Church of Sant'Antonio dei Portuguese

The Church of Sant’Antonio in Campo Marzio, also known as the Church of Sant’Antonio dei Portoghesi, is a fascinating example of Baroque architecture located in the heart of Rome’s historic center. Its history, closely linked to the Portuguese community, began in 1445 when Cardinal Antonio Martínez de Chaves founded a hospice for Portuguese pilgrims. This place of welcome, wanted by the noblewoman Guiomar da Lisbona, included a small chapel dedicated to the Madonna of Bethlehem. However, over time, the chapel became insufficient to accommodate the faithful, leading to the need for expansions and transformations that defined the current appearance of the church. In 1624, expansion works began under the guidance of Martino Longhi the Younger. The church was completed in 1638 and dedicated to Saint Anthony of Padua, a highly venerated saint of Portuguese origin. Subsequent expansion works were carried out in 1657 by Carlo Rainaldi, who designed the dome, and by Cristoforo Schor, who worked on the apse and the main altar. The church thus became a point of reference for the Portuguese community and a symbol of their presence and devotion in Rome. An intriguing aspect of the church’s history is related to its illustrious visitors. Several popes, including Clement XI and Clement XIV, visited it for diplomatic reasons, at a time when relations between the Holy See and the Kingdom of Portugal were tense. This demonstrates the strategic and symbolic importance of the church in the context of international relations at the time. In 1799, during the Napoleonic occupation of Rome, the church and the hospice were closed and sold at auction. However, in 1814, the property returned to the Portuguese government, which initiated a significant restoration project. The church reopened in 1842 and, in 1873, the architect Francesco Vespignani carried out further renovations, introducing stained glass windows and decorating the dome. The interior of the church is a true treasure trove of art and devotion. It houses significant works, such as a gold background panel by Antoniazzo Romano and the paintings of the Perugian painter Antonio Concioli, including the Adoration of the Magi, the Nativity, and the Rest during the Flight into Egypt, all dated 1782. Another notable work is the Immaculate Conception by Giacomo Zoboli from 1756. The De Souza Monument, created by Antonio Canova in 1808, adds a touch of great artistic mastery to the church’s collection. A particular feature of the church is the Chapel of Saint John the Baptist. In 1740, King John V of Portugal commissioned the construction of this chapel, intended to be a true Baroque marvel. Under the supervision of Nicola Salvi and Luigi Vanvitelli, the chapel was built with prefabricated modules and blessed by Pope Benedict XIV in 1744. It was later dismantled and transported to Lisbon, where it was reassembled in the Church of San Rocco, where it still stands. The church’s organ, a large Mascioni instrument opus 1181, installed in 2008, is another gem of the church. Equipped with 4 keyboards and 47 stops, it was expanded in 2015-2016, bringing the number of stops to 60 on five manuals and pedal. This extraordinary instrument continues to play, enriching the liturgical celebrations with its majestic sound. The Baroque façade of the church, designed by Martino Longhi the Younger in 1638, is an extraordinary example of Roman Baroque architecture. Despite the relatively small structure, the interior of the church manages to convey a sense of richness and splendor, thanks to its numerous ornaments and the artistic arrangement of spaces.