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Treasures of the Gesu: Bernini and His Age - Ephemera Treasures of the Gesu: Bernini and His Age

2018

Art of the Gesù exhibition brochure

Fairfield University Art Museum

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Fairfield University Art Museum February 2 – May 19, 2018 THE HOLY NAME Art of the Gesù: Bernini and his Age

he church of the Gesù in Rome is the mother church of the Society of Jesus, the T religious order founded by Ignatius of Loyola in 1540 in the charged religious and political climate of the incipient Counter-Reformation. This was a period when the Catholic Church undertook to reassert its authority and hegemony in the wake of grievous challenges posed by the Protestant Reformation in the north, the ongoing Turkish threat from the east, and the cataclysmic sack of Rome—the seat of papal authority—by rampaging Imperial troops in 1527. Rising in the very center of the city in the shadow of the ancient Forum and Capitoline Hill, its imposing profile dominating the surrounding urban landscape, the Gesù was intended as a formidable symbol of the Church resurgent, and a testament to the power and prestige of the new Jesuit order.

The Gesù’s great benefactor was the immensely wealthy and powerful Cardinal Alessandro Farnese (1520-1589), grandson of Pope Paul III (r. 1534-1549), who funded its construction and, with a frequent disregard for the Jesuits’ expressed preferences, dictated many of its architectural features. His beneficence is recorded on the façade in the commemorative inscription that surmounts the shield with the IHS Christogram, symbol of the Society of Jesus, over the central portal (the name FARNESIVS, not accidentally, hovering directly above it). The Gesù was understood by contemporaries to be a Farnese “property”—a print in the exhibition refers to it as the “Farnese Temple” and the Farnese heraldic fleur de lis is ubiquitous in the interior and exterior—and was regarded as such by Cardinal Farnese himself, who is buried before the high altar. One of his many acts of largesse was the gift to the church of a splendid chasuble embroidered with gold and silver threads—a highlight of the exhibition (fig. 1). This ecclesiastical vestment was worn by the priest celebrating Mass before the high altar, which housed a monumental altarpiece also commissioned by the Cardinal. Though later members of the Farnese family, primarily Cardinal Odoardo Farnese (1573-1626), continued to favor the Gesù with their patronage—an altarpiece from his private chapel by the seventeenth-century Bolognese painter Domenichino is in the exhibition (fig. 2)—their hereditary benevolence, if not their proprietary claims to the church, dwindled dramatically over the course of the seventeenth century.

The restrained yet handsome façade of the Gesù, designed by Giacomo della Porta (1532- 1602) at the behest of Alessandro Farnese, heralds elements of the Baroque architectural style that flourished in Rome in the seventeenth century, while its interior by the Farnese’s Church of the Gesù, Rome architect of longstanding, Jacopo Vignola (1507-1573), the appearance of which was recorded and disseminated in numerous engravings and illustrated books, was an extremely influential and enduring model for Jesuit churches throughout Europe (fig. 3). Consecrated in 1584 (though already in use while still under construction, as contemporary sources record), the Gesù had frescoes, wall paintings and altarpieces in some of its private chapels by the end of the sixteenth century. (Some of these early works executed during the first phase of the Gesu’s interior embellishment are reproduced in prints in the exhibition; fig. 4.) Its nave, dome and apse, however, remained barren and unadorned for nearly a century. This was partly owing to a chronic shortage of funds, but also reflects the fact that the Jesuits had no saints (and also, therefore, no cults to promote), which meant that the hagiographic repertoire they had to draw on for visual imagery was limited. That all changed in 1622, when the Order’s founders Ignatius of Loyola and Francis Xavier were canonized—a long hoped-for, seismic apotheosis that led to a flurry of activity around the two lateral altars dedicated in their honor. Two of the masterpieces from the Gesù, both from the altar of Saint Ignatius—a shimmering gilt bronze sculpture of Saint Teresa of Avila (fig. 5) by the versatile painter, draftsman and sculptor Ciro Ferri (1634-1689), and the sumptuous, jewel- encrusted lapis lazuli, silver, and gilt bronze cartegloria (the framed Latin text of the mass), a consummate example of Roman Baroque goldsmith’s work (fig. 6)—relate to this important campaign to outfit the church’s two new principal chapels, as does the bronze relief of Jesuit saints by Alessandro Algardi (1598-1654), a variant of the relief on the funerary urn of Ignatius in the Gesù. Other important works assembled for the exhibition are also connected with the altar projects (figs. 7 and 8).

The vast, long-empty central expanse of the Gesù’s interior was finally decorated in the later seventeenth century through the offices of the Superior General Gian Paolo Oliva (1600- 1681), who selected from among the pool of contenders for the prestigious commission to fresco the dome (and, subsequently, the nave and apse) the barely established, Genoese-born painter Giovanni Battista Gaulli (sometimes referred to by his nickname, il Baciccio; 1639- 1709). Gaulli rose to the charge with the glorious vision of an expansive heaven suffused with a celestial radiance and populated by the blessed—a whirling vortex of color and light from which expelled demons tumble forth—that persuades the viewer of the immanence of the Divine. His luminous oil sketches for different parts of the Gesù frescoes, presented together in the exhibition and united for the first time with his monumental painted wood model for the apse, offer a virtual if condensed recreation of the sweeping, grandiose pictorial scheme (figs. 9, 10 and 12). Populating the frescoes and other works of art throughout the Gesù and in the exhibition are angels—divine messengers and agents, whose presence at every moment of human life, from birth to death, is a central tenet of Jesuit spirituality.

In his deliberations, Oliva was undoubtedly swayed by his friend Gian Lorenzo Bernini (1598-1680), the fiery genius who transformed the artistic topography of Rome in the seventeenth century. Bernini was attached to the Jesuits and the Gesù for much of his long career, beginning with the funerary monument of the Jesuit Cardinal and theologian fig. 1

2 3 Roberto Bellarmino in the apse of the church. His splendid portrait bust of Bellarmino from the now lost tomb, which seems to be inhabited by the animating spirit of the world-weary prelate it depicts, the marble metamorphosed into fabric and flesh, is the highlight of the exhibition (cover illustration). Bernini also designed the church of Sant’Andrea al Quirinale for the Jesuits in the late 1650s, produced frontispieces for the published volumes of Oliva’s writings, and looked over Gaulli’s shoulder as he worked on the dome of the Gesù. His oversight of his disciple is recorded in a group of drawings for this project including two in the exhibition (fig. 11), and there is some thought that the stucco figures surrounding the Triumph of the Holy Name of Jesus in the nave reflect his input as well.

These are some of the many narrative threads explored in the exhibition. The more than fifty paintings, sculptures, drawings, prints, historical documents, illustrated books, and precious objects are grouped into sections that recount the founding and early success of the Society of Jesus under the patronage of Pope Paul III and Cardinal Alessandro Farnese (coinciding in part with the tenure of the future saint Francis Borgia as Superior General); the long and at times challenging campaign to build the Gesù and embellish its interior; the commanding personalities of Bernini, Bellarmino and the politically savvy Oliva; the imperative to formulate a hagiographic lexicon and imagery celebrating the order’s newly canonized founders and other early Jesuit saints and beati and promoting their cults; and the expansion of the Jesuits’ presence in Rome through the construction and embellishment of their second great church Sant’Ignazio, a project most closely associated with the painter, architect and scenographic designer Andrea Pozzo. Art of the the Gesù also highlights the extraordinary creative energies of the many painters, sculptors, architects, designers and craftsmen—Vignola, Giacomo della Porta, Bernini, Gaulli, Ciro Ferri, Carlo Maratti, Pozzo and others—who gave form and visual expression to the Jesuits’ most profound spiritual and devotional precepts and who together realized this vast, ambitious and glorious project.

Linda Wolk-Simon, PhD Frank and Clara Meditz Director and Chief Curator

fig. 2

4 5 Exhibition Checklist PART 1. FOUNDATION NARRATIVES. 5. Chasuble of Cardinal Alessandro THE SOCIETY OF JESUS, FARNESE Farnese, ca. 1575-1589 PATRONAGE, AND THE BUILDING OF Silk embroidered with gold, silver and THE GESÙ colored silk threads 3 1. Papal Bull (Confirmation of General 43 /8 x 31 ½ in. (110 x 80 cm) Absolution to Pierluigi Farnese), with Church of the Gesù, Rome (museum) Lead Seal, Issued by Pope Paul III Fig. 1 Farnese, Signed by Cardinal Alessandro 6. Girolamo Rainaldi Farnese and Others, 19 December 1537 (Italian, 1570-1655) Bound vellum Catafalque of Cardinal Alessandro 14 15/16 x 10 13/16 in. (38 x 27.4 cm) Farnese erected in the Gesù, in The Morgan Library & Museum, Francesco Coattini, Raccolta d’orationi, New York. Acquired by Pierpont Morgan, et rime di diversi: co’l discorso, 1901 (MA 389) descrittione dell’essequie, & disegno del 2. Autograph Letter from Cardinal catafalco nella morte dell’Illustriss.& Alessandro Farnese addressed Reuerendiss. Cardinal Farnese, 1589 to Francesco Bandini Piccolomini, Woodcut Archbishop of Siena and Governatore Getty Research Institute, Los Angeles della Marca, “come fratello,” (94-B14888) 9 March 1541 7. Jacopo Vignola 11 5/8 x 8 5/8 in. (29.5 x 22 cm) (Italian, 1507-1573) The Morgan Library & Museum, Plan of the Gesù, designed ca. 1568 New York (MA 9166) In Augustin-Charles d’Aviler, Cours 3. Giovan Federico Bonzagna d’architecture qui comprend les Ordres (Italian, after 1507-1588) de Vignole, Paris 1720. Portrait Medal of Pope Paul III Farnese, Printed book 7 1550 (18th-century restrike) 8 /8 x 7 in. (22.54 x 17.78 cm) Bronze Fairfield University Art Museum 3 (2017.01.01) Diam.: 1 /8 in. (3.49 cm) Fairfield University Art Museum 8. Giovanni Ambrogio Brambilla (2017.31.01) (Italian, active 1575-1599) 4. Giovanni V. Melon The Gesù, Rome, 1589 (Italian, active ca.1570-1590) Engraving Portrait Medal of Cardinal Alessandro From the Speculum Romanae Farnese Commemorating the Jubilee of Magnificentiae, published by Nicolaus 1575 with the Gesù on the Reverse, 1575 van Aelst (Flemish, active in Rome, Bronze 1526-1613) 7 7 19 x 15 /8 in. (48.29 x 40.32 cm) Diam.: 1 /8 in. (4.76 cm) The Metropolitan Museum of Art, Robert The Metropolitan Museum of Art, Rogers Lehman Collection, 1975 (1975.1.1290), Fund, Transferred from the Library, obverse 1941 (41.72[3.34]) The Metropolitan Museum of Art, Gift of Ogden Mills, 1925 (25.142.45), reverse

Fig. 3

6 7 9. Valérien Regnard 14. Francesco Bertos (Flemish, active in Rome, 1610-1650) (Italian, 1678-1741) Exterior, interior, and partial floor plan of Saint Ignatius Loyola, ca. 1720-25 the Gesù, first half of the 17th century Bronze From a compendium of prints of 24 5/8 x 13 7/8 x 4 5/8 in. (62.54 x 35.24 x architecture, gardens and furniture 11.74 cm) Engraving and etching The Metropolitan Museum of Art, 12 5/16 x 16 9/16 x 1 9/16 in. Purchase, Assunta Sommella Peluso, The Metropolitan Museum of Art, Ignazio Peluso, Ada Peluso and Harris Brisbane Dick Fund, 1928 Romano I. Peluso Gift, 2010 (2010.113) (28.88.9[1-139]) Fig. 3 15. Francesco Bertos (Italian, 1678-1741) PART 2. CREATING A JESUIT Saint Francis Xavier, ca. 1720-25 HAGIOGRAPHY: IGNATIUS OF LOYOLA Bronze AND FRANCIS XAVIER 25 x 14 x 6 1/16 in. (63.50 x 35.56 x 10. Domenico Zampieri, called Domenichino 15.66 cm) (Italian, 1581-1641) The Metropolitan Museum of Art, Saint Ignatius of Loyola’s Vision of Christ Purchase, Assunta Sommella Peluso, and God the Father at La Storta, ca.1622 Ignazio Peluso, Ada Peluso and Oil on canvas Romano I. Peluso Gift, 2010 (2010.114) 65 3/8 x 38 5/8 in. (166.05 x 98.11 cm) Los Angeles County Museum of Art, Gift 16. Hieronymus Wierix of The Ahmanson Foundation (M.89.59) (Netherlandish, ca. 1553-1619) Fig. 2 after Phillips Galle (Netherlandish,1537-1612) 11. Giovanni Battista Gaulli St. Ignatius of Loyola, before 1610 (Italian, 1639-1709) Engraving The Vision of Saint Ignatius at La Storta, 6 3/8 x 5 in. (16.19 x 12.70 cm) ca. 1685-90 The Metropolitan Museum of Art, Oil on canvas Harris Brisbane Dick Fund, 1953 57 3/8 x 29 1/4 in. (145.73 x 74.29 cm) (53.601.19[125]) Private collection, on loan to The Museum of Fine Arts, Houston 17. Vita Beati P. Ignatii Loiolae, 1609 Published by Cornelis Galle I, Rome 12. Giovanni Battista Gaulli Printed book (Italian, 1639-1709) 6 x 8 in. (15.24 x 20.32 cm) Death of Francis Xavier, ca. 1682 The Metropolitan Museum of Art, Harris Oil on canvas Brisbane Dick Fund, 1946 (46.123) 35 x 24 1/4 in. (88.90 x 61.59 cm) Private Collection 18. Pierre Miotte (French, active 1640-1660) 13. Domenico Maria Viani The Madonna della Strada with Saints (Italian, 1668-1711) Ignatius and Francis Xavier, after 1638 St. Francis Xavier with Lilies and a Engraving th th Crucifix, late 17 -early 18 century 14 9/16 x 10 5/8 in. (37 x 27 cm) Oil on copper Private Collection Fig. 4 5 7/8 x 4 in. (14.92 x 10.16 cm) Robert Simon Fine Art, New York

8 9 19. Nicolaes Lauwers 24. Roberto Bellarmino, De ascensione (Flemish, ca. 1632-ca. 1685) mentis in Deum per scalas rerum after Pieter de Jode I creatarum, Cologne, 1626 (Netherlandish, 1570-1634) Printed book Christ, Ignatius of Loyola and Francis 2 ¼ x 4 ¼ in. (5.71 x 10.79 cm) Xavier, 17th century Fairfield University Art Museum Engraving (2017.01.02) 12 ¾ x 8 11/16 in. (32.38 x 22.06 cm) The Metropolitan Museum of Art, The 25. Pierre Simon Elisha Whittelsey Collection, The Elisha (French, 1640-ca. 1710) Whittelsey Fund, 1949 (49.95.2466) after Giovanni Battista Gaulli (Italian, 1639-1709) PART 3. BERNINI, ROBERTO BELLARMINO, Portrait of Gian Paolo Oliva, Superior AND GIAN PAOLO OLIVA General of the Society of Jesus, ca. 1690 20. Gian Lorenzo Bernini Etching and engraving (Italian, 1598-1680) 12 1/6 x 16 1/16 in. (30.9 x 40.7 cm) Bust of Cardinal Roberto Bellarmino, Fairfield University Art Museum 1623-24 (2017.23.01) Marble 26. Gian Paolo Oliva, Prediche, 1664-80 30 7/8 x 27 ½ x 19 ¾ in. (76.5 x 70 x Frontispiece to Volume 1: 50 cm) The Preaching of Peter and Paul, 1659 Church of the Gesù, Rome Guillaume Chasteau Cover Illustration (French, 1635-1683) 21. Francesco Villamena after Ciro Ferri (Italian, ca. 1565-1624) (Italian, 1633-1689) Cardinal Roberto Bellarmino at his desk, 13 ¼ x 9 ¼ in. (33.65 x 23.49 cm) writing, 1604 The Metropolitan Museum of Art, The Engraving Elisha Whittelsey Collection, The Elisha 13 ¾ x 8 11/16 in. (34.92 x 22.06 cm) Whittelsey Fund, 1954 (54.598[1-3]) The Metropolitan Museum of Art, The 27. François Spierre Elisha Whittelsey Collection, The Elisha (French, 1639-1681) Whittelsey Fund, 1951 (51.501.2509) after Gian Lorenzo Bernini 22. Roberto Bellarmino, De arte bene (Italian, 1598-1680) moriendi, Cologne, 1562 Saint John the Baptist Preaching, 1664 Printed book Frontispiece to Gian Paolo Oliva, 4 x 2 x 5/8 in. (10.2 x 5.1 x 1.5 cm) Prediche, 1664-80, Volume 2 Jesuitica Collection, John J. Burns Engraving Library, Boston College 12 1/16 x 7 13/16 in. (30.63 x 19.84 cm) Yale University Art Gallery, Everett V. 23. Roberto Bellarmino, Disputationes de Meeks, B.A. 1901, Fund (1993.60.1) Controversiis Christianae Fidei adversus huius temporis Haereticos, Venice, 1587 Printed book 7¼ x 4¾ in. (18.4 x 12.1 cm) Fairfield University Art Museum (2017.03.01)

fig. 5

10 11 fig. 6 fig. 7 12 13 28. Gian Paolo Oliva, In selecta scripturae 31. Hieronymous Wierix loca ethicae commentationes, 1677-79 (Netherlandish, ca. 1553-1619) Frontispiece to Volume 1: St. Michael and Archangels (The Seven The Multiplication of the Loaves, 1677 Archangels), 1570-1619 François Spierre Engraving (French, 1639-1681) 6 ¼ x 4 1/8 in. (15.87 x 10.47 cm) after Gian Lorenzo Bernini The Metropolitan Museum of Art, The (Italian, 1598-1680) Elisha Whittelsey Collection, The Elisha Engraving Whittelsey Fund, 1951 (51.501.6401) 14 7/8 x 10 3/8 x 2 3/8 in. (37.75 x 26.4 x 6 cm) 32. Aegidius Sadeler II Jesuitica Collection, John J. Burns (Netherlandish, ca. 1579-1629) Library, Boston College after Hans van Aachen (German, 1552-1616) 29. Gian Lorenzo Bernini Nativity, 1588 (Italian, 1598-1680) Engraving Portrait of Cardinal Sforza Pallavicino, 13 ¼ x 9 5/16 in. (34.92 x 23.65 cm) 1665-66 The Metropolitan Museum of Art, The Red chalk on buff paper Elisha Whittelsey Collection, The Elisha 14 15/16 x 8 ¾ in. (37.9 x 22.2 cm) Whittelsey Fund, 1951 (51.501.6496) Yale University Art Gallery, Egmont Collection, Yale Library Transfer 33. Jacob Matham (1961.61.36) (Dutch, 1571-1631) after Giuseppe Valeriano PART 4. ARTISTIC BEGINNINGS. (Italian, 1542-1596) A STORY WITHOUT SAINTS: THE The Annunciation, ca. 1600 EARLY DECORATIONS OF THE GESÙ Engraving 30. Raphael Sadeler I 22 ½ x 17 in. (55.88 x 43.18 cm) (Netherlandish, 1560-1628) Private Collection, New York after Cornelius Cort Fig. 4 (Netherlandish, ca. 1533-1578) after Federico Zuccaro PART 5. THE HONOR OF THE ALTAR: (Italian, 1540/42-1609) THE CANONIZATION OF IGNATIUS OF Published by Jan Sadeler I LOYOLA AND FRANCIS XAVIER (Netherlandish, 1550-1600/01) 34. Alessandro Algardi The Annunciation with God the Father, (Italian, 1598-1654) Angels and Prophets, 1580 Saint Ignatius Loyola with Saints and Engraving Martyrs of the Jesuit Order, 11 15/16 x 17 5/8 in. (30.32 x 44.76 cm) designed ca. 1629 and probably cast in Fairfield University Art Museum, the later 17th century by Anonymous Gift in Honor of Giovanni Andrea Lorenzani John Meditz ’70 (2017.32.01) (Italian, 1637-1712) Bronze 11 3/8 x 18 5/8 in. (28.89 x 47.30 cm) The Metropolitan Museum of Art, Rogers fig. 8 Fund, 1938 (38.152.20)

14 15 fig. 9

16 17 35. Ciro Ferri 39. Carlo Maratti (Italian, 1634-1689) (Italian, 1625-1713) Saint Teresa of Avila, ca. 1687-89 Apotheosis of Saint Francis Xavier, Gilt bronze ca. 1674-79 28 ¾ x 19 ¾ x 9 ¾ in. (73 x 50 x 25 cm) Pen and brown ink, over traces of Church of the Gesù, Rome (museum), graphite, on ivory laid paper from the altar of Saint Ignatius 11 1/8 x 11 1/8 in. (28.25 x 28.25 cm) Fig. 5 The Art Institute of Chicago, The Charles Deering Collection (1927.4214) 36. Johann Adolf Gaap Fig. 8 (German, active in Italy, 1667-1724) Cartegloria of Saint Ignatius, 1699 PART 6. APOTHEOSIS: GAULLI, BERNINI Silver, gilt bronze, lapis lazuli, and glass AND THE DECORATION OF THE GESÙ 23 1/8 x 32 5/8 in. (59 x 83 cm), large; 40. Giovanni Battista Gaulli 15 3/4 x 13 3/4 in. (40 x 35 cm), small (Italian, 1639-1709) Church of the Gesù, Rome (museum), The Four Prophets of Israel (Sketch for a from the altar of Saint Ignatius Pendentive in the Gesù), ca. 1675-77 Fig. 6, detail Oil on canvas 26 7/16 x 21 5/8 in. (67.15 x 54.92 cm) 37. Ciro Ferri Cleveland Museum of Art, John L. (Italian, 1634-1689) Severance Fund, 1969.131 Death of Saint Francis Xavier, 1674-1679 Fig. 12, detail Black chalk 20 1/16 x 12 5/8 in. (50.95 x 32.06 cm) 41. Giovanni Battista Gaulli The Metropolitan Museum of Art, (Italian, 1639-1709) Purchase, Mrs. Carl Selden and Florence Moses (Sketch for a Pendentive in the and Carl Selden Foundation Gifts, Gesù), ca. 1675-1677 1966 (66.9) Oil on canvas Fig. 7 16 ¾ x 14 ¾ in. (42.54 cm x 37.46 cm) Private Collection 38. Johann Jakob Frey (Swiss, 1681-1713) 42. Giovanni Battista Gaulli after Carlo Maratti (Italian, 1639-1709) (Italian, 1625-1713) The Triumph of the Name of Jesus, Death of Francis Xavier, 1733 (Modello for the Nave Fresco of the Gesù), Engraving 1676-79 26 3/16 x 14 3/4 in. (66.51 x 37.46 cm) Oil on paper, laid down on canvas Gift of G. Osolsobe, Print Collection, 64 3/16 x 43 11/16 in. (163.03 x 110.96 cm) Miriam and Ira D. Wallach Division of Princeton University Art Museum, Art, Prints and Photographs, The New museum purchase, Fowler McCormick, York Public Library, Astor, Lenox and Class of 1921, Fund and Laura P. Hall Tilden Foundations Memorial Fund (2005-34) Fig. 10

fig. 10 18 19 43. Giovanni Battista Gaulli PART 7. A COMPANY OF SAINTS: (Italian, 1639-1709) FRANCIS BORGIA, LUIGI GONZAGA, The Adoration of the Lamb (Modello AND STANISLAS KOSTKA for the Apse Fresco of the Gesù), 47. Unknown Italian Sculptor (active in ca. 1680 Rome), ca. 1700 Oil on canvas Saint Francis Borgia, ca. 1700 25 3/8 x 41 1/4 in. (64.45 x 104.77 cm) Bronze The Fine Arts Museums of San Francisco, 43 11/16 in. (110.96 cm) museum purchase, Gift of M.H. de Young Hood Museum of Art, Dartmouth Endowment Fund (54680) College, Hanover, New Hampshire; Purchased through a gift from W. David 44. Giovanni Battista Gaulli Dance, Class of 1940 in memory of Jane (Italian, 1639-1709) Dance (2007.58) Painted Model for the Apse Fresco of the Gesù, 1690 48. Giuseppe Nicola Nasini Oil on paper, laid down on wood (Italian, 1657-1736) 39 ¾ x 78 ¾ x 39 3/8 in. (100 x 200 x Saint Luigi Gonzaga, Christ and S. Maria 90 cm) Magdalena dei Pazzi, ca. 1700 Church of the Gesù, Rome (museum) Pen and brown ink, brown wash, over Fig. 9 black chalk, with white heightening, on paper 45. Gian Lorenzo Bernini 14 1/8 x 9 in. (35.87 x 22.86 cm) (Italian, 1598-1680) Private Collection, New York Putti Carrying the Cross, 1672-75 Charcoal and black chalk, with 49. Ciro Ferri stumping on ivory laid paper (Italian, 1634-1689) 10 7/8 x 7 15/16 in. (27.50 x 20.20 cm) Mystical Communion of Blessed Stanislas The Art Institute of Chicago, Margaret Kostka, ca. 1675-79 Day Blake Endowment and Harold Black chalk on off-white laid paper, Joachim Memorial Endowment Fund backed with Japanese paper (1993.173) 18 5/8 x 13 1/16 in. (47.30 x 33.17 cm) Allen Memorial Art Museum, Oberlin 46. Gian Lorenzo Bernini College, Friends of Art Endowment (Italian, 1598-1680) Fund, 1974 (1974.56) Study for the Dome of the Gesù (recto); Design for a Quarant’ore Ceremony 50. Pietro Leone Bombelli (verso), 1672-75 (Italian, 1737-1809) Black chalk on ivory laid paper after a drawing by Francesco Cecchini 10 ¾ x 6 ¾ in. (27.30 x 17.14 cm) (Italian, 1755-ca. 1811) Mrs. Anne Bent Stanislas Kostka by Pierre Le Gros II, 1783 Fig. 11 Engraving 11 ½ x 7 ¼ in. (29.21 x 18.41 cm) Private Collection

Fig. 11

20 21 51. Elisha Kirkall 53. Andrea Pozzo LECTURES MUSICAL PERFORMANCE (English, 1682-1742) (Italian, 1642-1709) Thursday, February 1, 5 p.m. Thursday, April 5, 7 p.m. after Lazzaro Baldi Study for the Altar of Saint Luigi Art of the Gesù: Bernini and his Age Sacred Music in the Age of Bernini (Italian, 1624-1703) Gonzaga in the Church of Saint Ignazio, Saint Ignatius Loyola, Saint Francis Rome, ca. 1697 Gauvin Alexander Bailey, Professor and Egan Chapel Xavier and Attendant Saints, 1724 Red chalk on laid paper Bader Chair in Southern Baroque Art, Queen’s University, Ontario Chiaroscuro woodcut, etching and 10 ¾ x 8 9/16 in. (27.30 x 21.74 cm) ART IN FOCUS GALLERY SERIES mezzotint Philadelphia Museum of Art, Dolan School of Business Dining Room 17 ¾ x 12 ½ in. (45.08 x 31.75 cm) Bequest of Anthony Morris Clark Part of the Edwin L. Wiesl, Jr. Lectureships Bellarmine Hall Galleries Private Collection, New York 1978 (1978-70-393) in Art History, funded by the Robert Lehman Foundation. Thursday, February 8, 11 a.m. PART 8. SANT’IGNAZIO: THE SECOND 54. François Le Moyne Giovanni Battista Gaulli, The Triumph of the JESUIT CHURCH OF BAROQUE ROME (French, 1688-1737) Tuesday, March 6, 5 p.m. Name of Jesus Inside the 17th-century Gesù: Jesuit History, 52a. Andrea Pozzo after Pierre Le Gros the Younger Saints, Theology, and Science Thursday, February 8, 11 a.m. (Italian, 1642-1709) (French, 1666-1719) Gian Lorenzo Bernini, Bust of Cardinal Perspectiva pictorum et architectorum, Saint Luigi Gonzaga in Glory, ca. 1715 Evonne Levy, Professor of Renaissance and Roberto Bellarmino Part I Black chalk Baroque Art, University of Toronto 13 ¾ x 8 1/8 in. (34.92 x 20.63 cm) Bellarmine Hall, Diffley Board Room Published by Joannis Jacobi Komarek, Thursday, April 19, 11 a.m. Private collection, New York Part of the Edwin L. Wiesl, Jr. Lectureships Rome, 1693 The Chasuble of Cardinal Alessandro Farnese Printed book with etched and engraved in Art History, funded by the Robert Lehman 55. Anonymous Italian, late 17th/ illustrations Foundation. 18th century (Circle of Pietro Bracci?) Thursday, May 17, 11 a.m. 16 ¾ x 11 3/8 x 1 5/8 in. (42.54 x 28.89 x Study for the Altar of the Annunciation, Thursday, April 5, 5 p.m. Giovanni Battista Gaulli, Model for the Apse 4.12 cm) Sant’Ignazio, ca. 1680 (?) or ca. 1730-49 (?) The Jesuits and the Arts: How and Why of the Gesù The Metropolitan Museum of Art, Harris Pen and ink with watercolor on paper It Happened Brisbane Dick Fund, 1947 (47.73.1) 19 x 14 in. (48.26 x 35.56 cm) John O’Malley, S.J., University Professor, SUBSCRIPTION LECTURE SERIES 52b. Andrea Pozzo Private Collection, New York Department of Theology, Georgetown Going for Baroque: Art in Rome in the Age of (Italian, 1642-1709) University POSTSCRIPT: THE SUPPRESSION OF THE Bernini and Caravaggio Perspectiva pictorum et architectorum, Dolan School of Business Dining Room SOCIETY OF JESUS Fiona Garland Parts I and II Co-sponsored by the Center for Ignatian Bellarmine Hall, SmArt Classroom Published by Giovanni Generoso 56. Filippo Cropanese Spirituality. Salomoni, Rome, 1758 (Italian, active 1756-1773) Tuesday, April 24, 10 a.m. Printed book with etched and engraved Portrait Medal of Pope Clement XIV Tuesday, May 1, 5 p.m. Tuesday, May 1, 10 a.m. illustrations Ganganelli (r. 1769-1774) Bernini’s Rome: The Eternal Feast Tuesday, May 8, 10 a.m. 18 x 12 ¼ x 2 ¼ in. (45.72 x 31.11 x Commemorating the Suppression of the Charles Scribner, Art Historian and Author 5.72 cm) Jesuits in 1773, 1774 Bellarmine Hall, Diffley Board Room GUIDED TOURS Private Collection, New York Bronze Second Annual Members’ Lecture Diam.: 1 ½ in. (3.81 cm) Free tours Tuesday-Saturday at noon Fairfield University Art Museum Free Gallery Spotlights Tuesday-Saturday (2016.30.01) SYMPOSIUM at 2 p.m. Friday, April 6, 9 a.m. – 5 p.m. IMAGE CREDITS To arrange a private tour, please call Art of the Gesù Frontispiece: Scala/Art Resource, NY Fig. 7: The Owner 203-254-4046 Fig. 1: © Zeno Colantoni Fig. 8: The Art Institute of Chicago / Art Resource, NY Barone Campus Center, Oak Room All events are free and open to the public Fig. 2: Los Angeles County Museum of Art, www.lacma.org Fig. 9: © Zeno Colantoni For the full program and registration unless otherwise noted; reserve your seat at Fig. 3: Image copyright © The Metropolitan Museum of Art. Fig. 10: Princeton University Art Museum / Art Resource, NY information see the museum website: Image source: Art Resource, NY Fig. 11: Fairfield University Art Museum fuam.eventbrite.com Fig. 4: The Owner Fig. 12: © The Cleveland Museum of Art fairfield.edu/gesu Fig. 5: © Zeno Colantoni front cover: © Zeno Colantoni Generous funding has been provided by the Fig. 6: © Zeno Colantoni back cover: Linda Simon Samuel H. Kress Foundation.

22 23 ACKNOWLEDGMENTS THE HOLY NAME The invaluable collaboration of numerous colleagues at Fairfield University is gratefully acknowledged: Dr. Mark Nemec, President, former President Jeffrey von Arx, S.J., former Art of the Gesù: Interim President and Provost Dr. Lynn Babington, Dr. Mary Frances Malone, Associate Bernini and his Age Vice President for Academic Affairs, Dr. Paul Lakeland, Aloysius J. Kelley, S.J. Chair and Professor of Catholic Studies and faculty liaison for the exhibition, Gerald Blaszczak, S.J., Generous support for the exhibition Director of the Center for Ignatian Spirituality, David Frassinelli, Associate Vice President and related programs has been for Facilities Management, Wally Halas, Vice President for University Advancement, and provided by: Christine Siegel, Interim Provost and Senior Vice President for Academic Affairs, as well as National Endowment for the Humanities museum staff members Carey Mack Weber, Assistant Director, Dr. Michelle DiMarzo, Curator John C. Meditz ’70 of Education and Academic Engagement, Lauren Williams, Museum Assistant, Mary Busick, The Department of Catholic Studies, Exhibition Registrar, guest lecturer Fiona Garland, and student interns Wenpu Tu and Fairfield University Katherine Duncan. Further acknowledgment is due to Jennifer Anderson, Charles D’Angelis, The Samuel H. Kress Foundation Christine Donahue Brown, Janet Canepa, Susan Cipollaro, Ive Covaci, Geri Derbyshire, The Robert Lehman Foundation James DeStefano, Danielle DiGrazia, Philip Eliasoph, Donald Elwell, James Fitzpatrick, The Robert and Mercedes Eichholz Kathleen Freis, Josue Garcia, Julie Gottlieb, Jeannine Graf, Nathan Gregoire, Alistair Foundation Highet, Karen Kaiser, Susan LaFrance, George Lisi, Tess Brown Long, Brent Mai, Tracy PADA (Private Art Dealers Association) McEvoy, Laura Nash, Patricia Perazzini, Todd Pelazza, Michael Prescott, John Ritchie, Marice Dianne Modestini Charitable Trust Rose, Edmund Ross, Katherine Schwab, Casey Timmeny, Michael Tunney, S.J., Peter Van Charles Scribner fig. 12 Heerden, Samantha Vigliotta and Rich Wagner. Christie’s, New York Fairfield Jesuit Community In addition, we are indebted to the members of the exhibition planning committee: Art History Alumni, Department of Visual and Performing Arts, Fairfield University Philippe de Montebello, Honorary Chair, Christopher M. S. Johns, Franco Mormando, Anonymous Donors, Benefactors and Trustees of Fairfield University John O’Malley, S.J., Louise Rice, and Xavier Salomon; to Carmen Croce and Fr. Joseph F. Chorpenning, O.S.F.S., Saint Joseph’s University Press; and to Museum Advisory Committee Media Sponsor Member Robert Dance. TownVibe

In Rome, profound thanks are due to Arturo Sosa, S.J., Superior General of the Society of Corporate Partners Jesus, Vincenzo D’Adamo, S.J., Rector of the Gesù, Douglas Marcouiller, S.J., Frank Dabell, The Westport Inn and Emanuela Settimi of the Soprintendenza speciale archaeologia belle arti e paesaggio di Roma. Artisan at the Delamar, Southport Farrow & Ball, Westport Finally, we acknowledge with gratitude the extraordinary generosity of the Curia Generalizia Abbey Tent, Fairfield della Compagnia di Gesù and the Ministero dei beni e delle attività culturali e del tourismo Antinori Vineyards, San Casciano, Italy for the loan of the works of art from the Gesù, as well as the many American lenders to the Avellino’s Restaurant, Fairfield exhibition: Compo Farms Flowers, Fairfield Jordan Paige Specialty Foods Art Institute of Chicago The Metropolitan Museum of Art Whole Foods Market Allen Memorial Art Museum, Oberlin College The Morgan Library & Museum Anne Bent The Museum of Fine Arts, Houston Burns Library, Boston College New York Public Library Cleveland Museum of Art Philadelphia Museum of Art Fine Arts Museums of San Francisco Princeton University Art Museum Getty Research Institute Robert Simon Fine Art Hood Museum of Art, Dartmouth College Yale University Art Gallery Los Angeles County Museum of Art Anonymous Private Collectors

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