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
Thanks......look forward to it.
Good start------will ping my lists to gauge interest.
We can better understand modern art (failings?) by going back to the masters.
Commercial art and advertising are indeed art forms.
Look what Andy Warhol did with a soup can.
I was reading a book by Tom Wolfe called "The Painted Word" recently, which, naturally I heard about on FR. It gives a fairly detailed and also sardonic partial history of modern art.
True, modern art is clearly linked to the old masters, regardless of its intentions of rebellion.
Lots of the time, I consider commercial artists and illustrators to be producing finer art than the "fine artists." After all, they have to meet actual standards, as the masters did, before they can practice their professions.
While I think poorly of most modern(e) art, there is some that I like plenty. Next time I'm in NYC, I plan to hit the MOMA as well as the Hispanic Society to see the Sorolla collection.
The evolution of modernism began with artists' desire to completely discard the notion of sentimentality on canvas.
As you know, MOMA has just reopened after extensive remodeling.
Beyond Rome...Venice, Florence and the hill towns of Tuscany are must sees. I fell in love with Capri and spent an unscheduled week there. The whole coastal area around Naples is to die for. One thing to be warned about is hustlers and theives. I lost a bag of luggage in the Milan train station when I was distracted by a someone asking for change for a US dollar and I looked away from my bags for a second. Be aware of them...they target unsuspecting tourists mercilessly and can of course mark you easily. If he he is on his own he is more vulnerable than if with someone or a group. Emphasize that because having crucial items stolen can potentially ruin a stay.
Wow! That must be amazing to see in person.
I've seen that stained glass dove in a catalog being sold as a suncatcher.
Add me to the list please! This is perfect timing - I start a watercolor class next week. Not that my stuff compares to this in the least.
Also watch out for the "throw the baby scam".......just as it sounds---the thieves throw a baby at you, b/c they know so you'll drop your bag or purse to catch the child.
Awesome---as someone posted earlier---a jaw-dropper.
If you want to be on a new art appreciation ping list, check in here.
Please add me. I have 3 Elvis on black velvet paintings. I know art when I see it!
That place is amazing. The sculptures, art and chapels are breathtaking.
I'll never forget it...
As long as it doesn't include Art Bell pings.
OK, you guys are on the art ping list.
Yes, I heard that they now charge $18 for admission to MOMA, smaller donations not accepted. Some New Yorkers are outraged, you can go on Thursday evenings for free, though, so I have heard. In MOMA, I'll be as interested in some of the industrial art as the fine, maybe more so.
Cool that you are taking watercolor classes. I've been getting back to art the last few years too, and taking classes. I've finally got a digital camera, so I'll be able to post online some of my stuff, I think members of Wetcanvas.com are given a little bandwidth. I have had an idea of an FR art gallery thread, considering that there are so many artistic Freepers. Maybe this ping list will provide the impetus to get one going.
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