In 1656–67 Pope Alexander VII had the edifice restored by Pietro da Cortona, who also added the famous Baroque façade projecting from its concave wings: this, devised to simulate a theatrical set, has two orders and is entered by a semi-circular pronaos with paired Tuscan columns. The church presses forward almost to fill its tiny piazza; several houses had to be demolished by Pietro da Cortona to create even this miniature trapezoidal space. This newly formed piazza, focussed on the church facade even in its architectural detailing, had the additional benefits of facilitating the turning of coaches which had become so fashionable with the Roman nobility of the time and creating an ingenious unified ensemble of the church in its urban setting. The play of concave and convex forms at varying scales in and around the predominant main facade masks the neighbouring buildings, extends the apparent breadth of the facade and so increases the visual impact on the spectator physically confined by the small trapezoidal piazza. The monumental effect of the plasticity of forms, spatial layering and chiarascuro lighting effects belies the actual scale of this urban intervention.