Sant' Isodoro a Capo le Case

Map of the Churches of Rome
Church of Sant' Isidoro a Capo le Case, Rome
Sant' Isidoro a Capo le Case
Sant' Isidoro a Capo le Case is a 17th century convent church, which is dedicated to St Isidore the 'Farmer' (c. 1070-1130). The church and convent were founded by Spanish Franciscans in 1622, the year St Isidore was canonised. In 1625 the complex was handed over to a group of Irish Franciscans, who are still in charge. 
The charming façade was designed by the Roman architect Carlo Francesco Bizzaccheri (1656-1721). 
Nave, Church of Sant' Isidore a Capo le Case, Rome
Nave
The interior comprises a nave with two chapels on each side. The high altarpiece is The Vision of the Virgin Mary to St Isidore by the Roman painter Andrea Sacchi (1599-1661). 
The Apotheosis of St Isidore by Charles-Andre van Loo, Church of Sant' Isidore, Rome
The Apotheosis of St Isidore
The painting on the barrel-vaulted ceiling depicts The Apotheosis of St Isidore by the French artist Charles-André van Loo (1705-65). 
De Sylva Chapel, Church of Saint Isidore, Rome
De Sylva Chapel
The tiny chapel to the right of the sanctuary is the delightful Cappella de Sylva (1663), which was designed by Gian Lorenzo Bernini (1598-1680) for the Portuguese nobleman Rodrigo Lopez de Sylva. 
Memorial to Rodrigo Lopez De Sylva, Chapel, Sant' Isidoro, Rome
Left Wall
The memorial on the left wall is to Rodrigo Lopez de Silva and his wife Beatrix, who are flanked by statues representing Mercy and Truth. The memorial on the right wall is to his son Francesco Niccolo and his wife Giovanna, who are flanked by statues of Peace and Justice. The four virtues refer to a line in Psalm 85: 'Mercy and Truth are met together; righteousness and peace have kissed each other'.
Memorial to Francesco Niccolo, De Silva Chapel, Sant' Isidoro, Rome
Right Wall
One of the inscriptions mentions Bernini as the creator of the work: 'Immortale Bernini Equit. Ingenium Omnes Aeternat.' But his contribution was surely only the design, the execution would have been done by others. A later writer ascribes the work to a son of Bernini, which could only mean Paolo. However, Paolo was only 15 when the chapel was dedicated. It is thought that the work was almost certainly carried out by Bernini's pupil Giulio Cartari, assisted by Paolo Naldini. Paolo would have worked under their supervision. 

The two busts in the oval medallions were added in the 18th century.
The oval painting of The Immaculate Conception is by Carlo Maratta (1625-1713). ​