Rome Churches Walking Tour
Overview
Across the Tiber river from the Vatican are three must see churches all containing works from Caravaggio and other Baroque luminaries. Caravaggio was commissioned to paint the paintings for the churches and the paintings have remained in place for over 400 years and are still in excellent condition. Both St. Luigi and St. Augustine’s churches are near Piazza Navona and Santa Maria del Popolo is a short 15 minute walk north from there.
Before you go
Bring 10 euros in 1 euro pieces to turn on the lights for the Caravaggios.
There is no admission fee for the churches but do check their websites to ensure there are no special events or masses occurring that would prevent access.
https://www.agostiniani.it/comunita-agostiniane-provincia/basilica-s-agostino-roma/
https://www.agostiniani.it/comunita-agostiniane-provincia/parrocchia-santa-maria-popolo/
Check the BaroqueArt.org Caravaggio database to ensure the paintings you’d like to see are on display.
Itinerary
We will start a block east of Piazza Navona at Chiesa di San Luigi dei Francesi.
San Luigi dei Francesi
This church was completed in the 16th century so French people would have a place of worship in Rome. As you walk in, stay to the right and find the St. Cecilia Chapel.
Santa Cecilia
St. Cecilia (c.1630) Reni
In the second chapel of the right aisle, is St. Cecilia’s Chapel. On the altar there is a painting of “St. Cecilia” by Guido Reni. This is a copy of Raphael’s famous painting that is hung in Pinacoteca Nazionale, Bologna.
St. Cecilia is known as the patron saint of music because she heard heavenly music in her heart on her wedding day. In art, she’s often shown with an organ or organ pipes in her hand. When officials exhumed her body in 1599, they found her perfectly preserved, which made her the first incorrupt saint.
There are several other chapels on the right side of the church but our main event is located in the transept on the left side of the church. It will be easy to spot because there will probably be plenty of tourists wanting to get a peek of Caravaggio’s three masterpieces.
Be sure to check out the altar as you walk across the church to get to the Contarelli chapel.
Contarelli Chapel
"The Calling of Saint Matthew," "The Inspiration of Saint Matthew," and "The Martyrdom of Saint Matthew." Caravaggio's dynamic use of light and shadow, along with his realistic portrayal of the figures, brings these biblical scenes to life with intense emotional power. Each painting captures a pivotal moment in St. Matthew's life, highlighting themes of divine intervention, inspiration, and sacrifice. The dramatic composition and vivid details make these paintings a remarkable reflection of Caravaggio's innovative style and his ability to convey profound spiritual narratives.
After you have seen the Caravaggios you can exit the church and head left (north) two block to via delle Coppelle and turn left to find our next destination, Basilica de Sant’Agostino.
Basilica di Sant'Agostino
Just north east of Piazza Navona, you will find the Basilica di Sant’Agostino. This Basilica was built in the 1430s and is one of the first Renaissance Basilicas built in Rome.
You will see signs inside the church for the Caravaggio but I suggest waiting to visit it last. Most of the pieces in this church with the notable exception of the Lanfrancos and Caravaggios are in poor condition and are not well lit, which makes them extremely difficult to observe and appreciate. We’ve picked out a few pieces that are in viewable condition.
The third Chapel on your right is for St. Rita.
Ecstasy of Blessed Rita da Cascia
Ecstasy of Blessed Rita da Cascia (1674) Brandi
Ecstasy of Blessed Rita da Cascia (1674) by Giacinto Brandi is on the altar of the Chapel.St. Rita was born in 1381 into a family with strong Christian values. After her husband was murdered, she prayed constantly that her two sons wouldn’t seek revenge. She eventually became an Augustinian nun at the convent of Cascia. 15 years before her death, Rita asked Jesus to share in His suffering, and she received a thorn from His crown on her forehead. She passed away in 1447 after a life full of sanctity. You can see the thorn in the forehead of the statue to the left of the altar.
Continue walking down the aisle and appreciate the lavishly decorated altar.
In the left transept there are two small wrought iron doors on the east side of the transept. This chapel is called the Chapel of St. Augustine and St. William. The doors were locked when I visited, but the lights were on and you could see three magnificent Lanfranco pieces.
The Coronation of the Virgin between Saints Augustine and William
The Coronation of the Virgin between Saints Augustine and William (c.1639), Lanfranco
“The Coronation of the Virgin between Saints Augustine and William” (c.1639), by Giovanni Lanfranco. The chapel highlights both the spiritual and physical relief that comes from God, and the Virgin Mary's role in humanity's story. The dedication to Sts. Augustine and William reminds us of the close bond between the orders they founded: the Augustinians and the Williamites.
Further down the aisle you will find the Chapel of St. John of Sahagun
Miracle of the Saint and vision of the Trinity
Miracle of the Saint and vision of the Trinity (c.1660) Brandi
“Miracle of the Saint and vision of the Trinity”(c.1660), by Giacinto Brandi. This beautiful painting shows St. John of Sahagun drawing a child up from a well, with the help of his own belt, after ordering its water to come up. Unfortunately, the canvas is in poor condition but I do hope they work on restoring it as it is a very unique subject and I have not seen others like it.
Make your way down the left aisle and the last chapel will contain the Caravaggio.
Madonna of Loreto
Madonna of Loreto (c.1605) Caravaggio
“Madonna of Loreto”(c.1605) by Caravaggio, unlike most other works in the church, is well-lit and in outstanding condition. When observing Caravaggio’s Madonna of Loreto, consider how he depicts the sacred and ordinary together, making the divine relatable. Notice the humble, emotional expressions of the pilgrims, and the dynamic arrangement of the figures that brings movement and tension to the scene. This painting captures faith and devotion, bridging the gap between heaven and earth, making it a powerful and relatable piece.
The subject of the painting is specific to Catholic tradition that in the 13th century, the Virgin Mary’s house in Nazareth was carried by angels to Loreto, a small community in the Marche region of Italy. You can see Mary standing on the doorstep of the building, but there aren’t any other visual indications that Caravaggio is depicting the Virgin Mary’s house in Loreto. However, we have the contract that specifically commissions Caravaggio to paint "Madonna of Loreto”, so we know what is happening in the painting. Unsurprisingly, Caravaggio chose to forgo the common iconography of the time for the Madonna of Loreto, which shows the house being physically carried by Angels.
When you are done in the church, turn left and walk back to Via Delle Scrofa and turn left. Walk for about 15 minutes and you will find yourself in a large plaza with an obelisk in the center and a fountain with Neptune on your left. Walk through the plaza and cross the street and you will see the entrance to the Basilica Parrocchiale Santa Maria del Popolo on your right.
Basilica Parrocchiale Santa Maria del Popolo
Santa Maria Del Popolo is built on the site where the Roman emperor Nero was buried. It was Pope Paschal II in 1099 who began the construction of a chapel where Santa Maria del Popolo now stands to celebrate the liberation of the Holy Sepulchre by the crusaders. The church that we see today was started in the late 15th century.
Stay to the right as you enter the church and you will see the second chapel on the right is the Cybo Chapel.
Disputation over the Immaculate Conception with the Four Doctors of the Church
Disputation over the Immaculate Conception with the Four Doctors of the Church (1686) Maratta.
“Disputation over the Immaculate Conception with the Four Doctors of the Church”(1686) by Carlo Maratta. highlights the doctrine of the Immaculate Conception, which states that the Virgin Mary was conceived without original sin. The painting features Mary surrounded by angels, seated on a crescent moon and crowned with stars, symbolizing her purity and divine nature. Below, the Four Doctors of the Church—Saint John the Evangelist, Saint Gregory the Great, Saint Augustine, and Saint John Chrysostom—engage in a theological debate.
On the sidewalls of the chapel you will find the Martyrdom of St Catherine of Alexandria and the Martyrdom of St Lawrence.
Martyrdom of St Catherine of Alexandria
Martyrdom of St Catherine of Alexandria (1685) Seyter.
“Martyrdom of St Catherine of Alexandria” (1685) by Daniel Seyter.The painting captures the moment of her martyrdom with dramatic intensity, showcasing her steadfast faith and the brutal reality of her execution.
Martyrdom of St Lawrence
Martyrdom of St Lawrence (1685) Seyter.
“Martyrdom of St Lawrence” (1685) by Daniel Seyter. The painting vividly depicts the martyrdom of St. Lawrence, who was famously martyred by being roasted alive on a gridiron. Seyter captures the intense physical and emotional suffering of the saint with dramatic realism.
As you continue down the aisle you will reach the transept, if you turn right you will see a picture of the Visitation by Morandi..
The Visitation
The Visitation (1659) Morandi.
“The Visitation” (1659) by Giovanni Maria Morandi. This painting shows Mary and her cousin Elizabeth with Joseph and Zechariah in the background with cherubs playing in the foreground. This depiction varies from the standard setting of Mary and Elizabeth embracing outside of Elizabeth’s house. Here we see Elizabeth inviting Mary inside with Zechariah helping Joseph carry their bags.
Walk across the church to the other side and be sure to take in the beautiful altar.
In the opposite transept is a painting by Bernadino Mei.
Rest on the Flight to Egypt
Rest on the Flight to Egypt (1638) Mei
“Rest on the Flight to Egypt “ (1638) by Bernadino Mei is an interesting depiction of the traditional scene. Mei shows angels that present the not-so baby Jesus with symbols from his future passion, while Mary and Joseph look on.
Turn to the right to find the Cerasi Chapel to see the masterpieces by Caravaggio. The Cerasi Chapel has an interesting history with regards to the Caravaggio paintings, both of the initial paintings were rejected and Caravaggio created two new paintings for the chapel. The original painting of St. Peter has been lost and the original painting of the conversion of st. Paul is now housed in the Odescalchi Balbi Collection also in Rome.
The Cerasi Chapel
On the left wall is “The crucifixion of St. Peter”(1602) by Caravaggio. This painting captures the moment Peter is being crucified upside down, showing the intense struggle and emotion. The detailed realism, from the executioner's dirty feet to the expressive faces, brings a gritty human element to the scene. The contrast and color guide the viewer's eye, enhancing the dramatic impact.
On the altar we find the “Assumption of the Virgin Mary”(1600) by Annibale Caracci. Carracci masterfully captures the moment of the Virgin Mary's ascent to heaven, surrounded by angels. The dynamic composition and vivid colors draw viewers into the scene, creating a sense of movement and divine energy. This piece is notable for its blend of realism and idealism, reflecting Carracci's deep understanding of human anatomy and his ability to convey spiritual themes.
On the right wall is the “Conversion of St. Paul”(1602) by Caravaggio. This painting depicts the dramatic moment of Saul's transformation into Paul on the road to Damascus. The painting captures the intense emotional and physical impact of the divine encounter, with Saul sprawled on the ground and blinded by the heavenly light. The use of chiaroscuro highlights the contrast between light and dark, emphasizing the moment of revelation. The composition is tight and focused, drawing the viewer into the scene's immediacy and intensity.
After the Cerasi chapel you can make your way back toward the entrance of the church. The last chapel is the Montemirabile chapel.
Montemirabile Chapel
Baptism of Christ (1674) Rossi
“Baptism of Christ”(1674) by Pasquale Rossi is one of his few public works in Rome. Unfortunately, the painting's lower part is damaged by votive candle burns. The scene, set in a dark, moody landscape, shows a menacing sky and a simple log cross beside two lively angels, hinting at Jesus' fate. As John pours water on Christ's head, he looks towards the Holy Spirit dove and God, surrounded by angels. Jesus' gestures reflect humility and acceptance of his destiny.
This concludes our tour of Baroque paintings in three of Rome’s most famous churches. Please let us know in the comments below what you think!
