Alessandro Algardi, Donna Olympia Maidalchini, c. 1650

Alessandro Algardi, Sleep, c. 1635-6

Algardi, Tomb of Leo XI Medici, 1634-44, St. Peter’s Rome

Alessandro Algardi, Pope Leo I Driving Attila from Rome, 1646-53.

Gian Lorenzo Bernini, Aeneas, Anchises and Ascanius, 1618-24, Galleria Borghese,

Rome

Bernini, Pluto and Proserpine, 1621-2, Galleria Borghese, Rome

Bernini, David, 1623-4, Galleria Borghese, Rome

Bernini, Apollo and Daphne, 1623-4, Galleria Borghese, Rome

Bernini, Cardinal Scipione Borghese, 1632, Galleria Borghese, Rome

Bernini, Baldacchino, 1624-33, St. Peter’s, Rome

Bernini, St. Longinus, 1629-38, St. Peter’s, Rome

Bernini, Tomb of Urban VIII, 1627-47, St. Peter’s, Rome

Bernini, Tomb of Alexander VII, 1671-78, St. Peter’s

Bernini, Cornaro Chapel, 1645-52, S. Maria della Vittoria, Rome

Bernini, Ecstasy of St. Teresa, 1645-52, Cornaro Chapel, S. Maria della Vittoria, Rome

Bernini, Cathedra Petri, 1657-66, St. Peter’s, Rome

Bernini, Angel with the Crown of Thorns, c. 1667 (bozzetto/modello and finished marble)

Bernini, The Vision of Constantine, 1654-70, St. Peter’s, Rome

Bernini, Triton Fountain, 1642-43, Piazza Barberini, Rome

Bernini, The Four Rivers Fountain, Piazza Navona, 1648-51, Rome

Bernini, St. Peter’s Square, 1656-67

Bernini, Sant’Andrea al Quirinale, 1658-70

Bernini, Scala Regia, 1663-66, Vatican Palace, Vatican City

Borromini, San Carlo alle Quattro Fontane, 1634-1677, Rome

Borromini, Sant’Ivo alla Sapienza, begun 1642, Rome

Borromini, Illusionistic Colonnade (La Prospettiva), Palazzo Spada, 1646-64

Melchiorre Cafà, Charity of St Thomas of Villanova, 1662–71; Rome, St. Agostino,

Pamphili Chapel

Melchiorre Cafà, Ecstasy (Apotheosis?) of St. Catherine of Siena, S. Caterina a Monte

Magnanapoli, completed 1667

Melchiorre Cafà, St. Rose of Lima, 1665. S. Domingo, Lima, Peru

Canaletto (Giovan Antonio Canal), Piazza San Marco, c. 1720s

Canaletto, The Bucintoro Returning to the Molo on Ascension Day, c. 1730

Canaletto, Caprice with Roman Reminiscences (Capriccio), c. 1725

Antonio Corradini, Modesty, 1745-52, Sansevero Chapel, begun 1740s, S. Maria Pietà

dei Sangro, Naples

Pietro da Cortona, SS. Luca e Martina, 1634-ca. 1670, Rome

Pietro da Cortona, Santa Maria della Pace, Rome, plan, 1656

François Duquesnoy, St. Andrew, 1629-40, St. Peter’s, Rome

Francesco Guardi, Piazza San Marco, probably 1750s

Pierre LeGros, Religion Overthrowing Heresy, Altar of St. Ignatius, Il Gesù

Pietro Longhi, Rhinoceros, 18th century

Pietro Longhi, The Visit, 1746

Carlo Maderno, St. Peter’s, façade, 1607-12, Rome

Carlo Maderno, Borromini, Bernini, Palazzo Barberini, 1628-33, Rome

Alessandro Magnasco, Inquisition, 1710-20

Francesco Mochi, St. Veronica, 1629-32, St. Peter’s Rome

Francesco Mochi, Angel of the Annunciation and the Virgin Annunciate, 1608-9, Orvieto,

Cathedral

Mochi, Ranuccio I Farnese and Alessandro Farnese, 1612-29, Piacenza, Piazza Cavalli

Giovanni Paolo Panini, Ancient Rome, 1759

Giovanni Paolo Panini, Modern Rome, 1759

Andrea Pozzo (design), Chapel of St. Ignatius, 1695-99, Church of the Gesù, Rome

Andrea Pozzo, Allegory of the Missionary work of the Jesuits (Triumph of San Ignazio),

1691-94, San Ignazio, Rome

Francesco Queirolo, Release from Deception, 1752-9, Sansevero Chapel, Santa Maria

Pietà dei Sangro, Naples

Giuseppe Sanmartino, Dead Christ, 1753, Sansevero Chapel, Santa Maria Pietà dei

Sangro, Naples

René-Michel Slodtz, St. Bruno, 1744, St. Peter’s

Jean-Baptiste Théodon, Faith Crushing Idolatry, Altar of St. Ignatius, Il Gesù

Giovanni Battista Tiepolo, Apelles Painting Campaspe, c. 1725

Tiepolo, The Four Continents and Apollo (Apotheosis of the Prince-Bishop Karl Philipp

von Greiffenklau), Residenz, Würzburg, 1750-53

Canaletto, Piazza San Marco

accurate topographical painting of a real place

topographical painting of a made-up place

Canaletto, Caprice with Roman Reminiscences 

the act of being stabbed by an arrow and feeling like it is a touch from god

Bernini, Ecstasy of St. Theresa

Ceiling fresco that gives the illusion of architecture or atmosphere that does not actually exist

Pozzo, Triumph of St. Ignatius

counterpose or opposite and in the case of this fountain the straight line of the obelisk is the opposite of the rocky base, creating harmony from disparity

Bernini, 4 rivers fountain

a term that comes from music and has to do with 2 different things that are repeated against each other to create a whole... for instance two different shapes that are very different constantly being echoed next to each other

Borromini, Dome of San Carlo alle Quattro Fontane 

typical of Bernini to make small scale models of his works and in this case the silver model was snuck into the Pope's home so that he had to see the model and so that the commission was given to Bernini

Bernini, 4 rivers foutain

a method of making bronze sculpture in which a positive image made of wax is the initial cast, and then it is melted away inside of a negative shell, and then a hollow bronze statue eventually fills in gaps.  Most artists made the wax model and then had someone else cast for them because it was both difficult and time consuming

Mochi, Ranuncio I Farnese and Alessandro Farnese

Basically the noble floor, or the level of a building where noble people would live and be housed as guests.  This is what we would call the second floor, but what Europeans see as the 1st floor, it is one off the ground

Piazza Barberini

Two ways a church can be constructed.  In a Greek cross plan the arms going each way are all equal in length, and in a Latin, it is longer than it is wide

St. Peter's through the years

architectural order that ties together the whole facade of a building rather than separating it into floors

Maderno, facade of st. peter's

essentially a porch, used in ancient structures of peace, and recreated here to remind that this church is in honor of st. mary of peace

da Cortona, Santa Maria della Pace

two structural elements of support in a dome, one for a dome made of poured concrete, and the other for brick. in reality they would never be used together for structural purposes, and yet they are used in conjunction in these churches as a means of decoration.

Bernini, Sant'Andrea al Quirinale

a drawing with the plan elevation and section of a proposed architectural project

Bernini, St. Peter's Square

tall four sided ancient monument with a pyramid shape at the top.  from the ancient world, and when they were found, they wanted to incorporate them into contemporary things

Bernini, 4 rivers foutain

squared column with no actual architectural purpose

da Cortona, SS Luca e Martina

architecture that is mathematically created to give the illusion of being a different size or dimension than it actually is

Borromini, La Perspectiva

a courtyard in a church.  in this case it was the first part of the church that the artist was asked to make and when he finished they were so pleased that they asked him to do the rest of the church

Borromini, san carlo alle quattro fontanne

young wealthy european men travelled around to see the important sites in each city.  this is important especially for italy because as they were losing political power, they maintained social and cultural power and so people continued to visit

Panini, Modern Rome

A Sculpture in which the subject's mouth is slightly open as if they are talking.  Bernini popularized this because he felt that when someone is talking or moving they show their true selves

Bernini, Cardinal Scipione Borghese 

A tradition that originates in the north of painting an ideal gallery space with an ideal collection of paintings.  IN this case it is changed a bit to show the most important sites rather than the most ideal, and basically serves as a postcard for Grand Tour patrons

Panini, Ancient Rome

The most difficult type of marble to carve.  In this case, the figure is not actually made of this material, but instead of something else that looks like this material.  Since the artist came from a tradition of sculpting with other materials he wanted to show off his new abilities with marble and so makes people think he is using the most difficult medium

Algardi, Sleep

As in painting, so is poetry--> Bernini is capturing the beginning of poetry and livening it up.  Bernini is interested in poetry, and in capturing something that reads like poetry even if it is made of marble

Bernini, Apollo and Daphne

The support that holds up a dome.  in this case the drum is moved to be around the dome instead of right under it as a support

Borromini, Sant'Ivo alla Sapienza 

the illusionistic extension of architecture in a ceiling painting.  In this case the artist was known for using perspective so effectively that his architecture seemed real, and yet it depends entirely on standing in the prefect spot. 

Pozzo, Illusionistic Dome

the idea of design or drawing but also used in reference to encouraging the overlap of painting and architecture

da Cortona, SS Luca e Martina