Lesson 8: Villa Borghese (painting)

Main loggia
• This was not enclosed in glass. There is a monument in the room that was for the King of France. There are also three portraits of Bernini. The gaze of Bernini is very intense. There are also two busts for Scipione Birghese.
• The fresco by Lanfranco (creator of the Dome in Sant’Andrea)

The next room
• Painting of the flight from Troy. This painting also has Creusa (the wife who is left out of the sculpture by Bernini). This is by Baracci. This would have been behind the sculpture. It would be another example of the play of all of the arts.
Domenichino, Diana and Her Nymphs, Originally for Cardinal Aldobrandini but “bought” by Scipione Borghese, possible advisor: Agucchi, 1617-18. Based on the Metamorphoses by ovid, that long poetic tradition of the “archers’ competition” (Homer, Virgil, Sannazzaro, Marino, Alamanni, etc.) and the poetic tradition about the “dangers of Beauty” (plato, Valerian, Petrarch, Boccaccio, Ficino Bembo, Tasso, etc)

Background of soceity
• Domenichino was imprisoned by Borghese so that he could get this painting.
• Agucci was the possible advisor. He was a philosopher.
• All of the cardinals in Rome would compete with art. They would use this as propaganda. This shows the cardinal’s power and how cultivated he is.
The Painting
• Who is Diana? She is the goddess of hunting and the moon. As we can see in the painting, she is wearing a crown with a half moon on her crown.
• She is holding an archer’s competition, much like the Olympic games of Diana. She is holding awards.
• There are 5 nymphs in competition with each other. They are archers and are in competition with each other. They want to get the bird that is on the upper right part of the painting.
• There are other nymphs who are cheering.
• In the background the nymphs are training. One if body building, running, dancing, and two are hunting. The two that are just coming back from hunting a stag are looking at us.
• Analysis of the 5 archers
o 1- dressed in white with a basket- she has already tried, but she probably did not hit anything.
o 2 – dressed in white and blue- she tried and is waiting for the response of the 3rd one.
o 3 – she hit the bird in the eye.
o 4 and 5- they do not even want to try.
• The bird that the archers were trying to hit is going to fall on the bush. Behind the bush are men. The bird is going to fall on the men.
o What is going to happen?
• This relates to the story of Acteon in the metamorphoses by Ovid. Acteon is a hunter and was walking into the forest of Diana. He was Diana and her nymphs dancing naked. She saw him and turned him into a stag. Then he was killed by his own dogs. This story tells us not to spy of Diana or else she is going to kill you.
• The men are spying on the nymphs. There is dog who is going to get the bird and one of the birds is looking at himself in the water (this is like Narcisuss). Once the dogs go and get the bird, the men (who are telling us to be quiet as to not disturb the nymphs) are going to be found out.
• There is a young nymph who is looking at us. She is the most naked one on the painting. This means that we are also intruders. This means that we are in danger whenever we are in front of this painting.
• The Archers’ Competition
o In western literature is important. It was used by Homer, Virgil, Sannazzaro, Marino, Alamanni, etc.
o In the late middle ages / Renaissance it was considered poetic license to use this reference. What is poetic license? It is when the poet can change the subject matter to anything he wants to. This means the that archers can be transformed into anything that the poet desires. In the past the archers’ competition have been represented by different creatures/animals. This means that the archers competition is a symbol of poetic license.
• What does this mean about the artist? Domenichino is taking the competition as his own. He is now a poet.
• Beware of Beauty
o The bird is hit in the eye. This shows that beauty is dangerous. It tells us that we should not by looking at Diana and her nymphs. Beauty in general is dangerous. Diana will kill you if she sees that you are looking at her. Love is often thought of as a disease because love starts through your eyes. The eyes are the recipients of love. Eyes transfers to the heart.
• Frustration of sight
o This is also an example of the frustration of sight. This makes the subject matter very appropriate for a painting. The illusions of the painting are different than the illusions of sculpture.
• The 5 archers is a pictorial competition is heavily based on Michelangelo’s drawings.
• Pastoral Landscape
o The forest is a very humid. This is called a pastoral landscape. The landscape is where the gods and mortals would meet. This is where people turn into nature.
o The park in Villa Borghese is a pastoral landscape. It is as if the paintings/art comes from the garden. It is inspired by the gardens.

Caravaggio, Self Portrait as Sick Bacchus (Bacchino Malato), c. 1594

• Dirty fingers, sick face, gray-green skin.
• Engages viewers but separates viewer from painting
• Different than frontal. ¾ view. This is almost back view.
• Turning toward painter
o Classical ritaratto di spalla (portrait seen from shoulder). Invented/elaborated in the renaissance
o There is darkness in the background and light in the foreground.
o This also creates a dialogue
• Painting by Titian, supposed to react, only have a second to engage the face, psych, dialogue, emotional viewer supposed to respond, fill in meaning, then have time to see the beauty of the painting.
• Bacchus statue by Michelangelo (first in Rome) has smaller Bacchis figure in Ritratto di spalla posture. Where he got inspiration , competing with sculpture of Michelangelo.
• We know Caravaggio was sick in the hospital for a time painting reality of Bacchic state, reality of creativity, artistic coma.
• Hard to attach meaning to his work.
• All dramatic close ups of figures, not narrative like Carraci.
• Bacchus is a symbol of the resurrection
o Bacchus represents God. He is the god of wine. Wine is related to Christianity. Wine= the blood of Christ. This is a symbol of the Eucharist.
• Caravaggio created paradoxes. He created an effort. The grapes could refer to Pliny and his writings about the fruit that looked so real that he wanted to eat it.
• This reflects the paintings of Durer. Caravaggio liked him very much. He would have been away of the print.
• Caravaggio makes is Bacchus take the same pose as Christ in the Durer print. This creates a paradox.

Caravaggio, Palafrenieri Madonna, Originally commissioned by the Palafrenieri for the altar at St. Peter’s, 1606.



• Palafrenieri protected the pope. They commissioned Caravaggio to decorate the altar of St. Peter’s. This would have been huge for a big altar.
• There are 3 monumental figures
o St. Anne
• Old
• Dark
• She is the grandmother Christ and the mother of Mary. She is just looking and waiting. In Dante she is refered to as being sickly looking and waiting for something to happen.
o Mary
• Adult
• Less dark/light
• She is teaching him how to walk and how to kill a snake.
• She is pushing the boy to us, also pulling him back. She pulls him back because she is still a mother and worries about her son. She pushes him toward the viewer as if she is offering him up the viewer. She knows he will have to go onto the cross and she is not happy. She knows this is inevitable. She is offering him to the viewer as if he is the host. It is as if he is being pushed OUTSIDE the painting.
o Christ as a young boy
• Youth
• Bathed in Light
• He is learning how to kill a snake. The baby is actually helping the mother to kill the snake.
• Mary’s hands hold the baby Jesus where his wounds would have been. He is also about to cross his legs just as if he is on the cross.
• His hand is like the hand of Adam.
• He knows that he will have to die on the cross for our sins because he has already seen evil. It is Christ’s first time seeing evil.
• His weight is emphasized.
o (Snake)
• This represents evil and the story of Eden.
• Another famous painting that depicts Anne, Mary and Christ is by Leonardo. The Adoration of the Magi.
o He is playing with a lamb. It is described by a monk that Mary is restraining the baby, but at the same time pushing him from/toward the lamb.
• His death is unavoidable. The baby had just been made aware that the snake is evil and he must kill it. He is foreshadowing the resurrection.
• The Sexuality of Christ in Art by Stienberg
o His nakedness shows that he is human. He was created with the flesh of Mary. This shows that he is vulnerable and “complete in all parts.” God revieled himself to us in the form of Christ.
o In another depiction of the Adoration of the Magi there are 3 kings. The first king opens the legs of Christ and checks to see is he is “complete in all parts.”

Lesson 6: Apollo and Daphne by Bernini

I missed part of the lecture (Damn you Questura!) so my notes are not really complete.

Narcissus=Painting- Fell in love with his reflection. He fell in love with the reflection.

The birth of music= Pan
The birth of Sculpture= Daphne
The birth of painting = Narcissus


Flight from Troy 1619-20


Rape of Persephone 1622
• 3 headed dog, Pluto and Persephone
• This group is based on Renaissance sculpture
o Ex. Herculese and Antens
• This is seen in the X composition. The figures are in an explosive embrace. They are in all different directions.
 There is the holding/blinding attack with bronze statuatte.
• Rape of the Sabines by Gian Bologna
 Loggiadei Lanzi, Pizza della signorina. He was bornin Florence. There are the spiraling of three figures vs the walk around narrative. It has a clear point of view.
• This shows the beauty of the controposto with shows the mastery of art. It also shows the contortion of the body.

Apollo and Daphne


This represent the Metamorphoses. As we walk around the statue, the story unfolds. We see that the protagonists do not know exactly what is going on.

They had to forbid the touching of the sculpture. They were touching as Apollo is touching Daphne or as Pluto is touching Persephone. The frustrated and consumed love is seen. The sculpture is so close to human flesh it is almost a dematerialized sculpture. He creates a dematerialization. This is incredible because his marble almost becomes fleshy.

Alberti on sculpture. You have to try to create out of the marble block some kind of tree trunk. Out of this, try to create a human form. Bernini is almost going against the rules. He is also most reversing the kind of metamorphosis.

The story of Apollo and Daphne must be studied in sections. The metamophosis by Ovid was Christianized. France had “the moralized Ovid.” The story of Apollo and Daphne was completely discussed. It was seen as a symbol of chastity. Daphne kept her chastity and wanted to become another kind of object, she was seen as a symbol of chastity. In the 14th century the greatest poet Petrach wrote about Daphne. He talked of Laura = Laurel. When Petrach sings the beauty of Laura, he is singing about Daphne. Laura was the angelic woman. Angelic women were unattainable. Petrach sees the woman at a distance. He is always trying to kiss her and touch her, but she is always a daphne. She would escape from the arms of the poets. It is out of the suffering that Petrach writes these love poems.

Cardinal Barberini wrote a poem on the pedestal of Apollo and Daphne. It is on a dragon. “Whoever chases beauty will taste bitterness.” The little fruit of laurel is very bitter. This inscription is on a dragon. Dragon was the symbol of the Borghese family.

You can tell that he love Daphne.
Marino. a writer= associated with sensuality. = Baci

Is the cardinal talking about petrach or does he stand with Marino? Bernini was trying to create a manifesto. This was a demonstration piece. We cannot decided if it is the sensuality of marble of the frustrated touch. Bernini is uses marble and not words to describe the metamorphosis. This is very difficult. Her hair was full of laurel leaves. It is almost transparent. How is the possible? Apollo’s hand is touching her. The skin of Daphne is pulsating.
This is not just the Apollo, but the Apollo Belvedere.

Where was this originally located.
The foot of Apollo was against the wall. You would have seen a man chasing a woman. If you start turning around the sculpture, you can look at the metamorphosis unfolding. It was like a virtual tour. The frontal position would be the embrace of Apollo. When you get on the other side, you see the tree taking over. Once you have competed it, you can only see the breast of Daphne which is the last symbol of a woman. You see a man chasing a tree at the end.

This sculpture summarizes the baroque problems. What are they?
• The sculpture is supposed to evoke so many ideas at once.
o Almost as if there is a slow fuse of many things together that is almost too hard to decipher. Bernini was about to incorporate all of this in one piece of marble.
• There is awhole traditionof Italian and ancient sculpture reappearing.
• Sculpture echoes antiquity in the renaissance, poetry, and painting.
• The “paragone” at its best.
o The competition among the arts at its best by means of compilation, synthesis and evocation.
o “Paragone”, compilation and the tour around the sculpture
o There is a precise idea for this. This is why the location in the room is very important.

The protagonists do not know what is going on. She has no idea as to what is happening to her. Apollo – we cannot say if he is happy or sad. If you look carefully, you realize that this is the image of the passage of happiness to sorrow. From the moment in which Apollo is happy because he is reaching his lover to the moment in which he is understanding that something is about to happen and is happening at that moment. It is the very suspension. The suspended moment of what was before and what was going to be later. These are the themes of baroque art. Most of the sculptures of the baroque are like this. They are Dramatic and problematic.
Bernini was about 25.

Lesson 5: The Young Bernini

Carraci and Caravaggio
Quiz two weeks from now.

Return to Caravaggio
St. Matthew and the angel- guiding the hand of St. Matthew.

He is writing almost as an ignorant man. The inscription is in Hebrew. There is am ambiguity here. How deep is the ignorance of Matthew? Look at his face. This face is very important. At first he just looks like an old man. He reminds us of the ancient Roman busts of philosophers. Socrates is recalled in this painting. Socrates is known for not having left any literature. He is able to incorporate images and concepts which create an ambiguity. He creates the paradox of Ignorance and Philosophy. This is very realistic and the other version of it is more dignified.

Bernini- self portrait
• He was from Naples. Born in the end of the 16th century. He was from a Florentine family. Naples was the biggest city in Europe and he was commissioned to do many works there. His father Pietro Bernini was a sculptor as well. They came to Rome when Bernini was still a child (15 or 16 years old). Pietro was commissioned to do a work in Santa Maria Maggiore. John Lorenzo Bernini moved in this area.
• Santa Maria Maggiore is close to Termini and this is where he chose to live. Santa Maria Maggiore is one of the greatest churches in Rome. It dedicated to the cult of the virgin Mary. This was where all the cardinals had their own villas. They lived among gardens and they overlooked Santa Maria Maggiore. Bernini was living in between the “abitato” and the countryside.
• He moves just behind San Pietro. In the 1630’s there is the reign of Urban VIII. His name is Maffeo Barberini. He commissioned the a great canopy. This is the great altar of with bronze spiral columns. He was working 24 hours a day in San Pietro.
• After this, he went to live near the Spanish steps in Villa della Percidere. Everyone would come to Bernini to get a bust of themselves. It is there that Bernini died. This became a mythical place in Europe.
• He was invited to redesign the Louvre in Paris. These plans were rejected. This could be because he was too advanced. The style of architecture in Rome had an advanced vocabulary the was not understood outside of Rome.
• Bernini was 15 when he was a good sculptor. He was already recalling from antiquity. We could se this throughout his work. Today we can see his work throughout the city and especially in the Vatican. There are three sculptures that are fundamental to Bernini. These sculptures were all important. They were more or less created in the Renaissance. Some of them are copies of greek sculpture in ancient Roman times.
o Torso Belvedere
• This could be something that you study and complete in you mind.
o Apollo Belvedere
• in movement. This is the prototype.
o Laocoon
• Leave me alone… I’m in love.- Bernini said this when he was studying this sculpture. This image of the body in this state and how the body reacts to sorrow and despair was important to study.
• This was unearthed in the age of Michelangelo in 1536. He was a witness to the unearthing of this.
o These were all found again during the age of Michelangelo. The only people who got these from spoils of war was Napoleon.
o These were all part of the Vatican collection.
o These are even more important because they are good studies of anatomy because of all of the muscles. Belvedere is something you could study and complete with your mind. EX Apollo Belvedere has no arms so we can fill in the blanks with our mind. For example the famous Thinker by Rodin has some of the same parts as the Apollo Belvedere. This shows how influential this was.
o Bernini was copying these sculptures of classical perfection. We will see later the Apollo and Daphne is an Apollo Belvedere in movement. We will see how Bernini has energized this sculpture into something new.
o Ares – Bernini restored the sculpture because the patrons of Rome wanted him to. This sculpture was unearthed more or less in the time of Bernini. He had become an expert because he studied so closely the ancient sculptures. Bernini tries to energize the classical sense of the ancient world. Bernini uses more spiritual kind of expressions and not the old renaissance smile.
Putto (child) on a Dolphin- Bernini
• 19-20 was his age at the time of making this. This is one of the first sculpture where he shows the sculpting tendencies of his father. Bernini was born mostly in the workshop by breathing the dust of the marble because his father was a prolific sculptor. His father had decorated Florence, Naples, and Rome.
• There is a similarity between Putto on a Dragon and Putto on a Dolphin. You can see the similarity.
• The Dragon was a symbol of the Borghese family so probably the sculpture of the the Dragon and the Putto was a Borghese commission.
• The Putto and the Dophin, Bernini’s sculpture, has more of a reaction. The scream shows that he is feeling pain. This is what interested Bernini: The cause and the effect. Bernini’s sculpture was to be looked at from all around. This is another sign of independce. It is bitten by a dolphin
Satyr Molested by Putti- Bernini 1616-7

• There is an effort made on the side of Bernini. He is trying to show that he can do everything.
• He is showing that he can move the sculpture as if it is made of wax. They move paradoxically almost one against the other. The Satyr is a hybrid between an animal and a human figure. He is half horse, have human. He is a bit timid.
• There is no particular literature. There is no text that we can find a date for this sculpture. This is just an demonstration of what he can do. Demonstrazione dell’arte. This is a manifesto. It says “this is what I can do.” Up to the death of Bernini, this sculpture was located on the staircase on the way to the studio. Well what is it that he is doing?
• He is imitating Michelangelo.
o Bacchuas By Michelangelo
• This in 1500 was considered a great piece. He had competed with the ancient world and had won. According to the critics of the 1500’s, he had beaten even the ancients. He had reached an apex. We are talking about the ancient Greek/ Roman sculptures of about 1000 years ago.
• Vasari- He was great biographer of the artists during the Renaissance. He said that Michelangelo had stated reached the apex in all the arts and was the most important artist to be imitated. Any other artists after Michelangelo tried to be a new M. Bernini is the first one of this kind.
• The Satyr is eating grapes resembles Caravaggio’s self portrait with the controposto.
• The signature that Bernini is imitating Michelangelo is in the one tooth. There is only one tooth on the satyr. This shows that this is the imitation of Michelangelo. This resembles a mythical sculpture of a head of a satyr that was done by Michelangelo. The emperor (patron) asked that the satyr only have one tooth. He then changed it right there. This shows the relationship between the patron and the artist. This shows that the patron can change the idea behind a sculpture. This shows what he can do and what Bernini has to do.
Martyrdom of St. Lawrence- Bernini, 1617, originally for Cardinal Barberini, then Leon Strazzi in Florence.

• Bernini is still 19-20 years old. Who is St. Lawrence? He was an early Christian martyr. He lived in the third century after Christ. He was killed and martyred in Rome under the Emperor Valerian. He was a Spaniard who arrived in Rome because he wanted to visit the tomb of Peter. Lawrence in Rome became a deacon of the church and he was the head of all of the money.
• Allum and alum vero. Lawrence decided to kill the emperor. This is the moment in which he said “I am done! You can turn me over on the other side.” He is looking upward toward divine light. He is being illuminated up to a superficial light. He is in a private colloquium with the divinity. “Rome will be a Christian city.” He said this at the moment of death, Lawrence anticipated what has happened (about Christ). Any viewer in the 17th centiry, would have found himself connected to this sculpture.
• How did Bernini Construct the sculpture?
o This is very polished marble. The face of Lawrence was very close to the face of Christ in the pieta by Michelangelo. Lawrence is seen as a second Christ. This is type of Martyrdom that has always been identified with the early Christian Christ. This is like how Francis is Christ in terms of Caravaggio. In the Lawrence by Bernini there is the Christ of Michelangelo. Lawrence is seen as the Altri Cristus (other Christ). He is the new Christ and the new Adam. The arm and the knee of the center of the Sistine Chapel is the same as the arm and the knee of this. The imitation of Michelangelo is not just stylistic, but it shows that Lawrence is an “altri cristus.” This is exteremely important.
o The biographers of Bernini said that he had burnt himself to see the effects of burning on skin. The detail is too good. Certain areas are more polished and some are less polished. The hair is left more unpolished. Even the hair is very close to adam’s hair.
• Who is Cardinal Baronious? He was reviving early Christian martyrs. We spoke about him in Santa Maria in Vallicella. He was a cardinal living in 17th century Rome. He was reviving the early Christian martyr at a time when the church was divided. Cardinals tried to revive these stories of early Christian martyrs to show that these early saints suffered here … in Rome. They legitimized that the head of the chruch is in Rome. This very important. Most of the early churches in Rome have depictions of early Christian martyrs.
• Cardinal Barberini- he was a friend of Bernini. He was made Cardinal by the reigning pope who was Paul V Borghese and he was a close friend of Bernini.
• Cardnial Leone Strozzi- Florentine banker living in Rome. Barberini was also from Florence. Why whould a Florentine commission such a subject?
o Lawrence is the patron saint of Florence. The main cathedral in Florence is San Lorenzo where the Medici, the rulers of Florence, would go. Among the Medici was Lawrence the Magnificent. Every Florentine living in Rome might have wanted a St. Lawrence in his villa. Also it would have been important for it to have Michelangelo-esque elements. Michelangelo is from Florence and both Florentine patrons might have loved it for this reason. If Bernini is going to become the new Michelangelo these patrons (Barberini or Strozzi) are going to be at the status of the two great patrons of Michelangelo (Lawrence the Magnificent or Julius II).
• Two great Patrons of Michelangelo in the Renaissance
 Julius II was these most ideal pope.
 Lawrence the Magnificent was the most powerful secular ruler.
• Behind the simple commission there is still the political connotation.
• Barberini was the advisor. He told Bernini what to do and in what way. So imitating this and that while Strozzi paid for it.
o Strozzi is the banker
o Barberini is the cultivated Cardinal.
• The Sculpture was probably located in the villa of Strozzi which was probably located near the studio of Bernini.
• Barberini wrote poetry- There is one dedicated to St. Lawrence “The Passion of St. Lawrence.” In the end there is Lawrence turning to face God. So literally you see the two patrons appearing through sculpture. He has one called “St. Lawrence looking up as god.”
• Barberini is going to be Pope Urbino VIII
St. Sebastian – Bernini, Originally for Cardinal Maffeo Barberini, 1617, now in the Thyssen-Bornemisza Collection, Madrid.
• Mantagna – ST. SEBASTIAN- He is tied on a column and is pierced by many arrows. This represents the ideal St. Sebastian. The triumphal arch behind him is crumbling to show the crumbling of paganism. The ancient classical capital is crumbling.
• Bernini’s Sebastian is not as disfigured. He is not celebrating the martyrdom of Sebastian. His eyes are closed. He is seated on a marble something or a tree trunk. There is a difference here. Bernini is doing exactly what he was doing in St. Lawrence. Bernini is trying to incorporate Christ like images into the San Sebastian. This is closer to the face of Christ than the last one to the pieta by Michelangelo. His general expression. This is bathed by light. The face is trying to catch the light. He is making a reference to images of Christ. (Traditional images of Christ.) The close up of Christ- the intimate view. This is more dramatic. This is not Christ on the cross. This gives the impression of viewer and image close up.
o The closest model is a Christ by Michelangelo. This was located in Rome. It was probably located in the church of San Agostino. This is still unfinished. There are many sections that are unfinished.
• “Entombment” or “Transportation of Christ to the Seplucar.” By Michelangelo.
 The similarity between the two is quite strong. The face The body of Christ is the ideal sepentine figure. ALSO because Sebastian is also another form of Christ.
• This has a double moment. Soldiers tried to kill him with hundreds of arrows. His body is healed even after he was pierced by arrows. His body appeared in a vision to a woman. A woman found Sebastian and she took care of him. He woke up. After that he went to the emperor and told him that he was still alive testify what the pagan emperors were doing to the Christians. He advertised is healing and his martyrdom. He was killed after.
• The Chapel we saw with of body of San Sebastian was commissioned by Barberini. He probably had asked Bernini to make this sculpture for that place.
• This is the moment that Bernini’s Sebastian is dead, but still alive. This is an important point especially if we see Lawrence as a second Christ. Christ too here is dead, yet alive because he is going to resurrect in three days. This is similar to the Michelangelo’s Christ which is dead, but he is still alive and will resurrect. The men await to awaken. Look at the face of Bernini’s Sebastian. This is not that face of someone who has been tortured. This I a man who is asleep and awaiting the resurrection.
• Bernini’s Sebastian. Has a dead leg and the other is ready to step. There is one hand that is dead and the other is ready. The dead hand is the same as the hand of Adam in the “Creation of Adam” by Michelangelo.
• He is also emphasizing the Apollo-like beauty of his body. Why? His body should have been disfigured. There are only two arrows and they are located on the sides of the body. They are literally almost hidden. Why is this? The name Sebastian means “sublime” in Greek. Bernini was aware of this meaning and wanted to get the “sublime” across. By contemplating the beauty of Sebastian, the Christians would only understand this to be the beauty of being Christian.
• Remember that Bernini is less than 20. He is younger than us and he is already competing with Michelangelo.

Engraving –Montanga
• Bacchus
o Bacchic spirit. Bacchus Is almost dead. He is the Bacchic state. In this image it is life and death
The images of St. Sebastian were very influential.


Medusa- Caravaggio , 1600-01, patron: probably Cardinal del Monte as a gift for the duke of Tuscany Ferdinand de Medici

• This was painted in the beginning of the 17th century. 1601.
• Cardinal del Monte. This was a gift to the Duke of Tuscany. Medici. Why though?
o What is the story of Medusa? How did she die? She wanted to compare her beauty to one of the goddesses, but then she got turned into a monster. At the end Persius. Persius could not look at her or else he would turn into stone, so he looked at her reflection. He used his shield that was as polished as a mirror and made her see her own reflection in the shield. She looked at herself and she was turned to stone. In the image she is going to be “petrified.” This fear is the announcement of her death.
o The painting is shaped as a shield. This is the shield of Persius. It is the very moment that she is turning into stone.
o Why is this in Florence? In Piazza Della Signoria (sp?) where they have the copy of the David and many other sculptures most of the sculptures are looking at one point. They are looking toward one bronze sculpture. This is the statue of Persius holding the head of medusa. In this piazza there is whole concept. Medusa is transforming everyone into stone. This means that everyone in the piazza is turning to stone.
o At this time, the head of Medusa was a very famous painting by Leonardo. Leonardo’s painting is lost, but any artist who wants to compete with him had to make a Medusa.
o While Leonardo was in Rome he was studying everything. Among his projects he was making something very strange. He was assembling different parts of different animals together. He created a type of dragon. He was perceived as a magician. This is something that was perpetuated a s a myth. This is why this would have been a good subject for a Medici.
• Caravaggio is trying to recompose the medusa. It was located above. Medusa is looking down. The blood is falling down and the snakes are looking down as well. It also imitated several drawings by Michelangelo.
• This became an extremely famous painting and Bernini saw it.

Damned and Blessed Soul- Bernini- commissioned by Cardinal Montoya. Now in the Embassy of Spain, 1619.
This was probably for his (Montoya) tomb. This was located near the Spanish steps… (It is called the Spanish Steps because the Spanish embassy is there).
• The blessed
o She is looking toward heaven. She is looking upward.
o Flowers in her hair. Looks like someone from the 60’s. “Summer of love.”
• The damned
o It represents the soul that is going to hell. This resembles the facial expression of Medusa.
• Who are they? They are related to the Quattro Novissimi.
o Four prayers. These were made famous by the Jesuits. These are recited at the moment of death. Moment in which you die. The judgment. Then you either end up in Paradise… or hell.
o These sculptures probably correspond with this.

In the 1620’s Bernini was already considered an amazing artist. He had worked for great patrons. Cardinal Barberini is then elected pope. Then we see the end of his tri-patronage. We will see this in Villa Borghese. He comes out of the privat patronage into the public patronage.

Santa Bibiana- Bernini, patron: Urbino VIII Barberini, 1624-26, Rome
• This is the first architecture the Bernini did. He was commission to do both the sculpture and the church itself. Thisis near the Railways station (Termini).
• He was asked to restore the small church.
• The facade is almost a screen against the medieval basilica. He does not destroy the medieval basilica. It is presented as if it is relic. You can still see the ancient medieval wall behind. This is very important because we see many of the famous churches that were restored in the baroque era were restored like this.
• There is an incredible play between light and dark. The loggia is for a papal visit when the pope comes to bless the crowd. It is also to show the remains of Bibiana.
• The church as a palace like atmosphere. They believed that this could have also been her palace.
• The box- built by Bernini.
• The church as been built in, but inside there is still the medieval church
• There is a beautiful altar with a statue of Bibiana. This is done about 10 years after the other ones and he moves toward the high Baroque fashion.

Sculpture of Santa Bibiana- Bernini patron: Urbino VIII Barberini, 1624-26, Rome

• He moves toward the high baroque sculpture. Through the arch behind her, there is a source of light. There is a window. This illuminated the statue. In the center of the arch there is a medallion with god painted on it. God is looking down at the sculpture of Vivian, light is behind her. Her is looking at the light and at the same time God is receiving Vivian in heaven.
• The drapery of the garments.
• Every single leaf is beautiful. Bibiana was associated with medical healing because she had used herbs to heal. That is why we see medical herbs close to her. The crown of martyrdom is painted in gold. It I sthe first time that we see in the history of architecture a sculpture that is located in an architectural niche that is responding to the rest of the church.
• The three arts are playing together for a final effect. Bernini experimented this here for the first time.
o The paintings are by Cortona.
o Cortona and Bernini restored the inside.

Lesson 7: Villa Borghese (sculpture)

Flaminio Ponzio, Villa Borghese, 1612-13, (gardens completed in 1620s) patron: Cardinal Scipione Borghese. Heavily reworked in the 18th century and 19th century.

• Façade
o Plan of the villa is U shaped. This is a typical model of a Renaissance Villa. This was built in 1500 and becomes the prototype for other villas. Villa Farnesina in Trastervere is a prototype of this.
o The garden is the most magnificent Italian garden.
o The garden has a wild element. There are many types of trees.
o There is a change in the garden as it goes toward the house. There are the secret gardens. They are collections of plants/variety/birds.
o In between the zoo and the villa is an aviary. It has parrots and birds of all colors. It is an encyclopedia of the baroque era. Everyone would have been aware of this. This would have been common knowledge.
o Visitors would realize that the owner was the nephew of the pope. The pope is the most powerful to the Christian world. The cardinal nephew is the new nephew to the pope.
o In the loggia, we see the ancient world. It is very important to make these ties with ancient world. The beautiful impact of the ancient world shows that he would also be the hier to the ancient world.
o There is a comparison of the modern and the ancient world.
o Flaminio Ponzio designed the villa/main salona.
o We see the antiquity invading every corner. Almost every object here is ancient. Ancient Roman mosaics are everywhere. The floor is ancient as well.
o It is difficult to trace when the room was created. 1800 the Borghese family was still very important.
o Brownlina Borghese married Napoleon. He stole art from the Borghese family and not we can see this in the Louvre. 30-40% of the Louvre’s Collection is from the Borghese family.
o The ceiling conveys the propaganda of the Borghese family. They were not from Rome, but they connected themselves to Forlus Camillus. He was an ancient Roman soldier who guided the Romans to France. He is in the center of ceiling. There is also a depiction of Romulus interceding Jupiter who is giving power to the soldier to conquer France. The conquering of France extends into the architecture. The ancient world s all around the sculpture, but the ceiling makes it come to life. There are also symbols of the Eagle and Dragons. Eagles = Ceres= who is the mother of Persephone. Dragons= Jupiter and the symbol of the Borghese family.
o Through the main entrance we can see the Rape of Persephone out of the darkness. The statue is against the light of the window. This would have been a silhouette.

Bernini, The flight from Troy (Anchises, Aeneas, Ascanius) 1618-19, based on Virgil, Aeneid

• This is unlike the mannerist sculpture (example of mannerist is the Rape of the Sebine Women of the late 16th century). In the mannerist style there is no movement. There is no effort or energy.
• Bernini is breaking the spiral beauty and is actually creating gravity and suspension. There is no perfect gravity. He is able to carve in the suspended moment of the change of weight.
• There are almost words coming out of the mouths of the characters.
• The family Borghese traced their origins to ancient Rome. They would have liked also to trace their lineage to the origins of Rome and to Aeneas. In a way this sculpture shows Aeneas’ arrival to Villa Borghese. This arrival also symbolizes when Aeneas would have said “ here is the kingdom that will stay forever.”
• Cimpione= someone who supports. This also holds for a political point of view as well.
• Represents the three stages of a man’s life.
o Aeneas (20) is the mid-aged. He is man as an adult. He is closest to the Christ of Michelangelo. He is also in a way the second Christ. He looks as if he is pushed by destiny. He is dressed in a Herculean outfit which is the lion skin.
o Ascanius (3) is the young boy and he holds the flame of Troy. They brought the fire of Troy to Rome. The flame is always on. The child looks like a cupid. The boy almost looks confused, as if he does not know why he is holding a flame.
o Anchises (70) is the oldest who is being held on the shoulders of Aeneas. He has a wisdom about him. Bernini treats his skin differently. It is not as shiny. His veins and muscles are very present. He looks weathered. The father is looking ahead toward Rome. His thigh is wrinkled and the hand of Aeneas is very strong. The hat of the old man is a Fregian hat. Fregia was the old name for Troy.
• We see that there are still elements of support. In Bernini’s later works he gets better and does not need these supports.

Bernini, Pluto and Persephone, patron: Scipione Borghese; advisor: Maffeo Barberini, 1621-22

• Bernini is competing with himself.
• Pluto is the king of the underworld. He almost felt the touch of Persephone. She is the daughter of Ceres who is the god of summer. Pluto came out of the ground, out of the underworld, in order to rape Persephone. She threw the flowers away. This literally can be seen as a ”deflowering” because of the actionof throwing the flowers.
• There is a three headed dog names Serius. This dog of the underworld cannot look at light. He is looking toward the shadow of the loggia. He hides him self behind the foot of Persephone to avoid the light that comes from the window. We can almost see them barking toward the light.
• Because we see the garden just outside the window. It is easy envision Persephone picking flowers in the garden.
• Pluto is coming out of the underworld, but he is almost coming back.
• Sculptural elements
o The X= the embrace and blinding. We have seen this crossing over in the Rape of the Sebine Women and the Bronze statuettes.
o Influence for Pluto could have come from Laocoon and the sculpture of the Horse Women Tamers.
o Influence for Persephone could have come from praxitiles and Phiada. These were the two greatest sculptors of the ancient world. Michelangelo is said to have surpassed them and in turn Bernini is also challenging all of them. Persephone is based specifically on the two of the most famous Venuses: Knidos where she is veiled (covered) and where she is unveiled (uncovered). It is a mixture of these two elements.
• She is not happy,. She does not know where she is going to end up. She is crying. This is the nonvisibility of the art. He is referring to the scripture. The marble tear. Connotation
o The action in the scene
• She is putting one hand on Pluto and pushing him away on his face. She does not want him to see her.
• He has his hand on her thigh. This is a reference to Pygmalion. The touch is very sensual . Pliny the Elder and Quintillian talk about the story of Pygmalion who was a sculptor who transformed his creation into human flesh. It was a libidinous kind of touch/ fondling that caused this. Bernini is competing with sculptor who made his sculpture into human flesh.
• John Sherman refers to the location of this sculpture as “slow fuse.” This is the movement from Hell (the darkness of the loggia) to Sicily (the Sicilian Gardens outside the window). Through this journey you discover poetry and images. Through the art of memory the viewer would have been engaged and moved from darkness to light.
• The Pact of Ceres and Pluto
o Persephone could leave Hates for only summer and spring. This is appropriate subject matter for the villa. This shows the passage of the seasons. The passages of the seasons also represent the resurrection because the of Winter to Spring. This imagery was also used in ancient Roman sarcophagi, Bernini is making this while the Pope Paul IV is dying. It was given as a gift to the new cardinal nephew. The new pope lasted only a year and a half so giving him the statue as a present was a waste.

Bernini, Apollo and Daphne, patron: Scipione Borghese; advisor: Maffeo Barberini, 1623-24

• Poetic background from Ovid and Petrarch (He talked of Laura) in the 16th -17th century. There was another poet who was jewish. He is poet of the renaissance in Italy and he equated Daphne with humidity because she was daughter of the river. What happens to water when it gets hot? Specifically, when it gets touched by the sun (Apollo)? It evaporates. Humidity leaves. Also the laurel tree is always green and needs to be in a dry place to survive. It is evergreen 365 days a year.
• 2 Proposals of placement
o Against the wall
o The back of the sculpture would be against the wall with the foot of Apollo toward the wall. There would have been space behind his foot. It would be as if they were running in from the garden and entering through the wall.
• This would make the sculpture look as if it is a man chasing a woman, but only at first. We would not have been able to see any natural element.
• As we walk around the sculpture we start to see the metamorphosis. Apollo’s expression changes from one of happiness to sadness. Daphne’s female body changes and the tree starts to take over.
• The whole room becomes a space for love, music, and Apollo.
• Finelli was the assistant of Bernini and he was responsible for the leaves and the stones in the sculpture.
• The flying drapery that trails behind them is almost transparent.
• Discussion on Chastity or Sensuality?
o Moralized Ovid saw the myth as a symbol of chastity.
o There is also a renaissance comic version that says that Apollo is chasing her with an erection. This is covered by the nicely placed leaves of Daphne over his genitals. Was this advised by the cardinal? Hmmm….
o We are still left wondering if this is meant to be sensual or not…

Bernini, David, Scipione Borghese; advisor: Maffeo Barberini, 1623-24

• This is not located in its original place in the museum. It would have been located in the next room. The right side of the main salona. There would have been two sculpture at the entrance. One was of David and the other was the Borghese Gladiator. These two sculpture were similar, but it would have represented the Modern art and Ancient art face to face. This would also show the modern as surpassed the ancient. The modern world is better than the ancient world because of t he coming of Christ. They are blessed by the salvation of Christ.
• The David is in competition with the David by Michelangelo. Michelangelo’s has one leg tensed and the other at rest. He is holding the ling and he is looking at Goliath. Bernini’s David shows elements of the sculptor Myron. There were two great sculptors of ancient times. One of Polyklites and he was famous for the Polyklites Controposto. The other was Myron. He was said to have surpassed Polyklites. Myron did the Discobolo. Pliny the Elder spoke about Polyklites and Myron and said the Myron had won because his sculpture was more complex and was more modern. Bernini has done David is the guise of the Discobolo.
• The “arch of flame”= the new greats beating the old greats = Polyklites⇒ Myron⇒ Michelangelo⇒ Bernini
• It was written that the advisor Pope Maffeo Barberini was holding the mirror to Bernini to create a likeness of himself in the face of his David. Does this sound right? This is probably not to be taken literally. We can say translate this to say that the Pope is creating the myth of the new Michelangelo (Bernini). The new Michelangelo has surpassed the old Michelangelo.
• Who is David?
o He was a shepherd, but he was very cultivated one. He was a poet and musician. His musical ability is shown by the lyre at the bottom of the sculpture. He was a king.
• He is partially naked. The young boy would have left his armor in the moment he is going to face the worst danger that he has ever faced in his whole entire life. His lack of armor also symbolizes his complete faith in God. He possesses MANUS FORTUS= A strong hand. Philistine Giant.
• His pose is mid-action. He is going against the trajectory of the stone. The contrasting forces and energy are unlike the psychological elements we encounter in Michelangelo’s David.
• This sculpture requires a cultivated viewer who is open to seeing everything. The viewer would have been the goliath and would be face to face with Bernini. The viewer would have made eye contact with David. The action starts in the marble and ends in the flesh of the viewer.

Lesson 4: Counter Reformation

Campo Vacino is divided by the palace façade. This was an important part of the city in the 1600’s.

Just to the right of the Coliseum (two bell towers from St. John the Lateran) is the Campidoglio. This is almost exactly in between St. John the Lateran and St. Peter’s. The Campidoglio was the new city center. This is one of the 7 hills of Rome. This is a very important street and it connects the city. The stress is called the Via Papalais. Or also called the Via Triumphalis. The emperors would pass after important victories in antiquity. In the Renaissance, after the election of the a pope, they used thie parade route. It was called the “possesso” and meant “the taking over of the city.” He continues his procession to the Coliseum and to St. John the Lateran. Theer he sits on the throne of Constantine.

Michelangelo, Piazza del Campidoglio (Palazzo Nuovo, Palazzo dei Senatori, Palazzo dei Conservatori), mostly completed by della Porta in 1590’s, Patron: Paul III Farnese
• It was restored by the popes. In 1536 Paul III Farnese entrusted Michelangelo with the building of the piazza. The medieval building was built over a temple. He built the Palazzo Conservatori and the one across from it. He doubled the façade.
• There is harmony and meaning to his work. This is the only palazzo that was created by a single mind. It is also the only one where everything mirrors each other. This is the only one of its kind. The project lasted 70 years. It was the first piazza in the city. The Pienza was a renaissance project that might have been the prototype for this piazza.
• The pavement has a trapezoid design. It has a circle (oval) in the center. Teher is symbolism behind this. He is emphasizing the fact that we are on a hill. The center looks like the shield of Alexander the Great. Alexander the Great actually copied the shield of Achilles. This connects with their present day because Paul III Farnese’s name was Alexander. This links him to Alexander the Great. We also see the symbolism of the oval and the rapezoid at San Pietro. There is continuity here. The Trapezoid lasts through antiquity, the renaissance, and Baroque.
• The buildings themselves have engaged pilasters and a roof. The buildings interlock. This shows the human/living quality of Michelangelo’s work because he believed that everything was a living and breathing thing. The travertine can be seen as the skeleton. The statues on the top are in controposto. The skin is the rose colored part of the building. These also coicide with Michelangelo’s philosophy of harmony, meaning m and human qualities in piazzas. He believed that a piazza should have a face.
• The view of the piazza also connects the pope with Marcus Aurelius because where the pope would stand is in a direct line with the statue.
• GOOD TO KNOW= when a pilaster takes 2 floors it is called a giant order. It symbolizes monumentality. In this instance they are the bones/ nerves of the building.
• The whole Via Papalais is made to walk to the Campidoglio.

The Different Orders of Christina Faith
• Jesuits
o They were sent on missions. They were thought of as the soldiers of Christ. They were the soldiers of the new Christian empire. They were angels who were invading the world with peace.
• Theatines
• Oratorians

Vignola and della Porta, Il Gesu (Façade), completed in 1590’s, patron: cardinal Alessandro Farnese (order of the Jesuits founded by saint Ignatius Loyola)

• There is continuity even in the commissions. The interior was to be white washed. There is one main nave and chapels all around. It became more decorated in 163o’s-1650’s . Jesuit father Olivia is the father who is responsible for decorating the Jesuit churches in Rome. He commissioned the assistant of Bernini , il Baciccio, for the ceiling. The church is dedicated to the name of Jesus. The letters HIS mean “Jesus” in Greek. The façade has the inscription of HIS on a shield with a huge angel.

Giovan Battista Gaulli (il Baciccio), Vault. Triumph of the Name of Jesus, 1679


• There is an infinite point of light with the letters HIS. It radiates throughout the space of the church. It is an example of the unity of the visual arts. The church itself is a container for the Eucharist which is kept on the altar 24 hours a day. It is always in contact with the infinite source of light. The host also has IHS on it.
• The other people on the ceiling
o Ignatius Loyola- the founder of the Jesuit order. In the 16th century he wrote a series of exercises were about the infinite love of the Eucharist. He is almost mediating between the space above and the space below.
o Magi and saints – The magi was the first who venerated the name of Jesus.
o The Damned – There are the seven deadly sins represented here. They are very chaotic and break the boundary or the frame because they are desperately trying to be part of the “good.” This mixes the three arts.
• This is the most illusionistic virtual reality.

Carlo Maderno, Carlo Rainaldi, Carlo Fontana, Sant’Andrea della Valle (façade), completed in 1665, patron: original patron Cardinal Peretti Montalto, (order of the Theatines founded by Thiene)

• In front of the church there is a speaking statue. These are made of famous people who used to speak on the sides of the Via Papalais and voice their views on politics and religion. They were much like satire for the time. They are the living presence that the street is losing its function as just a street. It has now turned into a theater. The churches are now theatrical stages. Everything about the route is theatrical.
• The Church was founded by Gaeton Thiene. He was made saint after he founded the order.
• The similarities between this church and il Gesu is the one main nave and the decorated vault.
Lanfranco, Dome: Glory of Paradise, at Sant’Andrea della Valle, 1625-28.

• This is the second largest Dome besides San Pietro. This echoes San Pietro because Andrew was Peter’s brother.
• There is a depiction of the Virgin Mary. She is in red and blue. The holy ghost is in the center of the dome. Thiene is to the left of Mary.
• This is a demonstration piece as to how to represent illusionism in a church.
• The center of the church as massive architecture which disappears when you look up in the dome.
• The illusionistic painting comes from Parma in northern Italy. The artist names Correggio of the 16th century is theinventor of this type of painting. Lanfranco comes from Parma.

Domenichino and Mattia Preti, Apse area: life of Saint Andrew, at Sant’Andrea della Valle 1623- 28

• The dome connects with the depiction of St. Andrew. It looks as if he will join the dome. He is looking up into the dome and into heaven.
The body of St. Sebastian is also located in the church and he can be seen on the façade.

Matteo di Citta di Castello, Martino Longhi il Vecchio, Rughesi, Chiesa Nuova- Santa Maria in Vallicella, 1517- 1600, patron: original patron Medici Family, (Order of the Philippines founded by Saint Philip Neri)

• This is built in different phases. It was especially sponsored by the Medici family. The prototype for this is still il Gesu.
• This was important site because it is very close to San Pietro.
• This dedicated to St. Philip Neri, the founder of the Philippine order. He renovated the devotion toward the virgin Mary.
• This site was said to have been invested with bad spirits. The was a grotto that was called the “Carentu” and was said to be the ancient Roman entrance to hell. To rid this place of evil they brought an icon of the virgin Mary. In the baroque era it became a grand church.
• There are three important paintings here. They are done by Rubens and Pietro da Cortona.
Pietro da Cortona, Vault: “Miraculous Intervention of the Virgin”; Dome: Trinity; Apse; Assumption of the Virgin, at Chiesa Nuova- Santa Maria in Vallicella 1647-65.
vault
interior
• There is a dramatic Virgin Mary in the semi circular dome. She is ascending to the dome. The dome has Christ and god the father. The virgin goes up to Christ/ father. They are waiting for her.
• Miraculous intervention … represents a miracle that happened in the life of St. Philip Neri. He was devout to the virgin. They destroyed the church in order to build a bigger one. The roof was about to collapse on the workers and right when it was about to fall the Madonna appeared and helped to support the church. In the painting, St. Philip is praying/thanking the Vrigin Mary for the miracle. The founder is the interssesor between the intermediary between them.

Rubens, Vallicella Altarpiece (Tripich Virgin and Child with Saints), at Chiesa Nuova- Santa Maria in Vallicella 1606-8

• Why did they use a Triptich?
o This usually a medieval thing. There was a Medieval icon and this is why they made the medieval feel.
• The icon is removable and is placed in the center of another painting. In a sense it is a painting within a painting. Behind the removable icon is the real medieval icon. The saints in on both sides are early Christian martyrs. They are the founders of the catholic church against the protestants.
• Cardinal Baronus is am important figure who studies Christian martyrs. He wrote their stories down and revived them.
• The saints are pointing to Mary and also pointing to the viewer. They are the communicatory agents between the viewer and the Madonna and child. The are conversing and recommending that our spirits and souls for heaven. This is why it is called a sacra conversazione. The saints talk to themselves an dto the viewer⇒ the virgin Mary⇒ and Jesus.

Borromini, Oratory Façade, 1637-43

Lesson 2: The Carraci School and Caravaggio

Carraci from Bologna (No Roman Painters of this time) called into Rome @ the end of the 16th Century (late 1590’s) by Cardinal Farnese

Farnese Gallery by Carraci (1594 Cardinal Farnese)
• In Palazzo Farnese ( loge facing Tiber) (villa Farnese on the other side, Michelangelo bridge idea)
• Behind Main Façade
• Across Tiber nearby, council and Banquet of the Gods by Raphael (Greatest in 16th century)
• Inspired by Raphael (80 years earlier) also decided to paint based on mythology ( More Specifically , love poems)
• Now Palazzo is French Embassy, hard to visit.
• Tried to surpass Raphael , incorporate other Renaissance Giants (Michelangelo etc. ) incoorate ancient art, take from everything.
• Focus on central painting
• Architecture is painted (competition w/arch)
• Sculpture is painted (Competition with sculpture)
• “PARAGONE” coined by Leonardo, which one of the arts is best? He thought
o Painting was the best (cleaner, intellectual, close to poetry)
o Sculptor: I can show front to back
o Leo: I can too, w/mirror in picture
o Paragone coming true in the 17th century, status and architecture becomes painted
• Competition with Michelangelo’s Sistine Chapel
o Sistine is religious, nudes outside of the each painting, arch painted
o Carraci’s ceiling is called the “Secular version” of Sistine ceiling.
• Imitated ancient Roman statues
• Encyclopedia of the visual arts
o Art of that time (including poetry) compared with past styles
• Especially The metamorphosis by Ovid and Aenead by Virgil
• Philostrtus (ancient Greek poet)?
o Story of old man taking boy to the museum, describing every painting mainy of these reproducedin Farnese gallery.
• SO the gallery was very intellectual, Epitome of PARAGONE, comparing and contrasting all the arts.
• Harkened back to ancient Rome, wanted to surpass with culture beauty, art (visual propoganda).
• Central painting
o Ranuccio’s Marriage to one of the most important noble families probably in the Gallery, cardinal wanted to decorate it.
o Bacchus and Ariadne, Depiction of ancient marriage ceremony
o Ariadne being crowned by Cupid
o Companion of Bacchus on donkey (Salinus?)
o Venus with another cupis, love and lust
o 2 Carriages
o Surrounded by cupids, Love
o Almost relief-like structure can read left ⇒ right like story.
o Very famous story/scene, reproduced often in art, any cultivated person would have recognized it (its symbolism)
o Titian, Venetian painter, Bacchus and Ariadne
o Way in which wealthy noble man celebrates himself, his inlutance of the past.
• Caracci’s art was really refined (Lots of Allusions), but not revolutionary (Based on imitation, ancient Rome revised)
• Arrival of Caravaggio, most important painter of the 17th century
o Born near Milan (Michelangelo Mensi da Caravaggio)
o Arrived in Rome end of the 1590’s
o Introduced to Roman world by BLANK family, quickly entered art society.
o Patron: Cardinal del Monte
o Didn’t know how to paint when he arrived
o Good @ fruits and veggies, learned quickly to paint anatomy
o School of Rome
o Northern Italian painter, influences by northern Italian art.
o Difference between northern and central Italian art
• Northern
 Venice
 Color- oil paining developed here
 Canals = humidity⇒ couldn’t paint frescoes
 Oil painting on canvas. Oil dries slowly which means that it is possible to correct, elaborate, create hues/nuances. This is impossible for frescoes.
 Oils are more subtle. Edges blend better
 Picture of woman with fruit by Titian
• Southern
 Like Rome, Florence.
 Not humid which meant that they could paint frescoes. Tempera technique cant make corrections. Preparation must be perfect.
 Frescoes are more muscular
• Picture of women with fruit by Titian (flora)
 Sensual images of courtesans now thought to be idealized women show how good the artist is what he is able to do. Shows how painting can involve emotions in viewer (she’s dressing or undressing).
• Caravaggio from this tradition

Boy with basket of fruit by Caravaggio ( 1594 Cardinal Del Monte)
• Style of “beautiful women” paintings
• Boy instead if woman, homocrotic?
o But painted for cardinal, wouldn’t have advertised even if homosexual
• Recent theory as to why Caravaggio chose to use a boy to demonstrate his skill
o Competing with antiquity (In Rome, desire to revive imperial Rome)
• Architecture and sculpture easy to imitate
• Painting more difficult, only had descriptions (Pliny the Elder, natural Histories) Most important
 Competition between 2 ancient Greek painters, painting of grapes vs. of curtain, then painting of boy w/fruit.
 Caravaggio was entering into competition with ancient masters (educated men would understand the allusion/ reference)
o Used the ekphrasis to his advantage, as he was better @ fruits and vegetables than anatomy (same as in story)
o Poetry of this time compares youth and beauty to fruits and veggies.
• So this painting shows beauty crystallized, maturing and about to decline.
o Demonstration of his skill, his entrance into art world of Rome.

Bacchus by Caravaggio (1595, cardinal del Monte)
• Reclining on Greek/Roman bed, unbuckling belt, offering wine
o Invitation to pleasure, to give in to lust
o Temptation to Cardinal? Counter reformation period
o Attract w/ its sensuality, but you’re supposed to reject. Like poetry of the time.
o Can look @ it, but cant give into lust
o Can tell that wine just poured, has ripples, unbalanced, refection of the outside
• So viewer participates (also intellectually) existentially
• Sensuality to be rejected
• Bacchic stati = in between= Condition that brings you to another level (Not here w/alcohol) that artists try to attain.

Self-Portrait as Sick Bacchus by Caravaggio (1594, cardinal del Monte)
• Dirty fingers, sick face, gray-green skin.
• Engages viewers but separates viewer from painting
• Different than frontal. ¾ view. This is almost back view.
• Turning toward painter
o Classical ritaratto di spalla (portrait seen from shoulder). Invented/elaborated in the renaissance
• Painting by Titian, supposed to react, only have a second to engage the face, psych, dialogue, emotional viewer supposed to respond, fill in meaning, then have time to see the beauty of the painting.
• Bacchus statue by Michelangelo (first in Rome) has smaller Bacchis figure in Ritratto di spalla posture. Where he got inspiration , competing with sculpture of Michelangelo.
• We know Caravaggio was sick in the hospital for a time painting reality of Bacchic state, reality of creativity
• Hard to attach meaning to his work.
• All dramatic close ups of figures, not narrative like carraci.

Boy Bitten by a lizard by Caravaggio (1596, Cardinal del Monte)
• Mixture of ¾ and back posture
• We are supposed to react to what he is feeling
• Reveals secrets of Caravaggio
o Often painted himself w/morrior (have to memorize, be in between mirror and canvas) left hand looks like holding brush, psychology to how he paints
o Reflection of studio in vase⇒ water becomes mirror itself
o Always starts with self portrait through mirror, then distances himself to change the figure (many boys worked in his studio).

Lute Player by Caravaggio (1596, Cardinal del Monte)
• Again, fruit alluding to poetic competition
• ¾ profile turning forward toward viewer to engag in psych- intensity
o artist between canvas and mirror
• Know what he is playing, shows libretto from 16th century.
o Starts with words “you know that I love you” musical composition for violin and lute.
o In the 16th century, idea that ideal harmony required both players, so painting no complete with viewer participation.
o Engaging @ different level, we’re invited to participate in music.
o (Shows how much these paintings were directed @ cultivated viewers)
• Montoya, young castrato considered most beautiful and talented. Lived near Caravaggio (so can see from painting where he lived).

Concert of Youths by Caravaggio (1595, Cardinal del Monte)
• Changing from close-up, single figure ⇒ groupings narratives
• Compare to Titian, The concert (early 16th century)
o 3 figures playing music
o One in white hat looks @ us, recognizes that there is a viewer. We are instantly involved
o Middle figure still playing but turning, about to stop.
o Why are they stopping? We have just arrived in front of the painting intruding, destroying harmony
o The Positioning is related to viewer.
o In Caravaggio’s even more complex
• Back figure turning toward us, one adjusting lute
• Another lone violin, inviting us to play.
• At left, more ambiguous figure
o Near grapes, symbol of bacchus, similar to Bacchic posture
o But he has wings and arrows ⇒ cupid, god of love
o Which one? Ambiguous
o Grapes are standard for Caravaggio, still alluding to painting contest from Greek poetry
• Ghostly presence, very spirit of music not seen by players only by viewers.
• One of last for del monte, one of first with multiple figures getting better @ anatomy

Saint Francis in Ecstacy (1595-6, Cardinal del Monte)
• New revolutionary style (very different from Carraci)
o Grew into competition between tradition and innovation
• St. Francis in Ecstatic moment
o Poverty, barefoot, humility
o In his maturity, he received the 5 wounds of Jesus (stigmata)
• In painting, emphasis last wound: Jesus only killed by lance other were just torture; so was last blood of Jesus (center of painting, St. Francis is pointing to it)
o Not completely Asleep, one eye is open
o Scene described in literature, angel holding him
• Caravaggio is commenting on what heard about the ecstacy
o 3 sources of light: natural artificial… moon and fire
o Comments on Bible called exegesis
• Painter commenting on writing: exegetical painting explanation, vision own pov. Of ecstacy.
o St. Francis became like Christ⇒. Caravaggio thought about Christ. (allusion to Michelangelo’s pieta)
• Mary pointing to wound of Jesus, holding him but Francis not dead
• The way Mary looks @ Jesus, the way tangel looks
 2 Exegetical works, commenting on Biblical and religious events.

Betrayal (of Christ) By Caravaggio (1599, ciriaco Maffei)
• Natural and supernatural light
• Not full figures, dramatic, focus one thing
• Beginning of Passion of Christ (after last supper, kiss of Judas)
o In that moment, Jesus abandoned by apostles
• John Fleeing painting, afraid, Jesus and Judas Framed by Mantle
• 3 Soldiers, one man holding lantern, illuminating scene also from the outside
• “evil” soldiers almost masked, shadowed
• Caravaggio himself as spy, lighting scene, allowing us to see the scene
o Lantern as an allegory of the brush
• 3 Days after crucifixion of darkness, resurrection saved hum. Brought back light
o Caravaggio commenting on dark vs. light (need both)

Supper in Emmaus by Caravaggio (1600, ciriaco Maffei)
• Emmaus: village in Israel; after crucifixion and resurrection , Jesus wandered around, visited Magdelene.
• Two apostles walking to Emmaus, met pilgrim, didn’t recognize, had dinner w/ him in Emmaus, moment when pilgrim blessed food, 2 apostles recognized him.
• Christ in center. James on the right. (shell)
• James’ arm shortens dist., parallels crucifixion posture
• Jesus’ pose parallel of the posture of Jesus in Michelangelo’s Last Judgment
o Comment that Jesus after resurrection, promising Last Judgment
o Shadows and light heighten drama.

Lecture 1: Introduction to Baroque Art

All the popes were decorating the city. They wanted to spread this propaganda.
Why were the popes transforming the city into something so beautiful? Piazzas, churches, artwork, palazzos… why?
• Christian Capital – the seat of the religious power.
• Study the concept of time to answer this question…
o We think of time as one day after another. Baroque men and women perceived time as creation and end of time.
• Images: God separating light from darkness (good and evil). This is from the Sistine Chapel. This is the beginning of Genesis. The end of time- the last judgment.
What is the role of Rome? What happened immediately after genesis?
• Adam and Eve were warned by god. Eve takes the apple from the tree of knowledge. Adam is helping. This is the moment they are expelled from the garden of Eden. Example if Michelangelo of his Expulsion from the Garden of Eden. Imagine what it would feel like if you were told that you were able to die, that you are going to die. Sexuality is the first product of the expulsion. They realize that are mortal and the have to ensure the continuation of life of the city. This is why they are covering themselves. They are ashamed.
o Humanity is seen with sin. Humanity is associated with Adam and Eve because of this.
• Then Christ was born. The Virgin Mary was the vessel for which Jesus was born. He appeared in human form. Why was Christ sent by god to die on the cross? It was to save humanity. It says to humanity, even though you are sinful, will save you. This is a very cleansing feeling. By suffering, Jesus has cleansed us. This shows that Christ is the new Adam and Eve is the new mMary. Why is this important in the universal, cosmic history.
• Christ came to Italy; Christ gave two keys to Peter. “I give you two keys; one made of gold and the other made of bronze or ivory. They represent body and soul. Peter was called the prince of the apostles. He was his successor. The whole power of Christ was given to Peter. One key is of bronze, and one of Iron. They represent body and soul. Peter was the first pope.
• The image of the pope portrays the religion of Christ.
Why is Rome Important?
• The Arch of Salvation. Through the Arch, the world is being perpetually saved.
o 2000- Millions of pilgrims in the city because if they walked through the door, they would be absolved of their sins.
• The story of Castel Sant’Angelo and the angel Michaell
• People come to Rome to see the churches and to touch the relics. These are supposed to save them
• The pope of the 1300 created the Jubilee. The Jubilee is one year that the pope opens the a particular Door of St. Peter’s.
Aenias- Virgil
• Speaks about the burning of Troy. Aenias left Troy to go to found Rome. Troy is the beginning of Western civilization. This is the beginning of classical culture.
o Aenias carrying his father and going toward Rome. When Aenias arrived in the area of Rome and said that “it would be a vast empire without an end.” The myth of Aenias was Christianized. It became the continuity of the Christian empire. This made Aenias sanctified Christianity.
Why is the obelisk universal?
• It shows that they conquered Egypt.
• The Popes placed the obelisks by churches and placed a cross on the top to show that the Popes were the kings of Egypt as well.


The Tiber flooded the city 3 times a year. This is why Rome was covered in layers of dirt. There were buildings all around the Tiber which were taken away and demolished by the Savoy family.

Rome was the center for weird intellectuals and scientist. This was the place to learn about antiquity. Scientists could not reveal their ideas. Thi was the place to study because of so many books in the library. These people Looked at the world through different eyes. Curiousity is the backbone of Baroque art. Many intellectuals came from all over the world to Rome to learn about antiquity. A philosopher was called the Rome of Wonders. The philosopher would be sitting on an armadillo. The incense was burning around him He was also a professional vomiter. He would go to piazza Navona and vomit. That is why there is an Armadillo in Piazza Navona. This shows the curiosity of these people. This is why it is called the age of curiousity. This is an example of the microcosm and the macrocosm.