Arch 218 (Lecture 08)

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Gesù. Rome (1568-72)

ARCH: Giacomo Barozzi da Vignola

(nave vaulting and façade: Giacomo della Porta)

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Gesù. Rome (1568-72)

ARCH: Giacomo Barozzi da Vignola

(nave vaulting and façade: Giacomo della Porta)

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Gesù. Rome (1568-72)

ARCH: Giacomo Barozzi da Vignola

(nave vaulting and façade: Giacomo della Porta)

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Gesù. Rome (1568-72)

ARCH: Giacomo Barozzi da Vignola

(nave vaulting and façade: Giacomo della Porta)

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Gesù. Rome (1568-72)

ARCH: Giacomo Barozzi da Vignola

(nave vaulting and façade: Giacomo della Porta)

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St. Peter's Bascilla

ARCH: Michelangelo (1546) and Bramante (1506)

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St. Peter's Bascilla

ARCH: Michelangelo (1546) and Bramante (1506)

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St. Peter's Bascilla

ARCH: Michelangelo (1546) and Bramante (1506)

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St. Peter's Bascilla

ARCH: Michelangelo (1546) and Bramante (1506)

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St. Peter's Bascilla

ARCH: Michelangelo (1546) and Bramante (1506)

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Nave at St. Peter's Bascilla

ARCH: Carlo Maderno (1606-12)

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Nave at St. Peter's Bascilla

ARCH: Carlo Maderno (1606-12)

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Crossing at St. Peter's Bascilla

ARCH: Carlo Maderno (1606-12)

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Crossing at St. Peter's Bascilla

ARCH: Carlo Maderno (1606-12)

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Fascade at

St. Peter's Bascilla

ARCH: Carlo Maderno (1606-12)

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Fascade at

St. Peter's Bascilla

ARCH: Carlo Maderno (1606-12)

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Gianlorenzo Bernini (1598-1680)

Amazing Sculptor, later became an architect

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St. Peter’s Baldacchino at St. Peter’s Bascilla (1624).

ARCH: Gianlorenzo Bernini

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St. Peter’s Baldacchino at St. Peter’s Bascilla (1624).

ARCH: Gianlorenzo Bernini

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St. Peter’s Baldacchino at St. Peter’s Bascilla (1624).

ARCH: Gianlorenzo Bernini

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St. Peter’s Baldacchino at St. Peter’s Bascilla (1624).

ARCH: Gianlorenzo Bernini

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Cathedra Petri at St. Peter’s Bascilla

(1647-53)

ARCH: Gianlorenzo Bernini.

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Cathedra Petri at St. Peter’s Bascilla

(1647-53)

ARCH: Gianlorenzo Bernini.

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Cathedra Petri at St. Peter’s Bascilla

(1647-53)

ARCH: Gianlorenzo Bernini.

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Piazza at St. Peter’s Bascilla

(1655-57)

ARCH: Gianlorenzo Bernini.

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Piazza at St. Peter’s Bascilla

(1655-57)

ARCH: Gianlorenzo Bernini.

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Piazza at St. Peter’s Bascilla

(1655-57)

ARCH: Gianlorenzo Bernini.

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Piazza at St. Peter’s Bascilla

(1655-57)

ARCH: Gianlorenzo Bernini.

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Cornaro Chapel, S. Maria della Vittoria

(1644-47)

ARCH: Gianlorenzo Bernini.

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Cornaro Chapel, S. Maria della Vittoria

(1644-47)

ARCH: Gianlorenzo Bernini.

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Cornaro Chapel, S. Maria della Vittoria

(1644-47)

ARCH: Gianlorenzo Bernini.

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Cornaro Chapel, S. Maria della Vittoria

(1644-47)

ARCH: Gianlorenzo Bernini.

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S. Andrea al Quirinale

(1658-70)

ARCH: Gianlorenzo Bernini.

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S. Andrea al Quirinale

(1658-70)

ARCH: Gianlorenzo Bernini.

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S. Andrea al Quirinale

(1658-70)

ARCH: Gianlorenzo Bernini.

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S. Andrea al Quirinale

(1658-70)

ARCH: Gianlorenzo Bernini.

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S. Andrea al Quirinale

(1658-70)

ARCH: Gianlorenzo Bernini.

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Francesco Borromini (1599-1677)

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S. Carlo alle Quattro Fontane

(1638-41; façade 1665-67)

ARCH: Francesco Borromini.

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S. Carlo alle Quattro Fontane

(1638-41; façade 1665-67)

ARCH: Francesco Borromini.

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S. Carlo alle Quattro Fontane

(1638-41; façade 1665-67)

ARCH: Francesco Borromini.

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S. Carlo alle Quattro Fontane

(1638-41; façade 1665-67)

ARCH: Francesco Borromini.

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S. Ivo della Sapienza

(1643-48)

ARCH: Borromini.

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S. Ivo della Sapienza

(1643-48)

ARCH: Borromini.

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S. Ivo della Sapienza

(1643-48)

ARCH: Borromini.

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S. Ivo della Sapienza

(1643-48)

ARCH: Borromini.

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S. Ivo della Sapienza

(1643-48)

ARCH: Borromini.

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S. Ivo della Sapienza

(1643-48)

ARCH: Borromini.

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Martin Luther

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“Why does the pope, whose wealth today is greater than the wealth of the richest Crassus, build the basilica of St. Peter with the money of poor believers rather than with his own money?”

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Bernini

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“The church of St. Peter, being virtually the mother of all the others, had to have a portico that would in fact appear to maternally receive with open arms Catholics to be confirmed in faith, heretics to be reunited with the Church, and unbelievers to be enlightened by the true faith.”

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Religious: The great schism and then the quest to to gain souls

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What were the political and religious motivations behind architecture and urbanism in Rome from 1550 through the 1600s?

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Baroque architecture emphasized movement, plasticity, complex geometry, and theatricality rather than the more static ideal geometry of the High Renaissance

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Although both Renaissance and Baroque architecture and urbanism use Classical elements, the overall effect of the two styles differs greatly. What are the basic differences in form, space, and effect?