Pia, San Gregorio Magno, as well as building new churches in the nearby towns of Montefortino and Monte Compatri. During the Ludovisi papacy the major focus of Borghese’s ecclesiastical patronage was on commemorative projects. The first was the embellishment of the Caffarelli chapel in Santa Maria sopra Minerva (1620–23). The second was the massive timber catafalque decorated with life-size plaster figures designed by Gian Lorenzo Bernini, erected in Santa Maria Maggiore (1622). Borghese’s first work after entering the Sacred College where he studied was the building and decoration of the oratory chapels of St. Andrew and St. Sylvia beside San Gregorio Magno al Celio. For Borghese to complete such a project declared his devotion to the city’s Christian heritage, while also marking a gesture of respect for the great Church reformer of the previous generation. The restoration of San Sebastiano fuori le mura (November 1607 – 1614), a church built under Constantine (c. 312) housing the greatest collection of relics known at the time. San Sebastiano was in addition one of the Seven Pilgrim Churches of Rome and its restoration was a key element in the pilgrimage-driven revival of the circuit. Borghese’s restoration was in effect a complete modernization: rebuilding the main façade, adding a rear entrance, and thoroughly overhauling the interior in a modern decorative idiom. The most striking feature of the restoration is the incidence of Borghese’s name and symbols. Atop the portico's parapet stand eagle and dragon (the Borghese symbols) statuettes; underneath is the façade dedication: Scipione Borghese, Grand Penitentiary, Cardinal and Priest of the Holy Roman Church, 1626. His coat of arms in the major panels of the ceiling's long axis is mounted not as normal in excucheons, but directly in the frame, the keystone of the proscenium arch at the end of the nave; underneath an inscription at the base of the baldachin dome there is another inscription. As Cardinal, Borghese took seriously his responsibility to contribute to the care and decoration of the churches under his supervision. Particularly after the death of his uncle, he seems to have utilized the embellishment of church buildings to demonstrate concern for the well-being of the faithful. The reconstruction of San Crisogono, Rome (1618–28) was probably the most costly project of redecoration undertaken in any church in the city during the early seventeenth century. Gold covers the ceiling and many other surfaces. Such public undertakings helped Borghese rehabilitate