Sayre2e ch21 integrated_lecture_pp_ts-150652

Copyright ©2012 Pearson Inc.
Jean-Antoine Watteau. The Embarkation from Cythera. ca. 1718-19.
50-3/4" × 76-3/8”.

Gianlorenzo Bernini. Aerial view of Bernini's Colonnade circumscribing the
Piazza (square) before St. Peter's Basilica, looking eastward towards
Mussolini's Via della Conciliazione and the Tiber River. 1656-67.

Carlo Maderno. St. Peter's Basilica, Vatican, Rome: Façade. 1914.

Michelangelo. Plan for St. Peter's Basilica, Vatican, Rome. 1546-64.

Maderno. Plan for St. Peter's Basilica, Vatican, Rome. 1607-12.

 Architectural Panorama: St Peter’s Basilica (ROME, ITALY, FAÇADE 1607-1
 Architectural Simulation: St. Peter’s Basilica
 External Video: Designing St. Peter’s
MyArtsLabChapter 21 – The Baroque in Italy: the Church and Its Appeal

Map: Central Italy, with inset map of Vatican, Rome, ca. 1600.

Baroque Style and the Counter-Reformation
What is the Baroque?
• Sculpture and Architecture: Bernini and His Followers —
Bernini’s baldachino helps to define the altar space of Saint Peter’s
Basilica. Probably no image sums up the Baroque movement better
than Bernini’s sculptural program for the Cornaro Chapel. His theme is
a pivotal moment in the life of Teresa of Avila. Action is central to
Baroque representation as seen in hi David. Bernini is responsible for
a series of figurative fountains that changed the face of Rome.
• The Society of Jesus — Founded by Ignatius of Loyola, the Jesuits,
as they were known, led the Counter-Reformation. All agreed that the
purpose of religious art was to teach and inspire the faithful, that it
should always be intelligible and realistic, and that it should be an
emotional stimulus to piety.

• Another feature of the Baroque is surprise as can be seen in the
Church of San Carlo alle Quattro Fontane.
• Discussion Question: What architectural features constitute the
“grandeur” of Saint Peter’s?

Gianlorenzo Bernini. Baldachino, at crossing of St. Peter's, Vatican, Rome.
1624-33.
Height: approx. 100’.

 Architectural Simulation: Cornaro Chapel

Anonymous. Painted view of Cornaro Chapel, Santa Maria della Vittoria,
Rome, including Bernini's Ecstasy of St. Theresa. ca. 1654.
5’ 6-1/4" × 3’ 1/4”.

Gianlorenzo Bernini. Ecstasy of St. Theresa, Cornaro Chapel, Santa Maria
della Vittoria, Rome. 1654-52.
Height: 11’ 6”.

Gianlorenzo Bernini. David. 1623.
Height: 5’ 7”.

Gianlorenzo Bernini. Fountain of the Four Rivers, representing the Nile, the
Danube, the Ganges, and the Plata rivers, each carved by a different
member of Bernini's workshop. Piazza Navona, Rome. 1648-51.

Giacomo della Porta. Il Gesù, Rome: Façade. ca. 1575-84.

Leon Battista Alberti. Santa Maria Novella, Florence, Italy: Façade. 1458-
70.

Andrea Pozzo. Closer Look: Andrea Pozzo's Apotheosis of Saint Ignatius
of Loyola. Detail, America. 1691-94.
Approx. 56' × 115’.

of Loyola. Detail, Saint Ignatius. 1691-94.
Approx. 56' × 115’.

of Loyola. Detail, Europe. 1691-94.
Approx. 56' × 115’.

of Loyola. 1691-94.
Approx. 56' × 115’.

of Loyola. Detail, Africa. 1691-94.
Approx. 56' × 115’.

of Loyola. Detail, Saint Francia Xavier. 1691-94.
Approx. 56' × 115’.

of Loyola. Detail, Asia. 1691-94.
Approx. 56' × 115’.

Francesco Borromini. San Carlo alle Quattro Fontane, Rome. Façade.
1665-67.

Francesco Borromini. San Carlo alle Quattro Fontane, Rome. Plan. 1665-
67.

Francesco Borromini. San Carlo alle Quattro Fontane, Rome. Interior,
dome. 1665-67.

The Drama of Painting: Caravaggio and the
Carravaggisti
How does the Baroque style manifest itself in painting?
• Master of Light and Dark: Caravaggio — The most dramatic
element of The Calling of Saint Matthew is light. The revelatory power
of light is analogous to the transformative power of faith. One of the
clearest instances of Caravaggio’s uses of light to dramatize moments
of conversion is the Conversion of Saint Paul.
• Elisabetta Sirani and Artemisia Gentileschi: Caravaggisti
Women — Caravaggio had a profound influence on other artists of the
seventeenth century. Sirani painted portraits, religious works,
allegorical works, and occasionally mythological works and stories from
ancient history. Gentileschi was one of the first women artists to
achieve an international reputation. She painted five separate versions
of the biblical story of Judith and Holofernes.
• Discussion Question: Discuss the revolutionary innovations of
Caravaggio’s style, and his influence.

Caravaggio. The Calling of Saint Matthew. ca. 1599-1600.
11’ 1" × 11’ 5”.

Caravaggio. Conversion of Saint Paul. ca. 1601.
90-1/2" × 68-7/8”.

Caravaggio. Bacchus. ca. 1597.
37-3/8" × 33-1/2”.

Elisabetta Sirani. Virgin and Child. 1663.
34" × 27-1/2”.

Artemisia Gentileschi. Judith and Maidservant with the Head of Holofernes.
ca. 1625.
72-1/2" × 55-3/4”.

 Active Listening Guide: A. Gabrieli: Ricercar
a 4 del duodecimo tuono

Venice and Baroque Music
How is the Baroque style manifest in music, particularly in Venice?
• Giovanni Gabrieli and the Drama of Harmony — Venice earned
its place at the center of the musical world largely through the efforts of
Gabrieli. He was among the first to write religious music intended
specifically for wind ensemble.
• Claudio Monteverdi and the Birth of Opera — Monteverdi was
the musical director at Saint Mark’s in Venice where he mastered a
new, text-based musical form, the opera. The inspiration for his first
opera, Orfeo, was the musical drama of ancient Greek theater.

• Arcangelo Corelli and the Sonata — In Italian, sonata simply
means “that which is sounded,” or played by instruments, as opposed
to that which is sung, the cantata.
• Antonio Vivaldi and the Concerto — Corelli’s instrumental flair
influenced Venice’s most important composer, Vivaldi. Many of his
works were written specifically for performance by girl choirs and
instrumental ensembles. Vivaldi specialized in composing concertos, a
three-movement secular form of instrumental music.
• Discussion Question: How does Baroque music differ from the music of
the Renaissance?

Gentile Bellini. Procession of the Reliquary of the True Cross in Piazza San
Marco. Detail, including Venetian musical instruments. 1496.
12'-1/2" × 24’ 5-1/4”.

 Closer Look: The Violin

 Active Listening Guide: Monteverdi: "Tu se'
morta" from Orfeo

Musical lines from Arcangelo Corelli's Opus no.5 (violin sonata).

Jacopo Guarana. Apollo Conducting a Choir of Maidens. 1776.

Diagram: Ritornello.

 Active Listening Guide: Vivaldi: Spring, I
from The Four Seasons

Gianlorenzo Bernini. Continuity & Change: Design for the east facade of
the Palais du Louvre, Paris. 1664.

Louis Le Vau; Claude Perrault; Charles Le Brun. Continuity & Change:
East façade, Palais du Louvre, Paris. 1667-70.

Sayre2e ch21 integrated_lecture_pp_ts-150652

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