Late Renaissance and Jesuit Cultural Policy- Kelsey Nicolosi

Ciao, from Italy!

       During our third week, our adventures took us to breathtaking places that were rich with history and culture.  We were in for a treat with our first stop being the il Gesù.  Even though this was not our first visit to the Gesù, we were able to see it in a new light and discover hidden treasures within it.  The Jesuit cultural policy is illustrated and present in the Gesù, due to it being the Mother Church for the Jesuits.  The placement of the Gesu in the center of the city speaks volumes to what Ignatius wanted to achieve in Rome.  By being in the heart of the city, the Jesuits were able to reach, help, enlighten, and educate, the poor, persecuted, abandoned, and the general public. The baroque style architecture set the standard for other churches all over the world. The exterior of the building has volutes, which help broaden and reshape the building, while simultaneously marking it as a Renaissance structure.  The interior of the Gesù contains art and structures that also demonstrate the cultural policy of the Jesuits. Cardinal Farnese, who funded the creation of the Gesù, influenced the grandeur of the interior.  However, the Jesuits controlled the iconography within the church.  The side chapels within the Gesù were sold to female patrons within Rome.  One of the side chapels contains a piece that depicts the Pentecost, which further emphasizes one of the Jesuit’s policies, which is to spread the Gospel universally.  The grand dome and he extended nave are characteristics of preaching churches created during the High Renaissance.  We were also treated with observing the mechanics of Ignatius’ alter and how the picture slowly disappears to reveal the incredible statue of Loyola.    
Our next stop took us to another church called San Luigi dei Francesi.  It is dedicated to the Virign Mary and the national church in Rome of France.  The Church houses some of Caravaggio’s baroque pieces, The Calling of Matthew, The Inspiration of St. Matthew, and The Martyrdom of St. Matthew. Caravaggio’s style and structure in his work is much more realistic, darker, morbid compared to the other Renaissance artists.  His paintings hold the viewer’s attention through their stark honesty and macabre.
        We then continued our exploration to Santa Maria in Vallicella. The interior or the church follows the design of the Gesu. Patrons filled the walls with vital moments from religious history.  The altarpieces, high alter, and dome that is decorated with a depiction of the Trinity, are all pieces that distinguish it from the High Renaissance era.  We also went to the Santa Stefano al Monte Celio, the official Hungarian church in Rome.  The church is dedicated to the first martyr, St. Stephen and the frescos that adorn the walls tell stories of several martyrs.






Our adventures then took us to the Galleria Borghese, where we examined the Borghese collection of paintings, sculptures, mosaics, frescos, and other antiquities.  The collection is home to several works by Caravaggio, Raphael, Titian, and several other renowned Renaissance artists. Bernini’s baroque sculptures such as “Daphne and Apollo” and “The Abduction of Persephone,” are so detailed and lifelike.  “Daphne and Apollo” is astonishing because Bernini is able to create a sculpture of an unnatural event and make it look natural.  Daphne’s transformation into a tree is breathtaking.  “The Abduction of Persephone” is also astounding due to the details and the way that the pressure of Hades fingers on Persephone’s thigh. The way that the sculptures represent the posture and surface of a real human is remarkable.  The Galleria Borghese was my favorite location of the day, due to the myriad of inspirations and muses of the High Renaissance.  The representation of mythology and Christianity was refreshing and beautiful.




That’s all for now! Thanks for reading!

Love from Rome,

Kelsey Nicolosi  

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