Between Renaissance and Baroque

Between Renaissance and Baroque: Jesuit Art in Rome, 1565?1610

GAUVIN ALEXANDER BAILEY
Copyright Date: 2003
Pages: 552
https://www.jstor.org/stable/10.3138/9781442686298
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  • Book Info
    Between Renaissance and Baroque
    Book Description:

    Bailey provides us with a new understanding of the stylistic and iconographic strands which shortly afterward were woven together to form the Baroque.

    eISBN: 978-1-4426-8629-8
    Subjects: Art & Art History, History

Table of Contents

  1. Front Matter
    (pp. i-vi)
  2. Table of Contents
    (pp. vii-viii)
  3. Acknowledgments
    (pp. ix-2)
  4. 1 Introduction: A Time without Art?
    (pp. 3-37)

    The Jesuits have been blamed for the destruction of Renaissance art and the creation of the Baroque. One of the most important patrons of the Catholic world in the sixteenth and seventeenth centuries, the Society of Jesus had an extraordinarily powerful impact on the arts and architecture of Italy and the rest of Catholic Europe, not to mention the world. Through foundations such as the Church of the Gesù in Rome (1568–75), the most prominent religious building to be completed in the city in well over a century and a model for hundreds of churches in the years to...

  5. 2 The Novitiate of S. Andrea al Quirinale
    (pp. 38-73)

    The Jesuit Novitiate of S. Andrea al Quirinale in Rome is famous around the world as the site of one of Gianlorenzo Bernini’s greatest architectural legacies, a chapel (built 1658–70) that is one of the premier monuments of the Roman Baroque. The principal training centre for the entire Jesuit order and the last resting place of St Stanislas Kostka, one of the most popular saints of the Catholic reform era, the Novitiate on the Quirinal Hill was a focus of intense patronage by the Jesuits and their supporters in the seventeenth century and later. Yet the church and its...

  6. 3 The Novitiate Infirmary
    (pp. 74-106)

    None of the rooms we have seen so far in the Novitiate of S. Andrea al Quirinale prepares us for the iconographic complexity of the infirmary, the subject of Book Five of Richeôme’s treatise and of almost two hundred pages of text. Decorated with one of the most extraordinary fresco cycles of the late Renaissance, this building has never been studied before – a remarkable omission, given the unusual iconography of the cycle and what it tells us about Early Modern medicine. The infirmary is also the only part of the Novitiate, as far as we know, in which inscriptions...

  7. 4 The Jesuit Collegiate Foundations of the Collegio Romano, the Seminario Romano, and the German-Hungarian College
    (pp. 107-152)

    Although the pictorial cycles at the Novitiate of S. Andrea al Quirinale were among the most innovative and original of the entire Jesuit enterprise in Rome, the fresco programs of the Jesuit collegiate institutions, painted between 1565 and 1608, were the most influential. Scholars have long recognized the debt owed by post-Tridentine iconography to the paintings that adorned the walls of the collegiate chapels of S. Apollinare, S. Stefano Rotondo, S. Tommaso di Canterbury, the Collegio Romano, and the Seminario Romano, including the first large-scale martyrdom cycles in Italy. These painted cycles had their most powerful impact on the Palaeochristian...

  8. 5 The Collegiate Church of S. Tommaso di Canterbury and the Novitiate Church of S. Vitale
    (pp. 153-186)

    This chapter deals with two more medieval or early Christian churches belonging to the first generation of Roman Jesuit foundations. In one the decorations survive only as engravings, while the other has lasted to this day almost intact. The Venerable English College chapel of S. Tommaso di Canterbury, near the Piazza Farnese on the Via Monserrato, was destroyed in the early nineteenth century and replaced with a neo-Romanesque structure in the 1860s. Like those of S. Apollinare and S. Stefano, the original painting cycle was published by Cavallieri in the form of engravings shortly after they were executed, and the...

  9. 6 The Church of the Gesù in Rome: Documents
    (pp. 187-223)

    The Gesù is one of the most crucial buildings in late Renaissance Italy. Whether recognized as the last work of the Renaissance or the first work of the Baroque, this monumental church dominated the architectural life of Central Italy in the late sixteenth and early seventeenth centuries. Ever since the English traveller Grey Bridges (1620) marvelled at the ‘gloriousness of their Altars, infinit number of images’ the Jesuits used to ‘catch men’s affections, and … ravish their understanding,’ and long before the French critic and historian Hippolyte-Adolphe Taine (1828–93) compared the building to a ‘magnificent banquet hall in a...

  10. Illustrations
    (pp. None)
  11. 7 The Church of the Gesù in Rome: Description and Interpretation
    (pp. 224-260)

    Chapter 6 was devoted to the documentary evidence surrounding the first painted and sculpted decorations in the Church of the Gesù and the Casa Professa, between the 1580s and about 1610. In that chapter I was concerned primarily with dating, patronage, economics, and attribution, and with the chronology of the church’s original decorations. Because those topics draw upon an extraordinarily large number of sources, I have chosen to devote a separate chapter to a discussion of the iconography, inscriptions, and style of the Gesù cycle. Here we will take an imaginary walk through the church as it stood in 1610,...

  12. 8 Conclusion: A New Sacred Art for a New Era
    (pp. 261-270)

    By 1600 the Jesuits and their artists had offered Roman society a showcase of new approaches to sacred painting, one of the most extensive and diverse since the 1563 decree on painting at the Council of Trent. And as we have seen, these approaches were extremely influential in their day, especially during the last two decades of the sixteenth century and the first decade of the seventeenth, when they provided a paradigm for painters of religious pictures from Milan to Naples and beyond. Yet, as fate would have it, these exercises in devotional art were not destined to have a...

  13. Notes
    (pp. 271-366)
  14. Bibliography
    (pp. 367-382)
  15. Index
    (pp. 383-406)