Index

Introduction.*
The authors.*
General Analysis.
Time line.*
Personal style of the architects.*
Description of the building.*
Influences.*
Ideas of architects*
Conclusions

Introduction
In the mid to late 16th century after the dead of Saints Ignatius of Loyola as his
founder, the church is named Gesu which means Jesus as a glorification of
his name. The church of Gesu is a central church that is considerated as the
mother church of the jesuit order is designed by Giacomo da Vignola and
Giacomo Della Porta.

Biography
Giacomo Barozzi Di Vignola 1507 1573

He studied architecture and painting in Bologna and he was Influenced by all

the renaissance tradition and Leon Battista Alberti and Antonio da Sangallo as
architects, he was the epitome of the transition period from the Renaissance to
the Baroque and he was considerated Mannerist.
He wrote the treaty rules of the five orders of architecture. Published in 1562
and considered one of the great architectural treatises of the sixteenth century,
has been translated into numerous languages and has been a real vademecum
for researchers and designers of buildings in classical style. Included the five
architectural orders dissected in all its parts, perfectly modulated and paths.
Based on the work of Vitruvius and Roman buildings he studied

GIACOMO DELLA PORTA 1507 1573

Della Porta was born in porlezza, Lombardy. Collaborating pupil Michelangelo

and Vignola, was influenced by both teachers. After 1563 he worked on
drawings by Michelangelo for the reconstruction of the open spaces of Rome on
Capitol Hill stepped in the front, and on the steps of the Senatorial Palace. After
the death of Vignola in 1573, continued the construction of the church of the
Gesu, and in 1584 changed its facade with its own design. From 1573 he led
the rebuilding of St. Peter's Basilica, and later.

Time Line

Personal style of the architects

Giacomo Barozzi da Vignola (Works)
(Vignola, Italy, 1507-Rome 1573) Italian architect. Although not one of the most
important architects of the Italian Renaissance, itself has been one of the most
influenced posterity with their practical achievements and his theoretical work,
The Rule of the Five Orders of Architecture (1562), treated

that was

influential throughout Europe until the twentieth century.

More importants Works about Giacomo Barozzi da Vingola
The Rule of the Five Orders of Architecture
Benelli Palace (1538-1545), Bolonia
Facade of the church of St. Petronius (1545), Bolonia
Villa Giulia (1550-1555), Rome
Villa Farnese at Caprarola (15591573), Italy
Villa Lante (17th century), Rome, Italy
Saint Mary of the Angels (1569-1579), Assisi, Italy
Saint Andrew on Via Flaminia (1550-1554), Rome, Italy
The works that difines the style of Giacomo Barozzi da Vingola
Villia Giulia:
The viewpoint of the nymphaeum is a semi-transparent structure made of
niches, arches, lintels, balconies, etc. The bottom two floors of it are below the
terrace level, marked by the first garden, while the upper floor opens as a
Venetian balcony. Upstairs a series of atlases and caryatids support the
balcony of the middle floor and flank the entrance to the cave downstairs.

Villa Farnese at Caprarola:

It restates a cohesive whole, which takes into account the natural space in
which cleverly unite the bodies of rectangular buildings of the semicircular
members of the stairs and the large plant that opens towards the garden.
Develops same design tested in Villa Julia.
The Rule of the Five Orders of Architecture
Cajigal Vera, M. (n.d.). Biografias y Vidas .com. Retrieved August 25, 2014.

Giacomo Della Porta (Works)

Giacomo della Porta, (born c. 1537, Rome, Papal States [Italy], died 1602,
Rome), Italian architect whose work represents the development in style from
late Mannerism to early Baroque. He was the chief Roman architect during the
latter third of the 16th century and contributed to most of the major architectural
projects undertaken in Rome during that period.

More importants Works about Giacomo Della Porta

Cupola of St. Peter's Basilica (158890), Vatican city.

Palazzo della Sapienza (1578-1602) Rome, Italy
Santa Maria dei Monti (1580) Rome, Italy
Faade of San Luigi dei Francesi (1589), Rome
Fontana delle Tartarughe (1584), Rome

The style of Giacomo Della Porta

Giacomo Della Porta who was assisted by Michelangelo and Vingola was still
using his vocabulary architecture adapted to a new era (Baroque) .Giacomo
Della Porta was a member of the Accademia di San Luca, official architect of
the Church and the Roman nobility this aspect define their ideas, projects and
above the scope that he had as an architect, because, along with other Italian
architects changed and embellished the city of Rome and the schemas defined
some types of fixed architecture.

The planning stage of the structure began in 1550, Michelangelo himself once
promised a design, but apparently never just. This plan, by Vignola, was
adopted in 1568. Gesu contrasts in almost every possible aspect of
Renaissance style Gesu is a church, surprisingly compact, dominated by its
imposing nave.
The aisles have been replaced by chapels and herding the congregation literally
in one room as a great space directly in view of the altar. The attention of the
audience is positively directed towards the altar and pulpit, as our view of the
indoor shows. We also see an unexpected feature the dramatic contrast
between the dim lighting in the nave and the abundant light than in the eastern
part of the church, provided by large windows in the drum of the dome.

Here the theme of light has been consciously exploited for its expressive
possibilities to a new way of doing architecture, this will be called a "theatrical"
style, and have a stronger emotional focus that we've found inside a
Renaissance church.
Despite

its

originality,

Gesu plan is not entirely

unprecedented.

The

facade of Giacomo della

Porta is as bold as the
plan, though, too, has its
previous
pilasters

sources.
and

The

architrave

broken in lowerstory are

clearly derived from the
colossal order outside San
Pedro,

and

rightly

so,

because it was Della Porta

is who complete the dome
of Michelangelo. On the
top floor of the same pattern is repeated on a somewhat smaller scale, with four
instead of the six pillars of support. The difference in width is bridged by two
abutments in the form of displacement. This new style, also taken from
Michelangelo, forming a graceful transition to the large pediment that crowns
the facade preserves the classic proportions of Renaissance architecture (the
height is equal to the width)
What is essentially new here is the integration of all the parts into a whole. Della
Porta, free of scruples classicists for his loyalty to Michelangelo, gave the same
vertical rhythm of the two stories of the facade. This rate is obeyed by all
horizontal members, but the horizontal divisions in turn determine the size of the
vertical elements therefore without a colossal order. Equally important is the
emphasis on the main portal: your double weft also two pediments resting on
pilasters and columns are coupled these projects beyond the rest of the facade
and gives strong focus to the entire design.

Not since the Gothic architecture features the entrance of a church received
such a dramatic concentration of features that attracts the viewer's attention
outside the building as well as the concentrated light beneath the dome of
channels inside worshiper.
Il Gesu Church, Rome
Il Gesu is a work born in the Renaissance, in the first part designed by Vignola,
and finally after 100 years completed by Giacomo della Porta, creating a new
design pattern that is not here but the redecoration of the elements Romans
and Greeks who were part of the original facade, through the use of exact
proportions as the golden, thus leaving the ground lined with a Renaissance
style baroque; This adornment was called by other architects of his time
rhetorical decorum.
Other buildings architectural contributions to this great work.
San Andrs, Manta, Alberti.(11a)

http://timerime.com/es/periodos/2173728/Renacimiento/
Il Ges, Vignola y della Porta.(11b)

http://loslugarestienenmemoria.blogspot.mx/2012/04/la-historia-de-unatipologia.html
The ground of this work arises from the influence of two important works within
the architecture that are San Andrs Alberti Rafael and San Pedro. As we can
see in the pictures above (11a, 11b) Vignola remained the same program and
distribution in the church of San Andrs, a nave with side chapels and transept
shortening.
Moreover as already explained above della Porta makes an aesthetic
improvement of the facade designed by Vignola, based on other important work
that is Santa Maria Novella in Florence, resumed the use of scrolls, but in this
case the proportions used more large in order to smooth the transition between
the aisles and center.
Santa Mara Dovella, Florence(11c).

http://www.florencia.es/arquitectura-y-arte/las-iglesias/santa-maria-novella.htm

Il Ges, Rome(11d).

http://www.florencia.es/arquitectura-y-arte/las-iglesias/santa-maria-novella.htm

Il Gesu Contributions to Architecture

For its majestic facade of Il Gesu, was a work of great influence in the
architecture, such as the church of St. Susan (see 11d, 11e), which just as the
previous one was re-decorated by an architect, Carlo Maderno in this case.
In this church we can clearly see that the facade elements are resumed della
Porta, such as scroll. Also includes other ancient elements in its facade as the
balustrade on the pediment
St. Susan, Maderno (11e)

https://www.flickr.com/photos/37894326@N00/370645434/

Conclusions
The church of gesu is considerated as the mother church of the jesuit order,
next to the finish of this church many others are based on this. Gesu was made
on renaissance and finished on baroque. The contribution in the architecture is
the upgrade on the facade and the study of the light inside, the use of perfect
forms (geometry). Takes parts of the renaissance on the form.

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