C&C Final Rome

Bramante, Tempietto (San Pietro in Montorio), 1503 a. Small commemorative martyrium b. Originally patronized by King Ferdinand and Queen Isabella of Spain. c. Considered a masterpiece of High Renaissance architecture d. one of the most harmonious buildings of the Renaissance e. Almost piece of sculpture, little architectonic use f. Much of Brunelleschi's style g. Perfectly proportioned, Tuscan columns, Doric entablature, dome

Perugino, Delivery of the Keys to St. Peter, 1480-81 a. Inspired by Andrea del Verrocchio i. active drapery, massive complexity, and the figures, with beautiful features, long flowing hair, elegant demeanour, and refinement b. poses of the actors fall into a small number of basic attitudes that are consistently repeated, usually in reverse from one side to the other, signifying the use of the same cartoon c. Sense of infinite world that stretches across horizon is stronger than other works of contemporaries, d. Feathery trees against the cloud-filled sky with the bluish-gray hills in the distance represent a solution that later painters would find instructive, especially Raphael.

Michelangelo, Sistine Ceiling, 1508-1512 a. subject matter-humanity's need for Salvation through Jesus b. main components of the design are nine scenes from the Book of Genesis c. express the specifically Renaissance thinking that sought to reconcile Christian theology with the philosophy of Renaissance Humanism. d. fictive architecture, the muscular anatomy, the foreshortening, the dynamic motion, the luminous colouration, the haunting expressions of the figures in the lunettes, the abundance of putti

1. Michelangelo, Campidoglio, 1536-64; piazza and Marcus Aurelius equestrian statue a. commissioned by Pope Paul III, who wanted symbol of the new Rome to impress Charles V b. The three remodelled palazzi enclose a harmonious trapezoidal space, approached by the ramped staircase called the "Cordonata". c. no "perfect" forms would work within the dimension of the plaza, his apparent oval in the paving is actually egg-shaped d. statue provided a center and a focus ii. Michelangelo provided pedestal. sculpture held in regard because thought to depict Constantine e. buildings defined the space, and it is this space as much as the buildings. It is a giant outdoor room, a plaza enclosed and protected but open to the sky and accessible through five symmetrical openings

1. Raphael, Parnassus, Stanza della Segnatura, 1511 a. Parnassus represents poetry, ancient and Renaissance poets are centered around Apollo and nine muses b. Two of the muses in the frescoe are reminscent of Michaelangelo's Creation of Adam, Euterpe and the named (scroll) Sappho c. Homer inspired by Laocoon

1. Raphael, The School of Athens Stanza della Segnatura, 1510-1511 a. Aristotle-the central figure b. Raphael invented system of iconography to allude to various figures for whom there were no traditional visual types c. Plato points up; Artistotle points down d. Raphael's artistry in orchestrating a beautiful space, continuous with that of viewers in the Stanza, in which a great variety of human figures, each one expressing "mental states by physical actions", interact, and are grouped in a "polyphony" unlike anything in earlier art

1. Laocöon, marble, Roman copy first cent CE after Hellenistic original; rediscovered 1509; Vatican Museums a. Trojan priest Laocoön and his sons strangled by serpents b. Michelangelo impressed by massive scale of the work and its sensuous Hellenistic aesthetic, particularly its depiction of the male figures c. paradox of admiring beauty while seeing a scene of death and failure d. Could not realistically depict physical suffering of victims, as this would be too painful. Express suffering while retaining beauty.

1. Belvedere Torso (rediscovered 1490), Vatican Museums a. believed that Apollonius copied a 2nd-century original b. dynamic pose of the torso influenced the development of the energetic figure style of Michelangelo

1. Giovanni Maggi, Idealized Roman Street Plan, 1588; from reign of Sixtus V a. shows Rome can be the site of urban changes b. Mussolini and popes changed city. c. shows a 16th century rendition of how Rome can be envisioned if you plan it around churches rather than ancient monuments. d. obelisks are omnipresent: symbol of power, of imperial rule that
goes back to the ancient Romans and goes on until Mussolini e. all of them are today capped by crosses or papal insignias.

1. St. Peter atop Column of Trajan, 1588-89, bronze a. active striding pose, the figure turning on axis as he extends his keys into space. b. exaggerated facial features, perhaps necessitated by the great height of the figure from the ground, recall those of earlier papal images.

1. Tommaso Laureti, Triumph of Christian Religion over Paganism, fresco, Vatican Museum, 1582-85; finished under Sixtus V a. refers to the destruction of the pagan idols and their replacement with the image of Christ, ordered by Constatntine throughout the empire

1. Bernini, Baldacchino, St. Peter’s, 1623-34 a. large Baroque sculpted bronze canopy, over high altar of SP, at centre of crossing and directly under dome b. first of Bernini's works to combine sculpture and architecture and represents an important development in Baroque church interior design and furnishing c. is a very large structure and forms a visual mediation between the enormous scale of the building and the human scale of the people officiating at the religious ceremonies at the papal altar beneath its canopy

1. Bernini, Fountain of the Four Rivers, 1651 a. dynamic fusion of architecture and sculpture was revolutionary b. base of fountain-basin from centre of which travertine rocks rise to support four river gods and above them, an ancien tEgyptian obelisk surmounted with Pamphili family emblem of a dove with an olive twig

1. Poussin, The Rape of the Sabine Women 1, 1633-34 a. Romulus raised cloak as prearranged signal for the warriors to seize the women. b. The mother, her babies, and an old woman in the foreground were captured accidentally in the turmoil. c. yellow armor worn by man at the right is modeled after a Roman "lorica," which was made of leather and reproduced the anatomy of the male torso.

1. Piranesi, Roman Antiquities (Antichità Romane), 1756 a. intended as a substantial record of ancient Rome with plans, sections, and, above all, emphasis on construction, features which make it a turning-point in the history of Roman archaeology b. principal intention was the application of archaeology to contemporary design