Santa Maria del Popolo
Santa Maria del Popolo
Santa Maria del Popolo
THE CHURCH FOR THE CITIZENS OF ROME
Santa Maria del Popolo stands in the square of the same name, at the end of Via del Corso. Even if it looks inconspicuous from the outside, it hides true art treasures inside.
My Rating:
The positives:
A small, beautiful church housing works by great artists: Caravaggio and Bernini!
The negatives:
Not quite as magnificent as Santa Maria Maggiore or Santa Maria in Aracoeli. Rather "by the people for the people". But that can even be seen as a positive...
Last Modified: 12.03.2024 | Céline
Santa Maria del Popolo
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The details
at a glance
Santa Maria del Popolo
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What is there
to see?
Santa Maria del Popolo is quite different from Santa Maria Maggiore. It’s much smaller, somehow more intimate, and with fewer visitors. It’s almost inconspicuous on the edge of Piazza del Popolo, next to Porta del Popolo and a museum dedicated to Leonardo Da Vinci.
The interior of the church resembles more of the classical church architecture we are familiar with: no coffered ceiling, but a vault transitioning into columns. However, even though this church is not as richly decorated, it is still very rich in art by great artists! Raphael, Bramante, Caravaggio, and even Bernini were involved in the church’s design and left behind some remarkable works!
The Chigi Chapel – dedicated to the banker Agostino Chigi – was designed by Raphael but executed by one of his students. Lorenzetto carried out Raphael’s ideas: the sculptures of “Jonah Spat Out by the Whale” and “Elijah,” for example, as well as the mosaics on the dome, are based on Raphael’s cartoons. Bernini redesigned the chapel in the Baroque style between 1652-1656 and created the sculptures “Habakkuk and the Angel” and “Daniel in the Lion’s Den”, along with the marble reliefs on the two pyramids.
And then there’s the Cerasi Chapel: dedicated to Saints Peter and Paul, Caravaggio and Annibale Carracci painted the works for this chapel.
So, this small church hides something big!
THE CERASI CHAPEL
CARAVAGGIO AND CARRACCI
As mentioned, the Cerasi Chapel was dedicated to the two apostles, Peter and Paul. Tiberio Cerasi purchased the chapel in 1601 and intended to be buried here. He commissioned Caravaggio and Carracci to create the paintings to adorn the chapel.
The central altarpiece was executed by Annibale Carracci: “The Assumption of the Virgin”. The work depicts the Assumption of Mary – six angels accompany her, showing her the way. She extends her arms wide and gazes toward the heavens. She is surrounded by the disciples, with Peter and Paul prominently featured at the forefront, reacting with a mix of astonishment and trance-like awe at what they witness.
On both sides, you will find Caravaggio’s works: “The Crucifixion of Peter” and “The Conversion of Paul”. These are two masterpieces of chiaroscuro painting, for which Caravaggio was well-known. However, Cerasi was not satisfied with the first version of “The Conversion of Paul” that Caravaggio produced. Caravaggio had to create another painting to replace it! The first version now hangs in the private art collection of the Odescalchi-Balbi family.
The Crucifixion of Peter is a very well-known work by Caravaggio. It depicts the action in full swing. You can almost feel the effort of the men setting up the cross, and Peter’s despair is visible.
The scene is lifelike, with nothing idealized! And on top of that, there’s this unusual use of light.
Where is the light coming from? The background suggests the darkest night or an interior space. But, of course, we are outdoors, so where is the light coming from? A campfire? Divine light?
Peter requested to be crucified upside down, as he felt unworthy to die in the same manner as Jesus Christ.
Supposedly, Peter and Paul were killed on the same day and at the same location in Rome. But why is Paul’s martyrdom not depicted, but rather his conversion?
This is because Paul is depicted after falling from his horse on the way to Damascus. He lies on the ground, blinded by a light, and stretches out his arms.
Even though these two works depict the beginning and the end thematically, they are still somehow represented similarly. Against a dark background with an unidentifiable light source, both men are shown upside down: Peter because he is being crucified, and Paul because he is lying on the ground with his head facing our direction. Both perspectives are highly unusual.
Both scenes are also depicted with great dynamism, with both men stretching out their arms and entrusting themselves completely to God.
Just like the Carracci’s Mary…
Caravaggio has truly created a masterful pair here.
Santa Maria del Popolo
A bit of History
This Minor Basilica, like many churches in Rome, is also associated with a founding legend: Its high altar supposedly stands where once a walnut tree grew, around which evil spirits roamed. These malevolent spirits guarded the tomb of Nero, which was located beneath this tree. When Pope Paschal II (1099 – 1118) heard of this, he fasted and prayed. On the third day, Mary appeared to him, instructing him to cut down the tree and build a church on that spot. The demons vanished from this place.
In 1231, Pope Gregory IX had a larger church built on this site and entrusted it to the Franciscan order. It was during this time that the name “del Popolo” emerged. There are different explanations for this name:
- The people built and financed this new construction, or
- The name originates from the poplar tree (Populus) that once stood at the chapel’s location.
Variant 1 seems to be the more plausible one. Pope Gregory IX bequeathed the “miraculous image of Mary” to the church, which he had brought from the Lateran Palace to this altar.
But that’s not all: In 1472, under Pope Sixtus IV, there was another change. The old church building was demolished, and a new church was erected, this time with an adjoining monastery. Why? The city gate Porta del Popolo became increasingly important for representation, as many travelers arrived here. Therefore, the church had to be upgraded accordingly.
And finally, in 1655-1660, Bernini carried out the redesign of the facade and the interior – the contemporary taste, or simply Pope Alexander VII, demanded something new.
Text and image rights: © Céline Mülich, 2016 – 2024
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