Arts and Humanities through the Eras: The Age of the Baroque by Philip Soergel
By Philip Soergel
Profiling milestones and routine within the arts, literature, track and faith from a particular interval, each one quantity during this set is helping scholars and researchers comprehend many of the disciplines of the arts with regards to one another, in addition to to background and tradition. an summary of the interval and a chronology of significant global occasions commence each one quantity. 9 chapters keep on with overlaying the key branches of the arts: structure and layout, dance, style, literature, track, philosophy, faith, theater and visible arts. Chapters commence with a chronology of significant occasions in the self-discipline by way of articles masking the hobbies, colleges of inspiration and masterworks that represent the self-discipline in the course of the period and biographical profiles of pioneers, masters and different favourite figures within the box. Chapters additionally comprise major fundamental records from the interval, together with quotations, excerpts from artists approximately their paintings and/or commentaries/criticism released in the course of the interval, and an inventory of normal references for additional info.
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Extra resources for Arts and Humanities through the Eras: The Age of the Baroque and Enlightenment (1600-1800)
Even before he completed the façade for Santa Susanna, Maderno became chief architect for St. Peter’s, a position that had been held by the sixteenthcentury cultural giants Donato Bramante and Michelangelo Buonarroti. Bramante had originally designed the church in the shape of a Greek cross, that is, as a structure in which the four radiating arms were of equal length. His plans intended to crown the Vatican hill, the 12 site of St. Peter’s martyrdom and tomb, with a monumental domed temple that was thoroughly classical in spirit.
The new orders demanded religious architecture that focused worshippers’ attentions on the sacraments and key elements of Catholic worship, that appealed to the senses, and that was an enhancement to parishioners’ religious lives. One of the first churches to reflect these new spiritual values was the Gesù, the home church of the new Jesuit order in Rome. Although its interior decoration did not initially make use of the techniques that Baroque designers developed, its physical layout mirrored the style of church construction that became common during the seventeenth and eighteenth centuries.
Thus, since the seventeenth century the façade of St. Peter’s has stood as a compromise, one that, although imposing and grand, is not completely in keeping with its original plans. If the exterior of St. Peter’s presents a not altogether satisfying appearance, Maderno’s interior decoration remains an unsurpassed example of Baroque ornamentation. With the extension of the church, the architect faced the task of decorating a vast expanse of vaulting overhead as well as the massive columns and piers that supported the structure.