Farnese Palace and Gesu Church: Architecture & History
Farnese Palace
The facade, designed by Antonio da Sangallo, projects the grandeur of the palace, which was later completed by Michelangelo. The window cornice, supported on a bracket, gradually replaces the traditional capitals.
Medici Tomb in San Lorenzo
The pediment is also supported on cantilevers, a feature along with stipe, that slowly introduces elements typical of Mannerism.
Chiesa del Sacro Nome di Gesù, Rome
Church of the Gesù (Jesuits)
This church significantly influenced many churches of the Jesuit order. Designed by Jacopo Vignola, with Giovanni Tristano overseeing the work (projects circa 1562, construction began in 1568, and consecrated in 1584-86 with the facade by Giacomo della Porta).
It features a basilica layout with a prominent apse, aiming for a Latin cross floor plan to emphasize a single nave crossed by the transept, similar to a basilica, with chapels added externally. The innovative aspect of these chapels is their interconnectedness on each side, functioning as aisles for mass transit or holding gatherings. This layout derives from the Italian churches of the 15th century. There’s a strong connection to St. Andrew of Mantua by Alberti, regarding the ground plan and the uniqueness of the naves. The cruise was extended due to Baroque influence, and its dome dates back to the 18th century.
The interior of the Gesù (Giovanni Tristano) initially aimed for composure, reflecting the Jesuit’s desire for restraint. However, in the 17th century, it was decorated in a highly Baroque style, rich in ornamentation, which was prevalent at the time. It features a single, wide nave. The altar is positioned to create a sense of mystery, while a pulpit, an element added by the Jesuits for teaching and indoctrination, is placed in the middle of the nave. These churches are known for their excellent acoustics. The choir at the foot is replaced by a side platform on the side chapels.
In the nave, chapels open in a semicircular arc, separated by immense pillars that receive decoration. Paired pilasters, attached and polychromatic using different materials, are fluted with dough balls in the lower section (convex body). Upon reaching the entry and cruise, the hood size is reduced to a door lintel (everything contained in the cruise). Compound capitals and an entablature are used on the pilasters, following classical styles (a continuity from the Baroque and Renaissance periods): bands, architrave frieze, and a cornice decorated with a calendar, typically featuring festoons or garlands of triumphant character.
The Facade (1580-86)
The double bill, with Vignola’s vertical emphasis, features slats or auctions in the upper sections and the use of columns and pilasters. The facade is categorical, with a prevailing sense marked by horizontal cornices. The lower section utilizes columns and pilasters as separators, placed right next to the door, divided by the line of fascia. The second section rests on a high base. In both cases, the second section is supported on a base with a pediment (triangular, Della Porta introduces another classic anti-Mannerist element), and Vignola breaks the pediment in the center with the shield of the Jesuits, marking the vertical line from the door. Giacomo della Porta added heaviness and widening to the facade. Vignola’s draft included statues to prolong the height and introduce theatricality, a Baroque trait.
Previous Example: Alberti’s Santa Maria Novella, Florence, 15th century, with two distinct sections and large buttresses.
The facade of the Gesù exhibits great movement, with sets of horizontal and vertical slats acting as concave buttresses. Vignola had also planned for some vertical buttresses. The importance of the steps, symbolizing the entrance for the faithful, is also noteworthy.