Baroque Architecture 2

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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
Card Set
Baroque Architecture 2
Baroque Architecture 2