By Harald Busch
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Extra info for Buildings of Europe: Baroque Europe
Plastische Kraft, Pathos und Formenfiille: romisdier Hochbarock. Oben: S. Pietro in Montorio (Bernini, 1636). Rechts: Die dynamisch schvvingende Front von S. Agnese (Borromini, 1652—55), davor der dramatisch bewegte Fliissebrunnen (Bernini, 1651). Rome. The exuberance of Roman High Baroque. Above: S. Pietro in Montorio (Bernini, 1636). Right: another viev^ of Borromini's S. Agnese in Agone, with Bernini's Fontana dei Fiumi (1651). 20 — . f ''\ :w '5*-', / i m ^-:^ 'i. ^g2S^ •«s^iH , rl i^^^Si^H 1 i»r I .
Vatican. Through his mastery of all the illusionist devices of the Baroque theatre, Bernini transforms a narrow passage into the splendid approach to the Vatican Palace. in the Rom. Petersplatz. Zur Kuppel der Peterskirche (Michelangelo, Enfw. 1557) und ihrer Fassade (Maderna, 1607—12) laSt Bernini einen Kolonnadenhof (1656—67) hinfiihren, der durch perspektivische Kunstgriffe noch grofier erscheint. Rome. The Piazza of St. Peter's. To Michelangelo's dome (designed 1557) and Maderna's facjade (1607—12), Bernini adds a vast colonnaded piazza (1656—67), made to appear even bigger through his brilliant handling of perspective.
Cornices, emphasis on a central axis through columns and pilasters, Wide niches with figures or reliefs. SS. Martina e Luca Left: on the Forum Romanum da Cortona, 1635), (Pietro with a lavishly decorated dome. Right: SS. Domenico e Sisto (Vincenzo della Greca, 1630). 23 ? r . -^ Tc—Titi-^- Rom. S. Agnese, innen (Rainaldi, beg. 1645). Einer der vier Pfeiler, die die Kuppel tragen. Sie sind schrag zum runden Zentralraum gestellt und in kiihnen Bogen fiir Altare geoffnet. Rome. S. Agnese in Agone.