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The Site of Rome Edited by David R. Marshall R. Edited by David The Site of Rome Studies in the Art and Topography of Rome 1400–1750 Topography Art and Studies in the The Site of Rome Studies in the Art and Topography of Rome 1400–1750 Edited by David R. Marshall DAVID R. MARSHALL (ED.) THE SITE OF ROME ISBN 978-88-913-0666-1 «L’ERMA» «L’ERMA» di BRETSCHNEIDER The Site of Rome Studies in the Art and Topography of Rome 1400–1750 1 2 The Site of Rome Studies in the Art and Topography of Rome 1400–1750 Melbourne Art Journal 13 Edited by David R. Marshall «L’ERMA» di BRETSCHNEIDER 3 Melbourne Art Journal Published by «L’ERMA» di BRETSCHNEIDER Editorial Board University of Melbourne Via Cassiodoro, 11 - 00193 Roma Robert W. Gaston [email protected] University of Melbourne Melbourne Art Journal and this volume have Alison Inglis been supported by the School of Culture University of Melbourne and Communication, the University of Melbourne © 2014 Margaret Manion «L’ERMA» di BRETSCHNEIDER University of Melbourne David R. Marshall All rights reserved. No part of this University of Melbourne publication may be reproduced or transmitted in any form or by any means, Richard Read including photocopy, recording, or any University of Western Australia The support of Christie’s, London is gratefully acknowledged other information storage or retrieval Richard E. Spear system, without prior permission in writing University of Maryland from the publisher. Mark Stocker University of Otago Gerard Vaughan ISBN: 978-88-913-0666-1 (paper edition) University of Melbourne ISBN: 978-88-913-0665-4 (digital edition) Editor David R. Marshall Proofreaders Denise Taylor Adam Bushby Design and Layout This volume constitutes David R. Marshall Melbourne Art Journal no. 13. ISSN 1329-9441 Melbourne Art Journal employs an anonymous peer review process. Printed in Italy Cover: Giovanni Paolo Panini, Capriccio of Roman Ruins with a Sibyl Preaching, 1740s. Private collection. First Frontispiece: Claude Lorrain, Landscape with the Marriage of Isaac and Rebecca, 1648, detail. Oil on canvas, 152.3 x 200.6 cm. London, National Gallery, NG 12. (© The National Gallery, London 2013.) Second Frontispiece: Giovanni Battista Cingolani dalla Pergola, Topografia geometrica dell’Agro Romano: overo la misura pianta, e quantita di tutte le tenute, e casali della campagna di Roma con le citta terre, e castelli confinanti ..., Rome, 1704, detail. (British School at Rome Library.) 4 Contents 6 Introduction Chapter 1 8 Julie Rowe Rome’s Mediaeval Fish Market at S. Angelo in Pescheria Chapter 2 28 Joan Barclay Lloyd Memory, Myth and Meaning in the Via Appia from Piazza di Porta Capena to Porta S. Sebastiano Chapter 3 52 Louis Cellauro Roma Antiqva Restored: The Renaissance Archaeological Plan Chapter 4 76 Donato Esposito The Virtual Rome of Sir Joshua Reynolds Chapter 5 108 Lisa Beaven Claude Lorrain and La Crescenza: The Tiber Valley in the Seventeenth Century Chapter 6 140 David R. Marshall The CampoVaccino: Order and the Fragment from Palladio to Piranesi Chapter 7 162 Arno Witte Architecture and Bureaucracy: The Quirinal as an Expression of Papal Absolutism Chapter 8 178 Tommaso Manfredi Arcadia at Trinità dei Monti. The Urban Theatre of Maria Casimira and Alexander Sobieski in Rome Chapter 9 218 John Weretka The ‘Non-aedicular tyle’S and the Roman Church Façade of the Early Eighteenth Century 256 Contributors and Abstracts 5 6 Introduction This volume, number 13 in theMelbourne Art Journal Lorrain’s favourite itinerary up the Tiber Valley north of series, brings together nine scholars who each explore an Rome from the Porta del Popolo to the farmhouse of La aspect of the art and architecture of Rome situated within Crescenza, asking what the conditions were actually like the topography—or map—of Rome in the Renaissance and there during the seventeenth century, a time when envi- Early Modern periods. These are studies of sight and site: ronmental degradation was an acute issue. Also addressing about how the appearance of different regions or aspects the question of the relationship between the ideal and the of the city intersect with complex systems of political, real is David R. Marshall, who examines the tradition economic, social and artistic institutions and customs. of the representation of antique columns, capitals and Beginning with the marble slabs of the fish market, and entablatures in architectural painting, arguing that artists ending with the elegant facades of its eighteenth-century began by employing sixteenth-century treatises describing churches, the topography of Rome is explored through the classical orders but learned to respond to real ruins, time and space. particularly the ruins in the Roman Forum, with the help In the first chapter Julie Rowe explores the functioning of the visual tricks of scene painters. of the medieval fish market at S. Angelo in Pescheria, an The next chapters consider the way Roman sites were area dominated by the ruins of the Portico of Octavia. It used. Arno Witte examines the structures and spaces of is a site that was a nodal point on the medieval road net- the Quirinal hill, the seat of papal secular power in the works, and close to the principal artery of Rome, the Tiber eighteenth century. He argues that the papal government River. A different road system is explored by Joan Barclay was in many respects ahead of other European states in Lloyd: the stretch of one of the Roman Consular roads, the innovation of political and bureaucratic structures, the Via Appia, between the Servian and Aurelian walls. not lagging behind them as is usually supposed. Tommaso Here inscriptions, place names, ruins (such as the Baths Manfredi looks at another of Rome’s heights, the Pincio of Caracalla), medieval monasteries (such as S. Sisto) and near the church of Trinità dei Monti above Piazza di Spagna, churches (including S. Cesareo and SS. Nereo ed Achilleo, a site not of papal authority but of international diplomacy, restored during the Counter-Reformation) are set in a green where Maria Casimira, widow of John III Sobieski of and spacious valley, the legacy of the nineteenth-century Poland, and her sons performed lavish musical spectacles vision of an archaeological park. in the early eighteenth century. Manfredi shows how she Louis Cellauro looks at the sixteenth-century car- reconfigured this area by the restoration of the Villa Torres tographic recreation of the image of Rome as a whole, (later Villa Malta) and the Palazzo Zuccari, including the which oscillated between attempts to correlate early lists construction of a bridge across the modern Via Sistina and of the Antique regions with the reality of the Renaissance the loggia of Palazzo Zuccari. city, and the skilful use of the device of the bird’s-eye Finally, John Weretka addresses the question of how view by artist-antiquarians like Pirro Ligorio to show ecclesiastical institutions projected their presence in Rome what the whole of ancient Rome might have looked like. by way of their church facades. Through an analysis of A more conceptual map of Rome is explored by Donato six church façades erected in the city of Rome in the Esposito, who looks at the response of an artist who visited 1720s and 30s, he argues that buildings of this period Rome—Sir Joshua Reynolds—not through his diaries, can be read as providing a lively commentary on one of recollections or sketchbooks, but through those works in the most persistent norms of architectural organisation his extensive collection that are associated with many of in the Baroque church façade, the aedicule. the most famous works of Roman art of the Renaissance and Baroque periods. This volume is dedicated to Marchesa Alberta Serlupi Lisa Beaven, too, sees Rome through the eyes of an Crescenzi, who has done so much to welcome foreign artist, but this time an artist who devoted his life to observ- visitors to Rome. ing and recording the countryside around Rome and who used this data to create images of places that seemed both David R. Marshall physically real and historically remote. She follows Claude Daylesford, January 2014 7 Abstracts and Biographies Chapter 1 Joan Barclay Lloyd, originally from Zambia, studied at University Julie Rowe College London and at the Warburg Institute. After working in Rome’s Medieval Fish Market at S. Angelo in Pescheria Rome as Research Assistant to Richard Krautheimer, she taught Art History at La Trobe University in Melbourne from 1980–2006. She Rome’s main fish market was firmly established at the church remains an Honorary Research Associate of La Trobe and is a mem- of S. Angelo ‘in Pescheria’ (‘in the fish market’) by 1192. Fish ber of the Australian Academy of the Humanities. Her books include was sold there in both wholesale and retail quantities. It was a African Animals in Renaissance Literature and Art (Oxford, good location close to the Tiber River and other city markets, 1971); The Medieval Church and Canonry of San Clemente and fish could be delivered there from Rome’s port in Trastevere in Rome (Rome, 1989); Our Story so far… (Melbourne, 1998); and from the Campagna by way of the Tiber Island bridges. SS. Vincenzo e Anastasio at Tre Fontane near Rome: history and The site also connected directly to a major city thoroughfare for architecture of a Medieval Cistercian Abbey (Kalamazoo, 2006); distribution purposes. A clear picture of how fish were sourced and with Karin Bull-Simonsen Einaudi, SS. Cosma e Damiano in and how the market was organised and operated emerges from Mica Aurea: architettura, storia e storiografia di un monastero archival records. Key players were the canons of S. Angelo (in romano soppresso (Rome, 1998).
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