In 1658, Gian Lorenzo Bernini was commissioned to build the third Jesuit church in Rome, Sant’Andrea al Quirinale.
As some may know, Bernini wasn’t just a sculptor. He was also an architect. Many consider Sant’Andrea to be his true architectural masterpiece.
This tiny church in Rome was once known as the “Pearl of the Baroque.” Bernini created convex and concave forms, giving the architecture a sense of movement. He then dressed it all in polychrome marble, gilded stucco, plaster statues, and dramatic paintings.
The result is an over-the-top example of Baroque architecture. Pure theater!

Plus, the church is an overlooked hidden gem in Rome, near the more renowned Quirinal Palace. You can enjoy great art and architecture in a unique setting without another soul in sight (practically).
Mini History
Bernini received the church commission in 1658. His patron was the Cardinal Camillo Pamphilj. He was the nephew of the Pope Alexander VII, who was also a member of the Pamphilj family.
But the cardinal needed some funds for this endeavor, and went hat in hand to the pope. Cash in hand, he hired Bernini.
The ground plan, or architectural footprint, is unique. Most churches are rectangular shape or in a Latin cross.
But this church has the curvilinear form of a long oval. Squares were out; curves were in.
READ: Bernini trail in Rome

Exterior Facade
For the facade, Bernini used a “giant” order of architecture.
This means that the steps leading up to the church and the whole body of the church are enclosed within giant columns and pilasters.
The entrance looks almost like a massive gateway, rather than a church.
The church extends on the piazza with “arms” or “wings” on both sides stretching out as if to encircle you. This mimics the design of St. Peter’s Square, which Bernini was already working on at the time.
So, the front of the church forms a half oval. The staircase is likewise oval. Behind that, the body of the church is an entire oval.

The stairs lead up to a beautiful porch. A pair of massive Corinthian columns define the space, and there’s a small, semi-circular logia before the door.
Above the columns sits the coat of arms of the Pamphilj family, with a dove carrying an olive branch. Above that, there’s a semi-circular arch with a lunette with a window.
Framing all this are two Corinthian pilasters. They support an entablature, which aligns exactly with the one inside.
This follows the architectural “rule” that the exterior of a building should prepare you for what’s inside.
Above the entablature is a “broken” triangular pediment. It’s broken because it’s recessed. This was a feature Bernini swiped from Michelangelo and incorporated into the Baroque.

Interior Architecture
The giant doorway of the church disguises how small it really is. Plus, you’ll be jolted the contrast once you step inside!
The outside is made simple travertine stone. But the interior is the opposite. It’s an explosion of rich color and materials, with many different types of Sicilian marble and stone.
You’ll immediately recognize the motif of the entablature above the apse and the high altar.
As I mentioned, the interior has an oval form. Chapels line both sides. One particularly ornate chapel is dedicated to Saint Stanislaus Kostka, a young Jesuit novice whose relics rest there.
You’ll also want to step into the sacristy to admire its ceiling fresco and intricate decor.

High Altar
The high altar is directly across from the main entrance, at the far end of the church. Like the exterior, it’s flanked by Corinthian columns.
Above the high altar, Bernini designed and carved fictive figures and cherubs that seem to tumble from the sky, lit from a window above.
The central figure is St. Andrew surrounded by rays of gold. The rays may remind you of the Bernini-designed Chair of St. Peter in St. Peter’s Basilica.
It’s a theatrical ensemble. And very gold!
The central painting in the altar is the Martyrdom of Saint Andrew. The painting is framed in the same marble as the pilasters enclosing the altar.
And it’s lit by a hidden window as a light source.

The saint is shown rising up on a cloud after being executed on an X shaped cross. The scene evokes the usual Baroque features of movement and emotional intensity.
This wasn’t painted by Bernini. Rather, it was created by Guillaume Courtois, also known as Il Borgognone. He was a French artist active in Rome during the 17th century.
Above that is another marble sculpture. It was designed by Antonio Raggi, a student of Bernini.
The sculpture shows two angels holding the Pamphilj family coat of arms.

Dome
The gilded dome above is the climax of Bernini’s masterful construction.
The ribs of the dome perfectly align with the fluted pilasters on the ground level. A row of small windows circles the dome at the bottom to let in light.
The dome is made of white stucco and gold. And the coffers give it some texture. There are sculptures of little putti (angels) and fishermen.
In the center is a lantern with a dove representing the Holy Spirit. It’s surrounded by white marble sculptures, mostly putti.
Some of the figures appear to be looking down on us from a gallery. Or, more likely, they were intended to be watching for Andrew as he heads up to heaven through the lantern at the top of the dome.

Practical Guide & Tips For Sant’Andrea al Quirinale
Address: Via del Quirinale, 30, 00187 Rome
Hours: Open Morning: 9:00 am – 12:00 pm & Afternoon: 3:00 pm – 6:00 pm. Closed Mondays.
Tickets: Free to visit
I hope you’ve enjoyed my guide to Bernini’s Sant’Andrea al Quirinale. You may find these other Rome travel guides useful:
- 3 day itinerary for Rome
- 4 day itinerary for Rome
- 5 day itinerary for Rome
- Hidden gems in Rome
- Best museums in Rome
- Guide to Palatine Hill
- Guide to the Roman Forum
- Guide to the Colosseum
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