Religious Architecture- Summary cards

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  • Created by: Heather
  • Created on: 05-04-13 10:20

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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San Andrea al Quirinale- Bernini 1658

  • 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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San Carlo della Quattro Fontane- Borromini 1634

  • 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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