Analysis of Roman Architecture: From Renaissance to Baroque
Acqua Felice Fountain by Domenico Fontana
This fountain, a grand triumphal arch, showcases a fusion of architectural styles. Its three spans, topped with a penthouse bearing Sixtus V’s inscription, are crowned by a broken pediment with curving lines and spiral-ending buttresses. These elements echo the Renaissance Doric style while incorporating Mannerist touches that disrupt the verticality.
Obelisks on either side emphasize the vertical axis, while Corinthian columns adorned with scroll-connected garlands create a horizontal line. The pier on the attic attempts to break the Renaissance horizontality established by the obelisks, further highlighting the Baroque emphasis on verticality.
Individual sources, like those by Giambologna, were used to embellish significant points. Commissioned by the Pope, the Acqua Felice fountain features religious decor: Moses at the center, flanked by Aaron (searching for water in the desert) and Joshua (aiding the Israelites’ Red Sea crossing). This frontal perspective, with Moses’s Praxiteles-inspired curved posture and Michelangelo-influenced strong arms, is characteristic of the Renaissance. The double image on Moses’s head symbolizes divine influence.
Giambologna’s Neptune
Set within a watery realm surrounded by Nereids, Giambologna’s Neptune embodies the use of mythology as ornamentation. The fully nude figure showcases anatomical studies, while the exaggerated forms exemplify Mannerism’s embellishment. Unlike the frontal Moses, Neptune’s dynamic pose offers multiple perspectives as viewers circle the fountain.
Santa Maria Maggiore
This basilica exemplifies the incorporation of funeral chapels in modern times, specifically the Sistine and Pauline Chapels dedicated to Popes Sixtus V and Paul V. Both chapels share a centralized Greek cross plan, typical of funeral architecture due to its symbolic nature. The space culminates in a massive central dome, elevated by an octagonal drum, emphasizing its grandeur. The Greek cross layout is evident in the elevation.
The Façade
The basilica’s façade, where the chapels are integrated, features a giant order. The first body alternates between two types of openings—a Mannerist trait carried into the Baroque—while the second floor maintains a standard design.
Saint Peter’s Basilica in Rome provides another example of this façade articulation, showcasing the same Mannerist-to-Baroque transition. Both structures feature an attic atop the façade, a characteristic later adopted by Baroque palaces.
The Interior of the Sistine Chapel
Also known as the Chapel of the Crib, this magnificent crypt houses a relic related to Christ’s birth, holding significant importance for Sixtus V and highlighting Mary’s role in Christianity. Valsoldo, the primary sculptor, employed only the finest materials: marble, bronze, and gold leaf.
The chapel’s design embodies Mannerism’s decorative excess without feeling overwhelming. There are no empty spaces, only rich ornamentation.
At the heart of the altarpiece, a sculpture portrays Pope Sixtus V in prayer. Kneeling before the crib relic with his papal tiara on the ground, the figure embodies humility and surrender. Reliefs depicting papal virtues adorn the sides.
This sculptural arrangement, originating in 15th-century Milan, Spain, and France, reflects the influence of Flemish devotional figures, which would later impact Baroque sculpture. The Cartuja de Miraflores in Burgos serves as an early example.
Columns frame the figure of the praying Pope, culminating in a broken pediment at the top. This pediment, bearing the Pope’s coat of arms, is framed by delicately crafted Hermas, revealing the influence of Michelangelo’s Sforza Chapel.
Origins of the Tomb-Altar
This tomb-altarpiece typology emerged during the Renaissance (15th century). The tomb of Arcosolio, sculpted by Antonio Roseline and dedicated to Leonardo Bruni (in the Church of Santa Croche in 1450), provides a prototype:
- A niche topped with a semicircular arch symbolizes triumph.
- A Roman-inspired base adorned with garlands (fruits and flowers) represents victory.
- Elements like lion heads or monstrous figures reflect the Renaissance’s anthropocentrism, emphasizing the exaltation of the deceased.
The tomb chest features the deceased lying in repose, their bed supported by eagles, symbolizing immortality. The use of such creatures, both real and mythical, as protectors, stems from ancient traditions. The Virgin and Child, representing mediation, appear at the top. Finally, the deceased’s social standing is depicted through a shield within a laurel wreath.
This prototype, with varying degrees of ornamentation, persisted through the late 15th and 16th centuries. Andrea Sansovino (not to be confused with his teacher, Jacopo) adapted it for the tomb-altar of Ascanio Sforza in 1505, located in Santa Maria del Popolo in Rome:
- This tomb-altar is framed by side streets and a penthouse featuring virtues and Saints (representing the deceased’s character and devotions).
- It reflects the era’s humanism while retaining religious significance.
The Tomb-Arch of Triumph
, for example, Cardinal Mendoza at the Cathedral of Toledo (1504):
It is in the presbytery of the Cathedral of Toledo, is entirely related to Renaissance and Andrea Sansovino, because during the dates he worked at the cathedral, in addition to being a very Italian tomb. Is configured as a triumphal arch over a niche, with side streets and lintel structure. Highlights the slats that crown the tomb.