Posted on 04/08/2005 7:50:39 AM PDT by Liz
View of the Cathedra Petri through the Baldacchino, both by Gianlorenzo Bernini
The Cross and Apse
Baldacchino: Gianlorenzo Bernini, 1624-33, gilt bronze, ht. c.100 feet, San Pietro (St. Peter's), Rome.
As part of the decoration of Saint Peter's in Rome by Pope Urban VIII (1568-1644) [Maffeo Barberini], Gianlorenzo Bernini (1598-1680) received the commission for the design and construction of a structure that would be placed over the tomb of St. Peter in the crossing of the newly rebuilt basilica.
The resulting structure, known as the Baldacchino, is a combination of ideas that stem from earlier attempts at distinguishing the high altar and the tomb.
Many of the design elements such as the spiral column establish a link to the basilica of Old Saint Peter's and to the Temple in Jerusalem.
It is important to realize that Bernini early on in his career to the time of his death had always some connection to the decoration of Saint Peter's. It is his overall view of what the basilica should look like that makes Bernini's designs the essence of the Baroque style.
The size of the Baldacchino is approximately 100 feet tall. However, when compared with earlier models, it was not that much taller. Depending on where the structure was placed, either in the apse or over the tomb, and if it was part of a screen separating the choir from the nave, the earlier versions were just as large.
The Baldacchino is constructed from bronze, much of it stolen from the Pantheon (portico) and from the dome of St. Peter's (ribs). The height of the Baldacchino is supported by the use of bronze, rather than the perishable materials used in earlier versions.
The spiral columns of the Baldacchino are imitations of the ancient spiral shafts that were salvaged from the Old St. Peters and earlier basilica decoration. The original columns were moved to decorate the reliquary niches in the four corners of the crossing. In Bernini's version of the column, instead of alternating fluted and floral sections, he has placed the fluted section at the bottom and the remaining sections are foliage, consisting of the Barberini laurels.
1 Medieval folklore stated that the bodies of St. Peter and St. Paul were divided, half of each is buried in St. Peter's basilica and the other halves are buried at St. Paul's Outside the Walls (Lavin, 1) Atop the four columns that support the canopy of the Baldacchino stand four angels, over life-size. The affect that the angels produce suggests that they are what is supporting the canopy and not the columns (Lavin, 12).
The crown is comprised of four curved ribs that support a globe and cross. Records indicate that the globe and cross were not in the original plans by Bernini. Bernini's concept was to have the Resurrected Christ aloft the crown, as it would have worked in his entire plan of the crossing decoration. Between the angels, there are two putti that hold the papal tiara and St. Peter's keys, and two more putti hold a sword and book, symbols of St. Paul.1
Throughout the decorative elements on the Baldacchino are the symbols of Urban VIII, sun and bees, as well as the laurel of the Barberini family (mentioned above).
Bernini managed to fuse together parts of earlier ciboria and baldachin constructed in St. Peters, while adding elements that were indicative of his style.
Cathedra Petri
Gianlorenzo Bernini, 1656-66, gilt bronze, marble, stucco, glass, San Pietro, Rome
The crowning achievement of Bernini's design for the decoration of St. Peter's can be found in his later work Cathedra Petri (Chair of St. Peter) located in the apse of the basilica. This large reliquary was designed to house the original wooden chair of St. Peter's. In ecclesiastic tradition, Bishops always have their seats in the chief church of their district (cathedra=cathedral), and the Pope has his seat in St. John's in Lateran. Symbolically, the chair of St. Peter recognizes that St. Peter was the first pope and that San Pietro is and forever shall be his seat.
The Cathedra Petri is similar to Bernini's other works, like the Ecstasy of St. Theresa, in that it is not a single piece to be viewed by itself. Rather, the Cathedra Petri should be viewed in conjunction with the Baldacchino and the four pier sculptures.
Right: Detail, St. Augustine, gilt bronze, located proper right of the sculpture. Represents one of the Doctors of the church from the West. Far Right: Detail, St. Athanasius, gilt bronze, located inside proper left of the sculpture. Represents one of the four Doctors of the church from the East.
The base of the sculpture is made of colored marble. The Fathers or Doctors of the Church (Sts. Ambrose, Athanasius, John Chrysostom, and Augustine) and the Chair are made of bronze, partly gilded. The original chair is housed in the bronze chair that is flanked by the Fathers or Doctors of the Church. The chair appears to hover by divine will.
Above the chair is what is commonly known as the Glory. This is a combination of stucco putti and angels surrounding a stained glass window that is the actual light source for the apse. Bernini was disappointed with the original window and the glare that it created, so he incorporated it into the final product of Cathedra Petri. The window and dove act as the light and word of God and the Holy Spirit. Bernini diffused the light by using colored glass and reduced the harsh glare he so detested.
Details, The Glory, stucco and stained glass. The overall effect of the Cathedra Petri is awe-inspiring; rays of light, made in stucco, jut out from the real source of light. So much emotion is worked into the piece by the expression on the Doctors' faces and the movement of the putti and angels. Also located on the Cathedra Petri are bas relief of Washing of the Feet and The Handing Over of the Keys to St. Peter, created by Bernini. On the back side is a bas relief regarding Christ's decree to St. Peter, "watch over my flock."
Bernini reduced the size of the Cathedra Petri so that it could be viewed in its entirety through the Baldacchino. In that view, Bernini emphasized the importance of the relics contained in each and the foundation of the Church.
Created by Gwen M. McKinney, mckinney03@sbc.edu, 13 April 2003
Diego Giacometti came much later--post-Modernist I believe.
Might be phonetic misspelling since it is pronounced in Italian not at all like "Michael"--- but as "mickel"
Add me to the Art Ping please....(Art History major, Art Studio minor...)
Thanks for the great link.
We've had the pleasure of a lot of beautiful music this week, too.
We sure don't have much of that either (even at mass).
I would look forward to threads on Salvador Dali, Pablo Picasso, Louise Nevelson and Jackson Pollock.....for starters.
The millenial lack of great art, literature, music....more fallout from secularism.
The artists that created longago church art were surely informed by the prevalent religious culture of the time.
When I was stationed in Korea our Chaplain asked me to give a guest lecture regarding the signs and symbols of Christian art. As the class was for GI's I started by presenting them with the Hangul word for "Stop", in plain black letters on a white background. None of them knew what it was, and I established that, w/ regards to Hangul, they were essentially illiterate. As soon as the word was placed in white letters on a red octagon, they knew what it meant...not only did they know what it stood for, but I advised that that simple image was powerful enough that, given a car, it would evoke an internalized physical response...Just imagine the power of images over an entire population that is generally illiterate!!
Illuminated manuscripts make up a considerable part of the history of art and in their scenes of sacred history inspired painters, sculptors, goldsmiths, ivory workers, etc.....illumination is one of the most charming art forms ever conceived.
Most famous example is the Book of Kells an illuminated manuscript of the Gospel created in Ireland probably around 800 AD.
Thanks for your contributions, Joe. We lucked out when you found this thread.
Page from the Book of Kells an illuminated manuscript of the Gospel created in Ireland probably around 800 AD.
Did you know Fra Angelico started out as an illuminator? My senior thesis included a comparative analysis of an Annunciation theme he once did in a psalter and of course his Annunciation fresco in the Museo di San Marco.
Early Renaissance---Fra Angelico's The Annunciation---holds the charm of pure faith......I believe he began by painting frescoes on monastery walls.
Nope...he started out in the scriptorium...;-)
Any examples of his scriptorium work?
I don't have time to dig for it right now, but I'll see what I can find (either online or at least publisher info) and let ya' know!
OK, the fledgling Art Ping List has the following names:
Sam Cree
Liz
Joe 6-pack
woofie
vannrox
I am thinking of freepmailing the entire thread to see if they'd like to be on, probably will do that. If you guys think you know others who'd like to be on, let me know.
I believe the FReeper named "Giotto" would probably be interested....;-)
I won the Calligraphy Award when I was in high school, I think it was 1962. The actual award was an old page of religious text written by a monk in the 13th century. I should probably go get it from the old home and put it in my studio or something, it's surely the oldest thing I own.
Even so, I don't actually consider myself a calligrapher, but did make my living in the sign business for many years. Lettering is an art form of its own. My favorite type faces are those based on the Roman ones, some of the oldest we have, and also the most beautiful. Next, I like the Celtic types.
Joe, that was a really nice example of the power of the symbol, thanks.
Those would be good threads IMO also. A couple of them would be contorversial as well, which is what FR thrives on.
Ha! ya think?
OK, Giotto is on the art ping list.
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