Church of Santa Maria della Vittoria

The Church of Santa Maria della Vittoria, located on via XX Settembre in Rome, is a Baroque masterpiece originally dedicated to Saint Paul and built for the Discalced Carmelites between 1608 and 1620. The church was renamed after the Battle of White Mountain during the Thirty Years’ War, which saw a Catholic victory. The architect Carlo Maderno designed the building, while the facade was completed by Giovanni Battista Soria in 1626. The interior of the church consists of a single nave covered by a barrel vault, with three chapels on each side. The frescoes on the ceiling, by Gian Domenico Cerrini, depict the Triumph of the Virgin Mary over heresies and the Assumption of the Virgin in the dome. Among the artworks present, there are three altarpieces by Domenichino, one by Guercino, and a painting by Guido Reni. The main attraction of the church is the Cornaro Chapel, in the left transept, which houses the famous sculptural group of the Ecstasy of Saint Teresa of Avila, created by Gian Lorenzo Bernini between 1644 and 1652. The chapel is designed as a Baroque theater, with the sculpture of Saint Teresa in ecstasy as an angel pierces her heart with an arrow, all illuminated by light filtering from a hidden window, creating a supernatural effect. The facade of the church, inspired by that of Santa Susanna, is in two orders, with a triangular pediment at the top and an arched pediment above the entrance portal. This design creates a sense of monumentality that introduces the richly decorated interior and artworks, to elevate the spirit and engage the faithful in an experience of beauty and spirituality. In addition to the Cornaro Chapel, other chapels in the church house important artworks. The second right nave contains the funerary chapel of the Merenda family. The frescoes on the vault and dome, the “Triumph of the Virgin Mary” and the “Assumption of the Virgin,” add further visual richness to the interior. The church was saved from demolition during urban renovations in the area thanks to the presence of the marble tomb of the Polish prince Alexander Sobieski, created by Camillo Rusconi. This monument ensured the protection of the church and preserved its historical structure intact.