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31-609: Chiesa Nuova (Italian for "New Church") may refer to: Chiesa Nuova, Rome or Santa Maria in Vallicella, a church in Rome, Italy Chiesa Nuova (Rome Metro) , a railway station Chiesa Nuova, Assisi , a church in Assisi, Italy See also [ edit ] Chiesanuova (disambiguation) Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with

62-576: A lantern to let in more light and the dome was redecorated, perhaps by Ciro Ferri. Adjacent to the church is the Oratorio dei Filippini designed by the Baroque architect Francesco Borromini who with his brick façade created a marked contrast to the conventional travertine façade of the church. Since the 1946 consistory of Pope Pius XII , the church has been used as a titular church . Di sotto in su Illusionistic ceiling painting , which includes

93-613: A native of Parma who knew Correggio's dome, painted the enormous dome of the church of Sant'Andrea della Valle with an Assumption of the Virgin that overwhelmed contemporary spectators with its exuberant illusionistic effects and became one of the first High Baroque masterpieces. Lanfranco's work in Rome (1613–1630) and in Naples (1634–1646) was fundamental to the development of illusionism in Italy. Pietro Berrettini, called Pietro da Cortona , developed

124-472: A single main nave with transepts and side chapels, leading towards the High Altar. Neri had intended that the interior be plain with whitewashed walls but it was filled by patrons with various artistic works, mainly during the period from 1620 to 1690, including masterworks by some of the principal artists of those decades in Rome. It is renowned for its altarpieces by Barocci , Pietro da Cortona 's ceilings, and

155-503: A term which was introduced in the seventeenth century and is also normally used in English, became popular with Baroque artists. Although it can also refer to the "opening up" of walls through architectural illusion, the term is most commonly associated with Italian ceiling painting. Unlike other trompe-l'œil techniques or precedent di sotto in sù ceiling decorations, which often rely on intuitive artistic approaches to deception, quadratura

186-696: A way that it seems to continue the existing architecture. The perspective of this illusion is centered towards one focal point. The steep foreshortening of the figures, and the painted walls and pillars were and are used to create an illusion of deep recession; a heavenly sphere or even an open sky. Paintings on ceilings could, for example, simulate statues in niches or openings revealing the sky. Quadratura may also employ other illusionistic painting techniques , such as anamorphosis . Examples of illusionistic painting include: Other examples were by Paolo Veronese at Villa Rotonda in Vicenza and Baldassare Peruzzi in

217-400: Is directly tied to seventeenth-century theories of perspective and the representation of architectural space. Due to its reliance on perspective theory, it more fully unites architecture, painting and sculpture and gives a more overwhelming impression of illusionism than earlier examples. The artist would paint a feigned architecture in perspective on a flat or barrel-vaulted ceiling in such

248-413: Is painted with a Venetian influenced view of di sotto in su (from below to above). His designs for the vault decoration around the painting, with elaborate white and gilt stucco work incorporating figurative, geometrical and naturalistic elements, were carried out by Cosimo Fancelli and Ercole Ferrata . The walls of the nave and transept, as well as the presbytery ceiling, have canvases of Episodes of

279-513: Is worth recording; Caravaggio 's altarpiece of the Entombment of Christ was commissioned by Alessandro Vittrice, nephew of one of Saint Philip's friends, and depicted the entombment in a radically naturalistic format, foreign to the grand manner found in the remaining altarpieces. The original is in the Vatican Pinacoteca. A copy by a Flemish painter now takes its place. Neri is buried in

310-558: The Chapel of the Visitation (1583–86). The sacristy was begun in 1621 based on architectural plans by Mario Arconio and completed by Paolo Maruscelli in 1629. In the sacristy is a marble sculptural group of S. Filippo with an Angel by Alessandro Algardi . The wall frescoes are by Francesco Trevisani and the Benediction by Christ by Cerrini with the ceiling frescoed with Angels carrying

341-465: The Rubens altarpiece on an unusual slate, canvas and copper support. Pietro da Cortona 's decorations include the 'Trinity' in the dome (painted 1647–51). The prophets 'Isaiah', 'Jeremiah', 'Daniel' and 'Ezechiel' in the four pendentives were painted in 1655–56 and 1659–60 along with his fresco of the 'Assumption of the Virgin' adorning the apse. There is an implied visual continuum between

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372-591: The San Giovanni Evangelista and in the Assumption of the Virgin in the dome of the Parma Cathedral , which is Correggio's most famous work (1520–24); in these frescos Correggio treats the entire surface as the vast and frameless vault of heaven in which the figures float. In a visual continuity between the architectural interior and its painted surfaces, Corregio's clouds and figures appear to inhabit

403-496: The Villa Farnesina of Rome. Italian Renaissance artists applied their confidence in handling perspective to projects for ceilings and overcame the problems of applying linear perspective to the concave surfaces of domes in order to dissolve the architecture and create illusions of limitless space. Painted and patterned ceilings were a Gothic tradition in Italy as elsewhere, but the first ceiling painted to feign open space

434-947: The illusion of an open sky, such as with the oculus in Andrea Mantegna 's Camera degli Sposi , or the illusion of an architectural space such as the cupola , one of Andrea Pozzo 's frescoes in Sant'Ignazio, Rome . Illusionistic ceiling painting belongs to the general class of illusionism in art , designed to create accurate representations of reality . Di sotto in sù (or sotto in su ), which means "seen from below" or "from below, upward" in Italian, developed in late quattrocento Italian Renaissance painting , notably in Andrea Mantegna's Camera degli Sposi in Mantua and in frescoes by Melozzo da Forlì . Italian terminology for this technique reflects

465-630: The Great built the first church on the site. By the 12th century, it was dedicated to Santa Maria in Vallicella ("Our Lady in the Little Valley"). In 1575, Pope Gregory XIII recognised Neri's group as a religious Congregation and gave them the church and its small attached convent . St. Philip Neri, helped by Pier Donato Cardinal Cesi and Pope Gregory XIII , had the church rebuilt, starting in 1575. When Pierdonato died, his brother Angelo Cesi, Bishop of Todi , continued his family's patronage. Initially

496-639: The Magi by Cesare Nebbia ; the first, a 'Presentation to the Temple by d'Arpino . In 1635 Alessandro Salucci worked on decorations in the Chapel of the Presentation of Our Lady. Salucci painted frescoes on the vault, depicting the story of Hannah , Elkanah and the young Samuel . Salucci's frescos were painted over the decorations made by Domenico de Coldie in 1590. One painting that did not stay in its intended chapel

527-449: The Old and New Testament are by Lazzaro Baldi , Giuseppe Ghezzi , Daniele Seiter , Giuseppe Passeri , and Domenico Parodi. The first altarpiece on the right is a Crucifixion by Pulzone with a ceiling fresco painted by Lanfranco . The third altarpiece is an Ascension by Girolamo Muziano , the fourth, a Pentecost by Giovanni Maria Morandi ; the fifth, an Assumption by Cerrini . In

558-553: The architect was Matteo di Città di Castello, but he was replaced later by Martino Longhi the Elder . The nave was completed in 1577, and the church was consecrated in 1599. The facade , designed by Fausto Rughesi, was completed in 1605 or 1606. The Cesi heraldry is still evident in the church. The ground plan follows the Counter-Reformation design of churches established at the Gesù ;

589-462: The brother of Maria Di Antonio Serra, whose portrait Rubens painted in 1606 ), when installed the altarpiece is said to have caused a 'stir' among observers in Rome, who were generally unaccustomed to the Flemish painterly style. In the left transept is a Presentation of Mary to the Temple (1593–4) by Federico Barocci . He completed two altarpieces that were highly admired in his time, including one in

620-456: The chapel to the left of the choir, which is dedicated to him, in a tomb decorated with mother-of-pearl . Designed by Onorio Longhi in 1600, the first octagonal part of the chapel has a central vault painting of St. Philip by Roncalli , and an altarpiece of The Virgin Appearing to St Philip Neri by Guido Reni (now a mosaic copy). In the inner and more removed part of the chapel, Cortona added

651-517: The dome and the apse frescoes aided by the fact that there is no dome drum; the assumpting Virgin (in the apse) raises her eyes towards Heaven and the Father (in the dome) extends his hand as if bestowing His blessings upon her. Cortona's nave vault fresco of the 'Miracle of the Madonna della Vallicella' was executed in 1664–65. This is clearly set within an elaborate gold frame, a quadro riportato , and

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682-667: The illusionistic ceiling fresco to an extraordinary degree in works such as the ceiling (1633–1639) of the gran salone of Palazzo Barberini . From 1676 to 1679 Giovanni Battista Gaulli , called Baciccio, painted an Adoration of the Name of Jesus on the ceiling of the Church of the Gesù , the Jesuit headquarters in Rome. From 1691 to 1694 Andrea Pozzo painted the Entrance of Saint Ignatius into Paradise on

713-560: The instruments of the Passion (1633–34) by Pietro da Cortona . The fifth altarpiece on the left is an Annunciation by the Passignano ; the fourth, a Visitation by Barocci with the ceiling frescoed with Saints by Saraceni . In the third Adoration by the Shepherds by Durante Alberti and the vault frescoed with a Saint by Cristofano Roncalli . The second altarpiece is an Adoration by

744-426: The latter artist's influence and is called prospettiva melozziana ("Melozzo's perspective"). Another notable use is by Antonio da Correggio in the Parma Cathedral , which foreshadows Baroque architectural grandeur. The technique often uses foreshortened figures and an architectural vanishing point to create the perception of true space on a painted, most often frescoed, ceiling above the viewer. Quadratura ,

775-543: The same architectural space in which the spectator stands. In Baroque Rome , the long-standing tradition of frescoed ceilings received a push from the grand projects in Palazzo Farnese under the guidance of Annibale Carracci and his team, but the figural subjects were still enclosed within multiple framed compartments ( quadri riportati ), and the perspective of subjects seen from below was not consistently taken into consideration. From 1625 to 1627 Giovanni Lanfranco ,

806-458: The sky, with courtiers , a peacock , and putti leaning over a balustrade , seen in strongly foreshortened perspective from below; di sotto in sù . This was the prototype of illusionistic ceiling painting that was to become an important element of Italian Baroque art . Correggio at Parma took the illusionistic ceiling a step farther in his frescoes of Christ and the Apostles for the cupola at

837-454: The techniques of perspective di sotto in sù and quadratura , is the tradition in Renaissance , Baroque and Rococo art in which trompe-l'œil , perspective tools such as foreshortening , and other spatial effects are used to create the illusion of three-dimensional space on an otherwise two-dimensional or mostly flat ceiling surface above the viewer. It is frequently used to create

868-488: The title Chiesa Nuova . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Chiesa_Nuova&oldid=1084055096 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages Chiesa Nuova, Rome By tradition, St. Gregory

899-497: The transept is a Coronation of Mary by the Cavaliere d'Arpino , who also painted the first altarpiece ( Presentation in the Temple ) on the right. In the right presbytery, is the Spada family chapel completed in 1593 by Rainaldi . Inside, a Madonna and Child with Saints Carlo Borromeo and Ignatius of Loyola (1675) was painted by Maratta . In the central presbytery, the bronze ciborium

930-585: Was created by Andrea Mantegna , a master of perspective who went to Mantua as court painter to the Gonzaga . His masterpiece was a series of frescoes that culminated in 1474 in the Camera degli Sposi of the Ducal Palace . In these works, he carried the art of illusionistic perspective to new limits. He frescoed the walls with illusionistic scenes of court life, while the ceiling appeared as if it were an oculus open to

961-460: Was designed by Ciro Ferri in 1681. The Madonna and Child with side panels showing Saints Domitilla, Nereus and Achilleus and Saints Gregory the Great, Maurus and Papianus (1606–08) is one of the few works painted by Peter Paul Rubens created specifically for a Roman commission. Commissioned for 300 scudi by Monsignor Jacopo Serra (a Genoese-born partner in the Pallavicini Bank and

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