ARCH 250 EXAM 3

II GESU Giacomo Vignola and Giocomo della Porta (Rome, 1568-76)

"Mother church of the Jesuit order" -pairs of colossal Corinthian columns and pilasters, triangular and segmented pediments, volutes link upper section with sides -IHS, the monogram of Christ and symbol of Jesuits in center

SAO FRANCISCO CHURCH AND MONASTERY (Salvador)

"The Gold Cavern"

SANT' IVO ALLA SAPIENZA Borromini (Rome, 1642-50)

-"pumpkin" vault containing Christian symbols & symbols of the Barberini family, the building's patrons

S. LORENZO Guarini (Turin, 1666-1687)

-16 free standing columns transformed the outer square into a octagon -skeletal use of intersecting ribs used conical section rather then the usual spherical geometry

S. CARLO ALLE QUATTRO FONTANE Borromini (Rome, 1634-67)

-Borromini introduced a pattern of octagons, hexagons, and trinitarian crosses -diminish in size as they move upward

NEW ST. PETER'S BASILICA (Rome, Italy)

-Maderno's definitive plan built of off Bramante's and Michelangelo's

Francesco Borromini

-Maderno's great-nephew -difficult and ill-tempered -dressed eccentrically -stuccoist in his initial training -brought a love for stucco decoration to all his subsequent architecture

SAN FRANCISCO ACATEPEC CHURCH (near Puebla, Mexico)

-Mexican ultra baroque -talavera glazed tiles

combines qualities that recall both French and Italian

-Structure/ space = Baroque -Details = Rococo

Rococo

-Variety of aspects and regional distinctions -Ornamented style -USAGE: decorative style, used for interiors especially

SANT' AGNESE CHURCH Borromini & Rainaldi (Piazza Navona, Rome, 1652/53)

-begun by Rainaldi upon a commission of Pope Innocent X Pamphili -Borromini appointed after Rainaldi had been fired

CORNARO CHAPEL Bernini (Santa Maria della Vittoria, Rome 1645-52)

-built as the burial chapel of the Cornaro family -members of family on sides of chapel

SCALA REGIA Bernini (Vatican, 1663-1666)

-ceremonial stairway -columns: distance varied -progressively reduced diameter

Carlo Maderno

-chief architect -had been decided to add nave to Michelangelo's building

Gianlorenzo Bernini

-child prodigy -age 17 first commissions from papal family -gifted sculptor and architect -continues to move in circles of successive popes

OLD ST. PETER'S BASILICA (Rome, Italy 318-322)

-church built by the Roman emperor Constantine above the tomb of St. Peter -one of the largest buildings in the world for a long time -size was to accommodate pilgrims

S. LORENZO Guarini (Turin, 1666-1687)

-church built for the Theatines

BALDACCHINO Bernini (St. Peter's, Rome, 1624-33)

-commissioned by Pope Urban VIII (Maffeo Barberini) -canopy over high altar above tomb, supported by twisted columns of cast bronze

S. CARLO ALLE QUATTRO FONTANE Borromini (Rome, 1634-67)

-commissioned by the Spanish Discalced Trinitarians in 1634 -dedicated to the newly canonized Saint Charles Borromeo

SANT' IVO ALLA SAPIENZA Borromini (Rome, 1642-50)

-conceptual structure: two interlocking triangles -Bee: a symbol of Pope Barberini on side of structure

Pope Sixtus V and the replanning of Rome

-his plan involved the creation of a number of streets linking the seven station churches -dynamic axial connections between important urban points

Baroque Architecture in Brazil Churches:

-illusionist ceiling -unified naves -coffered ceilings -facade evoking domestic arch. -suppression of the crossing dome and transept -rectangular envelopes

WURZBURG RESIDENZ/PALACE Balthasar Neumann (Wurzburg, Germany, 1719-44)

-imperial stairs combine painting, sculpture, architecture

KARLSKIRCHE Johann Bernhard Fischer von Erlach (Vienna, Austria)

-influence from ancient rome: pantheon -pair of columns 'scrolling' up their height

WIESKIRCHE (WHITE CHURCH) Dominikus Zimmermann (Bavaria, Germany)

-interior finished with background of white plaster, pastel and gold colors, stucco ornament

VIERZEHNHEILIGEN CHURCH Balthazar Neumann (Franconia, Germany)

-interlocked highly ornamental oval and circular bays within a cruciform plan Construction: -vaults: think brick on wooden centering in lower part -reinforcing ribs above vault -upper: Tufa (compacted volcanic ash) reduce weight

ST. PETER'S OBELISK

-largest intact specimen of the dozen Egyptian obelisks moving to Rome during the empire -tuscan columns

Baroque Architecture

-light from undisclosed sources -baroque curvilinearity -ellipse or oval compositions -integration of painting, sculpture, and architecture -primary intent of many building was to persuade -Dramatic spectacle that "would reach out to Catholics in order to reaffirm their faith, to heretics to reunite them with the church, and agnostics to enlighten them with the true faith" (Bernini)

Ecstasy of Saint Theresa of Avilla (in Cornaro Chapel)

-oval shape -window above altar

Baroque Painting

-overt emotional content -exuberance of forms and sense of grandeur -reflection of the political and cultural changes -realism and naturalism

Baroque Literature

-play of words -use of hyperboles

COMPANIA DE JESUS, JESUIT CHURCH Leonhard Deubler (Quito, Ecuador, 1722-60/5)

-retable facade

Antonio Francisco Lisboa, Aleijadinho

-son of Manuel Francisco Lisboa and his slave, Isabel -signs of debilitating disease (maybe leprosy, or a kind of bone degeneration) began to show

FOUNTAIN OF THE FOUR RIVERS Bernini (Piazza Navona, Rome, 1648-51)

-symbolic figures set amid splashing water and representing the major rivers of the continents to which Catholicism had spread

SANCTUARY OF BOM JESUS DE MATOSINHOS Aleijadinho (Congonhas do Campo)

-the Twelve Prophets from the old testament are arranged in front of the church -hill of the Calvary houses 6 chapels containing the 7 stations of the cross

Guarino Guarini

-theatine order priest -taught philosophy, theology, and mathematics in Modena, Mesina, and Paris -most remarkable of all north Italian architects -published two books -synthesis of Rationalism + Religious Mysticism

PALAZZO CARIGNANO Guarini (Turin, 1679)

-warm color and soft texture of its brick facing -hand crafted details

Retable

1. A structure forming the back of an altar, especially: a. Anoverhangingshelfforlights 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.

PONTE ST. ANGELO Bernini (Rome)

= beginning of "process of entry" to St. Peters

WIESKIRCHE (WHITE CHURCH) Dominikus Zimmermann (Bavaria, Germany)

Pilgrimage Church of Christ Scourged

II GESU Giacomo Vignola and Giocomo della Porta (Rome, 1568-76)

Triumph of the Name of Jesus, ceiling fresco with stucco figures in the vault

Estipite by Michelangelo

a tapering pilaster, shaped like an inverted pyramid and derived from Mannerist architecture

Salomonica, Solomonic Column

a twisted or spiral column, dated from the most remote times

Baroque

all the arts were deployed in this public- relations effort, and the artistic style that developed to restate traditional Catholic teachings became known as the _____

Baldachin (baldacchino, baldachino, baldaquin, ciborium)

an ornmanetal canopy over an altar, usually supported on columns, or a similar form over a tomb or throne

SANTA ANDREA AL QUIRINALE Bernini (Rome, 1658-70)

built as the church in a school for training Jesuit missionaries

PALAZZO SPADA Borromini with Giovanni Maria de Bitonto (Rome, 1652-53)

colonnade and corridor connecting two small courtyards in a residence 9 meters long

SANTA ANDREA AL QUIRINALE Bernini (Rome, 1658-70)

columns rounded shape made with Conttanello, a limestone found in a quarry near a village by the same name in Sabina

SALVADOR CATHEDRAL (Salvador)

facade was covered by stones of Lioz

II GESU Giacomo Vignola and Giocomo della Porta (Rome, 1568-76)

latin cross plan -change in church requirements: wide nave with view of altar for congregation

SANTA SUSANNA Carlo Maderno (Rome, 1597-1603)

layering of planes; overlap stories

Cornaro Chapel floor

skeltons executed in inlaid marble on the floor of the chapel

S. ANDREA Alberti (Mantua, Italy 1472-94)

use of barrel vault above nave and in chapels

ST. PETER'S NAVE AND FACADE Carlo Maderno (Vatican, 1606-1626)

Maderno completes the nave addition and the main facade...note design that 'steps out' and leads eye upward, but dome is no longer visible

Protestant Reformation

Martin Luther, a monk in Wittenberg, Germany, nails ninety five theses to the door of All Saint's Church which leads to the...

S. MARTINA E LUCA Pietro da Cortona (Rome,1635)

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!

S. CARLO ALLE QUATTRO FONTANE Borromini (Rome, 1634-67)

STUCCO -one of the most common of traditional building materials -16 giant columns support an unbroken entablature -unstable arrangement that engages the view in a constantly shifting set of perceptual experiences