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On Wednesday 8 of 2009 at exactly 6am I woke up to be ready to go to the papal audience in the Vatican. I was really happy to have this opportunity especially because I am catholic and I never thought that I was going to be able to see the pope in person so close. So by 7am everybody was ready downstairs and we walk through the Vatican and the first thing that I am not going to forget is that being so early in the morning there were already a hundred of people waiting on the line. After waiting on the line we enter into the auitorium in which the pope gives the audience and we took our seats and waited until 10.30am which was the time that the audience started. It was really incredible to hear the pope giving his conference and also every head priest of each region translating it into their native languages. At the end of the conference they announced all of the groups that were in the conference and was really wonderful to see how every group cheered or dedicated songs to the pope after they were announced, including us, the St. Johns group. After the audience ended we left the Vatican and went to top of the “Il Vittoriano” an astonishing monument made as a tribute to the memory of King Victor Emmanuel II. I heard before I went to that monument that many people do not like it because it is too new for the ancient Rome and you can clearly notice it for its white color of the marble in comparison to the brown of the other statues and monuments. But when we arrived there I was completely amazed to see such huge and remarkable monument. Then we took the elevator to go to the top of it and I heard the words of the person that ran the elevator saying “you are going to a terrace that is close to the heaven”. When he opened the door I could not believed that it was real, the view there was unbelievable. Then I realized why the guy in the elevator told us that. You can see almost all Rome there on the top and appreciate all the beauty of Rome with all their monuments, statues, buildings, roads, churches, etc, in one place. Those images are not going to go leave my mind and are going to remind me that beauty exists and that you clearly can find it in Rome!
Bryan Barrera, Survey of Art and Architecture, Berkeley College
Trevi Fountain_01
The Trevi Fountain is the largest Baroque fountain in Rome and is one of the most famous monuments in the city. The fountain marks the point of a long canal called “Acqua Vergine,” which was named by Agrippa in 19 BC. The present fountain’s façade depicts the scene of the young virgin revealing a source of water to Roman soldiers. In 1453, Pope Nicholas V mended the aqueduct and built a basin for the water. The fountain underwent different repairs over the years. In 1629, Pope Urban VIII asked Bernini to sketch renovations, but his project was eventually torn down when the Pope died. In 1732, Pope Clement XII commissioned Nicola Salvi to complete a fountain at the end of the canal. Pietro Bacci’s Oceanus, meaning god of water, was set in the central niche in 1762 when the Trevi Fountain was finally finished. The two figures flanking the ocean are Salubrity, who holds a cup from which a snake drinks, and Abundance, who spills water from a jug. Tritons stand below the Ocean and tame wild seahorses. The Trevi Fountain’s large size seems astonishing within the small piazza. However, it maintains a lovely symmetrical balance with the tritons and horses in the front and the towering columns in the background. These giant Corinthian pilasters hold up the Palazzo Poli, which is the backdrop for the fountain. I chose to write about the Trevi Fountain because it is such a monumental and beautiful landmark of Rome. Tourists always flock here to toss in their coins, hoping to return soon to the eternal city.
Emily Ostrom, Survey of Art and Architecture, University of Florida
Trevi Fountain_02
In contrast to the rest of the city of Rome, the Trevi Fountain is fairly new. For many decades, several Popes wanted to build a fountain on this site and many artists and architects, including Bernini, submitted their designs to the Popes. Finally, in 1732 Pope Clement XII approved the design by Nicola Salvi. The fountain took thirty years to build and features Neptune and the sea. On the rocks below Neptune there are two horses, one calm and the other feisty. These horses are meant to depict the changing moods of the sea. The constantly moving and gushing water represents the turbulence of the ocean. The two smaller statues directly to the left and right of Neptune represent Abundance and Health. These statues were both created by Filippo Valle. The four statutes on the top portion of the fountain all show the many beneficial and rejuvenating roles that water plays in the different seasons. Different artists created all four of these figures. Many tourists toss a coin over their shoulders into the fountain with the hope of one day returning to the “eternal city” of Rome. Now one knows exactly how this tradition started, but the 1954 movie Three Coins in the Fountain gave the practice of throwing a coin into the fountain its incredible fame. I threw a coin into the Trevi Fountain, hoping to return to Rome someday because I have fallen in love with the city. The culture, the language, the food, and the history are fascinating and the Trevi Fountain is one of my favorite sites to see, especially at night when the fountain is lit up and looks almost mystical.
Katherine Latta, Survey of Art and Architecture, University of Florida
Trevi Fountain_02
The Trevi Fountain stands 85 feet high and 65 feet wide, and is the largest Baroque fountain in the city of Rome. Tre Vie means three roads, which is where the fountain meets, which marks the terminal point of the “modern” aqueducts that supplied water to ancient Rome. The Gothic besiegers in 537/38 broke the aqueducts, which caused Medieval Romans to draw water from the Tiber River, which was also used as a sewer. The most recent restoration of the Trevi Fountain was done in 1998, the stonework was scrubbed, and the fountain was provided with new recalculating pumps. There is a tradition at the fountain that if you throw a coin in, you are sure to return back to Rome. However if you throw two coins in, it will lead to new romance, but three coins will lead to marriage, or divorce – so be careful what you wish for, it may just come true. I think that the Trevi Fountain was one of the most beautiful fountains I have ever seen. There is so much detail that went into the back wall of that fountain, and so many little things that you really need to just sit and look for. I would be able to sit at the Trevi Fountain for hours. I think it is the most relaxing and peaceful thing to sit and watch a magnificent fountain and to listen to the water running, - and it is very beautiful at night when it’s all light up, quite romantic.
Hillary Woodrow, Survey of Art and Architecture, Berkeley College
Santa Maria della Vittoria_01
The Cornaro Chapel houses one of Bernini’s most famous masterpieces, the Ecstasy of St Teresa of Avila. This marble sculpture is housed behind the altar in the church. Constructed of white marble it depicts St Teresa in ecstasy with an angel standing above her preparing to plunge an arrow into her body. In order to illuminate the bronze rays that lead to the figures there is a hidden window. Natural light floods in making the surface sparkle.
This sculpture has been heavily criticized throughout the years. In the sculpture St. Teresa’s head is back, her eyes are rolling, and her lips are open. Her clothes seem to flow around her body. The obvious sexual connotation is one that the church as argued with for years. In the nineteenth century some people even went so far as to condemn this sculpture for its levels of inappropriateness.
There are many details to this sculpture that make Bernini’s work even more incredible. The carving of the image in several tons of marble is astonishing in itself. In addition he portrays the saint as floating in the air by leaving rough marble underneath her to simulate a cloud.
Samantha Russo, Survey of Art and Architecture, University of Scranton
Santa Maria della Vittoria_02
On our second trip this week, we visited the church of Santa Maria della Vittoria, which was once again a very impressive work of art and architecture. This church contained a sculpture by Bernini know as Ecstasy of St Teresa of Avila. The church was built in 1605, and was originally dedicated to Saint Paul, but was later changed to being dedicated to the Virgin Mary. The church is incredibly detailed on the inside, with many sculptures and paintings lining the walls and ceilings. The masterpiece of the church however, is Bernini’s Ecstasy of St Teresa of Avila. This sculpture shows an event in which Saint Teresa said she had a dream where an angel was stabbing at her heart. She described this event as causing her extreme joy and pain at the same time, and the facial expressions depicted by Bernini do an excellent job portraying this. Saint Teresa’s tomb is also in the church, and a sculpture of her is placed in a glass case where it can be seen across from Bernini’s sculpture. There are still bones in one of her hands, which I believe is to prove that she was actually buried there. This church was one of the most impressive churches we visited so far because of the amazing sculpture and also the overall design of the architecture.
Patrick Brady, Survey of Art and Architecture, St. John’s University
Santa Maria della Vittoria_03
Ecstasy of St Teresa of Avila, Bernini, 1652, Baroque. Bernini’s Ecstasy of St Teresa of Avila is found in the Cornaro Chapel inside Santa Maria della Vittoria. The chapel was commissioned by Cardinal Federigo Cornaro. The sculpture was completed during 1645-1652; it is made from marble and bronze metal. It depicts the Spanish nun Teresa de Avila in a state of ecstasy, with a boyish angel above her. The angel is about to plunge a golden arrow into her heart, symbolizing divine love. The swooning St. Teresa is covered in drapery, made of white marble. This sculpture is not so much a sculpture but rather a three dimensional picture, as Bernini intended. The sculpture is composed of marble, metal, pictures and natural light. All these elements together create this three dimensional work of art that is the focal point of the Cornaro Chapel.
I chose this work because of the unconventional design of the sculpture. Most sculptures just rely on the marble and no other elements in their environment to convey the message. Bernini’s Ecstasy of St. Teresa encompasses many materials and elements to create a dramatic effect. The irony is not lost with this sculpture; it is comical to think this work of art is accepted in the church as it depicts a woman in a wild state. But the true wonder in this art is the use of contrast. From her cascading drapery to the cloud effect under her- the sculpture is complex.
Nicole Erazo, Survey of Art and Architecture, University of Florida
Santa Maria della Vittoria_04
Gianlorenzo Bernini (1598- 1680) was the resident genius in Rome during the seventeenth century. His brilliant sculptures are said to define the Baroque era in Rome. His was a master in technique and produced theatrical, intense sculptures. He was also quite popular with everyone, including cardinals, princes, and women. The Ecstasy of St Teresa of Avila is located in the Cornaro Chapel in the church of St. Maria della Vittoria. The sculpture is considered to be one of his most spectacular works ever. It depicts St Teresa, a sixth century nun, with an angel standing over her holding a golden arrow that he is about to thrust into her heart. Gilded bronze rays surround the pair, adding to the effect that the angel came down from heaven. A hidden window above shines light down the rays and right onto the pair like a spotlight. The sculpture captures a moment that looks like two real life pictures. St. Teresa is leaned back; her face seems to be in agony. Her lips are parted like she is crying for help and her eyes have rolled back into her head. The angel is made to contrast with Teresa. He stands upright in a straight line, while she is in a diagonal line. His clothes seem to be soft, and cling to his body while her clothes seem stiff and heavy. His face is eerily serene as he is about to thrust his golden arrow into her heart. No one can miss the underlying sexual theme in this sculpture. Critics have derided the sculpture as an orgasmic experience rather than a spiritual encounter. St. Teresa’s face as well as the angel’s look like they are in states of divine joy rather than about to kill and be killed. Some people hold that Bernini was simply expressing the scene as St. Teresa depicted it. Bernini and St. Teresa were both devout Catholics that believed in using all five senses to describe experiences of other saints to prepare themselves for mystical experiences of their own. I think that this sculpture is magnificent and but I also find it puzzling. I can’t decide if I think it is a religious scene, erotic scene, or a combination of both, I think the mystery adds to my liking of it.
Elizabeth Fulmer, Survey of Art and Architecture, University of Florida
San Carlo alle Quattro Fontane_01
In 1634, Borromini was commissioned by the Trinitarians, a Spanish order whose role was to pay the ransom of Christian hostages to the Arabs, to design a church and convent at the Quattro Fontane crossroads. The church, so small it would fit inside one of the piers of St. Peter’s is also known as “San Carlino.” It is an iconic masterpiece of Baroque architecture. Although dedicated to Carlo Borromeo, the 16th century Milanese cardinal canonized in 1620, San Carlo is as much a monument to Borromini. Both the façade and interior employ bold curves that give light and life to a small, cramped site. The oval dome and tiny lantern are particularly ingenious. The undulating lines of the façade are decorated with angels and a statue of San Carlo. Finished in 1667, the façade is one of Borromini’s very last works. In a small room off the sacristy hangs a portrait of Borromini himself wearing the Trinitarian cross. Borromini committed suicide in 1667, and in the crypt (which is now open to the public) a small curved chapel reserved for him remains empty. I really like this church because although it is so small it has great detail and complexity. It is very different from any all the other churches as it is not adorned with gold and colorful frescoes. Instead, Borromini uses concave/convex arches to create symmetry and add his own characteristic style to the church. I especially like how the design of the dome floods the small church with light. Although this is such a small church and the Romans were used to glanderous and splendid churches, I think it was still greatly admired in this time because of its beauty and details. It may have offered a more private and serene environment for meditation.
Luisa Betancur, Survey of Art and Architecture, University of Florida
San Carlo alle Quattro Fontane_02
Francesco Borromini was on of the greatest Baroque architects. He renewed the optimism and the aggressiveness of the Catholic Church in the 1600s. Borromini introduced a new kind of architecture that was spacious, dramatic, and brilliantly lit. Borromini would often be frustrated because he rarely received major commissions for his work. Instead it was Bernini getting all of the attention and recognition for his great work. The main reason why Borromini wasn’t as popular was because of his personality and not because of his talent. He was an impossible man to deal with and would fight with people on the job. The structures that Borromini designed are among the most original in Rome. They are known for their rather small space, yet the interiors seem large because of their billowing and flowing spaces. The shapes are unexpected throughout his work. The church, S. Carlo alle Quattro Fontane, which Borromini designed and built, is located at the intersection of two busy streets. There was a fountain designed on each corner of the intersection. One of the fountains was built into the exterior wall of his church which is challenging and impressive. The church was given a nickname of “San Carlino” because of its small size. Borromini was the perfect architect for this church because he used the small space he was given and creatively put it to use, whereas a lesser architect would have produced a little square chapel. Once I stepped inside the church my reaction was wow! this is a beautiful church unlike any of the others from the Baroque period. The walls were absolutely beautifully designed with curves and triangular peeks which was a magnificent sight. Another quality that made it different from all the other churches were that it wasn’t built coated with gold but was a simple white. I liked this church because it was unique in its own ways. For instance, the dome was of an oval shape which was the first time I saw so that was unique. Also I like that the dome lit up the entire church with sunlight. Borromini’s architecture in this church amazed me and was one of the best Baroque churches because of its uniqueness.
Alexis Simmons, Survey of Art and Architecture, St. John’s University
San Carlo alle Quattro Fontane_03
The architect behind the miraculously different San Carlo alle Quattro Fontane is Francesco Borromini. The church was commissioned to be built in 1634 when Trinitarian monks acquired and awkward piece of land. The period that this church was built was Baroque. The materials are white concrete, which can be seen cracking as one walks down the hallways. The church is located on oddly shaped property which posed as a challenge for Borromini. The church is situated at the intersection of Via Venti Settembre and Via delle Quattro Fontane. The interior structure of the church has a diamond shape. All the surfaces are white and simple with convex and concave walls making it easy on the eyes to view the entire church. There is an oculus at the top of the ceiling with a honey combed dome, with a white dove with gold around it in the center. Below the church through exploration one can find a crypt of the Trinitarian monks. The church was commissioned by Trinitarian monks when they received a small, odd plot of land to build a church. The church is now nicknamed Charlie because it is so small in size. It is quite comical that a church can have such a cute name. The Trinitarian monks of the day used the church as a place of worship. Furthermore, judging from the fully intact crypt they also used it as a place to bury their dead. I chose the S. Carlo alle Quattro Fontane because it is my favorite church in Rome. When one first walks in the wall to wall white takes one by surprise. I am accustomed to the overdone gaudy churches, and the simplicity was refreshing. One was capable of viewing the church in its entirety without being bombarded with paintings, relics and statues everywhere. The best part of my trip to S. Carlo alle Quattro Fontane was discovering the crypt down a winding spiral staircase. Once again people are buried below the church, how ironic.
Maggie Driscoll, Survey of Art and Architecture, St. John’s University
San Carlo alle Quattro Fontane_04
Francesco Borromini is one of Rome’s greatest Baroque architects. He was fortunate enough to live in Rome at the time a series of art-conscious popes were transforming the Eternal City and creating the Baroque style in the process. Barromini’s new architectural forms were suited for this new era. His designs are among the most original in Rome. The structures are small but have unexpected shapes. Borromini built the church called S. Carlo alle Quattro Fontane, which stands at the intersection of Via Venti Septembre and Via delle Quattro Fontane. There are no right angles inside Borromini’s church. The inside surface of the dome is honeycombed with hexagons and octagons. Partially concealed windows at the top of the dome permits light to be filtered in. Concave and convex walls produce curves that allow light and shade over surfaces. A statue of St. Charles Borromeo, to whom the church is dedicated to, is above the door. Two sculptured cherubim, whose wings meet to form an arch, border the top of the statues head. Borromini was constricted with a small square area of land but that didn’t stop him from constructing a building in the shape of a star hexagon. No Renaissance architect and no one before Borromini had created anything like S.Ivo, one of his other projects. The inside of S. Ivo is pristine white with concave walls and a huge dome. Borromini obviously had very different and interesting designs. His architecture is unlike any other church I have seen. I like that his designs are much different than any of the traditional churches that all look similar. This church stands out amongst the others. It is simpler in means of paintings on the ceiling, but it is very complex in its architectural design.
Katie Whitmore, Survey of Art and Architecture, St. John’s University
San Carlo alle Quattro Fontane_05
I liked this church for several reason one if that if got its name from the cross streets it sits on, no extravagant story or legend behind it. Created my Francesco Borromini in the early 1600’s at a time when many art conscious popes where transforming the Eternal City of Rome. This one of Borromini’s few larger great remaining works, as most of his others were much smaller commissioning and also much of the work of the time was going to him rival Bernini. This was not because of a lack of skill but because it is said Borromini was impossible to get along with, he was moody and had qualities of someone who is bipolar, and he would argue with anyone mo matter how high or low they’re status was. San Carlo alle Quattro Fontane is named that because it sits on the top of a hill, at the intersection of Via Venti Settembre, and Via delle Quattro Fontane, which was named for the fountains Sixtus V had ordered built at each of the piazza’s four corners. Since a corner of the Monks property was cut off by one of the fountains, Borromini had to incorporate the fountain into and exterior wall of the church. The church is a diamond shape with rounded edges, it nearly all white inside and out. The decorations are smaller and some very simple. You can see lots of wall space so everything is not so overwhelming compared to most other churches in Rome. On the interior of the dome a series of hexagons and octagons come together to produce cross shaped imprints. A mixture of concave and convex walls makes the light inside more dramatic. Above the door is a statue of St. Charles Borromeo which is who the church is dedicated too. On each side of him is a cherubim whose wings meet above his head to make an elegant arch. Sometimes San Carlo alle Quattro Fontane is called San Carlino meaning little saint Carlo in Italian. Built during the baroque period, this church is unique in appearance and design. I really liked Borromini’s use of shape and design to make simple walls look elegant and to allow there to appear to be much more space than there really is. I also like that this church had an exterior court yard that was built to resemble the interior walls of the church. I can imagine the Romans at the time it was built just being glad it was done as it seems Borromini is a very difficult person to be around or to have to deal with. I also think they may have been unimpressed and this church is not only much smaller in size but is also is very simplistic the sculptures and alter are nothing huge and dramatic compared to the other churches we have seen.
Shannon Carter Norris, Survey of Art and Architecture, St. John’s University
Sant’ Andrea al Quirinale_01
Sant’ Andrea al Quirinale is a Jesuit church that was built by Gian Lorenzo Bernini from 1658-1661. It was commissioned by Cardinal Camillo Pamphilii and is one of the greatest examples of the Baroque era throughout Rome. Bernini himself considered this structure as his only perfect work of art. The church has an elliptical floor plan and an oval dome. A porch leads up to the entrance way of the church and is supported by two columns. On the inside there are four chapels and five niches, one containing the high altar. The altarpiece, made by Borgnone, depicts the Crucifixion of St. Andrew. The interior is made from polychrome marbles and bleach stuccoes. The oval dome that sets on top of the church is decorated with stucco designed by Bernini and completed by Antonio Raggi. The paintings throughout the church also feature the Baroque style. They use darker colors and light while depicting religious experiences. The light in the church comes from the windows above and shines through the oculus of the dome. Bernini himself marveled at the play of light throughout the interior of his church. I chose Sant’ Andrea al Quirinale for my journal entry because it is a perfect example of Baroque art and was one of Bernini’s most excellent masterpieces. Everything in the church, from its architecture to artwork, is Baroque art at its finest. I am very glad I got to experience the architecture that Bernini considered to be his only perfect piece of work.
Shaine Nudel, Survey of Art and Architecture, University of Florida
Sant’Andrea al Quirinale_02
Sant’Andrea al Quirinale is the church of the Jesuit seminary on the Quirinal Hill in Rome. It was designed by Gian Lorenzo Bernini and Giovanni de’ Rossi over two decades (1658-1678). The site previously hosted a 16th century church, San Andrea a Montecavallo. The new building was commissioned, by Pope Alexander VII and, Cardinal Camillo Pamphilj. It is considered one of the finest examples of Roman Baroque architecture, embedding art into the structure in an often-seamless combination. Bernini considered it his only perfect work. In his late years, his son recalled, he spent hours sitting in the church and looking at the polychrome marbles, the gilded and bleached stuccoes, and the play of light in the interior. Elliptical in shape, with the entrance and high altar on the short axis of the ellipse, Sant’Andrea has a semicircular porch decorated with the arms of its Pamphilj patron. The stucco decoration was designed by Bernini and executed by Antonio Raggi and others between 1661 and 1666, with putti and cherubim beneath the windows. A Martyrdom of Saint Andrew (1668) by Borgognone stands on the high altar. I saw Sant’Andrea al Quirinale without the class. It is actually the first church I went to visit here in Rome. The reason is because my father went to medical school n Rome and he told me all about this church. It was his favorite church and he visited it a lot. So coming here I got strict orders to go visit this church first, only because he loved it so much. So my experience in the church was very special. I really did think the church was beautiful but not my favorite. My favorite part of the church was the amazing altar. That I found very beautiful just like my dad told me.
Maria Falcone, Survey of Art and Architecture, Berkley College
Chiesa del Gesù_01
Il Gesu was the first church to be founded by the Jesuits in 1551, by Saint Ignatius. It is in the baroque style, and located in the Piazza del Gesu. One of the church’s best features and what makes it one of my favorites is the ceiling fresco and cupola, painted by Giovanni Battista Gaulli. As in several of the Jesuit churches we’ve seen, the ceiling makes use of striking three dimensional visuals, with the artwork spilling over the molding and many sculpted figurals that are literally coming out of the ceiling. Il Gesu also houses the tomb of St. Ignatius, in the St. Ignatius chapel, designed by Andrea Pozzo. The chapel is very extravagant with a large statue of the saint surrounded by four columns, and a heavily gilded bronze urn which holds the body of Saint Ignatius.
Peter Stevens, Survey of Art and Architecture, St. John's University
Chiesa del Gesù_02
The Gesu was the first Jesuit church to be built in Rome. It was completed between 1568 and 1584. Its design highlights the Counter-Reformation Baroque architecture and has been much imitated throughout the Catholic world. It was designed and constructed by architects Giocomo Barozzi da Vignola and Giacomo della Porta. It was commissioned by Alessandro Cardinal Farnese, grandson of Pope Paul III. It is the mother church of the Society of Jesus, a Roman Catholic religious order also known as the Jesuits. The ceiling frescoes are one of the most vibrant decorations of the Church. It illustrates the grandiose Triumph of the Name of Jesus; which was drawn by Giovanni Batista Gaulli. The dome, also drawn by Gaulli, has a clear and confident message: the faithful, Catholic worshipers will be joyfully uplifted into the heavens while Protestants and other heretics are flung into hell’s fires. The Chapel of St. Ignazio was designed by Andrea Pozzo, a Jesuit artist, and it houses the saint’s tomb. This is considered the Church’s masterpiece. Above its altar is a statue of the saint, framed by gilded lapis lazuli columns. The chapel was built in 1696-1700. The Church is also house to the venerated 15th century image of the Madonna della Strada. I chose the Church of the Gesu for my journal entry because it is a historic paradigm to many churches which have fallowed. It is the first Jesuit church in Rome and its outstanding decorations, chapels, and nave ceiling truly bring it to life. At the time it was built, the common Romans were more than likely awed by its splendid gilded chapels and colorful frescoes.
Luisa Betancur, Survey of Art and Architecture, University of Florida
Sant’Agostino
Madonna di Loreto by Caravaggio was placed in the Cavalletti Chapel of Sant’Agostino in 1604 and today remains in its original location. This amazing work of art highlights baroque style and is an oil on canvas painting. This painting, like a lot of Caravaggio’s paintings, is dark with illuminated figures. The painting depicts two pilgrims, a man and a woman, kneeling before the Madonna and Child. The Madonna is looking down at the pilgrims with empathy. You can see the traces of compassion in the serene facial expression. The Madonna and child are highlighted by a simple halo. They are positioned above the pilgrims (elevated), giving them an out of this world feel. Yet, despite the halos, both the child and the Virgin Mary look very ordinary. The Madonna’s features are beautiful, but common. Like the pilgrims, the Madonna is also barefoot. The painting attempts to unify the commoner to a sacred figure. To depict the Madonna and child as holy in a subtle way; there is no arrogance in the face of the Virgin Mary. Madonna di Loreto was commissioned by the heir of Ermete Cavalletti. The oil painting was painted to adorn the family chapel and has stayed there since. The fact that it remains in its original location adds to its appeal since we are able to see the painting where it was meant to be seen. The beauty of this painting was definitely an encouraging factor in my choosing. The Virgin Mary looks so beautiful and the pilgrims look so full of faith and adoration. Despite its darkness, the painting, I believe, portrays a striking message. Despite the holiness of the mother and child, they are not meant to look drastically different (superior) than the pilgrims. Caravaggio placed the Madonna and child close to the people, which I believe is a very unique trait. Though a commissioned painting, you can see the love Caravaggio has for his art through the way he painted the Virgin Mary. It is a very simple but meaningful painting.
Elena Noureddine, Survey of Art and Architecture, University of Florida
