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Raphael’s Palazzo Vidoni-Caffarelli, Rome
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Interior of Raphael’s Chigi Chapel,
Rome (1511).
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Raphael’s Palazzo Branconio
dell’ Aquila, Rome
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The Palazzo Spada, Rome, based on Raphael’s Palazzo
Branconio
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The Palazzo del Te, Mantua (1526-34)
(Giulio Romano)
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Slipped Triglyph (Palazzo del Te)
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Intrusive Keystone (Palazzo del Te)
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Street view and entrance detail of Giulio
Romano’s House, Mantua
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The church of San Lorenzo in Florence, designed by Filippo Brunelleschi (1420s)
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Brunelleschi’s Old Sacristy
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Michelangelo’s New Sacristy with the Tombs of Lorenzo and Giuliano de Medici (1519)
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Tomb of Lorenzo de Medici (representing the contemplative life cut short, with the figures
of Dusk and Dawn)
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Tomb of Giuliano de Medici (representing the active life cut short,with the figures of Night and Day)
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Michelangelo’s Vestibule (1524)
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Has the great stair leading up to the Laurentian Library (Biblioteca Laurenziana); Note the ‘embedded’ columns around the Vestibule, and brackets beneath their bases.
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Laurentian Library
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Views of the interior of the Laurentian Library;
The short elevations above the wooden reading pews defines a perfect golden section rectangle. |
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Plan and views of Michelangelo’s Piazza del Campidoglio, Rome (1546)
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Note the ‘repositioned equestrian statue of ‘Emperor Constantine’
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Note the use of a colossal Order on the colonnades
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Projects by Michelangelo showing mature ‘mannerist’
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Definition
- Projects by Michelangelo showing mature ‘mannerist’
details like scrolled segmental pediments (New Sacristy, San Lorenzo)
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Term
‘nested’ triangular and segmental pediments (Porta Pia,
Rome, 1562)
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Coupled columns on the dome of St. Peter’s, Rome (1546-)
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Oval staircase at the Palazzo dell’ Quirinale, Rome, by Ottavio Mascherino (1577)
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Cathedral of Antigua Guatemala (17th century)
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| Piazza Navona, Rome, with views of Bernini’s Fountain of the Four Rivers (1650); The Egyptian obelisk was recovered from the ancient Roman Circus of Maxentius |
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Bernini’s great bronze Baldacchino at the crossing of St. Peter’s in Rome (1624)
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| The structure is made of bronze retrieved from the portico of the Pantheon in Rome, and employs twisted ‘Solomonic’ columns imitating the eight columns that were said to have come from the Temple in Jerusalem. |
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Drawing and view of Bernini’s Cathedra Petri (‘St. Peter’s Throne’,now known to have really been the 9th century throne of Emperor Charles the Bald)
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Definition
| The original throne is enclosed in the colossal bronze Cathedra; This design is a good example of the Baroque interest in combining the arts and extending action across space, and creating the effect of high drama and motion. |
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Bernini’s project for Piazza San Pietro in front of St. Peter’s Basilica, Rome (1657), commissioned by Pope Alexander VII
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The new Piazza with Bernini’s sweeping colonnades, centered on the ancient Egyptian obelisk that was moved there by Domenico Fontana from the nearby Roman Circus of Nero; note the ‘perspectival’ arrangement of the closed corridors linking the colonnades to the Basilica.
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Bernini’s great Scala Regia at the entrance to the
Vatican (1663)
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Definition
| Perhaps inspired by his rival Borromini’s design for the colonnade at Palazzo Spada, Bernini created a subtle ‘perspectival effect’ (making the stairs appear longer than they really are) while establishing a ‘triumphal arch’ at the entrance to the Scala. |
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Bernini’s aedicule and sculpture of the ‘Ecstasy of St. Teresa’ at the Cornaro Chapel in Sta. Maria della Vittoria, Rome(1640s)
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Definition
representations of members of the Cornaro family discussing St.Teresa; The Chapel is a fine example of the Baroque interest in the merging of the arts, and the idea of extended action across space; Note the painterly ‘perspectival’ effect that is achieved in the panels above.
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Bernini’s church of San Andrea al Quirinale (1658), with oval plan, juxtaposition of curves, lush combination of colors on the interior, and ‘extended action’ with St. Andrew rising upward from the altar to the Holy Ghost that is depicted on the lantern’s ceiling.
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Francesco Borromini (1599-1667), with plan and views of his church of San Carlo alle Quattro Fontane (1634)
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Definition
| Note the fountains at the street crossing;Borromini here develops his favorite theme of juxtaposing curve with counter-curve, and overlapping distinct parts of the façade; Curves are composite shapes, derived mostly from four-centered ellipses. |
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Borromini’s church of San Carlo alle Quattre Fontane, with view of the interior looking toward the altar
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Definition
Looking up into the dome with its alternating octagons, crosses and lozenges (derived from the vault of Santa Costanza,Rome); Note the four centered elliptical construction, and the ‘overlapping’ triumphal theme leading into the apse
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Borromini's Oratory at Santa Maria in Vallicella, Rome (1637)
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Definition
Showing the combination triangular and segmental pediment, and curved facade with counter-curved entrance.
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The church and (re-designed) courtyard of St. Ivo alla Sapienza, Rome (1642)
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Definition
Note the curved/counter-curved volumes, and the complex domed structure culminating in a spiral lantern; this ziggurat-like structure represents the Tower of Wisdom ending in the Flame of Truth, which supports the Cross on an arb.
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Details of the interior of the dome of St. Ivo alla Sapienza, by Borromini
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Note the six-pointed star construction and the convex-into-concave fenestrated facets of the dome.
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The lantern at St. Ivo alla Sapienza, by Borromini
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Definition
Note the Flame of Truth with Cross on orb, crowning the lantern
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Borromini's collonade at Palazzo Spada, Rome (1652)
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Definition
| Designed as a "perspectival folly" intended to heighten the sense of depth in the building; Possible |
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The proscenium at Palladio's Teatro Olimpico in Vicenza (1580)
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