6. Architectural Panorama: St Peter’s Basilica (ROME, ITALY, FAÇADE 1607-1
Architectural Simulation: St. Peter’s Basilica
External Video: Designing St. Peter’s
MyArtsLabChapter 21 – The Baroque in Italy: the Church and Its Appeal
8. Baroque Style and the Counter-Reformation
What is the Baroque?
• Sculpture and Architecture: Bernini and His Followers —
Bernini’s baldachino helps to define the altar space of Saint Peter’s
Basilica. Probably no image sums up the Baroque movement better
than Bernini’s sculptural program for the Cornaro Chapel. His theme is
a pivotal moment in the life of Teresa of Avila. Action is central to
Baroque representation as seen in hi David. Bernini is responsible for
a series of figurative fountains that changed the face of Rome.
• The Society of Jesus — Founded by Ignatius of Loyola, the Jesuits,
as they were known, led the Counter-Reformation. All agreed that the
purpose of religious art was to teach and inspire the faithful, that it
should always be intelligible and realistic, and that it should be an
emotional stimulus to piety.
9. • Another feature of the Baroque is surprise as can be seen in the
Church of San Carlo alle Quattro Fontane.
• Discussion Question: What architectural features constitute the
“grandeur” of Saint Peter’s?
28. The Drama of Painting: Caravaggio and the
Carravaggisti
How does the Baroque style manifest itself in painting?
• Master of Light and Dark: Caravaggio — The most dramatic
element of The Calling of Saint Matthew is light. The revelatory power
of light is analogous to the transformative power of faith. One of the
clearest instances of Caravaggio’s uses of light to dramatize moments
of conversion is the Conversion of Saint Paul.
• Elisabetta Sirani and Artemisia Gentileschi: Caravaggisti
Women — Caravaggio had a profound influence on other artists of the
seventeenth century. Sirani painted portraits, religious works,
allegorical works, and occasionally mythological works and stories from
ancient history. Gentileschi was one of the first women artists to
achieve an international reputation. She painted five separate versions
of the biblical story of Judith and Holofernes.
• Discussion Question: Discuss the revolutionary innovations of
Caravaggio’s style, and his influence.
34. Active Listening Guide: A. Gabrieli: Ricercar
a 4 del duodecimo tuono
MyArtsLabChapter 21 – The Baroque in Italy: the Church and Its Appeal
35. Venice and Baroque Music
How is the Baroque style manifest in music, particularly in Venice?
• Giovanni Gabrieli and the Drama of Harmony — Venice earned
its place at the center of the musical world largely through the efforts of
Gabrieli. He was among the first to write religious music intended
specifically for wind ensemble.
• Claudio Monteverdi and the Birth of Opera — Monteverdi was
the musical director at Saint Mark’s in Venice where he mastered a
new, text-based musical form, the opera. The inspiration for his first
opera, Orfeo, was the musical drama of ancient Greek theater.
36. • Arcangelo Corelli and the Sonata — In Italian, sonata simply
means “that which is sounded,” or played by instruments, as opposed
to that which is sung, the cantata.
• Antonio Vivaldi and the Concerto — Corelli’s instrumental flair
influenced Venice’s most important composer, Vivaldi. Many of his
works were written specifically for performance by girl choirs and
instrumental ensembles. Vivaldi specialized in composing concertos, a
three-movement secular form of instrumental music.
• Discussion Question: How does Baroque music differ from the music of
the Renaissance?
Jean-Antoine Watteau. The Embarkation from Cythera . ca. 1718-19. 50-3/4" × 76-3/8”.
Gianlorenzo Bernini. Aerial view of Bernini's Colonnade circumscribing the Piazza (square) before St. Peter's Basilica, looking eastward towards Mussolini's Via della Conciliazione and the Tiber River. 1656-67.
Carlo Maderno. St. Peter's Basilica, Vatican, Rome: Façade. 1914.
Michelangelo. Plan for St. Peter's Basilica, Vatican, Rome. 1546-64.
Maderno. Plan for St. Peter's Basilica, Vatican, Rome. 1607-12.
Map: Central Italy, with inset map of Vatican, Rome, ca. 1600.
What is the Baroque? As part of its strategy to respond to the Protestant Reformation, the Catholic Church in Rome championed a new Baroque style of art that appealed to the range of human emotion and feeling, not just the intellect. Bernini’s majestic new colonnade for the square in front of Saint Peter’s in Rome helped to reveal the grandeur of the basilica itself, creating the dramatic effect of the Church embracing its flock. How does his sculptural program for the Cornaro Chapel in Rome epitomize the Baroque? How are Baroque sensibilities reflected in his sculpture of the biblical hero David? How do action, excitement, and sensuality fulfill the Counter-Reformation objectives in Baroque religious art? What role do the senses play in the theological writings of Saint Ignatius? What role does art play in his set of “Rules”? How is this reflected in Andrea Pozzo’s ceiling for the church of Sant’Ignazio? One of the most influential pieces of Baroque architecture is Francesco Borromini’s Church of San Carlo alle Quattro Fontane in Rome. Borromini replaces the traditions of Renaissance architecture with a facade of dramatic oppositions and visual surprises. How does the architecture of Bernini and Borromini express the theatrical urge to draw the viewer into the drama?
Gianlorenzo Bernini. Baldachino, at crossing of St. Peter's, Vatican, Rome. 1624-33. Height: approx. 100’.
Anonymous. Painted view of Cornaro Chapel, Santa Maria della Vittoria , Rome, including Bernini's Ecstasy of St. Theresa . ca. 1654. 5’ 6-1/4" × 3’ 1/4”.
Gianlorenzo Bernini. Ecstasy of St. Theresa , Cornaro Chapel, Santa Maria della Vittoria, Rome. 1654-52. Height: 11’ 6”.
Gianlorenzo Bernini. David . 1623. Height: 5’ 7”.
Gianlorenzo Bernini. Fountain of the Four Rivers , representing the Nile, the Danube, the Ganges, and the Plata rivers, each carved by a different member of Bernini's workshop. Piazza Navona, Rome. 1648-51.
Giacomo della Porta. Il Gesù, Rome: Façade. ca. 1575-84.
Leon Battista Alberti. Santa Maria Novella, Florence, Italy: Façade. 1458-70.
Andrea Pozzo. Closer Look: Andrea Pozzo's Apotheosis of Saint Ignatius of Loyola . Detail, America. 1691-94. Approx. 56' × 115’.
Andrea Pozzo. Closer Look: Andrea Pozzo's Apotheosis of Saint Ignatius of Loyola . Detail, Saint Ignatius. 1691-94. Approx. 56' × 115’.
Andrea Pozzo. Closer Look: Andrea Pozzo's Apotheosis of Saint Ignatius of Loyola . Detail, Europe. 1691-94. Approx. 56' × 115’.
Andrea Pozzo. Closer Look: Andrea Pozzo's Apotheosis of Saint Ignatius of Loyola . 1691-94. Approx. 56' × 115’.
Andrea Pozzo. Closer Look: Andrea Pozzo's Apotheosis of Saint Ignatius of Loyola . Detail, Africa. 1691-94. Approx. 56' × 115’.
Andrea Pozzo. Closer Look: Andrea Pozzo's Apotheosis of Saint Ignatius of Loyola . Detail, Saint Francia Xavier. 1691-94. Approx. 56' × 115’.
Andrea Pozzo. Closer Look: Andrea Pozzo's Apotheosis of Saint Ignatius of Loyola . Detail, Asia. 1691-94. Approx. 56' × 115’.
Francesco Borromini. San Carlo alle Quattro Fontane, Rome. Façade. 1665-67.
Francesco Borromini. San Carlo alle Quattro Fontane, Rome. Plan. 1665-67.
Francesco Borromini. San Carlo alle Quattro Fontane, Rome. Interior, dome. 1665-67.
How does the Baroque style manifest itself in painting? Caravaggio used the play of light and dark to create paintings of stunning drama and energy that reveal a new Baroque taste for vividly realistic detail. His followers, among them Elisabetta Sirani and Artemisia Gentileschi, inherited his interest in realism and the dramatic. What does Caravaggio share with the mystical writings of Teresa of Ávila and the poetry of Englishman John Donne? What social conditions and aesthetic values of the Italian Baroque particularly interested the artists Elisabetta Sirani and Artemisia Gentileschi?
Caravaggio. The Calling of Saint Matthew . ca. 1599-1600. 11’ 1" × 11’ 5”.
Caravaggio. Conversion of Saint Paul . ca. 1601. 90-1/2" × 68-7/8”.
Caravaggio. Bacchus . ca. 1597. 37-3/8" × 33-1/2”.
Elisabetta Sirani. Virgin and Child . 1663. 34" × 27-1/2”.
Artemisia Gentileschi. Judith and Maidservant with the Head of Holofernes . ca. 1625. 72-1/2" × 55-3/4”.
How is the Baroque style manifest in music, particularly in Venice? If Rome was the center of Baroque art and architecture, Venice was the center of Baroque music. Giovanni Gabrieli took advantage of the sonority of Saint Mark’s Cathedral to create canzonas in which he carefully controlled the dynamics (loud/soft) of the composition and its tempo. What is a canzona? It was in Venice that a new form of musical drama known as opera was born in the hands of Claudio Monteverdi, who gave text precedence over harmony for the first time in the history of Western music. His opera Orfeo successfully married music and drama. What is an opera? The sonata, popularized as an instrumental genre by virtuoso violinist Arcangelo Corelli, provided a model for all instrumental music. Finally, Antonio Vivaldi perfected the concerto as a genre, and many of his concertos were performed by the women at the Ospedale della Pietà, where he was musical director. What are the chief features of the concerto? In general, what features of Venetian Baroque music are analogous to Baroque painting and sculpture?
Gentile Bellini. Procession of the Reliquary of the True Cross in Piazza San Marco . Detail, including Venetian musical instruments. 1496. 12'-1/2" × 24’ 5-1/4”.
Musical lines from Arcangelo Corelli's Opus no.5 (violin sonata).
Jacopo Guarana. Apollo Conducting a Choir of Maidens . 1776.
Diagram: Ritornello.
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Gianlorenzo Bernini. Continuity & Change: Design for the east facade of the Palais du Louvre, Paris. 1664.
Louis Le Vau; Claude Perrault; Charles Le Brun. Continuity & Change: East façade, Palais du Louvre, Paris. 1667-70.