Church of Santa Maria in Portico in Campitelli

In the heart of the Sant’Angelo district of Rome, the Church of Santa Maria in Portico in Campitelli stands as a baroque masterpiece, testifying to centuries of devotion and art. Its history dates back to the medieval period, when it was first mentioned in the 12th century in the “Liber Censuum”. Originally, the church was smaller in size and stood on the site of the current Gaetani Lovatelli palace. However, it was in the 17th century that the church took on the majestic appearance we know today, thanks to the intervention of Pope Alexander VII and architect Carlo Rainaldi. In 1656, a devastating plague struck Rome and the Kingdom of Naples, decimating the population. During this crisis, the Romans gathered in prayer around a Marian icon believed to be miraculous, preserved in the small church of Santa Maria in Portico. To cope with the influx of faithful and honor the promise made to build a larger church in case the plague ceased, Alexander VII commissioned Carlo Rainaldi to design a new church. The result was Santa Maria in Portico in Campitelli, a building that combined the titles of the two previous churches: Santa Maria in Campitelli and Santa Maria in Portico. The church’s facade, completed in 1667, is a sublime example of baroque architecture. Made of travertine, the facade features a harmonious interplay of volutes and columns framing three entrance portals. In the center, above the main portal, stands a sculptural group depicting the Madonna and Child, a central iconographic reference for the church. The monumental columns and curvilinear pediments create an effect of upward movement, guiding the gaze upwards and giving the facade a solemn grandeur. The interior of the church, with a longitudinal plan, is punctuated by a series of columns inspired by the architecture of Andrea Palladio, an unusual choice for Roman Baroque. The central nave, wide and bright, is flanked by richly decorated side chapels. Among these, the works of artists such as Luca Giordano, Sebastiano Conca, and Baciccio stand out. These paintings, placed on the side altars, add a touch of refined beauty to the interior of the church, inviting the faithful and visitors to a deeper contemplation. The true masterpiece of the church, however, is the main altar, designed by Rainaldi himself. The altar, an impressive baroque construction, frames the miraculous image of the Virgin. According to art historian Jennifer Montagu, the frame containing the image is a symbolic representation of the Portico of Octavia, from which the church takes its name. The shape of the altar is derived from the Baldacchino of St. Peter, surrounded by a glory of angels, clouds, and golden rays reminiscent of Bernini’s Chair of St. Peter. Melchiorre Cafà, the artist who created the wax model, died shortly before the work was completed, but his style significantly influenced the final result.