The Church of the Gesù in Rome: A Baroque Architectural Landmark
The Church of the Gesù, Rome: Architectural Landmark
Designed by Jacopo Vignola (who provided the treatise) and Giovanni Tristano (who directed the work), the Church of the Gesù in Rome features a facade by Giacomo della Porta. Construction began in 1568, following a project initiated between 1563 and 1568. The church was consecrated between 1584 and 1586, with the facade completed during this period. This church profoundly influenced many subsequent churches of its period and those of the Jesuit order.
Architectural Plan and Innovations
The church features a basilica plan with a prominent apse, designed to emphasize a Latin cross layout. Its single nave is crossed by a transept, resembling a basilica. Uniquely, chapels were added externally to this nave. A significant innovation is that these side chapels communicate with each other, effectively functioning as aisles and providing space for congregational movement or smaller services. This architectural plan draws inspiration from 15th-century Italian churches. It shares a close relationship with San Andrés de Mantua (designed by Alberti), particularly in its ground plan and the unique craftsmanship. The crossing was extended, influenced by Baroque design and the later addition of an 18th-century dome.
Interior Design and Baroque Splendor
The interior of the Gesù, directed by Giovanni Tristano, was initially intended by the Jesuits to possess great composure. However, it was ultimately decorated in the 17th century, becoming filled with rich Baroque ornamentation. It consists of a single, wide nave. The altar is positioned to emphasize the sacred mystery, while the pulpit, an element introduced by the Jesuits to indoctrinate the faithful, is centrally located within the nave. This church boasts excellent acoustics. The traditional choir at the foot of the nave is replaced by a lateral platform, elevated above the side chapels.
These nave chapels open in the form of arches. Between them stand massive pillars adorned with paired pilasters. The polychrome decoration utilizes various materials, featuring fluted pilasters with convex, ‘dough ball’ like forms at their base. Upon reaching the crossing, the entrance and size of the chapels are reduced, marked by a simple door lintel. The pilasters are topped with compound capitals, supporting a classical entablature—a clear continuity of both Renaissance and Baroque styles. This entablature’s composition includes an architrave, a frieze with bands and a decorated bench, and a cornice. The decoration frequently incorporates wreaths or garlands, conveying a sense of triumphalism.
The Iconic Facade by Giacomo della Porta
The facade, designed between 1580 and 1586, reflects a double design influence, notably Vignola’s initial concepts. It features prominent vertical buttresses, finials on the upper sections, and extensive use of columns and pilasters. The facade is emphatic, characterized by strong horizontal cornices. Its lower body utilizes columns and pilasters as separators, placed closely together and divided by a fascia line.
The second body is supported by a high base. While both Vignola and Della Porta incorporated pediments on plinths, Della Porta added a classic triangular Anti-Mannerist element. Vignola’s original design broke the central pediment to place the Jesuit arms, emphasizing the verticality of the main door. Della Porta’s design introduced a sense of breadth and widening to the facade. Vignola’s initial draft included statues that would have extended the height and added theatricality, a key Baroque trait.
In conclusion, the facade of the Gesù exhibits significant movement, combining horizontal and vertical elements. Vignola had also projected concave buttresses, which were ultimately rendered as vertical buttresses in the final design. Also noteworthy is the importance of the steps, symbolizing the welcoming entrance for the faithful.