Baroque Architecture between Poetry and Prose. Two Possible Approaches
12 pages
English
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Baroque Architecture between Poetry and Prose. Two Possible Approaches

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12 pages
English

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Baroque Architecture between Poetry and Prose. Two Possible Approaches

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Studia Patzinaka, 4/ 2007, pp. 73-84
Baroque Architecture between Poetry and Prose. Two Possible Approaches Cosmin UNGUREANU Compared with the (late) Renaissance, at a certain level of interpretation, the 1 Baroque brought the passage from symbol to allegory . This process, however, is a qualitative one, for we cannot speak of a simple sliding from 2 one sort of projection (transposition of the notion into image) to another , th but a conversion of this one into a mental process. In other words, the XVII century faces the transition from “imagined” to “imagination”; from the 3 symbol of the Christian Temple, for instance, to theSan Pietro in Rome  for allegory of the Church, through the added colonnade. The interpretation of the two ellipsoid arms conceived by Bernini as a metaphor for an embrace is usually invoked [ill.1]; beyond this explanation, certified by Bernini himself, we can infer – together with Argan – a questioning that reinstates the 4 ideological values of the dome (after the changes performed by Maderna) [ill. 2]. Michelangelo’ s cupola is doubled, enlarged, unfolded outside the church, so that the building becomes – through the agency of the colonnade – “an extension of the public space of the city although with a particular 5 sacred qualification, as the private house of God “ .
ill. 1 San Pietro. Bernini’s Colonade ill. 2 San Pietro. Maderna’s facade 1 Argan 1989a, p. 41. 2 If we define the symbol as “espressione ermetica accesibile solo agli iniziati” (Argan), then the allegory would be a debased symbol, which has lost its semantic concentration, becoming intelligible heightened instead. 3 Murray 1973, p. 50. 4 Argan 1974a, pp. 176-177. 5 Norberg-Schulz 1999, p. 78, note 33.
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