Architectural History 2 Text Notes Second Exam

Architectural History 2 Text Notes Second Exam -...

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Architectural History 2 – Exam 2 Textbook Notes Chapter 21 Absolutism and Bourgeoisie: European Architecture, 1600-1750 Europe in the 1600s was a divided continent. Protestant and catholic forces clashed. Other than religious differences, control of international trade engaged England and the Netherlands in a vigorous economic war. The architecture of the seventeenth century reflects the diversity. The style created by Bernini and others in Rome to celebrate the church triumphant will spread to Catholic countries. Protestant countries will resist the more representational and emotive side of the Baroque. The Roman Baroque Preference for the oval. Bernini is central to the Baroque, but so is his famous rival Borromini. St. Peter’s – Magisterial command of the site. Showed his love of curves and dramatic lighting. Showed his emotional or sensation prone approach to the call of faith. He was the perfect flag bearer of Rome’s universal assertiveness-adept equally at sculpture, painting and architecture. “It is our fortune that master Bernini lives in our Pontificate” – Urban VIII Borromini worked for lesser clients He was an architect of pure and simple Trained as a stone carver Personal inventive streak portrayed in decorative details. Churches There were two basic types of Catholic Churches, The Jesuit Model (The Gesu) and the centrally planned church. The Jesuit Model, Il Gesu Designed first by Giacomo Barrozzi da Vignola It was altered from his design in its final execution and was redecorated inside a 100 years later Broad barrel vaulted nave flanked by a series of clearly subordinate chapels Shallow Transept with a dome over the crossing The history of Il Gesu spans the expressive and formal progress of the Roman Baroque The façade stands at the start of the Baroque The Centrally Planned Church Greek Cross, the oval, the star, and combinations of two were the geometry of this type of church during the Baroque.
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Bernini’s S. Andrea al Quirnale- a single pedimented frame of a giant Corinthian pilaster shelters a semicircular porch surmounted by a free standing coat of arms. Borromini’s S. Carlo- The plan is basically an oval with the entrance on the narrow side. Four chapels push out the space of the oval and create a Greek cross configuration with convex corners. -Baroque plasticity is commonly achieved by the sculptural manipulation of columns and pilasters attached to the plane of the wall. -In three dimensions, the main domed core is not separate from the chapel but they run smoothly together. -The four apsidal chapels are fragments of small ovals that touch or overlap and are welded into the nave oval. -Borromini’s thinking is consistently, unlike others, is geometric.
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This note was uploaded on 02/21/2012 for the course MSEC 7102 taught by Professor Myers during the Fall '09 term at Texas State.

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Architectural History 2 Text Notes Second Exam -...

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