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Santi Vincenzo e Anastasio a Trevi ("Saints Vincent and Anastasius at Trevimarker") is a Baroque church in Romemarker, the capital of Italymarker. Built from 1646 to 1650 to the design of architect Martino Longhi the Younger and located in close proximity to the Trevi Fountainmarker and the Quirinal Palacemarker, for which it served as parish church, it is notable as the place where the precordia and embalmed hearts of 25 popes from Sixtus V to Leo XIII are preserved. Originally Roman Catholic, since 2002 the church has been used by the Bulgarian Orthodox Church.

Santi Vincenzo e Anastasio a Trevi lies on the location of a medieval church, mentioned in 962 in a bull by Pope John XII as a branch of the San Silvestro in Capitemarker basilica as well as in 15th century records. Known as Santi Vincenzo e Anastasio since the 16th century, it was rebuilt in the Baroque style and completed in 1650. Two entablatures superimposed over the main one, all three with arched, angled or broken pediments, concentrate attention on the richly sculptural central bay of the façade's two storeys, in a theatrical composition "more curious than exemplary" that found few imitators. Its dense massing of Corinthian columns, ten in the lower order and six above make a total, with the columns flanking the finestrone of the upper tier, eighteen fully-disengaged Corinthian columns, causing Roman wags to dub the façade il canneto, "the canebrake".

The church was reconstructed on the order of Cardinal Mazarin, whose triumphantly presented coat of arms and cardinal's hat, supported by angels, is the focus of the façade composition It is rumored that Mazarin's niece, Marie Mancini, a mistress of Louis XIV of France, is also portrayed on the facade, in the central female mascaron. The sculptural portrayal of a laywoman and the support of the cardinal's ecclestiastical coat of arms by the sculptures of two barechested women make the church unique among churches in Rome. Its travertine facade has proved porous; restoration with liquid hydraulic mortar and other materials was undertaken in 1989–90 to arrest deterioration.

Until the 1820s, Santi Vincenzo e Anastasio a Trevi was known as the "Pontifical Parish" (Parrocchia Pontificia). The church's interior features a single nave; the altar is decorated by the painting Martyrdom of Saints Vincent and Anastasius by Francesco Pascucci. Prolific Italian illustrator and engraver Bartolomeo Pinelli (1771–1835) was buried in Santi Vincenzo e Anastasio a Trevi.

In 2002, Pope John Paul II presented the church as a gift to the Bulgarian Orthodox Church, and since then it has been the home of the Saints Cyril and Methodius Bulgarian Orthodox parish in Rome. The Church of Santi Vincenzo e Anastasio a Trevi is the seat of the Bulgarian Orthodox bishop for Italy, San Marinomarker and Maltamarker.


  1. Another church with the same dedication is the ancient church of Santi Vincenzo e Anastasio alle Tre Fontane, built by Pope Honorius I, c. 625, and rebuilt by Pope Honorius III, 1221
  2. The construction history, beginning in 1646, is narrated by Nicoletta Marconi, "La costruzione della facciata della chiesa di Santi Vincenzo e Anastasio in piazza di Trevi (1646-1660)", Quaderni di Palazzo Te 7 (2000)
  3. Vincent and Anastasius, martyrs, are commemorated on January 22, according to the General Roman Calendar of 1954.
  4. Multiple trabeation, columns and decorative sculpture "contribuiscono a conferire alla facciata, più curiosa che esemplare, un effetto scenografico non trascurabile"" (Touring Club Italiano, Roma e dintorni (Milan, 1965) p.263.
  5. TCI, Roma e dintorni 1965:263.
  6. Bettina Elten, "Facciata della chiesa dei SS. Vincenzo e Anastasio: impiego di malte idrauliche per il restauro conservativo" in Le pietre nell'architettura: struttura e superfici: atti del convegno di studi, Bressanone 25-28 giugno 1991 ( on-line English abstract).


  • C. Rendina, Le Chiese di Roma, Newton & Compton Editori, Milano 2000, p. 370–371.
  • L. Pratesi, Rione II Trevi, in AA.VV, I rioni di Roma, Newton & Compton Editori, Milano 2000, Vol. I, pp. 131–201.

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