Carlo Maderno | |
|---|---|
 An anonymous portrait of Carlo Maderno | |
| Born | 1556 |
| Died | 31 January 1629(1629-01-31) (aged 72–73) |
| Known for | Architecture |
| Movement | Baroque |
Carlo Maderno orMaderna (1556 – 31 January 1629) was anItalian[1]architect, born in today'sTicino, Switzerland, who is remembered as one of the fathers ofBaroque architecture. His façades ofSanta Susanna,St. Peter's Basilica, andSant'Andrea della Valle were of key importance in the evolution of the ItalianBaroque. He often is referred to as the brother of sculptorStefano Maderno, but this is not universally agreed upon.
Born inCapolago, in today's Ticino, which at the time was abailiwick of theSwiss Confederacy, Maderno began his career in themarble quarries of the far north, before moving to Rome in 1588 with four of his brothers to assist his uncleDomenico Fontana. He worked initially as a marble cutter. This background in sculptural workmanship would help mould his architecture. His first solo project, in 1596, was an utterly confident and mature façade for the ancient church ofSanta Susanna (1597–1603); it was among the firstBaroque façades to break with theMannerist conventions that are exemplified inthe Gesù.[2] The structure is a dynamic rhythm of columns and pilasters, with a protruding central bay and condensed central decoration add complexity to the structure. There is an incipient playfulness with the rules of classic design, while still maintaining rigour.
In this period, Maderno reconfigured the newCerasi Chapel, formerly Foscari, inSanta Maria del Popolo.
TheSanta Susanna façade won the attention ofPope Paul V, who appointed him chief architect ofSt. Peter's. Maderno was forced to modifyMichelangelo's plans for the Basilica and provide designs for an extended nave with a palatial façade. The façade (completed in 1612) is constructed to allow for Papal blessings from the emphatically enriched balcony above the central door. This forward extension of the basilica that grew from Michelangelo's Greek cross to the present Latin cross, has been criticized because it blocks the view of the dome when seen from thePiazza.[3] Such criticism often ignores the fact that the approaching avenue is modern. Maderno did not have so much freedom in designing this building as he had for other structures.
Most of Maderno's work continued to be the remodelling of existing structures. The only building designed by Maderno (except for the facade) and completed under his supervision was the layout and interiorSanta Maria della Vittoria (1608–20), where Maderno's work is often ignored in favour ofBernini's Cornaro Chapel and itsEcstasy of St. Theresa.
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Even Maderno's masterpiece, the church ofSant'Andrea della Valle, is not entirely his. There he designed the façade and executed the dome, the third largest in Rome after St. Peter's and the Pantheon. The church had been designed for theTheatines by Giuseppe Francesco Grimaldi andGiacomo della Porta in 1540: it follows a familiar Jesuit plan, cruciform, its wide nave without aisles, with chapels beyond arched openings. Thecrossing contains the high altar, lit under Maderno's dome (frescoed byGiovanni Lanfranco 1621–25) on its high windowed drum. The earliest design is from 1608; construction took place from 1621 to 1625. At Maderno's death, the façade remained only half-built; it was completed to Maderno's original conception byCarlo Fontana. In this façade, the standard formula established atIl Gesù is given more movement and depth—in the varying planes of the frieze and cornice—and increasedchiaroscuro—with whole columns embedded in snug dark recesses that outline their profiles with shadow—, and in similar elements that are re-grouped for a tighter, more sprung rhythm.
His other works include the Roman churches ofGesù e Maria (although this is disputed),San Giacomo degli Incurabili,Santa Lucia in Selci. After the death ofGiacomo della Porta in 1602, Moderno took over the work atSan Giovanni dei Fiorentini (where he is buried). He directed the construction of the dome and the main body of the church.[4]
In addition, he worked on theQuirinal Palace,[3] the PapalPalace of Castel Gandolfo[2] and thePalazzo Barberini for theBarberiniPope Urban VIII (1628 and completed 1633; much remodeled since). In the Palazzo Barberini atQuattro Fontane, Maderno's work is overshadowed at times by details added byBernini andBorromini, whose works were influenced by Maderno.[1] His design of palaces is best represented by his design ofPalazzo Mattei (1598–1618).[5]
Maderno was called upon to design chapels within existing churches: the Chapel of St. Lawrence inSan Paolo fuori le Mura and the Cappella Caetani inSanta Pudenziana.
He designed the base supporting the Marian column in front ofBasilica di Santa Maria Maggiore, which later served as a model for numerousMarian columns.[6] AtFerrara, he designed the fortifications.[3]
The last work by Maderno at St. Peter's was a crypt-like space under the dome that is referred to as the "Confessio". From there, privileged persons such as cardinals could descend in order to be near the burial place of Saint Peter. Its marble steps are remnants of the old basilica. Around the balustrade of the Confessio are 95 bronze lamps that remain lit perpetually.
Maderno died in Rome on 31 January 1629,[2] at the age of 73; his body was buried in the church of San Giovanni dei Fiorentini.
This article incorporates text from a publication now in thepublic domain: Herbermann, Charles, ed. (1913). "Carlo Maderna".Catholic Encyclopedia. New York: Robert Appleton Company.
