Spot in Rome-Santa Maria della Vittoria

The alter and apse of Santa Maria della Vittoria

  This church embodies the beauty in Baroque. I have mentioned that the Baroque style ‘covered’ many churches in Rome throughout the 16th-18th centuries, and it is more unusual to find churches without an overwhelmingly Baroque appearance. First to define the term, in case you need a refresher. Baroque architectural style came into being in late 16th century Italy; it is strongly linked to the Counter-Reformation, in that even aesthetically, the Catholic church reacted to principles of restraint and asceticism guiding the Protestant Reformation (revolt against and eventual break with the Catholic church) after Martin Luther posted his Ninety-five Theses in 1517. The Counter-Reformation (mid 16th-mid 17th centuries) intended, broadly, to revitalize love of the church for Catholics around Europe. Artistically, the Baroque style can be characterized by “grandeur, drama and contrast (especially in lighting), curvaceousness, and an often dizzying array of rich surface treatments, twisting elements, and gilded statuary” according to Encyclopedia Britannica. So, when you walk into a church and feel overwhelmed by colors, dynamic movement of shapes and figures and gold, gold everywhere, chances are, you have entered into a Baroque space.

As so many of Rome’s over 900 churches (this is the oft-cited number) were built before the 16th century, it is kind of amazing to think that so many of them feature Baroque elements. It makes sense, however, when you consider how churches are often continually built upon over centuries, thus featuring multiple artistic styles all within one space. Because the Baroque is so ostentatious and there was a veritable movement, the Counter-Reformation, to feature the style, the style was added quite conspicuously in Roman churches.

Fontana dell'Acqua Felice (also called the Fountain of Moses

I love Santa Maria Della Vittoria because it is a relatively small church when compared to a number of other vast Baroque jewels in Rome (Chiesa del Gesu, Santa Maria in Vallicella known as Chiesa Nuova, or Sant’Andrea Della Valle to name a few). Because of its small size, I feel the impact of the Baroque power is intensified upon entering the doors. It is not located too close to other notable monuments; however, you should observe the Fontana dell'Acqua Felice (also called the Fountain of Moses), which was built to mark the end of the Acqua Felice aqueduct, restored by Pope Sixtus V. I mention the fountain because it was widely criticized for the hulking appearance of Moses when it was built by Domenico Fontana at the end of the 16th century.  As the statue was an “object of ridicule” from the outset Mauro Lucentini reports that this supposedly caused the artist to “die of a broken heart” (The Rome Guide, page 77). This makes me sad to consider. (There is a similarly reported story regarding Guglielmo Calderini the architect responsible for the Palazzo di Giustizia near the Castel Sant’Angelo) or Palazzaccio (bad palace). The creation was wrapped up in corruption and the appearance is so criticized that apparently he took his own life in the year 1916.

But back to this Baroque wonder. Move past the Moses fountain to number 98 on Via XX Settembre. Construction of this church started just at the beginning of the 17th century, some sources claim 1605 and others between 1603 and 1608. Carlo Maderno was the architect responsible, although the façade is by Giovanni Battista Soria, which was designed in 1626. The interior, as briefly mentioned, should be experienced in all its splendor, rather than described. The distinguishing factor of this church, however, is a Baroque sculpture by the great Gian Lorenzo Bernini. Find the Cornaro Chapel; it is to your left if facing the apse and alter. As mentioned, the Baroque can be multi-sensorial, in that you see and feel the impact in an immersive experience. As an interesting parallel, the sculpture featured in this chapel, called The Ecstasy of Saint Teresa has been described by scholars as multi-medial.

The Ecstasy of Saint Teresa by Bernini

The central figures Saint Teresa of Avila and the angel are crafted from a pristine white marble, but above them are striking gilded stucco rays. I first encountered this sculpture in my high school Art History class, and I still remember that impactful comment about this Baroque sculpture seeming contemporary because of Bernini’s innovative use of different materials. This observation has always stayed with me. There is even a hidden window that allows natural light to bathe the statue bringing the golden rays to life. The sculpture was completed for the Cornaro family between 1647-52, and it is based on a scene depicted by 16th century Spanish nun, Teresa, who was canonized and became Saint Teresa. She recorded her visions, which became the inspiration for Bernini’s famous depiction. Here is the most famous passage:

Beside me, on the left, appeared an angel in bodily form.... He was not tall but short, and very beautiful; and his face was so aflame that he appeared to be one of the highest rank of angels, who seem to be all on fire.... In his hands I saw a great golden spear, and at the iron tip there appeared to be a point of fire. This he plunged into my heart several times so that it penetrated to my entrails. When he pulled it out I felt that he took them with it, and left me utterly consumed by the great love of God. The pain was so severe that it made me utter several moans. The sweetness caused by this intense pain is so extreme that one cannot possibly wish it to cease, nor is one's soul content with anything but God. This is not a physical but a spiritual pain, though the body has some share in it—even a considerable share.

Find out more in this well-written article published by Khan Academy.

As an English teacher, this passage (albeit in translation) is a dream to analyze. There is a powerful semantic field filled with erotic language such as ‘aflame’, ‘on fire’ ‘penetrated’ and ‘utter several moans’. To fit into the characterization of the Baroque style, the intense emotion and movement of this sculpture are relevant. The ‘ecstasy’ and the potential to interpret the passage and Bernini’s sculpture in sexual terms adds another controversial dimension to this work. In fact, Saint Teresa’s face rendered so beautifully embodies the complexity of emotion and depth, but many scholars argue the expression is clearly orgasmic. Visit the chapel to observe and enter the debate for yourselves.

Unfortunately, in 1833, Santa Maria Della Vittoria was partially destroyed by fire, but it has been restored. In more recent popular culture this church was featured in Dan Brown’s novel Angels and Demons from 2000. The film adaptation was released in 2009. At left is a film clip ‘featuring’ this church.

However, as explained in this Reuters article, the film crew was not allowed inside the place of worship; thus, the church interior was recreated in the studio and with visual effects. Without knowledge of Dan Brown’s inclusion, I was drawn to it for Bernini’s Ecstasy of Saint Teresa. The Hollywood adaptation featuring Tom Hanks has certainly contributed to greater visibility for this church as one of the 900 to choose from in Rome; still, you should not find an overwhelming crowd.

The church is free to enter (of course) and open from 8.30 AM-12 PM, and again from 3.30 PM to 6 PM, Monday through Saturday. On Sunday, it is open only in the afternoon from 3.30 PM-6PM.