Art of the Gesù exhibition brochure

Fairfield University DigitalCommons@Fairfield Treasures of the Gesu: Bernini and His Age - Ephemera Treasures of the Gesu: Bernini and His Age 2018 Art of the Gesù exhibition brochure Fairfield University Art Museum Follow this and additional works at: http://digitalcommons.fairfield.edu/treasures-ephemera Recommended Citation Fairfield University Art Museum, "Art of the Gesù exhibition brochure" (2018). Treasures of the Gesu: Bernini and His Age - Ephemera. 13. http://digitalcommons.fairfield.edu/treasures-ephemera/13 This Book is brought to you for free and open access by the Treasures of the Gesu: Bernini and His Age at DigitalCommons@Fairfield. It has been accepted for inclusion in Treasures of the Gesu: Bernini and His Age - Ephemera by an authorized administrator of DigitalCommons@Fairfield. For more information, please contact digitalcommons@fairfield.edu.

THE HOLY NAME Art of the Gesù: Bernini and his Age Fairfield University Art Museum February 2 May 19, 2018

THE HOLY NAME Art of the Gesù: Bernini and his Age 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. Church of the Gesù, Rome 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

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, jewelencrusted 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 2 3

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 fig. 2 4 5

Exhibition Checklist 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 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]) Fig. 3 6 7

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 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 JESUIT HAGIOGRAPHY: IGNATIUS OF LOYOLA AND FRANCIS XAVIER 10. 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 Fig. 4 8 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 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 14 9/16 x 10 5/8 in. (37 x 27 cm) Private Collection 9

19. Nicolaes Lauwers (Flemish, ca. 1632-ca. 1685) after Pieter de Jode I (Netherlandish, 1570-1634) Christ, Ignatius of Loyola and Francis Xavier, 17 th century 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 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 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) fig. 5 10 11

fig. 6 12 13 fig. 7

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) 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 GESÙ 30. 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 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 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 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 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 OF LOYOLA 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 17 th 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 14 15

16 17 fig. 9

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 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, BERNINI AND 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 18 19 fig. 10

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 KOSTKA 47. 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 11 ½ x 7 ¼ in. (29.21 x 18.41 cm) Private Collection 20 21 Fig. 11

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 SECOND JESUIT 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 IMAGE CREDITS Frontispiece: Scala/Art Resource, NY Fig. 1: Zeno Colantoni Fig. 2: Los Angeles County Museum of Art, www.lacma.org Fig. 3: Image copyright The Metropolitan Museum of Art. Image source: Art Resource, NY Fig. 4: The Owner Fig. 5: Zeno Colantoni Fig. 6: Zeno Colantoni 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 THE SOCIETY 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) Fig. 7: The Owner Fig. 8: The Art Institute of Chicago / Art Resource, NY Fig. 9: Zeno Colantoni Fig. 10: Princeton University Art Museum / Art Resource, NY Fig. 11: Fairfield University Art Museum Fig. 12: The Cleveland Museum of Art front cover: Zeno Colantoni back cover: Linda Simon LECTURES Thursday, 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, Ontario Dolan School of Business Dining Room Part 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 Science Evonne Levy, Professor of Renaissance and Baroque Art, University of Toronto Bellarmine Hall, Diffley Board Room Part 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 University Dolan School of Business Dining Room Co-sponsored by the Center for Ignatian Spirituality. Tuesday, May 1, 5 p.m. Bernini s Rome: The Eternal Feast Charles Scribner, Art Historian and Author Bellarmine Hall, Diffley Board Room Second Annual Members Lecture SYMPOSIUM Friday, April 6, 9 a.m. 5 p.m. Art of the Gesù Barone Campus Center, Oak Room For the full program and registration information see the museum website: fairfield.edu/gesu Generous funding has been provided by the Samuel H. Kress Foundation. MUSICAL PERFORMANCE Thursday, April 5, 7 p.m. Sacred Music in the Age of Bernini Egan 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 SERIES Going for Baroque: Art in Rome in the Age of Bernini and Caravaggio Fiona Garland Bellarmine Hall, SmArt Classroom Tuesday, April 24, 10 a.m. Tuesday, May 1, 10 a.m. Tuesday, May 8, 10 a.m. GUIDED TOURS Free 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 22 23

ACKNOWLEDGMENTS The 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 Chicago Allen Memorial Art Museum, Oberlin College Anne Bent Burns Library, Boston College Cleveland Museum of Art Fine Arts Museums of San Francisco Getty Research Institute Hood Museum of Art, Dartmouth College Los Angeles County Museum of Art The Metropolitan Museum of Art The Morgan Library & Museum The Museum of Fine Arts, Houston New York Public Library Philadelphia Museum of Art Princeton University Art Museum Robert Simon Fine Art Yale University Art Gallery Anonymous Private Collectors THE HOLY NAME Art of the Gesù: Bernini and his Age Generous 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 University The Samuel H. Kress Foundation The Robert Lehman Foundation The Robert and Mercedes Eichholz Foundation PADA (Private Art Dealers Association) Dianne Modestini Charitable Trust Charles Scribner Christie s, New York Fairfield Jesuit Community Art History Alumni, Department of Visual and Performing Arts, Fairfield University Anonymous Donors, Benefactors and Trustees of Fairfield University Media Sponsor TownVibe Corporate Partners The Westport Inn Artisan at the Delamar, Southport Farrow & Ball, Westport Abbey Tent, Fairfield Antinori Vineyards, San Casciano, Italy Avellino s Restaurant, Fairfield Compo Farms Flowers, Fairfield Jordan Paige Specialty Foods Whole Foods Market fig. 12 24