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Title
[Collegio di Propaganda Fide, General side view of the front (west) façade, from the north]
Creators
Francesco Borromini (Italian architect, 1599-1667); Gian Lorenzo Bernini (Italian architect, 1598-1680)
Description
A commission that involved Borromini as an architect of both churches and palazzi was the Collegio di Propaganda Fide, the headquarters of the Catholic missionary congregation. Although he took charge of building work in 1646, his greatest contributions to shaping the palazzo belong to his last creative years. The complex includes a dormitory and chapel as well. The College was founded by Urbanus VIII for the training of missionaries. The palace is still devoted to its original purpose, but the ground floor has been converted to shopping. The facade over the Piazza di Spagna is by Bernini, whereas Borromini designed the convex and concave entrance facade facing Via Propaganda. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco
Title
[Collegio di Propaganda Fide, Close view of the main portal]
Creators
Francesco Borromini (Italian architect, 1599-1667); Gian Lorenzo Bernini (Italian architect, 1598-1680)
Description
A commission that involved Borromini as an architect of both churches and palazzi was the Collegio di Propaganda Fide, the headquarters of the Catholic missionary congregation. Although he took charge of building work in 1646, his greatest contributions to shaping the palazzo belong to his last creative years. The complex includes a dormitory and chapel as well. The College was founded by Urbanus VIII for the training of missionaries. The palace is still devoted to its original purpose, but the ground floor has been converted to shopping. The facade over the Piazza di Spagna is by Bernini, whereas Borromini designed the convex and concave entrance facade facing Via Propaganda. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco
Title
[Collegio di Propaganda Fide, Side view from the south]
Creators
Francesco Borromini (Italian architect, 1599-1667); Gian Lorenzo Bernini (Italian architect, 1598-1680)
Description
A commission that involved Borromini as an architect of both churches and palazzi was the Collegio di Propaganda Fide, the headquarters of the Catholic missionary congregation. Although he took charge of building work in 1646, his greatest contributions to shaping the palazzo belong to his last creative years. The complex includes a dormitory and chapel as well. The College was founded by Urbanus VIII for the training of missionaries. The palace is still devoted to its original purpose, but the ground floor has been converted to shopping. The facade over the Piazza di Spagna is by Bernini, whereas Borromini designed the convex and concave entrance facade facing Via Propaganda. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco
Title
[Collegio di Propaganda Fide, Side view from the south, looking up]
Creators
Francesco Borromini (Italian architect, 1599-1667); Gian Lorenzo Bernini (Italian architect, 1598-1680)
Description
A commission that involved Borromini as an architect of both churches and palazzi was the Collegio di Propaganda Fide, the headquarters of the Catholic missionary congregation. Although he took charge of building work in 1646, his greatest contributions to shaping the palazzo belong to his last creative years. The complex includes a dormitory and chapel as well. The College was founded by Urbanus VIII for the training of missionaries. The palace is still devoted to its original purpose, but the ground floor has been converted to shopping. The facade over the Piazza di Spagna is by Bernini, whereas Borromini designed the convex and concave entrance facade facing Via Propaganda. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco
Title
[Collegio di Propaganda Fide, Looking up at the west façade, left of the main portal]
Creators
Francesco Borromini (Italian architect, 1599-1667); Gian Lorenzo Bernini (Italian architect, 1598-1680)
Description
A commission that involved Borromini as an architect of both churches and palazzi was the Collegio di Propaganda Fide, the headquarters of the Catholic missionary congregation. Although he took charge of building work in 1646, his greatest contributions to shaping the palazzo belong to his last creative years. The complex includes a dormitory and chapel as well. The College was founded by Urbanus VIII for the training of missionaries. The palace is still devoted to its original purpose, but the ground floor has been converted to shopping. The facade over the Piazza di Spagna is by Bernini, whereas Borromini designed the convex and concave entrance facade facing Via Propaganda. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco
Title
[Collegio di Propaganda Fide, Looking up at the west façade, right of the main portal]
Creators
Francesco Borromini (Italian architect, 1599-1667); Gian Lorenzo Bernini (Italian architect, 1598-1680)
Description
A commission that involved Borromini as an architect of both churches and palazzi was the Collegio di Propaganda Fide, the headquarters of the Catholic missionary congregation. Although he took charge of building work in 1646, his greatest contributions to shaping the palazzo belong to his last creative years. The complex includes a dormitory and chapel as well. The College was founded by Urbanus VIII for the training of missionaries. The palace is still devoted to its original purpose, but the ground floor has been converted to shopping. The facade over the Piazza di Spagna is by Bernini, whereas Borromini designed the convex and concave entrance facade facing Via Propaganda. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco
Title
[Collegio di Propaganda Fide, Close side view of the front façade, from the north]
Creators
Francesco Borromini (Italian architect, 1599-1667); Gian Lorenzo Bernini (Italian architect, 1598-1680)
Description
A commission that involved Borromini as an architect of both churches and palazzi was the Collegio di Propaganda Fide, the headquarters of the Catholic missionary congregation. Although he took charge of building work in 1646, his greatest contributions to shaping the palazzo belong to his last creative years. The complex includes a dormitory and chapel as well. The College was founded by Urbanus VIII for the training of missionaries. The palace is still devoted to its original purpose, but the ground floor has been converted to shopping. The facade over the Piazza di Spagna is by Bernini, whereas Borromini designed the convex and concave entrance facade facing Via Propaganda. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco
Title
[Collegio di Propaganda Fide, View looking up at the main portal]
Creators
Francesco Borromini (Italian architect, 1599-1667); Gian Lorenzo Bernini (Italian architect, 1598-1680)
Description
A commission that involved Borromini as an architect of both churches and palazzi was the Collegio di Propaganda Fide, the headquarters of the Catholic missionary congregation. Although he took charge of building work in 1646, his greatest contributions to shaping the palazzo belong to his last creative years. The complex includes a dormitory and chapel as well. The College was founded by Urbanus VIII for the training of missionaries. The palace is still devoted to its original purpose, but the ground floor has been converted to shopping. The facade over the Piazza di Spagna is by Bernini, whereas Borromini designed the convex and concave entrance facade facing Via Propaganda. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco
Title
[Collegio di Propaganda Fide, Frontal view of the main portal]
Creators
Francesco Borromini (Italian architect, 1599-1667); Gian Lorenzo Bernini (Italian architect, 1598-1680)
Description
A commission that involved Borromini as an architect of both churches and palazzi was the Collegio di Propaganda Fide, the headquarters of the Catholic missionary congregation. Although he took charge of building work in 1646, his greatest contributions to shaping the palazzo belong to his last creative years. The complex includes a dormitory and chapel as well. The College was founded by Urbanus VIII for the training of missionaries. The palace is still devoted to its original purpose, but the ground floor has been converted to shopping. The facade over the Piazza di Spagna is by Bernini, whereas Borromini designed the convex and concave entrance facade facing Via Propaganda. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco
Title
[Collegio di Propaganda Fide, View of the street from the main portal]
Creators
Francesco Borromini (Italian architect, 1599-1667); Gian Lorenzo Bernini (Italian architect, 1598-1680)
Description
A commission that involved Borromini as an architect of both churches and palazzi was the Collegio di Propaganda Fide, the headquarters of the Catholic missionary congregation. Although he took charge of building work in 1646, his greatest contributions to shaping the palazzo belong to his last creative years. The complex includes a dormitory and chapel as well. The College was founded by Urbanus VIII for the training of missionaries. The palace is still devoted to its original purpose, but the ground floor has been converted to shopping. The facade over the Piazza di Spagna is by Bernini, whereas Borromini designed the convex and concave entrance facade facing Via Propaganda. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco
Title
[Collegio di Propaganda Fide, Close view of the wall to the north of the main portal]
Creators
Francesco Borromini (Italian architect, 1599-1667); Gian Lorenzo Bernini (Italian architect, 1598-1680)
Description
A commission that involved Borromini as an architect of both churches and palazzi was the Collegio di Propaganda Fide, the headquarters of the Catholic missionary congregation. Although he took charge of building work in 1646, his greatest contributions to shaping the palazzo belong to his last creative years. The complex includes a dormitory and chapel as well. The College was founded by Urbanus VIII for the training of missionaries. The palace is still devoted to its original purpose, but the ground floor has been converted to shopping. The facade over the Piazza di Spagna is by Bernini, whereas Borromini designed the convex and concave entrance facade facing Via Propaganda. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco
Title
[Collegio di Propaganda Fide, Close side view of the area over the portal]
Creators
Francesco Borromini (Italian architect, 1599-1667); Gian Lorenzo Bernini (Italian architect, 1598-1680)
Description
A commission that involved Borromini as an architect of both churches and palazzi was the Collegio di Propaganda Fide, the headquarters of the Catholic missionary congregation. Although he took charge of building work in 1646, his greatest contributions to shaping the palazzo belong to his last creative years. The complex includes a dormitory and chapel as well. The College was founded by Urbanus VIII for the training of missionaries. The palace is still devoted to its original purpose, but the ground floor has been converted to shopping. The facade over the Piazza di Spagna is by Bernini, whereas Borromini designed the convex and concave entrance facade facing Via Propaganda. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco
Title
[Collegio di Propaganda Fide, View of the ground floor (behind the portal and leading to the court)]
Creators
Francesco Borromini (Italian architect, 1599-1667); Gian Lorenzo Bernini (Italian architect, 1598-1680)
Description
A commission that involved Borromini as an architect of both churches and palazzi was the Collegio di Propaganda Fide, the headquarters of the Catholic missionary congregation. Although he took charge of building work in 1646, his greatest contributions to shaping the palazzo belong to his last creative years. The complex includes a dormitory and chapel as well. The College was founded by Urbanus VIII for the training of missionaries. The palace is still devoted to its original purpose, but the ground floor has been converted to shopping. The facade over the Piazza di Spagna is by Bernini, whereas Borromini designed the convex and concave entrance facade facing Via Propaganda. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco
Title
[Collegio di Propaganda Fide, View of the north wall]
Creators
Francesco Borromini (Italian architect, 1599-1667); Gian Lorenzo Bernini (Italian architect, 1598-1680)
Description
A commission that involved Borromini as an architect of both churches and palazzi was the Collegio di Propaganda Fide, the headquarters of the Catholic missionary congregation. Although he took charge of building work in 1646, his greatest contributions to shaping the palazzo belong to his last creative years. The complex includes a dormitory and chapel as well. The College was founded by Urbanus VIII for the training of missionaries. The palace is still devoted to its original purpose, but the ground floor has been converted to shopping. The facade over the Piazza di Spagna is by Bernini, whereas Borromini designed the convex and concave entrance facade facing Via Propaganda. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco
Title
[Collegio di Propaganda Fide, Detail of a belt cornice]
Creators
Francesco Borromini (Italian architect, 1599-1667); Gian Lorenzo Bernini (Italian architect, 1598-1680)
Description
A commission that involved Borromini as an architect of both churches and palazzi was the Collegio di Propaganda Fide, the headquarters of the Catholic missionary congregation. Although he took charge of building work in 1646, his greatest contributions to shaping the palazzo belong to his last creative years. The complex includes a dormitory and chapel as well. The College was founded by Urbanus VIII for the training of missionaries. The palace is still devoted to its original purpose, but the ground floor has been converted to shopping. The facade over the Piazza di Spagna is by Bernini, whereas Borromini designed the convex and concave entrance facade facing Via Propaganda. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco
Title
[Collegio di Propaganda Fide, Barberini bee at building base]
Creators
Francesco Borromini (Italian architect, 1599-1667); Gian Lorenzo Bernini (Italian architect, 1598-1680)
Description
A commission that involved Borromini as an architect of both churches and palazzi was the Collegio di Propaganda Fide, the headquarters of the Catholic missionary congregation. Although he took charge of building work in 1646, his greatest contributions to shaping the palazzo belong to his last creative years. The complex includes a dormitory and chapel as well. The College was founded by Urbanus VIII for the training of missionaries. The palace is still devoted to its original purpose, but the ground floor has been converted to shopping. The facade over the Piazza di Spagna is by Bernini, whereas Borromini designed the convex and concave entrance facade facing Via Propaganda. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco
Title
[Collegio di Propaganda Fide, View of the north wall]
Creators
Francesco Borromini (Italian architect, 1599-1667); Gian Lorenzo Bernini (Italian architect, 1598-1680)
Description
A commission that involved Borromini as an architect of both churches and palazzi was the Collegio di Propaganda Fide, the headquarters of the Catholic missionary congregation. Although he took charge of building work in 1646, his greatest contributions to shaping the palazzo belong to his last creative years. The complex includes a dormitory and chapel as well. The College was founded by Urbanus VIII for the training of missionaries. The palace is still devoted to its original purpose, but the ground floor has been converted to shopping. The facade over the Piazza di Spagna is by Bernini, whereas Borromini designed the convex and concave entrance facade facing Via Propaganda. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco
Title
[Collegio di Propaganda Fide, Close side view of the upper north wall]
Creators
Francesco Borromini (Italian architect, 1599-1667); Gian Lorenzo Bernini (Italian architect, 1598-1680)
Description
A commission that involved Borromini as an architect of both churches and palazzi was the Collegio di Propaganda Fide, the headquarters of the Catholic missionary congregation. Although he took charge of building work in 1646, his greatest contributions to shaping the palazzo belong to his last creative years. The complex includes a dormitory and chapel as well. The College was founded by Urbanus VIII for the training of missionaries. The palace is still devoted to its original purpose, but the ground floor has been converted to shopping. The facade over the Piazza di Spagna is by Bernini, whereas Borromini designed the convex and concave entrance facade facing Via Propaganda. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco
Title
[Collegio di Propaganda Fide, Close side view of the upper north wall]
Creators
Francesco Borromini (Italian architect, 1599-1667); Gian Lorenzo Bernini (Italian architect, 1598-1680)
Description
A commission that involved Borromini as an architect of both churches and palazzi was the Collegio di Propaganda Fide, the headquarters of the Catholic missionary congregation. Although he took charge of building work in 1646, his greatest contributions to shaping the palazzo belong to his last creative years. The complex includes a dormitory and chapel as well. The College was founded by Urbanus VIII for the training of missionaries. The palace is still devoted to its original purpose, but the ground floor has been converted to shopping. The facade over the Piazza di Spagna is by Bernini, whereas Borromini designed the convex and concave entrance facade facing Via Propaganda. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco
Title
[Collegio di Propaganda Fide, Detail of the upper north wall]
Creators
Francesco Borromini (Italian architect, 1599-1667); Gian Lorenzo Bernini (Italian architect, 1598-1680)
Description
A commission that involved Borromini as an architect of both churches and palazzi was the Collegio di Propaganda Fide, the headquarters of the Catholic missionary congregation. Although he took charge of building work in 1646, his greatest contributions to shaping the palazzo belong to his last creative years. The complex includes a dormitory and chapel as well. The College was founded by Urbanus VIII for the training of missionaries. The palace is still devoted to its original purpose, but the ground floor has been converted to shopping. The facade over the Piazza di Spagna is by Bernini, whereas Borromini designed the convex and concave entrance facade facing Via Propaganda. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco
Title
[Collegio di Propaganda Fide, Detail of area over a piano nobile window]
Creators
Francesco Borromini (Italian architect, 1599-1667); Gian Lorenzo Bernini (Italian architect, 1598-1680)
Description
A commission that involved Borromini as an architect of both churches and palazzi was the Collegio di Propaganda Fide, the headquarters of the Catholic missionary congregation. Although he took charge of building work in 1646, his greatest contributions to shaping the palazzo belong to his last creative years. The complex includes a dormitory and chapel as well. The College was founded by Urbanus VIII for the training of missionaries. The palace is still devoted to its original purpose, but the ground floor has been converted to shopping. The facade over the Piazza di Spagna is by Bernini, whereas Borromini designed the convex and concave entrance facade facing Via Propaganda. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco
Title
[Collegio di Propaganda Fide, Detail of area over a piano nobile window]
Creators
Francesco Borromini (Italian architect, 1599-1667); Gian Lorenzo Bernini (Italian architect, 1598-1680)
Description
A commission that involved Borromini as an architect of both churches and palazzi was the Collegio di Propaganda Fide, the headquarters of the Catholic missionary congregation. Although he took charge of building work in 1646, his greatest contributions to shaping the palazzo belong to his last creative years. The complex includes a dormitory and chapel as well. The College was founded by Urbanus VIII for the training of missionaries. The palace is still devoted to its original purpose, but the ground floor has been converted to shopping. The facade over the Piazza di Spagna is by Bernini, whereas Borromini designed the convex and concave entrance facade facing Via Propaganda. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco
Title
[Collegio di Propaganda Fide, Detail of area over a piano nobile window]
Creators
Francesco Borromini (Italian architect, 1599-1667); Gian Lorenzo Bernini (Italian architect, 1598-1680)
Description
A commission that involved Borromini as an architect of both churches and palazzi was the Collegio di Propaganda Fide, the headquarters of the Catholic missionary congregation. Although he took charge of building work in 1646, his greatest contributions to shaping the palazzo belong to his last creative years. The complex includes a dormitory and chapel as well. The College was founded by Urbanus VIII for the training of missionaries. The palace is still devoted to its original purpose, but the ground floor has been converted to shopping. The facade over the Piazza di Spagna is by Bernini, whereas Borromini designed the convex and concave entrance facade facing Via Propaganda. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco
Title
[Collegio di Propaganda Fide, Detail of a belt cornice]
Creators
Francesco Borromini (Italian architect, 1599-1667); Gian Lorenzo Bernini (Italian architect, 1598-1680)
Description
A commission that involved Borromini as an architect of both churches and palazzi was the Collegio di Propaganda Fide, the headquarters of the Catholic missionary congregation. Although he took charge of building work in 1646, his greatest contributions to shaping the palazzo belong to his last creative years. The complex includes a dormitory and chapel as well. The College was founded by Urbanus VIII for the training of missionaries. The palace is still devoted to its original purpose, but the ground floor has been converted to shopping. The facade over the Piazza di Spagna is by Bernini, whereas Borromini designed the convex and concave entrance facade facing Via Propaganda. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco
Title
[Collegio di Propaganda Fide, Close view of the attic story]
Creators
Francesco Borromini (Italian architect, 1599-1667); Gian Lorenzo Bernini (Italian architect, 1598-1680)
Description
A commission that involved Borromini as an architect of both churches and palazzi was the Collegio di Propaganda Fide, the headquarters of the Catholic missionary congregation. Although he took charge of building work in 1646, his greatest contributions to shaping the palazzo belong to his last creative years. The complex includes a dormitory and chapel as well. The College was founded by Urbanus VIII for the training of missionaries. The palace is still devoted to its original purpose, but the ground floor has been converted to shopping. The facade over the Piazza di Spagna is by Bernini, whereas Borromini designed the convex and concave entrance facade facing Via Propaganda. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco
Title
[Collegio di Propaganda Fide, Close view of the attic story, looking up]
Creators
Francesco Borromini (Italian architect, 1599-1667); Gian Lorenzo Bernini (Italian architect, 1598-1680)
Description
A commission that involved Borromini as an architect of both churches and palazzi was the Collegio di Propaganda Fide, the headquarters of the Catholic missionary congregation. Although he took charge of building work in 1646, his greatest contributions to shaping the palazzo belong to his last creative years. The complex includes a dormitory and chapel as well. The College was founded by Urbanus VIII for the training of missionaries. The palace is still devoted to its original purpose, but the ground floor has been converted to shopping. The facade over the Piazza di Spagna is by Bernini, whereas Borromini designed the convex and concave entrance facade facing Via Propaganda. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco
Title
[Collegio di Propaganda Fide, Close view of the attic story, looking up]
Creators
Francesco Borromini (Italian architect, 1599-1667); Gian Lorenzo Bernini (Italian architect, 1598-1680)
Description
A commission that involved Borromini as an architect of both churches and palazzi was the Collegio di Propaganda Fide, the headquarters of the Catholic missionary congregation. Although he took charge of building work in 1646, his greatest contributions to shaping the palazzo belong to his last creative years. The complex includes a dormitory and chapel as well. The College was founded by Urbanus VIII for the training of missionaries. The palace is still devoted to its original purpose, but the ground floor has been converted to shopping. The facade over the Piazza di Spagna is by Bernini, whereas Borromini designed the convex and concave entrance facade facing Via Propaganda. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco
Title
[Oratory of Saint Philip Neri, General view, from the southeast]
Creators
Francesco Borromini (Italian architect, 1599-1667)
Description
Borromini's finest achievement here is the façade of the oratory hall. This room had special importance for the community because it was there that the form of devotion that typified their Order would be held: a sermon, discussion and exquisitely beautiful choral music. Borromini successfully achieved brilliant decorative effects, carrying on the tradition of elegant brickwork from the Roman Imperial period. The present appearance of the façade was created in several phases. The lower level, completed in 1638, was extended from five bays to seven, and a storey was added to it. In 1665 Arcucci embedded the free-standing gable into a newly added mezzanine floor, thereby diluting the original effect of the gable. Two qualities make the Oratory façade a masterpiece of Roman Baroque architecture: it is concave and has, on the middle bay at the lower level, a small convex projection. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stone
Title
[Oratory of Saint Philip Neri, General view, from the southeast, looking up]
Creators
Francesco Borromini (Italian architect, 1599-1667)
Description
Borromini's finest achievement here is the façade of the oratory hall. This room had special importance for the community because it was there that the form of devotion that typified their Order would be held: a sermon, discussion and exquisitely beautiful choral music. Borromini successfully achieved brilliant decorative effects, carrying on the tradition of elegant brickwork from the Roman Imperial period. The present appearance of the façade was created in several phases. The lower level, completed in 1638, was extended from five bays to seven, and a storey was added to it. In 1665 Arcucci embedded the free-standing gable into a newly added mezzanine floor, thereby diluting the original effect of the gable. Two qualities make the Oratory façade a masterpiece of Roman Baroque architecture: it is concave and has, on the middle bay at the lower level, a small convex projection. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stone
Title
[Oratory of Saint Philip Neri, Side view along the base, from the southeast]
Creators
Francesco Borromini (Italian architect, 1599-1667)
Description
Borromini's finest achievement here is the façade of the oratory hall. This room had special importance for the community because it was there that the form of devotion that typified their Order would be held: a sermon, discussion and exquisitely beautiful choral music. Borromini successfully achieved brilliant decorative effects, carrying on the tradition of elegant brickwork from the Roman Imperial period. The present appearance of the façade was created in several phases. The lower level, completed in 1638, was extended from five bays to seven, and a storey was added to it. In 1665 Arcucci embedded the free-standing gable into a newly added mezzanine floor, thereby diluting the original effect of the gable. Two qualities make the Oratory façade a masterpiece of Roman Baroque architecture: it is concave and has, on the middle bay at the lower level, a small convex projection. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stone
Title
[Oratory of Saint Philip Neri, Close view, depicting concave façade]
Creators
Francesco Borromini (Italian architect, 1599-1667)
Description
Borromini's finest achievement here is the façade of the oratory hall. This room had special importance for the community because it was there that the form of devotion that typified their Order would be held: a sermon, discussion and exquisitely beautiful choral music. Borromini successfully achieved brilliant decorative effects, carrying on the tradition of elegant brickwork from the Roman Imperial period. The present appearance of the façade was created in several phases. The lower level, completed in 1638, was extended from five bays to seven, and a storey was added to it. In 1665 Arcucci embedded the free-standing gable into a newly added mezzanine floor, thereby diluting the original effect of the gable. Two qualities make the Oratory façade a masterpiece of Roman Baroque architecture: it is concave and has, on the middle bay at the lower level, a small convex projection. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stone
Title
[Oratory of Saint Philip Neri, Close view, depicting concave façade, left of center]
Creators
Francesco Borromini (Italian architect, 1599-1667)
Description
Borromini's finest achievement here is the façade of the oratory hall. This room had special importance for the community because it was there that the form of devotion that typified their Order would be held: a sermon, discussion and exquisitely beautiful choral music. Borromini successfully achieved brilliant decorative effects, carrying on the tradition of elegant brickwork from the Roman Imperial period. The present appearance of the façade was created in several phases. The lower level, completed in 1638, was extended from five bays to seven, and a storey was added to it. In 1665 Arcucci embedded the free-standing gable into a newly added mezzanine floor, thereby diluting the original effect of the gable. Two qualities make the Oratory façade a masterpiece of Roman Baroque architecture: it is concave and has, on the middle bay at the lower level, a small convex projection. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stone
Title
[Oratory of Saint Philip Neri, Frontal view of the main portal]
Creators
Francesco Borromini (Italian architect, 1599-1667)
Description
Borromini's finest achievement here is the façade of the oratory hall. This room had special importance for the community because it was there that the form of devotion that typified their Order would be held: a sermon, discussion and exquisitely beautiful choral music. Borromini successfully achieved brilliant decorative effects, carrying on the tradition of elegant brickwork from the Roman Imperial period. The present appearance of the façade was created in several phases. The lower level, completed in 1638, was extended from five bays to seven, and a storey was added to it. In 1665 Arcucci embedded the free-standing gable into a newly added mezzanine floor, thereby diluting the original effect of the gable. Two qualities make the Oratory façade a masterpiece of Roman Baroque architecture: it is concave and has, on the middle bay at the lower level, a small convex projection. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stone
Title
[Oratory of Saint Philip Neri, Frontal view of the wall left of main portal]
Creators
Francesco Borromini (Italian architect, 1599-1667)
Description
Borromini's finest achievement here is the façade of the oratory hall. This room had special importance for the community because it was there that the form of devotion that typified their Order would be held: a sermon, discussion and exquisitely beautiful choral music. Borromini successfully achieved brilliant decorative effects, carrying on the tradition of elegant brickwork from the Roman Imperial period. The present appearance of the façade was created in several phases. The lower level, completed in 1638, was extended from five bays to seven, and a storey was added to it. In 1665 Arcucci embedded the free-standing gable into a newly added mezzanine floor, thereby diluting the original effect of the gable. Two qualities make the Oratory façade a masterpiece of Roman Baroque architecture: it is concave and has, on the middle bay at the lower level, a small convex projection. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stone
Title
[Oratory of Saint Philip Neri, Frontal view of the left portion of the façade]
Creators
Francesco Borromini (Italian architect, 1599-1667)
Description
Borromini's finest achievement here is the façade of the oratory hall. This room had special importance for the community because it was there that the form of devotion that typified their Order would be held: a sermon, discussion and exquisitely beautiful choral music. Borromini successfully achieved brilliant decorative effects, carrying on the tradition of elegant brickwork from the Roman Imperial period. The present appearance of the façade was created in several phases. The lower level, completed in 1638, was extended from five bays to seven, and a storey was added to it. In 1665 Arcucci embedded the free-standing gable into a newly added mezzanine floor, thereby diluting the original effect of the gable. Two qualities make the Oratory façade a masterpiece of Roman Baroque architecture: it is concave and has, on the middle bay at the lower level, a small convex projection. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stone
Title
[Oratory of Saint Philip Neri, Façade, looking slightly up]
Creators
Francesco Borromini (Italian architect, 1599-1667)
Description
Borromini's finest achievement here is the façade of the oratory hall. This room had special importance for the community because it was there that the form of devotion that typified their Order would be held: a sermon, discussion and exquisitely beautiful choral music. Borromini successfully achieved brilliant decorative effects, carrying on the tradition of elegant brickwork from the Roman Imperial period. The present appearance of the façade was created in several phases. The lower level, completed in 1638, was extended from five bays to seven, and a storey was added to it. In 1665 Arcucci embedded the free-standing gable into a newly added mezzanine floor, thereby diluting the original effect of the gable. Two qualities make the Oratory façade a masterpiece of Roman Baroque architecture: it is concave and has, on the middle bay at the lower level, a small convex projection. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stone
Title
[Oratory of Saint Philip Neri, Basement windows]
Creators
Francesco Borromini (Italian architect, 1599-1667)
Description
Borromini's finest achievement here is the façade of the oratory hall. This room had special importance for the community because it was there that the form of devotion that typified their Order would be held: a sermon, discussion and exquisitely beautiful choral music. Borromini successfully achieved brilliant decorative effects, carrying on the tradition of elegant brickwork from the Roman Imperial period. The present appearance of the façade was created in several phases. The lower level, completed in 1638, was extended from five bays to seven, and a storey was added to it. In 1665 Arcucci embedded the free-standing gable into a newly added mezzanine floor, thereby diluting the original effect of the gable. Two qualities make the Oratory façade a masterpiece of Roman Baroque architecture: it is concave and has, on the middle bay at the lower level, a small convex projection. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stone
Title
[Oratory of Saint Philip Neri, Ground floor niche]
Creators
Francesco Borromini (Italian architect, 1599-1667)
Description
Borromini's finest achievement here is the façade of the oratory hall. This room had special importance for the community because it was there that the form of devotion that typified their Order would be held: a sermon, discussion and exquisitely beautiful choral music. Borromini successfully achieved brilliant decorative effects, carrying on the tradition of elegant brickwork from the Roman Imperial period. The present appearance of the façade was created in several phases. The lower level, completed in 1638, was extended from five bays to seven, and a storey was added to it. In 1665 Arcucci embedded the free-standing gable into a newly added mezzanine floor, thereby diluting the original effect of the gable. Two qualities make the Oratory façade a masterpiece of Roman Baroque architecture: it is concave and has, on the middle bay at the lower level, a small convex projection. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stone
Title
[Oratory of Saint Philip Neri, Entry portal, pediment]
Creators
Francesco Borromini (Italian architect, 1599-1667)
Description
Borromini's finest achievement here is the façade of the oratory hall. This room had special importance for the community because it was there that the form of devotion that typified their Order would be held: a sermon, discussion and exquisitely beautiful choral music. Borromini successfully achieved brilliant decorative effects, carrying on the tradition of elegant brickwork from the Roman Imperial period. The present appearance of the façade was created in several phases. The lower level, completed in 1638, was extended from five bays to seven, and a storey was added to it. In 1665 Arcucci embedded the free-standing gable into a newly added mezzanine floor, thereby diluting the original effect of the gable. Two qualities make the Oratory façade a masterpiece of Roman Baroque architecture: it is concave and has, on the middle bay at the lower level, a small convex projection. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stone
Title
[Oratory of Saint Philip Neri, Ground floor windows, depicting iron screen]
Creators
Francesco Borromini (Italian architect, 1599-1667)
Description
Borromini's finest achievement here is the façade of the oratory hall. This room had special importance for the community because it was there that the form of devotion that typified their Order would be held: a sermon, discussion and exquisitely beautiful choral music. Borromini successfully achieved brilliant decorative effects, carrying on the tradition of elegant brickwork from the Roman Imperial period. The present appearance of the façade was created in several phases. The lower level, completed in 1638, was extended from five bays to seven, and a storey was added to it. In 1665 Arcucci embedded the free-standing gable into a newly added mezzanine floor, thereby diluting the original effect of the gable. Two qualities make the Oratory façade a masterpiece of Roman Baroque architecture: it is concave and has, on the middle bay at the lower level, a small convex projection. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stone
Title
[Oratory of Saint Philip Neri, Right portal, side view of pediment]
Creators
Francesco Borromini (Italian architect, 1599-1667)
Description
Borromini's finest achievement here is the façade of the oratory hall. This room had special importance for the community because it was there that the form of devotion that typified their Order would be held: a sermon, discussion and exquisitely beautiful choral music. Borromini successfully achieved brilliant decorative effects, carrying on the tradition of elegant brickwork from the Roman Imperial period. The present appearance of the façade was created in several phases. The lower level, completed in 1638, was extended from five bays to seven, and a storey was added to it. In 1665 Arcucci embedded the free-standing gable into a newly added mezzanine floor, thereby diluting the original effect of the gable. Two qualities make the Oratory façade a masterpiece of Roman Baroque architecture: it is concave and has, on the middle bay at the lower level, a small convex projection. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stone
Title
[Oratory of Saint Philip Neri, Second floor window]
Creators
Francesco Borromini (Italian architect, 1599-1667)
Description
Borromini's finest achievement here is the façade of the oratory hall. This room had special importance for the community because it was there that the form of devotion that typified their Order would be held: a sermon, discussion and exquisitely beautiful choral music. Borromini successfully achieved brilliant decorative effects, carrying on the tradition of elegant brickwork from the Roman Imperial period. The present appearance of the façade was created in several phases. The lower level, completed in 1638, was extended from five bays to seven, and a storey was added to it. In 1665 Arcucci embedded the free-standing gable into a newly added mezzanine floor, thereby diluting the original effect of the gable. Two qualities make the Oratory façade a masterpiece of Roman Baroque architecture: it is concave and has, on the middle bay at the lower level, a small convex projection. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stone
Title
[Oratory of Saint Philip Neri, Upper floor, central window]
Creators
Francesco Borromini (Italian architect, 1599-1667)
Description
Borromini's finest achievement here is the façade of the oratory hall. This room had special importance for the community because it was there that the form of devotion that typified their Order would be held: a sermon, discussion and exquisitely beautiful choral music. Borromini successfully achieved brilliant decorative effects, carrying on the tradition of elegant brickwork from the Roman Imperial period. The present appearance of the façade was created in several phases. The lower level, completed in 1638, was extended from five bays to seven, and a storey was added to it. In 1665 Arcucci embedded the free-standing gable into a newly added mezzanine floor, thereby diluting the original effect of the gable. Two qualities make the Oratory façade a masterpiece of Roman Baroque architecture: it is concave and has, on the middle bay at the lower level, a small convex projection. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stone
Title
[Oratory of Saint Philip Neri, Pseudo half dome, upper floor, central window]
Creators
Francesco Borromini (Italian architect, 1599-1667)
Description
Borromini's finest achievement here is the façade of the oratory hall. This room had special importance for the community because it was there that the form of devotion that typified their Order would be held: a sermon, discussion and exquisitely beautiful choral music. Borromini successfully achieved brilliant decorative effects, carrying on the tradition of elegant brickwork from the Roman Imperial period. The present appearance of the façade was created in several phases. The lower level, completed in 1638, was extended from five bays to seven, and a storey was added to it. In 1665 Arcucci embedded the free-standing gable into a newly added mezzanine floor, thereby diluting the original effect of the gable. Two qualities make the Oratory façade a masterpiece of Roman Baroque architecture: it is concave and has, on the middle bay at the lower level, a small convex projection. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stone
Title
[Oratory of Saint Philip Neri, Ground floor cornice, left side]
Creators
Francesco Borromini (Italian architect, 1599-1667)
Description
Borromini's finest achievement here is the façade of the oratory hall. This room had special importance for the community because it was there that the form of devotion that typified their Order would be held: a sermon, discussion and exquisitely beautiful choral music. Borromini successfully achieved brilliant decorative effects, carrying on the tradition of elegant brickwork from the Roman Imperial period. The present appearance of the façade was created in several phases. The lower level, completed in 1638, was extended from five bays to seven, and a storey was added to it. In 1665 Arcucci embedded the free-standing gable into a newly added mezzanine floor, thereby diluting the original effect of the gable. Two qualities make the Oratory façade a masterpiece of Roman Baroque architecture: it is concave and has, on the middle bay at the lower level, a small convex projection. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stone
Title
[Oratory of Saint Philip Neri, Detail of pilaster capitals]
Creators
Francesco Borromini (Italian architect, 1599-1667)
Description
Borromini's finest achievement here is the façade of the oratory hall. This room had special importance for the community because it was there that the form of devotion that typified their Order would be held: a sermon, discussion and exquisitely beautiful choral music. Borromini successfully achieved brilliant decorative effects, carrying on the tradition of elegant brickwork from the Roman Imperial period. The present appearance of the façade was created in several phases. The lower level, completed in 1638, was extended from five bays to seven, and a storey was added to it. In 1665 Arcucci embedded the free-standing gable into a newly added mezzanine floor, thereby diluting the original effect of the gable. Two qualities make the Oratory façade a masterpiece of Roman Baroque architecture: it is concave and has, on the middle bay at the lower level, a small convex projection. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stone
Title
[Oratory of Saint Philip Neri, Right cornice, depicting right window]
Creators
Francesco Borromini (Italian architect, 1599-1667)
Description
Borromini's finest achievement here is the façade of the oratory hall. This room had special importance for the community because it was there that the form of devotion that typified their Order would be held: a sermon, discussion and exquisitely beautiful choral music. Borromini successfully achieved brilliant decorative effects, carrying on the tradition of elegant brickwork from the Roman Imperial period. The present appearance of the façade was created in several phases. The lower level, completed in 1638, was extended from five bays to seven, and a storey was added to it. In 1665 Arcucci embedded the free-standing gable into a newly added mezzanine floor, thereby diluting the original effect of the gable. Two qualities make the Oratory façade a masterpiece of Roman Baroque architecture: it is concave and has, on the middle bay at the lower level, a small convex projection. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stone
Title
[Oratory of Saint Philip Neri, Top cornice, right side]
Creators
Francesco Borromini (Italian architect, 1599-1667)
Description
Borromini's finest achievement here is the façade of the oratory hall. This room had special importance for the community because it was there that the form of devotion that typified their Order would be held: a sermon, discussion and exquisitely beautiful choral music. Borromini successfully achieved brilliant decorative effects, carrying on the tradition of elegant brickwork from the Roman Imperial period. The present appearance of the façade was created in several phases. The lower level, completed in 1638, was extended from five bays to seven, and a storey was added to it. In 1665 Arcucci embedded the free-standing gable into a newly added mezzanine floor, thereby diluting the original effect of the gable. Two qualities make the Oratory façade a masterpiece of Roman Baroque architecture: it is concave and has, on the middle bay at the lower level, a small convex projection. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stone
Title
[Oratory of Saint Philip Neri, General view of the Torre dell'Orologio, from the west]
Creators
Francesco Borromini (Italian architect, 1599-1667)
Description
Borromini's finest achievement here is the façade of the oratory hall. This room had special importance for the community because it was there that the form of devotion that typified their Order would be held: a sermon, discussion and exquisitely beautiful choral music. Borromini successfully achieved brilliant decorative effects, carrying on the tradition of elegant brickwork from the Roman Imperial period. The present appearance of the façade was created in several phases. The lower level, completed in 1638, was extended from five bays to seven, and a storey was added to it. In 1665 Arcucci embedded the free-standing gable into a newly added mezzanine floor, thereby diluting the original effect of the gable. Two qualities make the Oratory façade a masterpiece of Roman Baroque architecture: it is concave and has, on the middle bay at the lower level, a small convex projection. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stone
Title
[Oratory of Saint Philip Neri, Close view of the Torre dell'Orologio]
Creators
Francesco Borromini (Italian architect, 1599-1667)
Description
Borromini's finest achievement here is the façade of the oratory hall. This room had special importance for the community because it was there that the form of devotion that typified their Order would be held: a sermon, discussion and exquisitely beautiful choral music. Borromini successfully achieved brilliant decorative effects, carrying on the tradition of elegant brickwork from the Roman Imperial period. The present appearance of the façade was created in several phases. The lower level, completed in 1638, was extended from five bays to seven, and a storey was added to it. In 1665 Arcucci embedded the free-standing gable into a newly added mezzanine floor, thereby diluting the original effect of the gable. Two qualities make the Oratory façade a masterpiece of Roman Baroque architecture: it is concave and has, on the middle bay at the lower level, a small convex projection. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stone
|
![[Collegio di Propaganda Fide, General side view of the front (west) façade, from the north]](https://luna.vrchost.com:443/media/iiif/447/1a1-bf-cp-a1/full/250,/0/default.jpg)
![[Collegio di Propaganda Fide, Close view of the main portal]](https://luna.vrchost.com:443/media/iiif/448/1a1-bf-cp-a2/full/384,/0/default.jpg)
![[Collegio di Propaganda Fide, Side view from the south]](https://luna.vrchost.com:443/media/iiif/449/1a1-bf-cp-a3/full/249,/0/default.jpg)
![[Collegio di Propaganda Fide, Side view from the south, looking up]](https://luna.vrchost.com:443/media/iiif/450/1a1-bf-cp-a4/full/251,/0/default.jpg)
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![[Collegio di Propaganda Fide, Looking up at the west façade, right of the main portal]](https://luna.vrchost.com:443/media/iiif/452/1a1-bf-cp-a6/full/384,/0/default.jpg)
![[Collegio di Propaganda Fide, Close side view of the front façade, from the north]](https://luna.vrchost.com:443/media/iiif/453/1a1-bf-cp-b1/full/249,/0/default.jpg)
![[Collegio di Propaganda Fide, View looking up at the main portal]](https://luna.vrchost.com:443/media/iiif/454/1a1-bf-cp-b2/full/245,/0/default.jpg)
![[Collegio di Propaganda Fide, Frontal view of the main portal]](https://luna.vrchost.com:443/media/iiif/455/1a1-bf-cp-b3/full/244,/0/default.jpg)
![[Collegio di Propaganda Fide, View of the street from the main portal]](https://luna.vrchost.com:443/media/iiif/456/1a1-bf-cp-b4/full/384,/0/default.jpg)
![[Collegio di Propaganda Fide, Close view of the wall to the north of the main portal]](https://luna.vrchost.com:443/media/iiif/457/1a1-bf-cp-b5/full/250,/0/default.jpg)
![[Collegio di Propaganda Fide, Close side view of the area over the portal]](https://luna.vrchost.com:443/media/iiif/458/1a1-bf-cp-b6/full/251,/0/default.jpg)
![[Collegio di Propaganda Fide, View of the ground floor (behind the portal and leading to the court)]](https://luna.vrchost.com:443/media/iiif/459/1a1-bf-cp-b7/full/384,/0/default.jpg)
![[Collegio di Propaganda Fide, View of the north wall]](https://luna.vrchost.com:443/media/iiif/460/1a1-bf-cp-c1/full/248,/0/default.jpg)
![[Collegio di Propaganda Fide, Detail of a belt cornice]](https://luna.vrchost.com:443/media/iiif/461/1a1-bf-cp-c10/full/384,/0/default.jpg)
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![[Collegio di Propaganda Fide, Close side view of the upper north wall]](https://luna.vrchost.com:443/media/iiif/464/1a1-bf-cp-c3/full/249,/0/default.jpg)
![[Collegio di Propaganda Fide, Close side view of the upper north wall]](https://luna.vrchost.com:443/media/iiif/465/1a1-bf-cp-c4/full/249,/0/default.jpg)
![[Collegio di Propaganda Fide, Detail of the upper north wall]](https://luna.vrchost.com:443/media/iiif/466/1a1-bf-cp-c5/full/384,/0/default.jpg)
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![[Collegio di Propaganda Fide, Detail of area over a piano nobile window]](https://luna.vrchost.com:443/media/iiif/468/1a1-bf-cp-c7/full/384,/0/default.jpg)
![[Collegio di Propaganda Fide, Detail of area over a piano nobile window]](https://luna.vrchost.com:443/media/iiif/469/1a1-bf-cp-c8/full/384,/0/default.jpg)
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![[Collegio di Propaganda Fide, Close view of the attic story, looking up]](https://luna.vrchost.com:443/media/iiif/474/1a1-bf-cp-d2/full/384,/0/default.jpg)
![[Collegio di Propaganda Fide, Close view of the attic story, looking up]](https://luna.vrchost.com:443/media/iiif/475/1a1-bf-cp-d3/full/384,/0/default.jpg)
![[Oratory of Saint Philip Neri, General view, from the southeast]](https://luna.vrchost.com:443/media/iiif/723/1a1-bf-op-a1/full/248,/0/default.jpg)
![[Oratory of Saint Philip Neri, General view, from the southeast, looking up]](https://luna.vrchost.com:443/media/iiif/724/1a1-bf-op-a2/full/252,/0/default.jpg)
![[Oratory of Saint Philip Neri, Side view along the base, from the southeast]](https://luna.vrchost.com:443/media/iiif/725/1a1-bf-op-a3/full/249,/0/default.jpg)
![[Oratory of Saint Philip Neri, Close view, depicting concave façade]](https://luna.vrchost.com:443/media/iiif/728/1a1-bf-op-b1/full/384,/0/default.jpg)
![[Oratory of Saint Philip Neri, Close view, depicting concave façade, left of center]](https://luna.vrchost.com:443/media/iiif/729/1a1-bf-op-b2/full/384,/0/default.jpg)
![[Oratory of Saint Philip Neri, Frontal view of the main portal]](https://luna.vrchost.com:443/media/iiif/730/1a1-bf-op-b3/full/246,/0/default.jpg)
![[Oratory of Saint Philip Neri, Frontal view of the wall left of main portal]](https://luna.vrchost.com:443/media/iiif/731/1a1-bf-op-b4/full/250,/0/default.jpg)
![[Oratory of Saint Philip Neri, Frontal view of the left portion of the façade]](https://luna.vrchost.com:443/media/iiif/732/1a1-bf-op-b5/full/251,/0/default.jpg)
![[Oratory of Saint Philip Neri, Façade, looking slightly up]](https://luna.vrchost.com:443/media/iiif/733/1a1-bf-op-b6/full/384,/0/default.jpg)
![[Oratory of Saint Philip Neri, Basement windows]](https://luna.vrchost.com:443/media/iiif/734/1a1-bf-op-c1/full/384,/0/default.jpg)
![[Oratory of Saint Philip Neri, Ground floor niche]](https://luna.vrchost.com:443/media/iiif/735/1a1-bf-op-c2/full/384,/0/default.jpg)
![[Oratory of Saint Philip Neri, Entry portal, pediment]](https://luna.vrchost.com:443/media/iiif/736/1a1-bf-op-c3/full/384,/0/default.jpg)
![[Oratory of Saint Philip Neri, Ground floor windows, depicting iron screen]](https://luna.vrchost.com:443/media/iiif/737/1a1-bf-op-c4/full/384,/0/default.jpg)
![[Oratory of Saint Philip Neri, Right portal, side view of pediment]](https://luna.vrchost.com:443/media/iiif/738/1a1-bf-op-c5/full/384,/0/default.jpg)
![[Oratory of Saint Philip Neri, Second floor window]](https://luna.vrchost.com:443/media/iiif/739/1a1-bf-op-c6/full/384,/0/default.jpg)
![[Oratory of Saint Philip Neri, Upper floor, central window]](https://luna.vrchost.com:443/media/iiif/740/1a1-bf-op-c7/full/384,/0/default.jpg)
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![[Oratory of Saint Philip Neri, Detail of pilaster capitals]](https://luna.vrchost.com:443/media/iiif/743/1a1-bf-op-d2/full/384,/0/default.jpg)
![[Oratory of Saint Philip Neri, Right cornice, depicting right window]](https://luna.vrchost.com:443/media/iiif/744/1a1-bf-op-d3/full/384,/0/default.jpg)
![[Oratory of Saint Philip Neri, Top cornice, right side]](https://luna.vrchost.com:443/media/iiif/745/1a1-bf-op-d4/full/384,/0/default.jpg)
![[Oratory of Saint Philip Neri, General view of the Torre dell'Orologio, from the west]](https://luna.vrchost.com:443/media/iiif/746/1a1-bf-op-e1/full/251,/0/default.jpg)
![[Oratory of Saint Philip Neri, Close view of the Torre dell'Orologio]](https://luna.vrchost.com:443/media/iiif/747/1a1-bf-op-e2/full/229,/0/default.jpg)