Baroque and Rococo - Architecture and Decoration by Anthony Blunt, Alastair Laing, Christopher Tadgell

By Anthony Blunt, Alastair Laing, Christopher Tadgell

A learn of a interval in artwork and layout levels from Baroque structure in Rome within the early 1600s via Bernini, Boromini, and Pietro da Cortana

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The colonnade made approach not only to St Peter's but also to the entrance to the Vatican, which now came at the end of the right-hand corridor, but, as things stood, this corridor led to a narrow and dark staircase w hich pro\ ided the only access to the main papal apartments. In 1663, on the orders of the pope. Bernini began the construction of a new and grand approach called the Scala Regia. The site available was narrow and irregular, squeezed in on one side by the wall of the Chapel and on the other by the outer wall of the palace, the two walls being, incidentally, not parallel.

Hi 30 Part Italy I three-arched loggia. On death the pope and the cardinal his turned to the mediocre Dutch architect, Jan van Santen, in Rome as Vasanzio buildings left {c. ade of S. Francesca (1615), the only Roman show the direct influence of Palladio. known by only one work in Rome was building of the period to Another architect Rosato Rosati, a Barnabite brother from the Marches, who built the Roman church of his Order, S. Carlo ai Catinari (begun 161 1), a spacious building on a near-Greek-cross plan.

The practical problems which the architect had to solve were complicated and varied. There was first the question of site. The ground sloped down in front (east) the old buildings making it of the church, and on the right of the Vatican encroached on the area, impossible to establish a corridor leading up to the entrance to the Vatican at right angles to the facade of the church. Secondly there were the requirements of ceremonial. The piazza had to be designed so that the people could see the pope when he gave maximum number of his blessing iirbi ei orbi.

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