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By Anthony Blunt, Alastair Laing, Christopher Tadgell

A learn of a interval in paintings and layout levels from Baroque structure in Rome within the early 1600s via Bernini, Boromini, and Pietro da Cortana

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As these are itself, so that it of the staircase so that and at the first landing brought the visitor out it continued made at the it double door in the middle of the long wall of the Sala Regia, the principal reception room of the papal apartments. The upper flight of the staircase 30 36 Part I Italy followed the line of the existing approach, but Bernini showed great ingenuity in exploiting the awkward site to give greater grandeur to the lower flight. He took advantage of the fact that the two walls which enclosed the flight were not parallel and adapting a device which Borromini had used earlier at the Palazzo Spada (see below, p.

This created the nave the other for the choir. decision to build the nave finally destroyed the possi- created difficult problems for the exterior. 21 two is to say, Vignola created a steady movement forward towards the centres, but della Porta established a broken movement, forward and then backward. In the facade of S. Susanna Maderno took up Vignola's scheme and greatly elaborated and enriched it. He makes his facade break forward steadily towards the centre, but he adjacent to the crossing, one for the reservation of the Sacra- ment and the facade break forward in emphasis on the central bay, which was increased by two other devices: the main door was flanked by full columns, and the dome would Adding it also that 25 Rome 23 Lefi Vignola, the unexecuted design for the facade of the Gesu, from the engraving of 573 27 Rome, 1 24 Below Palazzo Barberini, Rome, the Loggia, begun 1628 by in Maderno.

Susanna (1603) execution in the In its is almost as significant in the history of architecture as his design for St Peter's. in It marks the culmination of an important development the designing of church facjades. sixteenth-century churches in The facades of most Rome had followed a simple pattern with two storeys, linked by scrolls, the lower one being broader than the upper to include the aisles. These fagades were basically flat - and they were either plain or articulated with 22 S. Susanna, Rome, by Carlo Maderno, 1603.

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Baroque and Rococo - Architecture and Decoration by Anthony Blunt, Alastair Laing, Christopher Tadgell

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