Bernini and Algardi’s Statues: Baroque Art in Rome
Bernini and Algardi’s Masterpieces
On the shorter sides of the room, there are two marble statues by Bernini, representing Urban VIII in a similar pose to his depiction in his tomb. The other statue, by A. Algardi, is derived from Bernini and represents Innocent X.
The Front of the Room (1595)
The front of the room, originating in 1595, depicts the she-wolf with Romulus and Remus, where the pastor Faustulus married Larentia. The framework is characteristic of large Baroque decorations, where large curtains become part of the sculpture, reminiscent of theatrical plays, a significant feature of the Baroque period. Monumental, naked figures, resembling Atlanteans, withdraw their physical power from the large curtain, accompanied by angels, creating the impression of an opening stage.
The composition features a cool white light, and shade favors the drawing and clarity of the figures, a characteristic valued in Rome, as opposed to Venice, which prioritized color. Rome’s preference for white light enhances the drawing, while Venice’s light would evolve into a more golden hue.
The figures are dynamic, exhibiting two tendencies: sophisticated cut scenes and a more humane, naturalistic approach. In the center, we see children, from whom two diagonals emerge, as if the vanishing point were reversed. The central scene presents a vast landscape, placing the human scene in the foreground while integrating the figures into the landscape. This reflects the artist’s understanding of nature, evolving into a character where the landscape becomes the protagonist of the Baroque.
Side Scenes
- “Battle of Romans against Veienti and Fidenati” (1598-1601): This battle scene features a prominent diagonal line and a pyramid for a foreshortened effect. The vanishing points vary, and the movement is emphasized in the main figure with a corvette palace (possibly Florentino Floraiono’s study of horses in the 15th century). One of the leading figures is depicted in colorful, transparent armor, revealing detailed anatomy. The colors, orange and violet, are typical of this era, conveying a sense of coldness.
- “Grief and Curiatii Horatii” (1612-1913): This scene depicts the Romans killing one another for the Albanians. It features a circular, Renaissance-style composition with actors in the center, the commander-in-chief in the center, and other figures facing away from the viewer. Transparent armor is used again, and the color mixture is unusual, featuring cold, natural colors that are not entirely mannered. The attitudes are cold and lack the force expected for such a dramatic event, and the proportions feature small heads in relation to the bodies.
Quirinal Palace: Salone dei Corazzieri
The Salone dei Corazzieri, also known as “Sala Regia,” was decorated between 1616 and 1617. It was the most important room and involved Agostino Tassi, who played a significant role in establishing decorative fresco painting in Rome, creating imaginary prospects or *quadrature*. This room originally featured fresco paintings in the upper frieze with scenes and architecture by two early Baroque artists: Lanfranco and Saraceni. The frieze beneath, which supports it, was created in the 19th century.
Upper Frieze
The upper frieze features architectural partitioning figures that connect with the viewer’s space, establishing communication between the viewer and the artwork. Architectural frameworks, resembling a large balcony, reveal grand architectural backgrounds. Figures appear on the balcony, and arms extend forward, integrating the architecture into the real space. Figures also hang, and some children sit on the edge of the rails, further extending the space and making the viewer a participant.
Precedent
A precedent for this style can be found in Mantegna’s “House of Husbands” in the Ducal Palace in Mantua. Mantegna’s work features a small oculus in the center of a huge vault, creating the illusion of an open sky and a parapet with small hanging angels.