Lecture 18: Baroque Rome - School of Architecture and Planning

Lecture 18: Baroque Rome
Baroque Form / Baroque Urbanism/
Bernini and St Peters
1580 1580– 1680

What is the Baroque?
• The last of the great universal “styles” of European art / architecture – generally
covering the timeframe of 1600‐1750 +/‐
• After that, there are other movements, but more fragmentary, pluralistic – different
competing trends, in the late 18th century, through the 19th century – probably the next
l “ i l” ld b M d i i h 20th truly “universal” movement, would be Modernism ‐‐ in the 20th century
• But, also – really a continuation of the Renaissance, broadening the possibilities of the
classical language in architecture – and importantly, in this time period, spreading this
language throughout Europe; so that in the 17th language throughout Europe; so that in the 17 century classicism becomes as universal
th century, classicism becomes as universal
a language of building in Europe (w/ all of the different regional, stylistic variations) as
did the Romanesque, and the Gothic before
• Renaissance + Baroque = 350 years of development of the language of classical
architecture
• “Baroque” – (per critics) meant misshapen, odd, irregular (a term applied to a rough or
imperfect p p pearl) ) – vs. clarity, y, order, , balance, , logic g etc. of “pure” p classicism ( (High g
Renaissance)
• Gothic = Structure
• Renaissance = Composition p
• Baroque = Space?

Further Clarification:
• Develops out of 16 th century Mannerism
• 1620 to 1680 +/‐ could be considered the “High Baroque”, though less important, (less
clear) to distinguish between “Early” and “High” – as in looking at the Renaissance
Political / cultural background: comes out of, and associated w/ the Counter Reformation
of the Catholic Church:
• 1517 – Martin Luther’s “Ninety‐Five Theses” nailed to church door, beginning of
Protestantism – as a challenge to Catholicism
• 1545 – Council of Trent, Catholic church in response, instituting religious reforms
• By the 17th century – Catholicism was resurgent, significant role in colonial Latin
America, continued dominant role in southern Europe – Baroque became the “style” of
th the CCatholic th li world… ld
• To make emphatic, to persuade – “the rhetoric of the Baroque” ‐‐ art, and architecture
in the service of the church (and similarly to the French state, as we’ll see in lecture on
“French Classicism”) – using the classical language w/ hyperbole, single‐mindedness,
emphatically – the aim is to communicate…

Caravaggio’s
work as
representative
of the new
“Baroque” style:
Compare to:
Raphael’s “School
of Athens”
(Renaissance) and
Rosso Fiorentino’s
“Descent From the
Cross”
(Mannerism)
• Chiaroscuro –
composition based
on dramatic,
extreme light­dark g
contrast
• this is analogous
to Baroque
architectural
effects
ff
The Martyrdom of Saint Mathews, Mathews Caravaggio Caravaggio, 1599 1599­1600 1600
Lemerle p11

Il Gesu – Facade:
From Vignola’s design, revised by
Giacomo della Porta ­­ “last” Mannerist
masterpiece:
• Flat, l thin h layering l
• Double elements – rounded and
triangular pediments
• ambiguity of layers – especially at the
center bay
• Like Baroque work (to follow) –
emphasis on the center –build up of
details, layers emphasizing the central
focal foca po point t
Mannerism to Baroque –
the Il Gesu Façade
Il Gesu, Giacomo Barozzi da Vignola / Giacomo
Example
della Porta Porta, Rome (1568 (1568­1584) 1584)
Fazio p3400

hrist photo
S Gilch
S Gilchrist G photo
• Mannerist façade texture: thin/ overlapping layers…
• Scroll motif – derived from Alberti’s Santa Maria Novella, Florence (1458­
1470) –more than 100 years later this compositional approach to become
h “ l ”fh 17th the “template” for the 17 C (S i ) B h h
th Century (Seicento) Baroque church…
S Gilchrist G photo

Il Gesu –Plan
• Aisle­less nave – small side
chapels p
• domed crossing
• w/ short transept arms,
compact apse end –for
preaching
Letarrouilly
plate 261
Il Gesu –Interior: a template for the Baroque church
• Based on: Alberti’s San Andrea, Mantua (barrel vaulted
space, p , c1472), ), as original g “model” + High g Renaissance, ,
Bramate­esque space (e.g. St Peters plan, as seen in
Raphael’s painting, “The School of Athens”)
• But –here meant to be viewed, taken in at a glance:
emphasis on spatial unity of of barrel vaulted nave –short,
wide, unrestricted view ffrom entry to focal f point at alter…
Norberg‐Schulz p15

Il Gesu interior: compact
transepts
Baroque emphasis on:
1) unity vs. parts 2) focus on dramatic visual “stage­set”
Koneemann
p205
Il Gesu interior: nave terminates at
domed crossing w/ simple “preaching”
apse
Historical note: as a Counter Reformation church, this elaborate decoration
not original to Il Gesu, was added throughout the 17th not original to Il Gesu, was added throughout the 17 century and has
characteristically elaborate, swirling “Baroque” feel
Koneemann
p204

Basic structure,
layout similar to Il
Gesu façade but…
• More three­dimensional, fuller
• Heavier, more monumental
• Less ambiguous –bays clear, clear vertical
emphasis, clear build up of interest towards the
center –simpler composition
• More forceful, direct?
Th The First Fi t BBaroque FFaçade… d
Norberrg‐Schulz
p175
Santa Susanna, Carlo Maderno
(façade) Rome (1597­1603)
Lemerle
p55

Il Gesu, (1568­1584) Santa Susanna, (1597­1603)
and compared: p Mannerist to Baroque q
p340
Fazio
Lemerrle
p55

Will look at: the “laboratory” of Rome, in the
development of the Baroque
• The idea of the “grand manner” – the planning of Rome,
starting in earnest w/ Pope Sixtus V (served 1585‐1590)
• The variety of Baroque church architecture in the 17th century Rome – the architectural “culture” of Rome ‐‐
bbuilding ildi on th themes ddeveloped l diin MMaderno’s d ’ SSanta t SSusanna
• The “aedicular façade” ‐‐ aedicule = canopied niche flanked by
columns
• The continuing relevance of the model of Michelangelo’s
work – such as: 1) the “buried” buried columns in the Laurentian
Library 2) the broken pediments, giant orders in the
buildings of the Campidoglio
• The role of this architecture in the urban planning schemes
• Finally – a look at Gianlorenzo Bernini, as the first Baroque
era “genius” (the second, Francesco Borromini to be looked at
in depth on Wed)
• And Bernini’s role in the completion of Saint Peters
Two general plan
typologies used – per
Norberg­Schulz
Ching p502

Significant
issues:
• Sixtus V (1585­
1590) –larger
scale planning
than any of his
predecessors
predecessors,
• Planned
straight,
connecting
streets between
important
church sites
• The beginning
of the “Grand
M Manner” ” of f
urban planning:
vistas / axial
connections / the
“trivium”
connection of
three roads at a
center point…
Giovanni Battista Nolli, Plan of Rome (1748)
“Nolli” Map –showing figure/ground relationship of building mass to open
space – Rome in the 17th space Rome in the 17 century century, the Baroque era
Tomman
p14

The Baroque building culture of Rome:
w/ / in this urban structure…
five examples of the Baroque “feel”, “style” of the 17 th century architecture of
Rome:
• SSanti ti LLuca e Martina, M ti Pi Pietro t dda CCortona t (1634 (1634‐1650) 1650)
• Santi Vincenzo e Anastasio, Martino Longhi, the younger (1646‐1650)
• Santa Maria in Campitelli, Carlo Rainaldi (1663‐1667)
• San Andrea della Valle, Carlo Rainaldi, Carlo Fontana (1662 (1662‐1666) 1666)
• San Marcello al Corso, Carlo Fontana (1682‐1683)

Santi Luca e Martina, Pietro da Cortona, Rome (1634­1650)
Slightly convex bowing of wall – between two “sturdy” corner piers –Baroque expression of
dynamic motion: “Baroque expansion”
S Gilchrist photo

• “Stretched”
centralized plan –
longer main axis
• Apses not purely
semi­circular
• Layering of
columns in interior
space –as in façade
• Heavy / massive
• Unity over parts
• Organic g “swelling” g
berg‐Schulz p92
Norb
Santi Luca e Martina –plan and elevation
Toman p26

Varriano p11
Santi Luca e Martina – ceiling view at
Santi Luca e Martina – view of main interior
apse end
axis
Toman p24

Santi Luca e Martina – façade detail
S Gilchrist photo

Portoghesi p2003
Santi Vincenzo e Anastasio,
Martino Longhi, the
younger (1646­1650)
• Similar composition but w/
unique screen wall of full
columns (vs. pilasters) /
irregular spacing
• Pediments set w/ in
pediments (mannerist device?)
G
– but very three three­dimensional…
dimensional S
Gilchrist photo

Santa Maria in Compitelli,
Carlo Rainaldi (1663­67) ( )
• Column screen of Santi Vincenzo
developed into more simplified
aedicule motif
• Very clear example of typical (3)
layer façade
hrist photo
S Gilch
Lemerle L p46

Santa Maria in Compitelli –plan / interior
space / ceiling vault view:
• Continuity w/ exterior – similar layering in
interior space
• Axial plan –two centralized portions linked
together… g
Norberg‐Schulz p944
S Gilchrist photo
S Gilchrist G photo

Santa Maria in Compitelli – additional views of interior space
S Gilchrist photoo
S Gilchrist photoo

• Façade: A “High Baroque” version
of Santa Susanna?
• Aedicules Aedicules, and Michelangelo Michelangelo’s s
“recessed” Laurentian Library
columns
• The basic, conservative, Il Gesu
Norbeerg‐Schulz
p64
Sant Andrea della Valle, Carlo Rainaldi, Carlo
church plan Fontana (1662­1666) (1662 1666), facade
Lemerle p46

Per plan:
A “classic” Il Gesu­like interior…
Sant Andrea della Valle Valle, interior view
z p60
S Norberg‐Schulz

• A late version of the Roman High
Baroque façade, as per many of the other
examples already shown:
• Curving façade
• Interest built up towards the center
• Three h llayers
• Detached columns as well as
pilasters
• Aedicule front
San Marcello al Corso, Carlo Fontana (1682­
1683)
p47
Lemerle

The “trivium” trivium at Piazza
del Popolo:
(see Kostof p489)
Axial views marked by
Egyptian obelisks… obelisks
p21
Norberg‐Schulz p
These energetic,
expansive Baroque
façades, and church
plans as a part of the
“expansive” evolving
Baroque city
fframework… k
Sixtus V’s city plan – 1585­1590:
The basis for city development in the 17 th century
S Fazio p342

Piazza del Popolo
Per “Nolli” map Aerial view
Wittkower p104
Fazio p352
Attini p258

View of Piazza del Popolo
hrist photo
S Gilch

Place for public gathering, spectacle
Fountains…
Piazza Navona
4
Fazio p35
S Gilchrist photo
Fazio p350

Piazza Navona –w/ curved front of Saint Agnese opening onto the square
n p31
Toman

Piazza di Spagna –and the “Spanish Steps”
Slightly later work, 1717 ­­ Francesco di Sanctis
Varriano p170
Portoghesi p61

Spanish Steps…
Fazio p353
n p49
Toman

Gianlorenzo Bernini (b1598­1680)
Sculptor –considered the17 th Century
equivalent of Michelangelo –the first
great “genius” of the Baroque era…
Bernini – Cornaro Chapel – “architect “architecture re as theater”
S Portooghesi
p94
“The Ecstasy of Saint Teresa”
S Gillchrist
photo

Sant Andrea al Quirinale, Bernini, (1658­1670)
Wittkower W p27
Portogghesi
p99
• Bernini’s architectural masterpiece – elliptical plan / based on short axis
• Similar “architectural theater” –focus of the building on alter art work
S Gilchhrist
photo

Lemerlle
p66
Portico w/ in aedicule frame Interior: focus on alter –again, painting,
scultpture, architecture work together ­­
architecture more as a backdrop for the
sculptural narrative?
Lemerlle
p67

Saint Andrea al Quirinale ­­ interior space
Gilchrist photo
S G

Saint Andrea al Quirinale ­­­ dome, conclusion of narrative
Gilchrist photo
S G

Carlo Maderno: extension of nave / façade (1606­1626)
Gianlorenzo Bernini – colonnade / piazza, completes ensemble (1657­1667)
Saint Peters – culmination of the Baroque city…
city
azio p344
Fa

Saint Peters ­­ colonnade and piazza –diagrams / plan
Norberg‐Scchulz
p27
Fazio p345

Views inside the colonnade…
photo
S Gilchrist
S Gilchrist photo
photo
S Gilchrist

• Dramatic shifts of
light / dark
• forced perspective
intensifies f the
dramatic effect –
again, architecture as
theater…
Varriano p84
Wittkoower
p35
…and the Scala Regia / Bernini’s Baroque stairway connection
to Vatican palace
Lemerlle
p67

Michelangelo’s Plan St Peters as completed by Carlo
Maderno
azio p312, 344
Fa

Alternate scheme showing
intended corner towers
Toman p226
Maderno’s “long” facade
Section thru extended nave
photo
S Gilchrist
S Fazio p344

St Peters –interior space: p vision of f Bramante / Michelangelo… g
to
S Gilchrist phot

And Bernini’s contributions –the Cathedra
Petri, the thrown of Saint Peter
Norberg‐Schulz p1444
The Baldacchino at the high alter, w/
twisting, “Solomonic” columns…
Lemerle p65

z p180
S Norberg‐Schultz

st photo
S Gilchris

Reading:
Trachtenberg pp 327‐348 (Chapter Nine: The Baroque)
Kostof pp 511‐526 (Chapter 21: Absolutism and the Bourgeoisie)
Optional: Kostof pp 496­509 (Chapter 20: Popes as Planners)