1642/55 and
1659/61 consecrated 1660, an absolute masterpiece by Francesco
Borromini (1599/1667) on which he worked during the three pontificates
of Pope Urban VIII Barberini (1623/44), Innocent X Pamphilj (1644/55) and
Alexander VII (1655/67)
“Brilliant
unconventional concept space that attaches structural value to heraldic
insignia” (Paolo Portoghesi)
“The
interpenetration of two equilateral triangles (symbolically referring to the
Trinity) led to a hexagonal star that had no precedent in the Italian
architectural tradition. The shape of the star reappears clear in the
entablature and continues in the dome where it reaches the maximum values of
vertical tension. Outside with the light spiral structure the style of
Borromini reached his peak and disconcerted his contemporaries, witnesses of a
vision of space that cancels the boundaries between mass and atmosphere” (Carlo
Bertelli, Giuliano Briganti, Antonio Giuliano)
“In this
reduction of multiplicity to unity, of differentiation and variety to the
simplicity of the circle, consists mostly the charm of this church. Geometric
conciseness and inexhaustible imagination, technical ability and religious
symbolism have rarely found such a merger. You can trace the downward movement
of pure forms of the heavenly area to the increasing complexity of the
terrestrial zone. Decorative elements of the dome, the vertical rows of stars,
the papal coat of arms above the alternate windows, the cherubim under the
lantern, are fantastic, unreal and exciting and at the same time speak a clearly
symbolic language” (Rudolf Wittkower)
Six double
columns, with twelve lilies and twelve columns on the entablature.
Extraordinary helix-shaped spiral
“Among the
various interpretations given so far (Tower of Babel, etc.) The most striking
and fascinating is that, referring to the bull of Boniface VIII on the
topographic centrality of the Studium umbilicus Urbis (navel of the world),
links the Latin word to the rod, known as umbilicus, around which was wrapped
the scroll of writing, with clear reference to the fact that study can be
considered to be concluded only when the roll was read to the rod (Raspe 2000).
(...) But one cannot overlook another symbolic interpretation (...): the shell
fastens to the formal structure of the body of the bee, in turn, similar to the
shape of a tiara: a set of symbolic meanings combined and filtered by the visibility
of the form” (Antonella Pampalone)
Restored
1858/60 by Virginio Vespignani (1808/82) who
superimposed on the original white walls a decoration with colored faux
marbles. It was removed by the further restoration of the years 1967/68
MAIN ALTAR
1660,
rebuilt in 1664 and in the years 1783/84 by Nicola
Forti (active in Rome the second half of the eighteenth century)
Canvas
(8.25 x 3.75 m - 27 x 12.3 feet) “St. Yves patron saint
of lawyers and advocate for the poor receives petitions from commoners with
Christ above and St. Luke (Patron dell'Archiginnasio), St. Pantaleon (patron
saint of physicians) St. Leo the Great (patron saint of theologians), St.
Alexander and S. Fortunato pointing to the truth contained in the volume given
to him by St. Jerome” 1661 by Pietro Berrettini aka Pietro da Cortona
(1597/1669) finished by Giovanni Ventura Borghesi
It was
placed on the high altar only in 1685 in a “Frame of ancient yellow marble” by G.B. Contini (1641/1723)
The
painting had been commissioned by Alexander VII who, during the consecration,
placed inside the altar the relics of the sixth pope, S. Alexander I (105/115)
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