Baroque Tombs: Bernini vs. Michelangelo
It appears as the claw of a lion, sometimes as a heraldic device or as an element of protection.
Changes from Michelangelo to Bernini
It is the position of the virtues—which, in Bernini’s case, are Charity and Justice, two of the cardinal virtues. The standing figures appear here, attached to the shape of the tomb, the funeral urn, so that they can give a curvature to the body, which leads to the naturalistic interpretation of the Baroque world’s own bodies. It must be stressed that the internal movement of Baroque works, while Michelangelo always left out, allowing us to admire and observe the image. Bernini puts us Justice, marks a strong diagonal that leads through the head and look to the Pope, who has his hand out, and we go down to the Charity, which is what gets back in touch with us. Up and down movement that connects the viewer with the work and forces us to move in, open-ended dynamics of the Baroque.
Tomb of Santa Maria Maggiore, of Pius V: The Pope is seated and appears dead. The tomb of Innocent VIII. Both the figure of the deceased and the figure of the character to life and all virtues, either in relief or not. Virtues accompany the deceased to try to represent those virtues that have accompanied him in life. After these virtues, at the time of death, become their protectors. Acquire two aspects, which have accompanied them in life and will save them in death. Are normal in these monuments.
The Father Figure
Arrogant, appears in life, raising his arm aggressively. Representation Auric, portraits that are adapted to some extent the real nature, but the expression is not very strong, is idealized. Can be smoother, younger, and is generally found in the portraits of state. Pictures are often where the feelings do not emerge clearly, particularly in the face, although it may appear on arm strength. He is seen with the papal tiara, the triple crown. Highlighted in a gilt bronze layer. You see the different textures of fabrics. The hard layer is very soft and dawn. The variety of fabrics begins in the Renaissance, and the Baroque is accentuated with the pictorial effect with folds and chiaroscuro. The face of the Pope is a serious face, impassive, calm, beard set too tight and symmetrical. As if we refer to the portraits of the Renaissance yet. Hair and beards are in, and San Longhin is a movement that here there is none. Renaissance in the face and everything else Baroque. Including death, two-color.
The Figure of Death
The figure of death takes an important role in the tombs of the Baroque from now. It becomes an active element: the difference with respect to rebirth medieval times, where the important thing was to save the soul, while in the Renaissance is to save the memory for the glory and fame (humanism towards Christianity in the Middle Ages.)
Everything disappears with death: glory, fame, everything. The important thing is to save the soul. Death takes an active role. It was identified over time that Caravaggio captured a moment in particular. Start playing an important role in capturing moments that change over time. Death, time, and direct our lives become very active elements that typically appear in the tombs ordering the life of the deceased. We see that is death, you are holding the cartouche, the inscription which contains the name of the deceased. According to historians, for some places the name of Urban VIII in the grave, life ran out, others that might even the name started because death takes all. In the early drawings, appeared only ends up showing the entire skull.
Virtues
Charity (sketch). The different designs of the love, where you see the strong curvature in his body so that it can attach to the urn, has always nursing the child in his arms and chest the final work is covered (covered in the late seventeenth century pro’s place). Human aspect of Bernini’s images, figures with strong and vigorous anatomy. That reminds.