Pietro da Cortona

1635

Rome

SS. Luca e Martina

pilasters declarify the limits of the interior space

Observer's eyes follow the perimeter w/o ever resting

1638

Boromini

Rome

very plain in design due the the Spanish Trinitarians vow of poverty

Plan of San Carlo alle Quattro Fontane

fusion between congregational and liturgical spaces w no clear distinction

San Carlo alle Quattro Fontane

stacked facade

Sculptural facade

San Carlo alle Quattro Fontane

Convex corners

1641

rome

Borromini

1641-60

Rome

Borromini

college by the Jesuits

chapel was to be built behind tthe exedra, not to be expressed directly in the facade at ground level

Roman arch order (RAO) side of the courtyard at Sant' Ivo alla Sapienza.

Lead to an exedra.

Exedra at Sant' Ivo alla Sapienza. 

Continues the RAO as a blind arcade.

Plan of Sant' Ivo alla Sapienza.

More medieval than classical.

hexagon with convolutions.

2 equilateral triangles form 6 pointed star. 

Points are defined as exedrae and convex faces. 

Sant' Ivo alla Sapienza Dome

Convex curves define a drum with a low dome on top. 

Exterior form of dome is misleading.

Sant' Ivo alla Sapienza 

what was thought to be a drum on the exterior is actually a covering for the shell of the dome. 

Interior derives from the Pantheon= walls are the drum upon which its dome sits.

David

1623-24

Gianlorenzo Bernini

by walking around the sculpture, one begins to sense the act in progress.

dynamic continuum.

David invades the space around him. 

trajectory of slingshot becomes his space too. 

Apollo and Daphne

1622-25

Bernini

captured the moment that Daphne turned into a laurel tree.

commands one to walk around sculpture.

Bust of Scipione Borghese

1632

Bernini

sense that Scipione is caught in the midst of conversation.

Continuum of movement= his head turning from one side to the other.

Santa Maria della Vittoria

Church of Santa Maria della vittoria

3 bays

cross axial chapels.

vault of Cornaro Chapel= corps of hovering angels and cherubs.

Dove of Holy Spirit descends from the heavens.

Cornaro Chapel

main sculptural work= St. Theresa of Avila.

alter sweeps forward in a curve and conutercurve to project the scene towards the viewer. 

Spiritual ecstasy vs. erotic ecstasy  

breaks down the barrier between work of art and viewer (we can understand it by our own experiences)

St. Theresa's drapery ceases to hang and instead seems animated. 

Cornaro Chapel

Members of the Cornaro Family in their box seats.

Viewers become part of the scene= we are doing the same thing as the members in the Cornaro family

St. Theresa's spiritual experience and experinces of common people.

defying the wall limits through the ceiling painting and the box seats. 

work of art and artifice.

Space and consciousness of the observer.

1658-70

Rome

Bernini

view of rome from palace not be destroyed

Plan of Sant' Andrea al Quirinale

transverse oval

no chapels on the cross axis (piers on cross axis).

St. Andrew above the altar= connecting it with the dome.

Facade of Sant' andrea al Quirinale

projecting porch= curved window above

Cross axis of Sant Andrea al Quirinale

emphasis on high alter= color of its marble

Dome at Sant Andrea al Quirinale

hexagonal

beehive

St. Andrew at Sant Andrea al Quirinale

Sculpture of him ascending above a painting of him being crucified upside down.

Plan of St. Peter

Baldacchino over the high alter and Tom of St. Peter

Baldacchino at St. Peters

needed to mediate between the scale of the human and of the large building. 

Four twisted columns= description of solomon's temple.

Bronze hangings= imitate embroidered silk cloth

Designates the space of the high alter and tomb of Peter (below Michelango's Dome)

St. Andrew at St. Peter's

Contains a relic of St. Andrew

St. Helena at St. Peter's

A relic of the true cross

St. Veronica at St. Peter's

The cloth used by St. Veronica to wipe the face of Christ during his journey through Jerusalem to the crucifixion

St. Longinus at St. Peter's

The spear used to pierce Christ

Defines the rotunda by outstrecthed hands.

Arms seem to have activated the clothes. 

Cathedra Petri at St. Peter's

1657

Bernini

St. Ambrose and St. Athanasius

2 of the 4 Church Doctors

St Chrysostom and St. Augustine

2 of the 4 Church Doctors

St. Peter's

allusion to the fact that when the pope entered st. peter's he was carried in a sedan chair covered by a canopy. 

1656-67

obelisks were moved to critial points along the street: pedestrian could judge how far they were based on the obelisk.

Obelisk was moved to front of ancient basilica. 

Plan of Great Piazza in front of St. Peter's 

Obelisk as reference point w/ 2 fountains as foci.

Enclosed oval w/ dbl. colonade

Oval is connected to trapezoid. 

St. Peter's

Colonnade is subordinate to facade of St. Peters (tuscan vs corinthian and facade is 2x taller)

additional sense of verticality

1662

Bernini

narrow passage used to lead pope from residential to basilica

Scala Regia

long flight of stairs is an illusion (barrel vault decreases in size)

Constantine at royal stairs

conversion to christianity