Rome, restoration completed at Basilica of Santa Maria del Popolo

Two years after work began, the complex restorations involving the Basilica of Santa Maria del Popolo, one of the capital’s most splendid sites representing one of the pinnacles of Roman Renaissance and Baroque art, have finally been completed in Rome . The interventions, which were completed in November 2024, involved both the conservation of architectural surfaces and the restoration of numerous paintings and sculptures that decorate the central nave and transept of the Augustinian basilica. The project was carried out thanks to the synergy between the Special Superintendence of Rome - Ministry of Culture, the Fondo Edifici di Culto (Fec) of the Ministry of the Interior (owner of the building) and two major private sponsors, Urban Vision S.p.A. and Mecenati Roman Heritage.

The Basilica of Santa Maria del Popolo, built in the 15th century under Pope Sixtus IV on a chapel previously built under Pope Paschal II, has evolved over the centuries at the hands of some of history’s greatest architects and artists. From Bramante to Raphael, Caravaggio to Bernini, each era has left its mark on this place, resulting in one of the most extraordinary blends of Renaissance and Baroque art and architecture. The restoration, therefore, has not only restored luster to the building, but has also made it possible to enhance this historical, artistic and religious heritage, which for centuries has been one of the main landmarks for Romans and visitors from all over the world.

The work, which began in 2022, was conducted under the direction of the Special Superintendence of Rome and supervised by officials Carlo Festa, restorer, Alessandra Lanzoni, art historian, and Alessandro Mascherucci, architect. The collaboration between the public and private sectors made it possible to carry out interventions of great value, which not only aimed to preserve the structure, but also to return a completely renovated basilica to the citizens and pilgrims who are preparing to visit it during the upcoming Jubilee.

The main restoration interventions

The first block of work, designed and directed by Darc Studio (Cristina Bigari restorer), carried out by Acanto srl with the technical sponsorship of Urban Vision spa (cost, 1,445,000 euros) involved major interventions, including the restoration of the triumphal arch, the 15th-century pillars, and the verification of the roofing in the areas adjacent to the drum of the dome. The second intervention (director of works Alessandro Mascherucci, with the collaboration of Carlo Festa and Alessandra Lanzoni, contractors Consortium Arkè and Claudio Pinchi, cost 530,000 euros, with funds from the Fec) was the restoration of the golden archway and stuccoes of the high altar, the chancels and the organ, but also the preservation of a rare bichrome terracotta floor of the Cerasi Chapel, which dates back to the early 17th century. The chapel, designed by Carlo Maderno and famous for Caravaggio’s masterpieces, including the Crucifixion of St. Peter and the Conversion of St. Paul, has thus seen not only the floor, but also the fresco of the Vision of St. Paul in the vault, return to its former glory. Also, in the left aisle, the funeral monument of Flaminia Odescalchi Chigi, an 18th-century work by architect Paolo Posi, an example of Roman Baroque in all its magnificence, has been restored.

Next to Odescalchi’s tomb, the famous Chigi Chapel, designed by Raphael, saw the restoration of its bronze crown by Bernini, which in the past was mistakenly believed to be a lantern. This intervention brought to light one of the basilica’s most significant iconographic elements.

Another important part of the intervention was the restoration of the surfaces of the nave, including the 15th-century travertine pillars and their capitals covered in stucco. The intervention also involved the vaults and apsidal basins of the transept, with the restoration of the original polychromy of the coats of arms of Sixtus IV della Rovere. The work also involved the restoration of the stucco decorations adorning the lunettes and vaults of the nave, the work of artists close to Bernini and depicting Augustinian saints and the coat of arms of Alexander VII, the pope who promoted the baroque renovation of the basilica.

Finally, also restored were the marble altars of the right and left transepts, the twin side doors, Bernardino Mei’s altarpiece depicting the Holy Family and Giovanni Maria Morandi’s altarpiece with the subject of the Visitation: this third block, costing 79,000 euros, was carried out by the firm Artificia Consorzio, while restorer Susanna Sarmati took care of the altarpieces, technical sponsorship of Mecenati Roman Heritage Onlus. The restoration of the two altarpieces by Bernardino Mei and Giovanni Maria Morandi was another highlight: during the restoration of Bernardino Mei’s altarpiece, the artist’s signature was discovered, a revelation that further enriched the historical and artistic value of the work. Restorations of the twin side doors flanking the two altars restored the original trompe l’oeil, a pictorial work that simulates three-dimensionality, which had been lost over the centuries.

Concluding the long restoration process, Santa Maria del Popolo is now ready to welcome its visitors again, confirming it as one of the most significant places in Rome, a symbol of the synthesis between the Renaissance and the Baroque. The intervention, which saw the involvement of numerous professionals in the field, was of great value both for the city and for Italy’s cultural heritage. Thanks to the collaboration between public and private institutions, the basilica is now restored in its original beauty, ready to be experienced by new and ancient pilgrims.

Statements.

“The basilica of Santa Maria del Popolo, in addition to being a place of worship of great importance, is the custodian of the creative genius of such masters as Pinturicchio, Raphael, Caravaggio and Bernini, whose masterpieces helped define the face of our civilization,” says Interior Minister Matteo Piantedosi. “The conclusion of these complex and important works restores the crucial role that the Fondo Edifici di Culto plays in the conservation and enhancement of our country’s historical and artistic heritage. The FEC represents one of the highest testimonies of our commitment to the protection of what the past has given us and what the present has the duty to preserve. My hope is that this basilica, with its history and newfound beauty, can be not only a place of prayer and contemplation, but also a symbol of our ability to guard what we hold most precious.”

“The project involving the splendid restoration of Santa Maria del Popolo on the one hand is the result of virtuous collaboration between the public and private sectors, and on the other it offers subject matter for debate on the valuable role of the Superintendencies,” says Culture Minister Alessandro Giuli. “It is precisely the Superintendencies that are the direct meeting point with local governments and citizenship, to exercise protection, preserve and transmit to future generations the values of Italy’s cultural heritage.”

Rome, restoration completed at Basilica of Santa Maria del Popolo

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