When one walks into the Vatican, St. Peter’s Basilica overtakes the viewer’s eye. While the exterior site of its grandiosity and extraordinary architectural design are incomparable, the interior of St. Peter’s is similarly, if not more, incredible. The various paintings, sculptures, and structures that adorn St. Peter’s depict the sacred values of the Catholic Church, ultimately capturing the true essence of the Vatican. One sculpture in particular that has the power to grab a hold of a person’s entire being, reaching one’s mind, body, and soul, is Michelangelo’s Pietà, located behind bullet-proof glass in the first chapel to the right upon entering the basilica. Constructed in the late 1490s, this stunning white marble statue is of the Blessed Mother holding the limb body of Jesus, her Son, on her lap after He has been taken down from the cross, in which she presents Him to us with her left hand. Originally created for Old St. Peter’s as an altarpiece, this sculpture provides opportunity for worship and reflection of the mystery of Christ’s sacrifice. Having previously viewed this sculpture in history books, I was immediately taken aback when I first saw Michelangelo’s Pietà in person. The delicacy in which Michelangelo portrays Mary and her Son exemplify such great love and beauty that viewers of all religious background will be experience something beyond themselves. While I view this masterpiece as one of humble perfection, I believe Michelangelo also felt he had created something tremendous, seeing as his Pietà is the only work of art that he ever signed. Renée Cloutier, Survey of Art and Architecture, St. John’s University
St. Peter’s is built over the grave sight of St. Peter’s grave and began construction in 319 A.D. Constantine sponsored the construction of the basilica. From the outside of St. Peter’s, which is in Vatican City, is a monstrous and beautiful structure with columns and a dome on top. As you enter the main doors you are suddenly surrounded with gold, statues, tombs, a large arch, a mass of exquisite internal beauty, especially Michelangelo’s sculpture of Mary and Jesus. The land on which St. Peter’s Church sits today is said to be the place of his burial near Nero’s Circus where his crucifixion took place. Many churches around the world are dedicated to Peter, the first known Christian who lived as a pious Jew finding Christ as his Messiah. St. Peter’s is the first basilica built in his honor under Constantine in 319 A.D. Until the 1400’s the church amassed much cachet through art, statues, tombs (of popes, saints, emperors), and gold. After a little more then a thousand years the building began showing signs of collapsing. In 1450 Nicholas V began replacement of the deteriorating church with stone from the Coliseum, however in 1455 the construction stopped due to his death. Upon election of Julius II an entirely new church was called for by the architect Bramante who was the first architect of the High Renaissance. After many changes in design, architect, and ruler the reconstruction landed in the hands of Michelangelo. Later others changed a few parts of the church including Maderno and Bernini. I chose St. Peter’s for not only for its immense size but significance in the church. The idea that Peter was not only crucified but also buried beneath the mass of the church creates a very prestigious place for all Christians. I assume the average Christian Roman praised Peter and his belief in Jesus and dwelled in the importance of the basilica. Those who were polytheistic probably found the church to preposterous and meaningless. Krystyna Lijek, Survey Art and Architecture, St. John's University
Saint Peter’s Square was designed by Gian Lorenzo Bernini beginning in 1656 under the orders of Pope Alexander VII. The square, where many people gather to see and be blessed by the Pope, has an elliptical center enclosed by colonnades and serves as the entrance to St. Peter’s Basilica. In Bernini’s own words the elliptical center encloses visitors with, “the maternal arms of Mother Church.” At the center of the ellipse is a 13th century BC red granite Egyptian obelisk, moved to Rome by Emperor Caligula. It was then transferred to its current location in 1586 by Domenico Fontana. There are two granite fountains, one on each side of the obelisk. The first was built by Carlo Maderno and the second was added by Bernini in 1675 to make them seem like part of the foci of the ellipse. The square itself is enclosed by two colonnades around the perimeter. The colonnades are comprised of 60 feet tall Doric columns, four rows deep. On top of the colonnades are 140 over life-sized sculptures of saints. There are two points, halfway between the fountains and obelisk, marked by stone circles where if you stand and look up at the colonnades they are perfectly symmetrical. From this point you can only see the first row of the columns; the other three are hidden behind. I chose to write about St. Peter’s Square because of its architectural design. When visiting the square and standing on the stone circles I was in awe at the prefect symmetry Bernini achieved. I was amazed that he was able to accomplish this without the technology we have today. To me the best part of the square is when I stand on the circles and the rows of columns disappear behind the first. Shaine Nudel, Survey of Art and Architecture, University of Florida
Santa Maria sopra Minerva is a minor basilica in Rome built over an ancient temple dedicated to the Egyptian goddess Isis. The basilica was built in 1280 by two Dominican friars, Fra Sisto Fiorentino and Fra Ristoro da Campi. The church is unique because it is considered the only Gothic church in Rome, yet it was built in the renaissance era. The front of the church was altered in the 16th century when Carlo Maderno created a Baroque façade. It was then restored in the 19th century to a neo-medieval style. On the inside of the basilica the nave has uncharacteristic pointed arches, giving it a Gothic style. The church contains the Carafa chapel which includes 15th-century frescoes of the Annunciation and the Assumption by Filippino Lippi. The chapel was commissioned by Cardinal Oliviero Carafa in honor of Saint Thomas Aquinas. The church also houses the Cristo della Minerva by Michelangelo Buonarroti. It is a marble sculpture finished by Michelangelo in 1521 and depicts Christ carrying the cross. I chose to use Santa Maria sopra Minerva for my journal entry due to its uniqueness. Not only is it the only Gothic church in Rome, but it was also founded by Dominican friars. I also enjoyed the fact that the church housed the Cristo della Minerva. Any church that contains a Michelangelo masterpiece is a worthwhile visit to me. Shaine Nudel, Survey of Art and Architecture, University of Florida
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The Basilica of Santa Maria Sopra Minerva, or Saint Mary Above Minerva, is one of the few examples of Gothic architecture in Rome. It was constructed by architects Fra Sisto Fiorentino, Fra Ristoro da Campi and Carlo Maderno. Its construction began in 1280 and it was finally finished in 1370, in the heart of the Renaissance. This 13th century church is built on ancient ruins, supposed to have been the temple of Minerva. This church was the traditional stronghold of the Dominicans, whose antiheretical zeal earned them the nickname of Domini Canes (hounds of the Lord). This simple T-shaped vaulted building holds the tombs of the 16th century Medici popes, Leo X and his cousin Clement VII, which illustrate the monumental style of the Roman Renaissance. Near the steps of the choir is famous Statua del Redentore, or statue for the Risen Christ, by Michelangelo. The church also contains a tomb and a bust by Bernini and the tomb of St. Catherine of Siena who died in the chapel in 1380. At the end of the 16th Century, Carlo Maderno gave the church a Baroque facade, then restored in the 19th century to its present neo-medieval state. Another significant feature on the facade are marks, which date back to the 16th and 17th centuries, which indicate that various floods of the Tiber rose to 65 feet (20 m). I chose this basilica because it is the only true example of gothic architecture of a church in Rome. It is really interesting to see how architectural eras leave their marks throughout history. The Romans of the time must have reacted to it with curiosity since it was a unique example of a different architectural style in these days. Luisa Betancur, Survey of Art and Architecture, University of Florida
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The Church of Santa Maria Sopra Minerva is located southeast of the Pantheon and can be easily made out; as an Egyptian obelisk resting on a jovial marble elephant designed by Bernini in 1667 marks the entrance to the building. The only gothic church in Rome, this basilica was built over the foundations of what used to be an ancient temple to the goddess of wisdom Minerva. It was first constructed in the eight century, but the building we appreciate today is a temple rebuilt by the Dominicans friars who received the property from Pope Alexander IV circa the late thirteenth century and later modified in the 1500s and 1900s. The original architect Sisto Fiorentino and Ristoro da Campi used the Gothic church of Santa Maria Novella in Florence as the model for Basilica di Santa Maria Sopra Minerva. The church has the most beautiful Giotto-blue ceiling covered with gilded stars and accented with red ribbing. Santa Maria Sopra Minerva also houses the tombs of several popes and cardinals, the relics of Saint Catherine of Siena and Michelangelo’s of Christ the Redeemer which stands right next to the main altar. A curious fact about this Basilica is that famous physicist Galileo Galilei was tried by the Holly Inquisition in the Dominican monastery next to this church for teaching that the Earth followed the heliocentric model thus revolved around the Sun. Erick Oran, Survey of Art and Architecture, University of Florida
In 1491, Ignatius was born into a noble and warlike family in the Basque region of northeastern Spain. He grew up watching his father and his brothers become proud and aggressive individuals. Ignatius’s battle wound that shattered his right leg had inspired him to serve and worship God. As a result of him getting hurt, he no longer could fight so he turned to God and furthered his education. In 1537, Ignatius was ordained priest in Venice and then traveled his way to Rome. One of the jewels of the Roman Baroque is also the part of the Collegio Romano complex- the church of S. Ignazio, Church begun in 1626 to commemorate the canonization of St. Ignatius Loyola in 1622. The original Jesuit architect Orazio Grassi had planned to crown this building with a monumental dome only slightly smaller than that of St. Peter’s. The dome was not created the same way as the one in St. Peter’s it was unique in its own way. The dome was created the specific way because there was a protest because the dome would prevent light from entering a library near by. So then the illusionistic perspective named Andrea Pozzo painted the dome to be a flat surface. The dome can be seen by the eye when standing on the dot in the center of the pews inside the church. The fact that the ceiling of the church was three dimensional was interesting and I would love to know how did Andrea Pozzo design such a perfect piece of art? This totally amazed me because it is brilliant! How did he know the exact spot to put the dot on the floor for people to view the dome? Alexis Simmons, Survey of Art and Architecture, St. John’s University
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The church of Sant’Ignazio, completed in 1650, was previously the major place of worship for the nearby Jesuit Roman College. The church was built in order to commemorate St. Ignatius for founding the Jesuit order. The money that was set aside to build the church ran out before the cupola could be built. So, the artists painted a 56-foot canvas to emulate the interior of a real dome. The church foundation is shaped like a Latin cross and is beautifully decorated with Baroque décor such as colored marble and stylized paintings. The most impressive painting is the ceiling fresco painted from 1691 to 1694 by Padre Andrea Pozzo, a Jesuit brother. The fresco is “St. Ignatius’ Entrance into Paradise” and it is a masterpiece of three-dimensional painting. In the center of the painting, Jesus Christ and the Virgin Mary welcome St. Ignatius into heaven. Around them, angels and other figures bask in the heavenly light. Along the bottom sides of this fresco, Pozzo painted four female figures representing the continents on which their Jesuit order was active. These continents include Europe, America, Asia, and Africa. This church was one of my favorite churches to visit because it was so different than any other church that I’ve seen in Rome. As we walked into this church, my eyes were immediately drawn to the ceiling fresco because of the unique perspective it had. The ceiling actually looked like it continued up much higher than it really did because of the artist’s genius ability to create a three-dimensional view. Also, the ceiling fresco was very pleasing to look at because of its optimistic and light tone. Katherine Latta, Survey of Art and Architecture , University of Florida
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St. Ignatius Loyola had a great and profound impact on Rome. His Jesuit order, the Society of Jesus, changed the Eternal City. He had a series of conversion experiences which made him reconsider the troubled life he was leading and filled him with a desire to serve God. He returned to school in Spain and then Paris to help accomplish his religious goals with ordination. His religious passion aroused the suspicions of the Inquisition and was briefly imprisoned. A group of six organs and himself formed Inigo, now called Ignatius, which later became the nucleus of the Jesuit order. While roadside at a shrine in Rome, he had a vision from Christ and God and heard the voice of God say to him, “I will propitious to you in Rome.”Ignatius chose a site for his headquarters at the heart of Rome, west of the present-day Piazza Venezia. The piazza is irregularly shaped and was kind of an island in the busy flow of streets. The Jesuits secured a permanent foothold there and eventually became the modern Piazza del Gesu, site of the Jesuits’ principal church, Il Gesu. Ignatius opened the Collegio Romano in 1551, where Jesuit seminarians from all nations could be trained. Even though it is no longer owned by the Jesuits, its severe sixteenth-century architecture still dominates the piazza. The church of S. Ignazio began in 1626 to commemorate the canonization of St. Ignatius Loyola in 1622. Jesuit architect Orazio Grassi planned to crown his building with a dome smaller than that of St. Peter’s. Funds were running low and the Dominicans at the nearby monastery resented the presence of the Jesuits and protested that any dome atop S. Ignazio would prevent light from entering the library. The solution came from a northern Italian expert on illusionistic perspective named Andrea Pozzo. He painted a false dome instead, a flat disk that creates the illusion of the interior of a large dome. The ceiling was painted in 1692 with scenes symbolizing the missionary work of the Jesuits throughout the world. He adds a story of painted architecture and makes the ceiling disappear into the infinite spaces of heaven. The decoration inside Il Gesu is the product of the late 1600s, the exuberant age of the Italian High Baroque with bronze and stucco work, glittering veneers and brilliant paintings.I thought this church was amazing. At first it looked just like all the others churches but when looked at closer, it is stunningly different. It was awesome to stand in the middle and just stare at the ceiling. It really looked like the ceiling was disappearing into the infinite spaces of heaven and the figures were popping out of the ceiling. The painted dome really looked like a normal dimensional dome at first but it was shocking to see that it was flat. I enjoyed this church and it was mind boggling to think that someone was able to design and create such beautiful art. Katie Whitmore, Survey of Art and Architecture, St. John’s University
Rome would not be the same today without the artistic impact of Gianlorenzo Bernini. While a man of many artistic abilities, Bernini’s sculptures are among his best works. It was during the Baroque era in the seventeenth century that the artistically versatile Bernini transformed the streets and churches of Rome with his sculptures and unique architectural designs. One outstanding example of Bernini’s mastery is the Four Rivers, a fountain that resides in Piazza Navona. As per the request of Pope Innocent X, several models for a fountain featuring an Egyptian obelisk, dug up from the Circus of Maxentius, were submitted to him. Unknowingly, Innocent chose Bernini’s design, which should not even have been allowed to be submitted due to Innocent’s initial despise of Bernini. It was between 1648 and 1651 that Bernini and several assistants constructed the Four Rivers, using a limestone material known as travertine. This sculpture represents an incredible island that rose from the ground, which is the mythical source of four great rivers. These rivers include the Danube of Europe, the Nile of Africa, the Plate of South America, and the Ganges of India. A large and floundering figure of a river god personifies each river. Innocent’s obelisk serves at the pinnacle object of the fountain while animals, rocks, plants, and other natural qualities beautify this structure. Bernini’s unique use of holes for water, light, and air passageways create a magical scene as the obelisk appears to be floating. The majestic appearance of this fountain is what fascinates me about it. Today, people are continually amazed and energized by the astounding site of the Four Rivers, Bernini’s most famous fountain. Renée Cloutier, Survey of Art and Architecture, St. John’s University
This crypt, located beneath the church of Santa Maria della Immacolata Concezione on Via Veneto holds the bones of more then four thousands monks. The bones come from monks who died between the years 1528 and 1870. The bones are strategically placed around the basement of the building. Arranged in designs on the walls are the finger and toe bones, while the arms and legs make up designs on the ceiling. In the center of it all are rooms filled with the skulls and pelvic bones of the deceased. Additionally, there are whole body replicas lying amongst the bones, some even dressed in the robes that the monks wore during their life. The soil that lines the floor of the basement was brought from Jerusalem. As one walks through the crypts they eventually hit a dead end and are forced to turn around and walk back through. However, not before seeing the morbid sign at the end of the hallway. The sign reads: What you are now, we used to be, what we are now, you will be. Although doomful and morbid this sign is meant to inform the visitor that life is short and that all will eventually meet their end. A useful thing to remember as visitors depart back to the world of the living. Samantha Russo, Survey of Art and Architecture, University of Scranton
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Cripta dei Cappuccini, Commissioned by Antonio Barberini, began in 1626 A.D., concrete and human bones. (Taking pictures inside of the crypt is not permitted).
This crypt is the cemetery to about four thousand Capuchin friars. It is next to the church of Santa Maria della Concezione. The crypt is a small space of five chapels that house the remains of many Capuchin friars. It took about 100 years to complete. The bones are the Capuchin friars in the crypt were assembled together to create many Christian symbols such as crucifixes, crowns of thorns and sacred hearts. A sign found in the last chapel reads “What you are, we used to be. What we are, you will be.” This crypt is essentially a burial chamber for the Capuchin friars. The more than four thousand Monks buried in the crypt all died between 1528 and 1870. The design of the Monks’ remains cannot be attributed with certainty to any one person, but it is led to believe the crypt first started with the Monks bringing the remains of their fellow deceased monks and lining up the bones in the crypt. I chose this work because it is astounding to see the creativity of whoever came up with the idea to gather human bones and assemble them into figures. The amalgamation of all these bones of former friars highlights that ultimately we are all the same when death strikes, regardless of who we were during our human lives. Romans were most likely amused with the design of this crypt. I would be lead to believe that they’re reactions were not unlike those of modern day Romans and tourists. Nicole Erazo, Survey of Art and Architecture, University of Florida
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One of our trips this week was to a very unique church named Santa Maria della Concezione. This church was very interesting because unlike any other church we have previously visited, the crypt was decorated with the bones of thousands of dead monks. The church was constructed under the reign of Pope Urban VIII, who had a brother who was a monk himself, which most likely lead to the interesting choice of decoration. The bones of over 4,000 dead monks, who were buried from 1500 to 1870, cover the majority of the interior walls of the crypt. This is shocking to see at first, since it is not anything like the interior decorations of the many other buildings and churches we have visited, which usually consist of beautiful gold and marble. This also shows how differently death was viewed by Romans many years ago than it is by Americans today. Not very many people would be comfortable decorating a crypt with the remains of dead monks, but hundreds of years ago, when the crypt was constructed, it was considered acceptable. The most eerie part of the crypt was at the end, when a plaque in one of the chapels says “What you are now, we once were; what we are now, you shall be.” This clearly serves as a reminder to everyone that visits that we all die one day and perhaps that we should be prepared for this inevitable event. Although this is considered more of a crypt than a church, it is still an amazing work of art with a very interesting choice of medium. For this reason, this monument serves as one of the more popular tourist attractions in Rome, especially because of its unique characteristics. Patrick Brady, Survey of Art and Architecture, St. John’s University
