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Canada Du Canada Canaasn Theses Service Service Des Thèses Canadiennes National Library BmIiolhèque nationale 1+1 of Canada du Canada canaasn Theses Service Service des thèses canadiennes Ollawa. Canada K1AON4 NOTICE AVIS Thequalityofthismicroformisheavilydependent upon the la qualité de celte microforme dépend grandement de la quality of the original thesis submilled for microfilming. qualité de la thèse soumise au microfilmage. Nous avons Every effort has been made to ensure the highestqualityof tout tait pour assurer une qualité supérieure de reproduc, reprodudion possible. tion. 1: pages are missing, contact the university which granted S'il manque des pages, veuillez communiquer avec thedegree. runiversité qui a conféré le grade. Sorne pages may have indistind print especially if the La qualité d'impression de certaines pages peul laisser a original pages were typed wilh a poor typewriter nèbon or désirer, surtout si les pages originales ont été dactylogra· if the university sent us an inferior phOIOCOPY. phiées à raide (fun ruban usé ou si l'université nous a fa.t parvenir une photocopie de qualité inférieure. Reproduction in full orin part of this microform is govemed La reproduction, même partielle, de celte microforme est by the Canadian Copyright Act, R.S.C. 1970, c. C-30, and soumise à la Loi canadienne sur le droit (fauteur, SRC subsequent amendmenls. 1970, c. C-30, et ses amendements subséquents. Canada Bernini's s. Andrea al Quirinale The Triumph of Martyrdom By Kevin Kelly A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts Department of Art History McGill University March, 1591 Montreal, Quebec, Canada Copyright 1991 ." ( ,. Nalionallibcary ·... of Canada Ollawa. Canada K1AON4 The aulhor has granted an i1Tevocable non­ L'auteura accordé une licence iITévocable et exclusive licenceaJIowing theNationalUbrary . non exclusive pennettant à la BibrlOthêque ofCanada ta reproduce,loan, diStribute orseU nationale du Canada de reproduire, prêter. copies of hislher thesis by any means and in olStn1Juer ou vendre des copies de sa thèse any fOl1ll orformat, maI<ing this thesis available de quelque manière et sous quelque forme to interested persans. que ce soit pour mettre des exemplaires de cette thèse à la diSpOSition des personnes intéressées. The author retains ownership of the copyright L'auteur conserve la propriété du droit d'auteur in hislher thesis. Neither the thesis nor qui protège sa thèse. Ni la thèse ni des extraits substantial extracts from it may be printed or substantiels de celle-ci ne doivent être otherwise reproduced without hislher pero imprimés ou autrement reproduits sans son mission. autorisation. IseN 0-315-&77&7-8 Cana d·o.a TABLE OF CONTENTS Page Abstract. ii Résumé •• iii Acknowledgements iv List of Illustrations v Introduction 1 Chapter l S. Andrea al Quirinale: An Iconographie Interpretation 9 Chapter II Contemporary Influences on Bernini's Church .•• . .... 28 Chapter III S. Andrea al Quirinale as an Extension of Renaissance Artistic Ideals 38 Chapter IV S. Andrea as Funerary Monument 47 Conclusion 59 Notes. ••. 64 Bibliography . .. .. .. 71 Illustrations . .. .... .. 77 c ii - ~, -~ S. Andrea al Quirinale, by Gian Lorenzo Bernini, is undoubtedly one of the great achievements of the Italian Baroque. No less spectacular is its message, though art historians have generally regarded it as simply a Jesuit church housing the glorious scene of the martyrdom and apotheosis of St. Andrew. This view, however, is clearly misleading since a closer examination of the building and its contents shows that the devout and learned Bernini intended to suggest a number of other important related themes. This thesis focuses on the concept of martyrdom through a thorough analysis of not only the dominant rel i 9i ous event above the high altar area, but the entire iconographie scheme of the church, which is reinforced by the architectural setting. This Jesuit building is further examined in the light of several artistic influences. The most obvious, yet most overlooked of these is the literary source of the Spiritual Exercises by St. Ignatius of Loyola. s. Andrea al Quirina1e is a1so considered in terms of the architectural heritage of early Christian churches and martyria. The resu1t of this study provides both a greater appreciation of Bernini's aesthetic genius as we1l as an e1evated awarenes13 of the Jesuits' ro1e in the Catho1 ic Reformation. ~~ ". ..;.- 1) iii RESUME Plusieurs historiens d'art considèrent l'église de S. Andrea al Quirinale, construite par le Bernin, tout simplement comme un édifice Qui contient le martyre. et apothéose de St. André. Cette image est peut-être trompeuse car en étudiant la bâtisse et ses oeuvres d'art attentivement, il devient évident Que le Bernin, érudit et dévot comme .il était, avait, s·ans doute, l'intention de démontrer Quelque chose de beaucoup plus profond. Cette thèse accentue le concept du martyr à travers une analyse détaillée non seulement de l 'événement. religieux dominant le maitre-autel, mais aussi du plan thématique de l'église entière Qui est par la suite renforcé par la composition architectural. D'ailleurs, cet édifi~e Jésuite est vu d'après plusieurs influences artistiques. La plus évidente mais souvent négligée est celle des Exercices spirituelles de St. Ignace de Loyola. S. Andrea al Quirinale est aussi considerè comme édifice Qui s'aligne avec la tradition des églises et "martyria" du chrétien antique. Cette étude mène le lect~ur à une compréhension plus profonde de la vision esthétique du Cavalier Bernin et de la forte influence des Jésuites dans le temps de la Réformation c Catholique. 1) ~ iv ._~. ". .~' ACKNOWLEOGEMENTS l wish to thank my advisor, Dr. Thomas L. Glen, ,for his enthusiasm, encouragement and guidance throughout the writing of this thesis. His advice and assistance has been inva1uab1e. l wou1d a1so 1ike to thank the Art History Department at McGi11 University for their continued interest in my work throughout the duration of the M.A. program. A very special thank yeu to my co11eagues for their wi11ingness to exchange information and to discuss prob1ems inherent in the subject. l am a1so ;ndebted to a11 those friends and relatives who showed an interest in th;s endeavor. Thank you for your time, encouragement, and ideas. Final1y, my deepest gratitude is te my parents, to whom this thesis is dedicated, for their patience, moral support, and unending love. v LIST OF ILLUSTRATIONS 1. Bernini. S. Andrea al Quirinale, 1658-1670, Rome, façade. [Source: Summerson, The Classical Language of Architecture, London, 1983.] 2a. Bernini. Parnohili coat of arms. S. Andrea al Quirinale, 1658, Rome. [Source: Borsi, Bernini, New York, 1984.] b. Pamphili coat of arms. [Source: Johnston, Shepherd and Worsdale, Spendeurs du vatican, Ottawa, 1986.] 3. Bernini. S. Andrea al Quirina1e, 1658-1670, Rome. [Source: Wallace, The World of Bernini, New York, 1970.] 4. Bernini. S. Andrea al Quirinale, 1658-1670, interior, view toward presbytery. [Source: Millon, Barogue and Rococo Architecture, New York, 1961.] 5. Bernini. S. Andrea al Quirinale, 1658, plan. [Source: Beny and Gunn, The Churches of Rome, New York, 1981.] 6. Giovanni Battista Gaulli. St. Francis Xavier Baptizing an Eastern Queen, 1705-1709, S. Andrea al Quirinale. [Source: Enggass, The Paintings of Baciccio, University Park, 1964.] 7. Giovanni Battista Gaulli. St. Francis Xavier Preaching in the East, 1705-1709, S. Andrea al Quirinale. [Source: Enggass, University Park.] 8. Giovanni Battista Gaull i. The Oeath of St. Francis Xav~er, 1676, S. Andrea al Quirinale. [Source: Enggass, University Park.] . 9. Giacinto Brandi. The Flagellation"1675-1682, S. Andrea al Qui ri nale, [Source: Waterhouli:e, Roman Barogue Painting, Oxford, 1976.] 10. Giacinto' Brandi. The Pietà, 1675-1682, S. Andrea al Quirinale, [Source: Waterhouse, Oxford.] 11. Bernini. S. Andrea al Quirinale, 1658, plan. [Source: Beny and Gunn, New York.] 12., Bernin;' Mai'n altar, c. 1665, S. Andrea al Quirinale. [Source: Wallace, New York.] 13. Antonio Raggi after Bernini 's design. S. Andrea, c. 1660, S. Andrea al Qufrinale. [Source: Borsi, New York.] "'Ct': vi iJ·· 14. Guglielmo Cortese; The Martyrdom of St. Andrew, c. 1668, S. Andrea al Quirinale. [Source: Waterhouse, Oxford.] 15. Guglielmo Cortese. God the Father, c. 1668, main chapel lantern, S. Andrea al Quirinale. [Source: Frommel, -S. Andrea al Quirinale: Genesi e struttura,- Gian Lorenzo Bernini Architetto e l'architettura europea del sei­ settecento, Rome, 1983.] 16. Guglielmo Cortese, Antonio Raggi and assistants. Back wall of chancel, 1658-1610, S. Andrea al Quirinale. [Source: Charpentrat, Baroque: Ital ie et Europe centrale, Paris, 1964.] 11. Antonio Raggi after Bernini's design. Ring of lantern at apex of main dome, c. 1668, S. Andrea al Quirinale. [Source: Norberg-Schulz, Baroque Architecture, New York, 1912.] 18. Antonio Raggi and assistants after Bernini's design. Main dome of church, c. 1668, S. Andrea al Quirinale. [Source: Wallace, New York.] 19. Antonio Raggi and assistants after Bernini 's design. Two angelic figures above entrance, c. 1668, S. Andrea al Quirinale. [Source: Borsi" La chiesa di S. Andrea al Quirinale, Rome, 1961.] 20. Bernini. S. Andrea al Quirinale, 1658, plan. [Source: Beny and Gunn, New York.] 22. Bernini. S. Bibiana, 1624, Rome, façade. [Source: Varriano, Italian Baroque and Rococo Architecture, Oxford, 1986.] 23. Domenichino. Apotheosis of St. Andrew, S. Andrea della Valle, 1624-1628, Rome. [Source: Lavin, Bernini and the Crossing of St. Peter's, New York, 1968.] 24. Borromini. S. Agnese, 1653-1655, completed 1666 by other hands, Rome, façade. [Source: Wittkower, Art and Architecture in Italy 1600-1150, Baltimore, 1982.] 25. Borromini. S. Carlo alle Quattro Fontane, 1638-1641, Rome, cupola. [Source: Varriano, Oxford.] 26. Cortona. Ss. Martina e Luca, 1635-1650, Rome, interior vaulting. [Source: Varriano, Oxford.] vii 27. Rubens. The Raising of the Cross, 1610, Antwerp Cathedral. [Source: Gardner, Art through the Ages, New York, 1976.] 28. François DUQuesnoy. St. Andrew, 1629-1640, St.
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