Hall churches, those whose side aisles have the same width as the nave, are scarce in the City, despite their popularity in Southern Germany and England during the High Middle Ages. Unlike basilica-styles churches illuminated by light from clerestory windows, in hall churches like this one and the nearby Santa Maria dell’Anima, light floods the structure through windows on side walls. The origins of this hall church revert to the 13th century when Henry of Castille, son King Ferdinand III, constructed it for Spanish pilgrims, a hospice in the space around the stadium. In preparation for the Holy Year of 1450 the bishop of Seville (Alfonso de Paradinas) paid for the renovation of the complex, including the construction of the church, San Giacomo degli Spagnoli.
Its original façade, designed by Bernardo Rossellino, looked towards the Sapienza (University of Rome. From the early 16th century, at the initiative of the Spanish Borgia pope, Alexander VI, the church officially became the national church of the Spaniards.
This designation, however, later was transferred to the church of Santa Maria di Monserrrato degli Spagnoli near Piazza Farnese. The 17th century Monserrato church is dedicated to Our Lady of Monserrat, the object of widespread Spanish devotion whose roots extend to the 8th century and the Spanish Riconquista movement against Muslim occupation of the peninsula. When funding dried up for the maintenance of Navona church, San Giacomo, the Spanish community turned their attention more and more to the Monserrato church. Later the Missionaries of the Sacred Heart acquired the church in the early 19th century and they changed its name to the current Nostra Signora del Sacro Cuore (Our Lady of the Sacred Heart).
The coat of arms of the Kingdom of Spain and a frieze with scallop shells, traditional symbol of St. James, remain visible over the main door on the Via Rinascimento side. The 15th century Piazza Navona façade provides a fine example of Renaissance-style church architecture. The top story, however, does not represent a genuine façade, but rather, the frontage for apartments running the length of the entire church. These formerly housed the Spanish hospice but now serve as headquarters for the provincial administration of the Missionaries of the Sacred Heart, the community which owns the church below. The upper story holds three equally sized, rose windows, the middle one with a wider frame.
Large pillars separate the nave from its side aisles.
Fortunately, at least some of its original 15th and 16th century artworks escaped removal to Barcelona (Prado Museum) and Madrid after the 19th century renovation. The coffered ceiling in the Chapel of St. James, designed by Antonio da Sangallo, remains in place, but the polychromatic Florentine marble choir ended up in the Santa Maria di Monserrato Church on the other side of the City.
