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
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
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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
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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
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
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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
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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
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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
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
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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
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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
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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
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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 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
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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
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
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
San Luigi Dei Francesi_01 Michelangelo Merisi da Caravaggio (1571-1610) was an Italian artist with a reputation as rebellious and dangerous. He was rumored to have killed a man. The paintings he produced in Rome during the 1600’s contained images that shocked the people of the time but were brilliant. One of these paintings is the Calling of St Matthew. The work is located in its original location, which only adds to the impact of the fascinating painting. This painting, along with some others, placed Caravaggio at the forefront of the naturalist movement in Rome.The Calling of St. Matthew is located in the Contarelli chapel in San Luigi dei Francesi church where it was placed in 1600. There are also two other Caravaggio works in the chapel. the Calling of St. Matthew is shocking because of it’s setting in a grungy Roman tavern, yet it was accepted by the clergy who rejected the first version of Caravaggio’s The Inspiration of St. Matthew. The Calling of St. Matthew depicts the story told in the Gospel of St. Matthew chapter nine verse nine.In the painting, we see St. Matthew seated at a table with some bad company. Caravaggio’s use of light in this painting is unique in that the evil people are in the light while Jesus in the darkness and almost completely covered by Peter, who stands in front of him. This use of light suggests the passage “the people that sat in darkness have seen a great light.” Jesus’ face is memorable, stern and confident as he points a finger across the room to Matthew. His arm bridges the gap between himself and the greedy men. The gesture similar to the gesture in Michelangelo’s Creation of Adam, suggesting that Jesus is not just summoning Matthew, he is giving him a new life.I find this painting fascinating, along with the man who painted it. I like the Caravaggio did, for the most part, what he wanted, even though it wasn’t always accepted and shocked many important people. I love the use of light as a major component in the telling of the story. I also love that Caravaggio showed the scene as it would have been, grimy and real. Elizabeth Fulmer, Survey of Art and Architecture, University of Florida
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Caravaggio’s paintings are probably what make the San Luigi Dei Francesi Church so well known. He painted these within six years in the early 1600’s, during this time he also was a reputed criminal and was sought after. His paintings are three depictions of the life of St. Matthew in the Contarelli Chapel of this church. The San Luigi Dei Francesi Church is the French community church of Rome. It was a French cardinal, Mathieu Cointrel (Contarelli as it was changed in Italian), who endowed the money for someone to paint in this church. Contarelli was actually dead before anyone had even been hired to do the paintings so it is unknown what he would of thought of these controversial paintings.A lot of people actually had issues with his first painting the Inspiration of St. Matthew because there were bulging bare legs and dirty feet. The patrons actually refused to pay for it so he had to re-do the painting. His paintings show how tormented Caravaggio was; for example the bad people were shown in the light of the painting, and the good were in the dark. He also shows Calling of St. Matthew taking place in a grimy Roman tavern which also took harsh judgment. His third painting, Martyrdom of St. Matthew was the only not to cause any issues. All of Caravaggio’s paintings are actually still in their original locations which is something rare since there are so many museums and even Pope’s that move things. I really liked going to see this church especially because of the kind of person Caravaggio was, we do not see many paintings like this. Nicole Dagostino, Survey of Art and Architecture, St. John’s University
San Luigi Dei Francesi_03 Caravaggio was a troubled man as a result of his great temper. He was physically and verbally violent which was not good. Although Caravaggio had many offenses, arrests, and imprisonments he created some of the most original and compelling works of Italian art. After 1599 nearly all Caravaggio’s paintings were religious. As a result, he was expressing his spirituality through his works of art. Caravaggio completed more than a dozen religious works, among them are the decoration of the Contarelli Chapel in the Church of S. Luigi dei Francesi with three large paintings of the life of St. Matthew. The Calling of St. Matthew is one of the three great art works created by Caravaggio. This particular painting is on the left wall where Caravaggio showed the event taking place in a grimy Roman tavern. Caravaggio reminds us in this particular art- work that Jesus did not choose an exemplary man as his Evangelist, but a corrupt and venal one, a man made uncomfortable among his shady friends by the sudden appearance of Jesus and Peter. Matthews face in this painting could be looked at closely and illustrate the depth of his embarrassment from being in bad company. The two men to his left are greedy people in which the older lean forward to view the money on the table and adjusts his glasses better to see it, while the younger man studies the coins with his own mind. At the other end of the table are two insolent young dandies that are staring at Peter and Jesus. This painting has a great deal of light and some darkness. It is ironic that the light falls on the tax collectors rather than Jesus or Peter. Therefore the evil ones were bathed in light and the sacred figures were in relative darkness. This painting is playing on the double meaning of illumination as a physical and spiritual event in which Caravaggio’s lights main focus is on Matthew, yet at the same time suggests the fulfillment of prophecy. Caravaggio’s paintings were the best paintings I have seen yet because they were realistic, made great use of color, and the way he used the light to express the meaning in the picture was incredible. Also the fact that the painting was in its original location had significant impact on the piece of art. Alexis Simmons, Survey of Art and Architecture, St. John's University
Santa Maria del Popolo, located in one of Rome’s largest squares, contains smaller chapels full of Renaissance features. In 1472, the building was first constructed with Italian Renaissance architecture by Baccio Pontelli and Andrea Bregno. They were commissioned by Sixtus IV. Later the façade was updated to a more modern Baroque style in 1655 by Gian Lorenzo Bernini. The church currently has a very simple white exterior. The Cerasi Chapel off to the right hand side of the altar contains two magnificent paintings by Caravaggio. They were painted in 1601 and illustrate The Conversion of St. Paul and The Crucifixion of St. Peter. The element of light is the most dominant feature of the paintings. In the Conversion of St. Paul, a disproportionate horse is standing over St. Paul. The light first hits the massive side of the animal and then draws your eyes down to the man. The Crucifixion of St. Peter looks incredibly realistic in its depiction of St. Peter being crucified upside down. The three men who hold the ropes and the cross all have their faces turned away, but St. Peter’s face is clearly seen as exhausted and astonished about his fate. Santa Maria del Popolo also contains the Cappella Chigi chapel, which was entrusted to Raphael by Agostino Chigi, a rich banker who provided for Raphael. The dome mosaic was completed by Raphael and dates from the Renaissance. Chigi’s tomb lies here. I found this church to be very interesting because of the Caravaggio paintings. The paintings possess dark emotion and dramatic lighting that only a true genius could achieve. Emily Ostrom, Survey of Art and Architecture, University of Florida
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Supposedly, the site of this church contained the remains of the evil emperor Nero and was haunted by Nero’s ghosts. Therefore, in order to drive out the remnants of paganism, Pope Paschal II dug up the site in 1099. He burned the remains he found and threw them into the Tiber River. Then, on top of this site, Pope Paschal II built a chapel dedicated to the Virgin Mary. The church was redone several times and today is basically the fifteenth century Renaissance version, with some touches of Bernini and the Baroque period. The most famous chapel in the church is the Cerasi Chapel, which displays Caravaggio’s paintings, Crucifixion of St. Peter and Conversion of St. Paul. Also, the Chigi Chapel is quite impressive. On the left and right of the chapel are two pyramid-shaped marble tombs designed by Raphael Sanzio. These tombs contain the bodies of Agostino Chigi and his brother. Bernini designed the marble floor and the hanging bronze lamp in the Chigi Chapel. Also, on the right of the main door of Santa Maria del Popolo, there is a frightening skeleton sharing a cage with a butterfly. This is meant to symbolize resurrection or rebirth. Santa Maria del Popolo is magnificent because of the ornate decorations on the inside. My favorite part of the church is the Cerasi Chapel because it contains two of Caravaggio’s paintings. The paintings demonstrate the talent and genius ability of Caravaggio. The way he used light to guide the onlooker’s eye across his paintings is amazing. Also, his paintings look convincingly realistic. Katherine Latta, Survey of Art and Architecture, University of Florida
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The Church of Santa Maria del Popolo is a notable church located in Rome, to the north side of Piazza del Popolo. In 1099 Pope Paschal II built a chapel to Our Lady, over a tomb of the Domitia family. The name del popolo means “of the people”, It derives from the people who funded the chapel. The chapel became a church by will of Pope Gregory IX and was given to the Augustan’s, who still oversee the church, in the late 13th century. Santa Maria del Popolo was reconstructed by Baccio Pontelli and Andrea Bregno in 1472-1477, commissioned by the association of the Lombards of Rome. In 1655-60 the facade was modified by Gian Lorenzo Bernini, who was asked by Pope Alexander VII to update the church. The church contains not only the Cerasi Chapel canvases of Caravaggio, but also frescoes by Pinturicchio, sculptures by Andrea Bregno and Gian Lorenzo Bernini. The Chigi Chapel, the private chapel of banker Agostino Chigi, was designed by Raffaello Sanzio. The dome is decorated with Raphael’s mosaics Creation of the World. I liked the church of Santa Maria del Popolo, more for the Caravaggio paintings. They really are beautiful paintings and I feel the Baroque style is more appealing to my personal eye. I feel like looking at it I can’t truly see the story within the paintings. I think that these paintings really make Santa Maria del Popolo special. I had no idea who Caravaggio was until I came to Rome and read about him last week, but after learning about him and seeing the beauty of his paintings I really will remember him, and I truly think he might be my favorite artist that I have seen and learned about in Rome. Maria Falcone, Survey of Art and Architecture, Berkeley College
Santa Maria del Popolo_03 Santa Maria del Popolo is located in Piazza del Popolo, one of the largest and well-known piazzas in Rome. The building was constructed in 1472 by Baccio Pontelli and Andrea Bregno and commissioned by Sixtus IV. The façade was then modified in 1655 by Gian Lorenzo Bernini, who was asked by Pope Alexander VII to update the Renaissance church to a more modern Baroque style. The church was completely reconstructed using architectural canons of such rigorous simplicity and harmony that it is considered today one of the most important works of the Renaissance. Behind its plain façade, the interior is enriched with a choir made by Bramante and an extraordinary chapel, the Capella Chigi, one of Raphael’s most important works. Cappella Cerasi where there are two exceptional masterpieces by Caravaggio: the Conversion of St. Paul and the Crucifixion of St. Peter. The paintings are characterized by the extreme use of the element of light and darkness. Rebellious and non-conforming as he always was, in the Conversion of St. Paul, Caravaggio utilized the figure of the horse as the main descriptive element in the composition, rendering the Saint less important. The Crucifixion of St. Peter looks extremely realistic and horrifying. The men holding up the ropes have their eyes turned away but St. Peter’s face is clearly seen. The look on his face depicts the pessimistic idea that no matter how much faith one has in god, he will have to face death in whatever way possible. Sanam Vazir, Survey of Art and Architecture, University of Florida
The Musei Vaticani, inside the Vatican City walls is one of the greatest museums on the world, with a wide selection of different collections, from Egyptian antiquities to Raphael’s frescoes. It drew over four million visitors in 2008.The Gallery of Maps is one of my favorite areas. It is a long hallway leading to the Sistine Chapel with topographical maps of all 40 regions of Italy, flanked by windows with beautiful views of the Belvedere courtyard. All of the maps were painted by Ignatius Danti, which took over 3 years to complete.The Sistine Chapel is the most popular attraction in the Vatican Museums and consists of what is probably Michaelangelo’s greatest works, with both the ceiling frescoes which took four years to complete and his painting of the Last Judgement. The chapel is named after Pope Sixtus IV who restored the chapel about thirty years before Michaelangelo would complete the ceiling. The Sistine Chapel was used for religious reasons, but is now best known to house the Papal Conclave, which takes place when the cardinal’s elect a new pope.Hercules of the Theatre of Pompey, is a unique, full-size gilded bronze statue, with a storied past. I think it is unique from most of the ancient statues that we’ve seen, in its bronze patina and what it depicts. The towering statue shows Hercules holding a wooden club, with the skin of the defeated Nemean Lion resting on his other arm. It is from the early second century and was discovered in 1864 after it was previously buried under tiles, as was the custom for objects struck by lightning. Peter Stevens, Survey of Art and Architecture, St. John’s University
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In my third week in Rome we went to the Vatican museum. It is located inside the Vatican City and was established in 1506 by Pope Julius II. The “Musei Vaticani” by it name in Italian, is one of the greatest museums in the world and has an enormous collection of Roman Catholic Church items that were collected throughout the centuries. We walked around the whole museum and the two most important things we saw there were the Sistine Chapel and Raphael’s Rooms. The Sistine Chapel is the official residence of the Pope in the Vatican City and it is so famous because it has some frescos painted by the greatest Renaissance artist like Michelangelo, Bernini, Raphael, and Botticelli. One of the most famous paints is the one created by Michelangelo called the Creation of Adam that represents God in one side and the Humans in the other trying to touch its finger like a symbol that god is giving live to Adam. It was created under the support of Pope Julius II but the Sistine Chapel gets its name from Pope Sixtus IV that restored the Chapel later in between 1477 and 1480. Nowadays, it is used for the Papal Conclave that is the procedure which the new pope is elected. The Raphael’s Rooms or Stanze della Segnatura by its name in Italian, is a series of frescos painted by Raphael to redecorate the existing interiors of the rooms of the papal apartments. Raphael frescoed two rooms and then he died but his assistants continued the two other rooms. The rooms are Hall of Constantine, Room of Heliodorus, Room of the signature, and the room of the Fire in the Borgo. These sequences of paintings are so important because they mark the High Renaissance in Rome. Bryan Barrera, Survey of Art and Architecture, Berkeley College
One of the most renowned artworks of the High Renaissance was done between the years of 1508 and 1512 by Michelangelo. It was done under the commission of Pope Julius II. The ceiling of the large Papal Church was built within the Vatican between 1477 and 1480 by Pope Sixtus IV – whom renamed it the Sistine Chapel. The chapel is the location for Papal Conclaves and other important services. Central to the ceiling decorations are nine scenes from the Book of Genesis – where the creation of Adam is best known. It is 40.5 meters long and 14 meters wide. The ceiling raises 20 meters above the main floor of the chapel.In order to reach the ceiling, Michelangelo designed his own scaffold, a flat wooden platform on brackets built out from holes in the wall by the top of the windows, rather than from the ground up which would have entailed a massive structure leaving the chapel unavailable for services. The main components of the design are nine scenes taken out of the Book of Genesis, of which smaller ones are each framed and supported by four naked youths. At both ends and beneath the scenes are figures of twelve men and women who prophesied the birth of Jesus. On the crescent shaped areas, above each chapel’s window are tablets listing the ancestors of Christ and accompanying figures. Above that in the triangular spandrels, are an additional eight groups of figures – but theses have no yet been identified with specific Biblical figures. The Scheme is completed by four large corner areas, each illustrating a dramatic Biblical story. The scenes from the Alter to the main door are 1. The separation of light and darkness, 2. The creation of the sun, moon, and Earth, 3. The separation of land and water, 4. The creation of Adam, 5. The creation of Eve, 6. The temptation and Expulsion, 7. The sacrifice of Noah, 8. The great flood, 9. The drunkenness of Noah.I really did enjoy going to see this. Everyone has always said if there is one thing you must do while you visit Rome – you have to go see the Sistine Chapel, and now I know why. This chapel has to be one of the most beautiful things I have ever seen. Most things when you look at a picture you can basically get the same affect, but this is totally different – you actually get blown away when you are standing there staring up at this beautiful piece of artwork that I would have never in a million year have been able to do. Hillary Woodrow, Survey of Art and Architecture, Berkeley College
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The Sistine Chapel is the last stop on the spectacular journey through the vast papal art collections of the Vatican Museums. The chapel was not just created for means to view Michelangelo’s work. Sixtus IV built the chapel in the mid 1470s, around the time of Michelangelo’s birth. It was intended for use as the pope’s private chapel and served over the centuries as a setting for various papal ceremonies. It has also housed the conclaves of cardinals that select the popes. The architect, Baccio Pontelli or Giovannino de’Dolci, designed the rectangular chapel to have frescoes on its walls and ceiling. Sixtus IV in the 1480s commissioned a group of artists to create frescoes illustrating the life of Moses on the left wall and scenes from the life of Christ on the right. These paintings are great examples of Early Renaissance are, but Michelangelo’s contributions overshadow them. The paintings on the ceiling, for Julius II, are among the masterpieces of Western art and considered Michelangelo’s greatest works. They cover 2,400 feet and are one of the largest frescoes ever painted. There are great colors of pale blues, oranges, yellows, pinks, greens, and lavenders. The message of the ceiling is powerful: human sinfulness and insufficiency require a savior and that savior is Jesus Christ. Michelangelo’s painting of the Last Judgment radically changed the atmosphere and theological meaning of the Sistine Chapel. It announces that the High Renaissance holiday is over. The Last judgment is not only about judgment and punishment but also about justice and redemption.I stood in awe just staring at the ceiling of the Sistine Chapel. It was amazing to finally see the infamous work by Michelangelo. I had heard so much about it and seen so many pictures of it and it was great to finally see it in real life. It is stunning that one ceiling tells so many stories and has so much meaning to it. The detail and everything about it is spectacular. Katie Whitmore, Survey of Art and Architecture, St. John’s University
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The original ceiling of the Sistine Chapel was blue with stars on it, which reflected the early Renaissance attitudes of self-confidence. However, Pope Julius II wanted to leave his mark and therefore commissioned Michelangelo to create a masterpiece on the ceiling of the Sistine Chapel. At first, Michelangelo was reluctant to obey the Pope’s wishes because he considered himself a sculptor, not a painter, and wanted to continue working on Pope Julius II’s tomb instead. When he did accept the job, Michelangelo changed the original plans of painting the “Twelve Apostles” to the more impressive and magnificent “Creation”. Michelangelo laid on his back on scaffolding for four years working on this amazing feat, completed in 1512. The ceiling contains nine main scenes: “The Separation of Light and Darkness,” “The Creation of the Sun, Moon, and Planets,” “The Separation of Land from the Sea” and “The Creation of Plants and Animals,” “The Creation of Adam,” “The Creation of Eve from Adam’s Rib,” “The Expulsion from the Garden of Paradise,” “The Sacrifice of Noah,” “The Flood,” and “Noah Drunk.”Michelangelo’s painting on the ceiling of the Sistine Chapel is my favorite painting of all time. The ceiling is incredibly gorgeous, detailed, and demonstrates Michelangelo’s genius artistic gift. I appreciate the fact that every single detail in his artwork has a meaning and I enjoy learning what each symbol means. For example, I noticed that in “The Expulsion from the Garden of Paradise,” Michelangelo depicts the evil serpent in the garden as a woman and I wondered why he painted the serpent this way. Turns out, Michelangelo was just following the popular views of his time period. The serpent tempted Eve and then shortly after that, Eve tempted Adam. Therefore, by drawing a woman-serpent Michelangelo identified both the source of evil and it’s own nature. Katherine Latta, Survey of Art and Architecture, University of Florida
Pope Julius II built his private apartments above those of his greatly disliked predecessor, Alexander VI. Raphael and his pupils began the task in 1508. They replaced existing works by several better-known artists, including Raphael’s own teacher, Perugino. The rooms took 16 years and Raphael himself died before its completion. The frescoes illustrate the religious and philosophical ideals of the Renaissance.The Hall of Constantine began in 1517, 3 years before Raphael’s death. It was completed by Giulio Romano in 1525 under Pope Clement VII. The triumph of Christianity over paganism is the main theme of the decoration. The four major frescoes illustrate the life of Constantine, including his Vision of the Cross and his victory over his rival Maxentius at The Battle of the Milvian Bridge. The other two frescoes are The Baptism of Constantine and The Donation of Constantine. The Room of Helidorus was decorated between 1512 and 1514. It includes The Expulsion of Heliodorus from the Temple. It shows a thief called Heliodorus felled by a horseman as he tries to make off with the reassure from the Temple of Jerusalem. Another famous fresco is that of The Liberation of St. Peter. It has remarkable lighting effects achieved through the illustration of the angels. Pope Julius’ face appears in the face of St. Peter. The Room of the Segnatura obtains its name from a special council which met in this room to sign official documents. The frescoes were completed between 1508 and 1511. They reflect the Humanist belief that there could be perfect harmony between Classical culture and Christianity. On one side is The Disputa, The Dispute over the Holy Sacrament which represents the triumph of religion and spiritual truth. On the opposite wall stands The School of Athens, my personal favorite, which is centered around the debate on the search for the truth between Greek philosophers like Plato and Aristotle. The Room of the Fire in the Borgo was originally the dining room and was later converted into a music room. The main frescoes were finished by two of Raphael’s assistants between 1514 and 1517. The most famous is The Fire in the Borgo, which celebrates the miracle in 847 when Pope Leo IV extinguished a fire raging in the Borgo by making the sign of the cross. These rooms quickly established Raphael’s reputation as an artist in Rome, putting him on a par with Michelangelo. Luisa Betancur, Survey of Art and Architecture, University of Florida
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The artist of the frescoes in the Stanza della Segnatura is Rafaele Sanzio. He was commissioned to paint in about 1509 by Pope Julius II. The materials are paint and the walls of the Vatican Museum. The period in which the frescoes were painted is last medieval and renaissance, particularly High Renaissance.The particular Raphael room I chose was the Stanza della Segnatura. Here Raphael pieces together law, poetry, theology, and philosophy. Theology is represented by the Holy Sacrament. Poetry is represented by the painting of Mount Parnassus, where the god of poetry and songs, Apollo, is with his muses. Across from the poetry wall above a window law is represented by the three virtues of fortitude, temperance, and prudence. In the top most part Emperor Justinian is receiving the Pandects. On the right is Pope Gregory IX receiving the decretals. It is believed the Pope Julius the II can be seen in the face of Pope Gregory IX. My favorite fresco in the Stanza della Segnatura was the depiction of philosophy. Raphael named it The School of Athens. The representation is an assembly of all the greatest philosophical thinkers. It’s incredible how lifelike the philosophers look with their hand gestures and focused faces. In the center of this masterpiece one can see Plato and Aristotle. Plato is pointing towards the sky above, while Aristotle is gesturing towards the ground. One can even spot Michelangelo in the back left. Raphael paid this tribute to Michelangelo for his inspiration after seeing the Sistine Chapel and being so impressed.The Raphael rooms were commissioned by Pope Julius II to paint frescoes in the audience rooms of the Vatican Palace. No one knew he was proficient enough to produce such commanding frescoes. The function of the Stanza della Segnatura was to be a place where the Pope put his seal on all official documents and is rumored to have even been Julius’ own private library. Raphael worked with numerous assistants so some of the works finished by them did not come out so well.I assume Romans of the day were not allowing in these room because of all the official papal business taking place within their walls. The experience of the Stanza della Segnatura was unreal and like no other. The School of Athens took my breath away. The fresco is huge. Viewing it you can see every expression of the great thinkers deep into intellectual conversations with maps, globes, tablets, books, and you can even see some hastily scribbling ideas down. The definition of the muscles is outrageous. He has captured what people really look like. The meaning behind The School of Athens encompassed what philosophy is. I especially like how he represented law. Raphael was careful to cover all his bases by including church law as well as Roman law. As I viewed the Stanza della Segnatura I longed for a science representation. I wonder how Raphael would have depicted that. But thinking further I can understand why he did not, because the church and science have never really gotten along. Today tourists can gaze at the marvels of Raphael as part of a tour of the Vatican Museum. Maggie Driscoll, Survey of Art and Architecture, St John’s University
