1661 or later) assigns it to 'Gian Lorenzo Bernini
or later copyist', the Fogg Museum's Saint Ambrose to 'Gian Lorenzo Bernini
Unusual for his time, Gian Lorenzo Bernini
lived a long and productive life.
The historian recounts how Gian Lorenzo Bernini
's The Ecstasy of St Theresa restored the artist's fortunes.
Architectural entries include not only enshrined figures such as Gian Lorenzo Bernini
and Andrea Palladio, but also important innovators such as Pier Luigi Nervi, whose design of the George Washington Bridge Bus Terminal in New York embodies both the practical and the aesthetic aspects of construction, and Renzo Piano, whose thoughtful additions to the High Museum in Atlanta, Georgia, complement Richard Meier's distinctive original design.
The thriller also involves a psychopathic Middle Eastern murderer, signs hidden in sculptures by the sculptor Gian Lorenzo Bernini
, Vatican Swiss guards with yellow tights and walkie-talkies, obscenely murdered naked cardinals, a pope who has fathered a test tube baby and an American who falls out of the sky and survives.
In tempera on wood, wood and ivory, polychromed wood, silver, gilded bronze, oil on canvas, ivory and parchment, artists, some famous such as Lorenzo Lotto, Gian Lorenzo Bernini
, and Pietro da Cortona, and others unknown represent the most fateful moments in history when by His death, Jesus became our means of salvation.
Of these original altars, two have sculptural decorations (Gian Lorenzo Bernini
's Cathedra Petri and Alessandro Algardi's San Leo), and the third is an amalgam (of a painting by Pietro da Cortona and a cyborium by Bemini); thirteen painted altarpieces survive elsewhere.
Gian Lorenzo Bernini
's project for the Four Rivers Fountain (c.
At the rear of the basilica--with Gian Lorenzo Bernini
's fantastic bronze chair of Saint Peter held aloft by Saints Ambrose, Augustine, Athanasius, and John Chrysostom, and suspended above still another massive altar--we paused, but only for a moment.
He was championed by the celebrated architect and sculptor Gian Lorenzo Bernini
and had the opportunity to decorate one of the most important churches in Rome, the Gesu.
Part III, "Performativity and Interpretation" includes: Genevieve Warwick, "Allegories of Eros: Caravaggio's Masque" (137-56); Peter Gillgren, "Una Dolcissima Estasi: Performing The Visitation by Federico Barocci" (157-78); Margaretha Rossholm Lagerlof, "The Apparition of Faith: The Performative Meaning of Gian Lorenzo Bernini
's Decoration for the Cornaro Chapel" (179-200); Giovanni Careri, "Performativity in Michelangelo's Last Judgment" (201-18).