The man behind the reconstruction of this part of the city and the construction of almost twin churches, which were erected between via del Corso and via Ripetta, was the ambitious pope, Alexander VII, who in 1662 ordered the modernization of the whole area around the square. At the same time he ordered the reconstruction of the Basilica of Santa Maria del Popolo, located there since the Middle Ages, the placement of an obelisk on the square and the restoration of the city gate (Porta del Popolo).

The designer of the church in question, the Santa Maria dei Miracoli was Carlo Rainaldi and it was created thanks to the financial support of Cardinal Girolamo Gastaldi, who counted on commemorating his name for the centuries, which did indeed take place – the building became a mausoleum of his family, Unfortunately, when the pope died, works on the construction of the church were halted. They began anew eight years later, and were finalized in 1681, under the watchful gaze of another renowned architect, Carlo Fontana.

The church was built on a circular plan, which stretches into a shape reminiscent of a keyhole, since it is supplemented by an apse in form of the letter U. Its façade, on the other hand is embellished by a column portico, while the whole is topped off with and octagonal dome with a lantern, which is flanked by a single, tasteful bell tower. Its almost twin counterpart is found in the neighboring church, thanks to which there is an outstanding accent of two bell towers leading guests into the city. The church elevation is also adorned with ten statues of saintly figures, sculpted by renowned students of Gian Lorenzo Bernini, including Ercole Ferrata.

The church is dedicated to Our Lady of Miracles, which is a reference to the miraculous painting found in the main altar, such as many found in the Eternal City. In actuality it is a copy of a painting whose history is rather complicated and is connected with the story of a certain inconspicuous icon, which was long time ago located in a niche of the wall near the ancient Porta Flaminia (Porta del Popolo). According to the legend, in 1325 a woman’s baby fell into the river and grief-stricken she sought aid in prayer to the Virgin Mary, whom the painting represented. The baby was miraculously saved, while the icon was transported to another location near the river, and a small chapel was created for it. In 1515 care over it was entrusted to the Confraternity of the  Hospital of the Incurables from the Church of San Giacomo degli Incurabli (the latter San Giacomo in Augusta). Ultimately the miraculous painting was transferred to said church in 1590, while its copy was placed in the chapel, which had constantly been damaged by floods. And it was this copy that ultimately found its way to the main altar of the Church of Santa Maria dei Miracoli. The altar itself is decorated with a rich architectural frame, while it is topped off with four angels chiseled by Antonio Raggi, perhaps the most skilled and certainly the most efficient collaborator of Gian Lorenzo Bernini. On the side walls of the presbytery, there are richly decorated tombstones: of the church benefactor – the aforementioned Cardinal Girolamo Gastaldi and his brother, Marquis Benedetto Gastaldi. The medallions of the deceased made of bronze are accompanied by personifications of the virtues – the cardinal by Faith and Hope, while his brother by Prudence and Temperance . And they too were completed by the great stucco artist and a specialist when it came to angels – the aforementioned Antonio Raggi.

Inside, we will not find masterpieces, these are more objects of cult and devotion than art, however in this case the concept of the late-Baroque church in a classicist spirit in itself is worthy of our attention. The monumental, ascending pilasters support the cornice of the entablature, on which rests the dome illuminating the interior. Due to economic and not artistic reasons brick walls were left and were only covered with paint. Only in the part of the presbytery for obvious reasons, the cardinal made sure to have splendor and representativeness. In the central part of the church body, apart from two beautiful angels supporting the cardinal’s family coat of arms (four elongated squares placed in a diagonal line), there are not too many decorations, even the pilasters are bare, without fluting, while the capitols are not gilded. The dominant element, found on both sides, is the triumphal arch, giving the interior a majestic appearance. The interior is livened up by a fragmented cornice and protruding and retracting abutments. Thanks to this, the architecture is lively, it was not embalmed in a marble coating, which we so often encounter in Rome – the repeating pilasters, tympana and pediments constitute an element of the interior which is a sort of a variation on the subject of ancient architecture, which had been enriched by a new, Baroque spirit. Large windows at the base of the dome, let light into the interior, while the four choir sections, found in the part of the cornice, remind us of music, which echoed in this place accompanying mass celebrations.