Church of Sant'Andrea della Valle de Maderno

Church of Sant'Andrea della Valle de Maderno
Church of Sant'Andrea della Valle de Maderno

This temple in the city of Rome was actually started under the direction of Giacomo della Porta and Francesco Grimaldi around 1592. But this project was not very successful, so in 1608 Carlo Maderno is commissioned to take it up again, and you can practically say that almost everything is his work, even the facades that would not be finished until the 1760s with the addresses of Rainaldi and Carlo Fontana, who, although based on the plans devised by Maderno, also made certain key modifications to the initial architectural concepts.

Church of Sant'Andrea della Valle of Maderno

Church Sant’Andrea della Valle de Maderno

The plan of the Church of Sant'Andrea della Valle immediately recalls the Temple of Il Gesú, built around 1568 by Vignola. In the case of the temple of Maderno it is a church with a nave with chapels located between the buttresses and connected to each other. And with respect to Il Gesú, the second floor of the gallery has been eliminated, so the chapels and their mouth arches are much higher and there is greater integration into the internal space. In fact, this gives an idea of ​​the tendency towards verticality of many churches of baroque architecture.

He has also replaced the double pilasters with groups of pilasters, whichthat provides the interior with greater plasticity and a forward movement in which the entablature and the ribs that descend from the vaults are joined. In reality, what he has generated is a framework, both horizontal and vertical, that structures the construction and at the same time is capable of giving it dynamism.

As for the dome that covers the most outstanding space, it follows the model generated by Miguel Ángel is his facet as an architect. That is, there is a drum and a second drum, the dome itself and a lantern. Although, the evolution is manifested in that it is a lighter element, since it changes the proportions at the expense of the dome, making the drum and the area of ​​the openings larger. This sensation of lightness is accentuated when contemplating it from the façade. If only this façade had been built faithfully following the plans of Maderno. Since with his project, it would not have been covered, and it would have even highlighted the vertical thrust more

On the other hand, if Maderno's criteria were taken into account, some of which are constant in his religious architecture, as can be seen if you compare this facade with that of the church of Santa Susana, also in Rome. For example, he poses the facades and entrances to the temple giving great importance to the door, to turn it into a point of communication with his environment. And from there he generates the tour of the interior, always guided by the plastic and dynamic framework that integrates each of the structural and decorative elements. They all persuadevisitor to enter until reaching the most important place, the altar, which always has some spiritual goal.

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