1. ITALY AND SPAIN,
GARDNER CHAPTER 24-1 PP

2. BAROQUE
Baroque art is a blanket term that encompasses a broad range of developments, both historic and artistic
During the 17th century, dramatic theatricality, grandiose scale, and elaborate ornateness, all used to spectacular effect, characterized Italian Baroque art and architecture
Italian 17th century art and architecture visualized the renewed energy of the Catholic Counter-Reformation & communicated it to the populace
Gianlorenzo Bernini, an architect, a painter, and a sculptor, was the most important & imaginative artist of the Italian Baroque era

3. SANTA SUSANNA
CARLO MADERNO, Santa Susanna, Rome, Italy, 1597–1603

4. MADERNO AND SAINT PETER’S
CARLO MADERNO, facade of Saint Peter’s, Vatican City, Rome, Italy, 1606– 1612
Façade and nave added to Michelangelo’s design
Wide and low façade
Emphasis on center of façade -> pediment highlighting main door
Pilasters on each end; rounded engaged columns around the central door
MADERNO AND SAINT PETER’S

6. BERNINI –> COLONNADE OF SAINT PETERS 1656-1657
CARLO MADERNO, plan of Saint Peter’s, Vatican City, Rome, Italy, with adjoining piazza designed by GIANLORENZO BERNINI
Huge plaza that can hold half a million people
Bernini wanted a surprising transition between the crowded streets of Rome and giant vista of Saint Peters
Colonnade -> embracing arms/skeleton keyhole -> Saint Peter holds the keys to the kingdom
BERNINI –> COLONNADE OF SAINT PETERS

7. Aerial view of Saint Peter’s, Vatican City, Rome, Italy, 1506– 1666
Aerial view of Saint Peter’s, Vatican City, Rome, Italy, 1506– Bernini designed this huge oval piazza around existing buildings as well as an obelisk from Egypt and Maderno's fountain. The oval is formed by colonnades which connect with straight colonnades joined to the ends of the facade. Bernini compared the design to the maternal embracing arms of the church

8. BALDACCHINO, SAINT PETER’S
GIANLORENZO BERNINI, baldacchino, Saint Peter’s, Vatican City, Rome, Italy, 1624– Gilded bronze, approx. 100’ high
Over the main altar of Saint Peter’s -> four twisting corkscrew columns that spiral upward
Acts as a shrine and canopy over the grave of Saint Peter -> buried under the basilica
Bees and suns appear prominently on top corners -> symbols of the patrons -> the Barberini family
Symbol of Counter-Reformation spirit in Rome
Feat of bronze casting

9. SCALA REGIA
GIANLORENZO BERNINI, Scala Regia, Vatican City, Rome, Italy, 1663–1666
The monumental Scala Regia built by Bernini connects the papal apartments to the portico and narthex of Saint Peter's. The design illusionistically conceals the increasing narrowness of the passageway as the stairway ascends

10. BERNINI - DAVID
GIANLORENZO BERNINI, David, Marble, approx. 5’ 7” high
In mid-action -> swing the slingshot
Harp at his feet symbolizes his role as a psalmist

11. Bernini’s idealized self- portrait in the face of David
Intensive gaze
Meant to be seen from multiple angles
Use of negative space animates sculpture and surroundings

12. THE DAVIDS

13. ECSTASY OF SAINT TERESA
GIANLORENZO BERNINI, Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy, 1645–1652. Marble, height of group 11’ 6”
Sculptural interpretation of Saint Teresa’s diary in which she tells of her visions of God -> many involving and angel descending with an arrow and plunging it into her
Stagelike setting with the patrons, the Cornaro family, sitting in theatre box looking on

14. ECSTASY OF SAINT TERESA

15. Figures seem to float in space -> the rays of God’s light symbolically illuminating the scene from behind
Mysticism
What is she experiencing?

16. The white marble group of swooning saint and smiling angel appears to float as a vision might in the cleverly illuminated central niche

17. SAN CARLO ALLE QUATRO FONTANE
FRANCESCO BORROMINI, facade of San Carlo alle Quattro Fontane, Rome, Italy, 1665–1676
Unusually small site
Alternating convex and concave patterns and undulating façade
Façade higher than rest of building

18. Interior dome oval shaped and coffered
Borromini worked in in shades of white

19. CHAPEL OF SAINT IVO
FRANCESCO BORROMINI, Chapel of Saint Ivo, College of the Sapienza, Rome, Italy, begun 1642
Borromini employed concave and convex forms in the design of the façade of the Chapel of Saint Ivo. The dome, which is supported by a convex, drumlike structure, is topped by an ornate, spiralling lantern. The star shape of the centralized plan rises through the interior elevation from the floor into the dome to create a single, dynamic, unified, and cohesive space

20. Chapel of Saint Ivo (view into dome), College of the Sapienza, Rome, Italy, begun 1642.