Santi Claudio e Andrea dei Borgognoni

St. Andrew

00187 Roma

Santi Claudio e Andrea dei Borgognoni (also called without epithets Santi Claudio e Andrea ) is a dedicated to St. Claudius and St. Andrew consecrated baroque church in Rome. In its present form it is taken from the first half of the 18th century. She is the National Church of the Burgundians (Italian Borgognoni ). It is run by members of the Order of the Blessed Sacrament.

Location

The church is located in Rione Trevi Roman II to a directory named after the cartridges place, about 200 meters northwest of the Trevi Fountain. With its northern side it is located diagonally opposite the church of San Silvestro in Capite.

Architectural History

Originally, there was at this point a hospice, which was established in 1662 by the Burgundians; this was also an oratorio. The beginning of the construction of the present church took place on 5 April 1728 and was completed in 1729. The church is attributed to Antoine Dérizet ( from a source Filippo Raguzzini ), the façade was sure of Dérizet. The French Cardinal Melchior de Polignac consecrated the church on March 4, 1731. Since 1866 the church is looked after by the Eucharistinern. A final transformation was made in 1963.

Specifications

Facade

The facade has two storeys and built on the lower floor triaxial. The surface is divided by pillars according Kompositordnung, wherein the central axis of the pilaster is stepped three times, resulting in an emphasis of the Mittelrisalites result. In the bays of the side surfaces niches are set. They each contain a statue to the left of the one patron St. Andrew, on the right the other St. Claudius. The figure of St. Andrew is a work Luc François Breton, St. Claudius comes from Antoine -Guillaume Grandjacquet, both from the 18th century. The niches, as well as the actual portal flanked by pilasters Tuscan order. The actual portal is surmounted by a circular arc and a niche with inclined festoons. Directly Above the gate is a small blackboard with a year value, called the 1729. Above the cornice with the dedicatory inscription rises the upper floor, it takes over in the breakdown of the central axis of the specifications of the basement. A rectangular window breaks through the wall, the side surfaces are not running, but run in a steep curve shape at both sides in pedestals with flames vases from. A segment excludes the gable facade off in him a coat of arms with the French lilies. Another four flames vases and a cross crowning the facade.

Interior

The church was built after about the basic structure of a Greek cross, the longitudinal direction is slightly extended. The interior is covered by a dome, contains a low drum and a lantern. The basic structure after it has two arms of the cross, the choir to the high altar and the entrance opposite. At the entrance side chapels left and right are added. Transepts and chapels are covered by barrel vaults.

The interior is divided by pilasters of the Corinthian order, the church is richly decorated with gilding and stucco. The pendentives are decorated with figures of the four evangelists of stucco. The dome is divided by four wide, after becoming narrow top straps that sit on staggered Pilasterchen Tuscan order. In the area between the flanges of four circular windows are inserted. The right arm of the cross contains a representation on the altarpiece of Saint Charles Borromeo, created by the Baroque painter Placido Costanzi. The painting of the left is modern, it represents the Holy Claudius and Cleto Luzi, worked in 1939.

The painting of the left transept is the resurrection of Christ, worked by the French painter Jean -François de Troy in the first half of the 18th century. The painting of the right-hand side is also a work of Luzi, also from 1939, it shows the other patron, the St. Andrew.

The right side contains a chapel still originating from the Baroque altar, the altarpiece, depicting the St. Joseph is modern. The equipment of the left side of the chapel is entirely modern.

The high altar contains the altarpiece with the church cartridges, a working Pietro Barbieri's from the 18th century. Still Above the altar a fresco represented God the Father by Antonio Bicchierai, also from the 18th century.