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
Ping
The elliptical shape, symbolising the Church's embrace of all of mankind, is defined by a series of 284 columns arranged in four rows. lf, however, you stand on one of the two focuses of the ellipse, marked by a granite disk, it seems that the colonnade is made up of only a single row of columns! At the end of the right-hand arm of the colonnade, two Swiss Guards stand watch before the Scala Regia. Skilfully exploiting the little space at his disposal, the artist managed to give the illusion of a much bigger staircase through the use of optical devices.
Inside the basilica, also, Bernini's ingenious inventions never cease to amaze. The huge space under the dome was occupied by the gigantic Baldacchino, 29 metres high like Palazzo Farnese and the Louvre, whose twisted columns were cast of bronze taken from the Pantheon, a fact that immediately became the subject of the famous pasquinade "Quod non fecerunt barbari, fecerunt Barberini" (What the Barbarians did not do, the Barberini did).
The Baldacchino was erected over the altar, which in turn was placed exactly over the spot where, according to tradition, St. Peter is buried.
On the bases of the bronze columns supporting the Baldacchino, it is possibie to see the shields with the Barberini bees.
A closer examination reveals, however, that in reality they show the sequence of expressions of pain on the face of a woman giving birth. Going around the monument clockwise, seven different moments of pregnancy can be seen, up to the smiling face of a baby. Bernini intended, evidently through the figure of Pope Urban VIII Barberini, to celebrate mankind who suffers while awaiting salvation.
At the back of the apse is the Cathedra, the large bronze chair, supported by four gigantic statues portraying the Doctors of the Church, which was created to hold the episcopal chair where Peter sat.
In reality, the cathedra, kept inside the Baroque monument, dates from the 9th century and is a gift from King Charles I (the Bald) to Pope John VII.
To give an idea of the dimensions of the cathedra, just imagine that 121 tons of bronze were used and that the wingspan of the dove of the Holy Spirit in the stained-glass window is 1.75 metres long. The tiaras of the Doctors of the Church, situated below, are also about two metres high.
The square is dominated by the largest church in the world: St. Peter's Basilica. The dome was designed by Michelangelo, who also designed the plan of the Renaissance church, rebuilt over the early Christian one as ordered by papal architect Donato Bramante, who had the ancient basilica torn down. For this reason Bramante was nicknamed "Mastro ruinante" ("ruining master").
By Michelangelo there is also the beautiful Pietà, kept in the first chapel of the right aisle. lt is the only work actually signed by the great artist. lt is said that the sculptor, angry because no one knew who had done the masterpiece, decided to engrave his name on the band encircling the Virgin's breast. Michelangelo also engraved his monogram "M" in the folds of the Virgin's right hand, the one turned towards the viewer.
Also from the Vatican Museums, where it is also possibie to see Raphael's Stanze, painted between 1509 and 1512, and the Borgia Apartment, frescoed in the late 15th century by Pinturicchio, we can arrive in St. Peter's Square.
THAT is an awesome story, my FRiend...my closest brush with HOLINESS was back in '93 when my brother was graduating from the University of Virginia and after the big main ceremony on the infamous LAWN, the graduates broke up into colleges and we went over to Memorial Gym. As we seated ourselves in the bleachers there, we had no idea that just behind us, and three seats over, was Jesse Jackson, there to watch his son (Jumaine, I believe) graduate with my brother.
Well, being the staunch RightWinger that I was even back then, I realized this was my opportunity to educate this RACIST SOCIALIST as to the realities of the World. I waited fer the proper opportunity to voice my opinion, and while I waited, I made it obvious that I was focusing my camera directly at JesseJay!! He saw me coming, and still he failed to let out a YELP!! BWAHAHAHAHA!!
Well, anyway, after my brother and Jumaine had received their diplomas and the long ovation was ended, I made my move and walked up the bleachers and took the empty seat right next to JesseJay!! Then I started talkin'...I told him how I was glad he ran fer POTUS 'cuz he distracted the Left from supporting the RATS' candidate. I told him that his socialist policies were bad fer Americans and bad fer Blacks!! I told him that he would NEVER be President, becuz the first African-American President would be a conservative Republican!!
Well, it gets sorta hazy after that...apparently, JessyJay had a coupla body-guards, 'cuz I got whacked in the head and my ol' man had to dive on one bouncer, while my other brother was whuppin' on body-guard #2!! I woke up enuff to dive at JesseJay and knock him to the bleachers just above him. JesseJay's wife jumped on my back, then my mom got her in a headlock. It was quite the tussle, I must say. I landed a coupla body punches to Rev. Jackson before security puleed mwe off him.
Weird thing is, me and my family got escorted out while the Jackson KLAN got to stay until the end of the program...SHEEEESH!! But I'll bet I tell this story more often than Rev. Jackson does...LOL!!
We waited outside Mem Gym fer about 20 minutes before the cops made me and my family leave.
FReegards...MUD
So, BWAHAHAHAHA...MUD
You nailed Jesse before he nailed you? Just think of the savings in child support payments alone!
Heh heh heh...the fella never had a chance...MUD
It's simply amazing that it made it through the chisel incident. I saw it after it was put behind glass. I only wish I could draw that well. Ain't gonna happen...
SHEEESH...I waste ten minutes of my life making up that story and you don't even comment?! Yer cold, my FRiend, just cold...MUD
I've got 35mm pictures from the 90's as evidence. Are you telling me you have chunks of Jesse's hairpiece? Frame it - quick! It may end up in the Civil Rights Museum some day! (Try Ebay first - eh? Could bring a pretty penny...)
Thanks
Are you starting an "ART APPRECIATION THREAD" ping list?
I think it's a great idea, at least weekly?
If you are, could you please put me on the list.
Thanks.
I would love to be added...who should I let know?
By the way...this is a beautiful start. While I have an affection for a wide range of art, the list is much shorter when it comes to what has taken my breath away. Bernini and several from the High Renaissance period are on that list.
Thanks for the ping Liz. Great thread. Please add me to your art appreciation list.
Just the folds in the cloth alone make that the most amazing artwork ever created. And #2 (the Sistine Chapel, with the Last Judgement) is just a short walk away.
That Michelangelo... he was pretty good.
First time I saw the Pieta, it was before they it under glass.
Unforgettable moment.
And when you think that Michelangelo was only 24 when he carved it...
I dunno, CG. I gotta run this by Sam Cree. LOL.
Elvis? On velvet? Betcha you even got paintings of dogs dressed like people (gag).
Thanks for the post---wonderful contribution to the thread.
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