ARCH 250 Exam 3

Wieskirche (White Church)-

-Pilgrimage Church of Christ Scourged) -Frescoes by Johann Baptist Zimmermann -Commissioned by the Abbot and Monastery of Steingaden following a miracle in 1738 where tears were seen on the face of the statue of Christ Scourged -Plan of church with entrance, vestibule, aisles flanking oval nave. Contained image of the Scourged Christ said to weep real tears. -Two-part structure: outer loadbearing wall, interior pairs of columns to support a nearly flat wood-and-plaster vault. -The church, commonly regarded as Zimmermann's final masterpiece, was secularized in the beginning of the 19th century. -Subsequently, protests of local farmers saved the building, which is considered a jewel of rococo architecture and design, from being sold and demolished. -The Wieskirche was added to the UNESCO World Heritage List in 1983 and underwent massive restoration in 1985-91. -Interior finished with background of white plaster, pastel and gold colors, stucco ornament. -The light from the windows creates an illusion that the interior is less substantial than it actually is -Interior finished with background of white plaster, pastel and gold colors, stucco ornament. -Detail of the cutouts in the interior vaulting that allows more light into center of church.

Guarino Guarini

-Priest (1647)- Member of the Theatine monastic order. -Taught philosophy, theology, and mathematics in Modena, Mesina, and Paris -Most remarkable of all north Italian architects. -Intellectual and creative energies -Role of priest-architect. He designed projects for Theatine churchs in Lisbon, Munich, Nice, Paris, Prague -Gained international reputation -1666 moved to Turin as Engineer and Mathematician to the Duke Carlo Emanuele II of Savoy -The dukes wanted to rebuild the city of Turin, then capital of Piedmont -Appointment in 1680 as theologian to the Prince of Carignano in Turin, who praised: -" a man of ingenious and extraordinary principles" - "the most excellent knowledge of his philosophical, moral, and theological sciences as befits a zealous and worthy member of religious order" -"Vaults are the principal part of buildings" -Synthesis of Rationalism + Religious Mysticism Typical attitude of the Baroque Age

Balthasar Neumann

-Regarded as the great master of German Baroque/Rococo. -Trained in mathematics, engineering, and architecture. -Wurzburg Residenz/Palace

S. Maria della Consolazione

-Renaissance -Todi -Greek-cross plan -It stands free, on a platform; exterior mass form is a uniformly dressed masonry envelope, conforming precisely to the shape of the interior space! -Windows are visible!

Architectural Practice and Theory

-Renaissance: architects, painters and sculptors were first regarded as intellectuals rather than as mere craftsmen -No schools of architecture yet -1563 = Professional standards however: College of Architects and Engineers in Milan issued a set of rules: -Four-year apprenticeship -Be "an honorable person, born of good parents, who believe in God and regularly received the sacraments" -Training on the job: -Working in an architect's studio or -Rising through the ranks on the building trades. By 1700 traditional methods of training had been abandoned, for the most part. -More democratic system but encouraged a certain amount of stylistic conformity -Academy of St. Luke in Rome: champion of what has been called "Late Baroque Classism" or "Academic Classicism" -1729 the University of Turin became the first in Italy to sanction architecture - but only in 1762 it required students to take courses before exams. -No distinction between architects and engineers -University of Rome: chair in architecture only in 1817 (who was a specialist in mechanics and hydraulics)

Pluto and Persephone

-Rome -Bernini

S. Carlo alle Quattro Fontane

-Rome -Borromini -Commissioned by the Spanish Discalced Trinitarians in 1634 -Church dedicated to the newly canonized Saint Charles Borromeo -Building dedicated to the author of the Counter-Reformation Instructiones Fabricae employed a centralized plan rather a longitudinal plan.

Old St. Peter's Basilica

-Rome -Church built by the Roman emperor Constantine above the tomb of St. Peter. -368 feet long, 190 feet wide, one of the largest buildings in the world for a long time. -Size was to accommodate pilgrims. -Reconstructions of the baldacchino over the tomb of St. Peter from the 6th and 4th centuries, one of the 4th century spiral columns -1505: Pope Julius II asks Bramante to design a new church. -Bramante's plan is a Greek cross with dome on drum. -Bramante dies, Raphael appointed Master of Works for St. Peter's. -Raphael proposed a modified basilica plan in addition to Bramante's Greek cross -1546: Michelangelo appointed Master of Works for St. Peter's. -Definitive plan of St. Peter's created. -Michelangelo dies in 1564, work on the basilica stops.

Giacomo Vignola and Giacomo della Porta

-Rome -Il Gesù -The Jesuits (Society of Jesus) were sanctioned by the Vatican to recover and reassert ecclesiastical authority lost because of the Protestant Reformation. -Not a Baroque Church per se, the Church of Jesus in Rome includes this façade, which used architectural elements intended to call attention to the Jesuits' power to act on behalf "Mother church of the Jesuit order." -Giacomo Vignola gained the patronage of the Farnese family, Cardinal Allessandro Farnese donated the funds to build the church. Vignola died in 1573 and Giacomo della Porta finished the project. -Central portal with pairs of colossal Corinthian columns and pilasters, triangular and segmented pediments, volutes link upper section with sides -Central coat of arms with IHS, the monogram of Christ and symbol of the Jesuits. Inscription on frieze acknowledges patronage of Cardinal Farnese. -Change in church requirements: wide nave with view of altar for congregation -Emphasis on individual, emotional participation with focus on sermons and music

Il Gesu

-Rome -Pivotal position, standard, reference -Built as the Mother Church of the Jesuit order -First of many Counter-Reformation churches built in Rome -Prototype, Reference -Reflects the practicality & decorum urged by the Council of Trent

Ponte St. Angelo

-Rome -Bernini -Ponte St. Angelo = beginning of "process of entry" to St. Peter's -Only bridge over Tiber at that time providing access to St. Peters

Mission San José y San Miguel de Aguayo

-San Antonio

The unorthodox dome

-San Lorenzo -Skeletal use of intersecting ribs -Not uncommon in Hispano-Moorish vaults -No drum but conical geometry -Rational means to mystifying expressive effects -Illusion of infinite! -Evoking spiritual exaltation, an idea of increasing popularity in the late 17th century -Guarini used conical section rather then the usual spherical geometry

Baroque Painting Literature Music Architecture Characteristics:

-Spatial complexity and drama created by light from undisclosed sources -Dynamic play of concave and convex curves: Baroque Curvilinearity -Preference for axial and centralized spaces, expressed by ellipse or oval compositions -integration of painting, sculpture, and architecture to create illusions and dissolving physical boundaries Theatrical, evocative, sensuous, and dynamic!! -Preference for the classicism of the Renaissance: -correct use of orders, adherence to rules of balance, harmony, etc. •But -It considers the new ideas of Mannerism: texture, color, dramatic lighting! -Adds new involvement with space, movement, light and greater integration of sculpture, architecture and painting. -A style that was ideally suited to affirming the importance of such basic institutions as the Church, the Papacy, and the Monarchy. Baroque Painting Literature Music Architecture Baroque according to Heinrich Wölfflin (1864-1945):

Difference between rococo and baroque

-Structure/ space = Baroque -Details = Rococo -Both=Combines qualities that recall both French and Italian

S. Carlo alle Quattro Fontane Interior

-Stucco -It has been used since ancient times. Still widely used throughout the world, it is one of the most common of traditional building materials. -Up until the late 1800s, stucco, like mortar, was primarily lime-based, but the popularization of portland cement changed the composition of stucco, as well as mortar, to a harder material. -Historically, the term "plaster" has often been interchangeable with "stucco"; the term is still favored by many, particularly when referring to the traditional lime-based coating. 16 giant columns support an unbroken entablature -Uneven placement of the columns -Unstable arrangement that engages the viewer in aconstantly shifting set of perceptual experiences! -Borromini introduced a pattern of octagons, hexagons, and Trinitarian crosses -These diminish in size as they move upward -Creating an exaggerated perspective!!!

Baroque Architecture

-The Council of Trent decreed that art was an essential tool for spreading the prestige and teachings of the Church. -All the arts were deployed in this public-relations effort, and the artistic style that developed to restate traditional Catholic teachings -The results were openly propagandistic, overtly emotional, and long on sensory appeal, based on an elaboration of classical forms, already made highly individualistic by artists and architects in the early 16th century: -was a didactic, theatrical, dynamic, and dramatic style." -Spatial complexity and drama created by light from undisclosed sources; -Dynamic play of concave and convex curves; -Axial and centralized spaces expressed by ellipse or oval. -Integration of painting, sculpture, and architecture, creating illusions and dissolving physical boundaries.

St. Peter's Dome

-The dome, redesigned and completed by Giacomo della Porta

Vierzehnheiligen Church Interior

-This drawing shows the vaults above reflected onto the floor plan. -Together, they illustrate how Neumann interlocked highly ornamental oval and circular bays within a cruciform plan, with spherical triangles at intersections! -Multiple focal points liturgical and architectural Spherical triangle is created by tracing a triangle onto a spherical surface Construction: -Vaults: thin brick on wooden centering in lower part -Reinforcing ribs above vault -Upper: Tufa (compacted volcanic ash) reduce weight -Irregular Tufa blocks laid on centering (traditional) and clamped together by iron (new technique); -Mortar poured over whole; -Forms a kind of reinforced concrete -Plaster applied to interior surface -Quick, inexpensive, easy to construct -Iron also used in walls over doors, windows for strength—another instance of using metal where it was structurally advantageous -False marble columns Clean surfaces intended for stucco, fresco and statuary of others -Could have been brick or possibly sandstone under the stucco

Capella SS. Sindone - Chapel of Holy Shroud

-Turin -Guarini

San Lorenzo

-Turin -Guarini -16 free-standing columns transformed the outer square into a octagon -Undulating and irregular sides recalled Borromini's -Vault is encased in a polygonal drum, which supports an oversize lantern -48 windows allow the interior vaulting to seem floating

Rococo

-Variety of aspects and regional distinctions -Ornamented style -Motivation for the autonomy of the ______________: -Pioneer study by Fiske Kimball "The creation of the _______________," 1943: -He argues on the Parisian origin of the_________________, and revealed the importance of the French decorators in the genesis and evolution of its forms -A decorative style of the early to mid-18th century, primarily influencing the ornamental arts in Europe, especially in France, southern Germany and Austria. -To live a life of sumptuous indolence in Paris was the ultimate goal of the aristocracy in France in the early 18th century.

Wurzburg Residenz/Palace

-Wuzburg Germany -Balthasar Neumann -inspiration=versailles

Estipite

-a tapering pilaster, shaped like an inverted pyramid and derived from Mannerist architecture - Mission of San José, San Antonio, USA, 1720-31

Retable Facade of Cartuja Church

-unknown architect -Jeres de la Frontera, Andalusia, Spain

Retable

1. A structure forming the back of an altar, especially: a. An overhanging shelf for lights and ornaments. b. A frame enclosing painted panels. 2. A decorative screen set up above and behind an altar, generally forming an architectural frame to a picture, bas-relief, or mosaic. -Brazil Braroque

Catholicism in the 16th century: Reformation and Counter-Reformation

1517: Martin Luther, a monk in Wittenberg, Germany, nails ninety five theses to the door of All Saint's Church, which leads to the Protestant Reformation 1534: Catholic Church establishes the Society of Jesus, militant order established by Ignatius Loyola, the Jesuits. 1545-63: Council of Trent and beginning of Counter Reformation 1568-76: Jesuits build Il Gesù 1577: Charles Borromeo's Instructiones Fabricae Et Supellectilis Ecclesiasticae : architecture most social of all arts. He envisioned a restored atmosphere of dignity, cleanliness, uniformity, and functionality for sacred buildings

Vierzehnheiligen Church

-Franconia, near Bamberg, Germany -Balthazar Neumann -A young shepherd had a vision of Fourteen Nothelfer (heavenly witness, or guardian angel) on this location. Church built around the spot where they appeared. -Basilica plan church, but modified to acknowledge the Nothelfer shrine in the center, and to reflect Baroque design that uses a series of ovals, ellipses, and circles that overlap and interpenetrate.

Palazzo Carignano

-Guarini -Turin -Warm color and soft texture of its brick facing -Dense network of pilasters and cornices subdivides the three principal masses into smaller units -Hand-crafted details -Tectonic into a sculptural vocabulary

Karlskirche

-Johann Bernhard Fischer von Erlach -Vienna, Austria -Influence from Ancient Rome: Pantheon -Pair of columns with reliefs 'scrolling' up their height, scenes from the life of St. Charles Borromeo -Draws inspiration from the Column of Trajan in Rome, 100-114 CE -Interior of church has elongated oval nave interaction of axial and centralized plans -Oval dome on drum, vertical emphasis provided by wall pillars (Wandpfeiler) that emphasize centrality within longitudinal plan.

Francesco Borromini

-Maderno's great-nephew -Difficult and ill-tempered -Dressed eccentrically -Hypochondriac and melancholic

Sistine Chapel

-Michelangelo -Vatican

St. Peter's Nave

-Nothing of the old nave should be left uncovered -Centralizing Plan thought to be "too Pagan" -Need for a Benedictional Loggia -Emphasis on Processions -change plan from Greek cross to Latin cross: -longer nave and aisles - to accommodate congregation, provide processional space. -Façade of St. Peter's compared to façade of Sta Susanna -On day of his election, Christmas, Easter and other important occasions the Pope appears on the Benedictional Loggia in the center of the façade -Sunday blessing from the window of his studio

St. Peter's Obelisk

-Obelisk was the largest intact specimen of the dozen Egyptian obelisks moving to Rome during the empire -Obelisk now has cross at top. Inscription at base reads -"Behold the Cross of the Lord! Flee adversaries, the Lion of Judah has conquered." -Look closely at the state of St. Peter's Basilica: drum in place, but not dome. -Old façade of the narthex and stairs still in place.

Salon de la Princesse (Salon ovale), Hotel de Soubise

-Paris -Germain Boffrand

Antonio Francisco Lisboa The "Aleijadinho"

-Born in Villa Rica ("Rich Town"), whose name was later changed to Ouro Preto ("Black Gold"), Brazil, in 1738 (sometimes said to be in 1730) -Son of Manuel Francisco Lisboa and his slave, Isabel -His father, a carpenter, had immigrated to Brazil where his skills were so in demand that he appears to have been elevated to the position of architect. -Raised in his father's home along with his half siblings. -Aleijadinho first appears as a day labor working on the Nossa Senhora do Carmo Church in Ouro Preto, a church designed by his father. -signs of a debilitating disease (maybe leprosy, or a kind of bone degeneration) at around forty years old. -received the nickname "Aleijadinho" [little cripple] by which he has come down through history. -Became more and more of a recluse, working mostly at night. -He would be carried through the streets in a covered palanquin by his slave/assistants.

Sant'Ivo alla Sapienza

-Borromini -Rome -Conceptual structure: two interlocking triangles -"pumpkin" vault containing Christian symbols & symbols of the Barberini family, the building's patrons -Borromini was a stuccoist in his initial training -He brought a love for stucco decoration to all his subsequent architecture. -Bee: a symbol of Pope Barberini

Sant' Agnese Church

-Piazza Navona, Rome -Borromini & Rainaldi -Begun 1652 by Carlo Rainaldi, upon a commission of Pope Innocent X Pamphili. -Borromini was appointed one year later, in 1653, after Rainaldi had been fired. -In 1657, Borromini was dismissed and replaced by Rainaldi who completed the church.

Piazza Navona

-Borromini -Rome -Once the Stadium of Domitian -Ancient Roman circus or racetrack -Around it: narrow irregular streets of Rome's medieval core -Fountain of the Four Rivers -Centerpiece of Piazza Navona which was being developed over the ancient stadium of Domitian by Pope Innocent X Pamphili. -There are symbolic figures set amid splashing water and representing the major rivers of the continents to which Catholicism had spread: • Danube (Europe) • Ganges (Asia) • Nile (Africa) • Rio della Plata (America)

Palazzo Spada

-Borromini with Giovanni Maria de Bitonto -Rome -Colonnade and corridor connecting two small courtyards in a residence

Santa Susanna

-Carlo MADERNO -Rome -Il Gesu as point of departure but taller -More obvious movement into space -Layering of planes; overlap stories -Layering of planes

Gianlorenzo Bernini

-Child prodigy -Age 17 first commissions from papal family -Gifted sculptor and architect -Continues to move in circles of successive popes

Hill of the Calvary

- houses 6 chapels containing the 7 stations of the cross

Plateresco

-"like silversmith"

Salomonica, Solomonic Column

-A twisted or spiral column, dated from the most remote times. -Their earliest recorded appearance was upon Constantine's tabernacle, in the old St. Peter's, Rome, brought there according to the tradition from Salomon's temple.

S. Maria Novella

-Alberti -Florence

The Chair of Peter

-Combines architecture, sculpture and painting into an integrated, unified whole -Reliquary containing relics of Peter's throne

Baroque Painting Literature Music Architecture

-Exuberance of forms and sense of grandeur -Overt emotional content: -Reflection of the political and cultural changes -Preference for opposition: chiaroscuro (light-dark) -Realism and naturalism -Deep integration of compositional plans; -The manipulation of volume that gives to the work a sense of architectonic dimension. -Ornamental style - overly ornate -Use of antitheses and hyperboles (I could sleep for a year!); exaggeration, drama -Play of words -Cantata (vocal composition with an instrumental accompaniment) and the concert (concertino versus ripieno) -Profuse ornamentation -Preference for some vocal or instrumental virtuous -Such as Antonio Vivaldi, "The Four Seasons"

Royal Hunting

-Fillipo Juvarra -outside Turin

Bom Jesus de Matosinhos Sanctuary

-Aleijadinho -Congonhas do Campo, Brazil -"a highly original, moving, expressive form of Baroque art." -A wealthy businessman, Feliciano Mendes, had built the church to fulfill a vow made while he was desperately ill. -Between 1800 and 1805 Aleijadinho completed the twelve soapstone figures by having his assistants strap his hammer and chisels to what remained of his hands, which did not at this point include fingers. -Since he no longer had feet to stand on he had pads strapped to his knees up which he'd climb the ladders needed to get him off the ground. -The Twelve Prophets from the old testament are arranged in front of the church. -The Prophet Isaiah is believed to be Tiradentes, and Amos to be Aleijadinho The Passion Figures at Congonhas do Campo -At the bottom of the stairs is a long courtyard that is bounded by half a dozen pavilions. -In each pavilions there is a scene from the Passion of Christ. -66 life-size figures carved in wood, beginning with the Last Supper and ending with the Crucifixion. -The main figures, Christ, Peter, James, John, the Good and Bad thieves and the Mary are carved by Aleijadinho while the other figures, Roman soldiers, onlookers and lesser figures were carved by his assistants. -The figures were later painted by Athayde, who also painted (1828) the ceiling of the Church of São Francisco in Ouro Preto. -One of the figures watching the crucifixion is believed to be a portrait (or self-portrait) of Aleijadinho. -12 soapstone sculptures of near natural-size and representing the prophets of the Old Testament -Daniel and Jonas were sculpted out of a single block

Manuel Francisco Lisboa: Conceicao de Antonio Dias Mother Church

-Aleijadinho -Ouro Preto -Manuel Francisco Lisboa = Aleijadinho's father -Aleijadinho's father, Manuel, a carpenter, had immigrated from Portugal to Brazil where his skills were so in demand that he appears to have been elevated to the position of an architect.

Sao Francisco de Assis Church

-Aleijadinho -Ouro Preto, Brazil

Giacomo Vignola and Giacomo della Porta Details

-At Il Gesù the elimination of side aisles allowed for enlarged lateral chapels and a broader nave that turns the cupola into a highly visible culminating element... -The innovative plan brought these ecclesiastically differentiated parts into unprecedented visual and spatial unity. -Overall cohesion was enhanced by lining the interior with paired Composite pilasters without pedestals and a continuous belt-like entablature. Lowered entrance arches rendered the six nave chapels unobtrusive; above their flattened oval vaults are screened-off galleries. -Under Vignola's direction, Il Gesù was constructed to the height of the main entablature; the barrel vault of the nave and the dome were built later, and higher than he had intended, by Giacomo della Porta. -Use of barrel vault above nave and in chapels, compare to Alberti's Church of San Andrea, Mantua, Italy, 1472-1494.

Baroque

-At first meaning "irregularly shaped" or "irregular pearl" (derived from Portuguese or French term?); was used mostly to refer to pearls; irregular, extravagant, odd. -Original meaning in 1700s: -Derogatory term for the exuberant and extravagant aspects of the art of 1550- 1700. -Current meaning: -Refers to the art and architecture of the late 16th to early 18th century. -"Baroque style is characterized by an emotional rather than intellectual response to a work of art and by an interest in exploiting the dramatic moment through a choice of style and composition." -"Baroque refers to the complex of styles that developed against the historical backdrop of the Counter-Reformation, the advancement of science, the expanding world of exploration and trade, and the rise of private patronage in art."

Pietro da Cortona: S. Martina e Luca

-Baroque -Rome It is also a Greek-cross plan with semicircular apses but -The arms are longer than at Todi! -The façade is independent of the mass and space behind it; following its own rules of composition! -Exterior is less indicative of the interior space -No windows are visible!

Santa Chiara

-Bernardo Vittone -Bra

Santa Chiara

-Bernardo Vittone -Bra -Rococo -Greek-cross -Daylight is everywhere abundant and reveling -Shell decoration -Gold ornamentation and shell decoration contrast with a white/bright background

Cornaro Chapel (at Santa Maria Della Vittoria)

-Bernini -Rome -Built as the burial chapel of the Cornaro family. -The altarpiece depicts the Ecstasy of S. Theresa. -"Vision within a vision": the Ecstasy of Saint Theresa of Avilla -Italian Baroque: -"Curve & Counter-Curve" -Oval shape -architecture, sculpture and painting inextricably combined -Ecstasy of S. Theresa -Hidden light source -Window above altar -Members of the Cornaro family on the sides of the chapel -Skeletons executed in inlaid marble on the floor of the chapel

Santa Andrea al Quirinale

-Bernini -Rome -Built as the church in a school for training Jesuit missionaries. -Site was shallow and constricted -Pope imposed that the elevation be kept low -Available space was wider than it was deep: -Chose a transverse oval for ground plan: Formally this was a logical solution...But less desirable liturgically since the geometric axis runs perpendicular to the ritual axis -Light from hidden sources...and integration of sculpture, painting and architectural elements

St. Peter's Square

-Bernini -Rome -Ground plan of Piazza S. Peter and Colonnade -Several solutions for general shape had been suggested -Final geometrical plan of colonnade - oval

Baldachin

-Bernini -Rome -Meaning: An ornamental canopy over an altar, usually supported on columns, or a similar form over a tomb or throne. Function at St. Peters: -Marks tomb of Peter -Public Relations for the Barbarini Family -To reduce the scale of the vast space under Michelangelo's dome -Commissioned by Pope Urban VIII (Maffeo Barberini). -Canopy over the high altar above the tomb of St. Peter, 90 feet high supported by twisted columns of cast bronze. -Bronze came from bronze of the Pantheon's portico, a reuse of historic material sanctioned by the Pope over popular opposition:

Scala Regia

-Bernini -Vatacin -Ceremonial Stairway -Columns: distance varied -Progressively reduced diameter -Persuade viewers!!! Illusion -Effect of Perspectival Diminution

Versailles

-France -View of the South Wing built by Jules Hardouin-Mansart (1678 -1687) -Design reflects Renaissance principles established in Italy: -Ground floor arcades with rusticated masonry. -Main floor with classical orders (columns, entablature, cornice), pilasters framing round-headed windows. -Top floor (attic) with balustrade. -Addition of sculpture to facade: allegorical statues, trophie -View of the Hall of Mirrors, a corridor linking the state apartments. Vaulted ceiling 240 feet long, 17 mirrors face on to garden, allegorical paintings by Le Brun

Baroque Zeitgeist (Spirit of the time)

Summarizing the primary intellectual trends as: -Medieval Era: a dominance of the truth of organized religion; -Renaissance: a holistic embracing of science and art