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SS. Luca e Martina, 1635-69 by Cortona - Rome
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Sta. Maria della Pace, 1656 by Cortona - Rome
- -commissioned by Pope Alexander VII
- -added opening which looks symmetrical from the street
- -actually hides a very irregular street plan
- -magnificent stone portico which bulges forward
- -facilitated the turning of coaches
- -shifting planes of the façade suggest a doughy texture
- -allusion creates a sense of the building being deeper and richer than it actually is
- -aka spatial layering and chiarascuro effects
- -done for a miracle working image of the virgin
- -possible ritual significance
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Sta. Maria in Via Lata, facade, 1658-62 by Cortona - Rome
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SS. Vincenzo ed Anastasio, 1646 by Martino Longhi the Younger - Rome
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Sta. Maria in Campitelli, 1663-67 by Carlo Rainaldi - Rome
- -Pope Alexander VII
- -created for a miracle working image of the virgin
- -casting of light and shade to enhance richness and 3D-ness
- -volutes, 3-part organization, central doorway
- -elaborate plan, likened to an old-fashioned telescope
- -apse houses image of virgin at the end
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S. Carlo alle Quattro Fontane, 1662 by Borromini - Rome
-Borromini's first independent commission - -by Trinitarians, minor order of Spanish monks
- -low budget building, Borromini was affordable
- -architectural masterpiece
- -alternating pattern of concave and convex
- -futuristic lantern on top, boasts curves
- -attention to detail
- -courtyard columns are not all the same, but instead relate to each other in pairs
- -busting out of convention
- -oval floor plan, complicated
- -Trinitarians inspired two triangle shapes used to make the oval
- -dome has a triangle shape at the top, similar to the basis for the shape of the church
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S. Carlo alle Quattro Fontane (plan), 1662 by Borromini - Rome
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S. Carlo alle Quattro Fontane (Dome), 1662 by Borromini - Rome
-octagonal shapes in the coiffering - -crosses taken from the trinitarian’s coat of arms
- -coat of arms painted on the marble on the floor below
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Oratory of S. Filippo Neri, 1637 by Borromini - Rome
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Villa Falconieri,1665 by Borromini - Frascati
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S. Giovanni in Laterano (transformation of interior),1646 by Borromini - Rome
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S. Lorenzo, 1666 by Guarini - Turin
-Guarini is a monk architect - -“ugly ducking of churches”
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S. Lorenzo, 1666 by Guarini - Turin
- -all kinds of shape and sizes work upwards to the lantern
- -Geometry = manifestation of divine being
- -octagon used in main dome
- -corners of the octagon alternate: concave, convex
- -vaulting is unusual shape of a 6-pointed star = Borromini influenced
- -lighting trick on the sides of the star, and a window just below the dome to create light shining down on the altar
- -persuade you of the importance of the religious experience
- -4 pendentives are painted with the 4 evangelists
- -eight windows around the dome octagon = more light
- -theme of eight in Spanish buildings from 9th C
- -could also relate to islamic ideas about displaying god through geometric shapes
- -gothic importance
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SS. Sindone (plan), Turin Cathedral, 1667 by Guarini - Turin
-dukes of Savoy come into possesion of holy shroud relic - -create chapel to house holy shroud at the east end
- -chapel cradled between the cathedral and the royal palace poses trouble
- -call in Guarini
- -creates two staircases up to reliquary chapel
- -vaulted, tunnel-like staircases
- -small circular areas at top with three sets of three columns
- -great effect on pilgrims, leading them up to a blaze of light
- -unique floor covering with brass 8-point stars-8th day = judgement will come
- -entire interior is different colors of black and grey marble
- -colour is symbolic of mourning the dead
- -references to the crucifixion on dark bronze capitals
- -crown of thorns on the lower level and nails
- -severe fire in 1900s while finishing costly restoration
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Capella SS. Sindone, Turin Cathedral, 1667 by Guarini - Turin
-dome different from any other -almost space-like - -didn’t care about the outside
- -layering effect from the inside as you look up
- -wraps in a circular motion
- -gets lighter as you looke up, ie light at the end of the tunnel
- -"sprouting" arches
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Palazzo Carignano, 1679 by Guarini - Turin
-most notable and best preserved building from Guarini - -commissioned by Prince of Carignan
- -Borromini's oratory is exaggerated/enhanced
- -compared to Borromini:
- -more curvaceous, "wet noodle"
- -more extension and depth
- -sense of crudeness
- -difficult materials
- -only domestic project to make use of Borromini's undulating facade on S. Carlo
- -east facade features a lavish tower
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Palazzo Carignano staircase, 1679 by Guarini - Turin
- -entrance to the courtyard = large oval vestibule
- -curved facade of the oval vestibule features curved two-part staircase
- -convex and ones at the top are concave
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La Superga Church, 1716 by Filippo Juvarra - Turin
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Palazzina di Stupinigi, 1719 by Filippo Juvarra - Turin
-hunting lodge for the King of Sardinia - -hence the bronze stag
- -hounds heads decorate roofline vases
- -saltire plan: four angled wings project from the oval-shaped main hall
- -separate pavilions linked by long angled galleries
- -long octagonal forecourt enclosed by wings, extended forwards in two further entrance courts
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Carmine Church, 1732 Filippo Juvarra - Turin
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Castello di Rivoli, 1734 by Filippo Juvarra - Turin
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Visitation Chapel, 1738 by Bernardo Vittone - Vallinotto
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Visitation Chapel, 1738 by Bernardo Vittone - Vallinotto
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Sta. Chiara, 1741 by Bernardo Vittone - Bra
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Sta. Chiara, 1741 by Bernardo Vittone - Bra
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