The chapel of the right transept is dedicated to St. Aloysius (Louis) Gonzaga, transported here from the chapel of St. Joseph. E ‘at the same time the tomb and chapel of the family Lancellotti, who financed the construction, begun by Andrea Pozzo in 1697 and completed in 1699. The two twisted columns of antique green marble support the eardrum, open to make room for stucco figures some angels and allegories of Penance (left) and Purity (right), characteristic virtues of St. Louis. The altarpiece of marble, the work of Pierre Legros, is the ascent to heaven of the Saint. The bases of the columns bearing the coats of arms of the family Lancellotti in lapis lazuli. Under the altar is the urn in lapis lazuli of St. Louis, the decorations are in gilded bronze, the relief center is silver. On either side of two little angels Pierre Legros: that right away without saying a globe in lapis lazuli, symbol of the glory of the world despised by St. Louis; one on the left rejects a crown, that to which the Saint renounced. St. Louis, from the noble Gonzaga family, which held the lordship of Mantua, and heir of the Marquis of Castiglione, gave up all his rights and privileges to enter the Society of Jesus. He won his father’s opposition and came to Rome to follow training courses at the Roman College. He studied with great profit, devoting the same time also the most humble services and assistance to the poor with a profound spirit of obedience and charity. During an epidemic of plague was infected by a patient who had carried on his shoulders the hospital. He died a few months later, at age 23. In time the Pozzo painted the vision of the ascension of the soul of Louis, got it from St. Maria Maddalena de ‘Pazzi, who had known the Saint when, still a child, he lived in Florence. The two angels on the marble balustrade date back to the mid-eighteenth century (note the so-called wet-effect), those bronze at both ends go to the bases of the arms Lancellotti; others are more recent. On the right you pass to the chapel Ludovisi family mausoleum. At the bottom of the monument of Pope Gregory XV and his nephew Cardinal Ludovico (the portrait in the medallion), by P. Legros. On the left wall, above a door, hangs a picture of the Virgin of the Annunciation, surviving fragment of the fresco of the apse of the ancient Church of the Annunciation, which was destroyed to build St. Ignatius church (what remains of the nave and the chapels of the right is today the waxworks of the church, behind the mausoleum). In the left transept is the chapel of the Annunciation (St. Ignatius emphasized the importance of this first act of salvation: in the first contemplation of the second week of the Spiritual Exercises invites you to see how the three Divine Persons observe the entire surface and the roundness of the world, full of men; as, seeing that all went down to hell, they decide in their eternity that the Second Person become man to save the human race, and so, in the fullness of time, sent the angel Gabriel to Mary). The altarpiece by Filippo della Valle, was installed in 1750. The urn under the altar contains the remains of St. John Berchmans, young Flemish, after his novitiate in Mechelen (Belgium), came to Rome to begin his studies at Roman College. For his jovial character and his charity was very dear to the people of Rome that he helped selflessly in all his needs. He died of lung infection in 1621, at age 22. The body of a third saint of the Company is in the church, that of St. Robert Bellarmine, who in 1923 was taken from the crypt of Jesus to the chapel of St. Joachim, fulfilling the desire expressed in his time from Robert to be buried next to his beloved student Louis.