Resumen de The Unified Church Interior in Baroque Italy: S. Maria Maggiore in Bergano
This study addresses the emergence of the thematically unified church interior in seventeenth-century Italy. Already in the late sixteenth century there was an impulse toward coordinated altarpiece programs, but in the majority of cases there were too mnay impediments to their completion. Using a case study of S. Maria Maggiore in Bergamo, this essay argues that as a result of these problems, coherent programs emerged in spaces not occupied by altars. Once freed from the spatial boundaries of chapels, artists created cycles encompassing the entire space of the church, like those at New St. Peter’s and S. Giovanni in Laterano.
