fotokatalog photographic catalogue catalogo...

Fotokatalog

Photographic Catalogue

Catalogo fotografico

Source: https://www.khi.fi.it/de/photothek/digitale-ressourcen.php

Stable URL: http://wwwuser.gwdg.de/~fotokat/Fotokataloge/Wiedenhoeft_1995_1_l.pdf

Published by: Photothek des Kunsthistorischen Instituts in Florenz, Max-Planck-Institut

http://www.khi.fi.it

http://wwwuser.gwdg.de/~fotokat/Fotokataloge/Alinari_1971_1_l.pdfhttp://www.khi.fi.it/

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Commemorating

Gianlorenzo Bernini

1598-1680

Photography of Extraordinary Thoroughness of

Sculpture in St. Peter's

Photography by Ron Wiedenhoeft

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Ltd.

Cultural Documentation , . _,--_ - . ··• .

P.O. Box 621109 Littleton, Colorado 80162 - 1109

commemorating

GIANLORENZO BERNINI (1598-1680)

photography of extraordinary thoroughness

of

SCULPTURE in ST. PETER'S BASILICA, ROME

1979-81

photography by Ron Wiedenhoeft

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P.O. Dox 621109 Littleton. Colorado 80162-1109 U.S.A.

Tombs oflnnocent VITI and Paul m Tomb of Countess Matilda Tomb of Urban vm Tomb of Leo XI Monument to Leo the Great Cathedra Petri

CONTENTS

Decoration of Chapels and Nave, incl. Sanctified Martyred Popes Tomb of Alexander VII Bernini's Crucifixes and Cappella d. SS Sacramento Bernini's Angels and Borromini's Gate Baldacchino: overall, soffit, superstructure Baldacchino: superstructure, general view of columns Baldacchino: superstructure construction details, marble plinths Crossing Figures: Longinus, Andrew, Veronica, Helen Baldacchino: column details with putti and bees Baldacchino: bases and fluted portions of columns Tomb of Gregory XIV & Gregory XIII Tomb of Clement X~ Baptismal Font Tombs of Innocent XI, Alexander VIII Tombs of Innocent XII, Queen Christina of Sweden Tombs of Maria Clementina, Benedict XIV, Clement XIII, Last Stuarts Tombs of Pius VII, Leo XII, Pius VIII Tombs of Gregory XVI, Pius X, Benedict XV, Pius XI Tombs of Pius XII, John XXIII, Holy Water Basins Founders of the Orders: nave & apse Founders of the Orders: transpets Founders of the Orders: upper register Pendentive Mosaics from Basilica

1 2 3,4 5 6 7 8, 9-1, 9-2 10 11, 12 13 14 15 16, 17 17, 18, 19, 20 20,21 21 22 23 24 25 26 27 28 29 30 31 32 33,34

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St. Peter's page 1

TOMB OF INNOCENT VIII CIBO (b. Genoa, 213th Pope, 1484-92)

Sculptor: F.ntonio del Pollaiuolo (actually Antonio di Jacopo Benci, called il Pollaiuolo), b. Florence, 1426/33-1498. Completed 1498, this is the only monument from Old St. Peter's taken over into the new basilica (in 1619).

- total composition, including pediment & coat of arms 8006M 36 - total composition, without pediment & coat of arms G80F29a or G81All*

major portions {enthroned & recumbent) - major portions (enthroned & recumbent)

froI!l the right froI!l the left

G80F30 _,;t!,,. -/ ~!

G81Al3 - frontal view of the enthroned Pope - the enthroned Pope from the right - close frontal detail of the enthroned - close detail of the recumbent Pope - the Virgin Mary at top center - allegory of religion at top left - allegorical figure at left center - allegorical figure at left bottom - allegorical figure at right center

_:_ allegorical figure at left bottom 14

Pope

G81Al2 G80F32 8101H 11, 8101H 17, 8006M 26 8006M 27 8101H 23, 8101H 20, 8006M 28 8006M 29

TOMB OF PAUL III FARNESE ( b. Rome, 220th Pope, 1534-49)

This tomb, which took from 1551 to 1575 to complete, is the chief work of Guglielmo della Porta (b. near Como, ca. 1500-1577).

- total composition, but without top of niche GB0A43 or

- head of the Pope, quasi frontal view 8001H 21

- head of the Pope, quasi left profile 8001H 26

- reclining allegory of Justice at the left, said to resemble the Pope's sister, Giulia Farnese 8001M 19

- Justice: bust-legth three-quarter right detail, showing plaster drapery added to cover the figure's nudity

- Justice: quasi en-face detail of the head

8001H 24 8001J 29

- Justice: right profile detail of the head 8001J 30

- allegory of Prudence, said to resemble the Pope's mother, Giovannella Caetani: bust-length detail 8001H 23

- Prudence: close detail with reflection in mirror 8001J 27

- detail of horse or unicorn at back of throne 8001J 31

- left putto at base of throne - right putto at base of throne - Mascherone at bottom center of composition

8001J 32 8001J 33 8001J 34

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* Two or more numbers indicate different negatives of the same subject. The best exposure will be chosen for enlargements.

12, 13* 18, 19

24, 25 21, 22

8001J 25

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Black and White Prints, St. Peter's Basilica, Rome page 2

TOMB OF COUNTESS MATILDA of Tuscany (1046-1115)

Gianlorenzo Bernini was commissioned by Pope Urban VIII in 1633, and carving in marble was begun in 1634. All the figures, except the two putti with the coat of arms above the niche, were complete by 20 March 1637, the day the monument was unveiled. Subordinate parts were not completed until 1644. The figure of the Countess is largely the work of Bernini himself, with the help of his brother Luigi Bernini, and Niccolo Sale. Previous attributions of the figure of the Countess to Andrea Bolgi have been refuted by Wittkower. Tablet bearing the wreath and inscription is by Andrea Bolgi Bolgi is also responsible for the putto on the left, while Luigi Bernini did the one on the right. Two putti above the niche with crow and coat of arms are by Matteo Bonarelli and Bolgi, 1637-38. The relief on the sarcophagus, by Stefano Speranza, represents the Emperor Henry IV kneeling before Pope Gregory VII (157th Pope, AD 1073-85) at Canossa.

- total composition, slightly from the right - frontal view of lower two-thirds, including sarcophagus

and entire figure of the Countess detail of the sarcophagus, including major

portion of the relief - frontal detail of the Countess, half legth - right profile detail of the Countess, half legth - cherub left of the inscription - view of the inscription - cherub right of the inscription - partial view from above, showing placement and relative

position of Countess (base only), cherubs, inscription, and arcophagus

- detail of cherubs above the niche, with crown and coat of arms

- close-up detail of cherubs with crown and coat of arms, view from the left

- full-figure view of the Countess, from the right 12

G80F33

G80A62

G80A66 8001BB G80A63 8001BB 8001BB 8001BB

8001CC

8001BB

8001CC G80F34

22 or 8001BB 35 21 19 20

24

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Black and White Prints, St. Peter's Basilica, Rone page 3

TOMB OF URBAN VIII BARBERINI (b. Florence, 235th Pope, 1623-44)

Gianlorenzo Bernini began work at the end of 1627. Monument unveiled 9 February 1647. Figure of the Pope, 1628-31, essentially by Bernini himself. Charity mainly done 1639-46. Death complete 1644. Justice done 1644-46. The artist was assisted at first by his father, Pietro, and later by his brother, Luigi. Among the various studio hands who assisted were Niccolo Sale, who d::dthe coat of arms (1646), with putti by Lazzaro Morelli. Francesco Borromini was among the stonemasons employed in preparing the niche and base of the monument.

- total composition, but without coat of arms above, frontal view

- general view from above right (telephoto from balcony above St. Andrew in the crossing)

- view of the Pope and partial view of the

8001M 01 or G80A41 -~006J 21

8001E 34 or 8101F

allegories and Death, view from the right 8001F 13

- coat of arms above the niche 8001M 20

- full-figure frontal view of the Pope 8001M 15 or GBOA42

- half-legth detail of the Pope 8001P 14

- close-up detail: head of the Pope, from sligh~ly left 8001N 03A

- close-up detail: cornice of the base and Barberini bee 8001N OX

- allegorical group of Charity - close-up detail: base of Charity - Charity: close detail of the mother - Charity: detail of crying child from the front - Charity: detail of crying child from the rear - Death inscribing name of the Pope - Death: close-up en-face detail - Death: close-up detail of hand inscribing - Death: close-up detail of pages of the book

8001M 03 8001J 24 8001M 14 8001M 10 B00lJ 10 8001M 05 8001J 14 8001N 04A 8001N 06A

- Justice: allegorical group, general view, slightly from the right 8001M 16

- Justice: half-length detail of the female figure from the front 8001M 09

- Justice: close-up right profile detail - Justice: detail of putto under sarcophagus

8001N 07A 8001M 04

- Justice: detail of standing putto seen from behind, showing rough carving B00lJ 22

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Urban VIII continued

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Black and White Prints, St. Peter's Basilica, RoMe

TOMB OF URBAN VIII BARBERINI, continued

- sarcophagus: rear view on the Charity side sarcophagus: rear view on the Justice side

- bronze cast of the Pope: back of the cast, general view from right rear

- bronze cast of the Pope: back of the cast, closer view looking into the cast

- bronze cast of the Pope: closest interior view, including support for the left arm

- bronze cast of the Pope: interior of the cast, view up and to the right, showing support for right arm

- bronze cast of the Pope: closest interior view, up toward support for right arm

- bronze cast of the Pope: rear base of the cast and floor of the niche

- bronze cast of the Pope: detail of lower right back corner of the cast

- bronze cast of the Pope: very close detail of faults in lower right back corner of cast

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page 4

8001J 09 8001J 15

8001H 37

8001H 35

8001J 01

8001J 04

8001J 05

8001J 01)

8001H 30

8001H 32

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TOMB OF LEO XI DE' MEDICI (b. Florence, 232nd Pope, April 1605)

Cardinal de' Medici had been papal legate to France before ascending to the papacy. He reigned only 27 days before his death.

Alessandro Algardi (1595/98-1654) is the sculptor. The work was executed 1642-44.

overall view from the left, including coat of arms overall view from the front overall view from the right full-figure frontal view of the Pope

- head of the Pope: close-up detail from the left - head of the Pope: close-up detail from the right - cherubs with coat of arms above the niche - allegory of Majesty (Fortitude) at the left:

half-length, left-profile detail - Majesty (Fortitude): bust-length, three-quarter

left detail - Majesty (Fortitude): half-length, en-face detail - Majesty (Fortitude): close-up, en-face detail - allegory of Liberality (Magnanimity) at the right:

half-length, right-profile detail - Liberality (Magnanimity): bust-length, three-quarter

right detail - Liberality (Magnanimity): close-up, en-face detail - relief of the sarcophagus: Henri IV of France

abjuring Protestantism and signing peace with Spain in the presence of Cardinal de' Medici as papal legate

- relief of the sarcophagus: Henri IV of France taking his oath (close-up detail)

- relief of the sarcophagus: Henri IV of France signing peace with Spain

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G81Al8 8001EE G81A21 8001EE 8001EE G81A23 8001EE

BOOlEE

G81A26 G81A25 BOOlEE

BOOlEE

G81A27 8001EE

BOOlEE

8001EE

BOOlEE

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33

27

14

19

23

28

30

31

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POPE LEO THE GREAT CONFRONTING ATTILA (45th Pope, AD 440-461)

Pope Leo the Great is portrayed stopping the depredations of Attila the Hun before Rome in AD 452. The marble relief is nearly 25 feet (7.6 meters) high. Alessandro Algardi from Bologna (1595/98-1654) is the This is his most important work, executed 1646-53.

total view of the relief - central detail of the four principal figures - main detail of Pope Leo and Attila in full length - detail: kneeling figure behind the Pope - close-up detail of kneeling figure behind the Pope - close-up de.tail of bishops' heads behind the Pope - half-length detail of the Pope - close-up detail: head of the Pope - detail of Saints Peter and Paul wielding swords,

St. Peterpointing toward the Crucifix - half-length detail of Attila - close-up detail: head of Attila - close-up detail: troops behind Attila - close-up detail: troops above Attila

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sculptor.

8001W 08, 8001X 07, G80A51 G80A55 8001W 14, 8001W 17, G80A52 8001W 26,

G80A54 G80A53 8001W 11, 8001W 20, 8001W 23,

CAPPELLA DELLA COLON NA (location of the relief of Leo the Great)

- altar of the Madonna della Colonna, characteristic of the altars and wall decorations erected in St. Peter's by Pope Clement VIII Aldobrandini before 1605. Ancient painting of ~adonna and Child taken over from Old St. Peter's

09, 10* 08, 09

15, 16 18, 19

27, 28

12, 13 21, 22 24, 25

8001X 13, 14, 15

This chapel is also the location of the tombs of St. Leo II (80th Pope, AD 682-683)

St. Leo III (96th Pope, AD 795-816) St. Leo IV ( 10 3rd Pop~ AD 84 7-85 5)

- commemorative inscription in the floor above the sepulchre of Pope Leo XII (252nd Pope, 1823-29)

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8001X 16, 17, 18

* Two or more numbers indicate different negatives of the same subject. The best exposure will be chosen for enlargements.

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CATHEDRA PETRI

Gianlorenzo Bernini's design accepted 3 March 1657. His collaborators on the project include Ercole Ferrata, Antonio Raggi, Lazzaro Morelli, and the artist's brother, Luigi Bernini. On 16 January 1666 the relic of the Throne of St. Peter was transported to its new place, and on 17 January the monument was unveiled. The four main figures represent the fathers of the Latin church in front, with St. Ambrose at the left and St. Augustine at the right. Behind (without mitres) are the fathers of the Greek church, St. Athanasius at the left and St. John Chrisostomus at the right. Bernini himself was responsible for the three reliefs on the throne: Washing of the Feet and Handing over of the Keys to St. Peter on the sides, and Pasce Oves Meas (Feed My Sheep) visible above the seat.

- total view in the apse, seen from the Baldacchino G80A05 - closer general view, seen from the Baldacchino G80A06 - total view in apse, seen from balcony of St. Andrew 8001E 19, 20

or 8101F 26, 27, 28 - coat of arms of Alexander VII, from the right base - Cathedra detail with angels, putti and major relief - Cathedra detail: close up of left angel - Cathedra detail: close up of right angel

- general view of the Glory - detail of the Glory: cherubs in lower left quadrant - detail of the Glory: Holy Spirit and cherubs

at upper left and top - detail of the Glory: close-up detail of cherubs

at top right detail of the Glory: view of large kneeling angel

in lower right quadrant - detail of the Glory: Holy Spirit and cherubs

at bottom right

- Ambrose and Athanasius, full length - Ambrose and Athanasius, half length - Ambrose and Athanasius, close-up detail of hands - Ambrose: half-length detail en face - Ambrose: close-up detail of the face - Athanasius: half-length detail, with column and clouds - Athanasius: horizontal detail, including outstretched - John Chrisostomus & Augustine, full length - John Chrisostornus: en-face detail of head & hand - John Chrisostonus: detail of head & hand from left - Augustine: half-length detail - Augustine: close-up detail en face

_:_ Augustine: close-up detail of right hand 26

8006J 24 8001F 06, 07 8001H 23 8001P 02

G80F27 8001F 05

8001F 03, 04

8001P 03

8001F 00, 01

8001M 35

8001F 08 8001M 31 8001N 34A, 8001M 29 8001M 28, 30 8001N 22A, 32A 8001M 27

hand 8001N 35A 8001F 09 8001P 01 8001P 08, 8001N 16A 8001M 21, 32 8001P 04, 8001N 23A 8001N 17A

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DECORATION OF CP..APELS AND NAVE OF ST. PETER'S

Pope Innocent X Parnphili (b. Rome, 236th Pope, 1644-55) commissioned Gianlorenzo Bernini in 1645 to design decorations for the pilasters under the arches of the nave arcade and for the walls of the aisles. Quoting Rudolf Wittkower: "Between 1647 and the end of 1648 this tremendous enterprise was carried out by a veritable army of masons · and sculptors, thrity-nine in all. Among them appear all the well-known names of the Bernini studio--Giacomo Balsimello, Matteo Bonarelli, Francesco Baratta and Niccolo Sale; further, the more distinguished of the rising generation of sculptors such as Bolgi, Ferrata, Raggi, Cosimo and Jacopo Antonio Fancelli, Girolamo Lucenti, Lazzaro Morelli, Giuseppe Peroni, and even men of the older generation. Bernini seems to have pressed into his service every available sculptor. It was the first time he had used help on this scale."

COATS OF ARMS OF INNOCENT X - angels with coat of arms above left aisle,

by Luigi Bernini, 1649-50 - coat of arms, by Luigi Bernini (?) - stone intarsia coat of arms in the floor of the nave,

completed for the jubilee year of 1650 - Pamphili dove with olive branch from a pilaster - Latin inscription on the entrance wall commemorating

work on the basilica undertaken under Paul V - Latin inscription on the entrance wall commemorating

work on the basilica undertaken under Urban VIII - Latin inscription on the entrance wall commemorating

work on the basilica undertaken under Innocent X

THIRTY-NINE PANELS OF PUTTI WITH TIARA AND KEYS - 8006B01 - 8006Cll - 8006D05 - 8006N22 - 8006Bl0 - 8006Cl6 - 8006H03 - 8')')6N31 - 8006B22 - 8006C30 - 8006Hl3 - 8006N34 - 8006B31 - 8006C34 - 8006Nl8 - 8006P04 - 8006C02 - 8006D03 - 8006N20 - 8006Pl5

- 8101J06 - 8101Ll9A - 8101Q26 - G81A78 - 8101J2

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Black and White Prints, St. Peter's Basilica, Rome

DECORATION OF CHAPELS AND NAVJ: OF ST. PETER'S, continued

SEVEN PA..~LS OF PUTTI WITH SWORD AND BOOK - 8006D09 - 8006M34 - 8101K33 - 8101R34 - 8006Dl0 - 8101Kl9 - 8101K35 7

SIX PANELS OF PUTTI WITH PALM FRONDS - 8101L24A - 8101L32A - 8006C09 - 8101L28A - 8101S34 8006Cl9 6

FIFTY-FOUR MEDALLIONS REPRESENTING SANCTIFIED MARTYRED POPES FROM PETER TO BENEDICT I (arranged in alphabetical order)

- St. Agapetus (Agapitus I), 57th Pope, AD 535-536 - St. Alexander (Alexander I), 6th Pope, AD 105-115 - St. Anacletus (Anacleto, Cletus), 3rd Pope, AD 76-88 - St. Anastasius (Anastasio I), 39th Pope, AD 399-401 - St. Anicetus (Aniceto), 11th Pope, AD 155-166 - St. Anterus (Antero), 19th Pope, AD 235-236 - St. Benedictus (Bendetto), 62nd Pope, AD 575-579 - St. Bonifacius (Bonifacio), 42nd Pope, AD 418-422 - St. Caelestinus (Celestino I), 43rd Pope, AD 422-432 - St. Caius (Caio), 28th Pope, AD 283-296 - St. Callistus (Callixtus I), 16th Pope, AD 217-222 - St. Clemens (Clemente I, Clement I), 4th Pope, AD 88-97 - St. Cletus (It is now recognized that St. Cletus and

St. Anacletus were actually the same person) - St. Cornelius (Cornelio), 21st Pope, AD 251-253 - St. Darnasus (Darnaso I), 37th Pope, AD 366-384 - St. Dionysius (Dionisio, Denis), 25th Pope, AD 259-268 - St. Eleutherus (Eleuterio), 13th Pope, AD 175-189 - St. Eusebius (Eusebio), 31st Pope, AD 309 - St. Eutychianus (Eutichiano, Eutychian), 27th Pope, 275-283 - St. Evaresius (Evaristo, Evaritus), 5th Pope, AD 97-105 - St. Fabianus (Fabiano, Fabian), 20th Pope, AD 236-250 - St. Felix (Felice I), 26th Pope, AD 269-274 - St. Felix II (Felice II, unlisted. It is now considered to

be an historic error to consider him a holy martyr.) - St. Felix III (Felice III), 48th Pope, AD 483-492 - St. Felix IV (Felice IV), 54th Pope, AD 526-530 - St. Gelasius (Gelasio I), 49th Pope, AD 492-496

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continued

* The best exposure will be chosen for enlargements.

page 9-1

8101R 05 8006N 23 8006B 19 8006D 06, 8101M 11* 8101L 22A 8006H 01 8006C 01, 8101R 06 8006N 30, G81A67 8006N 33, 8101L 04A 8006P 07 800jN 27 8006N 19, G81A69

8006N 21 8101K 05 8006G 33 8006H 05 8101L 25A 8006P 14 8101K 14 G81A70 8101K 20 8101K 16

8006C 35, 8101Q 27 G81A71 8006C 12 8006C 10, 8101Q 32

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Black and White Prints, St. Peter's Basilica, Rorae

DECORATION OF CHAPELS AND NA\TE OF ST. PETER'S, continued

SANCTIFIED MARTYRED POPES, continued

- St. - St. - St. - St. - St. - St. - St. - St. - St. - St. - St. - St.

- St. - St. - St. - St. - St. - St. - St. - St. - St. - St. - St. - St. - St. - St. - St.

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Hilarus (Ilario, Hilary), 46th Pope, AD 461-468 Hormisda (Ormisda, Hormidas), 52nd Pope, AD 514-523 Hygintus (Igino, Hyginus), 9th Pope, AD 136-140 Innocentius (Innocenzo I), 40th Pope, AD 401-417 Ioannes (Giovanni I, John I), 53rd Pope, AD 523-526 Iulius (Giulio I, Julius I), 35th Pope, AD 337-352 Leo (Leone I), 45th Pope, AD 440-461 Linus (Lino), 2nd Pope, AD 67-76 Lucius (Lucio I), 22nd Pope, AD 253-254 Marcellinus (Marcellino), 29th Pope, AD 296-304 Marcus (Marco, Mark), 34th Pope, AD 336 Mechiades (Miliziade, Militiades),

32nd Pope, AD 311-314 Petrus (Pietro, Peter), 1st Pope, died AD 67 Pius I (Pio I), 10th Pope, AD 140-155 Pontianus (Ponziano, Pontian), 18th Pope, AD 230-235 Silverius (Silverio), 58th Pope, AD 536-537 Simplicius (Sirnplicio), 47th Pope, AD 468-483 Soter (Sotero), 12th Pope, AD 166-175 Stephanus (Stefano I, Stephen I), 23rd Pope, AD 254-257 Symrnachus (Simrnaco), 51st Pope, AD 498-514 Telesphorus (Telesforo), 8th Pope, AD 125-136 Urbanus (Urban I), 17th Pope, AD 222-230 Xystus (Sisto I, Sixtus I), 7th Pope, AD 115-125 Xystus II (Sisto II, Sixtus II), 24th Pope, 257-258 Xystus III (Sisto III, Sixtus III), 44th Pope, AD 432-440 Zephyrinus (Zefirino), 15th Pope, AD 199-217 Zosirnus (Zosirno, Zosimas), 41st Pope, AD 417-418

FEMALE ALLEGORICAL FIGURES IN THE SPANDRELS ABO\TE THE ARCHES OF THE NA\TE, TRANSEPT & APSE (by later followers of Bernini)

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8006N 32, G81A72 8006P 03 8101L ~ 2.7 A-8006D 02, 8101M 12 8006C 03, 8101L 16A 8006C 29, 8101Q 28 8006H 10 G81A73 8006B 28 8006C 31, 8101Q 31 8006G 36

8006D 04 8006B 25 8006N 17 8101J 03 8006C 08 8006N 35 8006B 16 8101J 03 8006C 17, 8101R 02 8006B 13 8101J 26 G81A74 8101J 09 8101J 36 8101L 23A 8006H 16, G81A76

- 8006Cl8 - 8101N34 - 8101Pl0 - 8101Rl6 - 8101Sl4

- 8006C20 - 8101N35 - 3101R09 - 8101R3() - 8101S27

- 8101Ll3A - 8101P01 - 8101Rl0 - 8101S09 - 8101S28

- 8101N23 - 8101P02 - 8101Rl2 - 8101S10 - 8101N24 - 8101P09 - 8101Rl5 - 8101Sl3

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Black and White Prints, St. Peter's Basilca, Rome page 10

TOMB OF ALEXANDER VII CHIGI (b. Siena, 237th Pope, 1655-67) Gianlorenzo Bernini was given the commission by Alexander VII himself, but series work was not begun until after the Pope's death. Plans during the reign of Alexander's successor, Clement IX, called for erection of this tomb in the choir of S. Maria Maggiore, which was to have been transformed according to plans by Bernini. This scheme was not carried out, and after the death of Clement IX the concept was abandoned and an appropriate place in St. Peter's decided upon. The location is above the door of the Porta di S. Marta, just west of the left transept. For this great collaborative effort of his studio Bernini completed the drawings and model in 1672. Among the many people who contributed, the most important were Giulio Cartari (noted 1665-78), who did the allegories of Truth, Prudence and Justice, Michele Maglia (noted 1657 , died 1700), who was responsible for the figure of the Pope, and Giuseppe Mazzuoli (1644-1725), who executed the Charity. Work was essentially complete in 1678.

- overall composition from the front, including coat of arms - general view from the front, but without coat of arms - close view of Pope and allegories, diagonally from left - close raking view of Pope and allegories from the left - the Pope: general view from slightly right - the Pope: close-up, quasi left profile detail of head - the Pope: general view from slightly right, with

four allegorical figures and Death - construction detail from above, showing metal connection

and hand of Death - the Pope: half-length detail from slightly right

the Pope: close-up detail of praying hands - the Pope: close-up detail of drapery and cushion - Charity: half-length, right-profile detail - Charity: half-length detail from the right - Charity: close-up detail from behind showing rough carving - Prudence: total view of the bust-length figure - Prudence: detail looking down from above - Prudence: close-up detail of the face - Justice: view of half-length figure as seen from below - Justice: detail view looking down from above & behind - Justice: close-up detail of head and hand, from above - Truth: half-length, en-face detail - Truth: half-length, left-profile detail - Truth: close-up, partial detail from above & behind - Truth: close-up detail of foot on globe - the Pope: roughly carved robe, seen from behind

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8001V 03 G80A45 8001U 03 8001U 07 G80A47 8001T 19

G80A46

BOOlU 14 8001T 01 8001T 23 8001T 05 3001T 09 8001T 12 soorn 05 8001U 33, 8001W 04 BOOlU 36 8001S 31 BOOlU 28 8001U 21 8001T 35 8001S 34 8001U 22 8001T 07 8001U 30

8001W 02

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BERNINI'S CRUCIFIXES FOR ALTARS IN ST. PETER'S

Gianlorenzo Bernini desiqned bronze Crucifixes for the altars of St. Peter's in the 1650s. In 1658 Ercole Ferrata made a model of a "Cristo Morta" and in 1659 on of a "Cristo Vivo" from Bernini's designs. According to Wittkower, these models were cast in bronze twenty-five times, and twenty-three bronzes are still in situ above the altars of the basilica. Height of figures is 45 crn. All the casts were complete by 1660.

"Cristo Vivo": general frontal view with the cross - "Cristo Vivo": the full figure from slightly left - "Cristo Vivo": close detail of the figure from the left - "Cristo Morto": general frontal view with the cross - "Cristo Morto": the full figure from the front - "Cristo Morto": close detail of the figure from the right 6 (See also the "Cristo Vivo" of a variant type,

presumably from the 18th century, in the Cappella del ss. Sacramento, below.)

CAPPELLA DEL SNJTI S S I MJ SACRAMENTO

G81A85 G81A88 G81A91 G81A94 G81A95 G81A96

Gianlorenzo Bernini designed the deeply expressive Altar of the Holy Sacrament late in his life. Work was begun early in 1673 and essentially completed by late 1674. The chapel, although dominated by Bernini's Altar, also contains other striking works of art and decoration.

- altar on east wall of the chapel, with Salomonic columns and a mosaic of Domenichino's Ecstacv of St. Francis (original paintinq today in the church of s. Maria d. Concezione). General view 8006N 08

- detail of column capital and entablature 8006N 13 - organ of Gregory XIII on the west wall of the chapel,

enfrarned by an elaborate arch order and wall decoration by Pietro da Cortona during the reign of Urban VIII. General view of total composition

- total view of the organ of Gregory XIII - detail of upper left portion of the organ - organ detail: engaged columns, entablature & decoration - detail of organ ballustrade and inscription - Pietro da Cortona's vault and pediment, west side - close detail of Cortona's pediment and vault, west side - close detail of Cortona's pediment w. angels, west side - close detail of Cortona's pediment w. angels, east side - close-up detail of one angel and ornament, east pediment - gen'l view of the vault, looking up, including lantern - detail view into lantern, with Chalice and Host, 1674 - close detail of wall decoration in north side niche - close detail of wall decoration, with Barberini bees

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G80G78 G80G79 8006L ox 8006L 00 8006L 03 8006H 25 8006H 35 8006H 32 8101N 05 8101N 03 8006H 20 8006H 19 8006K 29 8006K 28

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J CAPPELLA AND ALTAR OF THE HOLY SACRAMENT

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- overall view of the altar and its niche, with Cortona's mosaic of the Holy Trinity, Bernini's Ciborium and Adoring Angels and partial view of Altar Rail

- horizontal view of Altar, Angels and Ciborium - central view of Altar Rail, doors with palms and flames - right detail of Altar Rail: colored marble balusters - total view of the Ciborium

central detail of the Ciborium, w. lapis lazuli columns, lapis lazuli cross, and bronze "Cristo Vivo" by follower of Bernini

- same, closer view from the left - central detail of the Ciboriurn, with figures of Apostles

above, and with Crucifix removed - close view of "Cristo Vivo" on the lapis lazuli cross - Christ the Redeemer: general view with dome of the Ciborium - Christ the Redeemer: close frontal view of the figure - Christ the Redeemer: close right-profile view atop Ciborium - close central detail of the Ciborium, showing

upper of the two doors, with pediment and figures - very close detail of the central pediment

surmounted by female allegorical figures - very close detail of the lower door,

with relief of the Chalice and Host -=. very close detail: column capital of the Ciborium 16

FIGURES OF APOSTLES ATOP THE CIBORIUM

- Holy Spirit and first three Apostles to the right - Holy Spirit and St. Paul, first Apostle on the right - another view of St. Paul under different light - second Apostle on right: St. James - St. James and next Apostle on the right

(Note: arrangement of Apostles changed in 1980) - Apostle now occupying second position on the right - another Apostle on the right - Holy Spirit and first Apostle on the left, St. Peter - St. Peter, frontal view - St. Peter, right profile view - St. John, second figure on left, with architecture - St. John, closer frontal view - St. John, frontal view under different light - third Apostle on left - fourth Apostle on left - Saints John and Peter, seen from the right

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G80G80 G81A53 G80G92 G80G93 G80-G81

G80G82 G81A56

G80G83 8006K 33 G81A57 8006K 14 8006K 25

G80G84

8006K 32

8006K 36 8101M 32

G81A58 8101M 23 8006K 06 8006K 12 8101M 29

8101M 26 8006K 09 8006K 16, 8006K 05 8101N 01 8006K 18 8006K 19 8101M 37 8006K 21 8006K 22, 8101M 24

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BERNINI'S ANGILS FOR THE ALTAR OF THE P.OLY SACRAMENT

No names of other sculptors are recorded in the documents for the preparation of the models for Bernini's Angels in the Cappella del Santissimo Sacramento. One document states that Bernini "made by his own hand the small as well as the large models." Because of the importance of these works, several similar but significantly different views are offered of each of these angels.

ECSTATIC, ADORING ANGEL AT THE LEFT - full-length, right-profile view - full-length principal view, diagonally from the right - full-length principal view, from further right - half-length, quasi-right profile - half-length, quasi-right profile, under different light - half-length, en-face view, from the right

ANGEL AT THE RIGHT, who communicates with worshippers at the Communion rail

- full-length principal view, diagonally from the left - full-length principal view, from further left - full-length, en-face view, from the Communion rail - half-length, en-face detail, from the Communion rail - half-length detail from the left - half-length detail from the right

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BORROMI NI'S GATE FOR THE CAPPELLA DEL SS. SACRAMENTO

G81A59 G80G85 G80G86 G80G87 G81A60 8006N 03

G80G88 G80G90 G80G89 G80G91 G81A66 8006N 05

The gate separating the Cappella del SS. Sacramento from the right aisle of the basilica was cast from the designs of Francesco Borromini. Besides the floral decoartions, which incorporate the Barberini bees of Urban VIII into the design, there are two rosaries and one necklace or band--each bearing badly rubbed but still discernable figurative images--incorporated into the cast as if left there as a votive offering by a worshipper.

- a column base with rosary and medallion containing one or two heads (most badly rubbed)

- close-up detail of the above - another column base with necklace or band and

medallion containing one head - close-up detail of a third column base with rosary

and medallion containing four figures or objects and a date

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8006Q 22 8006Q 18

8006Q 26

8006Q 11

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Black and White Prints, St. Peter's Basilica, Rome the best will be chose

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THE BALDACCHINO, 1624-33, by Gianlorenzo Bernini

Overall - total - total - total - total

Views: from the from the from the from the

east during papal mass, June 1980 west during papal mass, June 1980 north (without lights) south (without lights)

general view from SE pier, above St. Andrew - partial general view of Baldacchino, with view into apse,

including Cathedra Petri and Tomb of Urban VIII, from SE pier, above St. Andrew

- overall view, including orb and cross, seen from east end of nave

Interior Soffit of the Baldacchino: - total view from below - central detail: dove of the Holy Spirit

Exterior Views of the Superstructure: - general view from the east with orb & cross, volutes,

angel at left, putti w. tiara & keys (coat of arms of Pius XII commemorating restoration of 1950s in background)

-- close-up detail of orb & cross - close-up detail: tip of Baldacchino beneath the orb - putti on the north side, close-up exterior detail - putti on north side, detail from within the superstructure - closer detail of standing putto on north side, from behind - left two-thirds of the superstructure, seen from the nave

- horizontal view of the superstructure from the nave, showing both angels and putti with tiara and keys

- close-up detail of palm fronds on superstructure - southeast angel of the superstructure seen from the east - northeast angel of the superstructure seen from the east - southeast angel and putti of east side, with view into

superstructure, seen from balcony above St. Andrew - south side of superstructure, southwest and southeast

seen from balcony above St. Andrew - close detail of southwest angel, seen from behind - putti of the east side, exterior view - putti of the east side, seen from behind, from within

superstructure, nave visible in the background - west side of superstructure, with NW and SW angels,

seen from balcony above St. Helen - close detail: northwest angel and tip of Baldacchino

seen from balcony above St. Helen 27

continued

angels,

the

Archive Number:

GBOF20 G80F21 GBOA36 / G80A35✓ G80F24

G80F23 /

BOOlC 09, 10*

G80F39 G80F40

8001C 8001G 8001C 3001D 8001Q 8001R G80Fl7

BOOlC 8001G 8006A 8006A

8001E

BOOlE 8001E 8006A

8001Q

16, 17, 21✓, 22, 37 12A 08✓

34✓

20 / 12

1~ 17, 2, 23,

2s v

29~ 30 31 19, 20,

28

GB0F05 ✓ / 8001D 30, 31

A

18, 19 23

18 ~✓ )

24

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~ ______ B_l_a_c_k and White Prints, St. Peter's Basilica, Rome

~ . a.JJ_Q/V THE BALDACCHINO, continued

Exterior View of the Superstructure, continued: - general view from the west: volutes, putti, and

southwest angel - closer view of the southwest angel, seen from the west - putti of the west side with tiara and keys, seen from west - putti of the west side, seen from above St. Helen

putti of the west side: back view from within the superstructure, apse of the basilica in the background

- close detail of putti of the west side, back view - closer detail of putto with tiara of the west side,

with the photographer included for scale

Superstructure Details: Hangings and Column Capitals - raking detail of entablature hangings, with Barberini bees

and heads of cherubs - column capital and entablature block - another column capital, including portion of upper column

with putto chasing a bee - very close detail: volute of a composite column - very close detail: humanoid-bat masks and dolphins

on an entablature block - close detail of a column capital and entablature block

seen from above - very close detail: dentils, leaf, and bead-and-reel

patterns on entablature block

General Views of Columns; Papal Altar of Cle~ent VIII - Papal Altar and Pope John Paul II (6 January 1981),

seen fror,1 press box toward northwest column - west side of Papal Altar of Clement VIII - central portion of west side of Papal Altar - end view of Papal Altar - major portions of SW and SE columns; Cathedra and

Tomb of Urban VIII in background - detail: upper portions of SW and SE columns, seen from nave - total height of NW and NE col~s, seen from the nave - detail: upper portions of rn~ and NE columns, seen from nave - major portions of NE column, with Confessio and St. Andrew,

seen from balcony above St. Helen (28 June 1980) - upper third of SW column, seen from above St. Helen - upper portions of SE and NW columns, seen from

balcony above St. Andrew 25

continued

page 15

G80F03 8006A 33 8006A 32 ✓ 8001D 04~, OSA, 06A*

8001Q 26 8001P 37

8001Q 31

8001D 07A, G80A25 /

8001D llA 8001L 36 .✓

8001G 01 ✓

8001S 02 /

OBA, 09A

8001S 07 /

G81A08 8001S 1 7( 18, 19 8001S 20, 21, 22 8001S 11, 12, 13

G81A03 G81A01 BOOlC 2s{ 26, 27, 28 G81Al0

G80Fl2 ✓ G80A31

80010 35A

* Where two or more numbers are shown, the best one will be chosen.

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Black and Hhite Prints, St. Peter's Basilica, Rome

THE BALDACCHINO, continued

Superstructure Construction Details - one of the four principal scrolls from within the superstruc.

connection of four scrolls, seen from directly below diagonal view of connection of scrolls close-up detail: interior connection of scrolls underside showing tapering of one of the scrolls interior view of the northwest scroll

- close-up detail: laurel leaves on exterior surface of scroll interior view of superstructure: view east toward nave

- interior view of northwest scroll and putti of north side - interior view of the base of the northwest scroll - scroll base and connection detail at base of a scroll - connection detail of the southeast corner - close detail of a tie-bar connection - close detail of a volute from inside - profile detail of a volute - close exterior detail of a volute

detail of a putto, volute, and the cornice: north side and northeast corner, looking east

- close detail looking down into the cast of northwest entablature block

Baldacchino Plinths with Coats of Arms of Urban VIII Plinth A - total frontal view - detail of upper half Plinth B (NE column, N side) - total frontal view - detail of upper half - close central detail - overall raking view from the left Plinth C (NW column, N side) - total frontal view - raking detail of upper half - very close detail of the face - very close detail of a bee - close raking detail of the mask - close frontal detail of the mask

Plinth D total frontal view

- close upper detail at center - very close detail at upper right, showing depth of carving - close detail of the mask

34 continued

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8001Q 33 8001Q 23, 24 8001Q 35✓ 8001R 36 800-lQ 10 8001Q 11

8001R 24 8001Q 37 BOOlQ 27 ~ 8001Q 09 8001R 18 G80F01 8001R 08 8001R 15/ 8001G llv' 8001R 09 ✓

8001R 10

8001R 04

8001C 07 / 8001C 08

G80A02 / 8001A 12 8001A 11 8001A 14

G80A03 / 8001A o✓ 8001A

~3 / 8001A 8001A 05 8001A 06

8001B 34✓ 8001B 33 8001B 35 8001B 31

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BALDACCHINO, continued

Plinth E - total frontal view - close central detail Plinth F - total frontal view - close central detail Plinth G - close central detail - close detail of mask Plinth H (NE column, E side) - total frontal view - detail of upper half - very close detail of the baby - close detail of the mask

Balustrade of the Confessio, detail view 11

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8001B 21 / 8001B 22

8001B 25 8001B 24

8001B 29 8001B 26

G80AOJ✓ 8001A 17 8001A 15 8001A 16

8001B 02

CROSSING FIGURES in the four great piers supporting the dome

Under Pope Urban VIII the decision to create the Baldacchino was coupled with a plan for the entire area of the crossing, including niches in the four great piers supporting the dome. Gianlorenzo Bernini was entrusted with the overall design, and by 1628 it had been decided to decorate each of the piers in celebration of one of four important relics of the early church: the spear with which Longinus pierced Christ's side, whereupon he was converted to Christianity; the skull of St. Andrew (brought to Rome in the fifteenth cnetury in protection from the depredations of the Turks and returned to Greece in 1965 by Pope Paul VI); the Sudarium of St. Veronica, with which she wiped Christ's brow on the road to Calvary; and a piece of the True Cross, discovered by St. Helen, mother of the Emperor Constantine.

The upper portion in each case consists of a balcony fron which the relics can be exhibited on Holy Thursday, Good Friday and Easter Sunday and a marble relief--enframed by Salamonie columns from Old St. Peter's--commemorating the relic. The lower portion of the design consists of a niche decorated in colored stone and a colossal marble statue of the saint associated with each relic. Bernini's designs for the overall scheme were delivered in 1629; and, while he himself received the commission for the St. Longinus, St. Andrew was given to Francesco Duquesnoy (b. Brussels, 1594-1643), St. Veronica to Francesco Hochi (b. near Arezzo, 1580-1654), and St. Helen to Andrea Bolgi (b. Carrara, 1605-56). Responsible for important work above were Stefano Speranza, Luigi Bernini, Matteo Bonarelli, Domenico de Rossi, and Nicolo Menghini. The work was carried out between 1633 and 1640.

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Black and White Prints, St . Peter's Basilica, Rome

CROSSING FIGURES AND BALCONIES IN THE PIERS, continued

ST. LONGINUS AND TEE RELIC OF THE SPEAR

page 18

Between the end of 1629 and the surmner of 1631, Bernini, assisted by Stefano Speranza, completed the large stucco model for inspection in the basilica. The final version in marble was executed by Bernini himself between 1635 and 1638. Matteo Bonarelli carried out the relief above 1636-38.

overall view of NE pier with nave beyond, seen from balcony above St. Helen during Papal Mass, June 1980

- overall frontal view to top of Salomonic columns - frontal view of the figure - view down on the figure from atop the Baldacchino - view of the figure in the niche from below, slightly left - frontal detail: torso, head, and both arms - frontal detail: torso and drapery only - frontal detail: legs, drapery, and helmet - frontal detail: near view -of torso and head - detail of torso, drapery and head, seen from the right - total of the upper niche, frontal view - upper niche seen from below - upper niche seen from the left (from balcony of St. Helen) - frontal detail of upper niche with Salomonic columns

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ST. ANDREW AND ~HE RELIC OF THE CROSS

G80F56 G80Al4 G80F59 G80F60 ~ G80F58 G80F63 G80F67 G80F68/ G80F6slor 65a G80F66✓ G80F69 G80Al7 8001D 2 · A✓ G80F70

Francesco Duqesnoy carried out the full-scale stucco model and the final marble sculpture between 1629 and 1640. Domenico de Rossi executed the relief 1637-38 . According to Wittkower, the putti above the aediculae (presumably in all four piers) were mainly by Matteo Bonarelli, but Domenico de Rossi, Orfeo Buselli, Andrea Bolgi, and Luigi Bernini all contributed.

- overall frontal view of upper and lower niches general view of lower niche, including inscription

- general view of lower niche with human figures for scale, seen from balcony above St. Helen

frontal view of the figure - view of the figure from below left - detail view of the figure from below right - general view of upper niche, seen from atop the Baldacchino - view of the upper niche, seen from below - central detail of the relief and Salomonic columns 9

G80All , G80F7l G80F72

8001D 24A G80Al3 G80F74 G80F76 G80F77 G80Al2 G80F78

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CROSSING FIGUP£S AND BALCONIES IN THE PIERS, continued

ST. VERONICA AND THE RELIC OF THE SUDARIUM

Francesco Machi, who was eighteen years senior to Bernini, began preparation of his full-scale model in 1629 at the same time as the other three, but completed his marble figure before 1635, i.e. years before Bernini, Bolgi, and Duquesnoy. Nicolo Menghini executed the relief in 1636, but it was not delivered until 1641.

- general view of upper and lower niches with south transept and SW column of Baldacchino

- general view of upper and lower niches, seen through the Baldacchino

- general frontal view of figure in niche - closer frontal view of figure, with different lighting - view of figure from below left - close detail of figure from below left - view of figure from below right - view of figure from above right, see from balcony

above St. Helen - total of upper niche, seen from atop the Baldacchino - central portion of upper niche - close detail of upper niche: relief & Salamonie columns - view of upper niche from the left, seen from balcony

above St. Andrew - close detail of upper niche from the right - view of balcony and inscription from balcony

above St. Jle-l-e:r:1 14

ST. HELEN AND THE RELIC OF THE TRUE CROSS A~D T~~ NAILS

G80F93

G80A08 G80F79 8001K 21 G80F82 G80F83 G80F80

8001D 13A G80F84 G80F85 G80F86

8001E03 8001D 16A

8001D 21A .,,,-'

Andrea Bolgi, the youngest of the four sculptors, completed the figure of St. Helen between 1630 and 1639. The relief above is mainly by .Luigi Bernini, 1635-39, completed by Niccolo Sale, 1639-40.

- general view of upper and lower niches seen through the Baldacchino G80A09 1(

- general frontal view of figure in niche G80Al8 or G80F87 - general view of lower niche with human figures for scale - view of the full figure from below right G80F88 / - three-quarter length frontal detail of the figure G80F89 - view of the full figure from below left G80F90 - frontal view of upper niche seen from below

through columns of the Baldacchino G80Al0

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Black and White Prints, St. Peter's Basilica, Ro~e

ST. HELEN, continued

- general view: figure in niche with inscription and NE column of Baldacchino, seen from above St. Andrew

- total figure seen from the nave, with diplomatic corps for scale (June 1980)

- central portion of upper niche, w. human figures for scale 3

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8001D 34A

8006A 31 8006A 25

ADDITIONAL VIEWS OF THE BALDACCHINO: Column Details with Putti & Bees

Central and Top Column Sections, seen from above St. Andrew - top section of SW column - central section of SW column - top section of SE column - central section of SE column - central section of NW column - top section of NW column - top section of NE column - central section of NE column

Very close details of joints between upper column sections - detail with acanthus leaves, bees and bar for lifting - detail with acanthus leaves and bar for lifting - detail with wedges used to plumb the column sections

Views of individual putti, arranged according to type. Note: some photos are different putti of the same type, while some may be different views of the same putto.

Type 1: Putto moving to the left with both arms upraised, shown in quasi-frontal position - 8001D 00 - 8001K 16 - 8001L 10 - 8001L 28 - 8001K 04 - 8001K 24 - 8001L 13 - 8001L 30 - 80011( 11 - 8001L 00 - 8001L 25

Type 2: Putto moving to the left with only one arm upraised, shown in quasi-frontal position

8101F 01 8101F 04 8101F 07 8101F 10 8101F 13 8101F 16 8101F 19 8101F 22

8001K 36 8001L 08 8001L 05

- 8001K 26 - BOOlL 27 - 8001L 34 (very close detail of L 27) - BOOlL 27

Type J: Putto moving to the left on strong diagonal, one leg upraised, shown in quasi-profile position - 8001K 09 - 8001K 33 - 8001L 19

Type 4: Putto moving downward to the left, both hands extended in front close together, shown in quasi-profile position - 8001K 17 - 8001K 31 - 8001L 06 - 8001L 32

Total of 33 images on this page

or 03 or 05 or 08 or 11 or 14 or 17 or 20 or 23

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ADDITIONAL VIEWS OF THE BALDACCHINO: Column Details with Putti & Bees, continued

Type 5: Putto moving or inclined to the right, with both arms extended to the sides, . shown in quasi-frontal position - 8001K 00 - 8001K 19 - 8001L 09 - 8001K 14 - 8001L 04 - 8001L 23

Type 6: Putto moving to the right, with both ams upraised, shown in quasi-frontal position - 8001K 10

Type 7: Putto inclined to the right, with laurel crown, shown in quasi-frontal position - 8001K 07 - 8001L 03 - 8001L 26

Type 8: Putto moving or inclined to the right on strong diagonal, arms extended in front, shown in quasi-profile position - 8001K 08 - 8001L 15

Type 9: Putto moving to the right on strong diagonal, both arms extended forward, shown in quasi-back view - 8001K 03 - 8001K 18 - 8001L 07 - 8001L 21 - 8001K 13 - 8001K 15

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8001K 23 8001K 32

80()1L 14 8001L 16

AD: -I'='I or~n _., VI:S~·?S 0 : 7~E BALDA CCHI NO: Bases & Fluted Porti on s of ColuTins

Selected views o= fluted lower portions of columns and of the column bases, including close details of the wedges, salamanders, ~edallions, and fly .

- GBOA04 - 8001B 01 - G80A04a - 8001B 03 - 8001A 10 - 8001B 06 - 8001A 18 - 80 01B 08 - 8001A 28 - 8001B 09 - 8001A 30 - 8001B 10 - 8001A 31 - 8001B 12 - 8001A 33 - 8001B 15

- 8001B 18 - 8001C 00 - 8001B 19 - 8001C 03 - 8001B 27 - 8001C 04 - 8001B 36 - 8001C 05

- 8001E 14 or 13

Total of 47 images on this page

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TOMB OF GREGORY XIV SFRONDATI (b . Cremona, 229th Pope, Dec. 1590 - Oct. 1591)

(tomb originally made for Gregory XIII Boncompagni)

- general view of niche, sarcophagus, and surrounding decoration, seen from the right 8001FF 04

- upper half of the composition, from the right G81A16 - detail of the coat of arms 8001FF 10 - detail of sculpture: St. John the Baptist 8001FF 18 - the painting at upper left 8001FF 12 - the painting at upper right SOOlFF 06 - the painting at lower left 8101Q 01 7

TOMB OF GREG ORY XIII BONCOMPAGNI (b. Bologna, 226th Pope, 1572-85)

1719-25 by Camillo Rusconi (b. Milan, 1658-1728) relief is by Bernardino Cametti (1682-1736) and Carlo Fr~ Melloni (noted 1695-1723) - total composition from the left G8GF4 0 or G81A28 - detail of the Pope from the left G80F41 - total corn~osition from left with available light

(without coat of arms) - detail of the Pope from le:t with available light

general view from the front - general view from the right - frontal view of the Pope, full figure - detail of Fortitude from the left - detail of Fortitude from the left, with available light - detail of Religion from the front, with available light - detail of Religion from the right - frontal view of the drape, sarcophagus, Boncompagni

dragon, and inscription - close detail of relief showing reform of the calendar - close detail of the Boncompagni dragon

14

Giacomo della Porta (b. Rome ca. 1540-1602) and Girolamo Muziano ( b. near Brescia, 1528-92) - coat of arms of Gregory XIII in Cappella Gregoriana,

completed 1583 - central detail of this intarsia coat of arms 2

8006D 13 8006D 19 G81A3 0 G81A32 G81A34 8006P 22 8006D 20 8006D 22 8006P 23

G80F4 2 8006P 21 8006P 20

8006E 06 8006E 07

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TO~B OF POPE CLEHEN':' X ALTIERI (b. Rome, 239th Pope, 1670-76)

overall design by Mattia de' Rossi (b. Rome, 1637-95), designed 1684 statue of the Pope by ~rcole Ferrata (b. near Como, 1610-86) figure of Benignity by Lazzaro Morelli (b. Ascoli Piceno, 1608-90) figure of Clemency by Giuseppe Mazzuoli (b. near Pisa, 1644-1725) relief of Opening of Porta Santa in 1675 by Leonardo Reti (Lombardy, act.1670-1709) other figures by Filippo Carcani (in Rome, noted 1657-90)

- general view from the left (two views) G80A58 and 8001Z 25 - general view from above right 8001AA 28 - the coat of arms 8001BB 17 - the Pope, en face from the left 8001Z 28 - close detail of the Pope en face 8001Z 37 - left profile view of the Pope: from the right G80A59 - close detail of the Pope, from above right 8001AA 19 - view of Benignity from the right G80A61 - close detail o: Benignity, from above right 8001AA 25 - detail of putto with fasces at the feet of Benigni ty 8001AA 10 - view of Clemency from the left 8001Z 31 or G80A60

- view of Clenency and part of pedestal, from above right - close detail of Clemency, from the right - close detail of Death's head and a volute

on left end of the sarcophagus - detail of putto holding scroll with inscription at left - close detail of the above putto, seen fron the right - relief on sarcophagus: Opening of Porta Santa in 1675 - close detail at left of relief - close detail at center of relief - close detail at right of relief

- mosaic of St. Peter above the Porta Santa, dated 1675 designed by Ciro Ferri (b. Rone, 1634-89)

22

BAPTISMAL FONT

8001AA 37 BOOlAA 16

8001BB 14 80012 34 ROQlAA 07 BOOlBB 11 8001BB 10 BOOlBB 07 8001BB 04

80%C 05

executed 1694 for Innocent XII by Carlo Fontana (1634-1713), using the ancient porphyry sarcophagus of Emperor Otto II.

- general frontal view of the baptismal font _:_ detail of the bronze cover surmounting the font

2

G81A83 G81A84

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Black and White Prints, St. Peter's Basilica, Rone

TOMB OF INNOCENT XI ODESCALCHI (b. Como, 240th Pope, 1676-89)

tomb executed 1697-1704 overall design by Carlo Maratta (b. near Ancona, 1625-1713) sculpture by Pierre-Etienne Monnot (b. France, 1657-1733)

- overall view from the left, including coat of arms - closer general view from the left - frontal view of the Pope - close-up detail of head and hand of the Pope - detail of Religion, from the right - frontal detail of Fortitude - close-up detail of Fortitude, en face - view of the relief, showing defeat of the Turks

at Vienna in 1683 8

page 24

G80F37 G80F38 8006J 29 8006J 36 8006J 30 8006J 31 8006J 37

8006J 35

TOMB OF ALEXANDER VIII OTTOBOHI (b. Venice, 241s t Pope, 1689-91)

tomb executed 1706-15 overall design by Carlo Arrigo di San Martino sculpture by Angelo de' Rossi (b. Genua, 1671-1715)

- general view of total composition from the right - c.b3er general view from above left - head of the Pope from the right - head of the Pope from the left, quasi en face - detail of Religion from the right - detail of Hebrew inscription and keys held by Religion - detail of flaming books at the feet of Religion - half-length detail of Prudence, from the right - close detail of Prudence, from the left - coat of arms from the left - relief of the base, depicting canonization of five saints* - central detail of the relief, showing the Pope - very close detail of the relief: a bishop and

other figures behind the Pope -=. half-length detail of the Pope 14

* The five saints were s. Giovanni da S. Facondo s. Giovanni da Capistrano S. Pasquale Baylon S. Giovanni di Dia S. Lorenzo Giustiniani

G80A56 8001203 8001Y 03 8001Y 28 8001X 35 8001Y 25 8001Y 16 8001X 32 8()01Y 34 8001Z 06 80012 09 8001Z 13

8001Z 15 G80A57

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TOMB OF INNOCENT XII PIGNATELLI (b. Naples, 242nd Pope, 1691-1700)

executed 1746 overall design by Ferdinando Fuqa (b. Florence, 1699-1781) sculpture by Filippo della Valle (b. Florence, 1697-1768)

general view from across the nave general view from the left

- general view from below right - general view from below front - the coat of arms - closer view of Pope and allegories from the left - head of the Pope: close detail fron the right - allegory of Charity from below right - close detail of Charity from the right - very close detail of Charity, from above right - putto at the feet of Charity - allegory of Justice, from below left - Justice: frontal view - Justice in relation to other elements of the

composition, view from above right - right profile detail of Justice - putto at the feet of Justice, from the left

16

TOI-rn OF QU:2E N CHRI S~I NA OF s :•Jr= D~N (1626-89)

tomb executed 1697-1702 overall design and sculpture of upper portions by Carlo Fontana

(from Canton Ticino, Switzerland, 1634-1714)

G81A38 G80A68 8006G 19, 20 8001EE 01, 02 BOOlDD 36 G80A 69 BOOlDD 30, 31 8006G 25, 26 8001DD 21, 22, 23 8001DD 03, 04 8101M 05 BOOlEE 10 8006G 22, 23

8001CC 30 8101M 01 8101M 02

relief of the sarcophagus by Jean-Baptiste Theodon (b . France, 1646-1713) putti by Lorenzo Ottoni (b. Rome, 1648-1736)

- general view of total composition from the right - upper portion: portrait relief, inscription, and

winged Death's head, all by Fontana - portrait relief of the Queen - lower left portion: crown, cushio, putto with

scepter, and sarcophagus - lower right portion, including putto with sword - the winged Death's head - relief of the sarcophagus: Queen Christina abjuring

Protestantism and converting to Catholicism (1655) - central detail of sarcophagus relief 8

G80F35

8006L 09 8006L 24, 25

8006L 15, 17 8006L 18, 20 8006L 21

8006L 27, 29 8006L 32

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TOMB OF MARIA CLEMENTINA SOBIESKI (1702-35) wife of James III Stuart, pretender to the throne of England Designed 1745 by

page 26

Filippo Barigioni (b. Rome, 1690-1753), sculpted by Pietro Bracci

- general view of the total composition, from the right - allegorical figures with portrait of Maria Clementina - close detail of the mosaic portrait 3

G80F36a 800_6M 07 8006M 06

TOMB OF BENEDICT XIV LAMBERTHII (b. Bologna, 247th Pope, 1740-58)

tomb begun 1759 overall design and main parts by Pietro Bracci (b. Rome, 1700-73) allegory of Incorruptibility, at right, by Gaspare Sibilia (b. Rome, noted

1759, died 1782) - general view of the total composition 8006P 25 - view of the standing Pope 8006P - close detail: head of the Pope, from the right 8006Q - allegory of Wisdom (Sapienza) 8006P - allegory of Incorruptibility (Disinteresse) by Sibilia 8006P - detail of the putto tempting with a cornucopia of wealth 8006P 6

TOMB OF CLE~ENT XIII ~EZZONICO (b. Venice, 248th Pope, 1758-69)

tomb executed 1788-92 by Antonio Canova (b. near Treviso, 1757-1822)

- general view of the total composition - detail of the kneeling Pope - left detail: allegoy of Religion - right detail: genius of death 4

MONUMENT TO TEE LAST STUARTS James III, pretender to the throne of England, and his sons

monument executed 1817-19 by Antonio Canova

G80F43 G80F44 G80F45 G80F46

37 01 35 36 34

- general view, from the left 8006M 11 or G80F47 - detail of the portrait busts:

James III at the right, his son and heir, Charles Edward, at the left, and his second son, Henry, Cardinal and bishop of Frascati, at center 8006M 15

- genius of death, at left 8006M 18 - genius of death, at right 8006M 22 4

aski ultural Documf'ntaf


TOMB OF PI~S VII ChIA~AMONTI (b. Cesena, 251st Pope, 1800-23)

tomb executed 1824-31 by Bertel Thorvaldsen (b. Copenhagen, 1768-1844)

- total composition from the front - total co~poistion from the left - central portion, frontal view - the Pope: frontal view - the Pope: close left-profile detail - the Pope: three-quarters right - the Pope: close right-profile detail - allegorical figure at the left - detail of allegorical figure at the left - allegorical figure at the right - detail of allegorical figure at the right

_:_ genius of time at the right 12

8006E 20 8006E 09 8006E 23 800'6E 26 8006E 36 8006E 14 8006E 16 8006E 13 8006E 17 8006E :n 8006E 32 8006E 34

TOMB OF LE O XII SER~~TTEI DELLA GENGA (b. near Spoleto, 252nd Pope , 1823- 29)

tomb executed b y Giuseppe de Fahris (b. near Vicenza, 1790-1860) in 1836

- total composition, from slightly right - close detail of the Pope 2

81J06L 35 8()06M 01

TO MB OF PHIS VIII CP.S TI GLIOIJE (b. Cingoli, 253rd Pope, 1829-30)

tomb executed 1853-66 by Pietro Tenerani (b. near Massa, 1789-1869 )

- overall view of the COID!_)Osition above the door to the Sacristy and Treasury G81A39

- closer view of Christ, St. Peter, and the Pope 8101N 10 - close frontal detail of Ch::-ist 8101N 16 - close three-quarters left detail of Christ 8101N 20 - full figure of St. Peter 8101N 12 - half-length detail of St. :?eter 8101N 18 - full figure of St. Paul 8101N 14 - half-length detail of St. Paul 8101N 17

_:_ bust-length detail of the Pope, from the right 8101N 19 9

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TOMB OF GREGORY XVI CAPPELLARI (b. Belluno, 254th Pope, 1831-46)

tomb executed 1854 by Luigi AP.lici (b. near Ancona, 1817-97)

- total composition from the front - the Pope, inscription, relief, and

allegorical figure at the left - close detail of the Pope, from the right - coat of arms and decorative cornices above - allegorical figure at the left, seen from the right - allegorical figure at the left, seen from slightly left

_::_ allegorical figure at the right, seen from slightly left 7

8006D 33

8006D 35 8006D 28 8006E 04 8006D 27 8006D 37 8006E 03

TOMB OF PIUS X SARTO (b. Riese, 257th Pope, 1903-14, last sanctified Pope)

tomb executed 192 2 by the architect Flo.restano Di Fausto (b. near Rome, 1890) and the sculptor Pier Enrico Astorri (b. France, 1882-1926)

- general view from the right 8101K 30, - full figure of the Pope, from the right 8101K 26 - half-length detail of the Pope, from the right 8101K 29 - half-length detail of the Pope, from the left 8101K 22 - the coat of arms, from the right 8101K 28 5

T0~1B OF BDJ:::DIC':' XV DELLA CHIESA (b. Genoa, 258th Pope, 1914-22)

tomb executed by Pietro Canonica (b. Turin, 1869-1959)

- total composition, from slightly left - full figure of the Pope and portion of the relief, from front - full figure and portion of the relief, from the left - half-length, left-profile detail of the Pope - close detail of the praying Pope, from the left - the coat of arms 6

TO~B OF PIUS XI RATTI (b. Desio, 259th Pope, 1922-39)

tomb executed early 1960s by Francesco Nagni (b. Viterbo, 1897)

- general view from the front - half-length detail of the Pope from the front - close right-profile detail of the head - close en-face detail of the head - the coat of arms 5

G81A4 0 G81A43 810 1G 34, 8101H 07, 8101H 04 I 8101K 10,

8101M 17 8101M 15 8101M 20 8101M 22 8101M 14

31

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TO~B OF Pres XII PACELLI (b. Rome, 260th Pope, 1939-58)

tomb completed l9n4 by Francesco Messina (b. Catania, 1900)

- general view from the front - bust-length detail of the Pope, from the front - en-face, half-length detail of the Pope, from the left - close detail of the head, from further left - close detail of the hand, from the left - the coat of arms with angels - the coat of arms seen alone (detail of the above) 7

page 29

G81A45 8101Q 17, 18 G81A48 81019 12 8101Q 09 G81A49 8101Q 16

TOMB OF JOHN XXIII PON CALLI (b. near Bergamo, 261st Pope, 1958-63)

tomb completed 1966 by Emilio Greco (b. Catania, 1913)

total composition of the bronze relief - lower half of the relief with the Pope - upper half of the relief - close detail: head of the Pope 4

COLOSSAL HOLY WA-=-E ~ BP.SI NS I r THE NAV E

completed 1725 for Benedict XIII by Agostino Cornacchini (b. Pistoia, 1685-after 1740) Giuseppe Lironi (b. Como, 1689-1749) Francesco Moderati (b. Milan, ca. 1680-1720s) and Giovanni Battista Rossi (noted first half of 18th century )

On the right (north ) side of the nave: - total view from the front - total from the right - left putto from the right - left putto from the left - right putto from the left

On the left (south) side of the nave: - total view from the front - total from the right - right putto frorn the right - close detail of right putto from further right

9

G81A50 G81A52 Bl0lJ 20 Bl0lJ 15

8101G 04, 8101G 10 , 8101G 07, 8101G 19, 8101G 16,

8101G 28, 8101G 25, 8101G 22, 8101G 31,

05 11 08 20 17

29 26 23 32

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STATUES OF THE FOUNDERS OF THE ORDERS (AND THE PROPHET ELIJAH)

These statues, made in the 18th, 19th, and 20th centuries are located in niches between the arches of nave, apse, and transepts. The earlier and more interesting sculptures are located in a lower order, closer to eye level, while the later statues are located in an upper order, between the capitals of the pilasters. Those below are presented first, according to location. For consistency, names are given in their Latin form .

STATUES IN THE NAVE: (first view is the main frontal or quasi-frontal view)

S. TERESA, by Filippo della Valle (1697-1768) Detail from the right

S. VINCENTIUS A PAULO, by Pietro Bracci (1700-73) Full figure from the left

S. FILIPPUS NERIUS, by Giovanni Battista Maini (16 90-1752)

S. IGNATIUS (1728ff), by Camillo Rusconi (1658-1728) and Giuseppe Rusconi (1687-1737)

S. CAMILLUS (1752), by Pietro Pacilli (1716-after 1769) Detail from the left

S. PIETRO DI ALCANTARA, by Francesco Bergara (1681-1753) Half-length detail of the Saint from the front

* Detail of the Angel

STATUES IN THE APSE

S. OOMINICUS (1701-06), by Pierre LeGros (1666-1719) Full figure from the right

PROPHETA ELIA (Elijah) (1725-27), by Agostino Cornacchini (1685-after 1740)

Full figure from the left Detail from the right

S. BENEDETTO (1735), by Antonio Montauti (died circa 1740)

S. FRANCISCO (1720), by Carlo Monaldi (1690-1760) Half-length detail from the right Close detail of head and hand from the left Detail of the Angel and book with inscription, fro~ left

* additional Saint in the nave: S . FRANCISCO A PAULA, by Giov. Bat. Maini (1690-1752)

G81B01 or 8101S 02

8101R 32 8101S 05

8101R 27

8101R 20

8101R 19 8101R 25

8101R 21 8101R 23 8101R 24

G80F48 8101P 04

G80F54 8101P 03 8101S 25

G80F50

G80F49 8001S 29 8001P 07 8001P 08

8101S 33

8101R 33

Total 22 images on this page

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Black and White Prints, St. Peter's Basilica, Ro~e

STATUES OF THE FOUNDERS OF THE ORDERS, continued

STATUES IN THE NORTH TRANSEPT:

page 31

S. JOSEPHO CALASANCTIO (1755), by Innocenzio Spinazzi (noted 1750-98) 8101P 20

Half-length detail from the left 810+P 21

s. HIERONYMUS AEMILIANUS (1756), by Pietro Bracci (1700-73) 8101P 15 Half-length detail from the left 8101P 14

s. CAJETANUS (1730), by Carlo Monaldi (1690-1760) 8101P 16 Half-length detail from the left 8101P 13

s. BRUNO (1744), by Michelangelo Slodtz (1705-64) 8101P 17 Full figure from the le ft 8101P 19 Close detail from the right 8101P 22

STATUES IN THE SOUTH TRANSEPT:

S. GIULIANA FALCONIERI (1732), by Pietro Paulo Campi (noted 1702-35) G80F52

Half-length detail fro~ the left 8001S 23

S. NORBERTO (1757), by Pietro Bracci (1700-73) Full figure from the left Detail of defeated Heresy

S. PETRUS NOLASCO (1742), by Pietro Paulo Campi Half-length detail from the left Close right-profile detail Half-length detail from the right

S. JOANNES DE DIO (1744), by Filippo della Valle (1697-1768) Full figure from the left Close, en-face detail from the right

G80F51 8101S 22 8101S 19

GBOF53 8101N 29 8101N 26 8101S 18

G80F55 8101S 24 8101N 25


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STATUES OF THE FOUNDERS OF THE ORDERS, continued

LATER STATUES IN THE UPPER REGISTER (male and female saints arranged alphabetically)

S. ALPHONSUS M. DE LIGORIO (1839) S. ANTONIUS M. ZACCARIA S. FRANCISCO CARACCIOLO (1834) S. FRANCISCO SALESIO {1845)

Full figure from the right S. GULIELMUS ABBAS, by Joseph Prinzi

Close, e~-face detail from below right S. JO. BAPT. DE LA SALLE

Full figure from the right S. JOANNES BOSCO, by Pietro Canonica (1869-1959) S. JOAN EUDES

Detail from the right S. LUO. M.A. MON?FORT S. PETRO FORERIO

S. ANGELA MERICI VIRGO (1866), by Pietro Calli S. FRANCISCA RO.Mk~A S. FRANCISCA XAVERIA CABRINI (1947), b y Enrico Tadolini S. LUCIA FILIPPINI

Full figure from the right S. LUDOVICA DE MARILLAC (1953), by A. Berti

Detail from the right S. MAGO. SOPHIA BARAT

Full Figure from the right

fenale saint

female saint

female saint

Thus terminates the list of prints resulting from the photographic campaign 1979-81 in St. Peter's Basilica.

There are 829 different images listed on these 32 pages.

8101S 30 8101R 17 8101N 32 8101N33 8101S 26 8101S 12 8101S 16 8101S 07 8101S 03 8101N 24 G81B03 8101R 35 8101R 18 8101S 32

8101S 15 8101S 31 8101P 11 8101R 14 8101R 22 8101N 30 8101S 17 G81B04 8101S 01

8101N 21

8101N 31

8101P 12


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page 33

PENDENT IVE MOSAICS FROM ST. PETER'S BASILICA

- Baptistry: Theme: Theology of Baptisrn - pendentives represent the four corners of

the earth to which the Gospel of Baptism was brought

- Europe (SE corner) G81P01 - Asia (SW corner) G81P02 . - America (NW corner) G81P03 - Africa (NE corner) G81P04

In Lunettes: - Moses striking rock (South of W side) G81POS - Christ bestowing on Peter the Mission of

Baptism (East of S side) G81P07 - Noah and the rainbow (North of W side) G81P08

- Cappella della Presentazione: Designed by C. Maratta in collaboration with Giuseppe Chiari. Executed by Fabio Cristofari, G. Ottaviani, et. al.

- Aaron(SE) - Noah (SW) - Gideon (tm) - Balaarl (NE)

- Cappella del Coro

810E;N02 8106M29 G81Pll G81Pl2

Habakuk and Daniel designed by C. Maratta. Jonah and David designed by M.A. Franceschini. Executed by Giuseppe Conti.

- Habakuk (SE) - Daniel in Lion's Den (SW) - David (NW) - Jonah (NE)

- Cappella Clementina

G81Pl3 G81Pl4 G81Pl5 G81Pl6

Completed by Giacomo della Porta for the Jubilee Year of 1600. Mosaics were designed by Cristoforo Roncalli. They were executed by M. Provenzale and .Paolo Rosetti.

- Cupola Pendentives:

- Augustine of Hippo Regius (or Ambrose) -SE - Ambrose of Milan (or Augustine) - SW - Athanasius (or John Chrysostom) - NE - John Chrysostom (or Athanasius) - NW

G81Pl9

G81Pl7 G81Pl8 G81P20 8106Pll

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- Cappella della Madonna della Colonna Bonaventure and Germanus were designed b~,r Giovanni Lanfranco before 1633. John Damascus and Thomas Aquinas were designed by Andrea Sacchi. The original cartoons are in the Palazzo Barberini, Rome. The mosaics were executed in 1631 by Giovanni Calandra.

- Bonaventure (SE) - Thomas Aquinas (SW) - John Damascus (NW) - Gernanus (NE)

-Cappella S. Michele

G81P21 G81P22 G81P23 G81P24

Dionysius the Areopagate was designed by Guido Abbatini. Flavianus was designed by Andrea Sacchi (the original cartoon is now in the Palazzo Barberini, Rome). Francesco Romanelli designed Leo the Great, and S. Bernard was designed by Carlo Pellegrini (original cartoon in Palazzo Barberini, Rome). The four mosaics were executed by Giovanni Calandra in 1639.

- Dionysius Areopagate (SE) - Flavianus (SW) - Leo the Great (NW) - Bernard (NE)

- Cappella Gregoriana

G81P25 G81P26 8106Vl0 G81P28

These mosaics are by G. Muziano and are dated 1579. They have been restored.

- Dasil the Great (SE) (or Gregory of Nazianus) - Gregory of Nazianus {SW) (or Basil the Great) - Gregory (lm) - Jerome (Hieronymus) {NE)

- Cappella del SS Sacramento

G81P29 G81P30 G81P31 G81P32

Mosaics were designed by Pietro da Cortona. They were executed from August 1653 to the end of 1656 by Guidobaldo Abbatini, Fabio Cristofari and Matteo Piccioni.

- A Priest (SE) - Melchizedek (SW) - Aaron (NW) - Elias (NE)

G81P34 8107M36 G81P35 G81P36

5askia Lt~ Cultural Documentation 2721 NW Cannon Way Portland, Oregon 97229

Orders: 800.395-1952

lnt'I: 503.520-8855

Fax: 503.626-1162

E-mail:

January, 1995

Price List

for 8x 10 inch Black and White Prints on Double-Weight AGFA Brovira Paper

Unit price for individual prints Unit price for orders of more than 20 prints Unit price for orders of more than I 00 prints

Shipping charges additional.

$24.00 $22.00 $20.00

Photographic prints purchased at these prices are for research and teaching pur-poses only. They may not be reproduced in any form, including publications (scholarly or otherwise), video tape or electronic data retrieval system (including scanning) without prior written permission and payment of applicable reproduction fees.

Black and white prints cannot be offered on an approval basis; returns can only be accepted for reasons of technical deficiency.

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