5 10 149 https://baroque.dahvc.org/fall-2021/files/original/Gian_Lorenzo_Bernini_-_Unity_of_the_Visual_Arts_/David_Slaying_Goliath/F197205P.jpg 3d7e245d34ca2cb4bd0d6052b9c01e56 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gian Lorenzo Bernini - "Unity of the Visual Arts" Contributor An entity responsible for making contributions to the resource Meena Gudapati Description An account of the resource As a renowned sculptor, architect, and painter, Bernini fused all three media in several of his works. Art historian Irving Lavin published the book "Bernini and the Unity of Visual Arts" exploring in depth Bernini's synthesis of the media. Through my project, I will explore works of Bernini's to validate Lavin's widely known thesis. In addition to looking at works that more explicitly combine sculpture, architecture, and painting, I will look at individual works that show how Bernini looked beyond any norms and constraints of a medium. For example, through an analysis of his busts, we see how Bernini captured motion in a way that was previously restricted to paintings. Through this analysis of Bernini's more implicit methods of fusing media, I will endorse the term of Bernini's "Unity of Visual Arts". Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource David Slaying Goliath Description An account of the resource Peter Paul Rubens’ painting, David Slaying Goliath, was painted in oil on a 122.9 x 99.1cm canvas in 1616 [1]. In the painting, Rubens captures the moment where David has over powered Goliath, pushing him to the ground with his foot. David reaches his arms back holding a sword in preparation to strike at David. David’s body is caught in a comment of motion, with his muscles flexed to demonstrate tension. His eyebrows are furrowed and he appears concentrated on the coming strike. Rubens has placed David and Goliath boldly in the foreground, and faded into the background appears a charging army. Rubens' painting shares several commonalities with Bernini’s David. In both depictions, David’s body and expression is contorted in a moment of tension and uncertainty. While in Bernini’s sculpture, the viewer is uncertain of whether David will defeat Goliath, in Rubens' depiction, it is clear that David has already overpowered Goliath and awaits making his final strike. The viewer takes a similar role in both depictions as an active bystander in a scene of action. Both images show David with his abdomen rotated toward the viewer but his focus turned away, setting the viewer as a part of the scene. Rubens’ painting featuring bold, coherent colors of red, brown and blue with theatrical lighting and diagonal motion shows themes common to Italian Baroque oil painters like Caravaggio and Artemisia Gentileschi [2]. His use of posture and movement to show tension and place viewers in the scene shows characteristic traits to the Baroque movement. Rubens' painting was completed about a decade before Bernini's David. Seeing how Bernini was able to capture these Baroque painting characteristics demonstrated by Rubens in his sculpture depiction of David, viewers can understand how Bernini blurred lines between media. His use of these characteristics was novel, as will be made clear through the next analysis of Michelangelo’s David. [1] “David Slaying Goliath.” Norton Simon Museum, January 1, 1970. https://www.nortonsimon.org/art/detail/F.1972.05.P/. [2] Freeberg, David. Peter Paul Rubens: Oil Paintings and Oil Sketches. Columbia University, 1995. Creator An entity primarily responsible for making the resource Peter Paul Rubens Source A related resource from which the described resource is derived “David Slaying Goliath.” Norton Simon Museum, January 1, 1970. https://www.nortonsimon.org/art/detail/F.1972.05.P/. Freeberg, David. Peter Paul Rubens: Oil Paintings and Oil Sketches. Columbia University, 1995. Publisher An entity responsible for making the resource available Norton Simon Museum Date A point or period of time associated with an event in the lifecycle of the resource 1616 Contributor An entity responsible for making contributions to the resource Meena Gudapati Format The file format, physical medium, or dimensions of the resource 122.9 x 99.1 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Norton Simon Museum, Pasadena, USA https://baroque.dahvc.org/fall-2021/files/original/Gian_Lorenzo_Bernini_-_Unity_of_the_Visual_Arts_/David/440px-Galleria_Borghese_42.jpg dbbcd714eaba077919e9fe8f079ae554 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gian Lorenzo Bernini - "Unity of the Visual Arts" Contributor An entity responsible for making contributions to the resource Meena Gudapati Description An account of the resource As a renowned sculptor, architect, and painter, Bernini fused all three media in several of his works. Art historian Irving Lavin published the book "Bernini and the Unity of Visual Arts" exploring in depth Bernini's synthesis of the media. Through my project, I will explore works of Bernini's to validate Lavin's widely known thesis. In addition to looking at works that more explicitly combine sculpture, architecture, and painting, I will look at individual works that show how Bernini looked beyond any norms and constraints of a medium. For example, through an analysis of his busts, we see how Bernini captured motion in a way that was previously restricted to paintings. Through this analysis of Bernini's more implicit methods of fusing media, I will endorse the term of Bernini's "Unity of Visual Arts". Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource David Subject The topic of the resource Statue of David during fight with Goliath Description An account of the resource Bernini’s sculpture, David, was commissioned by Cardinal Scipione Borghese for the Borghese Gallery. The sculpture was done in marble over the course of seven months spanning 1623 to 1624 [1]. In the life size sculpture, David is rotating his body in preparation to launch the rock at Goliath. Biting his lower lip and furrowing his eyebrows, David’s face is saturated with tension. He carries a pouch for the rock, and wears a cloth draped around his waist. David’s muscles appear anatomically accurate with muscles flexed emphasizing the tension. Caught in a moment of tension, Bernini’s David evokes feelings of uncertainty and power. Unlike prior sculptures which capture a moment of victory, Bernini captures the dynamic moment before victory [2]. The viewer almost roots for David to follow through with his throw and defeat Goliath. Given the composition of the piece, the viewer takes the position of a bystander of the fight between David and Goliath. Rotated around the central point of his abdomen and looking over his pulled forward shoulder, the viewer feels adjacent to the fight, trapped in the events to unfold. Bernini’s decision to capture a moment of tension and motion in his sculpture demonstrates his ability to break norms surrounding a medium. While sculptures were traditionally used as a medium to express pose and stillness, Bernini embraces motion [3]. His choice to make the viewer an active bystander watching a scene unfold contrasts the typical role of the viewer as a passive observer and admirer - it instead mirrors the motion captured in paintings during the Baroque and Renaissance periods. Through an analysis of Rubens painting of David and Michelangelo’s sculpture, an understanding of Bernini’s command of medium can be fleshed out. With David, Bernini uses sculpture as a mechanism to depict a moment typically constrained to paintings. This demonstrates his ability to think outside the constraints set for media and unit visual art under the theme of capturing moments. [1] “David .” Galerie Borghèse. Galleria Borghese, July 28, 2021. https://borghese.gallery/collection/sculpture/david.html. [2] Harris, Beth, and Steven Zucker. “Bernini's David.” Lumen. Accessed December 2, 2021. https://courses.lumenlearning.com/zeliart102/chapter/berninis-david/. [3] Warwick, Genevieve. “Bernini (1598–1680): Sculpting Sainthood.” Studies: An Irish Quarterly Review 104, no. 416 (2015): 444–55. http://www.jstor.org/stable/24640794. Creator An entity primarily responsible for making the resource Gian Lorenzo Bernini Source A related resource from which the described resource is derived “David .” Galerie Borghèse. Galleria Borghese, July 28, 2021. https://borghese.gallery/collection/sculpture/david.html. Harris, Beth, and Steven Zucker. “Bernini's David.” Lumen. Accessed December 2, 2021. https://courses.lumenlearning.com/zeliart102/chapter/berninis-david/. Publisher An entity responsible for making the resource available Borghese Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1623-1624 Contributor An entity responsible for making contributions to the resource Meena Gudapati Format The file format, physical medium, or dimensions of the resource 170 cm Type The nature or genre of the resource Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Galleria Borghese, Rome, Italy https://baroque.dahvc.org/fall-2021/files/original/Francesco_Borromini/Kepler_-_Model_of_the_Universe/1.jpg c6410e2fbb9bb1aa9cbcaaf7649547a2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Francesco Borromini Contributor An entity responsible for making contributions to the resource Michael Greenstein Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Kepler - Model of the Universe Description An account of the resource Kepler's model of the six known planets and their orbits around the sun through the five known platonic solids. Creator An entity primarily responsible for making the resource Johannes Kepler Source A related resource from which the described resource is derived Kepler - Model of the Universe. Photographs, n.d. https://jstor.org/stable/community.30991922. Publisher An entity responsible for making the resource available Caltech Archives Date A point or period of time associated with an event in the lifecycle of the resource 1621 Contributor An entity responsible for making contributions to the resource Michael Greenstein Rights Information about rights held in and over the resource ITHAKA encourages Authorized Users to engage in research activities, including downloading or printing Content in reasonable amounts for non-commercial, scholarly purposes, as well as use the Content on its platform in the following ways (as long as you abide by the prohibited uses in Section 4 below) (collectively the “Permitted Uses”): • in student assignments, educational presentations, and student or faculty curatorial portfolios (so long as such use conforms to the customary and usual practice in the field), or in research papers or dissertations, including reproductions of the dissertations (provided such reproductions do not include Books, and are only for personal use, library deposit, and/or use solely within your Institutional Licensee); Format The file format, physical medium, or dimensions of the resource image Type The nature or genre of the resource drawing Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Rare Books Division, The New York Public Library, New York, United States https://baroque.dahvc.org/fall-2021/files/original/Fontana_delle_Api/fontana_delle_api.jpeg ae7a411bec3517dd2a1ced511db812d1 https://baroque.dahvc.org/fall-2021/files/original/Fontana_delle_Api/fontana_delle_api_2.jpeg 57e25d95b1485bf2349e90388b0b856a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fontana delle Api Description An account of the resource Located alongside the Fontana del Tritone in the Piazza Barberini, the Fontana delle Api is a subtler fountain. Commissioned by Pope Urban VIII, the fountain was completed in 1644 by Gian Lorenzo Bernini, only a year after the Fontana del Tritone. The fountain was completed only a few months before Pope Urban VIII passed away and is thus one of his last accomplishments as the papal head. As a member of the Barberini family, Urban VIII paid homage to his roots in many ways, one of which being the bees. The fountain consists of a shell placed upright with writing on it. The writing pays tribute to Pope Urban VIII and the year in which the fountain was established. Additionally, the fountain contains three large bees on the shell that appear to be heading downwards into the water. As a symbol of the Barberini family, the bees represent Urban’s family and the patron himself. Some citizens took critique with Urban VIII’s constant use of funds for flagrant fountains and exuberant architecture. They were angry with the taxes they faced to pay for such displays of wealth. Thus they claimed the fountain represented bees drinking honey instead of making it, to criticize how the papacy was spending money instead of creating an income for the state. The Fontana delle Api is special amongst this list, as it is one of the only fountains that is not the centerpoint of the piazza in which it resides. Rather, this fountain lies off to the side, concealed from the direct view. Additionally, this fountain is of a smaller stature, thus it is not as grandiose as the Fontana del Tritone that resides in the same piazza. This creates an interesting dynamic, where the Fontana delle Api rests in the shadow of the Fontana del Tritone. Yet this is what Bernini and Urban VIII wanted. They wanted a more private fountain. This fountain is one that many people just ignore. Thought to be used as a watering trough for horses, the importance of this fountain was meant to be less than that of the Triton in the center of the piazza. Yet, there is still a radiant importance to this fountain. It creates its own bubble in the corner of the piazza that creates a calming atmosphere. Creator An entity primarily responsible for making the resource Gian Lorenzo Bernini Source A related resource from which the described resource is derived Anderson, Marit. “The Fontana Delle Api: Bees, Bernini and the Papacy of Urban VIII Barberini.” Bowdoin Journal of Art, 2018. Connors, Joseph. Alliance and Enmity in Roman Baroque Urbanism. Rome, Italy: Bibliotheca Hertziana, 1989. The Fountains of Rome, 1986. https://fod-infobase-com.proxy.lib.duke.edu/p_ViewVideo.aspx?xtid=2150. Pulvers, Marvin. Roman Fountains: 2000 Fountains in Rome: A Complete Collection. Rome, Italy: L'Erma di Bretschneider, 2002. Respighi, Ottorino, Tadaaki Otaka, and Patrick Thomas. CD. The Fountains of Rome. BBC Music Magazine, n.d. Togstad, Anne Kristine. “Fontana Delle Tartarughe : The Iconography of a Roman Fountain.” University of Oslo, 2005. Publisher An entity responsible for making the resource available Pope Urban VIII Date A point or period of time associated with an event in the lifecycle of the resource 1644 Contributor An entity responsible for making contributions to the resource Jacob Carnes Format The file format, physical medium, or dimensions of the resource Marble Type The nature or genre of the resource Fountain Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Piazza Barberini, Rome, Italy https://baroque.dahvc.org/fall-2021/files/original/Guido_Reni_s_religious_paintings/Fortuna_with_a_Purse/Guido_Reni_-_Fortuna_with_a_purse_[1636].jpeg 98724437325185dc65ecbfd20223c607 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Guido Reni's Religious Works Contributor An entity responsible for making contributions to the resource Jenny Chen Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fortuna with a Purse Creator An entity primarily responsible for making the resource Guido Reni Publisher An entity responsible for making the resource available Wikimedia Commons contributors, "File:Guido Reni - Fortuna with a purse (1636).jpg," Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Guido_Reni_-_Fortuna_with_a_purse_(1636).jpg&oldid=310684049 (accessed December 1, 2021). Date A point or period of time associated with an event in the lifecycle of the resource circa 1636 Contributor An entity responsible for making contributions to the resource Jenny Chen Format The file format, physical medium, or dimensions of the resource 152 × 130 cm Type The nature or genre of the resource Painting Description An account of the resource The painting is an entirely autograph work by Guido Reni. It is a work of exceptional importance not only on account of its composition, which being especially pleasing, was immediately well received, but also for the extraordinarily high quality of the painting. Reni is known to have painted two versions of the Fortuna, showing, in both, the allegorical female figure full-length, holding a scepter and palm in her left hand, as she flies mid-air over the globe, with her hair playfully tugged back by Cupid behind her. The versions differ in only one detail: in one, she holds a crown in her right hand, in the other a purse. The intriguing story of how the two versions came about is told by Reni’s biographers Filippo Baldinucci and Carlo Cesare Malvasia. Baldinucci recounts that he saw Fortuna, holding a crown, in Florence in the collection of Monsignor Jacopo Altoviti, before going on to detail the circumstances of the commission. Reni had first painted Fortuna with a Purse for the Abbate Giovanni Carlo Gavotti and had handed it over to him with a request that it was not to be shown to the public as it was not finished to his satisfaction. Reni’s wishes were not granted however - the picture was exhibited without his permission in one of the grandest porticoes of Bologna on one of the most important feast days. Infuriated, Reni returned home and requested to be brought to his rooms a copy which he knew to have been painted by Antonio Gerola, il Veronese, on behalf of Monsignor Altoviti. This he completely reworked, painting a crown in the hand of Fortune in place of the purse to great acclaim, even, in Baldinucci’s eyes, surpassing Gavotti’s picture. Source A related resource from which the described resource is derived Pepper, Stephen, and Denis Mahon. “Guido Reni’s ‘Fortuna with a Purse’ Rediscovered.” The Burlington Magazine 141, no. 1152 (1999): 156–63. http://www.jstor.org/stable/888409. Pepper, D. Stephen. 1984. Guido Reni: a complete catalogue of his works with an introductory text. New York: New York University Press. https://baroque.dahvc.org/fall-2021/files/original/Guido_Reni_s_religious_paintings/Hippomenes_and_Atalanta/Hippomenes_and_Atalanta.jpg 5a6e290377e2c516839f2f64f7e57737 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Guido Reni's Religious Works Contributor An entity responsible for making contributions to the resource Jenny Chen Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Hippomenes and Atalanta Creator An entity primarily responsible for making the resource Guido Reni Publisher An entity responsible for making the resource available Museo Nacional del Prado, "Hippomenes and Atalanta," https://www.museodelprado.es/en/the-collection/art-work/hippomenes-and-atalanta/b136eb8b-c3f1-4787-935b-0003ed114220 (accessed November 28, 2021). Date A point or period of time associated with an event in the lifecycle of the resource 1618 - 1619 Contributor An entity responsible for making contributions to the resource Jenny Chen Format The file format, physical medium, or dimensions of the resource 206 × 279 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Museo Nacional del Prado, Madrid, Spain Description An account of the resource This work features two naked bodies in basically sideways motion, and its subject is the race between the man-resisting girl Atalanta and her ardent suitor, Hippomenes; he has thrown a golden apple to distract her, and she is stooping to pick it up. Reni's trick is to make one figure the next stage of the other: Atalanta will soon rejoin the race. This is a scene of pure human action. It's composed of little more than two naked bodies in motion. But the action is complicated. The subject of the picture is a girl-taming story from Ovid. The wild, chaste, boyish Atalanta is a champion runner and man-refuser. She will only marry a husband who can out-race her. Many try, and the losers die. But Hippomenes prays to Venus, and the love goddess gives him three golden apples, which he tosses behind him whenever Atalanta overtakes. She retains apparently a feminine weakness for shiny things, and each time she drops back to pick up the apple. Hippomenes wins. The race runs across the picture. Its onward direction is left to right. There's a suggestion (mainly in Hippomenes' forward leg) that they're also running somewhat towards us. The idea is presumably to moderate the impression of a frieze, which might have felt a bit naive to Reni. But it's a token gesture: the dominant sense of movement in both figures is definitely sideways, and the picture probably needs the simplicity and clarity of a frieze layout, to bring off its elegant complications. Hippomenes' mixed action is handled neatly. The straight sloping length of his right leg and side press him onward. His backward- casting right arm works at the same time as a speed-trail, flying behind him, picking up on the fluttering drapery - and with both figures the drapery has a dynamic function. Atalanta's temporary backtrack is a virtuoso accomplishment. It's partly a matter of balance. Unlike Hippomenes, her stride is without forward momentum. She stoops low towards the left, but her left leg keeps its footing on the ground behind her. Having picked up the apple, she won't continue leftward, her weight will fall back on to this leg, which establishes a counterweight and a counter- direction. She may have suspended her racing, but this left foot stays pointing the other way, indicating her intended and imminent turn, pulling her back into the race. Source A related resource from which the described resource is derived Lubbock, Tom. "Atalanta and Hippomenes (c.1612)." Independent (2007): 30. https://login.proxy.lib.duke.edu/login?url=https://www.proquest.com/scholarly-journals/atalanta-hippomenes-c-1612/docview/1035856264/se-2?accountid=10598. Pepper, D. Stephen. Guido Reni: a complete catalogue of his works with an introductory text. New York: New York University Press, 1984. https://baroque.dahvc.org/fall-2021/files/original/Roman_Fountains/Fontana_delle_Tartarughe/fontana_delle_tartarughe.jpeg fce8e82bca1fbcc4a2a7391a5455be1d https://baroque.dahvc.org/fall-2021/files/original/Roman_Fountains/Fontana_delle_Tartarughe/Fontana_delle_tartarughe_2.jpeg a4ddfc4fb41085ac1b155b13138eb4c0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Roman Fountains Contributor An entity responsible for making contributions to the resource Jacob Carnes Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fontana delle Tartarughe Description An account of the resource The Fontana delle Tartarughe is famous for the turtles that adorn the fountain. Yet these were not a part of the original design, but added later into the fountain. With water from the Acqua Vergine, the fountain was made to bring water to the people. Designed by Giacomo della Porta and Taddeo Landini, the fountain came into fruition in 1585. Unlike many of the other fountains discussed, the Fontana delle Tartarughe was not commissioned by the papacy, but rather by a private patron. Located in the aptly named Piazza Mattei, the fountain was commissioned by Muzio Mattei. The fountain itself consists of a large basin that rests atop a central pillar. This basin appears to be held up by four bronze statues of men, yet the statues do not touch the bottom of the basin. Landini was the sculptor behind the four statues. The four men have an arm stretched upwards to give the appearance they are reaching for the basin. In the original design, there were no turtles, but nowadays a turtle can be spotted climbing into the basin from each man’s hands. Each man rests his foot atop the head of a dolphin, where water spews from their mouths. The water collects in four small pools held in granite at the base of the dolphins, before cascading over the edge of these smaller basins into the large base of the fountain. The fountain comes rich with legend. One tale states that Mattei ordered the fountain to be built in a single night in order to impress the father of a woman he wished to marry. The father approves, as he is impressed by the grandiose act. This fountain is extremely important to analyze, as it was not commissioned by a Pope. As a piece of private commission, it exists outside the realm of the papacy and thus outside of the Catholic reign. However, the Mattei were still Catholics and thus religion may have impacted the foundation of the fountain. Also, the fountain most likely represents the power of the Mattei family. As one of the only families with a grandiose fountain commissioned by them, the fountain represents their grand power and their strength. While seemingly a simple fountain, the fountain holds many meanings. Creator An entity primarily responsible for making the resource Giacomo della Porta Taddeo Landini Source A related resource from which the described resource is derived Connors, Joseph. Alliance and Enmity in Roman Baroque Urbanism. Rome, Italy: Bibliotheca Hertziana, 1989. The Fountains of Rome, 1986. https://fod-infobase-com.proxy.lib.duke.edu/p_ViewVideo.aspx?xtid=2150. Pulvers, Marvin. Roman Fountains: 2000 Fountains in Rome: A Complete Collection. Rome, Italy: L'Erma di Bretschneider, 2002. Respighi, Ottorino, Tadaaki Otaka, and Patrick Thomas. CD. The Fountains of Rome. BBC Music Magazine, n.d. Togstad, Anne Kristine. “Fontana Delle Tartarughe : The Iconography of a Roman Fountain.” University of Oslo, 2005. Publisher An entity responsible for making the resource available Muzio Mattei Date A point or period of time associated with an event in the lifecycle of the resource 1585 Contributor An entity responsible for making contributions to the resource Jacob Carnes Format The file format, physical medium, or dimensions of the resource Bronze and travertine Type The nature or genre of the resource Fountain Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Piazza Mattei, Rome, Italy https://baroque.dahvc.org/fall-2021/files/original/Fontana_dei_Quattro_Fiumi/4_river.jpeg f1db043d31c8c7ea90eb6404b520c272 https://baroque.dahvc.org/fall-2021/files/original/Fontana_dei_Quattro_Fiumi/fontana_dei_quattro_fiumi_2.jpeg 5c2f38b538b1cb64fe5acda5eb6cabe2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fontana dei Quattro Fiumi Description An account of the resource The Fontana dei Quattro Fiumi has a long and laborious past, involving a competition for the construction of the fountain. The fountain resides in the Piazza Navona, flanked by two other fountains, including the Fontana del Moro. The fountain was finished in 1651, built by Gian Lorenzo Bernini after a long struggle. Commissioned by Pope Innocent X, this fountain needed to be grandiose in order to assert the power of the papacy. Fountains are easy art pieces for asserting the power of the papacy as they are publicly accessible and thus readily able to be viewed by all. Pope Innocent commissioned Borromini to complete the water works so that a fountain may go in the center of the piazza. Borromini suggested a fountain representing four rivers and four continents, and thus Innocent created a competition for the design of this fountain. Many artists were invited to participate in this competition, including Borromini, yet Bernini was not. Family dynamics and past patronage created issues between the papacy and Bernini, and thus Bernini was not in favor of the Pope. Bernini, however, managed to secure the commission. There are two stories on how this happened. One is that a friend of Bernini with connections to the papal family had Bernini’s design model placed so that the Pope would be forced to see it. The other story is that Bernini presented a silver model of his design to Innocent X’s sister-in-law, provoking such discussion that the Pope had to have Bernini design it. The fountain is composed of four allegorical figures representing four continents and four rivers: the Nile for Africa, the Danube for Europe, the Ganges for Asia, and the Plata for the Americas. Additionally, the design of the fountain contains mythical and real creatures around the base that fit into each of the continents they represent. Each of the figures is positioned in such a way that represents aspects of their respective continents. The fountain statuary intertwines with itself and creates magnificent archways in a way that makes the whole fountain look impossible. To top it all off, the top of the fountain holds an Egyptian obelisk that towers into the sky. The fountain is important for Roman culture for many reasons. Piazza Navona is atop of the Stadium of Domitian, an ancient Roman stadium. For this reason, the fountains here had to be grandiose and reflect the power of the Roman Empire. As the central fountain in the piazza, the Fontana dei Quattro Fiumi had to impose itself on the landscape. This is accomplished with the obelisk that dominates the piazza. The fountain takes influence from many other designs. The grandiose level of the fountain is also Pope Innocent X’s way of establishing himself as an important Pope; to not be lost under a giant sea of famous papal heads. Creator An entity primarily responsible for making the resource Gian Lorenzo Bernini Source A related resource from which the described resource is derived Connors, Joseph. Alliance and Enmity in Roman Baroque Urbanism. Rome, Italy: Bibliotheca Hertziana, 1989. Dickerson, C.D, Anthony Sigel, and Ian Wardropper. Bernini: Sculpting in Clay. New York, NY: The Metropolitan Museum of Art, 2012. The Fountains of Rome, 1986. https://fod-infobase-com.proxy.lib.duke.edu/p_ViewVideo.aspx?xtid=2150. Morrissey, Jake. The Genius in the Design: Bernini, Borromini, and the Rivalry That Transformed Rome. New York, NY: Harper Perennial, 2006. Pulvers, Marvin. Roman Fountains: 2000 Fountains in Rome: A Complete Collection. Rome, Italy: L'Erma di Bretschneider, 2002. Respighi, Ottorino, Tadaaki Otaka, and Patrick Thomas. CD. The Fountains of Rome. BBC Music Magazine, n.d. Publisher An entity responsible for making the resource available Pope Innocent X Date A point or period of time associated with an event in the lifecycle of the resource 1651 Contributor An entity responsible for making contributions to the resource Jacob Carnes Format The file format, physical medium, or dimensions of the resource Granite Type The nature or genre of the resource Fountain Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Piazza Navona, Rome, Italy https://baroque.dahvc.org/fall-2021/files/original/Francesco_Borromini/Rendering_of_Sant_Ivo_alla_Sapienza_[Roma]_-_Dome/Sant_Ivo_alla_Sapienza_[Roma]_-_Dome_interior.jpg 75b1e61f87719ca76fdff525528c5d68 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Francesco Borromini Contributor An entity responsible for making contributions to the resource Michael Greenstein Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rendering of Sant'Ivo alla Sapienza (Roma) - Dome Description An account of the resource Rendering of the image of the dome of Sant'Ivo alla Spienza to reveal the geometric configuration embedded in the design. Creator An entity primarily responsible for making the resource Francesco Borromini Source A related resource from which the described resource is derived Francesco Borromini, Sant’Ivo alla Sapienza int: dome, 1642-60. Church. Corso del Rinascimento, Rome, Italy. Publisher An entity responsible for making the resource available Architas Date A point or period of time associated with an event in the lifecycle of the resource 2018 Contributor An entity responsible for making contributions to the resource Michael Greenstein Rights Information about rights held in and over the resource Free to share, copy, or redistribute the material in any medium or format. Type The nature or genre of the resource interior dome Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Rome, Italy https://baroque.dahvc.org/fall-2021/files/original/Guido_Reni_s_religious_paintings/Palla_della_Peste/Guido_Reni_061.jpeg 56f13ed743aa7a70f80f80786c2bfa6f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Guido Reni's Religious Works Contributor An entity responsible for making contributions to the resource Jenny Chen Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Palla della Peste Creator An entity primarily responsible for making the resource Guido Reni Publisher An entity responsible for making the resource available Wikimedia Commons contributors, "File:Guido Reni 061.jpg," Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Guido_Reni_061.jpg&oldid=588864124 (accessed December 1, 2021). Date A point or period of time associated with an event in the lifecycle of the resource 1631-1632 Contributor An entity responsible for making contributions to the resource Jenny Chen Format The file format, physical medium, or dimensions of the resource 382 × 242 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Pinacoteca Nazionale di Bologna, Bologna, Italy Description An account of the resource The Pala della Peste (Altarpiece of the Bubonic Plague) depicts the Madonna and Child in Glory with the Patron Saints of Bologna: Petronius, Francis, Ignatius, Francis Xavier, Proculus of Bologna, and Florian. The Madonna and child are in the superior portion. The infant blesses with his right hand, while the left hand holds a flowering sprig. Around the couple, cherubim are active draping flowers, holding rosaries and scapulars, and crowning the Virgin with a floral crown. In the scene below, the seven saints implore for Bologna, depicted at the bottom center. Charles Borromeo, recently canonized, at the left was known for his work among the pestilent of Milan. Beside him standing is St Proculus of Bologna, a martyred Roman soldier, holding a sword and palm leaf (symbol of Martyrdom). Across the canvas, the armored St Florian holds a halberd and palm leaf. Kneeling below are: St Petronius with a bishop's mitre at his feet; St Francis in a cassock, and to the right are two Jesuit saints, Francis Xavier with the palm leaf pointing to him, and the founder of the order St Ignatius of Loyola. St. Dominic kneeling with the lily of purity on the right. The structure of the painting follows the formal arrangement, exemplified by a late 16th-century canvas by Annibale Carraci in the Pinacoteca of Bologna. The style recalls the earthy coloring of Ludovico Carracci. Source A related resource from which the described resource is derived Mahon, Denis, and Stephen Pepper. “Guercino and Reni: Reflections on the Interpretation of Documents and Paintings.” The Burlington Magazine 139, no. 1128 (1997): 178–87. http://www.jstor.org/stable/887393. Pepper, D. Stephen. 1984. Guido Reni: a complete catalogue of his works with an introductory text. New York: New York University Press. Puglisi, Catherine R. "Guido Reni's "Pallione Del Voto" and the Plague of 1630." The Art Bulletin 77, no. 3 (Sep 01, 1995): 403. https://login.proxy.lib.duke.edu/login?url=https://www.proquest.com/scholarly-journals/guido-renis-pallione-del-voto-plague-1630/docview/1296212601/se-2?accountid=10598.