Instruct: Given a question, retrieve relevant documents that answer the question.
Query: Where is Basilica Santa Maria del Popolo located?
The Parish Basilica of Santa Maria del Popolo (Italian: Basilica Parrocchiale Santa Maria del Popolo) is a titular church and a minor basilica in Rome run by the Augustinian order. It stands on the north side of Piazza del Popolo, one of the most famous squares in the city. The church is hemmed in between the Pincian Hill and Porta del Popolo, one of the gates in the Aurelian Wall as well as the starting point of Via Flaminia, the most important route from the north. Its location made the basilica the first church for the majority of travellers entering the city. The church contains works by several famous artists, such as Raphael, Gian Lorenzo Bernini, Caravaggio, Alessandro Algardi, Pinturicchio, Andrea Bregno, Guillaume de Marcillat and Donato Bramante.
The location of the tomb in the right transept was originally close to the funerary chapel of the Borgia family, Podocataro's patrons, but this has been demolished long ago.
The Basso Della Rovere or Saint Augustine Chapel () is located in the south aisle of the basilica of Santa Maria del Popolo in Rome. This is the third side chapel from the counterfaçade and was dedicated to St. Augustine. The cycle of beautiful quattrocento frescoes was executed by Pinturicchio and his workshop.
Soon after its transfer to the prestigious Lombard Congregation Santa Maria del Popolo was reconstructed between 1472 and 1477 on the orders of Pope Sixtus IV. This was part of the ambitious urban renovation program of the pope who presented himself as Urbis Restaurator of Rome.[18] The medieval church was entirely demolished and a new three-aisled, Latin cross shaped basilica was built with four identical chapels on both sides, an octagonal dome above the crossing and a tall Lombard style bell-tower at the end of the right transept. The result of this reconstruction was an early and excellent example of Italian Renaissance architecture in Rome. In spite of the many later changes the basilica essentially kept its Sistine form until today.
The architect or architects of this innovative project remain unknown due to a lack of contemporary sources. Giorgio Vasari in his Lives attributed all the important papal projects in Rome during Sixtus IV to a Florentine, Baccio Pontelli including the basilica and monastery of Santa Maria del Popolo. Modern researchers deemed this claim highly dubious and proposed other names among them Andrea Bregno, a Lombard sculptor and architect whose workshop certainly received important commissions in the basilica. The fundamental differences between the façade and the interior suggest that maybe more than one architect was working on the building.[19]
Originally the chapel was called Santa Caterina «del Calice» or «del Cadice» to distinguish it from the Chapel of Santa Caterina «del Portogallo» in the right aisle. There are stucco chalices with ribbons and vases on the spandrels and the statue of Saint Catherine was holding up an antique chalice at least until the first quarter of 18th century (it was definitely missing at the time of the apostolic visitation in 1824 and later replaced by a bronze palm). The symbol of the chalice alluded to the city of Cádiz and the bishopric - although it can be noted that Girolamo Theodoli never set foot in Spain. In 1564 he was forced to resign because his long absence made his position untenable but at the same time he obtained a generous annual income of 3000 scudi. This certainly helped him to acquire and decorate a chapel in the prestigious basilica of Santa Maria del Popolo a few years later.
The Della Rovere or Saint Jerome Chapel, otherwise the Chapel of the Nativity () is the first side chapel in the south aisle of the Basilica of Santa Maria del Popolo in Rome. It was dedicated to the Virgin and Saint Jerome and decorated with the paintings of Pinturicchio and his pupils. It is one of the best preserved monuments of quattrocento art in Rome.
The bust has similarities with the funeral statue of Pope Sixtus V in the Basilica of Santa Maria Maggiore that was sculpted by Paracca in 1587-89. This prototype (the deceased shown in meditation or prayer) was carried on in the Baroque era, especially in the oeuvre of Gian Lorenzo Bernini.
Monuments in the Basilica of Santa Maria del Popolo are tombs and funerary monuments ranging from the 15th to the 19th centuries. Since its rebuilding in the 1470s by Pope Sixtus IV the Basilica of Santa Maria del Popolo was one of the favourite burial places for members of the papal aristocracy, clergy and literati. Foreign artists were also buried in the church due to its location near their favourite quarter in Rione Campo Marzio. The high number of tombs and monuments makes the basilica a whole museum of sculpture as Jacob Burckhardt phrased it in his famous guide of Italian art in 1855. Besides the tombs in the side chapels and the choir there are many other funeral monuments in the aisles and the transept.
The Chapel of Saint Thomas of Villanova and the Chapel of Saint Rita (otherwise the Feoli and Cicada Chapels) () are two little chapels opening in the right transept of the Basilica of Santa Maria del Popolo. They are relatively insignificant in terms of artistic value compared to the other side chapels of the church.
The long time gap is explained by the fact that the cardinal was buried in the Old St. Peter's Basilica together with his uncle and benefactor, Cardinal Antonio Pallavicini Gentili (Antoniotto). In 1596 their bodies were relocated to the cemetery Santa Maria del Popolo where Antoniotto's monument was set up and later transferred to the Montemirabile Chapel. Philipp Zitzlsperger calls this a particularly instructive example of the separation of the body and the tomb which increasingly came to be the norm in Rome from the second half of the 16th century because the location of the cardinal's corpse has not been established but the transferral of the remains was reason enough to the relatives to erect a cenotaph in the church itself.
6. Vincenzo Bonadies
7. Félix Boisselier
1. Maria Eleonora Boncompagni Ludovisi
On both side of the right door there are smaller plaques commemorating the indulgences that Gregory XIII conceded to the basilica in 1582 and the fact that Sixtus V included Santa Maria del Popolo among the seven pilgrimage churches of Rome in 1586.
He was buried in the Basilica of Santa Maria del Popolo, Rome, where still stands his funeral monument.
The urban setting of the basilica changed fundamentally between 1816 and 1824 when Giuseppe Valadier created the monumental Neo-Classical ensemble of Piazza del Popolo, commissioned by Pope Pius VII. The ancient monastery of the Augustinians was demolished, the extensive gardens were appropriated and a new monastery was erected on a much smaller footprint in Neo-Classical style. This building covered the whole right side of the basilica with its side chapels, wrapping around the base of the bell tower and reducing the visual prominence of the basilica on the square.
This elaborate Baroque monument set against the third pillar of the south aisle has several peculiarities. It is crowned by the coat-of-arms of Pope Nicholas IV (Girolamo Masci) but this medieval pope was buried in the Basilica of Santa Maria Maggiore. The monument in Santa Maria del Popolo was built for his late descendant, Count Masci-Ferracuti from Ascoli Piceno who was appointed to the Bishop of Vieste by Pope Sixtus V in 1589. He died in Rome in 1613 at the age of 60 years. He was buried with solemn pomp in a marble tomb in the basilica. The tomb was built by her niece, Anastasia Mascia and her husband, Marzio Elefantucci, a nobleman from Bologna. Under the pretense of honouring their uncle they built a monument for the most illustrious member of their family, Pope Nicholas IV whose name is mentioned twice in the funerary inscription.
The Montemirabile or Saint John the Baptist Chapel, otherwise the Baptistery () is the first side chapel in the left aisle in the Basilica of Santa Maria del Popolo.
The Cybo-Soderini Chapel () or the Chapel of the Crucifixion () is a side chapel of the Basilica of Santa Maria del Popolo, Rome. Its most important works of art are the frescos of a Flemish artist, Pieter van Lint from c. 1636-37.
1. Stefano Spada
In the Julian era the church became again the location of important papal ceremonies. The pope launched his first campaign here on 26 August 1506 and when he returned to Rome after the successful Northern Italian war, he spent the night of 27 March 1507 in the convent of Santa Maria del Popolo. On the next day Julius celebrated High Mass on Palm Sunday in the church that was decorated with fronds of palm and olive branches. The ceremony was followed by a triumphal entry into the city. On 5 October 1511 the Holy League against France was solemnly proclaimed in the basilica. On 25 November 1512 the alliance of the pope with Emperor Maximilian I was also announced in this church in the presence of fifty-two diplomatic envoys and fifteen cardinals. The pope also visited the Madonna del Popolo for private reasons like when he prayed for the recovery of his favourite nephew, Galeotto Franciotti della Rovere in early September 1508.
2. Maria Flaminia Odescalchi Chigi
The Costa or St Catherine Chapel () is located in the south aisle of the Basilica of Santa Maria del Popolo in Rome. This is the fourth side chapel from the counterfaçade and was dedicated to St Catherine of Alexandria. The lunettes were painted by the helpers of Pinturicchio and the marble altar-piece is attributed to Gian Cristoforo Romano. 
The Cybo or Saint Lawrence Chapel () is the second side chapel in the right-hand aisle of the Basilica of Santa Maria del Popolo in Rome. For the beauty of its paintings, the preciousness of marble revetments covering its walls and the importance of the artists involved in its construction the chapel is regarded one of the most significant sacral monuments erected in Rome in the last quarter of the 17th century.