Thesienastudio Itinerari

Total Page:16

File Type:pdf, Size:1020Kb

Thesienastudio Itinerari theSIENAstudio itinerari N J SCHOOL OF ARCHITECTURE @ NJIT: SIENA SUMMER STUDY ABROAD PROGRAM ROMA The following are itineraries are both formal guided tours AND/OR self-guided tours. Generally, tours begin at 09.30 and end in time for a late lunch at ~14.30. Full participation in ALL tours is a requirement of ALL participants in Siena Program. ITINERARIO 1 : DAY 1 [autobus/self-guided] Garbatella : citta' giordino: social housing early 20th C to present • document: I.C.P. Istituto Case Popolari complex: bonomelli square • S Paolo fuori le mura. via Ostiense. 19th C (c1832-40) reconstruction of Roman basilica begun by the Emperor Constantine. ITINERARIO 2 : DAY 2 [guided] Colosseo Circo Massimo FAO (former ministero per l'Africa-Italiana) M Ridolfi + V Cafiero, 1938 Terme di Caracalla • document: terme Aurelian Wall San Sabo : citta' giordino: social housing early 20th C Piazza dei Cavalieri di Malta, Santa Maria del Priorato, GB Piranesi, c1760 Palazzo delle Poste, Piazza Piramide, Av Avellino, A Libera, 1933 ITINERARIO 3 : DAY 4 [metro/guided] Ostia Antica ancient roman port: town planning/urban form • document: forum + apartment blocks Ostia Lido modern roman resort: seaside villas + civic buildings Poste, Angiolo Mazzoni, 1934 Seaside Villas, A Libera, 1932-34 Seaside Bathhouse, L Moretti, 1937-39 • document: comparative forms + geometries ITINERARIO 4 : [self-guided] Baroque I Piazza del Popolo, Carlo Rainaldi, 1662-79: Santa Maria di Monte Santo e Santa Maria Miracoli: • Chiesa di Sta. Maria del Popolo, facade and nave sculptures, GL Bernini c1660; apse by G Bramante c1600-09; the Capella Chigi Chapel also by Bernini, other chapels by Carlo Fontana, Raphael, Sangallo il giovane, etc; The Cappella Cerasi has two canvases by Caravaggio, the Conversion of Paul and the Crucifixion of St Peter, from 1601-1602. >>go farther: Via del Corso: S. Marcello al Corso. façade, Carlo Fontana, 1682-1686. >>go farther: Piazza Augusto Imperatore: rationalist edifici + Ara Pacis (enclosure, Richard Meier, 2001); >>go farther: Palazzo Borghese, via Condotti; S. Ivo della Sapienza di Roma, F Borromini (chapel), Pirro Ligorio/Giacomo della Porta, 1642-50 • document: volume: plan + section theSIENAstudio itinerari cont’d ROMA cont’d Piazza Navona: S. Agnese, F Borromini, 1652-, and i Tre Fiumi, Giovani Lorenzo Bernini, c1650 • Urban legend has it that one of Bernini’s personifications in the Fountain holds his hand up as if protecting himself from the imminent collapse of the façade of S. Agnese. While the relationship between Borromini and Bernini was tense, the fountain was completed before the façade so the apparent gesture was not intentional. See Baroque III, below, to see the real tectonic tension between the two. Santa Maria della Pace, Pietro da Cortona, 1656-57; chiostre (cloister), Bramante, 1500-1504. • document: facade: the dynamic fold; and cloister: order + repose; Sant’ Andrea delle Valle, Carlo Maderno, 1650, Piazza Vidoni / Piazza delle Valle. Il Gesú, Vignola, 1568; facade, Giacomo della Porta, 1575. >>go farther: Villa Farnesina, B. Peruzzi • document: la villa dal giordino (the villa from the garden) >>go farther: Il Tempietto (Chiostre di S. Pietro in Montorio), Bramante, 1502. ITINERARIO 5 : DAY 5 Baroque II: le ville di Roma: Villa Medici, Annibale Lippi/Bartolomeo Ammannati, 1654- • <Vigna del Pigneto, Pietro da Cortona, b1630> Villa Borghese, Flaminio Ponzio, 1613-15 Villa Guilia, G B Vignola. B Ammanati, 1551 Baroque III: rivals S. Carlo alle Quattro Fontane, Francesco Borromini, 1634-84 S Andrea al Quirinale, GL Bernini, 1658-1661 NB: Many guides in Rome will explain how Bernini made one of the personifications in his Fountain of the Four Rivers hold his hand as if protecting himself from the imminent collapse of the façade. It is true that the relationship between Borromini and Bernini was tense (although they did work together at one time), but the fountain was completed before the façade so the apparent gesture was not intentional. >>go farther: Palazzo Barberini, Carlo Maderno, 1625; completed by GL Bernini, c1630 ITNERARIO 6 : DAY 6 [autobus] Roma moderna • Mausoleo delle Fosse Ardeatine, Mario Fiorentino, 1945/48 • Decima and Laurentina 38 (trent'otto) • Corviale EUR ITINERARIO ALTERNATIVO : [autobus] TBA Villa Adrianna, Tivoli OR Villa d'Este, Tivoli, 1565-72 OR Villa Aldobrandini, Frascati, Maderno/C Fontana, 1598-1602 ITINERARIO ALTERNATIVO : [autobus] TBA Villa Lante (Bagnaia), Vignola, 1566- Villa Farnese (Caprarola), Vignola 1559- (original, Sangallo il giovane) • Casina. Vignola Note: itineraries and schedule are subject to change! .
Recommended publications
  • Italian Quarterly, XXXVII, 2000, 209-51
    BERNINI’S BUST OF THE SAVIOR AND THE PROBLEM OF THE HOMELESS IN SEVENTEENTH-CENTURY ROME Italian Quarterly, XXXVII, 2000, 209-51 BERNINI'S BUST OF THE SAVIOR AND THE PROBLEM OF THE HOMELESS IN SEVENTEENTH-CENTIJRY ROME* In preparing for death Bernini followed a long and glorious tradition in which artists since the Renaissance strove to outdo themselves (and their predecessors) by creating tours de force of their craft as ultimate testaments to their ability and devotion. 1 While he followed his tradition, Bernini reinterpreted it in a flllldamental way, as ifin fulfillment of his famous dictum that in his art he had succeeded in breaking the rules, without ever violating them.2 For although he amassed great wealth and international prestige during a long and almost uniformly successful career, unlike many artists of his means and stature - and notably his great prototype Michelangelo -- ho planned no tomb or other monument for himself. 3 It emerges now more clearly than ever that if Bernini's expiatory creations were selfjusti:ficatory in origin, they were not self-centered in destination; they were directed not inward but outward, in a spirit of what today might be called "social consciousness." • • • Homo sapiens has been defined as the only animal that knows it is going to die. This paradox of a living creature's self-conscious awareness of and preoccupation with its own death was a prominent theme in European cullure from antiquity on. The process of intellectualization of this fatal aspect of human nature culminated toward the end of the middle ages in a coherent and logically conceived system, a veritable theory of dying.
    [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]
  • In Presentia Mei Notarii. Piante E Disegni
    FERNANDO BILANCIA Il palazzo della famiglia Aquilani di Roma a piazza di Ara Coeli Il palazzo che fu degli Aquilani, sinora mai studiato benché centralis- simo, sorge a Roma a piazza d’Ara Coeli 61. Gli Aquilani di Roma appartenevano ad una nobile famiglia pisana che ebbe fra i suoi componenti diversi cavalieri dell’ordine di S. Stefano2; alcuni suoi membri si trasferirono nella capitale dello Stato Pontificio nel secolo XVI, ove ricoprirono importanti cariche pubbliche. La testimonianza più antica della presenza a Roma di un componente della famiglia si fa risalire al 1539 ed è fornita dall’iscrizione posta su una lapide incisa nel 1736 nel pavimento della chiesa di S. Maria in Vallicella: in essa, al di sotto dello stemma di famiglia quasi completamente abraso (tav. XXVII), Ludovico Aquilani3 riferisce che nel 1539 il suo antenato Ludo- vico senior, quando era ancora in vita, eresse nella chiesa un monumento funebre a sè ed ai suoi discendenti4. Ma il confronto con tutte le altre noti- zie reperite, riguardanti la vita di Ludovico senior Aquilani (in particolare la data della sua morte avvenuta nel 1594) rende piuttosto improbabile che 1 C. PIETRANGELI (Guide rionali di Roma. Rione X–Campitelli, I, Roma, Palombi editori, 1975, p. 18) si limita a definirlo correttamente “palazzetto del ’700”. 2 Sulla famiglia Aquilani cfr.: T. AMAYDEN, La storia delle famiglie romane, con note ed aggiunte di C.A. Bertini, Roma, Collegio Araldico, s. d. (rist. anast., Roma, Edizioni Romane Colosseum, 1987), I, pp. 70-72; R. MAZZEI, Pisa medicea, Firenze, Leo Olschki editore, 1991. L’Ordine militare dei Cavalieri di S.
    [Show full text]
  • La Costruzione Di Palazzo Pamphilj
    La costruzione di Palazzo Pamphilj Author: Stephanie Leone Persistent link: http://hdl.handle.net/2345/bc-ir:107933 This work is posted on eScholarship@BC, Boston College University Libraries. Published in Palazzo Pamphilj: Ambasciata del Brasile a Roma, 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 Ambasciata del Brasile a Roma UMBERTO ALLEMAND! La costruzione di Palazzo Pamphilj STEPHANIE LEONE alazzo Pamphilj si affaccia su piazza Navona, uno degli spazi pubblici piu grandi e celebri di Roma, nel cuore Pdel suo centrn storico (fig. l). 11 monumentale palazzo si estende per ottantacingue metri sul lato occidentale della piazza, dall' angolo meridionale in direzione di guello settentrionale. La facciata, eccezionalmente lunga, eorganizzata secondo una seguenza simme, trica con una sezione centrale in aggetto ed e contraffortata, all' estremiti settentrionale, da una diversa facciata sulla guale si a pre una grande finestra a serliana (finestra trifora con l' apertura centrale ad area e le due laterali, piu basse, a trabeazione). L' esterno vanta abbondanti decorazioni che vivacizzano la su perficie e sottolineano l' orizzontalita dell' edificio. Con le sue notevoli dimensioni e la sua ricchezza di forme, Palazzo Pamphilj infonde un senso di grandezza e autorita. L'architettura soddisfa le funzioni retoriche di comunicazione e persuasione. Nel Seicento, i palazzi rappresentava, no lo status dei lorn prnprietari. Oggi Palazzo Pamphilj ospita l' ambasciata del Brasile a Roma, ma prima che il Governo brasiliano lo acguistasse apparteneva alla famiglia Pamphilj.
    [Show full text]
  • Bernini As the Seicento Michelangelo: Imitation and Identity in Art, Architecture and Biography
    Bernini as the Seicento Michelangelo: Imitation and Identity in Art, Architecture and Biography by Carolina Mangone A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Art University of Toronto © Copyright by Carolina Mangone 2012 Bernini as the Seicento Michelangelo: Imitation and Identity in Art, Architecture and Biography Carolina Mangone Doctor of Philosophy, History of Art Department of Art University of Toronto 2012 Abstract This dissertation examines how Gianlorenzo Bernini (1598-1680), acclaimed the “Michelangelo of his age,” constructed his identity by imitating the art, practices and persona of Michelangelo Buonarroti (1475-1564). Buonarroti’s “inimitability,” a disputed sixteenth-century notion that became ever more contentious as newly critical seventeenth-century perspectives of his work and practice questioned his worth as a model for imitation, furnishes the point of departure for investigating how Bernini became Bernini through and against his predecessor. By analysing Gianlorenzo’s formal, stylistic, theoretical and conceptual references to Buonarroti in his early narrative sculpture (ch.1), his sculpted self-portraits (ch.2), his work at St. Peter’s (ch.3), his architectural ornament (ch.4) as well as the intertextual strategies attending the literary uses of the association between the two artists (ch.5), I shed light on various imitative modes –ranging from emulation, allusion and paraphrase, to repetition, quotation and bricolage – that Bernini and his biographers employed to shape the artist into Michelangelo’s worthy “son” rather than his burdened epigone. In positing a filial model as a flexible framework for understanding Bernini’s life-long relationship to Michelangelo, I take a cue from early modern art writers who suggested that the way to ii overcome Buonarroti’s inimitability was to resemble him faintly, the way a son resembles a father.
    [Show full text]
  • Santa Maria Maggiore St Mary Major
    Santa Maria Maggiore St Mary Major Piazza di Santa Maria Maggiore Santa Maria Maggiore is a 5th century papal basilica, located in the rione Monti. and is notable for its extensive Early Christian mosaics. The basilica is built on the summit of the Esquiline hill, which was once a commanding position. (1) (i)! History Ancient times The church is on the ancient Cispius, the main summit of the Esquiline Hill, which in ancient times was not a heavily built-up area. Near the site had been a Roman temple dedicated to a goddess of childbirth, Juno Lucina, much frequented by women in late pregnancy. Archaeological investigations under the basilica between 1966 and 1971 revealed a 1st century building, it seems to have belonged to a villa complex of the Neratii family. (1) (k) Liberian Basilica - Foundation legend - Civil war According to the Liber Pontificalis, this first church (the so-called Basilica Liberiana or "Liberian Basilica") was founded in the August 5, 358 by Pope Liberius. According to the legend that dates from 1288 A.D., the work was financed by a Roman patrician John, and his wife. They were childless, and so had decided to leave their fortune to the Blessed Virgin. She appeared to them in a dream, and to Pope Liberius, and told them to build a church in her honor on a site outlined by a miraculous snowfall, which occurred in August (traditionally in 358). Such a patch of snow was found on the summit of the Esquiline the following morning. The pope traced the outline of the church with his stick in the snow, and so the church was built.
    [Show full text]
  • Carlo Rainaldi and the Quarantore As Precursor to Santa Maria in Campitelli
    Permanent Devotion: Carlo Rainaldi and the Quarantore as Precursor to Santa Maria in Campitelli Iara A. Dundas In the Jubilee year of 1650 the architect Carlo Rainaldi In the seventeenth century the Renaissance tradition of designed and constructed a devotional theatrical set for the festal ephemeral structures turned to the monumental and Quarantore, or Devotion of the Forty Hours, for the Jesuit the dramatic in an unprecedented manner. Patrons, religious church of Il Gesù in Rome. At the conclusion of the Devotion, and secular alike, took to commissioning the most prolific the set was dismantled and its parts recycled. Twelve years and renowned artist-architects of the age for the design of later the foundation stones were laid for the church of Santa these temporary theatrical sets, often referred to as apparati. Maria in Campitelli, Rainaldi’s first major solo commission.1 Gianlorenzo Bernini frequently participated in the creation A comparative look at the extant print of the Quarantore of ephemera and Andrea Pozzo included designs for the and the interior of the church reveals striking visual paral- Quarantore in his treatise on perspective; Carlo Rainaldi lels, suggesting an immediate link between the two designs was no exception in this regard. Born in 1611, Rainaldi (Figures 1 and 2). This relationship has been noted in the was truly of the Baroque generation. Like other architects past by only a few scholars, but while it has been suggested before him, he was trained as such by his likewise employed that the Quarantore influenced
    [Show full text]
  • Joseph Connors, “Francesco Borromini. La Vita (1599–1667),” in Borromini E L’Universo Barocco, Ed
    Joseph Connors, “Francesco Borromini. La vita (1599–1667),” in Borromini e l’universo barocco, ed. RICHARD BÖSEL, CHRISTOPH L. FROMMEL, exh. cat. (Rome, Palazzo delle Esposizioni, 1999–2000), Milan, Electa, vol. I, 1999, pp. 7–21 Borromini’s life began and ended at the water’s edge.1 He was born in Switzerland in 1599 a hamlet lapped by the wavelets of the lake of Lugano, and he died, by suicide, in a house overlooking the Tiber. The town of Bissone had been under Swiss dominion for eighty years when Borromini was born there on 27 September 1599.2 The territory around the lake of Lugano had been part of the duchy of Milan under the Visconti and their Sforza successors, but in the chaos following the invasion by the French in 1499 and their subsequent withdrawal the Swiss pushed steadily southward, stopping only when defeated by the French at Marignano in 1515. Thus came to be formed the jagged and illogical boundary that still separates modern Italy and Switzerland.3 1. The seventeenth-century lives of Borromini are: Giovanni Battista Passeri (d. 1679; first edition 1772) Jacob Hess, ed., Die Künstlerbiographien von Giovanni Battista Passeri (Römische Forschungen der Bibliotheca Hertziana, XI), Leipzig and Vienna, 1934 (reprint Worms am Rhein, 1995), pp. 359-66 Bernardo Castelli Borromini, Nottitia, 10 June 1685, in Florence, Bibl. Naz. Centrale, Cod. Magliab. II II 110, fols. 36r and fols. 170r-171v (Bibliography: Hempel 1924, p. 6, n. 1; Passeri- Hess, 1934, p. 361, n. 2; S. Samek Ludovici in Archivi, 1950, p. 77; Thelen, Francesco Borromini: Die Handzeichnungen, p.
    [Show full text]
  • The Landscapes of Gaspard Dughet: Artistic Identity and Intellectual Formation in Seventeenth-Century Rome
    ABSTRACT Title of Document: THE LANDSCAPES OF GASPARD DUGHET: ARTISTIC IDENTITY AND INTELLECTUAL FORMATION IN SEVENTEENTH-CENTURY ROME Sarah Beth Cantor, Doctor of Philosophy, 2013 Directed By: Professor Anthony Colantuono, Department of Art History and Archaeology The paintings of Gaspard Dughet (1615-1675), an artist whose work evokes the countryside around Rome, profoundly affected the representation of landscape until the early twentieth century. Despite his impact on the development of landscape painting, Dughet is recognized today as the brother-in-law of Nicolas Poussin rather than for his own contribution to the history of art. His paintings are generally classified as decorative works without subjects that embody no higher intellectual pursuits. This dissertation proposes that Dughet did, in fact, represent complex ideals and literary concepts within his paintings, engaging with the pastoral genre, ideas on spirituality expressed through landscape, and the examination of ancient Roman art. My study considers Dughet’s work in the context of seventeenth-century literature and antiquarian culture through a new reading of his paintings. I locate his work within the expanding discourse on the rhetorical nature of seventeenth-century art, exploring questions on the meaning and interpretation of landscape imagery in Rome. For artists and patrons in Italy, landscape painting was tied to notions of cultural identity and history, particularly for elite Roman families. Through a comprehensive examination of Dughet’s paintings and frescoes commissioned by noble families, this dissertation reveals the motivations and intentions of both the artist and his patrons. The dissertation addresses the correlation between Dughet’s paintings and the concept of the pastoral, the literary genre that began in ancient Greece and Rome and which became widely popular in the early seventeenth century.
    [Show full text]
  • 2007-9, Vol. Ii, 849-916
    BERNINI’S BUST OF THE SAVIOR AND THE PROBLEM OF THE HOMELESS IN SEVENTEENTH-CENTURY ROME IN IRVING LAVIN, VISIBLE SPIRIT. THE ART OF GIANLORENZO BERNINI, 2 VOLS., LONDON, 2007-9, VOL. II, 849-916 XXII Bernini’s Bust of the Savior and the Problem of the Homeless in Seventeenth-century Rome* N preparing for death Bernini followed a long and glorious tradition in Iwhich artists since the Renaissance strove to outdo themselves (and their predecessors) by creating tours de force of their craft as ultimate testaments to their ability and devotion.1 While he followed his tradition, Bernini rein- terpreted it in a fundamental way, as if in fulfillment of his famous dictum that in his art he had succeeded in breaking the rules, without ever violat- ing them.2 For although he amassed great wealth and international prestige during a long and almost uniformly successful career, unlike many artists of his means and stature — and notably his great prototype Michelangelo — he planned no tomb or other monument for himself 3 It emerges now more clearly than ever that if Bernini’s expiatory creations were self justificatory in origin, they were not self-centered in destination; they were directed not inward but outward, in a spirit of what today might be called ‘social con- sciousness.’ *** * This paper is in the nature of a sequel to my study of Bernini’s Art of Dying and the works he created in pursuit of the ‘good death’ (Lavin 1972, 1973, 1978). These essays have been published together in Italian, Lavin 1998b. 1 I have outlined this tradition for Italian sculptors of the fifteenth and sixteenth cen- turies, in Lavin 1978–9, and 1998.
    [Show full text]
  • Max Hutzel Photographs of Art and Architecture in Italy
    http://oac.cdlib.org/findaid/ark:/13030/c87s7qqc Online items available Finding aid for Foto arte minore: Max Hutzel photographs of art and architecture in Italy Martha Steele, Andra Darlington, Laney McGlohon, and Tracey Schuster Finding aid for Foto arte minore: Max 86.P.8 1 Hutzel photographs of art and architecture in Italy ... Descriptive Summary Title: Foto arte minore: Max Hutzel photographs of art and architecture in Italy Date (inclusive): 1960-1990 Number: 86.P.8 Creator/Collector: Hutzel, Max Physical Description: 915 boxes(circa 67,275 black-and-white photographic prints, circa 86,400 black-and-white negatives) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: This collection contains thorough photographic documentation by Max Hutzel of art and architecture in Italy ranging in date from Antiquity to late Baroque. Included are photographs of secular buildings, museum holdings, ancient ruins, and religious institutions covering a broad range of artistic forms and styles, including architecture, paintings, frescoes, sculpture, manuscripts, metalwork and other minor arts. The regions most heavily represented are: the Abruzzi, Lazio (including Rome), the Marches, and Umbria. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical / Historical German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until the late 1980s, resulting in a vast body of photographs that he referred to as "Foto arte minore." Over the years he amassed a collection of about one million negatives and sold his photographs to individual scholars for publication and to institutions such as the Biblioteca Herziana, the National Gallery in Washington, and the Kunsthistorische Institut in Florence.
    [Show full text]
  • Una Cupola Su Colonne. Nuovi Elementi Per La Comprensione Di Sant’Agnese in Agone
    Fulvio Lenzo Una cupola su colonne. Nuovi elementi per la comprensione di Sant’Agnese in Agone 1. Roma, Sant’Agnese a piazza Navona, Fra gli episodi salienti del Seicento romano la esterno. chiesa di Sant’Agnese in piazza Navona è l’ar- 2. Roma, Sant’Agnese a piazza Navona, chitettura che meno si presta a essere interpretata interno. come il frutto del genio assoluto di un unico ar- tista1. Nel corso del secolo si sono avvicendati alla guida del cantiere Girolamo e Carlo Rainaldi, Francesco Borromini, poi nuovamente Carlo Rainaldi, insieme a Domenico Castelli, Camillo Arcucci, Francesco Contini, Giovan Battista Mola e Antonio del Grande, seguiti da Alessan- dro Baratta, Gianlorenzo Bernini, e infine Pietro da Cortona e Ciro Ferri2. Ognuno di loro è in- tervenuto modificando quanto già costruito dai predecessori, sì che la chiesa attuale è l’esito di una sommatoria di progetti interrotti innestati l’uno sull’altro. Numerosi disegni e documenti d’archivio testimoniano come le ricerche dei vari architetti succedutisi nella fabbrica siano state volte soprattutto a conferire un appropriato grado di monumentalità all’esterno (ill. 1) e a definire i piloni di sostegno della cupola (ill. 2). La costante di quest’ultima sono rimaste le otto colonne libere in marmo cottanello rosso, decise fin dal primo momento ed effettivamente collo- cate in opera nella posizione prevista, ai vertici di un ottagono cupolato intersecato con una croce greca3. I piloni retrostanti le colonne, invece, sono uno degli elementi che più portano il segno dei continui mutamenti di progetto. Infatti, al di sopra del rivestimento in marmo del livello infe- riore, che dà forma a un invaso ottagonale, si in- nalzano pennacchi concavi, che configurano una pianta circolare e che non trovano corrispon- denza nei piloni sottostanti (ill.
    [Show full text]