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Jesuit College,1630 by Bartolomeo Bianco - Genoa
- -on the strata nova
- -the Balbi Jesuit commission
- -Jesuits educated both young adolescents and teenagers
- -vestibule over street on lowest level
- -painterly quality to Baroque architecture
- -‘scenography’ aka architecture of the theatre
- -full of signs, trinity
- -columns used to create depth and recession
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Jesuit College staircase,1630 by Bartolomeo Bianco - Genoa
- -monumental staircase:
- -imperial, influential
- -bottom = "beginning of the journey"
- -view looking up onto the drama that unfolds through the use of columns
- -eye is directed to where sunlight falls on the first set of stairs in the courtyard
- -through the upper bay windows eye is directed towards other staircases
- -staircase then divides into two, originally no treads
- -perhaps humor or perhaps no money
- -one of the 2 most important staircases in Genoa
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Palazzo Doria-Tursi, 1564 by Rocco Lurago - Genoa
- -on the Via Garibaldi
- -facade is characterized by alternating materials of different color:
- -pink stone of Finale
- -gray-black slate
- -prized white marble from Carrara
- -heavy cornice supported by solid corbels
- -majestic marble portal crowned with emblem of the city of Genoa
- -flanked by small gardens
- -one of the 2 most important staircases in Genoa
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Monumental Staircase at S. Maggiore Monastery, 1643 by Baldassare Longhena - Venice
- -added a section on top of the roof and the courtyard
- -contains a spectacular ceremonial staircase
- -proud of the fact that he was a native of where he worked and signed stairs
- -elements relate to each other
- -stairs have traces of courtyard
- -walls have traces of the steps of the staircase
- -Venice offers very little room for staircases and open staircases tended to prevail
- -screw that...he created a lavish, imperial style staircase with multiple landings
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Monumental Staircase at S. Maggiore Monastery, 1643 by Baldassare Longhena - Venice
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Palazzo Rezzonico, 1662 by Baldassare Longhena - Venice
-very powerful family recently risen to prominence - -wanted an impressive palace with land and water entrance
- -some features of classical palazzo:
- -important rooms on upper floors
- -windows filled with glass
- -piano nobile left space for a watergate
- -decoration of each story gets more and more elaborate
- -baluster-style staircase similar to others we've seen
- -wave motif in the decorative moulding
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Palazzo Pesaro, 1652 by Baldassare Longhena and Antonio Gaspari - Venice
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- S. Maria della Salute, 1631 by Baldassare Longhena - Venice
- -key monument, his most important work
- -prominent location at the top of the Canal
- -In 1606 large plague that killed a number of citizens in Venice
- -they vowed to build a church to the Virgin if the city was saved
- -Venice plagued because it was a merchant city
- -large amounts of money for the church came from fearful patrons
- -competition for commission
- -several qualifications:
- -high altar visible from door of the church
- -side chapels hidden from entrance (odd)
- -may have related to CR and wanted people to enter church
- -inside giant pillars block view of chapels
- -substantial pillars bear the weight of dome above
- -centrally planned
- -in his design he used a term that not only means large round church, but also describes a round float used in regattas
- -poem suggests ther were going to be two Venetian saints on top of the center archway
- -instead there are traditional angels
- -perhaps because Venice had problesm with Turks and needed Papal support
- -Virgin on a crescent moon on top of the dome, aka Virgin of Immaculate Conception aka saint of heath
- -clear iconography on high altar, personification of Venice is chasing a hag (the plague) out of the city with the help of the Virgin
- -shape of the church resembles crown of the Virgin
- -dome is raised especially high
- -secondary dome on top of the interior dome
- -this is to make it visible on procession from St. Marks, where the Dogial procession of the Feast of the Virgin begins
- -second dome above the altar
- -Baldassare = Venetian great, huge influence on all subsequent Venetian architects
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S. Nicolo da Tolentino, 1706 by Andrea Tirali - Venice
-theatine church, CR order - -built almost in full by other architect in brick
- -Tirali added facade
- -huge contrast from Maria della Salute
- -lacks exuberance of Baroque
- -classicizing and severe
- -indicative of style after Baldassare's death
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SS. Simone e Giuda, 1718 by Giovanni Antonio Scalfarotto - Venice
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The Pieta, 1736 by Giorgio Massari - Venice
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Palazzo Grassi, 1748 by Giorgio Massari - Venice
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Villa Pisani, 1735 by Francesco Maria Preti - Stra
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La Madonna di San Luca, 1723 by Carlo Francesco Dotti - Bologna
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S. Marcello al Corso, 1685 by Fontana - Rome
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S. Michele Prison, 1701 by Fontana - Rome
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S. Giovanni in Laterno, 1733 by Alessandro Galilei - Rome
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Sta. Maria Maggiore, 1740 by Ferdinando Fuga - Rome
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Sta. Croce in Gerusalemme, 1743 by Domenico Gregoriani - Rome
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Piazza S. Ignazio, 1727 by Filippo Raguzzini - Rome
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Spanish Steps, 1723 by Franceso de Sanctis - Rome
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Noto Cathedral facade, 1710 by Gagliardi - Sicily
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S. Domenico, Noto, 1737 by Gagliardi - Sicily
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S. Giorgio at Ragusa-Ibla, 1744 by Gagliardi - Sicily
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S. Giorgio at Modica, 1738 by Gagliardi - Sicily
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Villa Palagonia, 1705 by Tommaso Napoli - Bagheria
-“The villa of the prince who loved monsters”
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