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CY221/Jarrard-FM CY221/Jarrard 0521815096 June 5, 2003 19:11 Char Count= 0 Architecture as Performance in Seventeenth-Century Europe Court Ritual in Modena, Rome, and Paris Alice Jarrard Harvard University iii CY221/Jarrard-FM CY221/Jarrard 0521815096 June 5, 2003 19:11 Char Count= 0 published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb2 2ru, uk 40 West 20th Street, New York, ny 10011-4211, usa 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Alice Jarrard 2003 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2003 Printed in the United Kingdom at the University Press, Cambridge Typeface Bembo 11/13.5 pt. System LATEX 2ε [tb] A catalog record for this book is available from the British Library. Library of Congress Cataloging in Publication Data Jarrard, Alice, 1960– Architecture as performance / Alice Jarrard. p. cm. Includes bibliographical references and index. isbn 0–521–81509–6 1. Architecture – Italy – Modena – 17th century. 2. Francesco I dEste, Duke of Modena and Reggio, 1610–1658 – Art patronage. 3. Architecture and state – Italy. 4. Architecture and state – Europe. i. Title. na1121 .m63 j37 2003 306.470954209032 – dc21 2002035068 isbn 0 521 81509 6 hardback Publication of this book has been aided by a grant from the Millard Meiss Publication Fund of the College Art Association iv CY221/Jarrard-FM CY221/Jarrard 0521815096 June 5, 2003 19:11 Char Count= 0 Contents List of Illustrations page vii Acknowledgments xi Measures and Monetary Systems xiii Archival Documentation and Abbreviations xv Introduction 1 The Paradox of the Ducal Monarchy: The Este Exile 4 Francesco d’Este’s Statecraft and Dynastic Refoundation 7 1 The Urban Arena 11 Modena as a Backdrop 13 Chivalry, Circuses, and Ragion di Stato 17 Amphitheaters as Military Gestures 19 Amphitheaters and the Authority of Print 30 Amphitheater into Theater 48 2 The Duke and His Theater 53 Theaters in Emilia: Tournaments Tamed 56 Architecture for Ducal Opera 70 Technology and Princely Representation 82 3 Palace, Status, and Dynastic Refoundation 90 Fortifying the Princely Castle 92 Models, Roman and Otherwise 108 Ceremonial Functions 116 Interior Dynastic Displays 120 v CY221/Jarrard-FM CY221/Jarrard 0521815096 June 5, 2003 19:11 Char Count= 0 4 Portraits: Working Images of the Prince 133 Rituals of Display 134 Producing the Ritual Object 146 Monarchical Virtue 157 The Posthumous Production of Magnificence 163 5 Instrumenta Regni: From the Provinces to Rome and Paris 168 Rome: A Foothold 169 Rome: A Permanent Palace 177 From Ducal Modena to Royal Paris 185 Theaters of Royal Power 188 Vigarani’s Settings for Royal Spectacles of State 192 Strategies of Royal Assimilation, Ephemeral and Permanent 208 Conclusion 215 Appendix 219 Notes 227 Bibliography 277 Index 293 vi Contents CY221/Jarrard-FM CY221/Jarrard 0521815096 June 5, 2003 19:11 Char Count= 0 Illustrations Plates (appear before page 1) i G. Bernini, bust of Francesco I d’Este ii G. Rainaldi and G. Vigarani, ducal garden plan, Modena iii B. Avanzini, ducal palace fac¸ade, Modena iv B. Bianchi and G. Monti, staircase, Sassuolo v A. Colonna and A. Mitelli, Great Hall, Sassuolo vi J. Boulanger, “Room of Este Virtues,” Sassuolo vii O. Dauphin, Francesco d’Este as a French General viii D. Velazquez,´ Francesco d’Este Illustrations 1 Apparato of the nave at Sant’Agostino, Modena, 1659 page 3 2 F. Fontana, catafalque of Francesco d’Este, 1659 5 3 P. Duval, map of Italy in 1679, detail 7 4 V. Colombi, view of Modena, circa 1635,fromTrattato 14 5 G. Boccabadanti, plan of Modena, 1684 15 6 B. Fenis, Francesco d’Este and court procession, from Gamberti, 1659 17 7 A. Chenda, plan of the amphitheater in Modena, 1635 20 8 Amphitheater of Verona, from Lipsius, 1584 21 9 J. Callot, amphitheater at the Piazza Santa Croce in Florence, 1616 22 10 Il Coriolanus, amphitheater for Amore Prigionero in Delo, Bologna, 1628 23 11 F. Collignon, amphitheater for Festa fatta in Roma, 1634 25 12 Piazza Grande, Modena 27 13 B. Fenis, Francesco d’Este and the citadel of Modena, from Gamberti, 1659 29 vii CY221/Jarrard-FM CY221/Jarrard 0521815096 June 5, 2003 19:11 Char Count= 0 14 N. Tornioli, Savoy amphitheater in Rome, 1637 33 15 C. Lorrain, firework machine in Rome, plate 5, 1637 34 16 C. Lorrain, firework machine in Rome, plate 6, 1637 35 17 S. della Bella, amphitheater in Boboli gardens, Florence, 1637 36 18 L. Burnacini, tournament theater in Ferrara, 1642 37 19 B. Curti, festival machine for Rinaldo d’Este in Reggio Emilia, 1642 39 20 S. della Bella, longitudinal section of the amphitheater for the Gara delle stagione, 1652 40 21 Theater for the Porchetta in Bologna, 1638 41 22 S. della Bella, tournament in the Boboli gardens, 1652 42 23 G. Boetto, joust at Turin, 1650 43 24 S. della Bella, machine of Aeolus for the Gara delle stagione, 1652 44 25 S. della Bella, amphitheater for Gara delle stagione, cross-section 45 26 S. della Bella, equestrian procession for Gara delle stagione 46 27 S. della Bella, amphitheater for the Gara delle stagione, detail 49 28 F. Gagliardi and F. Lauri, outdoor theater at the Palazzo Barberini, Rome 51 29 B. Fenis, Francesco d’Este in his theater, from Gamberti, 1659 55 30 A. Vacchi, theater plan 57 31 Il Coriolanus, tournament pose, with pike extended 60 32 Il Coriolanus, tournament pose, with pike against chest 61 33 J. Callot, Medici theater in the Uffizi 62 34 G. Boetto, theater for Arione maritima, Turin 63 35 Farnese theater, Parma 64 36 O. Gatti, Teatro degli Intrepedi, Ferrara, 1618 65 37 F. Guitti, proscenium for Torneo a Piedi, Ferrara 67 38 G. Vigarani, theater at Reggio Emilia 68 39 A. Chenda, Sala della Podesta,` Bologna 69 40 G. Giorgi, Teatro Novissimo, Venice 73 41 Plan, Palazzo Communale, Modena 74 42 G. Vigarani, church of San Giorgio, Modena 77 43 G. Vigarani, Este theater project 78 44 Sandrart or Jenet, imperial theater, Vienna 79 45 G. B. Galestruzzi, Teatro Barberini, Rome 80 46 S. degli Alli, Teatro della Pergola, Florence 81 47 S. degli Alli, stage of the Teatro della Pergola, Florence 82 48 Comparative plan of Baroque theaters 83 49 B. Fenis, ducal palace in Modena, from Gamberti, 1659 91 50 Palazzo Ducale, Modena 93 51 Comparative plan of ducal and royal palaces 94–5 52 A. Tempesta, Holy Shroud display before castle in Turin, 1628 96 53 A. Frizzi, Este castle in Ferrara, 1784 97 viii Illustrations CY221/Jarrard-FM CY221/Jarrard 0521815096 June 5, 2003 19:11 Char Count= 0 54 F. Vacchi, project of 1630 for ducal palace, Modena 99 55 B. Lorini, plan of fortified residence, 1597 100 56 Palazzo Bentivoglio, Gualtieri 101 57 Texiera, plan of Madrid, detail of Alcazar´ 102 58 G. Rainaldi, project for ducal palace in Modena, 1631 103 59 F. Vacchi, project for ducal palace in Modena, 1632 104 60 G. Rainaldi, project for ducal palace in Modena, 1632 105 61 G. Rainaldi, project for ducal palace in Modena, 1633 107 62 G. Vigarani, casino in ducal gardens, Modena 109 63 B. Fenis, ducal villa of Sassuolo, from Gamberti, 1659 110 64 P. da Cortona, project for Pitti Palace, Florence 112 65 F. Borromini, project for Palazzo Pamphili, Rome 113 66 G. B. Falda, Palazzo Pamphili, Rome 114 67 B. Avanzini, ducal courtyard project, Modena 115 68 After Avanzini, plan of ducal palace, Modena 117 69 Entrance to ducal palace stairs, Modena 121 70 Ducal palace stairs, Modena 123 71 B. Fenis, Francesco in his chambers, from Gamberti, 1659 124 72 B. Fenis, Francesco welcoming gentlemen, from Gamberti, 1659 125 73 B. Fenis, soldiers in the treasury, from Gamberti, 1659 127 74 A. Colonna and A. Mitelli, courtyard drawing, Sassuolo 129 75 Guercino, frontispiece to Scanelli, Microcosmo della Pittura 131 76 P. Ligorio, Este ancestors 135 77 Gallery at ducal palace, Turin 139 78 Plan of Sassuolo 140 79 Regnier (?), The Este family 141 80 Hall of Fame, Sassuolo 143 81 Room of Venus, Palazzo Pitti, Florence 145 82 M. Lowes, Portrait of Francesco d’Este 148 83 M. Lowes, Portrait of Maria Farnese 149 84 D. Velazquez,´ Portrait of King Philip IV of Spain 151 85 C. Doino, Alfonso III and Francesco I d’Este 152 86 F. Berni, De gli Eroi della Serenissima Casa d’Este 153 87 J. Sustermans, Portrait of Alfonso IV d’Este 155 88 R. van Voerst, Bernini’s bust of Charles I 156 89 G. Bernini, bust of Louis XIV 157 90 A. Van Dyck, Triple Portrait of Charles I of England 159 91 G. Bernini, bust of Francesco I d’Este, detail 161 92 E. Teseo, medallion of Francesco I 163 93 L. Tinti, frontispiece to Gamberti, 1659 164 94 B. Fenis, Francesco and his virtuosi, from Gamberti, 1659 167 95 G. B. Falda, Palazzo Aldobrandini, Rome 170 96 G. Huret, Cardinal Rinaldo d’Este 171 Illustrations ix CY221/Jarrard-FM CY221/Jarrard 0521815096 June 5, 2003 19:11 Char Count= 0 97 A. Algardi, design for an Este carriage finial 172 98 Unknown artist, sugar sculpture 173 99 D. Barriere,` festival in Rome, 1650 175 100 P. Ferrerio, Este palace fac¸ade, Rome 178 101 G.
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  • Information Sheet

    Information Sheet

    Prof. Mirka Beneš UTexas School of Architecture LAR388/ARC 388/368R Fall 2013 p. 1 LAR 388 / ARC 368 R / ARC 388 R Prof. Mirka Beneš Thursday, 2pm-5pm Office hours: TBA. Room: Sutton 3.112 Office: TBA. School of Architecture Office: TBA. University of Texas at Austin email: TBA. LAR 388: Seminar Professional Design Practice in Baroque Rome: Landscape, Urbanism, Architecture Francesco Borromini. Fall Semester 2013 * Course Unique Numbers LAR 388 [01805], ARC 388 R [01245], ARC 368 R [00960]. Course Description Design is a synthetic act, and studying or rehearsing how a design comes together in a specific historical setting gives the student deeper insight into how synthesis is achieved. This inter- disciplinary seminar on the City of Rome during the Baroque period (c. 1600-1700) focuses this year on the life and works of one architect as a means to explore the act of design synthesis, in the context of the urban, landscape, and architectural dimensions of a great city. The seminar takes Francesco Borromini, one of seventeenth-century Papal Rome's greatest architects and draughtsmen, as the departure point for exploring professional practices and disciplines at a paradigmatic moment in the history of design, when landscape architecture, urbanism, and architecture were the practices of a single designer, but the turn to specializations was already appearing. Set against the scenery of Rome, one of Europe's monumental Baroque cities, epitomized by the seventeenth-century Piazza Navona with its fountains and sculptures, the "spine" of the seminar follows the chronological study of Borromini's major works (1630s to 1660s)--among them, San Carlino alle Quattro Fontane and the Oratory of San Filippo Neri for religious communities, and Sant'Ivo alla Sapienza for the Roman University; chapels such as the Cappella dei Re' Magi; designs for the Barberini, Carpegna, and Pamphilj palaces.