| Summary: | Recently, the chapel of San Domenico – in the mezzanine of the roman convent of Santa Sabina – has been stylistically attributed to Gianlorenzo Bernini. Until now, the most relevant documentary connection between Bernini and the chapel was recognized in the papal chirografo issued on the 10th of December 1669 by Clement IX Rospigliosi (1667-69), related to the intervention on the Aventine Hill, and other four works, also referable to Bernini. Here, this paper proposes new reflections to support this link, developed in the analysis of two drawings, normally associated with the Bernini school but not specifically to this chapel. They represent a previous version of the executive project and probably were carried out by Mattia De Rossi (1637-95), who was the first assistant of Bernini in architectural works. This circumstance allows us to further detail the design process of the work and also to study the modus operandi of the old artist in the last period of his production and the degree of autonomy granted to his most trusted collaborator.
Keywords: Rome, Gianlorenzo Bernini, Mattia de Rossi, XVIIth century
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