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LIGHT and OPTICAL THEORY in GUARINO GUARINI's CHURCH of SAN LORENZO by Noé Badillo

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LIGHT and OPTICAL THEORY in GUARINO GUARINI's CHURCH of SAN LORENZO by Noé Badillo OCULARIUM LUCIS: LIGHT AND OPTICAL THEORY IN GUARINO GUARINI’S CHURCH OF SAN LORENZO by Noé Badillo _________________________ Copyright © Noé Badillo 2012 A Thesis Submitted to the Faculty of the SCHOOL OF ART In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS WITH A MAJOR IN ART HISTORY In the Graduate College THE UNIVERSITY OF ARIZONA 2012 2 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: _____________________________________ Noé Badillo APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: ____________________________ 8/1/12 Pia F. Cuneo Date Professor of Art History 3 ACKNOWLEDGMENTS I would first and foremost like to express my gratitude to my graduate thesis advisor at the University of Arizona, Dr. Pia F. Cuneo. Her keen mind for methodologies and critical thinking instructed me in ways that I will be thinking about and applying for years to come. Also to Dr. Julie-Anne Plax, for all of her help and encouragement, not only on this paper, but also with her guidance on my honors thesis during my years as an undergraduate at the University of Arizona as well. I would like to thank John Hendrix, whose writings on Borromini are what eventually led me next to Guarini. He has been an incredible support to my young career, by inviting me to participate in publications such as The Cultural Role of Architecture (Routledge, 2012) and Cosmology and Sacred Space: Lincoln Cathedral and Robert Grosseteste (Ashgate, 2013), as well as to participate in many conferences and symposiums. The knowledge of optical theory contained in this manuscript is due in part to Nader El-Bizri, whom I would like to generously thank as well, and whose work is referenced in this text. Much gratitude is also due to Jane Lomholt, by also being a generous support to my academic career, and the co-editor of two volumes to which I have had to opportunity to contribute. Thank you also to Nicholas Temple, for his support as well in colleagueship and publishing. My gratitude also goes out to Allan Doig, Chaplain at Lady Margaret Hall, Oxford, for his inspiration and support of my academic endeavors. 4 I would also like to thank Amy Newhall, at the University of Arizona, for her intriguing lectures on Islamic Art and Architecture which also helped to guide the scope of this paper. A word of appreciation must also be extended to Paul Ivey, also at the University of Arizona, and in particular for his guidance on the sacred and theoretical aspects of this manuscript. Much gratitude must also be extended to Fr. Christopher Corbally and Fr. William Stoeger at the Vatican Observatory for all of their guidance and inspiration in completing this work. Their extensive and advanced knowledge of astronomy allowed me to further my understanding of Guarini’s complex work. I must also thank them for allowing me to lecture at the Saint Albert the Great Science and Theology Forum, which is an important outlet for these two inseparable disciplines. I look forward to hopefully working together with both of them in the future. A word also goes out to my brother Dakota, as he enters the world of collegiate academia—may he find his calling, be it astronomy, physics or whatever he may choose, and may the knowledge of astronomy, geometry and physics in this text perhaps provide some form of inspiration. I would also like to thank my father, for all his loving support, and for allowing some of his academic love for learning to influence my own path of knowledge. Much love and appreciation must also be mentioned for my godparents Raul and Isabel Delgado. Most of all, I would like to thank my beautiful wife Elizabeth for all her love and support, for her overwhelming beauty and compassion, and for her commitment to our life together. I love you forever with all my heart, all my mind, and all my soul. 5 DEDICATION This manuscript is dedicated to my mother, Lois Rosenfelt. At age seventy-four, although aging and in failing health, she is the brightest, most cheerful and loving person I know. Thank you mother, for all of your kind support in raising me the right way, and thank you most of all, for giving me the gift of life. Without you, this work and nothing else would be possible. I love you always. 6 TABLE OF CONTENTS LIST OF FIGURES………....………………………………………8 ABSTRACT….…………………………………………………….10 ______________________________________________________ I INTRODUCTION 12 ______________________________________________________ 1 PROEMIA………………………………………………………….13 2 GUARINI’S CONTRIBUTION TO THE HISTORY OF ARCHITECTURE AND SCIENCE……………………………….16 3 THE CHURCH OF SAN LORENZO………….…………………..27 _____________________________________________________________ II GUARINO GUARINI 37 ______________________________________________________ 4 BIOGRAPHY………………………………………………………38 5 HISTORIOGRAPHY…..…………….…………………………….52 ______________________________________________________ III SAN LORENZO, LIGHT AND 63 OPTICAL THEORY ______________________________________________________ 6 LIGHT, GEOMETRY AND ARCHITECTONICS IN THE WORLD OF GUARINO GUARINI………………………….........64 7 SAN LORENZO AS AN INSTRUMENT OF VISION...................76 7 TABLE OF CONTENTS - Continued ______________________________________________________ IV CONCLUSION 91 ______________________________________________________ 8 EPILOGUE…………………………………………………………92 9 ILLUSTRATIONS….……………………………………………....95 WORKS CITED……………………………………………………111 8 LIST OF FIGURES 1. Santa Maria Annunziata, Messina, Sicily, c. 1660–1662……………………95 2. Francesco Borromini, San Carlo alle Quattro Fontane, Rome, Italy, 1638–1641……………………………………………………...96 3. Attributed to Guarino Guarini, Immacolata Concezione, Turin, Italy, 1673…………………………………………………………….97 4. Dome, Sala de la Justicia, Alcázar, Seville, Spain, c. 1360………………….97 5. Dome, Salon de Embajadores, Alcázar, Seville, Spain, c. 1360……………..98 6. Dome, Great Mosque of Tremecen, Algeria, 1082…………………………..98 7. Church of Cristo de la luz, Toledo, Spain, c. 390…………………………....99 8. Bernardo Antonio Vittone, Tempietto a San Luigi Gonzaga, Monferrato, Italy, 1760……………………………………………………....99 9. Bernardo Antonio Vittone, Dome, Capella della Visitazione, Vallinotto, Italy, 1738–1739………………………………………………...100 10. Façade, Church of San Lorenzo, Turin, Italy, 1670…………………………100 11. Column capitals, Church of San Lorenzo, Turin, Italy, 1670, from Augusto Cavallari Murat, “Struttura e Forma nel Trattato Architettonico del Guarini” in Guarino Guarini è l’Internazionalità del Barocco, 494–495………………………………………………………..101 12. Architrave, Church of San Lorenzo, Turin, Italy, 1670……………………...101 13. Dome above the presbytery, Church of San Lorenzo, Turin, Italy, 1670….........................................................................................102 14. Cupola, Church of San Lorenzo, Turin, Italy, 1670…………………………102 9 LIST OF FIGURES - Continued 15. Detail of the drum of the dome, Church of San Lorenzo, Turin, Italy, 1670…………………………………………………………...103 16. Detail of pendentives supported by convex serlianas, Church of San Lorenzo, Turin, Italy, 1670, Photograph by T. Francesco……………..103 17. Detail of the lantern, Church of San Lorenzo, Turin, Italy, 1670, Photograph by HEN-Magonza……………………………………………...104 18. Church of San Vincenzo, Modena, Italy, 1617……………………………..105 19. Church of the Padri Somaschi, Messina, Sicily, 1660……………………...105 20. Church of Sainte Anne la Royale, Paris, France, from Architettura Civile, Tav. 11…………………………………………...106 21. Church of San Gaetano, Nizza, Italy, Illustrations from Guarini’s Architettura Civile, Tav. 12, 13……………………………………………..107 22. Dome, La Santissima Sindone, Turin, Italy, 1668–1694……………………107 23. Diagram of orbital eccentricity, Cælestis Mathematicae, Pars Prima, Tractatus VIII, Theoriæ Planetarum Descriptæ, 173……………………….108 24. Diagrams of hyperbolic and parabolic curves, Architettura Civile, Tav. XI………………………………………………………………………108 25. Astronomical diagrams and armillary spheres, Cælestis Mathematicae, Pars Secunda, unpaginated…………………………………………………109 26. Great Mosque of Córdoba, Designed under Caliph al-Hakim, 916–976…......................................................................................................110 27. Diagram of a domical structure aligning with a pyramid, representative of the interaction between vision and architecture, Architettura Civile, Tav. XXVII, Fig. 7………………………………………………………….110 10 ABSTRACT Ocularium Lucis: Light and Optical Theory in Guarino Guarini’s Church of San Lorenzo is intended to provide theoretical advancement in the understanding of the work of the Baroque architect Guarino Guarini by employing his Church of San Lorenzo as an example. In Part One an historical account of Guarini’s life and work is presented. In Part Two, Guarini’s methods as an architect are analyzed according to their intersection with the philosophy of science, geometry and astronomy, presented within his many treatises on such subjects. A syllogistic correlation is demonstrated in Guarini’s writings between the study of optics, geometry and architecture, which reveals that the architectonic
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