The Church of Saint Andrew on the Quirinal (, ) is a Roman Catholic titular church in Rome, Italy, built for the Jesuit seminary on the Quirinal Hill. The church of Sant'Andrea, an important example of Roman Baroque architecture, was designed by Gian Lorenzo Bernini with Giovanni de'Rossi. History Bernini received the commission in 1658 and the church was constructed by 1661, although the interior decoration was not finished until 1670. The site previously accommodated a 16th-century church, Sant'Andrea a Montecavallo. Commissioned by former Cardinal Camillo Francesco Maria Pamphili, with the approval of Pope Alexander VII, Sant'Andrea was the third Jesuit church constructed in Rome, after the Church of the Gesù and Sant'Ignazio. It was to serve the Jesuit novitiate, which was founded in 1566. Bernini considered the church one of his most perfect works; his son, Domenico, recalled that in his later years, Bernini spent hours sitting inside it, appreciating what he had achieved. The French dramatist Victorien Sardou set the first act of his play La Tosca in the church. It has served as the titular church of Brazilian Cardinal Odilo Scherer since 2007. Exterior The main façade of the church faces onto the Via del Quirinale (formerly the Via Pia), as does Borromini's San Carlo alle Quattro Fontane further down the road. Unlike San Carlo, Sant’Andrea is set back from the street and the space outside the church is enclosed by low curved quadrant walls. An oval cylinder encases the dome, and large volutes transfer the lateral thrust. The main façade to the street has an aedicular pedimented frame at the center of which a semicircular porch with two Ionic columns marks the main entrance. Above the porch entablature is the heraldic coat of arms of the Pamphili patron. 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