Interior
Inside, the main entrance is located on the short axis of the church and directly faces the high altar. The oval form of the main congregational space of the church is defined by the wall, pilasters and entablature, which frame the side chapels, and the golden dome above. Large paired columns supporting a curved pediment differentiate the recessed space of the high altar from the congregational space.
In contrast to the dark side chapels, the high altar niche is well lit from a hidden source and becomes the main visual focus of the lower part of the interior. As a result, the congregation effectively become ‘witnesses’ to the theatrical narrative of St Andrew which begins in the High Altar chapel and culminates in the dome. Over the High Altar is an oil painting of the Martyrdom of Saint Andrew (1668) by French painter Guillaume Courtois, a depiction which shows Andrew tied to the diagonals of the form of the cross on which he was crucified. Andrew appears for a second time as if he were breaking through the curved pediment of the edicule frame to the high altar; this time he is represented by a white marble sculpture carved by Antonio Raggi. He is shown on a cloud, designating a heavenly appearance, and, with his arm outstretched and gaze cast upwards, he indicates that he is on his way to Heaven as represented by the golden dome, the stucco cherubim heads clustered around the opening to the lantern, and the lantern vault with the Dove of the Holy Ghost. This dramatic visual narrative is sustained not only upwards through the space of the church but employs different artistic modes. Bernini combined painting, sculpture and architecture into a synthesis to create visually the idea of the apotheosis of St Andrew in this spiritual theater. He used a similar synthesis of artistic modes in his design of the Ecstasy of Saint Theresa in the Cornaro Chapel of Santa Maria della Vittoria. This synthesis has been referred to as the ‘unity of the visual arts’.
Read more about this topic: Sant'Andrea Al Quirinale
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