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	Gian Lorenzo Bernini - Wikipedia, the free encyclopedia (Site not responding. Last check: 2007-11-06)
		Bernini was born in Naples by a Florentine family and accompanied his father Pietro Bernini, a well known Mannerist sculptor himself, to Rome.
		Bernini depicts David (illustration, left) in motion, in contrast to the famous statue of David by Michelangelo in which the character is preparing for action.
		Bernini's architecture is as famous as his sculpture: Besides his most famous work, the piazza and colonnades of St Peter's he planned several famous palaces: Palazzo Barberini (from 1630); Palazzo Ludovisi (now Palazzo Montecitorio, 1650); and Palazzo Chigi (1664), all in Rome.
	www.bexley.us /project/wikipedia/index.php/Gian_Lorenzo_Bernini (948 words)

	Bernini and the Art of Architecture
		What can be said with confidence is that Bernini did use columns (not staves as in the Gregory XV structure), that he made them in spiral form on colossal scale, that he ornamented them with gilded vegetal motifs, and that he would marry these columnar components of a ciborium to the form of a baldachin.
		That Bernini did pay close personal attention to the progress of the work is certified in a contemporary memorandum acknowledging his special services, and those of his father, "day and night, in the heat and rain" over a period of three years.
		The unusual attraction of Bernini's scheme was the coordination of the statues and the elaboration of the reliquary balconies to match the scale of the Baldacchino, interact with it, and hence draw the whole space of the crossing into a dialogue charged by gesture, symbol, and metaphor.
	partners.nytimes.com /books/first/m/marder-bernini.html (6524 words)

	Biography
		Bernini created the Baroque style of sculpture and developed it to such an extent that other artists are of only minor importance in a discussion of that style.
		Bernini's sensual awareness of the surface textures of skin and hair and his novel sense of shading broke with the tradition of Michelangelo and marked the emergence of a new period in the history of Western sculpture.
		Bernini's most spectacular religious decoration is the Throne of St Peter, or the Cathedra Petri (1657-66), a gilt-bronze cover for the medieval wooden throne (cathedra) of the pope.
	www.wga.hu /bio/b/bernini/gianlore/biograph.html (2422 words)

	Gian Lorenzo Bernini - Wikipedia, the free encyclopedia
		Bernini was born in Naples by a Florentine family and accompanied his father Pietro Bernini, a capable Mannerist sculptor himself, to Rome.
		One anecdote is that of the Bernini's river gods, shields his gaze in horror from at the adjacent facade of Sant'Agnese in Agony church designed by his equally talented, but less politically successful, rival Francesco Borromini.
		Bernini supervised for Pope Clement VII the decoration of the Pont Sant'Angelo with statues of angels holding the materiels from the Passion; he personally contributed two of the statues.
	www.wikipedia.org /wiki/Gian_Lorenzo_Bernini (1416 words)

	Bernini (Site not responding. Last check: 2007-11-06)
		Gian Lorenzo Bernini, Italian architect, sculptor and scene-designer, was born in Naples in 1598 and died in Rome in 1680.
		With the election of Urban VIII in 1623, still young, Bernini took the highest place in the artistic environment of Rome and his carrier wouldn't know any decline, except a short period of leaving of a pope's court during the rule of Innocent X.
		With the project of St Peter's square Bernini resolved the problem of external space of the basilica, designed in form of two hands of Church protecting and welcoming Christians, as well as the problem of visual effect of a very wide facade of the church and domination of a huge dome.
	www.italycyberguide.com /Art/artistsarchite/bernini.htm (447 words)

	Gianlorenzo Bernini
		Bernini - The Sculptor of the Roman Baroque
		But Bernini, though properly aware of the magnitude of his skills and achievements, always competitive and ready to fight for the honour and profit of his firm his family studio and its many assistants was a humble man. His only recorded praise of any of his works was 'it is the least bad'.
		Bernini was less lucky, for his design for a new Louvre, the ostensible reason for his visit, was discarded and his great equestrian statue of the king, eventually delivered at the end of Bernini's life, was dishonoured.
	www.artchive.com /artchive/B/bernini.html (2936 words)

	Hidden symbolism in Bernini's statue of 'David fighting Goliath'
		Bernini's statue is faithful in most aspects to the biblical story: David is swinging the slingshot toward Goliath, while the armor he chose not to wear - lays at his feet.
		It appears that Bernini saw importance in being familiar with the biblical scenes one is depicting in art, as is evident from his remark regarding the painting of the Crucifixion by Sarrazin [2].
		Bernini is said to have given David his own likeness, by sculpturing it while his patron was holding a mirror in front of him as he worked[3].
	www.geocities.com /Vienna/Choir/4792/david.html (1075 words)

	bernini (Site not responding. Last check: 2007-11-06)
		Bernini's "David" was made in 1623 and is a very energetic depiction of David.
		Bernini's bust of King Louis XIV is an impressive portrait of the ostentatious monarch.
		Bernini was the epitome of a Baroque artist with his energetic style, his works always seem to be moving whether they are busts or sculptures.
	student.elon.edu /cherman/bernini.html (1161 words)

	Artist of the Week: Gianlorenzo Bernini - Stormfront White Nationalist Community (Site not responding. Last check: 2007-11-06)
		The son of late Mannerist sculptor Pietro Bernini, Gianlorenzo Bernini was destined to surpass his father and become not only the greatest sculptor- architect of the 17th century, but the foremost pioneer of the new Baroque style.
		Bernini was also impressed by the classical Greek and Roman sculptures he encountered, such as the Laocoon, and the Apollo of Belvedere.
		It is a mark of Bernini’s unparalleled skill as a sculptor that Daphne’s facial expression seems to simultaneously convey a sense of horror at her plight, alarm at Apollo’s first touch, and shock at her own unexpected transformation.
	www.stormfront.org /forum/showthread.php?t=149847 (1585 words)

	Giovanni Lorenzo Bernini (Site not responding. Last check: 2007-11-06)
		When Barberini was subsequently installed as Pope Urban VIII, 1623, Bernini was put in charge of building operations at St. Peter's Basilica at the Vatican, where one of his early works, 1624-33, was the canopy [baldachin] over the high altar.
		Bernini's baroque style was a powerful influence on the architecture of his period.
		In sculpture, Bernini's masterwork is the Cornaro Chapel at the Church of S. Maria della Vittoria in Rome, commissioned by Cardinal Patriarch Federico Cornaro (G-17).
	www.boglewood.com /cornaro/xbernini.html (275 words)

	CATHOLIC ENCYCLOPEDIA: Giovanni Lorenzo Bernini
		Bernini in his art is the most industrious of Roman artists, and his work tends largely to the baroque.
		Bernini made a bust and an equestrian statue of Louis XIV which were in a style agreeable to the taste of that monarch.
		Bernini triumphed over all his detractors and became in the end as rich as he was famous.
	www.newadvent.org /cathen/02510b.htm (1546 words)

	Bernini, Gian Lorenzo (1598-1680)
		Bernini later created the tombs (1628-1647 and 1671-1678, respectively; Saint Peter's) of Urban VIII and Alexander VII that, in their use of active three-dimensional figures, differ markedly from the purely architectural approach to the sepulchral monument taken by previous artists.
		Bernini's immense Cathedra Petri (Chair of Saint Peter, 1657-1666), in the apse of Saint Peter's, employs marble, gilt bronze, and stucco in a splendid crescendo of motion, made all the more dramatic by the golden oval window in its center that becomes the focal point of the entire basilica.
		Bernini's numerous busts also carry an analogous sense of persuasive dramatic realism, whether they are allegorical busts such as the Damned Soul and Blessed Soul (both 1619?, Palazzo di Spagna, Rome), or portraits such as those of Cardinal Scipione Borghese (1632, Galleria Borghese) or Louis XIV of France (1665, Palace of Versailles).
	www.cartage.org.lb /en/themes/Biographies/MainBiographies/B/bernini/2.html (817 words)

	Gian Lorenzo Bernini (Getty Museum) (Site not responding. Last check: 2007-11-06)
		Born in 1598 in Naples, Bernini was a child prodigy, receiving his early training in sculpture from his father and completing his first bust at the age of ten.
		Bernini was an astonishingly prolific artist, receiving both sculptural and architectural commissions from royalty across Europe; he also painted and wrote comedies.
		When Bernini died in 1680 at the age of eighty-two, he was buried with great pomp in Rome and mourned by all of Europe.
	www.getty.edu /art/collections/bio/a580-1.html (206 words)

	Bernini, Giovanni Lorenzo. The Columbia Encyclopedia, Sixth Edition. 2001-05 (Site not responding. Last check: 2007-11-06)
		In 1629, Bernini was appointed architect of St. Peter’s.
		Between 1658 and 1670 Bernini designed three churches: San Tomaso di Villanova at Castelgandolfo, Santa Maria dell’Assunzione at Ariccia, and Sant’ Andrea al Quirinale in Rome.
		Bernini was known as a wit; he wrote comedies and made numerous caricatures.
	www.bartleby.com /65/be/Bernini.html (471 words)

	bernini2
		Bernini in his capacity as an architect must have appreciated Lomazzo's theoretical interpretations, particularly when they were systematised in a single building, the "tempio".
		Bernini's commission to design the Propaganda Fide chapel launched him into a long process of reflection on the symbolical meaning of the "temple" and the role of the artist in realising the will of God.
		Bernini's special way of expressing religious experience in material form reaches as sublime an apotheosis in the temple of S. Andrea as it had achieved earlier in the already famous St. Teresa sculpture group.
	www.arthistory.su.se /bernini.htm (4496 words)

	Giovanni Lorenzo Bernini
		Bernini's Cathedra Petri (Chair of Saint Peter, 1657-1666) uses marble, gilt bronze, and stucco in a splendid crescendo of motion, dramatized by the golden oval window in its center that becomes the focal point of the entire structure.
		Bernini was the first sculptor to realize the dramatic potential of light in sculpture.
		Bernini's most famous fountain group is in the Fountain of the Four Rivers (1648-1651) in the Piazza Navona in Rome.
	www.geocities.com /SoHo/Workshop/5220/baroque/bernini.html (457 words)

	Weekend: At Bernini, service is an art form
		Bernini does it day and night with a rare, successful combination of old and new, a lovely classical space with the high ceilings of a century-old bank lobby and the exciting smells and tastes of a modern Italian kitchen.
		At lunch, Bernini does not attempt a Cuban, but for a flavor of the neighborhood, there's a bomb of a hoagie loaded with salami, mortadella and capicola, as well as an oyster po' boy.
		When Bernini opened, the food was sharp and dramatic but overpowered by the theatrics of martinis, cigars and leopard skin uniforms.
	www.sptimes.com /2004/03/18/Weekend/At_Bernini__service_i.shtml (779 words)

	Latein: www.latein-pagina.de (Site not responding. Last check: 2007-11-06)
		Bernini war zwar künstlerisch in vielen Bereichen begabt aber vor allem in der Bildhauerei zeigte sich seine Genialität.
		Berninis enge Beziehung zu seinen päpstlichen Auftraggebern hat zwar seine gesellschaftlich hohe Stellung und seinen finanziellen Aufstieg enorm begünstigt aber sie führte auch zu Rückschlägen. Sein Werk war von starker Anpassung an seine Auftraggeber geprägt, sowohl was Thema, als auch Medien, in denen er arbeitete betraf.
		Bernini vergegenwärtigt in seiner lebensgroßen Mamorgruppe, die er 1625 vollendete, als Moment, was die Dichtung als Vorgang erzählt.
	www.latein-pagina.de /iexplorer/bernini.htm (1811 words)

	La premiata ditta Gianlorenzo Bernini
		La struttura della mostra – già presente in "Bernini in Vaticano" del 1981 – pone l'accento su temi già conosciuti, come i numerosi autoritratti, i busti che ritraggono i "potenti" della Roma papalina, sulla progettualità architettonica, ma anche, e soprattutto, sugli aspetti poco conosciuti, quali gli arredi, la pittura e gli apparati per le feste.
		Bernini, figlio d'arte, inizia lavorando nella bottega del padre – Pietro – anch'egli scultore e di una certa fama.
		In tutte le attività Bernini è stato affiancato da uno stuolo di allievi e collaboratori specializzati nelle varie tecniche ed un merito dell'esposizione romana è di mettere in luce proprio questo non secondario aspetto, una delle fonti principali della diffusione dello stile della "premiata ditta Gian Lorenzo Bernini".
	www.caffeeuropa.it /immagini/42bernini2.html (679 words)

	Official Site Borghese Gallery Bernini - Truth Unveiled by Time (Site not responding. Last check: 2007-11-06)
		Bernini designed a work that was to be a monument to his sculptural art, Truth Unveiled by Time.
		This work was undertaken when Bernini was going through a difficult period at the papal court, because he was strongly accused by his adversaries of causing structural problems at St Peter's.
		The work remained in the Bernini home until 1924, when it was transferred to the Borghese Gallery and placed in Room VIII on a plinth slanting backwards (a stucco wedge had been added to the 19th century base).
	www.galleriaborghese.it /borghese/en/everita.htm (235 words)

	Bernini, Giovanni Lorenzo on Encyclopedia.com (Site not responding. Last check: 2007-11-06)
		Many of his early statues, such as the David (before 1623-24), Rape of Proserpine (1622), and Apollo and Daphne (1625), were done for Scipione Cardinal Borghese, one of the most important patrons of the period.
		Bernini's d'Aste family tombs in S. Maria in Via Lata, Rome: a reconstruction.
		Desiderio and Diletto: Vision, Touch, and the Poetics of Bernini's Apollo and Daphne.
	www.encyclopedia.com /html/b/bernini.asp (653 words)

	The Achievements of Gianlorenzo Bernini History Summary (Site not responding. Last check: 2007-11-06)
		Bernini was in many ways similar to the great "universal men" of the Renaissance.
		While Bernini decorated the city as a grand canvas, his most important architectural achievement was the courtyard he created in front of St. Peter's Basilica, an enormous public space capable of holding crowds of hundreds of thousands of people, yet made inviting by its enveloping colonnades.
		Unlike many more highly decorated colonnades at the time, Bernini's design was far simpler, calling for four rows of simple Doric columns progressing out from the basilica, first in a straight line and then bowing to form a circular shape.
	www.bookrags.com /history/arthistory/the-achievements-of-gianlorenzo-ber-ahe-05.html (734 words)

	David by Bernini (Site not responding. Last check: 2007-11-06)
		Of the four statues, certainly Bernini's is the most dramatic, the most realistic portrayal of the biblical hero.
		Bernini conceived and carved his statue of David in seven months, a remarkable achievement in itself.
		Bernini causes the viewer to become a part of his David statue.
	www.sculpturegallery.com /sculpture/david_by_bernini.html (281 words)

	AllRefer.com - Giovanni Lorenzo Bernini (European Art, 1600 To The Present, Biography) - Encyclopedia
		He was assisted by a host of sculptors in these vast enterprises.
		In 1665, Louis XIV invited him to Paris to finish designing the Louvre, but Bernini's plans failed to win approval.
		Often inspired by classical forms, Bernini transformed the marble block into a vital, almost breathing figure.
	reference.allrefer.com /encyclopedia/B/Bernini.html (582 words)

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