Church of the Gesù, Rome
The Church of the Gesù is the church of the Society of Jesus and the place where Ignatius of Loyola, the founder of the congregation, was buried. The church is considered to be one of the first buildings designed in the Baroque style which later served as an example for many future Christian temples in Europe and South America. This attraction is not included in budget tour packages with the Colosseum and the Pantheon. Many travelers walk past its ascetic façade located near Piazza Venezia. However, the fanciness of the interior decorations and marvelous church frescos are on the same level as those in Vatican temples.
History of the Church of the Gesu
In the year 1551 Ignatius of Loyola decided to build a church in Rome for his congregation. However, the design for the construction created by Michelangelo in 1554 remained on the shelf. After a while, Alessandro Farnese, Italian Cardinal, who had a big appreciation for art, provided funding for the future Church of the Gesù.
In 1561 the Cardinal approved the design made by the architect named Giacomo Barozzi da Vignola. The church was constructed on the same spot where the previously ancient temple stood from 1568 to 1575. After Vignola’s death, the construction was finished by Giacomo della Porta since Farnese chose his façade design.
In the 17th century, some sections of the building were rebuilt and renovated. At the end of 18th century, lots of valuables were gone due to persecutions. At the beginning of 19th century Jesuits reclaimed the temple and enriched the interiors with expensive jewelry, new shrine, and fancy ornaments once again.
Architecture
The style of the Church of the Gesù combines Baroque and Renaissance characteristics. The façade composition is simple which according to Jesuit doctrines reflects the frailty of life. It is decorated with statues of Ignatius of Loyola and Francis Xavier, a cartouche and a Christogram on it – congregation’s symbol.
Inside area there is a rectangular nave with cylindrical vault covering it and chapels around the perimeter. Such floor plan allows for clear view of the main shrine.
The interior and chapels
Gleaming gilded stucco work, colorful marble floor, and columns, magnificent statues and murals are meant to symbolize greatness of faith and splendor of God’s world as well as invoke fascination. Ceiling fresco called “Triumph of the Name of Jesus” on which Giovanni Battista Gaulli worked for 18 years is especially remarkable. The artist managed to add dimension to the artwork – it may appear that figures float casting shadows.
Every chapel is interesting in their way, but St. Ignatius Chapel designed by Andrea Pozzo is the most beautiful one. Inside you can find the altar of Ignatius of Loyola embellished with precious metals and gems and a globe made entirely out of lapis right above the columns.
If you happen to enter the church just at 17:30, you might be able to witness a “miracle.” Lights dim, music starts playing and a painting of Saint Ignatius lowers with the help of ancient mechanism. Then illumination switches on and the visitors are presented with a shiny silver statue of Saint Ignatius, previously hidden under cloth sheet.
Chapel of the Madonna della Strada stores the icon of the same name.
Museum of the Church of the Gesù
The church also owns a museum – four rooms where Ignatius of Loyola spent last 20 years of his life. Personal belongings of many Jesuit saints including Ignatius as well as a bronze replica of his death mask are kept there. A hall painted by Andrea Pozzo leads to the museum – visitors can experience a peculiar optical illusion there.
How to get
Buses № 30, 46, 62, 64, 70, 81, 87, 130F, 186, 190F, 492, 628, 916, 916F (Plebiscito stop) and a tram № 8 (Venezia stop) include this place into their route.
Opening hours: the museum works on weekends and holidays from 16:00 till 18:00. If you wish to visit it at any other time, you must make an appointment: info@chiesadelgesu.org. General admission is free. The church is open from 7:00 till 12:30 and from 16:00 till 19:45.
