ARCH 250 Exam 3
the Ecstasy of Saint Theresa of Avilla
"vision within a vision" - italian baroque: curve/ counter-curve or oval shape
*retable facade*
(Hospital Provincial San Fernando, Madrid, Spain by Pedro da Ribeira)
*Maderno's* *benedictional loggia*
(Old St. Peter's on bottom)
reconstruction of *Maderno's* intended design
(two bell towers, later removed)
Baroque in Central Europe
*Baroque or Rococo?* - structure/space = Baroque - details = rococo *combines qualities that recall both French and Italian*
*St. Peter's Dome*, Vatican, Rome
*Giacomo della Porta* (architect) and *Domenico Fontana* (engineer) complete the dome
*Karlskirhce*, Vienna, Austria by *Johann Bernhard Fischer von Eriach*: *Ancient Rome influence*
*influence from Ancient Rome: Pantheon*
*Karlskirhce*, Vienna, Austria by *Johann Bernhard Fischer von Eriach*: *Papal Rome influence*
*influence from Papal Rome: St. Peters*
Obelisk in *Piazza of St. Peter's Basilica*
*obelisk* now has cross at top, inscription at base - drum in place, but not dome - old facade of narthex and stairs still in place
*Sanctuary of Bom Jesus de Matosinhos*, Congonhas do Campo by *Aleijadinho*
- "*highly original, moving, expressive form of Baroque art*" - UNESCO World Heritage - Cultural Site
*Sanctuary of Bom Jesus de Matosinhos*, Congonhas do Campo: *Aleijadinho*
- *Aleijadinho* completed 12 soapstone figures by strapping hammer and chisels to remainder of hands (no figures) - no feet to stand so pads strapped to knees to climb ladders - *Twelve Prophets from Old Testament* in front of church - aka *Passion Figures at Congohas do Campo*-- Daniel and Jonas were sculpted out of a single block - at bottom of stairs is long courtyard bounded by half dozen pavillions - each has scene from Passion of Christ
*S. Carlo alle Quattro Fontane*, Rome by *Borromini*: ceiling
- *Borromini* introduced pattern of octagons, hexagons & Trinitarian crosses - diminish in size as move upward > creates exaggerated perspective
*St. Peter's Basilica, Rome*: *Raphael* comes to work
- *Bramante* dies, *Raphael* appointed Master of Works for St. Peter's - proposes modified basilica plan in addition to Bramante's Greek cross
*St. Peter's Basilica, Rome*
- *Carlo Maderno*, chief architect.
San Francisco Acatepec Church, Mexico
- *Mexican Ultra Baroque* - Talavera glazed tiles
*St. Peter's Basilica, Rome*: *Michelangelo*
- *Michelangelo* appointed Master of Works for St. Peter's > definitive plan of St. Peter's created
*baroque*, *characteristics*
- *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 - integrate painting, sculpture & archit to create illusions and dissolve physical boundaries
*Wieskirche (White Church)*, Bavaria, near Munich, Germany by *Dominikus Zimmermann*
- *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
*baroque*, *origins*
- 1550-1700: derogatory term for exuberant and extravagant aspects of art - at first in 1700s meant "irregularly shaped/irregular pearl" - modern: Council of Trent said art was essential for spreading prestige and teachings of Church - all art deployed & the style (is what the word refers to). late 16 to early 18th century -- emotional response to art, exploit the dramatic moment
*San Lorenzo*, Turin by *Guarini*: arrangement
- 16 free-standing columns transformed the outer square into an octagon - undulating and irregular sides, like *Borromini's*
*S. Carlo alle Quattro Fontane*, Rome by *Borromini*: arrangement arrangement all around
- 16 giant columns support unbroken entablature - uneven placement of columns - unstable arrangement that engages viewer in constantly shifting set of perceptual experiences
*Conceicao de Antonio Dias Mother Church* by *Manuel Francisco Lisboa*
- 2 bell towers - trim - white stucco walls - 3 parts composition - two stories - no dome - *'Unified' nave*: no side aisles, no crossing and dome
*Do Carmo Church*, Ouro Preto by *Manuel Francisco Lisboa & Antonio Francisco Lisboa (Aleijadinho)*
- 2 bell towers - trim of soup stone - white stucco walls - 3 parts composition - two stories - no dome - *"unified" nave*: no side aisles, no crossing and dome
facade completed by *Carlo Maderno* *Santa Susanna, Rome.*
- II Gesu as point of departure but taller - more obvious movement into space - layering of planes, overlapping stories
*Saint Peter's Basilica* OUTLINE
- Old St. Peter's Basillica, Rome, Italy - *baldacchino* - Michelangelo's Sistine Chapel, Vatican - (ceiling) - *St. Peter's Complex* - *Bramante* dies, *Raphael* comes - proposes modified basilica plan in addition to *Bramante's Greek cross* - *Michelangelo* appointed - definitve plan of St. Peter's - St. Peter's Obelisk - *Domenico Fontana* moved *Vatican obelisk* in front of St. Peter's - St. Peter's Dome - *della Porta (architect) and *Fontana* (engineer) complete dome - *Maderno's benedictional loggia* - *Maderno's nave & facade* - changed to *Latin cross*
*Gianlorenzo Bernini* OUTLINE
- Ponte St. Angelo, Rome - St. Peter's Square/Colonnade and Piazza of St. Peter's , Vatican - Scala Regia, Vatican - Cornaro Chapel, Santa Maria della Vittoria, Rome - Santa Andrea al Quirinale, Rome - Fountain of the Four Rivers, Piazza Navona, Rome
St. Peter's *Nave*, *completed by Carlo Maderno*
- Pope Paul V commissioned *Maderno* to change plan from Greek cross to Latin cross > longer nave and aisles - to accommodate congregation, provide processional space
Getting the Job: Architectural Practice and Theory
- Renaissance: architects, painters, sculptors = intellectuals rather than craftsmen - 1563. professional standards. 4-year apprenticeshp - 1700s. schools, academy. no distinction between architects & engineers
*Francesco Borromini* OUTLINE
- Sant' Angese Church, Piazza Navona, Rome - with *Rainaldi* - S. Carlo alle Quattro Fontane, Rome - Sant' Ivo alla Sapienza, Rome - Palazzo Spada, Rome - with *Giovanni Maria de Bitonto*
*II Gesu, Rome. Glacomo Vignola & Glacomo della Porta*: *Vignola's deisgn from Alberti's S. Andrea in Mantua*
- Vignola gained patronage to begin. died. della Porta finished. - Vignola drew inspiration from Alberti's S. Maria Novella, Florence -- pediment, volute/scroll -- took pointers from floor plan of Alberti's San Andrea, Mantua too
*Ouro Preto (Villa Rica), Minas Gerais*
- Villa Rica (Rich Village) later renamed *Ouro Preto* (Black Gold) - 1980 Unesco World Heritage List
historical context: Inconfindencia Mineira
- a Brazilian revolutionary movement, aimed full independence from Portugal and create Brazilian republic - plans discovered, leader (Joaquim Jose da Silva Xavier) tried & publicly hanged
*estipite*
- a tapering pilaster - shaped like an inverted pyramid - derived from Mannerist architecture
*Vierzehnheiligen Church*, Franconia, near Bamberg, Germany by *Balthazar Neumann*
- a young shepard had a vision of Fourteen Nothelfer (heavenly witness, guardian angel) at this location - church built around spot where appeared
*Counter Reformation*
- baroque developed - advancement of science - expanding world of exploration and trade - rise of private patronage in art
Compania de Jesus, Jesuit Church, Ecuador by Leonhard Deubler
- barrel vault with medujar motifs - moorish influence - arabesques - *ultra baroque!!*
*Vierzehnheiligen Church*, Franconia, near Bamberg, Germany by *Balthazar Neumann*: plans
- basilica plan church, modified to acknowledge the Nothelfer shrine in center and reflect Baroque design that uses a series of ovals, ellipses and circles that overlap and interpenetrate
*Sant' Agnese Church*, Piazza Navona, Rome by *Borromini & Rainaldi*
- began by *Carlo Rainaldi* from commission of Pope Innocent X Pamphili - *Borromini* appointed after *Rainaldi* was fired - *Borromini* was dismissed and replaced by *Rainaldi* who completed church
*Antonio Francisco Lisboa, the 'Aleijadinho'*
- born in Villa Rica ("Rich Town") - signs of debillitating disease - received nickname *'Aleijadinho'* (little cripple)
*Cornaro Chapel, Santa Maria della Vittoria, Rome* by *Bernini*
- built as burial chapel of Cornaro family - altarpiece depicts Ecstasy of S. Theresa
*Bernini*'s *Santa Andrea al Quirinale*, Rome
- built as church in a school for training Jesuit missionaries
*Rosario dos Pretos Church*, Salvador
- built by Fraternity of Black Men of Pelouinho (slaves and free slaves)
*Sao Francisco de Assis Church*, Ouro Preto, Brazil by *Aleijadinho*: ceiling
- ceiling fresco by Manuel da Costa Ataide
*Fountain of the Four Rivers*, Piazza Navona, Rome by *Bernini*
- centerpiece of Piazza Navona which was being developed over ancient stadium of Domitian by Pope Innocent X Pamphili - symbolic figures set amid splashing water, represent major rivers of continents that Catholicism had spread: -- *Danube* (Europe) -- Ganges (Asia) -- Nile (Africa) - face was obscured because its origin was unknown at time -- *Rio della Plata* (America)
*II Gesu, Rome*: the coat of arms
- central coat of arms with IHS (monogram of Christ & symbol of Jesuits) - inscription on frieze acknowledges patronage of Cardinal Farnese
passages in colonnade
- central for carriages, barrel vaulted - outer passages for foot traffic, coffered - from two "central points" columns of colonnade line up
*II Gesu, Rome*
- central portal with pairs of colossal Corinthian columns & pilasters - triangular and segmented pediments - volutes link upper section with sides
St. Peter's *Nave* - why add a *nave*?
- centralizing plan was thought "too pagan" - nothing of the old nave left uncovered - need for a *Benedictional loggia* - emphasis on processions
*Gianlorenzo Bernini*
- child prodigy - gifted sculptor and architect - moved in circles of successive popes
*Old St. Peter's Basilica, Rome*
- church built by Roman emperor Constantine above tomb of St. Peter - largest building of world for awhile, to accommodate pilgrims
*San Lorenzo*, Turin by *Guarini*
- church built for Theatines (Guarini's own order)
*Wieskirche (White Church)*, Bavaria, near Munich, Germany by *Dominikus Zimmermann*: plan
- church with entrance, vestibules, aisles flanking oval nave - contained image of Scourged Christ, said to weep real tears - two part structure: outer-load bearing wall, interior pairs of columns to support a nearly flat wood-and-plaster vault
*Palazzo Spada*, Rome by *Borromini & Giovanni Maria de Bitonto*
- colonnade and corridor connecting two small courtyards in residence 9 meters long
*Capella SS. Sindone - Chapel of Holy Shroud Cathedral*, Turin by *Guarini*
- commissioned by Duke Carlo Emanuele II of Savoy to Amedeo di Castellamonte - *Guarini* appointed architect
*S. Carlo alle Quattro Fontane*, Rome by *Francesco Borromini*
- commissioned by Spanish Discalced Trinitarians, dedicated to newly canonized Saint Charles Borromeo - domitory, refectory, and cloisters built - church constructed after - facade made last - centralized plan rather than longitudinal plan
*Wieskirche (White Church)*, Bavaria, near Munich, Germany by *Dominikus Zimmermann*: about the church about the church
- commonly regared as *Zimmermann's* final masterpiece - while secularized (religion loses social and cultural importance), protects of local farmers saved building (considered jewel of Rococo archit and design)
*Carlo Maderno's* contribution to *St.Peter's*
- completed nave addition and main facade -- note: design that 'steps out' and leads eye upward, but dome is no longer visible
*II Gesu, Rome*: innovation, floor plan
- elimination of side aisles allowed for enlarged lateral chapel & broader nave > *highly visible culminating element, unprecedented visual and spatial unity* - overall cohesion enhanced by *lining interior with paired composite pilasters* w/o pedestals & continuous belt-like entablature
*Karlskirhce*, Vienna, Austria by *Johann Bernhard Fischer von Eriach*: plans
- elongated *oval nave* = interaction of axial and centralized plans - oval dome on drum, vertical emphasis provided by wall pillars that emphasize centrality within longitudinal plan
*Vierzehnheiligen Church*, Franconia, near Bamberg, Germany by *Balthazar Neumann*: Rococo ornament
- false marble columns - clean surfaces intended for stucco, *fresco* and statuary of others - could have been brick or possibly sandstone under the stucco
*Conceicao de Antonio Dias Mother Church* by *Aleijadinho*'s father, *Manuel Francisco Lisboa*
- father immigrated to Brazil, his skills in high demand, appears to have elevated to architect position
*Sao Roque Church*, Lisbon
- influences from Portugal - design of building served as *prototype* for many churches built by Jesuits in Portugal and its colonies
*Wurzburg Residenz/Palace*, Germany by *Balthasar Neumann*
- inspiration is from Versailles
*Wieskirche (White Church)*, Bavaria, near Munich, Germany by *Dominikus Zimmermann*: *stuccowork*
- interior finished with background of white plaster, *pastel colors* and gold, stucco ornament - light from windows creates illusion that interior is less substantial that actually is
*Guarino Guarini*: *his style"
- most remarkable of all north Italian architects - intellectual and creative energies - "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 principal part of buildings"
*Our Lady of Pilar - Pilar Mother Church*, Ouro Preto
- nave by Antonio Francisco Pombal
*Salvador, Bahia*
- old town, historical center known as *"Pelourinho"* - first capital of Brazil - "one of major points of convergence of European, African, and American Indian cultures" - "higher city" to "lower city"
*benedictional loggia*
- on his election day, Christmas, Easter and other important occasions, Pope appears on *benedictional loggia* in center of facade - sunday blessing from window of his studio
Piazza Navona, Rome
- once the stadium of Domitian - Ancient Roman circus/racetrack - around it: narrow irregular streets of Rome's medieval core
baroque painting, literature, music architect
- overt emotional content - preference for opposition: light-dark, realism - naturalism - ornamental style - hyperboles & antitheses, play of words
*Karlskirhce*, Vienna, Austria by *Johann Bernhard Fischer von Eriach*: columns
- pair of columns with reliefs 'scrolling' up their height, scenes from life of St. Charles Borromeo - *inspiration from Column of Trajan in Rome*
*II Gesu, Rome*. *patronage & organization*
- pivotal, reference. built as "Mother Church of Jesuit order" - *Jesuits (Society of Jesus) sanctioned by Vatican* to recover + reassert ecclesiastical authority lost b/c Protestant Reformation
Rocco in French Architecture and Interior Design: Versailles
- rebuilt by Louis XIV as principal residence of royal court
*Old St. Peter's Basilica, Rome*: *baldacchino*
- reconstructions of *baldacchino* over tomb of St. Peter from 6 & 4th centuries
*Balthasar Neumann*
- regarded as great master of German Baroque/Rococo - trained in mathematics, engineering, and architecture - Wurzburg Residenz/Palace
*Colonnade and Piazza of St. Peter's* by *Bernini*: *spatial values associated with Bernin's design*
- several solutions for general shape of ground plan, final geometrical plan of colonnade - oval
*Bernini*'s *Santa Andrea al Quirinale*, Rome: site semantics
- site was shallow & constricted, Pope imposed elevation be kept low - available space was wider than deep - chose a transverse oval for ground plan (logical solution), but less desirable liturgically since geometric axis (green) runs perpendicular to ritual axis (red) > Bernini kept emphasis on altar and estab short axis as dominant by placing pilasters - not chapels - on cross, axis > forces visitor's attention to origin point of dramatic action
unorthodox dome of *San Lorenzo* by *Guarini*
- 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 - Guarini used *conical sections* rather than usual spherical geometry
Brazil Histories:
- the New World: Gold in mines (Minas Gerais, The General Mines)
*Sant' Ivo alla Sapienza*, Rome by *Borromini*
- university buildings and part of the cloister was started by Giacomo della Porta - Borromini built the church and end wall of the cloister
*stucco*
- used since ancient times, still widely used, one of most common traditional building materials - until late 1800s, primarily lime-based - but popularization of portland cement changed composition of stucco to harder material - historically, "plaster" has been interchangeable with "stucco" (picture of S. Carlo alle Quattro)
Rococo Architecture
- variety of aspects & regional distinctions - ornamented style, elegant and frothy, drawing on marine & shell motifs - mixture of coral, seaweed & stylized foliage - motivation for autonomy of Rococo - revealed the importance of French decorators in genesis & evolution of its forms - *decorative* style 18th century, primarily influence ornamental arts in Europe - to live a life of *sumptuous indolence in Paris = ultimate goal of aristocracy*
*Scala Regia, Vatican* by *Bernini*: ceremonial stairway
- various distance between columns - progressively reduced diameter - persuade viewers (illusion) > effect of perspective diminution
*San Lorenzo*, Turin by *Guarini*: where is the vault where it at
- vault is encased in a polygonal drum, which supports an oversize lantern - 48 windows allow the interior vaulting to seem its floating
*Vierzehnheiligen Church*, Franconia, near Bamberg, Germany by *Balthazar Neumann*: vaults
- vaults above were reflected onto the floor plan > illustrate how Neumann *interlocked highly ornamental oval and circular bays within a cruciform plan*, with spherical triangles at intersections
*Vierzehnheiligen Church*, Franconia, near Bamberg, Germany by *Balthazar Neumann*: construction
- vaults: thin brick on wooden centering in lower part - reinforcing ribs above vault - upper: tufa (compacted volcanic ash), reduces weight - irregular Tufa blocks laid on centering (traditional) and clamped together by iron (new technique) - mortar poured over whole - forms 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
*Palazzo Carignano*, Turin by *Guarini*
- warm color and soft texture of its brick facing - dense network of pilasters and cornices subdivides 3 principal masses into smaller units - hand-crafted detials - tectonic into a sculptural vocabulary
*II Gesu, Rome*: *latin cross plan*
-- change in requirements - emphasis on individ, emotional participation - focus on sermons and music -- wide nave with view of altar for congregation
three suggestions for colonnade elevation
1. Palladian motif variation 2. double columns
*Old St. Peter's Basilica, Rome*: *15th century evolution*
Pope Julius II asks *Bramante to design a new church* - his plan is a *Greek cross with dome on drum*
the *replanning of Rome by Pope Sixtus V*
Pope Sixtus V projected vast new plan for Rome upon election. - creation of *number of streets linking seven station churches*, & more > recognized that religious visitors = important to city's economy - renaissance self-contained spaces gave way to Baroque concept of *dynamic axial connections b/w important urban points*
showdown: renaissance v baroque: S. Maria della Consolazione v Pietro da Cortona
Renaissance: - *greek cross plan* - stands free, on platform - exterior mass form = uniformly dressed masonry envelope - conform precisely to shape of interior space - visible windows Baroque: - *greek cross plan*, with semicircular apses - longer arms - independent facade of mass & space behind it, it follows its own rules of composition - exterior = less indicative of interior space
*baldacchino*
an ornamental canopy over an altar, usually supported on columns, or a similar form over a tomb/throne - *function at St.Peter's* -- marks tomb of St. Peter -- *PR for Barbarini Family* (coat of arms present), commissioned by Pope Urban VIII (M. Barberini) -- reduces scale of vast space under Michelangelo's dome
St. Peter's Complex, Rome
associated with Vatican (Rome), Italy
Triumph of the Name of Jesus, Giovanni Battista Gaulli (II Baciccio)
ceiling *fresco* with stucco figures in vault of church of *II Gesu, Rome*
*II Gesu, Rome*: barrel vault
compare barrel vault above nave & chapels to Alberti's Church of S. Andrea, Mantua
*Sant' Ivo alla Sapienza*, Rome by *Borromini*: *"pumpkin" vault*
contains Christian symbols & symbols of Barberini family, building's patrons
*Salvador Cathedral*, Salvador
covered by stones of Lioz (from Portugal)
*Sant' Ivo alla Sapienza*, Rome by *Borromini*: conceptual structure
crest = "What the Barbarians didn't do, the Barberini did" - two interlocking triangles
construction by *Maderno*
cupolas designed to provide light to nave aisles
Rocco in French Architecture and Interior Design: South Wing of Versailles
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, trophies
*nave* floorplans of St. Peter's
different construction campaigns from air v planned (Maderno's nave in yellow)
*Who are the principal architects of rebuilding St. Peter's and what did each contribute to finished basilica?*
early designs by *Bramante, Raphael, Michelangelo* - *Bramante*, Greek-cross plan - *Raphael*, modifications of central plan - *Michelangelo's* revised basillicas and dome - dome completed by *della Porta and Fontana* - *nave* & facade by *Maderno* - *baldachhino* by *Bernini* - colonnade/ Piazza of St. Peter's by *Bernini*
*Borromini* was a stucciost!
he brought a love for stucco decor to all his subsequent architect (pic of *S. Ivo alla Sapienza)
*Cornaro Chapel* at Santa Maria Della Vittoria: hidden light source
hidden light source from window above altar
*Sanctuary of Bom Jesus de Matosinhos*, Congonhas do Campo: *Hill of the Calvary*
houses 6 chapels containing 7 stations of the cross
*Wurzburg Residenz/Palace*, Germany by *Balthasar Neumann*: interior
imperial stairs
*Ponte St. Angelo, Rome* by *Bernini*
is the beginning of "process of entry" to St. Peter's - only bridge over Tiber at time, providing access to St. Peter's
*Carlo Maderno*: bays of *Santa Susanna, Rome*
marked terminal bays as pilasters that gave way to engaged columns in intermediate bays and free-standing columns in central bay
*Cornaro Chapel* at Santa Maria Della Vittoria: side chapel details
members of Cornaro family on sides
*Domenico Fontana*
moved *Vatican obelisk* under Pope Sixtus V - various devices shown moving the *Vatican obelisk* in front of St. Peter's in Rome
*Vierzehnheiligen Church*, Franconia, near Bamberg, Germany by *Balthazar Neumann*: nave
multiple focal points, liturgical and architectural
*plateresque*
or plateresco, "like silversmith"
*Sao Francisco Church and Monastery*, Salvador: outside
painting (arrow) is *azulejo*, blue and white glazed pottery tiles
*Karlskirhce*, Vienna, Austria by *Johann Bernhard Fischer von Eriach*: ceiling
painting on ceiling depicts St. Charles Borromeo appealing to Virgin Mary to intercede and save people of Austria from plague
*Scala Regia, Vatican* by *Bernini*: coat of arms
papal coat of arms light and texture; baroque splendor
*Divina Providencia Church*, Lisbon by *Guarino Guarini*
possibly destroyed by 1755 Lisbon earthquake
Architettura Civile: book by *Guarini*
published posthumously
*Bernini*'s *Santa Andrea al Quirinale*, Rome: columns
rounded columns made with Cottanello, a limestone found in quarry near a village by same name in Sabina
*Our Lady of Pilar - Pilar Mother Church*, Ouro Preto: sculpture
sculpture by Francisco Xavier de Brito - work of the second period of Baroque style in Minas Gerais - holds processional pieces including gold and silver mueseum
*Cornaro Chapel* at Santa Maria Della Vittoria: chapel floor
skeletons executed in inlaid marble on chapel floor
*retable*, Latin American Baroque and Rococo
structure forming the back of an altar, especially - overhanging shelf for lights and ornaments - frame enclosing painted panels or decorative screen set up above & behind an altar, generally forming an architectural frame to a picture, bas-relief/ mosaic
criticism of *Maderno's St. Peter's *nave* and facade*
too low, too lumpy what choice did he have?
*Salomonica/ Solomonic column*
twisted/spiral column, dated from most remote times - earliest record appearance = upon Constantine's tabernacle in old St. Peter's
*Bernini*'s *Santa Andrea al Quirinale*, Rome: Antonio Raggi's statue
St. Andrew breaking through pediment
*Bernini's spiritual intentions* with St. Peter's
Since St. Peter's is the mother of nearly all others, it had to have colonnades which would show it as if stretching out its arms to receive Catholics (pictured: *St. Peter's Square*)