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S. Andrea Della Valle (1623) Arquitecto: Carlo Maderno Maderno No Construyó La Fachada Pero Hizo El Proyecto Con El Que Se Inic

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S. Andrea Della Valle (1623) Arquitecto: Carlo Maderno Maderno No Construyó La Fachada Pero Hizo El Proyecto Con El Que Se Inic LA LÍNEA TRASCENDENTE S. Andrea della Valle (1623) Arquitecto: Carlo Maderno Maderno no construyó la fachada pero hizo el proyecto con el que se iniciaron las obras, que posteriormente acabó Carlo Rainaldi. El proyecto final de Maderno, grabado por Regniart en 1624 (fig. 38)41, es habitualmente considerado como una síntesis de las dos soluciones del Gesù42, ya que en el nivel bajo hay un adelantamiento progresivo de los cuerpos centrales, con entablamentos ininterrumpidos, y en el alto un único plano del que se adelantan grupos de columnas pareadas, con un tramo independiente del entablamento. Sin embargo, parece más fácil considerar toda la fachada como una superficie plana, con un edículo adelantado, en el centro del nivel inferior. La fachada está formada por dos niveles de columnas pareadas colocadas en el mismo plano, que en el inferior soportan tectónicamente un entablamento continuo, y en el superior se independizan por la fractura del entablamento que se retrasa. El esquema reproduce ampliada la fachada de Volterra de S. Giacomo degli Incurabili (fig. 135). Como en el proyecto de Vignola, es más fácil ver la unidad vertical que la horizontal. Ni siquiera el edículo, integrado en la estructura global de columnas pareadas interrumpe el reparto uniforme de columnas. En vez de superponerse, las columnas del edículo se integran en el esquema global, como en el Gesù de Della Porta o la propia S. Susanna. Si observamos un dibujo de Maderno de 1623, previo a este grabado (fig. 39)43, la fachada puede entenderse como una estructura plana de columnas sobre un plano retrasado, que en el dibujo aparece oscurecido. Esta estructura, claramente diferenciada en el dibujo, sigue siendo tectónica, con un nivel inferior continuo y estable, dominado por la unidad del entablamento y un nivel superior formado por elementos aislados verticales, que ascienden por el tímpano del frontón. El uso de columnas dobles, elimina la progresión de tensiones en el centro, que se producía en S. Susanna. El resultado es una fachada en el que las tensiones se reparten y, por tanto, una fachada más neutra. La renuncia al aumento progresivo de las columnas, como elementos activos, de S. Susanna, conduce aquí a una fachada plana, a pesar del uso de columnas, a una fachada en la que la razón prima sobre la pasión, la abstracción sobre la experiencia vital. El uso extenso de las columnas aumenta la vitalidad expresiva de la fachada, pero su tratamiento uniforme, que 41 Del grabado de V. Regniart, hecho probablemente a partir de un dibujo de Giovan Battista Dini, se conserva una copia en Roma, Corsiniana 47 H 7 Inv. 71588 (566x343 mm). Fue publicado más tarde por Domenico de Rossi, en Insignium Romae Templorum prospectus, 1684, lam. 44; según cita Rudolf Wittkower, en “Carlo Rainaldi... cit.”, p. 258. El grabado aparece al menos, en el citado texto de Wittkower, fig. 22, en Howard Hibbard, Carlo Maderno... cit., fig. 47b, y en John Varriano, Italian Baroque... cit., fig. 19. 42 Howard Hibbard, Carlo Maderno... cit., p. 59, y Nathan T. Whitman, “Roman Tradition cit...”, p. 111-113. 43 El dibujo se conserva en Oxford, en el Ashmolean Museum, (largest Talman album, fo. 19) y aparece al menos en Howard Hibbard, Carlo Maderno... cit., lam. 47a. 137 LA ESTRUCTURA MATERIAL Hibbard-Maderno, f. 47b 12,99x21,1 38. Grabado de V. Regniart del proyecto de Maderno para la fachada de S. Andrea della Valle 138 LA LÍNEA TRASCENDENTE Hibbard-Maderno, f. 47a 14x18,2 39. Versión final del proyecto de la fachada de S. Andrea della Valle, de Maderno (Oxford, Ashmolean) evita la concentración en el centro, la hace neutra. La progresión dramática hacia el centro, de S. Susanna, se ha convertido en una superficie vertical profunda. Maderno dejó de trabajar para S. Andrea della Valle en 1628, dejando hecha la fachada de ladrillo y colocado el revestimiento de travertino en algunas partes de ella. Rainaldi la acabó entre 1662 y 1665, introduciendo algunos cambios en su proyecto. 139 LA ESTRUCTURA MATERIAL Hibbard-Maderno, f. 45 14x18,75 40. Dibujo de Borromini y Maderno para la fachada de S. Andrea della Valle (conservado en Florencia, Uffizi) 140 LA LÍNEA TRASCENDENTE Los dibujos de S. Andrea della Valle Hay dos dibujos más de esta fachada, que es interesante considerar. El primero es un dibujo inacabado, hecho a lápiz por Borromini44, con detalles en acuarela y anotaciones de Maderno (fig. 40)45. El segundo es otro dibujo inacabado, hecho también a lápiz por Borromini (fig. 41)46 y preparatorio del que se conserva en Oxford (fig. 39). Los dos son dibujos precisos y minuciosos, hechos con la ayuda de regla y compás. El primero es una composición diédrica, que corresponde a la primera fase del proyecto. En la izquierda del alzado de este dibujo, se produce un adelantamiento del cuerpo central y sólo una de las columnas del par extremo continúa en el nivel superior. Esta eliminación de la columna lateral permite ver la fachada más como una superposición de niveles que como una continuidad vertical entre ellos. En la derecha del alzado esta solución parece corregirse en la planta, al retirar el entablamento y dejar los pares de columnas aislados y continuando, previsiblemente en el nivel superior. En éste, las columnas aisladas también continúan, gráficamente, sobre su entablamento. Sobre las líneas de este dibujo Borromini añade, con acuarela, dos tímpanos sobre la puerta de entrada, y señala los contornos de las columnas centrales, los marcos de los huecos y el fondo entre las columnas. Bajo el alzado está dibujada la planta de la fachada con un trazo más fuerte. Esta planta no corresponde diédricamente con el alzado y sí con la solución posterior de la fachada. La planta, es su solución derecha, parece ser la conclusión del alzado, la situación a la que ha conducido su elaboración, y la que obliga a empezar un dibujo nuevo. Exterior e interiormente, hay anotaciones y cotas de Maderno, que acaban de precisar el resultado del dibujo. El segundo dibujo (fig. 41) tiene una estructura gráfica similar, con una solución diferente de la fachada, de acuerdo con la planta del dibujo anterior. El alzado parte de un trazado suave de líneas horizontales, una suave estructura geométrica, sobre la que se añade, directamente, el detalle minucioso de los elementos. Este dibujo no puede entenderse sin el anterior. Aquel es el que permite, una vez trazada las estructura decidida en él, poder pasar directamente al detalle, iniciado también anteriormente. El primer dibujo acaba en la planta de la fachada y el segundo empieza en ella. 44 Borromini trabajaba como ayudante de Maderno desde 1622, (“cuando recibe una retribución por haber pasado a limpio los dibujos de la cúpula de S. Andrea della Valle”); Paolo Portoghesi, Disegni di Francesco Borromini, Roma, Accademia Nazionale di S. Luca, 1967, p. 3. 45 El dibujo se conserva en Florencia, Galleria degli Uffizi, Gabinetto Disegni e Stampe, A6734, y aparece al menos en Howard Hibbard, Carlo Maderno... cit., lam. 45a, y en Heinrich Thelen, “Francesco Borromini die Handzeichnungen”, 1967, ed. Akademische Druck, C 11. 46 El dibujo se conserva en Viena, en la Grafische Sammlung Albertina, AZ Rom 118, y aparece al menos en Howard Hibbard, Carlo Maderno... cit., lam. 46a, y en Heinrich Thelen, “Francesco Borromini die Handzeichnungen, Grazz (Austria), Akademische Druck, 1967, C 13. 141 LA ESTRUCTURA MATERIAL Hibbard-Maderno, f. 46a 14x18,66 41. Dibujo de Borromini de la fachada de S. Andrea della Valle (Viena, Albertina) El proyecto de Maderno se elabora mediante el dibujo. Éste no es la plasmación de una idea sino el medio por el que esta idea toma forma. Una forma que no es previa al dibujo sino que se forma en él. 142 LA LÍNEA TRASCENDENTE Este dibujo in pulito es el que se conserva en Oxford (fig. 39) y, con pequeñas variaciones, del que procede el grabado de Regniart (fig. 38). Este grabado, como el realizado para S. Pedro, responde a una rigurosa proyección ortogonal, y muestra más de lo que cabría esperar de un alzado: la cúpula y el crucero. Ya no es un dibujo de trabajo sino de presentación. No sólo dice cómo es el edificio, sino lo que el edificio es. Con una intención plástica, el dibujo se compone de tres partes: la fachada principal, con superficies blancas y columnas sombreadas, la proyección del crucero, con un tramado denso que hace resaltar la fachada principal, y la cúpula, con un tratamiento intermedio. En S. Susanna veíamos que la fachada podía entenderse como la intersección de la franja horizontal posterior y la vertical del cuerpo principal. Algo similar ocurre en esta fachada: el cuerpo oscuro del crucero está relacionado con el luminoso de la fachada, mientras ésta lo está, verticalmente, con la cúpula, formada también por pares de columnas, en una ascensión que culmina en el vértice de la linterna. Ss. Vincenzo e Anastasio (1646) Arquitecto: Martino Longhi el Joven Las fachadas de S. Pedro y de S. Andrea della Valle no constituyen avances en la línea vitalista iniciada en S. Susanna. Ambas responden a concepciones planas y abstractas, alejadas de la experiencia vital y directa, iniciada en ésta. Las posteriores fachadas de S. Maria Vittoria (1625), de Giovan Battista Soria, y la de S. Ignazio (1642), de Orazio Grassi, tampoco avanzan en esta línea y sólo son académicas versiones del Gesù de Della Porta47, en las que el uso de las columnas queda reservado a la acentuación de la puerta principal. La progresión volumétrica, que en S. Susanna respondía a motivaciones más emocionales que racionales, sólo tiene una continuación real en 1646, en la fachada de Ss.
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