After the death of Innocent X, the next pope, Alexander VII, supported the Jesuits’ wishes, however he pointed out, that the structure is to be surrounded by high walls. The author of the design, was however, not Borromini, but the valued by the new bishop of Rome, Gian Lorenzo Bernini. When the famous architect began working, he could not have been familiar with the small church of San Carlo alle Quattro Fontane found nearby, which was the work of his artistic competitor – Borromini. This small structure, had no façade at that time, but the elliptic interior brought about a new, respect-arousing quality, which Bernini clearly wanted to better. Today, we may argue, which of them – the creation of Borromini or Bernini – is better, in the past the rank of champion was unanimously granted to the divine Bernini. He himself, according to his son Dominic, considered this inconspicuous as it would seem church, to be his most successful architectural work. Reportedly, at that time, the quite “expensive” architect did not accept payment for his work, while as an old man he came to this church to bring joy to his eyes and enrich himself spiritually during masses that were celebrated within.

Entering the church, we expect an elongated form, which would provide the onlooker with the proper perspective, yet lo and behold we encounter an oval, however a perpendicular one, due to which the structure which is already small, could seem to be even smaller. However, that is not the feeling we get, since due to its height and the presence of niches, designated for chapels, the interior seems to be quite broad, although of course cozy in its own way. Why was such an option chosen by Bernini? Some claim, that the perpendicular plan was due to the shape of the land plot, which was rather broad, but shallow. Others believe, that this plan had already been used by the creator in the design of a colonnade around St. Peter’s Square, and was consciously selected by him regardless of the inconvenience of the shape of the construction site. As if in spite of Borromini, the master of the wavy lines, convex and concave forms, Bernini proved here, that he also, considered a maestro classico, who in his architectural designs generally referenced classical and monumental forms, was able to exceptionally deal with a rather small and intimate space. If that was not enough, he was capable, without too much struggle, to create a true architectural rarity, at the same time astonishing with his concept and the element of surprise, not giving up on the color scheme, splendor of materials and decorative elements, which were not present in the modest, almost purist creation of Borromini. As if in a theatrical scenery, Bernini arranges, opposite the enterance, in a hollowed out broad apse, an altar flanked by enormous, colorful columns, which create a sort of a portico. The glow of the sunrays, descending from the dome found above it, gives this place a special status. The stucco putti seem to be floating towards this very light, on their way to the heavens arranging themselves into decorative frames of the painting found below, depicting the patron of the church – St. Andrew, nailed to the cross and gazing upwards, towards the source of this brightness. However, that is not the end. On the cornice, we will once again see the figure of the saint, as if in a new form, this time represented in stucco, at the moment of his assumption. Here, he seems to be moving, similarly to our eyes, towards the illuminated bowl of the dome and the dove placed there and further on outside of this holy place of worship. It is truly an excellent idea, which Bernini had already implemented during a creation of another work entrusted to him, in the Cornaro Chapel, in the Church of Santa Maria della Vittoria (Ecstasy of St. Theresa).

The altarpiece (currently in a bad state), is the work of a French painter, known as Il Borgognone (1668), while the gilded putti and angels, as well as the figure of saint Andrew floating up to the heavens, were created by a master of his craft – the excellent stucco artist and sculptor, Antonio Raggi. On the other hand elements of the Great Order – fluting columns of the main altar and pilasters with composite capitols, separating the chapels from one another, support the delicate cornice, on which the bowl of the enormous elliptical dome is set. It is separated by ribs and decorated with coffers, which gradually become more narrow, so that we are under the impression that the dome rises to a great height. The optical illusion used here is best understood looking at the church from the outside – the dome is almost invisible, safe for its high lantern, which is tasked with bringing in as much light as possible into the interior, while also illuminating the bowl itself, which is further illuminated by a series of openings found at its base. The angels and putti set on the cornice, providing an imitation of true heaven, are also a work of Raggi.

The interior, with excellent proportions, is kept in the color scheme of dirty pink, grey, gold and white with elements of blue, which has caused many commentators to call it a pearl of Baroque architecture in the strict sense of the word. Contemplating it, one can come to understand Borromini, who had to notice the refinement and skill of his rival, which probably heightened his depression, ultimately leading to his suicide.

It is time to discuss the chapels, which – in a similar way arranged and adorned with stuccos – sometimes hide within truly interesting paintings set in marble frames. They mainly immortalized Jesuits, either those who are already saints or those aspiring to sainthood.

•     First of these (on the left) dedicated to Our Lady, who was in a particular way adored by the order. The painting in the main altar of the chapel by Ludovico Mazzanti, depicts the three great members of the Society of Jesus – Ignatius of Loyola, Francis Borgia and Aloysius Gonzaga, honoring her. The side paintings, the works of Ludovic David, attract attention with their intimate atmosphere and expert use of strong chiaroscuro. The painter, referring to the main painting, represents in them, two other adorations of Our Lady – by the shepherds and by the three Magi.
•     On the left there is also a chapel dedicated to Stanislaus Kostka – a Polish, prematurely deceased novice of the Jesuit order, whose earthly remains are in an urn made of lapis lazuli, found in the altar. The painting directly opposite depicts Kostka adoring the Madonna (1687), and although its author seems to be a skilled painter of late Baroque, Carlo Maratti, it is not a work of consequence. Two side paintings completed by Ludovico Mazzanti on the other hand, show the future saint as a youth receiving the communion and falling into religious ecstasy.
•     On the right, we will find the Chapel of the Passion, whose decoration is made up of three paintings of the valued Baroque painter, Giacinto Brandi (1682). They depict The Deposition (main altar) with a moving act of the kissing of the hands of Christ by Mary Magdalene, as well as the touching scenes of The Flagellation and Way to Calvary. Another woman accompanying Christ – St. Veronica with her veil, appears in the last painting.
•     The last chapel (right at the enterance) is dedicated to the second most important, after Ignatius of Loyola, Jesuit saint – Francis Xavier. Their joint work was the creation of the order rules in 1534. However, this place is important for another reason as well. It houses three outstanding works of a master painter, known mainly for monumental frescoes in another Jesuit church – the Il Gesù, who here uncovers his intimate side – Baciccio. The painter presents to us, three episodes from the life of the martyr – a missionary in the far reaches of Asia. The side paintings show him preaching, giving out the Blessed Sacrament and baptizing pagans, including a richly dressed woman. On the other hand, the scene from the main altar, shows the friar dying, besieged by illness on the island of Shangchuan, near the coast of China. Interestingly enough, although the task of Francis Xavier was to convert Asians, in the area of Japan, China, or India, the figures created by the artist, look nothing like the inhabitants of those countries. It would seem that Baciccio wanted to direct the viewer’s attention to the disciplining of Catholics, inhabiting Portuguese India (of Portuguese descent), who without the aid of the Church, in the overseas colonies led a life full of sexual and moral freedom, similar to that which was cultivated by the pagans amongst whom they lived.

The founder of the church designated for novices of the Order of the Jesuits, was, as was mentioned previously, the nephew of Pope Innocent X – Camillo Pamphilj. The initiative was an expression of not only religious zealotry of prince Camillo, who had previously, against the will of his uncle, discarded his cardinal robes, married and then did not exhibit the proper care for the earthly remains of the pope, immediately after his death saving money even on the funeral. His desire, was most of all the commemoration of the new significance of his family and raising its prestige, which at that time was best contributed to by artistic patronage. This message can be noticed although it requires a bit of imagination and knowledge. Let us not forget, that Baroque was a period of  refined game of meanings, operating with ambiguous symbols and allegories. Looking at the capitols of the columns and pilasters, we will notice, doves with olive branches. Similar elements adorn frames of the paintings presented in the church – it is a motif taken from the Pamphilj coat of arms. The dove, will of course appear again, at the top of the lantern, combining in this way the family emblem with the symbol of the Holy Spirit. The church plan is defined by an ellipse, in which the so-called cross of St. Andrew (X), is inscribed, the very same which will appear on the altarpiece as the tool of the saint’s martyrdom. Opposite the altar, above the enterance, we will notice, two winged geniuses, of which one is holding up a ribbon with a dedication for St. Andrew and the names of Pope Innocent X and his nephew Camillo Pamphilj, as well as the family coat of arms (three stylized lilies and a dove with an olive branch). Through these iconographic procedures Camillo recalls the name of the greatest representative of the family and his calling card (X), unequivocally suggesting his devotion to the Church, and in this case to is representative – St. Andrew. In this way it fits with an old tradition, which called for the show of respect and honor for papal ancestors, who were usually the creators of the financial and image foundation of the prestige of the black aristocracy. It is worth taking a closer look at the aforementioned group above the enterance. The genius with his back towards us, blowing a trumpet, seems to be announcing the glory of the family, sending the sound far beyond the church walls. Some attribute the idea of this beautiful group to Bernini himself, others see it as a work of Antonio Raggi.

The Church of St. Andrew on Quirinal Hill, is another, after the Church of Sant’Agnese in Agone structure, in which taking advantage of the ingenious skills of Bernini, a truly theatrical arrangement was created, perfect in the conceptual dimension, in a full of finesse and sublime way commemorating the name of its founder.

•     Sacristy

After making a small payment, we can access further rooms in the church. The first of these is a richly decorated with frescoes sacristy. Its main element is a painting of the altar reredos, created by the most outstanding Jesuit painter, a known to us as a  creator of excellent ceiling frescoes in the Church of Sant’Ignazio – Andrea Pozzo. The painting depicting the Immaculate Conception of the Virgin Mary is probably not an outstanding work, nevertheless it shows us this hard-working artist was also an author of canvas paintings. Gazing upwards, we will see frescoes showing the Glory of St. Andrew by a French master from the second half of the XVII century, Jean de La Borde.

•     Room of St. Stanislaus Kostka

Stanislaus Kostka fell ill and died in 1568, in a monastery neighboring the church, as a nineteen-year-old novice. His exemplary life and deep faith were an example for other Jesuit novices, for whom the church was built. From the moment of Kostka’s death, the Society of Jesus pushed for his canonization, which would in an obvious way add glory to the order and would increase the number of saints coming from within its ranks. This was a struggle which lasted for decades. However, it was not until the following centuries, that Stanislaus Kostka became a saint. Today, in a room found on the first floor, furnished specifically for his cult, we can become familiar with his story and miraculous deeds immortalized in watercolors. After entering the salon, since due to its rich decorations that seems to be the only name fit for it, we will notice a lying figure. The creator of this original sculpture, depicting a dying youth in his bed, was another outstanding Jesuit artist, this time a sculptor of French descent, Pierre Le Gros. The work was created at the beginning of the XVIII century (1700).

The church, similarly to the Order of the Jesuits, experienced turbulent times, robberies and sequestration. In the years 1870-1946 it was the court church of the kings reigning in Rome. It did not come into the possession of the order until mid XX century.

It is time to leave this place of worship, however after departing it is worth to once again look upon its façade. It was the last to be created. The building was consecrated in 1678. The façade is not especially attractive and nothing can prepare us for the aesthetic surprise which awaits us within. It is maintained in the characteristic for Bernini, classical style. It looks like a giant, set on a high platfrom of semi-circular stairs, portico, into which the protruding, semi-circular covering of the entry gate is inscribed. Its decoration recalled in this place once again, is the dove of the Pamphilj family as well as the papal keys which are a memory of Innocent X, who was so dead set against the construction of this church.