Baroque and Renaissance Architecture: Saint Peter's Basilica and Il Gesu

Il Gesu: A Precursor to Baroque

The construction of Il Gesu began in 1527 but faced delays due to financial constraints. It was finally consecrated in 1685 by Andrea Pozzo, although it remained unfinished. Andrea Pozzo painted the dome on canvas, where the roof is flat.

The Facade

The facade bears a striking resemblance to that of the Church of the Gesu. The lower section features a similar joint, with notable entry columns. There is an interplay of inputs and outputs, verticality, and decorative plates with angles, which are more pronounced. These plates would become a defining feature of the Baroque style. On the second level, columns are positioned in front of the pillars seen in the Gesu. The pediment introduces a decorative element, departing from the clean profile that stands out against the sky. Chandeliers accentuate the verticality. The connection between these two sections differs from the Gesu; here, a single lowered arch is used, eliminating the cumbersome double pediment of the Gesu.

The Interior

The interior is adorned with frescoes by Andrea Pozzo. It follows the structural layout of the Gesu, featuring interconnecting side chapels and lateral arches marked by transparent pillars.

Saint Peter's Basilica: A Synthesis of Styles

Upon becoming Pope, Paul V commissioned Maderno to complete Saint Peter's Basilica. He was finishing the dome designed by Michelangelo, which was completed by della Porta and Maderno. The most respected elements by the new builders were the relics, and there was a trend towards centralized facilities due to their funerary nature. This resulted in a Greek cross plan with a dome, highlighting the most transcendent aspects of the relics.

Bramante's Vision

Bramante envisioned four chapels projecting at an angle around the central dome, creating domed chapels and corner areas, forming a Greek cross inscribed within a square.

Raffaello's Contribution

Raffaello accepted Bramante's design but transformed it into a Latin cross plan, prioritizing the faithful over the relics. He revived the idea of the original building with its five naves, creating deep and large, albeit poorly lit, spaces.

Eterusi Twine's Influence

Eterusi Twine maintained the Greek cross arms and domes.

Antonio da Sangallo's Design

Antonio da Sangallo retained Eterusi's design, emphasizing the western facade's importance and monumentality. Gradually, the core was constructed.

Michelangelo's Impact

Michelangelo removed the angular areas while continuing with Bramante's concept. This created a diamond shape and ample space to highlight the central dome and the Martyrium concept. He retained the modern idea of emphasizing the front entrance with a porch and stairs.

Carlo Maderno's Modifications

Carlo Maderno, considering the faithful who would gather to worship the relics, extended the nave while preserving the Martyrium. This resulted in a symbiosis between two floor plans: the centralized and the longitudinal. He aimed to respect Michelangelo's design as much as possible, but at the Pope's preference, he added three longitudinal naves to the junction cross, extending the foot almost into a square. The effect is a much larger head, a sense of an open porch, and naves with a vast perspective leading to the highly compartmentalized Martyrium, guiding visitors there, in addition to the monumental dome. Bernini's contributions came later, but here, the directionality towards the bottom is already evident.

The Facade of Saint Peter's

The facade features a large lower body divided into two, resembling a palace (with a ground floor and a noble floor), unified by giant order pilasters. This composition is characteristic of Mannerist palaces. These pilasters are paired with minimal space between them, forming open bays with niches. The windows are topped by alternating triangular and curved pediments. On the main floor, the windows have balconies. In the attic, flattened windows are decorated with niches, and windows are placed at the top of the lintel. The main facade is also Renaissance, exhibiting strong horizontality. A Serlian motif is present (straight leg, curved stretch, straight leg, bent leg), along with pairs of columns supporting the upright. The Serlian motif on Saint Peter's only serves to make up the height of the facade, as Maderno did not want to detract from the prominence of the dome. Furthermore, these extremes with pilasters that frame, or have framed, are linked to Michelangelo's project, all based on pilasters. The central part of the facade resembles a tetrastyle temple. Maderno also designed the balcony for papal blessings, creating a palace-like structure.