Portrait: PHILIP IV
Time: 1623-1627
Artist: Diego Velázquez
Style: Barroque art
Material: Oil on canvas
Techniques: Use of obscurity and neutral King's situation
Location: Prado museum

ICONOGRAPHIC ANALYSIS
Name: Retrato de Felipe IV; translate in english: Portrait of Philip IV
Type of painting: It was a gift for Charles I of England. This portrait like others of Velázquez belong to the first stage that he did it for getting a scholarship and study in Italy

FORMAL ANALYSIS
Composition, space and decoration: This portrait of the young King Philip IV, painted around 1626, is a suberb example of the style of Velázquez in Madrid. It was a test of how the artist returned again and again on his   
                                               canvases, which had always before his eyes on the walls 
                                               of Alcazar
                                               Meaning: Captivated by the portrait that he made a year
                                               ago, Philip IV decided to portray himself again, this time 
                                               in 1626. Both paintings have great similarities to each 
                                               other: (color, position of the king, costumes, stage..)
                                               This painting was to be a gift to Charles I of England. 
                                               Later, the British crown donated it to the U.S goverment

Vault of St.Ignatius Church in Rome ''El Gesú''

Time: 1626
Style: Barroque art
Artist: Andrea Pozzo
Material and techniques: Cutouts were placed on real structures, causing it difficult to indentify the real from the illusory. Pozzo showing how space can be represented on a plane irregular using oblique wings. He stressed the theoretical possibilities of geometric perspective and 
                                                                                           became interested in the 
                                                                                           situation of the focal point.

                                                                                           Location: Rome (Italy)

ICONOGRAPHIC ANALYSIS
Name: Vault of St.Ignatius Church
Type of building: It was built in 1626 and dedicated to the founder of the society of 
Jesús, St.Ignatius of Loyola. It has a single nave with side chapels but if for something stands out is the decoration of the fault and the illusion of deph of the false dome.
                                                                          
 FORMAL ANALYSIS
Composition, space, decoration: Horace Grassi, SJ, chief architect of the Church of San Ignacio de Rome, planned a dome but died before taking it out on the other hand, the money for it was exhausted. Thirty years later, the superiors of the order sought the help of renowned architect and artist, Brother Andrea Pozzo, an expert in the art of perspective. This wanted to paint a dome in the ceiling smooth. It began in October 1684 and was completed for the feast of St. Ignatius, July 31, 1685. The audience that filled the church that day was surprised by the optical illusion that produced the appearance of an actual dome domain thanks to Pozzo had perspective. So the Jesuit Andrea Pozzo again purity illusionistic perspective in their formulations. The false dome of the church of San Ignacio de Rome is paradigmatic of this practice. 
Sizes of the vault: Canvas of 17m wide.
Meaning: In the four corners of the vault are the symbolic figures of the four continents. Europe is represented as a midwife on a horse. Asia is sitting on a camel. The figure of Africa is a woman with African Arab factions, sitting on a crocodile. America is represented as a woman dressed in Indian clothes and in her hand a spear with which hurt one of the giants and behind it a white angel with a flame that symbolizes the expansion of the Jesuits in America

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