The Intersection of Reuse and Ornament in the Façade of the Casino Dell’Aurora

Total Page:16

File Type:pdf, Size:1020Kb

The Intersection of Reuse and Ornament in the Façade of the Casino Dell’Aurora THE INTERSECTION OF REUSE AND ORNAMENT IN THE FAÇADE OF THE CASINO DELL’AURORA Brittany Forniotis A thesis submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Art and Art History in the College of Arts and Sciences. Chapel Hill 2019 Approved by: Mary Pardo Hérica Valladares Victoria Rovine © 2019 Brittany Forniotis ALL RIGHTS RESERVED ii ABSTRACT Brittany Forniotis: The Intersection of Reuse and Ornament in the Façade of the Casino dell’Aurora (Under the direction of Mary Pardo) The façade of the Casino dell’Aurora (1611-1616), a lodge within the garden of the Palazzo Pallavicini Rospigliosi, originally Scipione Borghese’s summer residence on the Quirinal Hill in Rome, presents a case study for the reuse of second- and third-century Roman sarcophagi in a late Renaissance architectural setting. In their original context – embedded within the façade of a garden pavilion belonging to a critical actor in the sociopolitical scene of early- seventeenth-century Rome – the panels of these ancient sarcophagi are pivotal to the façade as architectural ornament. This thesis critically examines the intersection of reuse and ornament in the façade of the Casino dell’Aurora. It concludes that through a nuanced reading of the façade, the reuse of the sarcophagi panels participates in the compositional tension of the façade’s composition while advancing a particular image of Cardinal Borghese through their associations with the ancient past of Rome. iii ACKNOWLEDGEMENTS I thank my advisor, Dr. Mary Pardo, for guidance on this project and her boundless enthusiasm for exploring new intellectual terrain with me. For their thoughtful advice and commentary, I would like to thank my committee members, Dr. Hérica Valladares and Dr. Victoria Rovine. Additionally, I would like to express my gratitude to my dear colleagues in the Art and Art History Department, particularly my classmates, Adriana Burkins, Avery Close, Madison Folks, Alex Jones, Devon Murphy, Claire Payne, Colin Post, and Weixin Zhou. Their support and insight made the writing process a gratifying experience. I would also like to acknowledge my family and friends for their love and encouragement during the duration of my Master’s degree program. My thanks especially go to my husband, Tanner Fadero, for his unwavering confidence in my scholarship. Finally, I would like to thank Nikki and Toast for their unconditional love for me and the rectangles that I attempt to use for my work. iv TABLE OF CONTENTS LIST OF FIGURES……………………………………………………………………………...vii INTRODUCTION………………………………………………………………………………...1 CHAPTER ONE: A CONTEXT FOR THE CASINO……………………………………………7 Rome in the Early Seventeenth Century…………………………………………………..7 Cardinal Scipione Borghese……………………………………………………………….9 Carlo Maderno & Architecture……………………………………………………….….13 Casino dell’Aurora……………………………………………………………………….15 CHAPTER TWO: REUSE AND THE SARCOPHAGUS PANELS………………………………………………………………………….……………...20 Sarcophagi…………………………………………………………………………….….20 Antiquarianism in the Renaissance and Baroque………………………………………...24 Frameworks of Reuse……………………………………………………………………25 Implications for the Façade of the Casino Dell’Aurora………………………………….29 CHAPTER THREE: ORNAMENT AND THE FAÇADE OF THE CASINO DELL’AURORA……………………………………………………………34 A Felicitous Discovery……………………………………………………………...…...34 A Framework for Ornament……………………………………………………………...35 Casino dell’Aurora……………………………………………………………………….39 CONCLUSION………………………………………………………………………….……….42 The Lives of Roman Sarcophagi…………………………………………………………42 v FIGURES………………………………………………………………………………………...46 REFERENCES. …………………………………………………………………………………61 vi LIST OF FIGURES Figure 1 – The façade of the Casino dell’Aurora………….…….………………………………46 Figure 2 – The courtyard of the Palazzo Mattei Giove…………..………………………....……47 Figure 3 – The façade of the Villa Medici……………………………………………………….48 Figure 4 – The façade of the Casino of Pius IV...……………….……………………………….49 Figure 5 – The water theatre at the Villa Aldobrandini…………….……………………………50 Figure 6 – Wide view of the façade of the façade of the Casino dell’Aurora…………………...51 Figure 7 – Center of the Casino dell’Aurora façade …………………………………………….52 Figure 8 – View of the side wing of the façade of the Casino dell’Aurora……………………...53 Figure 9 – Staircase within the hanging gardens of the Palazzo Pallavicini-Rospigliosi………..54 Figure 10 – Sarcophagi panels in the façade of the Casino dell’Aurora………………………...55 Figure 11 – Sarcophagus with Hippolytus and Phaedra…………………………………………56 Figure 12 – Sarcophagus of Meleager reused as a fountain trough……………………………...57 Figure 13 – Sarcophagus reused as a fountain trough at the Palazzo Aldobrandini……………..58 Figure 14 – Ceiling of the Hall of Hector and Andromache in the Domus Aurea………………59 Figure 15 – Ceiling of the Piccolomini Library in the Siena Cathedral…………………………60 vii INTRODUCTION The reuse of architectural fragments and statuary is a long-lived practice, especially in the Mediterranean, which has been inhabited by various peoples since prehistory. Buildings and objects were quickly transformed to meet the new material and cultural needs of their users. Reuse of architectural fragments frequently occurs during the decline of a population in a region or following the abandonment of a settlement or religious site. In many cases, these transformations appear “practical” to the modern viewer, such as reusing columns and other architectural elements in new construction. This phenomenon is not unique to the afterlife of ancient Mediterranean material culture; however, much of the scholarship surrounding reuse, recuperation, and spolia has converged upon this material. This thesis examines the reuse of ancient Roman sarcophagi in the façade of the Casino dell’Aurora (Fig. 1). Set into the geometric, rectilinear façade of the casino, built between 1611 and 1616 by Carlo Maderno (1556 – 1629) under the patronage of Cardinal Scipione Borghese Caffarelli (1577 – 1633) on the Quirinal Hill in Rome, are at least fifteen panels from late second- and third-century Roman sarcophagi writhing with life. The myths represented on the panels share themes of immortality and love. Bacchanal scenes, lion hunts, scenes of Endymion in his eternal slumber, and reliefs of Ariadne and Dionysus on the island of Naxos adorn the sarcophagi panels.1 However, the meaning of the sarcophagi is transformed by their new context in the façade of the casino 1 Daniela Di Castro, Anna Maria Pedrocchi, and Patricia Waddy, Il Palazzo Pallavicini Rospigliosi e La Galleria Pallavicini (Torino: U. Allemandi, 1999), 44-46. 1 I argue that despite the familiar myths represented on the sarcophagi panels adorning the casino, these panels no longer function solely as narrative images in their architectural context. They equally function as ornament. In this ornamental mode, the panels convey the wealth, power, and prestige of the patron. They do not, however, do so with references to the specific myths or narratives they illustrate. Standing before the one-story façade of the casino, the viewer is able to read the panels of sarcophagi in multiple ways. Still readable as narrative to the learned viewer, the carvings can also be received as architectural ornament. In making this argument, this project attends to two lacunae in the scholarship of architectural history. Firstly, it treats the ornamentation of the façade of the Casino dell’Aurora with critical analysis that is currently absent in the English-language scholarship on the building. Secondly, it contextualizes the sarcophagi as the deliberate deployment of antiquities as architectural ornament in an early seventeenth-century garden lodge by a renowned architect for a prince of the Church. When sarcophagi are deconstructed into panels for reuse, they are divorced from their original purpose of containing bodies. Thus, the narrative content and the overall visual program of the sarcophagi loses its connection to Roman funerary customs.2 Art-workers removing and reusing sarcophagi panels do so for their clients, whose choices about which sarcophagi to use were based on perceived value, quality of workmanship, availability, and ornamental and iconographic features – all of which are bound within the aesthetic of the sarcophagi.3 The of the figure in the study of Western art resulted in a plethora of scholarship examining the figural 2 Verity Platt, “Framing the Dead on Roman Sarcophagi,” Res: Anthropology and Aesthetics 61–62 (2012): 213. 3 Michael Baxandall relates multiple examples of this type of informed consumerism in the fifteenth century, and the well-known letters from Cardinal Alessandro Farnese to Giacomo Barozzi da Vignola regarding specific, detailed choices about the construction of the Church of the Gesù (1568 – 1580) indicate a continuation of this behavior. Michael Baxandall, Painting and Experience in Fifteenth Century Italy: A Primer in the Social History of Pictorial Style, 2nd ed. (New York: Oxford University Press, 1988); Clare Robertson, Il Gran Cardinale: Alessandro Farnese, Patron of the Arts (Yale University Press, 1992). 2 representation on sarcophagi in both their original context and the culture in which they were reused.4 Renewed and reinvigorated interest in architectural ornament in the decade and recent developments in the exploration of the agency of art objects have opened intellectual pathways that allow inquiries to address more than the figure in architectural contexts.5 These new directions of inquiry
Recommended publications
  • Michelangelo's Locations
    1 3 4 He also adds the central balcony and the pope’s Michelangelo modifies the facades of Palazzo dei The project was completed by Tiberio Calcagni Cupola and Basilica di San Pietro Cappella Sistina Cappella Paolina crest, surmounted by the keys and tiara, on the Conservatori by adding a portico, and Palazzo and Giacomo Della Porta. The brothers Piazza San Pietro Musei Vaticani, Città del Vaticano Musei Vaticani, Città del Vaticano facade. Michelangelo also plans a bridge across Senatorio with a staircase leading straight to the Guido Ascanio and Alessandro Sforza, who the Tiber that connects the Palace with villa Chigi first floor. He then builds Palazzo Nuovo giving commissioned the work, are buried in the two The long lasting works to build Saint Peter’s Basilica The chapel, dedicated to the Assumption, was Few steps from the Sistine Chapel, in the heart of (Farnesina). The work was never completed due a slightly trapezoidal shape to the square and big side niches of the chapel. Its elliptical-shaped as we know it today, started at the beginning of built on the upper floor of a fortified area of the Apostolic Palaces, is the Chapel of Saints Peter to the high costs, only a first part remains, known plans the marble basement in the middle of it, space with its sail vaults and its domes supported the XVI century, at the behest of Julius II, whose Vatican Apostolic Palace, under pope Sixtus and Paul also known as Pauline Chapel, which is as Arco dei Farnesi, along the beautiful Via Giulia.
    [Show full text]
  • Download Document
    The J. Paul Getty Trust 1200 Getty Center Drive, Suite 400 Tel 310 440 7360 Communications Department Los Angeles, California 90049-1681 Fax 310 440 7722 www.getty.edu communications@getty.edu NEWS FROM THE GETTY DATE: September 14, 2007 FOR IMMEDIATE RELEASE GETTY EXHIBITION HIGHLIGHTS THE TRIALS AND TRIBULATIONS OF A YOUNG ARTIST’S JOURNEY AS TOLD BY HIS BROTHER Taddeo and Federico Zuccaro: Artist-Brothers in Federico Zuccaro Renaissance Rome Italian, about 1541 - 1609 Taddeo Rebuffed by Francesco Il Sant'Agnolo, about 1590 Pen and brown ink and brown wash over black chalk The J. Paul Getty Museum At the J. Paul Getty Museum, Getty Center 99.GA.6.5 October 2, 2007 – January 6, 2008 LOS ANGELES—The journey to becoming an artist in Renaissance Rome during the 16th century was fraught with daily hardships and struggles. These tribulations are best exemplified in the tale of Taddeo Zuccaro, a young lad who left his home on the eastern coast of Italy at the tender age of 14 to pursue a career as an artist in the great metropolis of Rome. His tenuous journey of starvation, deprivation, sickness, and ultimately triumph—sensitively recounted by his younger brother, Federico, who would himself become an artist of great significance—will be celebrated in a major international loan exhibition organized by the J. Paul Getty Museum. On view at the Getty Center, October 2, 2007 through January 6, 2008, Taddeo and Federico Zuccaro: Artist-Brothers in Renaissance Rome is the first exhibition devoted to the artist-brothers that focuses on their relationship and brings together some of their greatest drawings.
    [Show full text]
  • Renaissance Gardens of Italy
    Renaissance Gardens of Italy By Daniel Rosenberg Trip undertaken 01-14 August 2018 1 Contents: Page: Introduction and overview 3 Itinerary 4-5 Villa Adriana 6-8 Villa D’Este 9-19 Vatican 20-24 Villa Aldobrindini 25-31 Palazzo Farnese 32-36 Villa Lante 37-42 Villa Medici 43-45 Villa della Petraia 46-48 Boboli Gardens 49-51 Botanical Gardens Florence 52 Isola Bella 53-57 Isola Madre 58-60 Botanic Alpine Garden Schynige Platte (Switz.) 61-62 Botanic Gardens Villa Taranto 63-65 Future Plans 66 Final Budget Breakdown 66 Acknowledgments 66 Bibliography 66 2 Introduction and Overview of project I am currently employed as a Botanical Horticulturalist at the Royal Botanic Gardens Kew. I started my horticultural career later in life and following some volunteer work in historic gardens and completing my RHS level 2 Diploma, I was fortunate enough to secure a place on the Historic and Botanic Garden training scheme. I spent a year at Kensington Palace Gardens as part of the scheme. Following this I attended the Kew Specialist Certificate in Ornamental Horticulture which gave me the opportunity to deepen my plant knowledge and develop my interest in working in historic gardens. While on the course I was able to attend a series of lectures in garden history. My interest was drawn to the renaissance gardens of Italy, which have had a significant influence on European garden design and in particular on English Gardens. It seems significant that in order to understand many of the most important historic gardens in the UK one must understand the design principles and forms, and the classical references and structures of the Italian renaissance.
    [Show full text]
  • Pursuing the Perspective. Conflicts and Accidents in the Gran Palazzo Degli Eccellentissimi Borghesi a Ripetta
    Publisher: FeDOA Press - Centro di Ateneo per le Biblioteche dell’Università di Napoli Federico II Registered in Italy Publication details, including instructions for authors and subscription information: http://www.serena.unina.it/index.php/eikonocity/index Pursuing the Perspective. Conflicts and Accidents in the Gran Palazzo degli Eccellentissimi Borghesi a Ripetta Fabio Colonnese Sapienza Università di Roma - Dipartimento di Storia, Disegno e Restauro dell’Architettura To cite this article: Colonnese, F. (2021).Pursuing the Perspective. Conflicts and Accidents in theGran Palazzo degli Eccellentissimi Borghesi a Ripetta: Eikonocity, 2021, anno VI, n. 1, 9-25, DOI: 110.6092/2499-1422/6156 To link to this article:http://dx.doi.org/10.6092/2499-1422/6156 FeDOA Press makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. FeDOA Press, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Versions of published FeDOA Press and Routledge Open articles and FeDOA Press and Routledge Open Select articles posted to institutional or subject repositories or any other third-party website are without warranty from FeDOA Press of any kind, either expressed or im- plied, including, but not limited to, warranties of merchantability, fitness for a particular purpose, or non-infringement. Any opinions and views expressed in this article are the opinions and views of the authors, and are not the views of or endorsed by FeDOA Press. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information.
    [Show full text]
  • C HAPTER THREE Dissertation I on the Waters and Aqueducts Of
    Aqueduct Hunting in the Seventeenth Century: Raffaele Fabretti's De aquis et aquaeductibus veteris Romae Harry B. Evans http://www.press.umich.edu/titleDetailDesc.do?id=17141, The University of Michigan Press C HAPTER THREE Dissertation I on the Waters and Aqueducts of Ancient Rome o the distinguished Giovanni Lucio of Trau, Raffaello Fabretti, son of T Gaspare, of Urbino, sends greetings. 1. introduction Thanks to your interest in my behalf, the things I wrote to you earlier about the aqueducts I observed around the Anio River do not at all dis- please me. You have in›uenced my diligence by your expressions of praise, both in your own name and in the names of your most learned friends (whom you also have in very large number). As a result, I feel that I am much more eager to pursue the investigation set forth on this subject; I would already have completed it had the abundance of waters from heaven not shown itself opposed to my own watery task. But you should not think that I have been completely idle: indeed, although I was not able to approach for a second time the sources of the Marcia and Claudia, at some distance from me, and not able therefore to follow up my ideas by surer rea- soning, not uselessly, perhaps, will I show you that I have been engaged in the more immediate neighborhood of that aqueduct introduced by Pope Sixtus and called the Acqua Felice from his own name before his ponti‹- 19 Aqueduct Hunting in the Seventeenth Century: Raffaele Fabretti's De aquis et aquaeductibus veteris Romae Harry B.
    [Show full text]
  • 725 Clare Robertson This Exceptional Book Focuses on and Around The
    Book Reviews 725 Clare Robertson Rome 1600: The City and the Visual Arts Under Clement viii. New Haven: Yale University Press, 2015. Pp. 460. Hb, $75. This exceptional book focuses on and around the Holy Year of 1600, declared by Pope Clement viii Aldobrandini (r.1592–1605), and explores the distinctive artistic patronage of a period when donors and artists in Rome must have felt “in the right place at the right time.” Robertson constructs a fascinating web of overlapping points of views: the visual—a systematic analysis of works of art commissioned by Pope Clement viii, his cardinal nephew Pietro, the prin- cipal religious orders, confraternities, cardinals, and nobles; the historical—a profound literary and archival investigation of the papacy, the Aldobrandini family, the lives of the artists, and the history of the city of Rome seen through different social lenses; and the topographical—an analysis of the urban trans- formations of the abitato and disabitato through maps and documents. This is a beautifully illustrated book divided into five chapters (“Clement viii and Al- dobrandini Patronage;” “The Cardinal Nephew, Pietro Aldobrandini;” “Palaces, Villas and Gardens;” “Churches and Chapels;” and “Lives of the Artists”) that draws upon exhaustive historical and archival research, ideally synthesized by one of the most distinguished scholars in the field. With her book on the Farnese family (“Il gran cardinale”: Alessandro Farnese, Patron of the Arts [New Haven: Yale University Press, 1992]), Robertson had mastered the patterns of patronage within the family of Pope Paul iii and, in particular, of the cardinal nephew Alessandro, with emphasis on Rome and the villa in Caprarola.
    [Show full text]
  • The Baroque Underworld Vice and Destitution in Rome
    press release The Baroque Underworld Vice and Destitution in Rome Bartolomeo Manfredi, Tavern Scene with a Lute Player, 1610-1620, private collection The French Academy in Rome – Villa Medici Grandes Galeries, 7 October 2014 – 18 January 2015 6 October 2014 11:30 a.m. press premiere 6:30 p.m. – 8:30 p.m. inauguration Curators : Annick Lemoine and Francesca Cappelletti The French Academy in Rome - Villa Medici will present the exhibition The Baroque Underworld. Vice and Destitution in Rome, in the Grandes Galeries from 7 October 2014 to 18 January 2015 . Curators are Francesca Cappelletti, professor of history of modern art at the University of Ferrara and Annick Lemoine, officer in charge of the Art history Department at the French Academy in Rome, lecturer at the University of Rennes 2. The exhibition has been conceived and organized within the framework of a collaboration between the French Academy in Rome – Villa Medici and the Petit Palais, Musée des Beaux-Arts de la Ville de Paris, where it will be shown from 24 February to 24 May 2015. The Baroque Underworld reveals the insolent dark side of Baroque Rome, its slums, taverns, places of perdition. An "upside down Rome", tormented by vice, destitution, all sorts of excesses that underlie an amazing artistic production, all of which left their mark of paradoxes and inventions destined to subvert the established order. This is the first exhibition to present this neglected aspect of artistic creation at the time of Caravaggio and Claude Lorrain’s Roman period, unveiling the clandestine face of the Papacy’s capital, which was both sumptuous and virtuosic, as well as the dark side of the artists who lived there.
    [Show full text]
  • Saggio Brothers
    Cammy Brothers Reconstruction as Design: Giuliano da Sangallo and the “palazo di mecenate” on the Quirinal Hill this paper I will survey information regarding both the condition and conception of the mon- ument in the fifteenth and sixteenth centuries. When Giuliano saw the temple, the only fragments left standing were a portion of the façade and parts of the massive stair structure. His seven drawings of the monument were the first attempts to reconstruct the entire building, as well as the most complex and large scale reconstructions that he ever executed. The sec- ond part of this essay will compare Giuliano’s drawings with those of Peruzzi and Palladio, with the aim of demonstrating, contrary to the theory that drawings after the antique became increasingly accurate over time, that Giuliano in fact took fewer liberties in his reconstruction than did Palladio. Aside from providing some insight into Giuliano’s working method, I hope through this comparison to suggest that fif- teenth- and sixteenth-century drawings of antiquities cannot appropriately be judged according to one standard, because each archi- 1. Antonio Tempesta, Map of Rome, Giuliano da Sangallo’s drawings have suffered tect had his own particular aims. Giuliano’s 1593, showing fragments of the temple by comparison to those of his nephew, Antonio drawings suggest that he approached recon- as they appeared in the Renaissance. da Sangallo il Giovane. Although his drawings struction not with the attitude we would expect are more beautiful, they are on the whole less of a present day archaeologist, but rather with accurate, or at least less consistent in their mode that of a designer, keen to understand the ruins of representation and their use of measure- in terms that were meaningful for his own work.
    [Show full text]
  • ROME : ART and HISTORY OPENAIR 2020-2021, 2Nd Semester Meeting 1 – 13.03.2021 the Eternal City
    University of Rome Tor Vergata School of Global Governance Prof. Anna Vyazemtseva ROME : ART AND HISTORY OPENAIR 2020-2021, 2nd semester Meeting 1 – 13.03.2021 The Eternal City 10 am – 5 pm :, The Palatine (Domus Augustana, Horti Farnesiani), Roman and Imperial Forums, The Colosseum, Vittoriano Complex, Musei Capitolini. 1 - 2pm:Lunch Meeting 2 – 20.03.2021 Introduction to the Renaissance 10 am – 5 pm: St. Peter’s Basilica, Vatican Museums (Sistine Chapel by Michelangelo, Stanze by Raphael). 1 - 2pm: Lunch Meeting 3 – 27.03.2021 Architecture and Power: Palaces of Rome 10 am – 5 pm: Villa Farnesina, Via Giulia, Palazzo Farnese, Palazzo Spada-Capodiferro, Palazzo della Cancelleria, Palazzo Mattei, Palazzo Venezia 1 - 2pm: Lunch Meeting 4 – 10.04.2021 Society, Politics and Art in Rome in XV-XVIII cc. 10 am – 5 pm: Santa Maria del Popolo, Piazza di Spagna, Barberini Palace and Gallery, Fon tana di Trevi, San Carlino alle Quattro Fontane, Sant’Andrea al Quirinale, Palazzo del Quirinale 1 - 2pm:Lunch Meeting 5 – 14.04.2021 The Re-use of the Past 10 am – 5 pm: Pantheon, Piazza di Pietra, Piazza Navona, Baths of Diocletian, National Archeological Museum Palazzo Massimo alle Terme. 1 - 2pm: Lunch Meeting 6 – 08.03.2021 Contemporary Architecture in Rome 10 am – 5pm: EUR district, MAXXI – Museum of Arts of XXI c. (Zaha Hadid Architects), Ara Pacis Museum. 1 – 2 pm: Lunch Proposals and Requirements The course consists of 6 open air lectures on artistic heritage of Rome. The direct contact with sites, buildings and works of art provides not only a better comprehension of their historical and artistic importance but also helps to understand the role of heritage in contemporary society.
    [Show full text]
  • Borromini and the Cultural Context of Kepler's Harmonices Mundi
    Borromini and the Dr Valerie Shrimplin cultural context of vshrimplin@gmail.c Kepler’sHarmonices om Mundi • • • • Francesco Borromini, S Carlo alle Quattro Fontane Rome (dome) Harmonices Mundi, Bk II, p. 64 Facsimile, Carnegie-Mellon University Francesco Borromini, S Ivo alla Sapienza Rome (dome) Harmonices Mundi, Bk IV, p. 137 • Vitruvius • Scriptures – cosmology and The Genesis, Isaiah, Psalms) cosmological • Early Christian - dome of heaven view of the • Byzantine - domed architecture universe and • Renaissance revival – religious art/architecture symbolism of centrally planned churches • Baroque (17th century) non-circular domes as related to Kepler’s views* *INSAP II, Malta 1999 Cosmas Indicopleustes, Universe 6th cent Last Judgment 6th century (VatGr699) Celestial domes Monastery at Daphne (Δάφνη) 11th century S Sophia, Constantinople (built 532-37) ‘hanging architecture’ Galla Placidia, 425 St Mark’s Venice, late 11th century Evidence of Michelangelo interests in Art and Cosmology (Last Judgment); Music/proportion and Mathematics Giacomo Vignola (1507-73) St Andrea in Via Flaminia 1550-1553 Church of San Giacomo in Augusta, in Rome, Italy, completed by Carlo Maderno 1600 [painting is 19th century] Sant'Anna dei Palafrenieri, 1620’s (Borromini with Maderno) Leonardo da Vinci, Notebooks (318r Codex Atlanticus c 1510) Amboise Bachot, 1598 Following p. 52 Astronomia Nova Link between architecture and cosmology (as above) Ovals used as standard ellipse approximation Significant change/increase Revival of neoplatonic terms, geometrical bases in early 17th (ellipse, oval, equilateral triangle) century Fundamental in Harmonices Mundi where orbit of every planet is ellipse with sun at one of foci Borromini combined practical skills with scientific learning and culture • Formative years in Milan (stonemason) • ‘Artistic anarchist’ – innovation and disorder.
    [Show full text]
  • The Building of Palazzo Pamphilj
    The building of Palazzo Pamphilj Author: Stephanie Leone Persistent link: http://hdl.handle.net/2345/bc-ir:107932 This work is posted on eScholarship@BC, Boston College University Libraries. Published in Palazzo Pamphilj: Embassy of Brazil in Rome, pp. 15-67, 2016 These materials are made available for use in research, teaching and private study, pursuant to U.S. Copyright Law. The user must assume full responsibility for any use of the materials, including but not limited to, infringement of copyright and publicat PALAZZO PAMPHILJ Embassy of Brazil in Rome UMBERTO ALLEMANDI The Building of Palazzo Pamphiij STEPHANIE LEONE he Palazzo Pamphilj overlooks the Piazza Navona, one of the largest and most celebrated public spaces in T Rome that is situated at the heart of the historical centre (fig. I). The monumental palace stretches for eighty ,five metres along the Western flank of the piazza from the Southern corner coward the Northern end. The exceptionally long fapde is organised into a symmetrical sequence of bays with a projecting central section and is buttressed, at the North end, by a distinct fapde with a large serliana win, dow (an arch with crabeaced sides). The exterior boasts a profusion of ornament that enlivens the surface and punctuates the horizontality of the building. Through sheer scale and abundance of form, the Palazzo Pamphilj bespeaks grandeur and authority. Architecture serves the rhetorical functions of communication and persuasion. In the early modem period (ca. 1500-1800), palaces in particular became synonymous with the statm of their owners. Today, the Palazzo Pamphilj houses the Embassy of Brazil in Rome, but until the government ofBrazil purchased the palace in 1960, it had belonged to the Pamphilj family.
    [Show full text]
  • 005-Santa Susanna
    (005/11) Santa Susanna Santa Susanna is an 15th century monastic and titular church. It is on the Piazza San Bernardo, on the Via XX Settembre just north-west of the Piazza della Repubblica and its metro station in the rione Trevi. The dedication is to St Susanna, and the full official title is Santa Susanna alle Terme di Diocleziano. (1) History A church at Santa Susanna commemorates the place where, according to St. Jerome, a young Christian woman was martyred for refusing to worship Rome's pagan gods. Around the year 290 Susanna was residing with her father, Christian presbyter Gabinus, right next door to her saintly uncle Pope Caius (283-296), and in the shadows of the Emperor Diocletian's (284-305) immense baths. After refusing to break a vow of virginity to marry her insistent suitor Maximianus Galerius (none other than the Emperor's adopted son and heir), Susanna also balked at offering a pagan sacrifice, and was beheaded in her own home. The church of Santa Susanna is one of the oldest titles of Rome. The first Christian place of worship was built here in the 4th century. It was probably the titulus of Pope Caius (283-296). The early Christian church was built on the remains of three Roman villas, and was located immediately outside the fence of the Baths of Diocletian and close to the Servian walls. (8) First church By tradition, the church was built in 330, and named San Caio after the owner of the first chapel. In 590, the church was rededicated to St Susan because of her growing popularity.
    [Show full text]