Carlo Maderno: Key Architectural Achievements and Influences
Carlo Maderno: Architectural Achievements
Among the most important and influential works, we can point to the Collegiate Church of San Luis:
“They reinforce the corners of the facade of ashlar to rope and brand.
“The single door, highlighted by a curved pediment trim and molding that on reaching the doorway is widened to form the baroque Earmuffs on this simple shield over Flia shields. Ulloa that form a triangle with the window.
-Slats carried by the central thrusts of the vaults to the side with Herrera balls on the ends.
Carlo Maderno (1556-1629)
From the Gesu, artistic production will be bringing us progressively to the full Baroque, and, within this period of transition, the most prominent and significant architect is Carlo Maderno. He was the nephew of Domenico Fontana and grew up in his workshop during the period in which Fontana made the urban reform of Sixtus V. Fontana made Maderno his successor and he became the favorite architect of the Vatican, a time when Carlo was already receiving commissions himself. He made the transition from Mannerism to Baroque Calm.
Santa Susanna in Rome
This is Maderno’s first work as a freelance artist, St. Susanna in Rome, with a young sculptor Bernini. It has a great slender and vertical appearance, two features of the Baroque, compared to the horizontality of the Gesu. The lower body is more rectangular and wider, and the upper end decorates some slats in very slender and decorative spirals, which contribute to the impression of lightness. The focus is very vertical, with no imposts line dividing the first body, and therefore does not give the whole horizontal appearance. A single gable ends in the first floor with balcony joins it further this pediment, breaks with the base of the second floor, breaking with its horizontality.
Finally, overhead, we have a crest, i.e., a transparent body that stiffens the pediment above released.
Saint Andrea della Valle
Influenced by the Gesu. The project, in 1598, was by della Porta in collaboration with the priest Grinaldi. They begin this work within the influence of the Gesu (chapels etc.), and then, in 1608, Maderno joined the project to direct the play, and remains true to the original idea. In 1625, almost finished, Raivaldi grabs until 1665, always following the original model, but introduced in the form of decorative moldings niches where basements were “The two recumbent figures again remind the Medici Chapel by Michelangelo . This form of decoration begun by Michelangelo, Palatio continue, and out of architecture.
Santa Maria della Vittoria (Rome)
Carlo Maderno in 1605, works in this book, and the facade and in the end Battista Soria 1624-1626, which follows the old project, but it is more slender and elegant, with vertical elements. Most of these architects are set Michelangelo. It uses the Ionic and Corinthian, and this allows the frieze clean, smooth entries which allows patrons who have contributed to the work.
Ionic order in the bottom with some capitals that Michelangelo used for the Capitol. Ionic capital is a perfect, but with the curls caught by a garland of fruit, this being a very baroque note. The abacus with grapes and turns, they have appeared in the sixteenth century in Spain, with the concave curve is the outer part of the abacus. (Image of the teacher)
Sandrea delle Fratres (Rome)
It is another Jesuit church, following the model of the Gesu. Overwhelming simplicity, has almost no projections, marking only the vertical pillars, with a line of imposts missing. We again see the overlap of Ionic and Corinthian.
Church of St. Ignatius (Rome)
Started by Horatio Grassi, a great mathematician of the Jesuit company. His opinion in the court of the Inquisition influenced death and condemnation of Galileo.