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Ecstasy of Saint Theresa P/S: Southern Baroque Art A: Gianlorenzo Bernini Pa: Cornaro Family L: Santa Maria Della Vittoria, Rome

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Ecstasy of Saint Theresa P/S: Southern Baroque Art A: Gianlorenzo Bernini Pa: Cornaro Family L: Santa Maria Della Vittoria, Rome Ecstasy of Saint Theresa DT: Sexual exhaustion, skin in c. 1645-1652 C.E. high gloss, feathers=rougher; drapery=fluid, clouds=roughly P/S: Southern Baroque Art cut, tactile textures A: Gianlorenzo Bernini Ideas: Stage like setting; from Pa: Cornaro Family Saint There’s diary w/ L: Santa Maria della Vittoria, descriptions of this scene Rome M/T: Marble/ High-relief sculpting F: Sculptural interpretation depicting S.T.’s vision of God and an angel plunging an arrow into her C: Natural light; figures float in space, God’s light illuminate scene Fountain of the Four Rivers c. 1648-1651 C.E. P/S: Southern Baroque Art A: Gianlorenzo Bernini Pa: Pope Innocent X L: In Piazza Novona M/T: Travertine; Marble/ H-R sculpting F: Political Allegory; lots of movement it’s an allegory C: Occupies center of fountain DT: Masterpiece of spectacle Ideas: Rock-form at bottom depicts a horse, palm tree and lion; caved in situ; also each person depicted in this work has a separate meaning to themselves representing Asia and Mexico Apollo and Daphane c. 1622-1625 C.E. P/S: Southern Baroque Art A: Gianlorenzo Bernini Pa: Unspecified L: Galleria Borghese in Rome M/T: Marble/ H-R sculpting F: Depiction of a story of Love and deception; Apollo pleads Daphne to fulfill his desires; pursuing love in vain C: Life-size sculpture; inspired by one of Ovid’s paintings DT: Intense emotion and drama; fidelity Ideas: Interlocking components, chiaroscuro Baldacchino patrons; Symbol of counter- c. 1624-1633 C.E. reformation spirit; feat of bronze casting P/S: Southern Baroque Art A: Gianlorenzo Bernini Pa: Barberini Family L: Saint Peter’s, Rome M/T: Bronze casting technique F: Place over the main altar, 4 corkscrew columns that spiral upward C: Directs viewers vision down the nave DT: Shrine canopy over the grave Ideas: Bees and suns appear on top corners=symbols of the Cathedra Petri c. 1657-1666 C.E. P/S: Southern Baroque Art A: Gianlorenzo Bernini Pa: Pope Alexander VII L: Saint Peter’s, Rome M/T: Wood/ Carving technique F: Wooden chair laden with ivory plaques depicting the labors of Hercules and constellations; gilded bronze throne C: Rings helped with its transportation DT: Byzantine throne; richly ornamented with bas reliefs; encloses relic Ideas: completed with accordance with the calendar of saints; honors founding of Rome Beata Ludovica Albertoni DT: Mortal suffering, religious c. 1671-1674 C.E. ecstasy, surrounded by put and rising holy spirit P/S: Southern Baroque Art Ideas: One of the last sculptures A: Gianlorenzo Bernini of Bernini because of his old age Pa: Cardinal Paluzzi degli Albertoni L: San Francesco a Ripa, Rome M/T: Marble/ H-R sculpting F: From the Alberti Chapel in the Roman Church of San Francesco a Ripa C: White marble figure represents the nun Ludovica Albertoni, a distant relative of the Cardinal, on her deathbed P/S: Southern Baroque Art A: Giacomo della Porta Pa: Unspecified L: Rome, Italy M/T: Unspecified; concrete F: Head Church of Jesuit order C: Column groupings emphasize central doorway; tympana and pediment over central door; two stories separated by cornice, united by scrolls DT: Slight cresando of forms toward at center; Ideas: framing niche acts as a unifying device; interior has no Façade of IL Gesu aisles, meant for grand c. 1575-1584 C.E. ceremonies Façade of Saint Peter’s c. 1607-1612 C.E. P/S: Southern Baroque Art A: Carlo Maderno Pa: Unspecified L: Rome, Italy M/T: Unspecified F: Wide and low façade; originally conceived with flanking bell C: façade and nave added to Michelangelo’s design making it a Latin cross plan DT: Rounded engaged pilaster columns around the central door Ideas: Emphasis on the center of the façade with pediment highlighting the main door Santa Susana c. 1585-1603 C.E. P/S: Southern Baroque Art A: Carlo Maderno Pa: Unspecified L: Rome, Italy M/T: Unspecified F: Roman Catholic Parish Church C: Protrusion and increased central decoration add complexity to the structure DT: Dynamic rhythm of columns and pilasters, crowded centrally Ideas: Entrance and roof are surrounded by pediments; windows replace niches, incipient playfulness with rules of classic design, while still maintaining rigor; great nave and circular apse Colonnade of Saint Peter’s Ideas: Shaped=skeleton c. 1656-1657 C.E. keyhole; Saint Peter holds Key; Oval centered around Egyptian P/S: Southern Baroque Art obelisk; trapezoid shape font of A: Gianlorenzo Bernini church Pa: Unspecified L: Rome, Italy M/T: Unspecified F: Huge plaza that can hold half a million people C: Wanted to achieve a surprising transition b/w the crowded streets of Rome and giant vista of Saint Peters’ DT: Colonnade dramatic gesture; symbolically bring the faithful into the building P/S: Southern Baroque Art A: Gianlorenzo Bernini Pa: Unspecified L: Rome, Italy M/T: Unspecified F: Flight of steps/stairs to Vatican City and is a part of the formal entrance to the Vatican C: Narrow silvery land between church and palace; awkwardly shaped with irregular converging walls DT: Typically theatrical, baroque elements; Ideas: Exaggerated the Scala Regia distance; coat of arms of c. 1663-1666 C.E. Alexander VII at the entrance of the church and his equestrian statue at the bottom of the steps San Carlo c. 1634-1638 C.E. P/S: Southern Baroque Art A: Francesco Borromini Pa: Independent commission, L: Rome, Italy M/T: Unspecified F: Roman Catholic Church C: Located at the four corner fountains set on the oblique intersection of two roads DT: Complex monastic building; monastic building Ideas: Ironic piece of Baroque architecture; financial difficulties with this project; plan shows a cramped and difficult site, on the corner of a cloister St. Ivo merged the façade of the c. 1642-1660 C.E. courtyard with the palace; centralized church; both P/S: Southern Baroque Art concave and convex of design A: Francesco Borromini Pa: Unknown L: Rome, Italy M/T: Unspecified F: Roman Catholic Church C: Corkscrew influence upon the church design and structure; devoted to Saint Yves DT: Masterpiece of Roman Baroque architecture; remarkable Dome Ideas: Design chosen that resembles the Star of David; St. Agnes c. 1652-1660 C.E. P/S: Southern Baroque Art A: Francesco Borromini Pa: Pope Innocent X L: Rome, Italy M/T: Stucco, unspecified F: Basilica Church in Rome C: Greek cross plan; interior highly decorated with paintings portraying her martyrdom DT: Marble relief in the main altar; Ideas: Location where Saint Agnes was martyred; altar dedicated to someone else who has passed away; concave volume seen in the work; restrained creation Santa Maria della Salute changed to suite the c. 1631-1687 C.E. circumstances underwent in Venice; most artwork inside is a P/S: Southern Baroque Art reference to the Black Death A: Baldassare Longhena Pa: Unspecified L: Venice, Italy M/T: unspecified F: Roman Catholic Church and a minor basilica; vast octagonal building; two domes bell tower; C: Stands between Grand Canal and San Marco structure; the great dome represents the crown of which she wore DT: Fashionable Palladian Style Ideas: Plague struck the city of Venice and this church name was c. 1631-1687 C.E. P/S: Southern Baroque Art A: Guarino Guarini Pa: Unspecified L: Turin, Italy M/T: unspecified F: Chapel Church C: Extremely complex Baroque space DT: Illusion of endless spaces, kaleidoscope like inside the interior Ideas: Diminishing hexagonal ribs cross one another creating an airy domed space of dazzling intricacy; interior centered around a 12 pointed start with the Holy Spirit; Chapel of the Holy Shroud Chapel hold the controversial shroud of Turin Versailles Ideas: subdued exterior c. 1669 C.E. decoration on façade; undulation of projecting members is P/S: Central Baroque Art understated; Hall of mirrors— A: Jules Hardouin-Mansart and barrel vaulted painted ceiling; others flickering use of light Pa: Unspecified L: Versailles, France M/T: unspecified F: Centered in vast garden and town complex C: Central building was that of Louis XIV;s bedroom, or audience chamber; all aspects of design radiate like rays DT: Reorganization and remodeling of hunting lodge into an elaborate palace P/S: Baroque Art A: Inigo Jones Pa: Unspecified L: London, England M/T: unspecified F: Unspecified purpose; hose of commerce type C: Inspired by Palladio; introduced the Palladian style to England DT: Modest emphasis on center façade; central bay of six windows framed by engaged columns Ideas: flat pilasters recessed around outer windows; rusticated basement level; two stories of Banqueting House windows disguise one large room c. 1669 C.E. on the interior; balustraded roof Saint Paul’s c. 1675-1710 C.E. P/S: Baroque Art A: Christopher Wren Pa: Unspecified L: London, England M/T: unspecified F: Gothic building site stood here before C: Façade-front piece projects in front of building creating dark/light contrast in the center; emphasis on center-sides recede DT: 3 Domes-inner wooden dome low and curved, painted; structural, holding up the lantern; exterior dome fills up space graciously Ideas: Bell towers—great complexity graceful volumes and rhythmic movement; influenced by the tempietto design Blenheim Palace c. 1705 C.E. P/S: Baroque Art has porthole windows=Vanbrugh’s A: John Vanbrugh motif; grand majestic palace Pa: England itself to Duke of structure Marlborough L: Woodstock, England M/T: unspecified F: Reward prize for winning battle of Blenheim in War of Spanish Succession C: Emblems all about complex: trophies, cannonballs, flaming urns, statuary DT: Projecting pavilions; accent on central core of nine bays and the corner towers Ideas: Italian Baroque complexity of design; façade echoes patterns of advance and retreat; basement .
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