Anthony Blunt, Alastair Laing, Christopher Tadgell's Baroque and Rococo - Architecture and Decoration PDF
By Anthony Blunt, Alastair Laing, Christopher Tadgell
A research of a interval in artwork and layout levels from Baroque structure in Rome within the early 1600s via Bernini, Boromini, and Pietro da Cortana
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Additional resources for Baroque and Rococo - Architecture and Decoration
Susanna, Rome, by Carlo Maderno, 1603. Facade very light pilasters. Vignola's projected facade for the Gesu 23 ingeniously enriched this austere and simple scheme by making the needs of ecclesiastical ceremonial, because it had no ade- quate sacristy, few chapels for the worship of individual saints, and no nave, a feature essential to house a large congregation and to give a suitable setting for processions. In the end the party which supported the importance of ecclesiastical demands was victorious over those who argued on aesthetic grounds and Maderno was instructed to add a nave to the church.
Built by Borromini between 1654 and 1665. l' ''HI. 1 lomb near Capua, but he has ampUfied the movement of the origmal by making the central section curved instead of straight. Beside the dome, which was to have had a lantern with deep re-entrant bays. Borromini set up a campanile which is a remarkable example of the mixture of Classical and unclassical elements in his architecture. The lower stage is a cylinder articulated with Ionic columns, containing alternately open and closed bays, of a type known ancient in Roman bas-reliefs, but topped by a structure of concave bays, separated by rectangular piers which merge into winged cherubs.
Above this this is a crowning feature with a flame-like element enclosing the arms of the patron, the Marchese del Bufalo. and covered by his is coronet. Borromini's last phase is work on the new chapel - best illustrated by his Collegio di Propaganda Fide, where he built a replacing one built by Bernini in the 1630s - and added the facade on the street. In the chapel he developed certain ideas which he had adumbrated in the Oratory, creating a rectangular space with rounded corners, with a low coved vault di\ided by ribs which cross the space diagonally, leaving a hexagonal panel in the middle, which is filled with a fresco.
Baroque and Rococo - Architecture and Decoration by Anthony Blunt, Alastair Laing, Christopher Tadgell