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FlashCards por aueifler, atualizado more than 1 year ago
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Criado por Austin Eifler
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| Questão | Responda |
| il gesu | Mother church of the Jesuit Order 1540 Jesuit order approved by Paul III 1568 foundation stone laid Architect: Vignola Patron: Cardinal Alessandro Farnese Giacomo della Porta's facade design chosen over Vignola Vault by G B Gaulli Chapel by Andrea Pozzo Visual unit, longitudinal plan, domed crossing, preacher on a pulpit, confessionals, architectural pairs of pilasters, above are gallery private boxes (coretti) 1573 vignola dies and della porta suceeds him chapels are interconnected - gesu incorporated in a mega block created by combining three blocks and closing the public streets, urban transformation, facade of church is formal and simple for institutions |
| Saint'Andrea della Valle | theatine order, 1540 order approved by Paul III 1591 foundation stone layed, architects grimaldi and della porta, then maderno vault and crossing piers are decorated by domenichino, dome by lanfranco, - repeated elements from gesu, choir and transept deeper, nave higher - no private boxes cantorie - side chapels have smaller doorways, there is more light from above, the painting in the niche moves and has a silver jeweled statue shown on high feast day - half undecorated until 19th century? - apse shows crucifiction of andrew |
| Sant'Ignazio | Jesuit order 1626 church Begun, Architect Orazio Grassi. Patron Cardinal Ludovisi 1694 dome and vault decoration by Andrea Pozzo Large trabiated chapels, side aisles, pilasters are offwhite no guilding, entabliture vault has no decoration, reliefs in guilt bronze, story of canonization of saint ignatius. Was started right after ignatius was cannonized and was added to the college - white plaster nave, is origninal and not fancied up - austire, ribbed vault, frescos overlap borders, fresos cast illusionistic shadows, the subject is the addoration of the name of jesus, monogram in the center, the dammed plumit out of the composition at the end. mark lion, jon eagle, mathew angel, luke ox is patron of artists, four evangalists. |
| Villa Giulia | Patron: Pope Julius III Architects: Vignola, Vasari, Ammannati, Michaelangelo Begun 1550 - an example of terraced axiality - main building on a flat site that was excavated to create level changes - from golden age of villas - garden landscaping, is transformed over time and restored, it is modified by changing european taste. The italian formal garden in the 14th century, the 17th century french gardens, like Versailles become all the rage. an abundance of clipping and trimming. 18th century the English garden comes into vogue as the antithesis, looks like nature, asymmetrical, curated part of the landscape. over time gardens are frechified and then anglicized. - 16th century building with cult following - was used to get out of the city, as a day trip - the semi-circle portico has painting inspired by ancient roman painting, covorting putti and illusionistic trellis plays with idea of indoor outdoor - Two garden courts, one reconstructed Etruscan temple, sarcophagi, empty niches, porphyry basin - the center is a "nymphaeum" for the "nymphs" where julius 3 would soak |
| Villa Chigi (Farnesina) | Farnesina Patron: Agostino Chigi Architect: Peruzzi Began: 1505-1508 Decoration: Peruzzi, Sebastiano del Piombo, Raphael, Sodoma - was the creation of the Chigi family but the Farnese are given credit because the properties were combined -an example of high renaissance villa -no defensive facade towards street, open - north facing loggia was open now closed |
| San Luigi dei Francesi | Contarelli Chapel, Caravaggio 1600 The Calling of Matthew, The Inspiration of Saint Matthew, The Martyrdom of Saint Matthew The inspiration of saint Matthew was originally a different composition where the angel was wrapped around Matthew helping him right, but it was rejected, when his paintings were rejected there were other patrons eager to buy them, The canvases are large and square, The early version that was rejected was destroyed in WWII all elements of it were shocking, hense its refusal, His characters have a wide range of emotion, he often incorporates himself as a character self portrait style, they are always in dramatic situations where one figure may not fully understand the significance of the situation, he did not draw first, he uses oil and canvas in the tradition of venice |
| Sant'Agostino | Madonna di Loreto, Caravaggio 1604 Cavalletti Chapel Apparition of the barefoot virgin and naked child to two peasants on a pilgrimage, dirt on pilgrims feet, and crack and wall, rumored that Caravaggio could not draw anything that wasn't in front of him, he does not beautify scenes, keeps all the unappetizing details |
| Galleria Doria-Pamphili | John the Baptist (youth with a ram), 1602? Rest on the Flight into Egypt, 1597? Penitent Magdalene, 1594? Caravaggio paints from posed models, his subjects lack decorum, next to marry is strewn necklaces to represent the life she is leaving behind, this is a departure from the traditional depiction of marry magdalene rest on flight into egypt is unique for its background which is not his usual close dark wall, and instead is natural with elements of the landscape. |
| Piazza del Quirinale | Statues of Castor and Pollux (placed by pope sixtus V), Obelisk, and basin, Quirinale Palace, official residence of the President of the Italian Republic, Quirinal Hill, Palace built 1583, by Pope Gregory XIII as a papal summer residence. Far away from Humidity of city, 1870 the papal states were overthrown and Rome became capital of the new Italy, and Palace became a royal residence. view towards saint peters on open side, statues roman replicas of greek originals |
| Sant'Andrea al Quirinale | 1658 Bernini jesuit church only need two big jesuit churches, so this one serves a different purpose, chapel for jesuits studying to enter the priesthood, similar orders to the campidoglio, theatrical space, oval plan 16th century standard plan, vignoal plays a role in the popularization of cenral plans, they are found in sketches, and in backgrounds of paintings, explains changes of saint peters plan, next century the longitudinal plan takes over. Religious painting of saint andrew crucification and earth to heaven realms, 3d continuation of painting rays of light and angels. each central plan by bernini can be easily described geometrically (short axis main axis), vs boronini which could be described many ways. more complexity and ambiguity, ribs interupted with incantus leaves, ribs as rays of light, floating, earth vs heaven, pomfili dome imagery, light all from above |
| San Carlino alle Quattro Fontane | 1634 borromini commission of barbarini trinitarian plan, triangles with triple shells, for the barefoot spanish trinitarians mideval orders reinvent themselves and commmission churches niches merge shell and tripartide arches, draws on all the periods of history, which he considered his right as an architect, one critic thought the church was heretic , ugly deformed corrupt, diamond plan with inscribed circles, form an oval figure from within, columns in niches like Michelangelo, oval dome, borominis first commission, few years later he did the oratory complex, both projects span many years, he grew up on construction sites and has the technical grasp on projects, contrast between rich materials and the plaster of boronini, complicated walls and curving elements account for most of cost, |
| Santa Maria della Vittoria (Cornaro Chapel) | Bernini chapel church begun 1605 Innocent shunning bernini giving him time to accept Cornaro family commision, 8 portraits four on each side, colored marble and anchient marble, africano is grey and pink, and giallo antico is yellow - saint taresa having a vision, mystical vision of angel thrusting an arrow to her heart, till entrails, unified work of art, floating -addition to church added on exterior to let light into chapel, had to be incorporated to existing church -hidden window |
| Palazzo Barberini | 1627 Maderno, Borromini was Maderno's assistant, Bernini Houses the Galleria Nazionale d'Arte, fresco vault by cortona, rectangular stair by bernin, helicoidal stair by borromini, upper floor windows are in forced perspective |
| Oratory complex | 1637 The church predates the complex, it was built by oritorians, filipinni in late 1500s, the adjacent sites were acquired and public streets closed. Boromini inherits master plan from the oritorians, basic elements and positions are decided, Boromini does the oratory hall, library, facade, and courtyards. The back courtyard is modified to a square, in the courtyard he paired each existing window with an illusionistic one for symmetry, he added the curving corners, the location of the clock tower makes no sense unless considered urbanistically, topped with metal element to let the sky in, In the library the last bays are not the same size due to the expansion, so he stretches the elements so it seems like perspective, fake book spines to cover stairs, entrance is not center. facade is a hybrid of a palace and church facade, five bays with flanks. the heights of the facade relate to the church facade. facade fenestration does not match what goes on behind, Church: longitudinal counter reformation, side aisles, and chapels, chapels are cellular and linked, dome has no barrel |
| Sant'Agnese in Piazza Navona | 1652 begun by Rainaldi, Greek cross plan, curvature in facade so that steps do not come as far into the piazza, has two towers which were fully constructed unlike the towers of saint peters which the foundation could not hold and had to be dismantled, Borromini made adjustments, |
| Sant'Ivo | 1642 Borromini Plan is floating overhead, but hard to distinguish at base, star hexigon, entablature zone shows plan, university chapel founded in middle ages, late 16th century given new building, the rest of stucture was complete while the chapel construction runs through three buroque popes, free in plan shape, but must be central plan, egg and dart molding as angel faces, tripartide bays moldings rise over the doors, and disappear behind pilasters, freeze continuous and undecorated, niches were for 12 appostals but are empty now, sculptures were no good, white plaster elements, dove on pin was in center of lantern, courtyard focuses view on front facade |
| Santa Maria della pace | 1655 cortona entrance at corner of bramante cloister, open space for carriages to get past church, despite diverse urban needs, keep sense of symmetry, with modifications for urban context, projecting half circle porch, |
| San Giovanni in Laterano | 1646? - Constantine choose site outside of city center b/c pagans - Was seat for Bishop of Rome ,pope, until Nicholas V moved to S. Peters Unlike S. Peters, S. Giovani is not demolished but remodeled - Façade, Galilei in 1730s neo-classical - bronze entrance doors of Roman Senate, Alexander XII and remodeled by Borromini with Pamphili stars open on fiest days - Borromini: Nave elevations, 1st/2nd set of side aisles, side chapels - side chapels alternate light and dark - first side aisle is arched, and then pier and lentil, inspired by michaelangelo - unrealized vaulted ceiling illustrated in drawing - Constantinian brickwork behind oval paintings -remodeled for jubilee - solid piers replaced normal columns, but the columns remain within, some colored marble but still not like bernini - egg and dart pomagranites - pavement 16th century columna pope - 12 apostles in niches -no religious significance to site -spolia elements deployed - chapel like tiny version of saint peters crossing piers - aralian wall circuit on edge -christ and two jons central facade |
| Propoganda Fide | never intended for public, one entry, unlike oratory chapel. poly chromatic tones. rectangle with canted corners like oratory complex. alternate larger and smaller bays. |
| Sant'Andrea delle Fratte | 17th-century basilica dedicated to St. Andrew 1604 the construction of the new church - Gaspare Guerra Revamped in 1653 by Francesco Borromini: responsible of the apse and the tower with four orders The interior has a single nave with chapels designed and decorated by numerous famous painters and scupltors, most famous are the Angels (1668-1699) designed by Bernini for the Ponte Sant'Angelo at the sides of the presbytery facade partially done brickwork shows where plaster was not added |
| Baldachin, Bernini | Baldachin, Bernini - Commissioned by Pope Urban VIII, began in 1623 finished in 1634. (Baroque style). - Intended to be mark the place of St. Peter’s tomb underneath. - It was not Bernini’s original idea to build the baldachin on top of the tomb; there are sketches from previous artists, such as Carlo Madero, proposing a less sculptural baldachin with the same solomonic columns. - Made of bronze with solomonic columns (spiraling). Inspired by the temple of Solomon in Jerusalem. - Columns are made in 5 sections decorated with laurel and bees (Barberini family symbol) - The columns are connected to the top piece with impost blocks instead of an entablature. Bernini sculpted a bronze fabric to replace the entablature in order to give the Baldachin more movement. - Bernini’s aim was to create a piece to blend architecture and sculpture. - Marble masonry bases with a wooden roof. - Four twice life size angles sit on top of each column, surrounding a gilded cross and sphere, representing the world redeemed by Christianity. |
| Chair of St. Peter, Bernini | Chair of St. Peter, Bernini - Executed between 1647 and 1653 - Also known as the “cathedra pietri” (latin) which means throne, denoting the chair high chair of the bishop. Reliquary sculpture, meaning it holds the original wooden throne seat once used by St. Peter. Due to its symbolism, Bernini designed a piece that had no earthly attachment to the surrounding architecture. - The piece is usually referred as the “floating throne” being only attached from the back. - The sculpture piece is meant to reconcile the longitudinal axis of the church since the high altar (baldachin) is not placed at the back of the wall, like it usually is. The baldachin compresses the longitudinal axis between the two pieces, creating the illusion that both of them work as one. - The chair is flanked by two tombs: Farnese Pope (no idea which one) and Urban VIII |
| Four Pier around Baldachin | - Four Pier around Baldachin, Bernini - All piers have the same format: on the lower tier a niche holds a larger than human scale sculpture of a saint. On the upper tier, a balcony with a smaller niche holds the relics of the saint below. The top niche is decorated with solomonic columns and painting with marble. - 1. St Veronica holding cloth imprinted with Christ’s face - 2. St. Andrew (St. Peter’s brother) - 3. St. Helen, mother of Constantine - 4. St. Longinus - All of the sculptures where made by Bernini and his assistants. |
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