History of Medieval and Modern Art for Architecture

HISTORY OF MEDIEVAL AND MODERN ART FOR ARCHITECTURE

2009919 1982097 1990587 1998396

Maria Luisa Cervantes Serrano Camila Gautier Moncada Rumeysa Merve Levent Egemen Sezer

INDEX

Cross Vault 05

07 09 11 15 19

Santa Pressede Cappella San Zezone Ss. Trinità dei Monti Cappella Lucrezia Della Rovere

Santa Maria della Consolazione Cappella Mattei Cappella Pellucchi Sant’Agostino Cappella Santa Monica Cappella San Nicolo

Santa Maria in Aracoeli Cappella del Santissimo Sacramento

New Configurations of Medieval Holy Mary 21

23 25 26 27 29

Santa Maria in Via Santa Maria in Pozzo

Santa Maria Maggiore Cappella Paolina

Santa Maria in Portico in Campitelli Main Altar

Santa Maria della Consolazione Cappella di Santa Maria in Portico

San Giacomo in Augusta Cappella della Madonna dei Miracoli

Painted Architecture in Roman Churches 31

33 35 37 39 41

43

Santa Maria Sopra Minerva Cappella Carafa Ss. Trinità dei Monti Cappella Lucrezia della Rovere

Santo Stefano in Rotondo Cappella delle Ss.Primo e Feliciano Santo Spirito in Sassia Main Altar

Santa Maria in Domnica Main Altar

Sant’agnese in Agone Cappella de Sant’Agnese Cappella di San Sebastiano

Bernini’s Altars 45

47 49 51 53 55

Ecstasy Analysis

Cappella Raimondi Cappella Coronaro Cappella Albertoni San Pietro in Montorio Cappella Raimondi Basilica di San Pietro Cathedra Petri

Santa Maria della Vittoria Cappella Coronaro San Francesco a Ripa Cappella Albertoni

CROSS VAULT

SANTA PRESSEDE

Cappella di San Zenone

Construction of the Baptistery

Construction of the church/chapel

817 142

The top part of the the cross vault is the image of Jesus within a circle that covers the nerves of the structure.

In 412 in the early christian era Pudent comissioned a baptistery on his villa’s terrains. Where later on the IX century the Santa Pressede church and the San Zenone chapel were built.

It is an early example of a cross vault intervened with stucco in order to change the perceived space.

Angels seem to be carrying the image of Jesus. This serves as a reference for later examples.

Location of the chapel inside the church.

*Plan of the church *Photo of the chapel’s

Thick layer of stucco that changes the shape of the chapel to seem like a dome.

Bizantine Mosaic on top of the stucco.

Angels seem to be on top of free standing columns.

*Detail photo of the chapel

*3D model of the chapel’s cross vault

SS. TRINITA DEI MONTI Cappella Lucrezia Della Rovere

Start of construction

1502

Stories of the Virgin by Daniele da Volterra

1548

*Plan of the church

Location of the chapel inside the church.

The church of Santissima Trinita dei Monti started construction in 1502 with late gothic elements such as pointed arches and crossvaults. Then in 1548 the chapel was place under the patronage of Lucrezia Della Rovere Colonna. It was commissioned to Daniele da Volterra who portrayed Stories in the Life of the Virgin.

*Photo of the central elements of the chapel

Painted architecture creates an illusion of a frame architecture, delicate and transparent, like looking through a window

*Cross vault plan

From cross vault to Greek cross that changes the way we see the space.

*Close up of the cross vault

Coat of arms is being lifted to heaven from the created void

Angels help create depth in the fake architecture

*Abstraction of the crowning

*3D model of the vault

Ovals in the most critical part of the vault create the illusion of a different shape.

Stucco on the central part of the vault erases the nerves and helps with the illusion.

SANTA MARIA DELLA CONSOLAZIONE

Cappella Mattei

Construction of the church

1460

Construction of the chapel

1556

*Plan of the church

Location of the chapel inside the church.

The church was built in the second half of the XV century and was dedicated to the comfort of everyone who was condemned to die.

The Mattei chapel was dedicated to Giacomo Mattei. It was commissioned in 1556 to a young Taddeo Zucchari, who represented Jesus’ death with different frescoes.

*Photo of the cross vault

From cross vault to Greek cross that changes the way we see the space.

*Cross vault plan

*3D model of the vault

Stucco on the central part of the vault erases the nerves and helps with the illusion.

*Close up of the cross vault

Lack of painting in the central piece.

Center circle piece that negates the idea of a cross vault.

SANTA MARIA DELLA CONSOLAZIONE

Cappella Pelucchi

Construction of the church

1460

Construction of the chapel

XVI Century

*Plan of the church

Location of the chapel inside the church.

The church was built in the second half of the XV century and was dedicated to the comfort of everyone who was condemned to die. The Pelucchi chapel was comissioned by Andrea Pelucchi.

*Photo of the cross vault

Probable reference for the chapel of Santa Maria in Aracoeli

Circle on the center of the cross vault to change the perception of the space

*Cross vault plan

*Close up of the cross vault

*3D model of the vault

Ovals in the most critical part of the vault create the illusion of a different shape.

Moldings in the corners of the vault hide the beginning of the nerves.

SANT’AGOSTINO Cappella

Santa Monica

Start of construction Stories of the Virgin by Daniele da Volterra

End of XV Century 1420

The current church was built between the end of the XIV century and 1420. The chapel on the left side of the altar is dedicated to Santa Monica, Sant’Agostino’s mother.

Location of the chapel inside the church.

*Plan of the church

*Photo of the chapel

Circle on the center of the cross vault to change the perception of the space

*3D model of the chapel’s cross vault

The sky is the same color as the surroundings of the circle shape. Giving the impression that is floating.

The central circle depicts a fake architecture in perspective, made to be seen from the entrance of the chapel.

Decorative moldings in thin stucco

Corner paintings cover the beggining of the nerves.

*Cross vault plan

*Photo detail of the cross vault

SANT’AGOSTINO Cappella San Nicolo

End of initial construction Chapel paintings

*Plan of the church

Location of the chapel inside the church.

The current church was built between the end of the XIV century and 1420. In 1583 Battista Cavagna was commissioned to work on the stucco decorations of San Nicola’s chapel.

of the chapel

*Photo

The unusual square void presents a new desire shape for the vault.

The square shape represents a void in which the tridimensional angels are carrying the central circle.

Elements in stucco cover the corners of the vault.

The decorative elements are tridimensional and with perspective and painted, giving more dimension.

The central circle depicts a scene, showing the idea of another space instead of a void.

*Detail photo of the chapel

*Cross vault plan

*3D model of the chapel’s cross vault

SANTA MARIA IN ARACOELI

Construction of the initial church

VI Century

Chapel intervention

Cappella del Santissimo Sacramento 1675

*Plan of the church

Location of the chapel inside the church.

The earliest church was built in the 6th century by Byzantine monks on an existing pagan temple. From then on it has suffered many changes. On the second half of the XVII century Antonio Gherardi made the chapel of the Santissimo Sacramento covering the existing cross vault.

*Photo of the chapel

*Cross vault plan

Center oval piece that negates the idea of a cross vault.

*Close

Moldings in the corners of the vault hide the beginning of the nerves.

Ovals in the most critical part of the vault create the illusion of a different shape.

The dark color of the paintings in the oval shapes, contrast with the rest of the vault which gives the illusion of depth.

*3D model of the chapel’s cross vault

up of the chapel

NEW CONFIGURATIONS OF MEDIEVAL HOLY MARY

CONFIGURATIONS

SANTA MARIA IN VIA

Cappella Santa Maria in Pozzo

Reconstruction of the Church 1591

Chapel built

1584

Central part configurated as a big painting made with different shapes in colored marble.

The church we know today was reconstructed between 1584 and 1670 with a project by Giacomo della Porta and then Carlo Rinaldi. The chapel of the Madonna del Pozzo was commissioned by Alexander VI in 1591.

*Photo of the chapel

*Plan of the chapel

Medieval painting placed in an aedicule that is scaled to the chapel but is not connected to the architecture.

*Drawing of the chapel

The two small angels are the only tridimensional elements, start to give an idea to give more dimension.

The holy Mary is retracted to give light to the image, is the only depth in the altar

SANTA MARIA MAGGIORE Cappella Paolina

Start of construction of the basilica 1615

Chapel construction

422

The basilica of Santa Maria Maggiore was built during the pontificate of Celeste I (422-432). The addition of the Paolina Chapel (1606-1615) was commissioned to Flaminio Ponzio by the Pope Paul VI.

Location of the chapel inside the church.

*Plan of the church

*Photo of the chapel

The aedicule is separated from the architecture of the chapel, spatially and using different materials.

Idea of a tridimensional space with sculpted angles simulating carrying the frame. Angels also closer to human scale

The painting is still retracted into the aedicule but the color blue of the back wall wants to represent the sky, to give the illusion of the angels in the sky as a scene in time.

*Drawing of the altar of the medieval Holy Mary

Proportion of the baldaquin and sculptural elements makes the image smaller

SANTA MARIA IN PORTICO IN CAMPITELLI

Main Altar

Start of construction 1666

Altar design

1659

Baldaquin inspired by Bernini´s in San Pietro.

Columns are rotated towards the center, emphasizes the concave space.

Proportion of the baldaquin and sculptural elements makes the image feel smaller

Everything is golden, making a contrast to the rest of the church.

Everything is golden, making a contrast to the rest of the church.

Baldaquin inspired by Bernini´s in San Pietro.

Image is encased in many layers, creates depth.

Columns are rotated towards the center, emphasizes the concave space. Proportion of the baldaquin and sculptural elements makes the image feel

The lighting is hidden, like it comes from within.

Everything is golden, making a contrast

Image is encased in many layers, creates depth.

Image is encased in many layers, creates depth.

The lighting is hidden, like it comes from within.

The lighting is hidden, like it comes from within.

*Plan of the Main Altar

*Photo of the main altar

*Comparison between St. Peter’s Baldaquin and Santa Maria in Portico’s main altar.

SANTA MARIA DELLA CONSOLAZIONE Cappella

Santa Maria in Portico

Sculptural elements are white and gold, same colors as the rest of the chapel, no contrast with the architecture

Altar design

Baldaquin inspired by Bernini´s in San Pietro.

1420

Flat lighting that comes from the front

Columns are rotated towards the center, emphasizes the concave space. Proportion of the baldaquin and sculptural elements makes the image feel smaller

Image does not have relation with the sculptures, there´s a separation, no layers

Everything is golden, making a contrast to the rest of the church.

*Plan of the Chapel

*Photo of the chapel

Flat lighting that comes from the front

Image does not have relation with the sculptures, there´s a separation, no layers

Image is encased in many layers, creates depth.

The lighting is hidden, like it comes from within.

Semicircular baldaquin changes shape from the one in Campitelli.

The four salomonic columns make the perspective to the image less clear.

Image on proportion with the baldaquin, more like a tabernacle than on human scale

Sculptural elements are white and gold, same colors as the rest of the chapel, no contrast with the architecture

SAN GIACOMO IN AUGUSTA

Cappella

della

Madonna

Reconstruction of the Church High relief

1717 1602

dei Miracoli

The reconstruction of the building as San Giacomo in Augusta church ended in 1602. Francesco Capriani was commisioned for this project, however, Carlo Maderno finished the project. The high relief found in the Capella della Madonna dei Miracoli was made by Pierre Le Gross in 1717.

*Plan of the chapel Depicted architecture

Location of the chapel inside the church.

*Plan of the church

*Photo of the chapel

The tridimensional diagonal

*Section

*Section of the chapel Depicted architecture

The painting is truly being carried in a tridimensional space and reinforcing the diagonal axis, making it more dynamic.

Aedicule still not connected to the architecture of the chapel.

The monochromatic sculpture contrast with all the other colors of the chapel, it becomes the central focus.

The back space represents an interior space depicted in a diagonal axis, giving it more depth.

*Drawing of the chapel

The sculpted people and angels are coming out of the fake space towards the real one

Clear idea of representing a dynamic tridimensional scene with sculptures.

PAINTED ARCHITECTURE IN ROMAN CHURCHES

ARCHITECTURE CHURCHES

SANTA MARIA SOPRA MINERVA Cappella

Carafa

The church of Santa María Sopra Minerva was built in 1280 and then modified throught the years until 1725. One of this modifications was de addition of the Capella Carafa made by Fillippino Lippi between 1488 and 1493.

Construction of the Church 1493

1280

Chapel built

The people are not connection

One of early examples of a painted architecture, mostly outdoor spaces.

Location of the chapel inside the church.

*Plan of the church

*Photo of the side wall of the chapel

people inhabiting the space in human scale, less connection with the viewer.

*Hypothetical section of the chapel Depicted architecture

*Photo of the main wall of the chapel

Central space alluding to an aedicule, surrounded by buildings that expand outside our range of vision.

*Hypothetical plan of the chapel Depicted architecture

The painting is framed with a portico-like space with two quadrangular columns on entablature and the floor projects forward to the real space.

SS. TRINITA DEI MONTI Cappella Lucrezia Della Rovere

Start of construction

1502

Stories of the Virgin by Daniele da Volterra

1548

People are closer in human scale, being able to connect more with the real architecture.

The chapel altar is depicted in the painting and makes it part of the fake space.

*Plan of the church

Location of the chapel inside the church.

The church of Santissima Trinita dei Monti started construction in 1502 with late gothic elements such as pointed arches and crossvaults. Then in 1548 the chapel was place under the patronage of Lucrezia Della Rovere Colonna. It was commissioned to Daniele da Volterra who portrayed Stories in the Life of the Virgin.

*Hypothetical section B-B’ of the chapel

Depicted architecture

Frontal wall represents a central space with a circular void in which Mary ascends to heaven, related with the circular void in the vault, in which the coat of arms is also being taken to heaven.

Painted architecture created a sensation of a frame in all directions of the chapel.

*Photo of the chapel

A A

*Hypothetical plan of the chapel

Depicted architecture

*Hypothetical section A-A’ of the chapel

Depicted architecture

*Left wall of the chapel

*Right wall of the chapel

The stairs coming up in a corner creates a more dynamic space and relates more to the viewer.

Both sides give hints of a broader space outside our vision range.

One broken element on each side connects the two paintings.

The real lateral arches are incorporated in the painting and a similar arch is added.

SANTO STEFANO

Cappella del Santissimo Primo e Feliciano

*Plan of the church

Location of the chapel inside the church.

Reconstruction of the Church 1586

Chapel Painting

V century

The church was initially built in the middle of the V century during the pontificate of Leone I on top of another church dedicated to Santo Stefano. The paintings depicting architecture were made by Antonio Tempesta in 1586.

*Photo of chapel

*Elevation of chapel Depicted architecture

*Hypothetical Depicted

The three portico outdoor The column elevated connected

*Hypothetical section of the chapel A

Depicted architecture Depicted architecture

*Hypothetical section of the chapel B Depicted architecture

The semicircular apse and the window are incorporated in the painted architecture, which enhances the illusion of the fake space.

The importance of the frontal wall is given by the free-standing columns that project forward from the real wall and the imposed column order with the two pilasters and two free-standing columns in the upper level.

*Hypothetical plan of the chapel

three painted walls represent a architecture, with different outdoor scenes, as windows

column orders are elevated on pedestals connected to all the walls.

*Photo of the side of the chapel

SANTO SPIRITO IN SASSIA Main Altar

Construction of the church 1593

Paintings

1545

*Plan of the church

Location of the chapel inside the church.

The construction of the current church was made between 1538 and 1545 it was made by Antonio da Sangallo the Younger. The paintings for the apse in the main altar were made by Jacopo Zucchi in 1593.

The painted architecture and the painted people are facing the main altar, enhancing the idea of the main sacred place.

The back building with a pieno in space and the towards

Columns in the simulate the real pilasters, proportions, and

The building rotates towards the church on the sides, giving the sensation of a surrounding architecture.

building presents a portico in asse that closes the the perspective, facing towards us.

*Photo of the main altar

the portico pilasters, same and colors.

*Hypothetical plan of the altar

Depicted architecture

*Hypothetical section of the altar

Depicted architecture

Insinuation of continuing spaces behind the four arched architecture

SANTA MARIA IN DOMNICA Main

Altar

Reconstruction of the church XVII Century

818

Paintings

Location of the chapel inside the church.

*Plan of the church *Photo

The current basilica was built in the beginnig of the IX Century during this time the mosaic on the altar was added. The paintings on the main altar were made by Lazzaro Baldi at the end of the XVII Century.

The columns imitate the free-standing columns in the corners of the altar.

*Detail of the main altar

of the main altar

BASILICA DI SANTA MARIA IN DOMNICA Frescoe of the main apse - Lazaro Baldi (XVII century)

DOMNICA

Idea of a continuing space on the transversal axis.

*Hypothetical A section of the altar

Depicted architecture

Depicted architecture

Semicircular portico and pieno in asse could make a reference of Santo Spirito in Sassia.

*Hypothetical B section of the altar

*Hypothetical B plan of the altar

*Hypothetical A plan of the altar Depicted architecture

Depicted architecture

The back gallery of arches on pillars are of the same configuration of the pillars from the lateral naves.

SANT’AGNESE IN AGONE

Cappella Sant´ Agnese Cappella San Sebastiano

Construction of the church and chapel

1672

The projecto for the church was made in the beginnig by Girolamo Rainaldi, however in 1653 Francesco Borromini is commissioned to continue it. The church is finally finished by Carlo Rainaldi in 1672.

The perspective for the San Sebastiano and Sant’Agnese chapels was made by Costanzo de Peris

*Plan of the church

Location of the chapels inside the church.

The fake architecture has depth but is a finite space. Depicted architecture

The colored marbles enhance the different elements in the perspective.

Different levels in the marble create real shadows that help with the illusion of the perspective.

*Hypothetical section of the altar

*Hypothetical plan of the altar

Depicted architecture

The tridimensional sculpture help to see the element inside the created space

The sky is the only painted element, gives the idea of a void due to the difference in texture.

*Photo of San Sebastiano Chapel

*Photo of Sant’Agnese Chapel

BERNINI’S ALTARS

ALTARS

Cappella Raimondi

Similarities

Considering the three chapels, they all depict an ectasis made in different years. In those we can see that there are a lot of similarities in the way that Bernini shows this sacred moment. Starting with the fact that all three altars are framed by diagonal elements, which enclose the sacred space but open it to the viewer. This area, at the same time, appears to expand beyond what we can see, both by the space itself and the lighting. Continuing with the main sculpture, they are always elevated from the ground, positioning it closer to the

viewers’ line of vision, meaning is meant to be appreciated from the nave. Also, the sculpted elements´ role is to be part of the public, similar to a theater, they are put in a box like the most privilege spectators. Meanwhile, he puts us, the viewers, as the main crowd in the stalls. The theatrical aspect can also be seen it in the lighting, as the source its always hidden and dramatic, falling on the facial expression of the saints and enhancing what they are feeling to depict the exact ectasis moment.

*Photo of Estasi di San Francesco di F. Baratta

*Photo of Estasi di Santa Teresa

ANALYSIS

Coronaro Evolution

Even though there are many similarities we can also identify a development of Bernini’s idea of Bel Composto as time goes on. The most clear example is the unification of painting, sculpture and architecture merging harmoniously in the space. But at the same time, they contrast between each other with the use of different colors and materials. Other contrasting aspect is the distance

Cappella Albertoni

between the wall and the sculpture, allowing this last one to become a tridimensional protagonist element while still being connected to the space. Finally, as time goes on, the light becomes more significant and dramatic, causing the altar to be transformed into a more intimate and mystical area, where the viewer is only able to access it visually.

*Photo of Estasi di Ludovica Albertoni

SAN PIETRO IN MONTORIO Cappella

Construction of the church 1638-1648

Chapel construction

*Plan of the church

Location of the chapel inside the church.

*Photo of the chapel

Hidden window that iluminates the main relieve. *Detail of the lighting solution with a hidden window

The sculpture is adjacent to the wall, only the main characters are more tridimensional, while the other elements get lost in the wall.

Use of the column order to give hierarchy to the space, so the two three quarter standing columns frame the altar, as the semi columns are relegated to a second plane.

The aedicule is connected to the architecture of the chapel, there is a unified entablature and pedestal.

Monochromatic space, there is no contrast between the architecture and the sculpture.

*Plan of the chapel

*Influence of light with the high relieve

The two visible windows illuminate the chapel in a monotonous way, which dissipates the hidden lighting of the altar.

*Section of the chapel

Central space expands horizontally and vertically.

SANTA MARIA DELLA VITTORIA

The architecture of the chapel is manipulated to create the camera di luce, to allow the natural light to enter in the exact place needed.

The oval shape of the aedicule contains the space, giving it intimacy, but also opens it towards the viewer, inviting us to contemplate it

The aedicule is connected with the architecture of the chapel, there is a unified entablature, and the column order has the same proportions and materials.

The golden rays emphasize the strength of the light, and give it direction.

The side spectators are in the box privilege position and their space expands in the transversal axis with a bas-relief perspective architecture.

The lack of a base in the sculpture enhances the sensation that is floating and moving towards the light.

The lighting can be registered as natural but has mystical and dramatic qualities.

*Influence of light in the sculpture

*Section of the chapel

SAN FRANCESCO

A RIPA Cappella

Albertoni

*Plan of the church

Location of the chapel inside the church.

The barrel vault directs the focus point to the sculpture.

XIII Century

The space is a scarsella, in which Bernini managed to create a complex dimensional space.

Start of construction of the church 1671-1674

Chapel

The fabric element is meant to elevate the sculpture from the ground and contrast with it by using a different colored marble. Its shape falls towards the viewer to bring us closer to the space.

*Influence of light in the sculpture

*Photo of the chapel

*Detail of the chapel

The use of the white marble for the sculpted elements, contrasts with the rest of the space.

Diagonal walls frame the central space and open it towards the viewer.

*Plan of the chapel

*Section of the chapel

The saint is the only human figure in the space, giving it all the focus.

The space expands horizontally, with the help of the lighting.

The chapel goes out from the idea of an aedicule, so the sculpture is free within the space but still connected to it.

Treatment of the yellow light spreading from the center towards the viewer.

BASILICA DI SAN PIETRO

The baldachin is portraying a canopy, a normally provisional soft, element in a hard and lasting material. Even though it was made 70/80 years before, Bernini uses the baldachin as a framing for the Cathedra Petri. Therefore, changing the perception of the space.

Location of the Cathedra Petri

*Plan of the church

The difference in materials allows the viewer to understand which element is more holy and which is more terrestrial.

Difference in tridimensionality, the humans depicted are an all-around sculpture. The angels, on the other hand are portrayed in a full relief while the holy spirit is a flat surface.

Contrasting materials to show the different depths of spirituality in the elements of the church, like a pope, saints, angels, and the holy spirit. The elements are stepping across traditional boundaries, such as the architecture.

*Photo of the Cathedra Petri