Rome as Spectacle Final Cards Flashcards
(41 cards)

Piazza of St. Peter’s
Date: began 1656
Architect: Bernini
Information: The obelisk becomes the reason of the design for the oval shape of the piazza. There are fountains on each side of the obelisk which is not in the exact center. The coat of arms of the Chigi family is on the colonnades. The columns are aligned at exactly one point. The colonnades have three aisles. The middle use to be used as a vehicle lane while the outer two were for pedestrians. They act as warming arms to embrace the church. They were supposed to be continues around the entire piazza but the last part was never completed. The concept of the “complex” created between the piazza and church is considered very baroque.

Baroque St. Peters - Cathedra (throne)
Date: 1657 – 1666
Architect: Bernini
Location: Apse of St. Peters
Information: The throne was sculpted in guilt bronze and is the seat of the bishop. Inside the chair is a wooden throne which is being protected. It includes the 4 bronze statues who are St. Ambrose, St. Augustine, St. John Chrysostom, and St. Athenasius. The window with the dove and rays of light was created above the chair and built over the existing window. Angels are all around it.

Baroque St. Peters - Baldacchino
Date: 1624 – 1633
Architect: Bernini
Information: Bronze canopy over tomb. There is physical distance between the Baldacchino and the throne but from afar look integrated. The base of the canopy is 4 spiraling solomonic columns cast in bronze. It was commissioned by pope Urban the 8th and therefore includes Barberini bees. It is the same height as the Palazzo Farnesi.

Baroque St. Peters - Crossing Niches
Date: 1629 – 1638
Architect: Bernini
Information: Statues in the crossing niches that depict the saints whose relics are within St. Peters. include St. Helen holding the cross (Mother of Constantine), St. Veronica holding a handkerchief that was used to the wipe the face of Christ, St. Andrew who is supposed to be holding his head, and St. Longinus holding the spear that pierced Jesus.

Baroque St. Peters - Scala Regia
Date: 1663 – 1666
Architect: Bernini
Information: Was originally built by Sangallo the Younger but restored by Bernini. It is built in the residual space, a thin sliver between the Palazzo and the Basilica. There is an equestrian statues of Constantine placed at the base in the axial view from the loggia. The walls become narrow as the columns stay linear. Has a barrel vaulted colonnade, and its original exit is from the museum.

Baroque St. Peters - Facade
Date: 1608
Architect: Maderno
- three tiers
- front facing the city
- engraved with Pope Paul V name
- inscription is not as wide as the facade because the outer part of facade had not been designed yet
- Bernini is the architect when facade towers are built after Maderno dies
- originally had two bell tower which were not executed
- created attic story
- large monolithic Corinthian columns separate bays and entrances

Baroque St. Peters - Tomb of Urban 8th and Alexander 7th
Dates: varry
Architect: Bernini
Urban 8th tomb – 1628 – 1647
Alexander 7th tomb – 1671 – 1678

Campidoglio
Date: 1538
Architect: Michelangelo
Location: Capitoline Hill, Rome
- Called the “belly of the world” the center of rome
- Caused reorientation of Capitoline Hill
- Lateral symmetry – directionality. Central axis on papal way. Trapezoidal design
- Rebuilt palazzo senatorio (1582-1605) nuovo and staircase (cordata, grand ramp)
- Statue of Marcus Aurelius at center of oval piazza
- Originally citadel of earliest romans
- Faces (oriented) Papal rome, St. Peters. Shows new development of the city instead of past.
- Site of municipal authority.

San Pietro in Vincoli (St. Peter in Chains)
Date: 432-40/1471-1503
Architect: Restoration lead by Cardinal della Rovere
Front Portico: Baccio Pontelli (1475)
Cloister: Giuliano da Sangallo (1493-1503)
Location: Rome
- Michelangelo’s “Moses” statue inside (1513-13) Tomb to Pope Julius II
- Nave and 2 side aisles with 3 apses divided by Doric columns
- Ceiling fresco – the Miracle of Chains – By Parodi, coffered ceiling.
- Houses the relic of Chains that bound St. Peter
- Horns on Moses Mistranslation of “rays of light”
- Monument with Moses
- Originally Statue to be higher up and in a free standing monument. Altered due to simplification (ended up as wall monument)

Santa Maria Maggiore (and Sforza Chapel)
Date: 432-40 (Pope Pius 3)/1564 (michelangelo)
Architect: Michelangelo, Completed by Giacomo della Porta (Sforza Chapel)
Location: Rome
- Cappella Sforza: 1564 Michelangelo, 1573 Giacomo della Porta
- Capella Sistina: 1687: Dominica Fontata, Burial tombs of Pope Pius 5 and Sixtus 5
- Completed under Pope Sixtus III (432-40)
- 3 aisles, two large chapels as pseudo transept (no real one)
- Semicircular apse with nave and side aisles.
- Retains the core of its original structure
- Mosaics depict Mary and Jesus and the old testament too
- 16thc coffered ceiling gilded, by Guliano da Sangallo

Porta Pia
Date: 1561-65
Architect: Michelangelo
Location: Rome
- Built under Pope Pius IV
- Gate in the Aurelian wall at the end of the Via Pia
- Michelangelo was more concerned with making a picturesque gate rather than a functional one
- Ornamental façade faces into the city (not out to greet visitors)

Il Gesu
Date: 1568
Architect: Vignola and Giacomo della Porta
Location: Rome, Italy
- Mother church of the Jesuit order
- Counter reformation order
- Jesuit order approved in 1540 by Pope Paul III
- Facade design by della Porta selected over Vignola’s
- Facade devided into upper and lower zones
- della Porta becomes head architect after death of Vignola
- Baroque – Elaborately decorated interior - guilding, marble and frescos
- Linked side chapels
ID CLUE: Look for ‘starburst’ over alter with the letters IHS

S. Andrea della Valle
Date: 1591 - 1628
Architect: Giacomo della Porta
Location: Rome
- Dedicated to St. Andrew - Image of his martyrdom hands behind alter
- Jesuit church
- Counter reformation
- Unlike Il Gesu: the side chapels are private for families. Side chapels are more open spatially.
- Much brighter interior because church is free standing
- Facade architects: Carlo Maderno and Carlo Rainaldi
- 4 evangelists frescoed on pendentives of dome
- Baroque style – elaborate decore, guilding
ID CLUE: Look for painting of S. Andrew over alter on the X cross

S. Ignazio
Date: 1626 - 1694
Architect: Orazio Grassi
Location: Collegio Romano, Rome
- church of Collegio Romano, part of a complex
- Jesuit order
- Side chapels all connected with large openings making the series of chapels read as a continuous space – cross between side aisle and chapels
- Ceiling a painted system of architecture – ceiling painting suggests continuation of architure to the heavens
- No dome. Perspective painting put where the dome would be to suggest the upward space
- Artist for ceiling and dome painting: Andrea Pozzo
- Piazza designed after church
- Baroque style – elaborate doecoration
ID CLUES: Look for colorful ceiling that is painted to suggest contiued architecture. Look for fake dome. Look for large, open side chapels

Villa Giulia
Date: 1550-60
Architects: Giacomo de Vignola (Facade, Innter rectangular side of courtyard facade across Vasari’s) 1551-53
Ammannati (Nymphaeum loggia - lower/central)
Vasari (Semi-circular Logia in first courtyard, opposite Vignola)
Michelangelo (advisor)
Location: Rome
- Villa with semi-circular portico
- 3 openings in 1st logia, used to only be central opening
- Indoor/outdoor experience extends with overhead paintings depicting garden motifs
- Threshold between two worlds, city and country.
- Axial and symmetrical on two sides
- Divided into 3 areas longitudinally
- Central space features lower level accessed through stairs in villa.

San Luigi Dei Francesi
Date: 1518 - 1589
Architect: Giacomo della Porta
Location: Rome
- Affiliation with France – cardinals and priests of Frech decent
- Important French figures represented in facade
- Home to the Caravaggio paints depicting the life of St. Mattew
- Caravaggio’s first big commission

S. Agostino
Date: 1296 - 1483
Architect: Giacomo di Pietrasanta and Sebastiano Fiorentino
Location: Rome
- Church went through a series of remodels and redesigns (explaining the range of dates)
- Renaissance facade
- Most of art dedicated to the Virgin Mary and the birth of Crist – famous place of pilgramage for new mothers
- Fresco by Raphael
- Home of Caravaggio’s Madonna of Loreto
- Associated with Biblioteca Angelica

Galleria Doria Pamphili
Date: Collection began 16th cent.
Architect: Francisco Nicoletti
Location: Rome
- Still a private collection and residence
- Was the home of Cardinal candidate Camillo Pamphili who remounced cardnalship in order to marry Olimpia Borgese and it was she who bought the palazzo
- Very large collection including Caravaggio’s ‘Rest During the Flight to Egypt’

The Calling of St. Matthew
Date: 1599 - 1603 (-1600)
Artist: Caravaggio
Location: Contarelli Chapel, San Luigi dei Francesi
- First in a series of painting about the sainthood of Mattew.
- Located in San Luigi dei Francesi, one of the French churches of Rome
- First big commission of Caravaggio - Medici patron Cardinal del Monte
- Highly dramatic, high contrast, expressive and emotional
- Use of light in the painting aligned with source of light in the chapel
- Hung with “martyrdom of st Matthew” and “calling fo st matthew”
- Subject: Jesus calling Matthew to follow him, to abandon his life of riches, Matthew looking surprised as most others at table do not see what is happening,

The Martyrdom of St. Matthew
Date: 1599 - 1603 (-1600)
Artist: Caravaggio
Location: San Luigi dei Francesi, Rome (Contarelli chapel)
- Second painting in the series of three (hung wiht “calling of st. matthew” and “inspiration of st matthew”
- First to be installed in teh chapel
- Painted over other composition (shows him workign through the idea)
- Shows the saint being killed by a soldier, with surrounding people showing fear and pitty
- Common theme of some figures being involved in action in composition, and others sitting by oblivious.
- child looks to be fleeing scene (first thing you see as you approach the chapel)

The Inspirtation of St. Matthew
Date: 1599 - 1603 (1602)
Artist: Caravaggio
Location: San Luigi dei Francesi, Rome
- Third in the series of three painting
- High contrast - light of figures against dark of background, typical of his style
- Initial version rejected because considered controvercial by the church, redesigned and repainted (unacceptable to show im kneeling)
- It is one of the three Caravaggio canvases hanging in the chapel; hanging between the larger canvases of “martyrdom of St. Matthew” and “Calling of St. Matthew”

Madonna of Loreto
Date: 1604 - 1606
Artist: Caravaggio
Location: S. Agostino, Rome
- Depicts image of Virgin and child with two pilgrim – a more life-like, less idealed image of the virgin
- Caravaggio was a controversial artist - work often associated or related to prostitutes
- Controversial in realistic representation of pilgrims (dirty feet now respectful to show in church so it was rejected)
- Large baby held in unrealistic manner. Shows in consistancies that are in some of his paintings, but does not detract from overall composition.

Rest During the Flight into Egypt
Date: 1597
Artist: Caravaggio
Location: Galleria Doria Pamphili
- Well known biblical story represented in a different way
- Often shown in the act of moving or traveling while this one focuses on a pause
- the use of a landscape as a background is different than many other works by Caravaggio where ther subjects are only people against a dark background
- Caravaggio shows Mary asleep with the infant Jesus, while Joseph holds a manuscript for an angel who is playing a hymn to Mary on the violin.

Boy with a Basket of Fruit
Date: 1593
Artist: Caravaggio
Location: Galleria Borghese
- Done when he was newley arrived in rome
- Predates his more complex works from the same period
- Shows artists ability to depict everything from the skin of the boy to the skin of the peach to the folds of the robe and basket weave
- His representation is both realistic and idealized
















