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The Gesu, 1568 by Jacopo Barozzi da Vignola - Rome
- -Mother Church of the Jesuit Order
- -first Baroque facade = model
- -most aggressive counter-reformists = Jesuit Order
- -founded by head of Jesuit Order, soldier turned Roman Catholic Priest
- -funded by Cardinal Farnese
- -Vignola laid off, taken over by Della Porta
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- The Gesu (Plan), 1568 by Jacopo Barozzi da Vignola - Rome
- -Baroque model
- -propagandist agenda reflected in architecture
- -no narthex, drawn to celebratory high altar
- -six interconnecting chapels
- -dome over crossing
- -original ceiling unpainted, wicked acoustics
- -coretti for watching mass
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Acqua Felice , 1587 by Domenico Fontana - Rome
- -civic improvement under Pope Sixtus V
- -Felic = Sixtus, brought unlocked water
- -"symbolism is as clear as spring water"
- -sign on top is like billboard
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Obelisk, Piazza of St. Peter’s by Domenico Fontana - Rome
- -civic improvement under Pope Sixtus V
- -Egyptian Obelisk on 16th C base
- -series of signs or signals that showed pilgrims where to go
- -climax at St. Peter's
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- Vatican Palace, 1587 by Domenico Fontana - Rome
- -wing of Sixtus V
- -barnlike
- -location of Pope's apartment where he can be seen
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- St. Peter’s Dome,1593 by Giacomo Della Porta - Rome
- -pontificate of Clement VII
- -taller, emphasis on the vertical, stouter top tier
- -less pointed in Michelangelo's original drawing
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Villa Aldobrandini, 1601 by Giacomo Della Porta - Frascati
- -Pope Clement VII for nephew to commemorate military victory (and political victory for Aldobrandini family)
- -papal money spent on private family property
- -large and imposing
- -flat front facade with small windows
- -back facade has bigger windows that look out on waterfall created by Della Porta
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Cappella Paolina at S. Maria Maggiore, 1605-11 by Flaminio Ponzio - Rome
- -Pope Paul V Borghese
- -great builder pope, link between him and his predecessor Pope Sixtus
- -composite to Sixtus' Sistine Chapel
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- Acqua Paola, 1610-14 by Flaminio Ponzio - Rome
- -most magnificent fountain built by Pope Paul V Borghese
- -enormous billboard sign which states the glory of the pope
- -painfully obvious that the popes were celebrating themselves
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S. Sebastiano facade, 1609 by Flaminio Ponzio and Giovanni Vasanzio - Rome
- -needed redoing
- -Pope Paul V Borghese commissioned his architects
- -decorate ceiling indicative of Borghese patronage
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- San Sebastiano ceiling, 1609 by Flaminio Ponzio and Giovanni Vasanzio - Rome
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Villa Borghese, 1613 by Giovanni Vasanzio - Rome
- -patron was Cardinal nephew of Pope Paul V Borghese
- -feature most extensive gardens built in Rome since antiquity
- -emblematic of everything that represents the early high baroque in Rome
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S. Susanna, 1597 by Carlos Maderno - Rome
- -Maderno was Fontana's cousin
- -led to St. Peter's commission
- -built to commemorate the year 1600 by Cardinal
- -1600 signifies the beginning of the Baroque painting in Rome
- -Farnese Villa featuring paintings by the Carracci = Hercules series unveiled
- -patron's name above door
- -Maderno’s ability was recognized by Borghese from this work
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St. Peter’s facade, 1607-1625 by Carlos Maderno - Rome
- -due to work on S. Susanna
- -elongated the church westward
- -massive facade covers Michelangelo's dome as your get closer
- -bar relief showing Christ giving the keys to St. Peter under Pope's window
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- St. Peter’s nave, 1609-1626 by Carlos Maderno - Rome
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- S. Giuseppe, 1607 by Francesco Maria Ricchino - Milan
- -Milanis key source of marble and strategic location to the North (where
- Protestant movement came from)
- -key role in Counter Reformation
- -takes from Gesu
- -stacking: the way baroque architects are pushing one thing inside another
- inside another, making them smaller as they go to create movement
- -composition has an elasticity
- -dynamic interior
- -light is also designed to come from the back and draw the viewer towards it
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- Collegio Elvetico, designed 1627 by Francesco Maria Ricchino - Milan
- -built for the Swiss Catholics as a college to teach them Catholic values they could bring back to the North (aka to combat Protestantism)
- -key location of Milan
- -curves create gestures of welcome
- -contrast of concave and convex shapes
- -weighty and structural, typical Ricchino
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Palazzo di Brera, 1651-1773 by Francesco Maria Ricchino - Milan
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- Palazzo Barberini, 1628 by Maderno, Bernini, Borromini, Cortona - Rome
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Santa Bibiana, 1624 by Gian Lorenzo Bernini - Rome
-paintings by Cortona
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Santa Maria dell’Assunzione, 1662 by Bernini - Arricia
-Ariccia (Rome's Hamptons) - -Gesakunstwerk: all together works of art
- -Chigi family
- -opposite the door of their family palace
- -inspired by Pantheon in Rome
- -consists of two wings
- -new building was subtly nestled into the pre-existing plan of the community
- -all arts are being integrated in 3 dimensions
- -wants the viewer to participate in the miracle of the assumption of the virgin
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Cathedra Petri at St. Peter's, 1657-66 by Bernini - Rome
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St. Peter's Piazza Colonnades, 1656 by Bernini - Rome
-long hallway divided by an oval on the horizontal axis - -all-weather walkway
- -better viewing of papal balcony
- -intended third arm, but Pope Alexander VII died
- -isolates Vatican from messy streets
- -Bernini's use of 'arm' is symbolic, embracing arms to the pilgrims
- -principal area of access where processions occur
- -top of staircase mimics the window above the papal throne in the Scala Regia
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- S. Gregorio Magno, 1629-33 by G. B. Soria - Rome
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Villa del Pigneto, 1630 by Pietro Berrettini da Cortona - Rome
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