Q

B A R O Q U E R O M E

S H I K H A K A U L

B A R O Q U E A R C H I T E C T U R E

B A R O Q U E P E R I O D

(Fletcher, 2013)

1. Aventine Hill

2. Caelian Hill

3. Capitoline Hill

4. Esquiline Hill

5 Palatine Hill

6. Qirinal Hill

7. Viminal Hill

T H E S E V E N H I L L S O F R O M E

Name of the hill (Latin name) IMAGE SOURCE:(Bigelow, 2009)

FINAL In 17th century mid

A N N O U N C I N G T H E A R R I V A L O F B A R O Q U E PIAZZA DEL CAMPIDOGLIO

• The movement system emerges as a total design idea , was symbolised by the obelisks positioned at its terminal points. The design structure revolved around this idea of movement system.

• The establishment of the points in space by the vertical mass, and defining the space between them by creating tension between these points.

• The vertical mass is the obelisk, the lanes between them create the tension which is derived from the location of ancient buildings, churches, gates, and public squares.

• Sixtus V, when elected as the Pope in

1585, saw the city of Rome as a fitting capital of Christendom.

• For his vision to come true, he proposed the idea to establish a basic over-all design structure in the form of a movement system and tie down the critical parts in positive physical forms.

• For the conversion of chaotic and formless Rome into an organised space, Sixtus V introduced The Obelisks, a point in space as an organizing force. The obelisks were to enforce his idea of order.

I N T R O D U C T I O N

(Osborn, 2013)

P O L I T I C A L & R E L I G I O U S

I N F L U N C E S

As the 16th century unfolded, the religious, political and philosophical certainties (the W e s t e r n S c h i s m : a split within Catholic Church) which had prevailed during the Early (c.1400-85) and High (1486-1520) Renaissance periods, began to unravel.

In 1517, Martin Luther sparked the Protestant Reformation, casting European-wide doubt on the integrity and theology of the Roman Church.

This was the catalyst for several wars involving France, Italy, Spain and England, and led directly to the Counter-Reformation movement, launched by Rome, to attract the masses away from Protestantism.

W e s t e r n S c h i s m : a split within Catholic Church

Map showing support for Avignon (red) and Rome (blue) during the Western Schism.

(Bigelow, 2009)

In general, Baroque architecture constituted part of the struggle for religious superiority and for the hearts and minds of worshippers across Europe.

On a more political level, secular Baroque architecture was employed to buttress the absolutism of reigning monarchs, like King Louis XIV of France, among others.

From Italy, it spread to the rest of Europe - especially Catholic Europe - where each country typically developed its own interpretation.

King Louis XIV of France

Renewed patronage of the visual arts and architecture was a key instrument in this propaganda campaign, and resulted in a grander, more dramatic style in both areas.

For the rest of the century, this more dynamic style was known as Mannerism (style-ishness), and thereafter, B a r o q u e - a term derived from the Portugese word barocco, meaning 'an irregular pearl'.

Via Flaminia (1), Via Ripetta (2),

Via del Babuino (3), Strada Pia (4)

Strada Felice (5).

A Piazza del PopoloB Spanish StepsC San Carlo alle Quattro Fontane by BorrominiD Campidoglio by Michelangelo

E Porto Pia designed by MichelangeloF Santa Maria MaggioreG ColosseoH VaticanI San GiovanniJ Santa Croce

RED : Space units existing before Sixtus reign YELLOW: Movement system network BLACK : Building units by Sixtus VBLUE : Building units after death of Sixtus V

A

B C

D

E

F

G

H

I

J

12

34

5

A

B

D

C

E

F

2

13

4

5

(Bacon, 1976)

• Secondary building units like the fountain, stairways, ramp, cascade act as a b i n d i n g u n i t of the open space

• The idea of design of public space is u n i t y i n t h e a r t s : architecture, urban design, sculpture and all the other arts that make a ‘Gesamtkunstwerk’, a total work of art.

• O n e a x l e s y m m e t r y is used (red line shown in adjoining figure marks the one axle symmetry at Piazza del Popolo).

• The use of o p ti c a l e ff e c t s not to achieve perfect balance but to create architectural expression.

• O b e l i s k s act as major landmark units scattered all around Rome.

• The connecting framework dominates the visual image of a large part of Rome.

• M o v e m e n t s y s t e m design structure provide a controlled sequential experience.

• Buildings surround and dominate large open spaces.

• Space is treated as e n d l e s s (in Renaissance as closed spaces).

• The idea is to place two bodies in space so that a vital flow of forces from one to the other was set up, resulting in t e n s i o n between them.

• This tension is acquired by existing buildings and ancient structures.

D E S I G N P R I N C I P L E S O F B A R O Q U E

M O V E M E N T S Y S T E M

• A theme ‘patte 'd oie’ (literally meaning Goose foot and as type means three paths or roads radiating out from a focus point) taken up in baroque designs.

• The seven churches were the object of pilgrimage.

• Planning a network of very long streets connecting the most important pilgrimage sites of Rome.

• Every road Sixtus V planned started and ended with a clear landmark.

• Plan was to create a phenomenon of undirected, undifferentiated movement, which is basically meandering.

The movement system (yellow lines) The pre-existing includes Via Flaminia (1), Via

Ripetta (2), Via del Babuino (3), Strada Pia (4) and Strada Felice (5).

Sixtus movement system extended in two branches from Santa Maria Maggiore (F), one to Santa Croce

(J) and the other to San Giovanni (I).

12

3 4

5

F

IJ

(Bacon,1976)

N O D A L P O I N T S• Various nodal points that are dispersed in

the city without any specific link to each other.

• The ancient and medieval symbols of the past form these nodes, for example, Antonine and Trojan columns, the domed Pantheon, the Colosseum, The Dioscuri, the equestrian statue of Marcus Aurelius and the Trevi Fountain

• P U R P O S E : These nodal points are connected by Sixtus, not only creating an aesthetic physical identity , but also produce an awareness of the structure in relation of functions.

• These connections act as channels of energy or lines of force that enforce function into the chaotic distribution of these points.

NODAL POINTS (MARKED AS RED) (Bacon,1976)

THE COLOSSEUM

TREVI FOUNTAIN STATUE OF MARCUS AURELIUS

N O D A L P O I N T S

(Moore, 2014)

O B E L I S K S• In the 16th century most of

them were broken into pieces They were saved by Pope Sixtus V (1585-90) who used them as focal points for some of the new streets he opened as part of his plan of urban development.

• Several obelisks were repaired, turned from pagan to Christian monuments by the addition of new inscriptions, topped with a cross and with the heraldic symbols of the pope and eventually moved to the center of a piazza or in front of a basilica.

1 Obelisk of Rameses II in Piazza del Popolo 2 Obelisk of Augustus in Piazza S. Pietro3 Obelisk of Psammetichus II in Piazza di Montecitorio 4 Obelisks of Augustus in Piazza del Quirinale5 Obelisks from Isaeum Campense in Piazza della

Rotonda6 Obelisks from Isaeum Campense in

Piazza di S. Maria sopra Minerva

7 Obelisks of Augustus in in Piazza dell'Esquilino8 Obelisks in Piazza della Trinità dei Monti 9 Obelisks in Piazzale del Pincio10 Obelisk of Domitian in Piazza Navona11 Obelisk of Thothmes IV in Piazza S. Giovanni in Laterano12 Obelisks In Villa Celimontana13 Obelisks from Isaeum Campense in Piazza di Termini

(Moore, 2014)

1

23

45

1

Obel isk of Rameses I I Piazza del Popolo

(Osborn, 2010)

• Pharaoh Rameses II in Heliopolis

• 30 BC Augustus brought it to Rome ( center of Circus Maximus)

• moved in 1589 to Piazza del Popolo

at a point il Tridente di Roma

• It is topped by the mountains, star of Sixtus V, and the cross.

(Moore, 2014)

IMAGE SOURCE:(Moore, 2014)

F O U N T A I N S

Fountain of Moses

Fountain of the Capitolium

O P T I C A L E F F E C T S P I A Z Z A S A N P I E T R O

IMAGE SOURCE: (Rutgers, n.d.)

RETTA

OBLIQUA

RUSTICUCCI

The Obliqua is at the lowest height, while the obelisk spanning 25m radius is raised. The Retta is further raised by 3.85m. This makes the oblique look larger from most of the points in the square whithout sinking the obelisk at the centre. Also the Church looks visually larger.

(Rutgers, n.d.)

O P T I C A L E F F E C T S

(Speelberg, 2012)IMAGE SOURCE: (Rutgers, n.d.)

EARLY BAROQUE

C a r l o M a d e r n o

•Saint Peter's Basilica•Saint Peter's can be roughly divided into two parts: the core(by Michelangelo) and the front extension (designed by Maderno).

•double columns, layered columns, colossal columns, and broken pediments, coffered cielings

B A R O Q U E A R C H I T E C T U R E : M A D E R N O , B E R N I N I A N D B O R R O M I N I

St. Peter’s Basilica (1607-1612)

(Fletcher, 2013)

HIGH BAROQUE

• G i a n L o r e n z o B e r n i n i

•One is the four-story baldachin(1624-33) that stands over the high altar.14 (A baldachin is an indoor canopy over a respected object, such as an altar or throne.) •The other is the curving colonnades that frame St Peter's Square. (1656-57)

Saint Peter's Square, Bernini

•F r a n c e s c o B o r r o m i n i

•the master of curved-wall architecture. •Most famous and influential work may be the small church of San Carlo alle Quattro Fontane (1634-41)("Saint Charles at the Four Fountains").

San Carlo alle Quattro Fontane(Fletcher, 2013)

YEAR EVENTS

1585 Sixtus V is elected Pope; Rome town-planning renewalD. FONTANA

1590 S. Giacomo degli IncurabiliF. DA VOLTERRA, C. MADERNO

1591 Work starts at S.Andrea della valleProject by- G.DELLA PORTA , F. GRIMALDI

1597- 1603 Façade of S. SusannaC. MADERNO

T I M E L I N EE V E N T S I N B A R O Q U E P E R I O D

SOURCE : Bigelow, 2009

1598 Project for Palazzo MatteiC. MADERNO

1601-06 Villa Aldobrandini G. DELLA PORTA , C . MADERNO

1607-12 Façade of St. Petter’s C . MADERNO

1598 Project for Palazzo matteiC. MADERNO

1601-06 Villa AldobrandiniG. DELLA PORTA , C. MADERNO

1607-12 Façade of St. Peter’s C. MADERNO

1612-20 S. CARLO ai CatinariR. ROSATI

SOURCE : Bigelow, 2009

1624-33 In St. Peter’s BERNINI

1625-29 Work starts on Palazzo BarberiniC. MADERNO , BERNINI

1634-41 S. Carlo alle Quattro FontaneBARROMINI

1635-50 Projects for Palazzo CarpegnaBORROMINI

1635-50 SS. Luca e Martina P. DA CARTONA

1637 House and Oratory of the FilippiniBORROMINI

1640 S. Maria in PublicolisG.A. DE ROSSI

SOURCE : Bigelow, 2009

1642 S. Maria dei sette Dolori BORROMINI

1633-50 Projects for Palazzo Carpegna BORROMINI

1635-50 SS. Luca e Martina p. DA CORTONA

1637 House and Oratory of the FilippiniBORROMINI

1640 S. Maria in PublicolisG.A. DE ROSSI

1642 S. Maria dei Sette DoloriBORROMINI

1642 Works starts on S. Ivo alla SapienzaBORROMINI

SOURCE : Bigelow, 2009

1646-50 S. Giovanni in LateranoBORROMINI

1647-64 Collegio di Propaganda FideBORROMINI

1648-51 Fontana dei Quattro Fiumi Fountain of the Four Rivers in Piazza NavonaBERNINI

1650 Work starts on Palazzo AlteriG.A. DE ROSSI

1652 Work starts on S .Agnese in AgoneC. RAINALDI , BORROMINI

1656-57 Project For Collonnade of St Peter’s BERNINI

1656-65 S. Maria in CampitelliC. RAINALDI

SOURCE : Bigelow, 2009

1658-70 S. Andrea al Quirinale

1660 (after) Cappella dei Re magiIn Palazzo di Propaganda Fide BORROMINI

c.1662 Cappella Spada in S. Girolamo della CaritaBORROMINI

1662-63 S. Maria dei miracoliC. RAINALDI

1663-66 Scala Regia in the Vatican BERNINI

1664-67 Palazzo Chigi-OdescalchiBERNINI

1668 S.Maria MaddalenaC. FONTANA,G.A. DE ROSSI (from 1695)

SOURCE : Bigelow, 2009

1. Andrea. (2013, August). Roman Monographs. Retrieved October 10, 2014, from Virtual Roma: http://roma.andreapollett.com/

2. Bacon, E. (1976). The Design of Cities. New York: Penguin Books.

3. Bigelow, C. (2009, November 2). Roman History and Mythology. Retrieved October 31, 2014, from musesrealm: http://www.musesrealm.net/rome

4. Fletcher, H. (2013). Baroque Architecture. Retrieved October 31, 2014, from Essential Humanities: http://www.essential-humanities.net/

5. Moore, R. (2014, May). Abridged History of Rome. Retrieved October 31, 2014, from A Rome art Lover's: http://www.romeartlover.it

6. Osborn, T. (2010, July 13). Mrs. Osborn's class. Retrieved October 31, 2014, from Teacher Oz's Kingdom of History: http://www.teacheroz.com/romans.htm

7. Rutgers, R. (n.d.). Baroque. Urban theory and design of public space, 2-189.

8. Speelberg, F. (2012, October 23). At the Met. Retrieved October 11,2014, from The Metropolitan Museum of Art: www.metmuseum.org

B I B L I O G R A P H Y