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Treasures of the Gesu: Bernini and His Age - Ephemera Treasures of the Gesu: Bernini and His Age

2018

Art of the Gesù exhibition brochure Art of the Gesù exhibition brochure

Fairfield University Art Museum

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THE HOLY NAMEArt of the Gesù: Bernini and his Age

February 2 – May 19, 2018

Fairfield University Art Museum

The church of the Gesù in Rome is the mother church of the Society of Jesus, the

religious order founded by Ignatius of Loyola in 1540 in the charged religious and

political climate of the incipient Counter-Reformation. This was a period when the Catholic

Church undertook to reassert its authority and hegemony in the wake of grievous challenges

posed by the Protestant Reformation in the north, the ongoing Turkish threat from the east,

and the cataclysmic sack of Rome—the seat of papal authority—by rampaging Imperial

troops in 1527. Rising in the very center of the city in the shadow of the ancient Forum and

Capitoline Hill, its imposing profile dominating the surrounding urban landscape, the Gesù

was intended as a formidable symbol of the Church resurgent, and a testament to the power

and prestige of the new Jesuit order.

The Gesù’s great benefactor was the immensely wealthy and powerful Cardinal

Alessandro Farnese (1520-1589), grandson of Pope Paul III (r. 1534-1549), who funded

its construction and, with a frequent disregard for the Jesuits’ expressed preferences,

dictated many of its architectural features. His beneficence is recorded on the façade in the

commemorative inscription that surmounts the shield with the IHS Christogram, symbol of

the Society of Jesus, over the central portal (the name FARNESIVS, not accidentally, hovering

directly above it). The Gesù was understood by contemporaries to be a Farnese “property”—a

print in the exhibition refers to it as the “Farnese Temple” and the Farnese heraldic fleur de

lis is ubiquitous in the interior and exterior—and was regarded as such by Cardinal Farnese

himself, who is buried before the high altar. One of his many acts of largesse was the gift

to the church of a splendid chasuble embroidered with gold and silver threads—a highlight

of the exhibition (fig. 1). This ecclesiastical vestment was worn by the priest celebrating

Mass before the high altar, which housed a monumental altarpiece also commissioned by

the Cardinal. Though later members of the Farnese family, primarily Cardinal Odoardo

Farnese (1573-1626), continued to favor the Gesù with their patronage—an altarpiece from

his private chapel by the seventeenth-century Bolognese painter Domenichino is in the

exhibition (fig. 2)—their hereditary benevolence, if not their proprietary claims to the church,

dwindled dramatically over the course of the seventeenth century.

The restrained yet handsome façade of the Gesù, designed by Giacomo della Porta (1532-

1602) at the behest of Alessandro Farnese, heralds elements of the Baroque architectural

style that flourished in Rome in the seventeenth century, while its interior by the Farnese’s

THE HOLY NAMEArt of the Gesù: Bernini and his Age

Church of the Gesù, Rome

2 3

architect of longstanding, Jacopo Vignola (1507-1573), the appearance of which was

recorded and disseminated in numerous engravings and illustrated books, was an extremely

influential and enduring model for Jesuit churches throughout Europe (fig. 3). Consecrated

in 1584 (though already in use while still under construction, as contemporary sources

record), the Gesù had frescoes, wall paintings and altarpieces in some of its private chapels

by the end of the sixteenth century. (Some of these early works executed during the first

phase of the Gesu’s interior embellishment are reproduced in prints in the exhibition; fig. 4.)

Its nave, dome and apse, however, remained barren and unadorned for nearly a century. This

was partly owing to a chronic shortage of funds, but also reflects the fact that the Jesuits

had no saints (and also, therefore, no cults to promote), which meant that the hagiographic

repertoire they had to draw on for visual imagery was limited. That all changed in 1622,

when the Order’s founders Ignatius of Loyola and Francis Xavier were canonized—a long

hoped-for, seismic apotheosis that led to a flurry of activity around the two lateral altars

dedicated in their honor. Two of the masterpieces from the Gesù, both from the altar of

Saint Ignatius—a shimmering gilt bronze sculpture of Saint Teresa of Avila (fig. 5) by the

versatile painter, draftsman and sculptor Ciro Ferri (1634-1689), and the sumptuous, jewel-

encrusted lapis lazuli, silver, and gilt bronze cartegloria (the framed Latin text of the mass),

a consummate example of Roman Baroque goldsmith’s work (fig. 6)—relate to this important

campaign to outfit the church’s two new principal chapels, as does the bronze relief of Jesuit

saints by Alessandro Algardi (1598-1654), a variant of the relief on the funerary urn of

Ignatius in the Gesù. Other important works assembled for the exhibition are also connected

with the altar projects (figs. 7 and 8).

The vast, long-empty central expanse of the Gesù’s interior was finally decorated in the

later seventeenth century through the offices of the Superior General Gian Paolo Oliva (1600-

1681), who selected from among the pool of contenders for the prestigious commission to

fresco the dome (and, subsequently, the nave and apse) the barely established, Genoese-born

painter Giovanni Battista Gaulli (sometimes referred to by his nickname, il Baciccio; 1639-

1709). Gaulli rose to the charge with the glorious vision of an expansive heaven suffused with

a celestial radiance and populated by the blessed—a whirling vortex of color and light from

which expelled demons tumble forth—that persuades the viewer of the immanence of the

Divine. His luminous oil sketches for different parts of the Gesù frescoes, presented together

in the exhibition and united for the first time with his monumental painted wood model for

the apse, offer a virtual if condensed recreation of the sweeping, grandiose pictorial scheme

(figs. 9, 10 and 12). Populating the frescoes and other works of art throughout the Gesù and

in the exhibition are angels—divine messengers and agents, whose presence at every moment

of human life, from birth to death, is a central tenet of Jesuit spirituality.

In his deliberations, Oliva was undoubtedly swayed by his friend Gian Lorenzo Bernini

(1598-1680), the fiery genius who transformed the artistic topography of Rome in the

seventeenth century. Bernini was attached to the Jesuits and the Gesù for much of his

long career, beginning with the funerary monument of the Jesuit Cardinal and theologian fig. 1

4 5

fig. 2

Roberto Bellarmino in the apse of the church. His splendid portrait bust of Bellarmino from

the now lost tomb, which seems to be inhabited by the animating spirit of the world-weary

prelate it depicts, the marble metamorphosed into fabric and flesh, is the highlight of the

exhibition (cover illustration). Bernini also designed the church of Sant’Andrea al Quirinale

for the Jesuits in the late 1650s, produced frontispieces for the published volumes of Oliva’s

writings, and looked over Gaulli’s shoulder as he worked on the dome of the Gesù. His

oversight of his disciple is recorded in a group of drawings for this project including two in

the exhibition (fig. 11), and there is some thought that the stucco figures surrounding the

Triumph of the Holy Name of Jesus in the nave reflect his input as well.

These are some of the many narrative threads explored in the exhibition. The more than

fifty paintings, sculptures, drawings, prints, historical documents, illustrated books, and

precious objects are grouped into sections that recount the founding and early success of

the Society of Jesus under the patronage of Pope Paul III and Cardinal Alessandro Farnese

(coinciding in part with the tenure of the future saint Francis Borgia as Superior General);

the long and at times challenging campaign to build the Gesù and embellish its interior;

the commanding personalities of Bernini, Bellarmino and the politically savvy Oliva; the

imperative to formulate a hagiographic lexicon and imagery celebrating the order’s newly

canonized founders and other early Jesuit saints and beati and promoting their cults; and

the expansion of the Jesuits’ presence in Rome through the construction and embellishment

of their second great church Sant’Ignazio, a project most closely associated with the painter,

architect and scenographic designer Andrea Pozzo. Art of the the Gesù also highlights the

extraordinary creative energies of the many painters, sculptors, architects, designers and

craftsmen—Vignola, Giacomo della Porta, Bernini, Gaulli, Ciro Ferri, Carlo Maratti, Pozzo

and others—who gave form and visual expression to the Jesuits’ most profound spiritual

and devotional precepts and who together realized this vast, ambitious and glorious project.

Linda Wolk-Simon, PhD

Frank and Clara Meditz Director and Chief Curator

6 7

Fig. 3

PART 1. FOUNDATION NARRATIVES. THE SOCIETY OF JESUS, FARNESE PATRONAGE, AND THE BUILDING OF THE GESÙ

1. Papal Bull (Confirmation of General Absolution to Pierluigi Farnese), with Lead Seal, Issued by Pope Paul III Farnese, Signed by Cardinal Alessandro Farnese and Others, 19 December 1537 Bound vellum 14 15/16 x 10 13/16 in. (38 x 27.4 cm) The Morgan Library & Museum, New York. Acquired by Pierpont Morgan, 1901 (MA 389)

2. Autograph Letter from Cardinal Alessandro Farnese addressed to Francesco Bandini Piccolomini, Archbishop of Siena and Governatore della Marca, “come fratello,” 9 March 1541 11 5/8 x 8 5/8 in. (29.5 x 22 cm) The Morgan Library & Museum, New York (MA 9166)

3. Giovan Federico Bonzagna (Italian, after 1507-1588) Portrait Medal of Pope Paul III Farnese, 1550 (18th-century restrike) Bronze Diam.: 1 3/8 in. (3.49 cm) Fairfield University Art Museum (2017.31.01)

4. Giovanni V. Melon (Italian, active ca.1570-1590)

Portrait Medal of Cardinal Alessandro Farnese Commemorating the Jubilee of 1575 with the Gesù on the Reverse, 1575 Bronze Diam.: 1 7/8 in. (4.76 cm) The Metropolitan Museum of Art, Robert Lehman Collection, 1975 (1975.1.1290), obverse The Metropolitan Museum of Art, Gift of Ogden Mills, 1925 (25.142.45), reverse

5. Chasuble of Cardinal Alessandro Farnese, ca. 1575-1589 Silk embroidered with gold, silver and colored silk threads 43 3/8 x 31 ½ in. (110 x 80 cm) Church of the Gesù, Rome (museum) Fig. 1

6. Girolamo Rainaldi (Italian, 1570-1655) Catafalque of Cardinal Alessandro Farnese erected in the Gesù, in Francesco Coattini, Raccolta d’orationi, et rime di diversi: co’l discorso, descrittione dell’essequie, & disegno del catafalco nella morte dell’Illustriss.& Reuerendiss. Cardinal Farnese, 1589 Woodcut Getty Research Institute, Los Angeles (94-B14888)

7. Jacopo Vignola (Italian, 1507-1573) Plan of the Gesù, designed ca. 1568 In Augustin-Charles d’Aviler, Cours d’architecture qui comprend les Ordres de Vignole, Paris 1720. Printed book 8 7/8 x 7 in. (22.54 x 17.78 cm) Fairfield University Art Museum (2017.01.01)

8. Giovanni Ambrogio Brambilla (Italian, active 1575-1599) The Gesù, Rome, 1589 Engraving From the Speculum Romanae Magnificentiae, published by Nicolaus van Aelst (Flemish, active in Rome, 1526-1613) 19 x 15 7/8 in. (48.29 x 40.32 cm) The Metropolitan Museum of Art, Rogers Fund, Transferred from the Library, 1941 (41.72[3.34])

Exhibition Checklist

8 9

Fig. 4

9. Valérien Regnard (Flemish, active in Rome, 1610-1650) Exterior, interior, and partial floor plan of the Gesù, first half of the 17th century From a compendium of prints of architecture, gardens and furniture Engraving and etching 12 5/16 x 16 9/16 x 1 9/16 in. The Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1928 (28.88.9[1-139]) Fig. 3

PART 2. CREATING A JESUITHAGIOGRAPHY: IGNATIUS OF LOYOLAAND FRANCIS XAVIER10. Domenico Zampieri, called Domenichino

(Italian, 1581-1641) Saint Ignatius of Loyola’s Vision of Christ and God the Father at La Storta, ca.1622 Oil on canvas 65 3/8 x 38 5/8 in. (166.05 x 98.11 cm) Los Angeles County Museum of Art, Gift of The Ahmanson Foundation (M.89.59) Fig. 2

11. Giovanni Battista Gaulli (Italian, 1639-1709) The Vision of Saint Ignatius at La Storta, ca. 1685-90 Oil on canvas 57 3/8 x 29 1/4 in. (145.73 x 74.29 cm) Private collection, on loan to The Museum of Fine Arts, Houston

12. Giovanni Battista Gaulli (Italian, 1639-1709) Death of Francis Xavier, ca. 1682 Oil on canvas 35 x 24 1/4 in. (88.90 x 61.59 cm) Private Collection

13. Domenico Maria Viani (Italian, 1668-1711) St. Francis Xavier with Lilies and a Crucifix, late 17th-early 18th century Oil on copper 5 7/8 x 4 in. (14.92 x 10.16 cm) Robert Simon Fine Art, New York

14. Francesco Bertos (Italian, 1678-1741) Saint Ignatius Loyola, ca. 1720-25 Bronze 24 5/8 x 13 7/8 x 4 5/8 in. (62.54 x 35.24 x 11.74 cm) The Metropolitan Museum of Art, Purchase, Assunta Sommella Peluso, Ignazio Peluso, Ada Peluso and Romano I. Peluso Gift, 2010 (2010.113)

15. Francesco Bertos (Italian, 1678-1741) Saint Francis Xavier, ca. 1720-25 Bronze 25 x 14 x 6 1/16 in. (63.50 x 35.56 x 15.66 cm) The Metropolitan Museum of Art, Purchase, Assunta Sommella Peluso, Ignazio Peluso, Ada Peluso and Romano I. Peluso Gift, 2010 (2010.114)

16. Hieronymus Wierix (Netherlandish, ca. 1553-1619) after Phillips Galle (Netherlandish,1537-1612) St. Ignatius of Loyola, before 1610 Engraving 6 3/8 x 5 in. (16.19 x 12.70 cm) The Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1953 (53.601.19[125])

17. Vita Beati P. Ignatii Loiolae, 1609 Published by Cornelis Galle I, Rome Printed book 6 x 8 in. (15.24 x 20.32 cm) The Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1946 (46.123)

18. Pierre Miotte (French, active 1640-1660) The Madonna della Strada with Saints Ignatius and Francis Xavier, after 1638 Engraving 14 9/16 x 10 5/8 in. (37 x 27 cm) Private Collection

10 11

fig. 5

19. Nicolaes Lauwers (Flemish, ca. 1632-ca. 1685) after Pieter de Jode I (Netherlandish, 1570-1634) Christ, Ignatius of Loyola and Francis Xavier, 17th century Engraving 12 ¾ x 8 11/16 in. (32.38 x 22.06 cm) The Metropolitan Museum of Art, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1949 (49.95.2466)

PART 3. BERNINI, ROBERTO BELLARMINO,AND GIAN PAOLO OLIVA

20. Gian Lorenzo Bernini (Italian, 1598-1680) Bust of Cardinal Roberto Bellarmino, 1623-24 Marble 30 7/8 x 27 ½ x 19 ¾ in. (76.5 x 70 x 50 cm) Church of the Gesù, Rome Cover Illustration

21. Francesco Villamena (Italian, ca. 1565-1624) Cardinal Roberto Bellarmino at his desk, writing, 1604 Engraving 13 ¾ x 8 11/16 in. (34.92 x 22.06 cm) The Metropolitan Museum of Art, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1951 (51.501.2509)

22. Roberto Bellarmino, De arte bene moriendi, Cologne, 1562 Printed book 4 x 2 x 5/8 in. (10.2 x 5.1 x 1.5 cm) Jesuitica Collection, John J. Burns Library, Boston College

23. Roberto Bellarmino, Disputationes de Controversiis Christianae Fidei adversus huius temporis Haereticos, Venice, 1587 Printed book 7¼ x 4¾ in. (18.4 x 12.1 cm) Fairfield University Art Museum (2017.03.01)

24. Roberto Bellarmino, De ascensione mentis in Deum per scalas rerum creatarum, Cologne, 1626 Printed book 2 ¼ x 4 ¼ in. (5.71 x 10.79 cm) Fairfield University Art Museum (2017.01.02)

25. Pierre Simon (French, 1640-ca. 1710) after Giovanni Battista Gaulli (Italian, 1639-1709) Portrait of Gian Paolo Oliva, Superior General of the Society of Jesus, ca. 1690 Etching and engraving 12 1/6 x 16 1/16 in. (30.9 x 40.7 cm) Fairfield University Art Museum (2017.23.01)

26. Gian Paolo Oliva, Prediche, 1664-80 Frontispiece to Volume 1: The Preaching of Peter and Paul, 1659 Guillaume Chasteau (French, 1635-1683) after Ciro Ferri (Italian, 1633-1689) 13 ¼ x 9 ¼ in. (33.65 x 23.49 cm) The Metropolitan Museum of Art, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1954 (54.598[1-3])

27. François Spierre (French, 1639-1681) after Gian Lorenzo Bernini (Italian, 1598-1680) Saint John the Baptist Preaching, 1664 Frontispiece to Gian Paolo Oliva, Prediche, 1664-80, Volume 2 Engraving 12 1/16 x 7 13/16 in. (30.63 x 19.84 cm) Yale University Art Gallery, Everett V. Meeks, B.A. 1901, Fund (1993.60.1)

12 13

fig. 7fig. 6

14 15

28. Gian Paolo Oliva, In selecta scripturae loca ethicae commentationes, 1677-79 Frontispiece to Volume 1: The Multiplication of the Loaves, 1677 François Spierre (French, 1639-1681) after Gian Lorenzo Bernini (Italian, 1598-1680) Engraving 14 7/8 x 10 3/8 x 2 3/8 in. (37.75 x 26.4 x 6 cm) Jesuitica Collection, John J. Burns Library, Boston College

29. Gian Lorenzo Bernini (Italian, 1598-1680) Portrait of Cardinal Sforza Pallavicino, 1665-66 Red chalk on buff paper 14 15/16 x 8 ¾ in. (37.9 x 22.2 cm) Yale University Art Gallery, Egmont Collection, Yale Library Transfer (1961.61.36)

PART 4. ARTISTIC BEGINNINGS. A STORY WITHOUT SAINTS: THE EARLY DECORATIONS OF THE GESÙ30. Raphael Sadeler I

(Netherlandish, 1560-1628) after Cornelius Cort (Netherlandish, ca. 1533-1578) after Federico Zuccaro (Italian, 1540/42-1609) Published by Jan Sadeler I (Netherlandish, 1550-1600/01) The Annunciation with God the Father, Angels and Prophets, 1580 Engraving 11 15/16 x 17 5/8 in. (30.32 x 44.76 cm) Fairfield University Art Museum, Anonymous Gift in Honor of John Meditz ’70 (2017.32.01)

31. Hieronymous Wierix (Netherlandish, ca. 1553-1619) St. Michael and Archangels (The Seven Archangels), 1570-1619 Engraving 6 ¼ x 4 1/8 in. (15.87 x 10.47 cm) The Metropolitan Museum of Art, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1951 (51.501.6401)

32. Aegidius Sadeler II (Netherlandish, ca. 1579-1629) after Hans van Aachen (German, 1552-1616) Nativity, 1588 Engraving 13 ¼ x 9 5/16 in. (34.92 x 23.65 cm) The Metropolitan Museum of Art, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1951 (51.501.6496)

33. Jacob Matham (Dutch, 1571-1631) after Giuseppe Valeriano (Italian, 1542-1596) The Annunciation, ca. 1600 Engraving 22 ½ x 17 in. (55.88 x 43.18 cm) Private Collection, New York Fig. 4

PART 5. THE HONOR OF THE ALTAR:THE CANONIZATION OF IGNATIUS OFLOYOLA AND FRANCIS XAVIER

34. Alessandro Algardi (Italian, 1598-1654) Saint Ignatius Loyola with Saints and Martyrs of the Jesuit Order, designed ca. 1629 and probably cast in the later 17th century by Giovanni Andrea Lorenzani (Italian, 1637-1712) Bronze 11 3/8 x 18 5/8 in. (28.89 x 47.30 cm) The Metropolitan Museum of Art, Rogers Fund, 1938 (38.152.20)

fig. 8

16 17

fig. 9

18 19

35. Ciro Ferri (Italian, 1634-1689) Saint Teresa of Avila, ca. 1687-89 Gilt bronze 28 ¾ x 19 ¾ x 9 ¾ in. (73 x 50 x 25 cm) Church of the Gesù, Rome (museum), from the altar of Saint Ignatius Fig. 5

36. Johann Adolf Gaap (German, active in Italy, 1667-1724) Cartegloria of Saint Ignatius, 1699 Silver, gilt bronze, lapis lazuli, and glass 23 1/8 x 32 5/8 in. (59 x 83 cm), large; 15 3/4 x 13 3/4 in. (40 x 35 cm), small Church of the Gesù, Rome (museum), from the altar of Saint Ignatius Fig. 6, detail

37. Ciro Ferri (Italian, 1634-1689) Death of Saint Francis Xavier, 1674-1679 Black chalk 20 1/16 x 12 5/8 in. (50.95 x 32.06 cm) The Metropolitan Museum of Art, Purchase, Mrs. Carl Selden and Florence and Carl Selden Foundation Gifts, 1966 (66.9) Fig. 7

38. Johann Jakob Frey (Swiss, 1681-1713) after Carlo Maratti (Italian, 1625-1713) Death of Francis Xavier, 1733 Engraving 26 3/16 x 14 3/4 in. (66.51 x 37.46 cm) Gift of G. Osolsobe, Print Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs, The New York Public Library, Astor, Lenox and Tilden Foundations

39. Carlo Maratti (Italian, 1625-1713) Apotheosis of Saint Francis Xavier, ca. 1674-79 Pen and brown ink, over traces of graphite, on ivory laid paper 11 1/8 x 11 1/8 in. (28.25 x 28.25 cm) The Art Institute of Chicago, The Charles Deering Collection (1927.4214) Fig. 8

PART 6. APOTHEOSIS: GAULLI, BERNINIAND THE DECORATION OF THE GESÙ

40. Giovanni Battista Gaulli (Italian, 1639-1709) The Four Prophets of Israel (Sketch for a Pendentive in the Gesù), ca. 1675-77 Oil on canvas 26 7/16 x 21 5/8 in. (67.15 x 54.92 cm) Cleveland Museum of Art, John L. Severance Fund, 1969.131 Fig. 12, detail

41. Giovanni Battista Gaulli (Italian, 1639-1709) Moses (Sketch for a Pendentive in the Gesù), ca. 1675-1677 Oil on canvas 16 ¾ x 14 ¾ in. (42.54 cm x 37.46 cm) Private Collection

42. Giovanni Battista Gaulli (Italian, 1639-1709) The Triumph of the Name of Jesus, (Modello for the Nave Fresco of the Gesù), 1676-79 Oil on paper, laid down on canvas 64 3/16 x 43 11/16 in. (163.03 x 110.96 cm) Princeton University Art Museum, museum purchase, Fowler McCormick, Class of 1921, Fund and Laura P. Hall Memorial Fund (2005-34) Fig. 10

fig. 10

20 21

43. Giovanni Battista Gaulli (Italian, 1639-1709) The Adoration of the Lamb (Modello for the Apse Fresco of the Gesù), ca. 1680 Oil on canvas 25 3/8 x 41 1/4 in. (64.45 x 104.77 cm) The Fine Arts Museums of San Francisco, museum purchase, Gift of M.H. de Young Endowment Fund (54680)

44. Giovanni Battista Gaulli (Italian, 1639-1709) Painted Model for the Apse Fresco of the Gesù, 1690 Oil on paper, laid down on wood 39 ¾ x 78 ¾ x 39 3/8 in. (100 x 200 x 90 cm) Church of the Gesù, Rome (museum) Fig. 9

45. Gian Lorenzo Bernini (Italian, 1598-1680) Putti Carrying the Cross, 1672-75 Charcoal and black chalk, with stumping on ivory laid paper 10 7/8 x 7 15/16 in. (27.50 x 20.20 cm) The Art Institute of Chicago, Margaret Day Blake Endowment and Harold Joachim Memorial Endowment Fund (1993.173)

46. Gian Lorenzo Bernini (Italian, 1598-1680) Study for the Dome of the Gesù (recto); Design for a Quarant’ore Ceremony (verso), 1672-75 Black chalk on ivory laid paper 10 ¾ x 6 ¾ in. (27.30 x 17.14 cm) Mrs. Anne Bent Fig. 11

PART 7. A COMPANY OF SAINTS: FRANCIS BORGIA, LUIGI GONZAGA, AND STANISLAS KOSTKA47. Unknown Italian Sculptor (active in

Rome), ca. 1700 Saint Francis Borgia, ca. 1700 Bronze 43 11/16 in. (110.96 cm) Hood Museum of Art, Dartmouth College, Hanover, New Hampshire; Purchased through a gift from W. David Dance, Class of 1940 in memory of Jane Dance (2007.58)

48. Giuseppe Nicola Nasini (Italian, 1657-1736) Saint Luigi Gonzaga, Christ and S. Maria Magdalena dei Pazzi, ca. 1700 Pen and brown ink, brown wash, over black chalk, with white heightening, on paper 14 1/8 x 9 in. (35.87 x 22.86 cm) Private Collection, New York

49. Ciro Ferri (Italian, 1634-1689) Mystical Communion of Blessed Stanislas Kostka, ca. 1675-79 Black chalk on off-white laid paper, backed with Japanese paper 18 5/8 x 13 1/16 in. (47.30 x 33.17 cm) Allen Memorial Art Museum, Oberlin College, Friends of Art Endowment Fund, 1974 (1974.56)

50. Pietro Leone Bombelli (Italian, 1737-1809) after a drawing by Francesco Cecchini (Italian, 1755-ca. 1811) Stanislas Kostka by Pierre Le Gros II, 1783 Engraving 11 ½ x 7 ¼ in. (29.21 x 18.41 cm) Private Collection

Fig. 11

22 23

51. Elisha Kirkall (English, 1682-1742) after Lazzaro Baldi (Italian, 1624-1703) Saint Ignatius Loyola, Saint Francis Xavier and Attendant Saints, 1724 Chiaroscuro woodcut, etching and mezzotint 17 ¾ x 12 ½ in. (45.08 x 31.75 cm) Private Collection, New York

PART 8. SANT’IGNAZIO: THE SECONDJESUIT CHURCH OF BAROQUE ROME

52a. Andrea Pozzo (Italian, 1642-1709) Perspectiva pictorum et architectorum, Part I Published by Joannis Jacobi Komarek, Rome, 1693 Printed book with etched and engraved illustrations 16 ¾ x 11 3/8 x 1 5/8 in. (42.54 x 28.89 x 4.12 cm) The Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1947 (47.73.1)

52b. Andrea Pozzo (Italian, 1642-1709) Perspectiva pictorum et architectorum, Parts I and II Published by Giovanni Generoso Salomoni, Rome, 1758 Printed book with etched and engraved illustrations 18 x 12 ¼ x 2 ¼ in. (45.72 x 31.11 x 5.72 cm) Private Collection, New York

53. Andrea Pozzo (Italian, 1642-1709) Study for the Altar of Saint Luigi Gonzaga in the Church of Saint Ignazio, Rome, ca. 1697 Red chalk on laid paper 10 ¾ x 8 9/16 in. (27.30 x 21.74 cm) Philadelphia Museum of Art, Bequest of Anthony Morris Clark 1978 (1978-70-393)

54. François Le Moyne (French, 1688-1737) after Pierre Le Gros the Younger (French, 1666-1719) Saint Luigi Gonzaga in Glory, ca. 1715 Black chalk 13 ¾ x 8 1/8 in. (34.92 x 20.63 cm) Private collection, New York

55. Anonymous Italian, late 17th/ 18th century (Circle of Pietro Bracci?) Study for the Altar of the Annunciation, Sant’Ignazio, ca. 1680 (?) or ca. 1730-49 (?) Pen and ink with watercolor on paper 19 x 14 in. (48.26 x 35.56 cm) Private Collection, New York

POSTSCRIPT: THE SUPPRESSION OF THESOCIETY OF JESUS

56. Filippo Cropanese (Italian, active 1756-1773) Portrait Medal of Pope Clement XIV Ganganelli (r. 1769-1774) Commemorating the Suppression of the Jesuits in 1773, 1774 Bronze Diam.: 1 ½ in. (3.81 cm) Fairfield University Art Museum (2016.30.01)

LECTURESThursday, February 1, 5 p.m. Art of the Gesù: Bernini and his Age Gauvin Alexander Bailey, Professor and Bader Chair in Southern Baroque Art, Queen’s University, OntarioDolan School of Business Dining RoomPart of the Edwin L. Wiesl, Jr. Lectureships in Art History, funded by the Robert Lehman Foundation.

Tuesday, March 6, 5 p.m. Inside the 17th-century Gesù: Jesuit History, Saints, Theology, and ScienceEvonne Levy, Professor of Renaissance and Baroque Art, University of TorontoBellarmine Hall, Diffley Board RoomPart of the Edwin L. Wiesl, Jr. Lectureships in Art History, funded by the Robert Lehman Foundation.

Thursday, April 5, 5 p.m. The Jesuits and the Arts: How and Why It Happened John O’Malley, S.J., University Professor, Department of Theology, Georgetown UniversityDolan School of Business Dining RoomCo-sponsored by the Center for Ignatian Spirituality.

Tuesday, May 1, 5 p.m.Bernini’s Rome: The Eternal Feast Charles Scribner, Art Historian and AuthorBellarmine Hall, Diffley Board Room Second Annual Members’ Lecture

SYMPOSIUMFriday, April 6, 9 a.m. – 5 p.m. Art of the GesùBarone Campus Center, Oak RoomFor the full program and registration information see the museum website: fairfield.edu/gesuGenerous funding has been provided by the Samuel H. Kress Foundation.

MUSICAL PERFORMANCEThursday, April 5, 7 p.m.Sacred Music in the Age of BerniniEgan Chapel

ART IN FOCUS GALLERY SERIES

Bellarmine Hall Galleries

Thursday, February 8, 11 a.m. Giovanni Battista Gaulli, The Triumph of the Name of Jesus

Thursday, February 8, 11 a.m. Gian Lorenzo Bernini, Bust of Cardinal Roberto Bellarmino

Thursday, April 19, 11 a.m. The Chasuble of Cardinal Alessandro Farnese

Thursday, May 17, 11 a.m.Giovanni Battista Gaulli, Model for the Apse of the Gesù

SUBSCRIPTION LECTURE SERIESGoing for Baroque: Art in Rome in the Age of Bernini and CaravaggioFiona Garland Bellarmine Hall, SmArt ClassroomTuesday, April 24, 10 a.m.Tuesday, May 1, 10 a.m.Tuesday, May 8, 10 a.m.

GUIDED TOURSFree tours Tuesday-Saturday at noon

Free Gallery Spotlights Tuesday-Saturday at 2 p.m.

To arrange a private tour, please call 203-254-4046

All events are free and open to the public unless otherwise noted; reserve your seat at fuam.eventbrite.com

Frontispiece: Scala/Art Resource, NY Fig. 1: © Zeno ColantoniFig. 2: Los Angeles County Museum of Art, www.lacma.orgFig. 3: Image copyright © The Metropolitan Museum of Art.Image source: Art Resource, NYFig. 4: The OwnerFig. 5: © Zeno ColantoniFig. 6: © Zeno Colantoni

Fig. 7: The OwnerFig. 8: The Art Institute of Chicago / Art Resource, NYFig. 9: © Zeno Colantoni Fig. 10: Princeton University Art Museum / Art Resource, NYFig. 11: Fairfield University Art MuseumFig. 12: © The Cleveland Museum of Artfront cover: © Zeno Colantoniback cover: Linda Simon

IMAGE CREDITS

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ACKNOWLEDGMENTSThe invaluable collaboration of numerous colleagues at Fairfield University is gratefully acknowledged: Dr. Mark Nemec, President, former President Jeffrey von Arx, S.J., former Interim President and Provost Dr. Lynn Babington, Dr. Mary Frances Malone, Associate Vice President for Academic Affairs, Dr. Paul Lakeland, Aloysius J. Kelley, S.J. Chair and Professor of Catholic Studies and faculty liaison for the exhibition, Gerald Blaszczak, S.J., Director of the Center for Ignatian Spirituality, David Frassinelli, Associate Vice President for Facilities Management, Wally Halas, Vice President for University Advancement, and Christine Siegel, Interim Provost and Senior Vice President for Academic Affairs, as well as museum staff members Carey Mack Weber, Assistant Director, Dr. Michelle DiMarzo, Curator of Education and Academic Engagement, Lauren Williams, Museum Assistant, Mary Busick, Exhibition Registrar, guest lecturer Fiona Garland, and student interns Wenpu Tu and Katherine Duncan. Further acknowledgment is due to Jennifer Anderson, Charles D’Angelis, Christine Donahue Brown, Janet Canepa, Susan Cipollaro, Ive Covaci, Geri Derbyshire, James DeStefano, Danielle DiGrazia, Philip Eliasoph, Donald Elwell, James Fitzpatrick, Kathleen Freis, Josue Garcia, Julie Gottlieb, Jeannine Graf, Nathan Gregoire, Alistair Highet, Karen Kaiser, Susan LaFrance, George Lisi, Tess Brown Long, Brent Mai, Tracy McEvoy, Laura Nash, Patricia Perazzini, Todd Pelazza, Michael Prescott, John Ritchie, Marice Rose, Edmund Ross, Katherine Schwab, Casey Timmeny, Michael Tunney, S.J., Peter Van Heerden, Samantha Vigliotta and Rich Wagner.

In addition, we are indebted to the members of the exhibition planning committee: Philippe de Montebello, Honorary Chair, Christopher M. S. Johns, Franco Mormando, John O’Malley, S.J., Louise Rice, and Xavier Salomon; to Carmen Croce and Fr. Joseph F. Chorpenning, O.S.F.S., Saint Joseph’s University Press; and to Museum Advisory Committee Member Robert Dance.

In Rome, profound thanks are due to Arturo Sosa, S.J., Superior General of the Society of Jesus, Vincenzo D’Adamo, S.J., Rector of the Gesù, Douglas Marcouiller, S.J., Frank Dabell, and Emanuela Settimi of the Soprintendenza speciale archaeologia belle arti e paesaggio di Roma.

Finally, we acknowledge with gratitude the extraordinary generosity of the Curia Generalizia della Compagnia di Gesù and the Ministero dei beni e delle attività culturali e del tourismo for the loan of the works of art from the Gesù, as well as the many American lenders to the exhibition:

Art Institute of ChicagoAllen Memorial Art Museum, Oberlin CollegeAnne BentBurns Library, Boston CollegeCleveland Museum of ArtFine Arts Museums of San FranciscoGetty Research InstituteHood Museum of Art, Dartmouth CollegeLos Angeles County Museum of Art

The Metropolitan Museum of ArtThe Morgan Library & MuseumThe Museum of Fine Arts, HoustonNew York Public LibraryPhiladelphia Museum of Art Princeton University Art MuseumRobert Simon Fine ArtYale University Art GalleryAnonymous Private Collectors

THE HOLY NAMEArt of the Gesù: Bernini and his AgeGenerous support for the exhibition and related programs has been provided by: National Endowment for the Humanities John C. Meditz ’70 The Department of Catholic Studies, Fairfield UniversityThe Samuel H. Kress FoundationThe Robert Lehman FoundationThe Robert and Mercedes Eichholz FoundationPADA (Private Art Dealers Association)Dianne Modestini Charitable TrustCharles Scribner Christie’s, New YorkFairfield Jesuit CommunityArt History Alumni, Department of Visual and Performing Arts, Fairfield UniversityAnonymous Donors, Benefactors and Trustees of Fairfield University

Media SponsorTownVibe

Corporate PartnersThe Westport Inn

Artisan at the Delamar, SouthportFarrow & Ball, Westport

Abbey Tent, FairfieldAntinori Vineyards, San Casciano, ItalyAvellino’s Restaurant, FairfieldCompo Farms Flowers, FairfieldJordan Paige Specialty Foods Whole Foods Market

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