Religious Architecture- Summary cards

Santa Maria della Pace- Cortona 1655-67

Cortona was one of the great masters of Baroque art in Rome after Bernini, Caravaggio and Borromini
Comissioned in 1482 for architect Pontelli and dedicated to the Virgin Mary, Cortona to restore by Alexander VII of the Chigi family
Completely reconstructed the facade in Baroque style after creating a small trapezoidal piazza for more space to create impact
(See worksheet for layout)
The concave curve of the wings creates illusion of bigger facade and fill up one entire side of the Piazza
Interacts with the piazza to create unified space with the church an integral and focal part
Use of curves/ circles creates emotion and an organic feel

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Comissioned by Cardinal Camillo Francesco Maria Pamphili, who wanted an extravagant church to show the glory of God
To be used by the novices of the society of Jesuits, an order who believed in humility, poverty and simplicity
Placed enterance and high alter on the short axis which was deemed unusual, but ideal for concealing the difficult dimensions of the site
See sheet for composition
An oval plan, pure and without distorted geometry- a shape which is clear from the lower level of the church
A rich palette of materials/ colours- strong use of pink marble (opulent)

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Worked with Bernini on the technical aspects of the design for the Baldacchino for St Peters, commissioned by Urban VII, but recieved little recognition
Granted full artistic freedom here, which he utillised to illustrate his architectural ideals;this became his most famous commission
A rule breaker by instinct, who invented the curved church facade
Origionally commissioned by Cardinal Barberini for the Spanish Order of the Trinitarians- dedicated to good works and educating people in religion
See sheet for composition
Strong emphasis on geometry, representing the rationality of God's world, resulted in lack of sculptural treatment
Lack of unity between levels emphasises progression from complex to simple geometries
Enterance and high alter on opposite ends of the long axis, forming a distorted Latin Cross plan.

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