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Sant'andrea Delle Fratte

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Sant'andrea Delle Fratte (064/36) Sant'Andrea delle Fratte Sant'Andrea delle Fratte is a minor basilica, as well as an early 17th century parish, titular and convent church in the rione Colonna, just to the south of the Piazza di Spagna, dedicated to St Andrew the Apostle. History The first church here was built in the 1192, called infra hortes (later translated into "delle Fratte" or "shrubs") for it was located in a countryside area. The first time that the name Fratte is used is in the 15th century. It means literally "woods" or "overgrown vegetation", and seems to commemorate an overgrown area which might have been an abandoned piece of land, some shrubby garden or the facing slope of the Pincian hill when it was still wild. (1) (11) The church was probably rebuilt (or newly built on this site) in the 15th century, when there is a hint in the records that an Augustinian nunnery was established here. Then it was for some time the national church of Scotland as an independent kingdom (St Andrew is Scotland's patron). After the Scottish Reformation in 1560 the Scots completely lost interest in it, and for a while it was taken over by a pious confraternity dedicated to the Blessed Sacrament. However it was given to the Order of Minim of St. Francis of Paola Friars in 1585, and they still serve the parish which was simultaneously created. (1) (11) In 1604 the construction of the new church was begun, under the design of Gaspare Guerra. The project halted in 1612 due to lack of funds. He completed the barrel-vaulted nave with narrow (064/36) chapels on the sides up to the two pillars of the dome toward the aisle, the first level of brick masonry facade. Work was restarted by Francesco Borromini, who was commissioned by the Marchese Paolo del Bufalo to work on the church in the years 1653-1665. Borromini is responsible of the apse, the tambour of the cupola and the fine square campanile with four orders. After his death, the construction was continued by Mattia De Rossi. (1) (3) (11) Towards the end of the 17th century, while de’Rossi was still tending to the completion of the architectural structure, the Minim fathers, by 1686, sought to commission the decoration of the presbytery area, and engaged Pasquale Marini to fresco the dome and the spherical vault of the apse, and Lazzaro Baldi, Giovan Battista Lenardi as well as Francesco Trevisani to paint three large altarpieces with Stories of St. Andrew, to decorate the apse walls. (e) The composer Alessandro Scarlatti was married here in 1678. (1) In 1750-1752 Giovanni Battista Maini embellished the two transept chapels. The façade was only completed in 1826 by Pasquale Belli, with the help of a donation from Cardinal Ercole Consalvi, who was Secretary of State to Pope Pius VII and attended the Congress of Vienna in 1815. As a memento he was presented with a valuable snuffbox, and he sold this to raise the donation. (1) (3) The marble floor was constructed, in 1828, at the expense of Duke Torlonia. (a) In 1842, a young French Jew named Alphonse Ratisbonne had a sudden and unexpected vision of the Virgin of the Miraculous Medal at the church, which led him to convert to the Catholic Church. Together with his brother he went on to found the Congregation of Notre-Dame de Sion, a religious family of priests, lay brothers and sisters dedicated to the conversion of the Jews to Christianity. There is a chapel in the church dedicated to this moral miracle, and it is used for weekday Masses (note that the pews in the nave are oriented to face it). (1) (11) Because of its location near the Piazza de Spagna its congregation was largely made up of international expatriates living in Rome in the 19th century. A number of artists from Rome’s community were buried here in the 18th and 19th centuries. (c) The church was made titular by Pope John XXIII in 1960. (1) Exterior Façade The late Renaissance style façade was completed in 1826. It has two stories, of brick with architectural details in stone or stucco. The brick of the second story is pink, but that of the first story is yellowish instead which forms an interesting contrast. (1) This first story has six brick Ionic pilasters with swagged capitals, and the section of the frontage bearing the inner four (corresponding to the width of the second story) is brought forward slightly. As a result, the outer pair of these four pilasters is doubled at the corners of this section. The pilasters support an entablature with a blank frieze and a projecting cornice with modillions, which are little brackets at regular intervals. The entrance doorway has a raised segmental pediment supported by corbels. (1) The second story sits on a plinth which contains five recessed rectangular panels, three on the protruding central section and two at the aisles. The middle one has a marble tablet bearing an inscription recording the completion of the façade. Above the plinth, four brick Corinthian pilasters support an entablature with a denticulated triangular pediment having a blank tympanum. There is a sweeping curve to this story on each side, although without volutes, and on top of the pediment is a dumpy little square pillar bearing a metal cross finial. (1) (064/36) Dome The Marchese, who was paying for the work on the church, apparently wanted a standard elliptical dome which would have matched those familiar in the views of Rome, but Borromini had other ideas. The dome is in rough brick, and lacks the covering of brilliant white stucco which would have completed it. (1) The dome has a very high drum, and is formed from a cylinder having four arms on the plan of a superimposed Greek cross. Each arm has its outer face curved to match that of the cylinder, and its two sides coved or inwardly curved. This creates an overall playful curviness to the drum, typical of Borromini as an architect. The actual dome is a very shallow tiled saucer with four pitches. The ridge lines dividing these pitches run on to form the ridges of little pitched roofs covering the arms. (1) Below the dome's roofline is a deep entablature which projects. It is supported by long attached columns, two up the corners of the arms and two tucked into the inner corners where the arms join the cylinder. Hence there are sixteen of these columns overall. The capitals have brick lugs sticking out of them, which indicates that they would have been in the Corinthian order if finished. In between the arms, the cylinder has four large, tall round-headed windows which light the interior of the dome, and each has a little canopy shaped like an inverted V. (1) Campanile Borromini's campanile is an absolute delight, and needs a pair of binoculars to do it justice. It has six separate stories, of seriously differing heights. The first one is just blank brick wall, matching those of the nave and the end of the transept adjacent and ending with the same cornice as decorates them. (1) The second story is bare brickwork like the dome, and is on a square. However, each corner of the square has a protruding arm recalling those of the dome. The first part of the story is a very high plinth, then above that each arm is formed of a tall Corinthian column. The four columns support an entablature with a prominent projecting cornice. On each face of this story is a large rectangular panel flanked by a pair of Doric columns supporting a fragment of entablature and a pediment. In a typical Borrominian touch, the pediment is broken at the top and the sides curled back. (1) The subsequent stories have been finished in white. The third one is a rotunda on a plinth, with four pairs of Corinthian columns. These are coupled, with small blank screen walls in between each pair. The columns support an entablature which forms a ring, and above this is a balustrade. In between each pair of columns is a rectangular sound hole. Binoculars will reveal that a human head is tucked into the side of each column capital. (1) The fourth story is perhaps the most innovative. Four angel caryatids with wings folded about themselves support a cog-wheel entablature with projecting cornice. In between each pair of caryatids is a sound hole in the form of a small door, having a raised triangular pediment broken at its cornice by a horizontal elliptical tondo. Above this feature is a hanging swag. (1) The fifth story has a plinth corresponding to the cog-wheel entablature below, and this plinth supports eight flaming torch finials (one on each cog). The story itself is short and small, being a cylinder with four sweeping little buttresses supporting a shallow cornice in the shape of a circle with four rectangular protrusions. Between each pair of buttresses is a vertical elliptical sound hole. (1) The final, fantastic story is formed of four curlicues brought together rather like four cobras raised and facing each other. They enclose a form shaped like an inverted truncated pyramid, but with the top and bottom edges curved. Each face of this form has the face of an ox, which is a reference to the family paying for the work (Del Bufalo). The curlicues support a spiky metal crown, and on top of all is a metal cross finial. (1) (064/36) Friary The friary is south of the church, and has its main entrance just to the right of the façade.
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