Rome as Spectacle Final Cards Flashcards
Piazza of St. Peter’s
Date: began 1656
Architect: Bernini
Information: The obelisk becomes the reason of the design for the oval shape of the piazza. There are fountains on each side of the obelisk which is not in the exact center. The coat of arms of the Chigi family is on the colonnades. The columns are aligned at exactly one point. The colonnades have three aisles. The middle use to be used as a vehicle lane while the outer two were for pedestrians. They act as warming arms to embrace the church. They were supposed to be continues around the entire piazza but the last part was never completed. The concept of the “complex” created between the piazza and church is considered very baroque.
Baroque St. Peters - Cathedra (throne)
Date: 1657 – 1666
Architect: Bernini
Location: Apse of St. Peters
Information: The throne was sculpted in guilt bronze and is the seat of the bishop. Inside the chair is a wooden throne which is being protected. It includes the 4 bronze statues who are St. Ambrose, St. Augustine, St. John Chrysostom, and St. Athenasius. The window with the dove and rays of light was created above the chair and built over the existing window. Angels are all around it.
Baroque St. Peters - Baldacchino
Date: 1624 – 1633
Architect: Bernini
Information: Bronze canopy over tomb. There is physical distance between the Baldacchino and the throne but from afar look integrated. The base of the canopy is 4 spiraling solomonic columns cast in bronze. It was commissioned by pope Urban the 8th and therefore includes Barberini bees. It is the same height as the Palazzo Farnesi.
Baroque St. Peters - Crossing Niches
Date: 1629 – 1638
Architect: Bernini
Information: Statues in the crossing niches that depict the saints whose relics are within St. Peters. include St. Helen holding the cross (Mother of Constantine), St. Veronica holding a handkerchief that was used to the wipe the face of Christ, St. Andrew who is supposed to be holding his head, and St. Longinus holding the spear that pierced Jesus.
Baroque St. Peters - Scala Regia
Date: 1663 – 1666
Architect: Bernini
Information: Was originally built by Sangallo the Younger but restored by Bernini. It is built in the residual space, a thin sliver between the Palazzo and the Basilica. There is an equestrian statues of Constantine placed at the base in the axial view from the loggia. The walls become narrow as the columns stay linear. Has a barrel vaulted colonnade, and its original exit is from the museum.
Baroque St. Peters - Facade
Date: 1608
Architect: Maderno
- three tiers
- front facing the city
- engraved with Pope Paul V name
- inscription is not as wide as the facade because the outer part of facade had not been designed yet
- Bernini is the architect when facade towers are built after Maderno dies
- originally had two bell tower which were not executed
- created attic story
- large monolithic Corinthian columns separate bays and entrances
Baroque St. Peters - Tomb of Urban 8th and Alexander 7th
Dates: varry
Architect: Bernini
Urban 8th tomb – 1628 – 1647
Alexander 7th tomb – 1671 – 1678
Campidoglio
Date: 1538
Architect: Michelangelo
Location: Capitoline Hill, Rome
- Called the “belly of the world” the center of rome
- Caused reorientation of Capitoline Hill
- Lateral symmetry – directionality. Central axis on papal way. Trapezoidal design
- Rebuilt palazzo senatorio (1582-1605) nuovo and staircase (cordata, grand ramp)
- Statue of Marcus Aurelius at center of oval piazza
- Originally citadel of earliest romans
- Faces (oriented) Papal rome, St. Peters. Shows new development of the city instead of past.
- Site of municipal authority.
San Pietro in Vincoli (St. Peter in Chains)
Date: 432-40/1471-1503
Architect: Restoration lead by Cardinal della Rovere
Front Portico: Baccio Pontelli (1475)
Cloister: Giuliano da Sangallo (1493-1503)
Location: Rome
- Michelangelo’s “Moses” statue inside (1513-13) Tomb to Pope Julius II
- Nave and 2 side aisles with 3 apses divided by Doric columns
- Ceiling fresco – the Miracle of Chains – By Parodi, coffered ceiling.
- Houses the relic of Chains that bound St. Peter
- Horns on Moses Mistranslation of “rays of light”
- Monument with Moses
- Originally Statue to be higher up and in a free standing monument. Altered due to simplification (ended up as wall monument)
Santa Maria Maggiore (and Sforza Chapel)
Date: 432-40 (Pope Pius 3)/1564 (michelangelo)
Architect: Michelangelo, Completed by Giacomo della Porta (Sforza Chapel)
Location: Rome
- Cappella Sforza: 1564 Michelangelo, 1573 Giacomo della Porta
- Capella Sistina: 1687: Dominica Fontata, Burial tombs of Pope Pius 5 and Sixtus 5
- Completed under Pope Sixtus III (432-40)
- 3 aisles, two large chapels as pseudo transept (no real one)
- Semicircular apse with nave and side aisles.
- Retains the core of its original structure
- Mosaics depict Mary and Jesus and the old testament too
- 16thc coffered ceiling gilded, by Guliano da Sangallo
Porta Pia
Date: 1561-65
Architect: Michelangelo
Location: Rome
- Built under Pope Pius IV
- Gate in the Aurelian wall at the end of the Via Pia
- Michelangelo was more concerned with making a picturesque gate rather than a functional one
- Ornamental façade faces into the city (not out to greet visitors)
Il Gesu
Date: 1568
Architect: Vignola and Giacomo della Porta
Location: Rome, Italy
- Mother church of the Jesuit order
- Counter reformation order
- Jesuit order approved in 1540 by Pope Paul III
- Facade design by della Porta selected over Vignola’s
- Facade devided into upper and lower zones
- della Porta becomes head architect after death of Vignola
- Baroque – Elaborately decorated interior - guilding, marble and frescos
- Linked side chapels
ID CLUE: Look for ‘starburst’ over alter with the letters IHS
S. Andrea della Valle
Date: 1591 - 1628
Architect: Giacomo della Porta
Location: Rome
- Dedicated to St. Andrew - Image of his martyrdom hands behind alter
- Jesuit church
- Counter reformation
- Unlike Il Gesu: the side chapels are private for families. Side chapels are more open spatially.
- Much brighter interior because church is free standing
- Facade architects: Carlo Maderno and Carlo Rainaldi
- 4 evangelists frescoed on pendentives of dome
- Baroque style – elaborate decore, guilding
ID CLUE: Look for painting of S. Andrew over alter on the X cross
S. Ignazio
Date: 1626 - 1694
Architect: Orazio Grassi
Location: Collegio Romano, Rome
- church of Collegio Romano, part of a complex
- Jesuit order
- Side chapels all connected with large openings making the series of chapels read as a continuous space – cross between side aisle and chapels
- Ceiling a painted system of architecture – ceiling painting suggests continuation of architure to the heavens
- No dome. Perspective painting put where the dome would be to suggest the upward space
- Artist for ceiling and dome painting: Andrea Pozzo
- Piazza designed after church
- Baroque style – elaborate doecoration
ID CLUES: Look for colorful ceiling that is painted to suggest contiued architecture. Look for fake dome. Look for large, open side chapels
Villa Giulia
Date: 1550-60
Architects: Giacomo de Vignola (Facade, Innter rectangular side of courtyard facade across Vasari’s) 1551-53
Ammannati (Nymphaeum loggia - lower/central)
Vasari (Semi-circular Logia in first courtyard, opposite Vignola)
Michelangelo (advisor)
Location: Rome
- Villa with semi-circular portico
- 3 openings in 1st logia, used to only be central opening
- Indoor/outdoor experience extends with overhead paintings depicting garden motifs
- Threshold between two worlds, city and country.
- Axial and symmetrical on two sides
- Divided into 3 areas longitudinally
- Central space features lower level accessed through stairs in villa.
San Luigi Dei Francesi
Date: 1518 - 1589
Architect: Giacomo della Porta
Location: Rome
- Affiliation with France – cardinals and priests of Frech decent
- Important French figures represented in facade
- Home to the Caravaggio paints depicting the life of St. Mattew
- Caravaggio’s first big commission
S. Agostino
Date: 1296 - 1483
Architect: Giacomo di Pietrasanta and Sebastiano Fiorentino
Location: Rome
- Church went through a series of remodels and redesigns (explaining the range of dates)
- Renaissance facade
- Most of art dedicated to the Virgin Mary and the birth of Crist – famous place of pilgramage for new mothers
- Fresco by Raphael
- Home of Caravaggio’s Madonna of Loreto
- Associated with Biblioteca Angelica
Galleria Doria Pamphili
Date: Collection began 16th cent.
Architect: Francisco Nicoletti
Location: Rome
- Still a private collection and residence
- Was the home of Cardinal candidate Camillo Pamphili who remounced cardnalship in order to marry Olimpia Borgese and it was she who bought the palazzo
- Very large collection including Caravaggio’s ‘Rest During the Flight to Egypt’
The Calling of St. Matthew
Date: 1599 - 1603 (-1600)
Artist: Caravaggio
Location: Contarelli Chapel, San Luigi dei Francesi
- First in a series of painting about the sainthood of Mattew.
- Located in San Luigi dei Francesi, one of the French churches of Rome
- First big commission of Caravaggio - Medici patron Cardinal del Monte
- Highly dramatic, high contrast, expressive and emotional
- Use of light in the painting aligned with source of light in the chapel
- Hung with “martyrdom of st Matthew” and “calling fo st matthew”
- Subject: Jesus calling Matthew to follow him, to abandon his life of riches, Matthew looking surprised as most others at table do not see what is happening,
The Martyrdom of St. Matthew
Date: 1599 - 1603 (-1600)
Artist: Caravaggio
Location: San Luigi dei Francesi, Rome (Contarelli chapel)
- Second painting in the series of three (hung wiht “calling of st. matthew” and “inspiration of st matthew”
- First to be installed in teh chapel
- Painted over other composition (shows him workign through the idea)
- Shows the saint being killed by a soldier, with surrounding people showing fear and pitty
- Common theme of some figures being involved in action in composition, and others sitting by oblivious.
- child looks to be fleeing scene (first thing you see as you approach the chapel)
The Inspirtation of St. Matthew
Date: 1599 - 1603 (1602)
Artist: Caravaggio
Location: San Luigi dei Francesi, Rome
- Third in the series of three painting
- High contrast - light of figures against dark of background, typical of his style
- Initial version rejected because considered controvercial by the church, redesigned and repainted (unacceptable to show im kneeling)
- It is one of the three Caravaggio canvases hanging in the chapel; hanging between the larger canvases of “martyrdom of St. Matthew” and “Calling of St. Matthew”
Madonna of Loreto
Date: 1604 - 1606
Artist: Caravaggio
Location: S. Agostino, Rome
- Depicts image of Virgin and child with two pilgrim – a more life-like, less idealed image of the virgin
- Caravaggio was a controversial artist - work often associated or related to prostitutes
- Controversial in realistic representation of pilgrims (dirty feet now respectful to show in church so it was rejected)
- Large baby held in unrealistic manner. Shows in consistancies that are in some of his paintings, but does not detract from overall composition.
Rest During the Flight into Egypt
Date: 1597
Artist: Caravaggio
Location: Galleria Doria Pamphili
- Well known biblical story represented in a different way
- Often shown in the act of moving or traveling while this one focuses on a pause
- the use of a landscape as a background is different than many other works by Caravaggio where ther subjects are only people against a dark background
- Caravaggio shows Mary asleep with the infant Jesus, while Joseph holds a manuscript for an angel who is playing a hymn to Mary on the violin.
Boy with a Basket of Fruit
Date: 1593
Artist: Caravaggio
Location: Galleria Borghese
- Done when he was newley arrived in rome
- Predates his more complex works from the same period
- Shows artists ability to depict everything from the skin of the boy to the skin of the peach to the folds of the robe and basket weave
- His representation is both realistic and idealized
Polazzo del Quirnale
Architects: Domenico Fontana and Carlo Maderno
Date: originally completed 1583
Location: Piazza del Quirnale
- Information for both piazza and palazzo:
- The piazza is the location of both the quirnale palace and Palazzo Barracchini
- It is identified as the hill of the horce (Montecavallo) and the fountain in the piazza is called Fontana dei Dioscuri. It depicts the twins Castor and Pollux who hold the reins of their horses and a bath from antiquity during the time of constantine. The monument is aligned with the stradapia, not the center of the piazza
- Now the piazza is elevated but in 18th century it sloped down
- The quirnale palace is today the current residence and workplace for the presidents of the Italian republic. It originally was the summer residence for the pope because of its location on the hill and then became the residence of the king after 1870.
- Starting with pope Gregory 8th each papacy has a role in contributing to the building. -Sixtus the 5th in 1587 purchases the land and expands the building commissioned to Fontana and Pope Paul 5th commissioned the completion of the main building. Added onto this was the Pauline chapel and the papal apartements.
- Pope pius 4th was the last pope to live there
Sant’Andrea al Quirinale
Architect: Bernini
Date: 1658 – 1670
Location: Via del Quirnale ( strada pia), Rome
- Has a triple patronage: It’s religious order is Jesuit, It’s patron is the Pamphili Family, and it was commissioned during the papacy of a Chigi Pope.
- It becomes an additional chapel for the quirnale palace.
- Jesuit figures present in the church include San Ignatius and Francis Exaviar.
- The alter portrait is St. Andrew on the cross.
- The lightened chapel is dedicated to St. Stanislaus Kostka who was a polish Jesuit who died at 17 and is said to have foretold his death.
- The coffers and ribs leading up to the dome are interrupted making it look like they are instead radiating down from the top of the dome.
- Sacristy has elaborate decoration and interesting window cut outs
- Upstairs in the rooms is the statue of St. Stanislaus Kostka.
Santa Maria della Vittoria:
Architect: Carlo Maderno
Location: Rome
Date: 1620
Cornaro Chapel:
Architect: Bernini
Location: Santa Maria della Vittoria
Date: 1645 -1652
- Longitudinal church that is a half scale version of the Jesuit with a domed crossing.
- Bernini’s chapel has a natural light source at the top that illuminates St. Teresa in Ecstasy and an angel.
- Chapel was created during the papacy of pope innocent X. He shunned Bernini’s artistic services and so the patronage of this chapel was the Canaro Family. This was chosen for the family’s burial chapel.
- The illuminated sculpture depicts the description of a vision St. Teresa has of her experience with the angel that pierced her heart with the love of God.
Architect: Borromini
Location: Intersection of Strada Pia and Strada Felice (Quattro Fontane)
Date: 1634 – 1641
- Is Borromini’s first independent commission and he was still working on it when he died.
- It was built for the Spanish Trinitarians
- The plan has axes of a distorted and elaborated Greek cross.
- The columns in the wall zone jut out but at the same time are set in niches.
- It has an oval coffered dome with an oval lantern.
- The material is mostly white pilaster which is always Borromini’s preference and precious materials to highlight important parts of the church like the altar.
- It is very ornamented and complicated but in a more subtle way because it is all an off white tonality.
- The façade is concave and convex with two tiers
- Next to the church is a 2 story cloister in the shape of an elongated octagon.
- The crypt includes the chapel where Borromini intended to be buried.
Palazzo Barberini
Date: 1627-33
Architect: Maderno, Borromini
Location: Rome
- 3 story tiered façade (ref Palazzo Farnese)
- Oval spiral staircase to the right of the entry, designed by Borromini
- Forest of columns created in interior space
- Originally had back wall (hid garden)
- Partially consists of previously existing palazzo on the site
Oratory Complex (Oratorio dei Filippini) – S Maria in Vallicella/Chiesa Nuova Date: 1575-1605
Architect: Borromini (+2 others) he did masterplan of complex
Church: Longhi (1575)
Facade: Rughesi 1605
Location: Rome
- Complex created a superblock. Old blocks given special permission to combine for purpose of religious building complex. Changed the fabric of the city.
- Turns its back to the papal route (originally didn’t own property facing papal route)
- Façade on corner facing Papal route
- 5 lateral bays (diff from other churches), include both side aisles and side chapels (result of expansion)
- Frescoes by Pietro da Cortona
- Ceiling – Virgin Mary, floating from the apse, composition complete with the dome. Possible because drumbless dome allows for more vantage points.
Oratory Complex (Oratorio dei Filippini) – Façade and Chapel
Date: 1637-50
Architect: Borromini
Location: Rome
- Oratory Façade made out of brick to appear secondary to church
- Designed as public entrance for other types of devotion
- 2-tiered taking cues from church façade
- Large pilasters, alternation of convex and concave curves, with straight edge bays
- Adjustments to create greater sense of depth
- Chapel, wall pilasters rise up to ribs in the done, vertical gesture. Fake windows to create symmetry at exterior in courtyard.
Oratory Complex (Oratorio dei Filippini) - Library
Date: 1643
Architect: Borromini
Location: Rome
- Hidden stairs in corners to access upper level
- 2 phases, first aligned with formal part of façade, but didn’t work structurally, lengthened to align above chapel below. Had to adjust ceiling pattern to maintain idea of symmetry.
- One of 3 great libraries in Rome
Oratory Complex (Oratorio dei Filippini) – Sacristy
Date: 1637-50
Architect: Borromini
Location: Rome
- Elaborate cabinetry and art, not complex architecture
- Earliest of Crotona’s Frescoes: Angles holding symbols of the passion of Christ.
- Features Algardi’s sculpture of Neri
Sant’Ivo
Date: 1642-60
Architect: Borromini (church)
Location: Rome
- Headquarters for the University of Rome.
- Courtyard built first, left space for church
- Lower curving façade pre baroque, before Borromini
- Dome rises vertically, interior curve hidden from exterior by vertical gesture.
- Plan: complex form, double triangle/hexagon form.
- Pilasters on walls, sets of three (common theme), alternating straight-convex-straight-concave curves.
- Dome – decorated with ribs and 6&8 pointed stars.
- Materiality: neutral color, trend of Borromini, complex architecture, white plaster finish
- Spiraling lantern, crown of flames and floating sphere at the top.
Santa Maria della Pace
Date: 1482 (built originally) and 1656-67
Architect: Pietra da Cortona (building) Bramante (courtyard)
Location: Rome
- 1656-57 Baroque façade end edifice added
- Façade like semi-circle portico with Doric columns. Symmetrical, but left side access to courtyard, right side opening to public street. Surrounding context informs symmetry.
- Short entry with chapels leading to octagonal plan church. Decoration to unify entrance.
- Crotona never did both architecture and art in a building.
- Dome: decorated with both ribs and coffering, following Bernini’s earlier examples.
- Cloister/courtyard by Bramante: 1st urban work, 4 bay square plan, ok because it is entered from a side not the center. Pilasters eaten by corner piers.
San Giovanni in Laterano – General
Date: 313
Architect: Under Constantine
Location: Rome (originally disabitato)
- Located outside of the main city, Christian church would not be accepted in the center of the city yet.
- Typical 5 aisle Constantinian basilican plan with side chapels (really wide)
- Altar/apse moved twice, first to add transept, then add choir
- Ceremonial entrance is the cross axis, through the transept, accessed from the papal way.
- Original structure incorporated into renovation by Borromini
- Attached to “small” palace complex (smaller than original because was out of use after 1450 when the papal seat was relocated)
- High altar canopy in gothic style, 2 tiers, with statues of Peter and Paul behind a screen in top tier.
- Transept built late middle ages, remodeled for jubilee of 1600. Features wooden ceiling inspired by nave ceiling.
San Giovanni in Laterano – Façade
Date: 1735
Architect: Alessandro Galilei
Location: Rome (originally disabitato)
- Represents major stylistic shift.
- Logia façade, typical of any place the Pope appears,
- Two tiers, lower entry logia, upper as place for pope to speak, wide façade needed to match 5 aisle plan
- Simple in contrast to his remodeling of the interior.
- Immense statues at the top, can be seen from many points in the city
- Entry vestibule, early classicism, features doors original to the roman senate, added boarder to adjust size (featuring Cigi 6/8 pointed stars).
San Giovanni in Laterano – Interior
Date: 1646-50 (statues finished ~1730)
Architect: Borromini (under Pomphili Pope)
Location: Rome (originally disabitato)
- Remodels the nave (adds edicules) and side aisles
- Maintained most of the original masonry (shift form time of st. Peters and church wanted to conserve its history)
- Changed rhythm of existing columns to alternating open/closed rhythm. Existing columns set inside new piers. Windows aligned above arches allow in light, edicules set into and moving out from solid, massive piers. Middle windows, and one above door, different representation creating 3 centers if nave elevation is unfolded.
- Nave concluded in arch (original location of high altar/apse)
- First side aisles arcoaded (vaulted), second set trabiated (rectangular), corners softened by angle statues.
- Monuments and some tombs designed by Borromini after the 1625 Jubilee. Some side chapels designed by others.
- Ceiling and floor left as existing.
- Use of white plaster (his style) but also uses polychrome marble (grey, green, and pink) in edicules in the nave.
- Piers: formed by 2 colossal fluted pilasters, carry piece of entablature (only width of 2 pilasters), on top of which is continuous cornice. 3 tiered: edicule, then plaster relief, then painting in Borromini frame (was supposed to be exposed brick)
San Giovanni in Laterano – Baptistery
Date: 440 (5thc)
Architect: Built under Pope Sixtua 3 (site founded by Constantine with the chirch)
Location: Rome (originally disabitato)
- Domed octagonal plan, central domes space with offset octagonal ambulatory.
- Original entry 2 steps down, gives view to interior.
- Interior separated by 2 tier column screen, large porphyry columns at bottom, entablature zone, and small “colinettes” at the top.
Palazzo Propaganda Fide
Date: 1646 (Borromini Facade)
Architect: Bernini, Borromini
Location: Rome (southern end Piazza di Spagna)
- Bernini: proposed façade but was replaced by Borromini.
- Borromini: longer side façade, curvilinear, and chapel
- Façade: Colossal pilaster order, simple pilaster shafts, fluted capitols. Attic above. Incredible cornice with basket weave pattern with pomegranates.
- Trapezoidal block.
- Chapel: not intended for public. Pilasters with interesting ionic capitols (angles).
- Tripartite composition, 3 bays each side differing scales. Canted corners.
- Ceiling ribbed with crisscross pattern forming lattice work system, slightly gothic/skeletal. Ribs aligned with pilasters.
- Many blind windows to create symmetrical design
Sant’Andrea delle Fratte
Date: 1604/1653
Architect: Borromini
Location: Rome
- 1604: construction of the new church began
- 1653: revamped by Borromini (apse, cupola/dome, and tower)
- Nothing on the interior relating to Borromini
- Designed the dome and bell tower, both unfinished.
- Dome: was supposed to be many tiers, like Sant’Ivo, but only lower drum zone was built, and was left on exterior as rough unfinished brickwork. Never intended to see brick, just the structure for the plaster.
- Tower: more finished. Built to its full height. Tiered composition. Upper tier entirely completed; lower tier rough unfinished brickwork. Elaborate top to the tower, featuring symbols of patron.
