Roman Baroque Models and Local Traditional Construction. The Sanctuary of St. Ignatius of Loyola and its dome Iacopo Benincampi Generically, the term ‘Stereotomy’ refers to the scien- reotomy can be defined as the technique required to ce of cutting solids (Crescenzi 2002, 194; Defilippis cut stones, wood or metal in order to convey course 2012, 39), or rather, the sum of theoretical and practi- application in construction (Palacios Gonzalo 2003, cal knowledge (often originating from tradition) utili- 7).2 Therefore, this practice does not just regard the zed to determine the exact shape of all the components simple operation of cutting stone, but provides codi- used to seattle a particular architectural component. In fied graphic procedures, indispensable for designing fact, this element is built as the result of an assembla- structural components and the advanced verification ge (more or less complex) of blocks –generally stone– of the overall stability of an architectural organism. for which the prior knowledge of the outline of each In addition, knowing the vera forma, of every singu- ashlar is necessary for a successful outcome. This dis- lar load-bearing part in advance facilitates the trans- cipline represents the alternative to construction tech- mission of information to the craftsmen and the mo- niques based on the use of bricks, traditionally quite nitoring of the proper execution for each piece, later popular precisely because of their small dimensions to be placed in the nearly-dry stone work.3 Thus, it is and the flexibility of their joints, both optimal charac- a complex operation, in which a logical process anti- teristics in the fabrication of complex spatial structu- cipates the technical application through which the res. However, this does not necessarily mean that ma- appropriate and precise profile of each block can be terial selection constrains the design. Thus, the model attained which, when united with all of the others, designed by papal architect Carlo Fontana (1638– will then ensure the capacity of the entire structure. 1714) for the dome of the actual minor Basilica of the Since the end of the sixteenth century,4 numerous Sanctuary of St. Ignatius located in the village of Lo- treatises have been written in attempt to provide pre- yola1 (figure 1), rather than being realized in masonry cise procedural instructions, and yet often these texts (as was plausibly conceived) was found to be imple- were difficult to understand. Consequently, especially mented by means of the application of complex ste- in Spain, writers proceeded to establish a more practi- reotomic principles, giving rise to a unicum that has cal language furthered, above all, by the theoretical not again been encountered or equaled on the entire works of Alonso de Vandelvira (1544–1626), Fray Iberian Peninsula (Kubler 1957, 152). Lorenzo de San Nicolás (1593–1679), and Ginés Martínez de Aranda (1556–1620),5 whose writings were widely circulated, as they promised robust and STEREOTOMY: INSTRUCTIONS FOR USE detailed instructions on the implementation of techni- cal construction. In these elaborations, accurately Proceeding from the geometry, without which it characterized by briefly annotated graphic tables, the would be impossible to accomplish any result, ste- authors reported with extreme meticulousness the me- AActasctas VVol.ol. 11.indb.indb 117575 113/11/173/11/17 99:44:44 176 I. Benincampi Figure 1 Loyola, Sanctuary of St. Ignatius, exterior, general view. Photo: I. Benincampi. chanisms for projecting the geometry of the shapes, turing of building-stones for a specific architectural with the objective of determining as precisely as pos- element and therefore –once fulfilled– its task beca- sible the patrones: the actual plans to be utilized in me useless for any other fabrication site.6 Alongside the cutting of the ashlars (figure 2). the baibel, the saltarregla could always be found: an These technical drawings were obtained according object similar to a compass and generally made of to two different methods: either by establishing the drawings in advance and then scaling them to the ne- cessary dimensions, or by proceeding directly in real-time, arriving in extreme cases to project the ele- ments directly on the building site floor. The latter process was rather complex but also guaranteed re- sults with a minimal margin of error. In the operation of cutting, as stonecutter procee- ded using a particular tool at the worksite, known as a Baibel. It was a sort of rigid template formed with two arms, one of which was curved: a highly specia- lized object, unique to each worksite and often made with scrap material (appropriate considering its sin- Figure 2 gular use), aimed at eliminating excess material and Loyola, Sanctuary of St. Ignatius. Reconstruction of the delineating the ashlars as needed. In fact, the curva- procedure for defining the patrones that were used as a refe- ture of one of the sides of these devises was defined rence for cutting the ashlars for the dome. Elaboration: I. in such a way that it only allowed detailed manufac- Benincampi. AActasctas VVol.ol. 11.indb.indb 117676 113/11/173/11/17 99:44:44 The Sanctuary of St. Ignatius of Loyola and its dome 177 wood or metal. Utilized more for defining angles pected among his contemporaries (Eguillor 1977, than drawing curves, this tool had internal sides with 442).9 He led the worksite until his death in 1733, flat arms and was used primarily for making trompas bringing the fabric to a highly advanced state (De and in the elevation of any type of arch. With this Hornedo 1956, 393) while resolving some long-stan- tool, one could cut ashlars from the head, so that the ding critical points within the work as a whole, na- angle formed between the vertical plane of the face mely the elevation of the arches10 encircling the annu- and the plane of the soffit of the ashlar formed the lar nave of the church as well as the elevation of the desired shape. dome. The latter was completed by his assistant and Instead, concerning the cutting procedure, a ma- successor as the director –Ignacio de Ibero (1684– nual operator could follow two possible options. In 1766)– who finished the work on the church, resolved the first case, from the identification of the initial pa- the decorations for the interior and built the lantern, tron for each element, it was then possible to establis- all in time for the inauguration (31 July 1738, the hment its horizontal projection. From here, they pro- feast day of St. Ignatius). However, the dome presen- ceeded to cut, having established both the vertical ted static defects from the beginning, for which it was length and depth of the actual shape. On the contrary, immediately necessary to be reinforced at the base, the second method primarily exploited the use of the encircling it with two bands of iron.11 Still today, this baibel that, in continuity with the horizontal projec- temporary remedy requires an inquiry for a new and tion of the ashlar, allowed the shaping of the element. more effective solution (figure 3).12 Both techniques fall under that purported arte de Montea: the ability to realize drawings quoted in the real-life dimensions of the pieces for an architectural design or, more simply, just a part of the design. A body of knowledge that, based on predetermined refe- rence plans, allowed the working of stones even in the absence of the designer, who could therefore be far away from the worksite even for long periods of time. For example, this is what happened at Loyola where stable work was able to resume even without the constant presence of the general manager.7 THE DOME OF LOYOLA: A COMPLEX OBRA The War of the Spanish Succession (1701– 1713/1714), which had seen a confrontation in the House of Bourbon –the legitimate heir to the Spanish throne after the death of King Charles II Habsburg (1661–1700)– and the future Emperor of the Holy Roman Empire Charles VI Habsburg (1685–1740), for a long time caused the privatization of Spanish Royal factories and funds necessary for the comple- tion of works under construction (Blasco Esquivas 2004, 391–393). So, even if founded in 1689 from the design of architect Carlo Fontana along with the pa- tronage of the Queen Mother Mariana of Austria (1634–96),8 the Jesuit Sanctuary of Loyola remained at a standstill and only in 1717 the fabric was able to Figure 3 be resumed, under the guidance of Sebastian de Lecu- Loyola, Sanctuary of St. Ignatius, interior. Photo: I. Benin- na (1662–1733), a local maestro de obras highly res- campi. AActasctas VVol.ol. 11.indb.indb 117777 113/11/173/11/17 99:44:44 178 I. Benincampi Furthermore, the construction under Lecuna and who, while probably respecting the initial plan set by Ibero was assisted by a team of three architects from the master from Ticino, they likely interpreted the Madrid, whose identities remain unknown. They – design according to their own building cognizance which is certain– were involved in design and struc- while utilizing more readily available materials, na- tural decisions, in particular on materials to be use.13 mely stone (figure 4). Alongside all them worked sculptors and stonema- Today, what had been the architect’s vision for the sons, who were primarily entrusted with the realiza- project and his architectural decisions for its eleva- tion of the finishing touches. In fact, the eight seg- tion are not able to be determined with any certainty, ments of the soffit of the dome (identified by the lacking any graphic testimony