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El Espacio Ilusorio Barroco En Las Perspectivas

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El Espacio Ilusorio Barroco En Las Perspectivas 78 EL ESPACIO ILUSORIO BARROCO EN Los métodos de la perspectiva “di sotto in sù” hicieron una representación LAS PERSPECTIVAS ARQUITECTÓNICAS rigurosa del espacio ilusorio, cuyos DE GIROLAMO CURTI Y ANGELO caracteres están presentes en esta investigación. MICHELE COLONNA EN EL PALACIO DE PALABRAS clave: Perspectiva LA CIUDAD DE BOLONIA ARQUITECTÓNICA. Espacio ILUSORIO. Cuadratura. Levantamiento THE ILLUSORY BAROQUE SPACE IN STRUCTURE FROM MOTION. GIROLAMO CURTI. ANGELO MICHELE COLONNA. THE ARCHITECTURAL PERSPECTIVES Ayuntamiento DE BOLONIA OF GIROLAMO CURTI AND ANGELO MICHELE COLONNA AT THE TOWN The research describes the HALL OF BOLOGNA projective principles of illusory space of the Bolognese School through the representation of the architectural Giuseppe Amoruso perspectives of GirolamoCurti (1575- doi: 10.4995/ega.2018.10389 1632) and Angelo Michele Colonna (1604-1687) at the town hall of Bologna. In 1627 Cardinal Bernardino Spada was commissioned by Pope La investigación describe los Urban VIII to drive the Bolognese principios proyectivos del delegation; he started the renovation espacio ilusorio de la escuela of his apartments through the illusory boloñesa a través del dibujo de las artifice of perspective. In addition perspectivas arquitectónicas de to the sala Urbana and the sala del Girolamo Curti (1575-1632) y Angelo Dentone, Colonna, a pupil of Curti, Michele Colonna (1604-1687) en el will become the protagonist of a long Ayuntamiento de Bolonia. En 1627 artistic season; he was also active in Bernardino Spada, fue designado Spain where at the initiative of Diego por el Papa Urbano VIII para Velázquez, he worked at the Court of conducir la delegación boloñesa Philip IV. Returned from Madrid he y comenzó la renovación de los left his last masterpiece painting on apartamentos a través del artificio the ceiling of the Council Hall. The ilusorio de la perspectiva. Además operative methodologies “di sotto in de la sala Urbana y la sala Dentone, sù,” perspective, here presented, are Colonna, un joven ayudante de based on the rigorous representation Curti, también se convertirá en el of the illusory space. protagonista de una larga estancia artística; siendo también activo KEYWORDS: ARCHITECTURAL en España, donde por iniciativa PERSPECTIVE. ILLUSORY SPACE. de Diego Velázquez, trabajó en la QUADRATURA. STRUCTURE FROM MOTION corte de Felipe IV. A su regreso SURVEY. GIROLAMOCURTI. ANGELO de Madrid dejó su última obra de MICHELE COLONNA. TOWN HALL OF pintura en la sala del Consejo. BOLOGNA expresión gráfica arquitectónica 33 En 1666 el canónico Boloñés por la perspectiva, escribió: “Trans- In 1666 the Bolognese canon Antonio 79 Antonio Masini utiliza por prime- formó el palacio público del legado, Masini introduced for the first time the term ra vez el término “quadratura”, y lo adornó con pinturas y excelen- “quadratura”, a technique of architectural la técnica de la perspectiva arqui- tes perspectivas. Desde el primer día perspectives that had originated in Bologna tectónica que se había originado que entró en el gran edificio destina- about 50 years ago thanks to the works of Girolamo Curti called Dentone. In Felsina en Bolonia, aproximadamente 50 do a los legados, lo comenzó a em- Pittrice. Vite dei Pittori bolognesi (1678) años antes, gracias a los artificios bellecer con encuentros de puertas, Malvasia was speaking of the painter- de Girolamo Curti, conocido como ventanas, perspectivas, y similares, architect Curti: «preso perciò animo, e el Dentone. En Felsina Pittrice. Vite haciendo que aparente el doble” comperatosi un Vignola ed un Serlio, si pose dei Pittori bolognesi (1678) Mal- (Lionello Neppi, 1975, p.125). ad istudiar gli ordini dell’Architettura ed a vasia hablaba así del pintor-arqui- En 1630 Curti pintó, en el ayun- praticar le regole della prospettiva». (NdT. tecto Curti: «preso perciò animo, tamiento, el techo plano de la sala he took courage and, bought a Vignola and e comperatosi un Vignola ed un Urbana, dedicada al papa Maffeo a Serlio, he studied architectural orders and Serlio, si pose ad istudiar gli ordi- Vincenzo Barberini. Con el apo- practiced the rules of perspective.) The study of some rooms at Palazzo Comunale ni dell’Architettura ed a praticar le yo de Angelo Michele Colonna y di Bologna, at the time of Curti headquarters regole della prospettiva» (NdT. por Agostino Mitelli; introdujeron ele- of the papal legate Bernardino Spada, lo tanto, se armó de valor, y com- mentos de innovación: la presencia allows to describe formal, aesthetic and pró un Vignola y un Serlio, se puso de columnas pareadas, una mayor technical features of Bolognese quadratura a estudiar los órdenes de la arqui- articulación de los trampantojos, el as it is now known by scholars of science of tectura y a praticar las reglas de la uso de balcones circulares, balaus- representation. perspectiva.) tradas, la austeridad arquitectónica In the Sixteenth and Eighteenth Century, El estudio de algunas salas del que favoreció el espacio percibido architecture was enriched with the Ayuntamiento de Bolonia, que en la de figuras alegóricas; Curti siguió perspective artifice of illusion that época de Curti ocuparon los aparta- representando las perspectivas ilu- trasformed interiors in an actual theater stage; it was the “di sotto in sù”, new mentos del legado papal Bernardino sorias con la restricción proyecti- trajectories for the eyes of society between Spada, permite encuadrar los cá- va rígida del punto de fuga único. columns, entablatures and perspectives, the nones formales, estéticos y técnicos (Figs. 1 y 2) chiaroscuro technique, often embellished que subyace a la cuadratura Bolo- En 1629 el cardenal también au- with figures and symbols. ñesa, como es conocida hoy en día torizó los trabajos a otra sala, cono- Science began its artistic journey by por los estudiosos de la ciencia de cida como la sala Dentone; se trata bringing the architectural perspective all la representación. En los siglos XVII de una cuadratura arquitectónica over Europe (Fig. 1). y XVIII , la arquitectura se enriquece sin costura con un sistema de arqui- Cardinal Spada, papal legate in Bologna con el artificio de la ilusión prospec- tectura sofisticada que aumenta el between 1627 and 1630, is remembered for a tica que aumentó los interiores que espacio real hasta parecer estar cu- real obsession with perspective; Virgil Spada, about his brother’s love for perspective, wrote se convirtieron en un autentico es- bierto por una bóveda de cañón. that “turned upside down the public palace cenario teatral; había nacido el “di En realidad, el ambiente está cu- of legates, and decorated it with excellent sotto in sù”, nuevas trayectorias a bierto por una bóveda de pabellón, paintings and perspectives. From the first day los ojos de la sociedad entre colum- un tipo de construcción posterior he entered the great palace for legates, he nas, entablamento y trampantojos al techo del siglo XVI ; el efecto final began to decorate it with doors, windows, en perspectiva, un claroscuro, a me- conduce la anulación de la superfi- perspectives, and similar things that made it nudo adornado con figuras y símbo- cie abovedada. El techo es plano en double” (Lionello Neppi, 1975, p.125). los. La ciencia comenzó su ruta ar- el centro, creando una superficie de In 1630 Curti painted, in the town hall, the tística que llevó en breve la perspec- intradós plano que por lo general flat roof of the Urban Hall, dedicated to Pope Maffeo Vincenzo Barberini. tiva arquitectónica a toda Europa. está pintada con alegorías o simple- With the support of Angelo Michele Colonna El cardenal Spada, legado papal en mente con el cielo. and Agostino Mitelli, they introduced Bolonia entre 1627 y 1630, es recor- La perspectiva tiene una arqui- elements of innovation: presence of paired dado por una verdadera obsesión tectura con un serliana mientras columns, greater articulation of the trompe con la perspectiva; Virgilio Spada, a que el resultado perceptual se basa l’oeil, use of circular balconies, balustrades, proposito del amor de su hermano en la visión telescopica. En lugar architectural austerity that favored the 80 1 perceived space of allegorical figures; Curti de la solución con punto de fuga 1. Perspectiva “di sotto in sù” de la sala Urbana continued to represent illusory perspective desde el punto de vista, Girolamo Curti, Angelo único, como en la sala Urbana y Michele Colonna y Agostino Mitelli, 1630 with the rigid projective constraint of the de acuerdo con la regla de Vignola 2. La sala Urbana adopta un esquema telescopico en single vanishing point. (Fig. 1 and 2) y Tibaldi, aquí se utilizó una so- perspectiva ilusoria, con un punto de vista único. A In 1629 the cardinal also authorized the works la izquierda, la nube de puntos en perspectiva desde lución con 4 puntos de fuga para to another room, known as the Dentone el levantamiento fotogramétrico structure-from- room; it is an architectural quadratura with armonizar más el espacio real con motion (Giuseppe Amoruso, Andrea Manti, 2016). esa ilusión. Curti continúa la tradición del uso de la técnica de a sophisticated architectural system that la perspectiva iniciada por Pellegrino Tibaldi en la increases the actual space until it appears to Colocando el punto de vista prin- Caduta di Fetonte (a la derecha) be covered by a barrel vault. cipal en el centro de la sala a una al- 3. Sala Dentone, Girolamo Curti con Castelli Actually, the environment is covered by y Colonna, aproximadamente 1627-1630. tura de 5 pies boloñeses o 3 brazos, Levantamiento fotogramétrico de tipo structure-from- a vaulted ceiling, a type of construction (aproximadamente 190 cm del sue- motion y la representación de la planta percibida con introduced after the flat roof of the XVI century; lo) según lo recomendado por Al- una falsa galería abierta (Giuseppe Amoruso) the final effect leads to the cancellation of the real surface. The ceiling is flat in the center, berti y llevando a los rayos visuales 1.
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