of third place, be promptly tearing out his hair over it. To which I can only say, with no likelihood of being quoted "Well Bernini, if you wanted it that much, you should have finished it off with some of your...

Sant'Andrea al Quirinale is a splendid Baroque church designed by Bernini in Rome. It is a tender scene to imagine: the great Baroque architect, Gian Lorenzo Bernini, in his last years, sitting for hours in this gem of a church, admiring the wondrous space he had created. A painter, sculptor, architect, playwright and stage designer, Bernini fashioned a visually integrated masterwork, which tells the story of Sant'Andrea's martyrdom and ascension into heaven.

The novel elliptical worship space, with the entry on the long side, thrusts one immediately into the action, and one can sit for hours admiring the church's spectacular features, from paintings to sculpture, from the rich coffered dome to the sumptuous pink marble columns. This church truly is a sight for sore eyes, and must have been even more so before our electronic age.

For Sant'Andrea, Bernini created one of the most unique façades in the city. First, he chose not to hide the elliptical shape of the church behind a large façade. Instead, he created a narrow but tall entrance, which he flanked with two huge pilasters (flattened columns) topped by Corinthian capitals.

Atop these, he placed a triangular pediment, and at the bottom, a semi-circular staircase that seems to cascade down from the entrance like flowing water. At the top of the stairs, Bernini created a semi-circular porch, using two Ionic columns, which he topped with the Pamphilij coat of arms, containing the family's symbol, the dove.

When you walk into Sant'Andrea al Quirinal, you can quickly see why Bernini considered this his most perfect work. It may take a moment to orient yourself, as you are immediately enveloped the curving walls and decorations that might make you feel like you're inside a gigantic Easter egg. Chapels sweep around you. Ornate, carved marble abounds. The inlaid mosaic on the floor mirrors elliptical dome overhead. Architectural molding running around inside wall divides the space into an upper and...

Sant’Andrea al Quirinale, located on Rome’s historic Quirinal Hill, is a stunning testament to the brilliance of Baroque architecture and the genius of Gian Lorenzo Bernini. Completed in 1670 in collaboration with Bernini’s pupil Antonio Raggi, the church is a masterpiece of design, blending grandeur with an intimate sense of devotion. The oval layout of Sant’Andrea al Quirinale is one of its most striking features, a hallmark of Bernini’s architectural innovation. The facade, framed by a grand portico with Corinthian columns and an elegant pediment, sets the tone for the experience inside. Its harmonious proportions invite visitors to pause and admire the balance of form and function, while the grand staircase leading up to the entrance amplifies the sense of majesty. The interior is quintessentially Baroque, featuring an interplay of marble, gilding, and dynamic light. The dome, adorned with stucco angels and golden rays, creates a celestial atmosphere, drawing the eye upward in awe. The main altar, centered on a dramatic painting of St. Andrew’s martyrdom, is framed by ornate sculptures that seem to come alive in Bernini’s characteristic style. Built for the Jesuits, the church reflects their values of devotion and splendor, yet its design remains deeply personal, inviting quiet meditation within its richly adorned walls. Bernini’s ability to merge architecture, sculpture, and painting into a unified experience is on full display, making Sant’Andrea al Quirinale one of the finest examples of Baroque religious art. Sant’Andrea al Quirinale is more than a church—it is an immersive work of art that encapsulates the power and beauty of Baroque Rome. For architecture enthusiasts, art lovers, or anyone seeking a serene yet dramatic spiritual space, this church offers an unforgettable experience. It’s a must-visit for anyone exploring the...