DOCSLIB.ORG

Guarino Guarini's Invention of the Passion Capitals in the Chapel of the Holy Shroud, Turin Author(S)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Guarino Guarini's Invention of the Passion Capitals in the Chapel of the Holy Shroud, Turin Author(S) Guarino Guarini's Invention of the Passion Capitals in the Chapel of the Holy Shroud, Turin Author(s): John Beldon Scott Source: The Journal of the Society of Architectural Historians, Vol. 54, No. 4 (Dec., 1995), pp. 418-445 Published by: Society of Architectural Historians Stable URL: http://www.jstor.org/stable/991083 Accessed: 30/03/2009 15:00 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=sah. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. Society of Architectural Historians is collaborating with JSTOR to digitize, preserve and extend access to The Journal of the Society of Architectural Historians. http://www.jstor.org Guarino Guarini's Invention of the Passion Capitals in the Chapel of the Holy Shroud, Turin architectural ornament. of Guarini's treatment of the JOHN BELDON SCOTT, UniversityofIowa Analysis orders will show his invention in the manipulation of classical M ost studies of Guarino Guarini'sChapel of the Holy forms for ideological content.6 This we can see especially well in Shroud in Turin (1657-94) have focused either on the the Shroud Chapel in the gilt-bronze, modified Corinthian circular plan, with its superimposed triangle, or on the unusual capitals the architect employed for the eight major-order fluted composition of the dome, with its structure of six nested, pilasters and two freestanding columns around the perimeter arched hexagons rising from a drum supported on three huge, of the chapel rotunda [Figures4-5]. The design of these capitals, tilted arches [Figures 1-3]. The plan constitutes an elegant as often noted, comprises instruments of Christ's Passion. They resolution of preexisting problems Guarini encountered when penetrate the sepulchral gloom of the chapel, forming a prickly he became the project's architect in 1667, ten years after the chiaroscuro pattern when occasionally struck by a ray of beginning of construction. Guarini fit his new design into the sunlight piercing the faceted dome high above [Figure6].7 The built masonry shell and its marble facing, which was already in transcendental effect of the capitals against the tenebrous place up to the level of the large cornice of the major-order setting must have been even more persuasive before the gilding pilasters [Figure 4], stacking on it, vertiginously, tier after tier became dull with age and dust. with scarcely precedented engineering bravura and forming The choice of materials for the chapel, black marble and the openwork dome that has been the object of both marvel bronze, was made decades before Guarini's arrivalon the scene. and indignation for three centuries. There has been little agreement among historians about the extent to which meaning can be imputed to the extraordinary geometry seen in the plan, structure, and black marble facing of the chapel. Some scholars have held that Guarini, motivated by radical and complex philosophical, astrological, alchemical, and even cabalistic speculations, incorporated into his build- ings, especially the Shroud Chapel, forms and meanings unique in Western architecture.2 A less extreme position, held by Rudolf Wittkower, emphasizes a traditional Trinitarian mean- ing in the consistent geometrical triadism of the building.3 Today, however, many scholars seem to concur with Giulio Carlo Argan, who stands on the other side of interpretive possibilities, reductively asserting that "no one more than Guarini has affirmed the non-symbolic, non-allegorical, non- metaphorical-on the contrary-strictly phenomenal, objec- tive or 'thing-in-itself character of architectural form."4 In his recent monograph on Guarini, H. A. Meek, for example, presents a Guarini little interested in symbolic content.5 These extremes of interpretation ignore the contextual requirements of patronage and decorum to which every seventeenth-century architect needed to be attentive. By focusing on Guarini's use of the classical orders, it may be FIGUREI: Guarino Guarini,Chapel of the Holy Shroud, Turin, 1657-1694, plan, possible to isolate his attitude toward content and meaning in engravingfrom Dissegnid'architettura civile et ecclesiastica. (1686), pl. 2 418 JSAH / 54:4, DECEMBER 1995 As early as 1607 Duke Carlo Emanuele I decided to locate between the cathedral and his new palace a chapel built of these somber but opulent materials to house his prized relic of the Passion, the Shroud of Turin.8 The Corinthian order was selected at this time. Ducal patronage and the funereal dedica- tion of the chapel made the Corinthian capital appropriate, with its richness and necrological associations.9 To appreciate Guarini's ingenuity, we might first examine a conventional Corinthian capital, which is easy enough to do as one stands in the chapel, for the minor-order capitals in the same rotunda, designed by Guarini's predecessor for the project, Bernardino Quadri, are thoroughly orthodox [Figure 7].10 Acanthus leaves grow in three tiers from the inverted bell-shaped body of the capital, with spiral-form caulicoli emerging at the top. Uniting these shoots is the lip of the bell. At the top, in the center of the concave abacus, the flower or fleuron blossoms forth, representing the acanthus bud with a fishtail-like stigma (the botanical term for the pollen-receiving part of the flower's stamen) growing from its center. Guarini's Passion capital, as seen in a close-up detail taken from a scaffold, deviates considerably from the traditional type. He reduces the treatment of the foliage to two tiers and uses a plant form closer to olive than to acanthus [Figure 5].11 This modification makes room for the crown of thorns inserted FIGURE2: Section, Chapel of the Holy Shroud, 1657-94 between the helices. Three nails protrude from the fleuron above the center of the crown and, at the top, the titulus or tion for questioning it. Precisely because of his late assumption inscription from the cross appears with the initials for IESUS of design responsibility for the chapel, Guarini's role in the NAZARENUS REXIUDAEORUM. Guarini's decision to modify creation of the Passion capitals has recently even been denied.13 the major-order Corinthian avoided the repetition of the same The production history of these variants of the Corinthian capital type in close proximity to the minor order below; but, as capital is complicated, and it will be important to establish we shall see, the architect's design had behind it a weightier Guarini's part in their design and creation. A chronological conviction than merely the desire for variety.12 analysis of payments for all the chapel's capitals will help resolve this vexing issue. The appendix contains a narrative summary INNOVATION IN THE DESIGN OF THE of the documentation, which demonstrates that the manufac- CLASSICAL ORDERS ture of four of the ten Passion capitals dates from the period Most scholars have tacitly assumed Guarini's authorship of the Guarini was in charge of the design. Two of these are identified Passion capitals, perhaps because of their fantasy of invention. specifically as the capitals of the freestanding fluted columns His intervention in their design, however, has never been of the transitional zone between chapel and cathedral documented and, given that many of the chapel's capitals [Figures8-9]. predate his involvement with the project, there is somejustifica- Since eight major-order pilasters with Passion capitals articu- SCOTT: GUARINI'S PASSION CAPITALS 419 FIGURE3: Viewof pendentivezone, drum,and dome, Chapel of the HolyShroud late the rotundawall, two of these also (in additionto the two Guarinidevoted a majorportion of his theoreticaldiscussion in documentedcolumn capitals) must already have been mounted the Architetturacivile to the design and application of the in place before the final campaign for the completion of all classical orders.16Unlike some of his Italian predecessors, the capitals, which occurred after Guarini'sdeath.'4 These, however, Guarini seems to have been more interested in for want of Guarini's drawings or a full-scale preexisting offeringcreative variants to the standardorders, particularly in wooden model, must have served as prototypes for the the design of capitals,than in repeating definitiveversions of bronzefounders who manufacturedthe remainingsix, as sug- the traditionaltypes.17 Perhaps his most originalproposal is for gested in an instructionissued in May 1688.15The written a spiral-formSolomonic order, in which not only the columns record gives no certain indication about which two of the but almost all other components, including the entablature, eight pilaster capitals were the ones completed under undulate on both the vertical and horizontalplanes [Figure Guarini'ssupervision, but practical construction procedure 10].18 would suggest they were the two conveniently adjacent to He provides three capitalseach for the Doric, Ionic, and the columns. The documentaryevidence therefore makes it Corinthian-each also with three distinctiveproportional sys- virtually certain that all ten of the Passion capitals are tems-and four variantsfor the Composite.The reader may products of Guarini'sthinking, even though only four were easilyinfer from Guarini'stext and illustrationsthat the num- executed in his lifetime.
Load more

Recommended publications
  • Finding Jesus: the Shroud of Turin Episode There Is No Record of What Jesus Looked Like in the New Testament. There Are No Conte
    Finding Jesus: The Shroud of Turin Episode There is no record of what Jesus looked like in the New Testament. There are no contemporary descriptions at all. However, the Bible does record how Joseph of Arimathea, a member of the Jewish council and a sympathizer with Jesus, wrapped his dead body in expensive linen, and buried it in his own family tomb. In the 14th Century a shroud, bearing the image of a crucified man, surfaces in France, before eventually finding a home in Turin. Is this the very shroud that Joseph wrapped Jesus in? Is the image of the man Jesus Christ? The shroud appears to tell the whole story of Jesus’ Passion in one image – the scourging; the Crown of Thorns; carrying the cross; the Crucifixion; the spear in his side. For centuries, the shroud is a source of great controversy – many Christians believe it is genuine, but others have their doubts. In 1978 a team of scientists lead by former US Navy physicist Dr. John Jackson spend five days intensively studying the shroud, before ultimately concluding it is genuine. It isn’t a forgery or the work of an artist. But a decade later, in 1988, the shroud is subject to Radiocarbon 14 dating – scientists at three separate laboratories date the samples of the Shroud to some point between AD1260–1390. This strongly suggests the shroud is a medieval fake after all. In a final twist, the film visits the Cathedral of San Salvador, in Oviedo, Spain, where there is another burial cloth venerated as having covered the face of Jesus.
    [Show full text]
  • Why Is the Turin Shroud Not Fake?
    Short Communication Glob J Arch & Anthropol Volume 7 Issue 3 - December 2018 Copyright © All rights are reserved by Giulio Fanti DOI: 10.19080/GJAA.2018.07.555715 Why is the Turin Shroud Not Fake? Giulio Fanti* Department of Industrial Engineering, University of Padua, Italy Submission: November 23, 2018; Published: December 04, 2018 *Corresponding author: Giulio Fanti, Department of Industrial Engineering, University of Padua, Via Venezia 1 - 35131Padova, Italy Summary The Turin Shroud [1-11], the Holy Shroud or simply the Shroud (Figure 1) is the archaeological object, as well as religious, more studied in it is also religiously important because, according to the Christian tradition, it shows some traces of the Resurrection of Jesus Christ. A recent paperthe world. [12] From showed a scientific why and point in which of view, sense it is the important Shroud becauseis authentic, it shows but manya double persons image still of a keep man onup statingto now thenot contrary,reproducible probably nor explainable; pushed by important Relic of Christianity based on their personal religious aspects thus publishing goal-oriented documents. their religion beliefs that arouses many logical-deductive problems. Consequently, some researchers influence the scientific aspects of the most Figure 1: The Turin Shroud (left) and its negative image (right) with zoom of the face in negative (center) with the bloodstains in positive. This work considers some debatable facts frequently offered during the discussions about the Shroud authenticity, by commenting a recent The assertions under discussion are reported here in bold for clearness. paper [13]. Many claims, apparently contrary to the Shroud authenticity, appear blind to scientific evidence and therefore require clarifications.
    [Show full text]
  • CENTRO INTERNAZIONALE DI STUDI SULLA SINDONE the Magazine of the International Center of Shroud Studies
    N: 0 - gennaio 2020 SINDON LA RIVISTA DEL CISS: CENTRO INTERNAZIONALE DI STUDI SULLA SINDONE The magazine of the International Center of Shroud Studies indice 4 EDITORIALE - di Gian Maria Zaccone 6 6 IN EVIDENZA I : CISS, la storia 12 IN EVIDENZA II: L’ostensione della Sindone a Montevergine 18 NON SOLO SCIENZA: le tracce lasciate dall’imbalsamazione sulla sindone 27 IL SANGUE 34 WORKSHOP al Politecnico di Torino 18 40 La Cappella del Guarini REDAZIONE Gian Maria Zaccone Nello Balossino Enrico Simonato Paola Cappa Francesco Violi Rivista storico-scientifica e informativa SINDON 40 periodico promosso dal Centro Internazionale di Studi sulla Sindone Indirizzo: Via San Domenico, 28 – Torino Numero telefonico: +39 011 4365832 E-mail: [email protected] Sito Web: www.sindone.it 2 SINDON 3 SINDON EDITORIALE A 60 anni dalla spesso destituite di ogni fondamento non solo scientifi- co, ma anche logico. L’affastellarsi di informazioni che fondazione, Sindon provengono da svariate fonti, in particolare attraverso la rete, spesso contraddittorie ed inesatte, confondono e of- rinasce frono un panorama talora sconcertante. Inoltre le ricer- che e considerazioni che vengono pubblicate su riviste scientifiche accreditate – non moltissime per la verità – per lo più risultano di difficile fruizione e comprensione per il lettore non specializzato, e rendono necessaria una corretta divulgazione. Sindon vorrebbe portare un con- tributo alla conoscenza della Sindone, e ambisce a porsi quale punto di riferimento in questo agitato oceano di informazione. Non pubblicherà quindi articoli scientifici nuovi o inediti – che dovranno seguire i consueti canali di edizione su riviste accreditate – ma si occuperà di ren- dere comprensibili tali testi, e farà il punto sullo sviluppo della ricerca e del dibattito sulle tante questioni aperte nella multidisciplinare ricerca sindonica.
    [Show full text]
  • Guarino Guarini's Chapel of the Holy Shroud in Turin: Open Questions
    Sylvie Duvernoy Symposium report Via Benozzo Gozzoli, 26 Guarino Guarini’s Chapel of the Holy 50124 Florence ITALY [email protected] Shroud in Turin: Open Questions, Keywords: Guarino Guarini, Possible Solutions Chapel of the Holy Shroud, 18-19 September 2007, Turin, Italy Baroque architecture, projective geometry, mechanics Abstract. Sylvie Duvernoy reports on the symposium on Guarino Guarini and the Chapel of the Holy Shroud, held in September 2006 in Turin. In mid-September this year, the Archivio di Stato of Turin hosted an international symposium dedicated to the study of the Chapel of the Holy Shroud in Turin and its designer, Guarino Guarini, organized by Kim Williams and Franco Pastrone, and sponsored by the Archivio di Stato and the Direzione per i beni culturali e paesaggistici del Piemonte. The Chapel of the Holy Shroud is an astonishing construction in which architectural design, decoration and static requirements are united in complex relationships that are not easy to understand and clarify. It is a major monument of Italian Baroque architecture and its architect – Guarino Guarini – is among the great figures of the Italian Seicento, together with Bernini and Borromini. Because some pieces of the interior marble cornice had fallen, the Chapel was closed to the public in the early 1990s, and inquiries into requirements for its stability and maintenance were made. Analyses showed that the cause of the fall of the marble pieces was not due to structural problems, but instead to the intrinsic weakness of the Frabosa marble, whose veins and mineral structure, over time, lead to cracking. Only slight repairs and a thorough cleaning were therefore necessary.
    [Show full text]
  • UNIVERSITY of CALIFORNIA RIVERSIDE Guarino
    UNIVERSITY OF CALIFORNIA RIVERSIDE Guarino Guarini: His Architecture and the Sublime A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art History by Carol Ann Goetting June 2012 Thesis Committee: Dr. Kristoffer Neville, Chairperson Dr. Jeanette Kohl Dr. Conrad Rudolph Copyright by Carol Ann Goetting 2012 The Thesis of Carol Ann Goetting is approved: ______________________________________ ______________________________________ ______________________________________ Committee Chairperson University of California, Riverside ACKNOWLEDGMENTS This thesis would not be possible without the financial support of the University of California, Riverside and the Gluck Fellows Program of the Arts which enabled me to conduct primary research in Italy. Words cannot express enough the gratitude I feel towards my advisor Dr. Kristoffer Neville whose enthusiasm, guidance, knowledge and support made this thesis a reality. He encouraged me to think in ways I would have never dared to before. His wisdom has never failed to amaze me. I was first introduced to the work of Guarino Guarini in his undergraduate Baroque Art class, an intriguing puzzle that continues to fascinate me. I am also grateful for the help and encouragement of Drs. Conrad Rudolph and Jeanette Kohl, whose dedication and passion to art history has served as an inspiration and model for me. I am fortune to have such knowledgeable and generous scholars share with me their immense knowledge. Additionally, I would like to thank several other faculty members in UCR’s History of Art department: Dr. Jason Weems for giving me an in-depth understanding of the sublime which started me down this path, Dr.
    [Show full text]
  • Comparitive Study of the Sudarium of Oviedo and the Shroud of Turin
    III CONGRESSO INTERNAZIONALE DI STUDI SULLA SINDONE TURIN, 5TH TO 7TH JUNE 1998 COMPARATIVE STUDY OF THE SUDARIUM OF OVIEDO AND THE SHROUD OF TURIN By; Guillermo Heras Moreno, Civil Engineer, Head of the Investigation Team of the Spanish Centre for Sindonology (EDICES). José-Delfín Villalaín Blanco, DM, PhD. Professor of Forensic Medicine at the University of Valencia, Spain. Vice-President of the Investigation. Spanish Centre for Sindonology (CES). Member of the Investigation Team of the Spanish Centre for Sindonology (EDICES). Jorge-Manuel Rodríguez Almenar, Professor at the University of Valencia, Spain. Vice-President of the Spanish Centre for Sindonology (CES). Vicecoordinator of the Investigation Team of the Spanish Centre for Sindonology (EDICES). Drawings by: Margarita Ordeig Corsini, Catedrático de Dibujo, and Enrique Rubio Cobos. Spanish Centre for Sindonology (CES). Translated from the Spanish by; Mark Guscin, BA M Phil in Medieval Latin. Member of the Investigation Team of the Spanish Centre for Sindonology (EDICES). Revised by; Guillermo Heras Moreno CENTRO ESPAÑOL DE SINDONOLOGÌA. AVDA. REINO DE VALENCIA, 53. 9-16™ • E-46005-VALENCIA. Telèfono-Fax: 96- 33 459 47 • E-Mail: [email protected] ©1998 All Rights Reserved Reprinted by Permission 1 1 - INTRODUCTION. Since Monsignor Giulio Ricci first strongly suggested in 1985 that the cloth venerated in Oviedo (Asturias, Northern Spain), known as the Sudarium of Oviedo, and the Shroud of Turin had really been used on the same corpse, the separate study of each cloth has advanced greatly, according to the terminology with which scientific method can approach this hypothesis in this day and age. The paper called "The Sudarium of Oviedo and the Shroud of Turin, two complementary Relics?" was read at the Cagliari Congress on Dating the Shroud in 1990.
    [Show full text]
  • The Mystical Shroud - the Images and the Resurrection an Ecumenical Perspective by James E
    The Mystical Shroud - The Images and the Resurrection An Ecumenical Perspective by James E. Damon Collegamento pro Sindone Internet – March 2002 © All rights reserved* ABSTRACT Many believe the Holy Shroud of Turin is the linen burial shroud of Christ cited in the Gospels. The images of a crucified man appear on the Shroud. The identity of the man on the Shroud is unproven and the process that formed the images is unknown to modern science. For the most part, twentieth century research on the Shroud has been western in perspective and limited to the death and burial of Jesus Christ. This paper complements this perspective by adding the light mysticism and iconography of the Byzantine East to extant Shroud research. This leads to the positive identification of the Shroud man and a mystical understanding of the Resurrection that explains the image formation. This effort also demonstrates that the ancient icons of the church indicate that the Church Fathers knew of the Shroud and understood its mysteries. It also theorizes that the Shroud is the basis of the Pantocrator icon tradition in the East. The Holy Mandylion’s relationship to the Shroud is discussed. The Shroud as the “icon of icons” is discussed as a summary of the Gospel and proof of the glorious body promised to the faithful on the last day. The mystical, eschatological relationship of the Sun of Justice miracle, which occurred in Turin in 1453, to the Shroud, is also discussed. Furthermore, the mystical meaning of the 1898 positive Shroud images is briefly addressed. Finally, the paper explains the mystical means to authenticate the Shroud both spiritually and scientifically.
    [Show full text]
  • Geography of the Shroud
    GGeeooggrraapphhyy ooff tthhee SSiinnddoonnoollooggyy by Emanuela Marinelli and Maurizio Marinelli Collegamento pro Sindone – Rome – Italy http://www.shroud.it © 2005 All rights reserved Originally presented at the 3rd International Dallas Shroud Conference on the Shroud of Turin Dallas, Texas (USA) - September 8-11, 2005 In the past the knowledge of the Shroud in the world, in any case more devotional than scientific, was very poor. The copies of the Shroud, paintings witnesses of an ancient devotion, are about seventy. Outside Italy they are spread only in Spain in about twenty exemplars. The rest of Europe hosts other few copies in France and Portugal; only one respectively in Belgium, Malta and Switzerland. But some of them are lost. Outside Europe, only the American Continent can boast four copies (respectively in Argentina, Canada, Mexico and USA); nothing in Africa, Asia, Australia and Oceania1. Fifty years ago only two Shroud centers were in existence in the world: one in Turin, the association Cultores Sanctae Sindonis, that in 1959 was transformed in Centro Internazionale di Sindonologia2, and one in USA, the Holy Shroud Guild at Esopus, New York3. Looking at the list of the Shroud books4 on Collegamento pro Sindone website http://www.shroud.it, we can consider that only about eighty in about 700 were in existence before 1960; similar the situation for the Shroud scientific articles5 in that period, about ten in about 300. In that time, only one national congress, in 1939, and an international congress, in 1950, were held, both in Italy6; the proceedings of the national congress obviously are only in Italian and only the abstracts of the international congress were published in the proceedings, all in the original language without a translation.
    [Show full text]
  • YOU CAN DO Welcome to the Vibrant Palazzo Madama Overlooking Heart of the City That Has in Turin Piazza Castello
    TURIN CITY GUIDE ® JULY 2021 WWW.WHEREITALIA.COM/TURIN ALL YOU CAN DO Welcome to the vibrant Palazzo Madama overlooking heart of the city that has IN Turin Piazza Castello. marked Italian history SIGHTSEEING | MUSEUMS | SHOPPING | DINING | ENTERTAINMENT | MAPS DISCOVER DISCOVER MORE Turin July 2021 Dear friends and readers, the tourism sector is Where tips in great difficulties all over the world. We must therefore thank 26 SHOPPING you who are reading us At Tonatto you can find now because you are In love home fragrances and nonetheless the hope of recovery as the world perfumes, or create BRENTATORE your scent. CORSO VERCELLI slowly overcomes the CORSO ALESSANDRIA pandemic.TANGENZIALE We ItaliansNORD TORINO VI A PAG ANE LLI Parrocchia Santa Gianna have experienced all CORSO GIUSEPPE GARIBALDI 32 DINING CORSO GIULIO CESARE V I A L A N Z O S T R A D A D I D R U E N D O manner of crises and we ‘Le Vitel Étonné’ S T R A D A D I Dwith R U E N D O have always overcome STRADA DI DRUENDO VIA VERONESE restaurant serves 500 m them by trying not VIA V I A R E I S S R O M O L I BERGERA VENAR Piedmontese dishes, V IA A NDREA SANSOV IA to lose that smile of V I A R E I S S R O M O L I IN O VIA TRAVES CORSO GAETANO SCIREA Juventus Museum VIA VERONESE re-imagined to suit REBAUDENGO ELLA welcome that we once C V ST IA RADA DE Allianz Stadium GIOV LLA CONTI VI NESSA VIA REISS ROMOLI A AL contemporary tastes.
    [Show full text]
  • Programme and Tours Connections Between Teatro Regio Castello Del Valentino Torino Esposizioni and Circolo Eridano
    EUROPEAN ARCHITECTURAL HISTORY NETWORK THIRD INTERNATIONAL MEETING PROGRAMME AND TOURS CONNECTIONS BETWEEN TEATRO REGIO CASTELLO DEL VALENTINO TORINO ESPOSIZIONI AND CIRCOLO ERIDANO Bus Stop PO Bus Stop n. Marconi 18 Bus Stop n. Donizetti 18 EUROPEAN ARCHITECTURAL HISTORY NETWORK THIRD INTERNATIONAL MEETING PROGRAMME AND TOURS Welcome to the Third International EAHN Meeting in Turin After the two successful International Meetings in Guimarães (2010) and Brussels (2012), we are now gathering in Turin for our Third International Conference. Turin, “the nicest village in the world” for Montesquieu, “one-company town” for so many 20th-century observers, has many histories that can speak for it. In the last fifteen years, Turin’s cultural offer and its tourist accommodation capacity have widely increased. The city is reorganizing its economic identity also by promoting and being host to an array of cul- tural activities, exhibitions and conventions related to the cultural heritage, considered in its broad range of artistic, architectural, environmental as- sets and resources. World-famous events have reshaped Turin’s public im- age. The Winter Olympic Games (2006), the exhibition of the Holy Shroud (2010), and the celebrations of the 150th anniversary of the Unification of Italy (2011), put much energy into the connection between mega-events and cultural elaboration, through an extensive programme of exhibitions, historic symposia and thematic itineraries. Turin is home to a lively community of historians and has attracted the inter- est of architectural and urban historians during most of the 20th century. The city’s baroque architecture gained the early attention of scholars such as Albert Erich Brinckmann, who in 1931 dedicated to Turin and Pied- mont his book Theatrum novum Pedemontii: Ideen, Entwürfe und Bauten von Guarini, Juvarra, Vittone.
    [Show full text]
  • Elegance Personified Turin & the House of Savoy
    Elegance personified Turin & The house of Savoy Tuesday 30 November – Saturday 4 December 2021 (5 Days) Lecturer: Tom duncan £1970 • Visit Turin, Italy’s most elegant post- Renaissance city, decorated for the pre- Christmas festivities • Combine wonderful architecture, fine art & the very best of local food & wine • Remarkable masterpieces by the architects Guarini & Juvarra in a blend of late Baroque, Rococo & Neo-classical magnificence • Superb collections of paintings • See the three finest of the newly restored eighteenth century royal Hunting Villas built on Turin’s outskirts Villa della Regina, Turin Overview The Duchy of Savoy was an independent state from medieval times, set dramatically astride the Alps, wedged between Italy and France, thus drawing on both cultural traditions in all aspects of life and art. Its ruling family, the House of Savoy, was connected to most of the royal dynasties of Europe, particularly the Bourbons and Habsburgs. Turin became the Duchy’s capital in the sixteenth century and from 1720 it metamorphosed into the capital of the freshly minted Kingdom of Savoy, which in time was ‘upgraded’ as the Kingdom of Sardinia. In the nineteenth century the Savoy dynasty provided Italy with its new monarchy and for a brief period Turin was the capital of the newly unified Italian state, to be succeeded by Florence and then Rome. That said, it is the natural wealth of what is today Piedmont that has proved to be its greatest attraction. Fertile valleys watered by fresh Alpine streams mean that the food and wine of this area are renowned, none more so than in late autumn, when the hunt for local truffles is at its height.
    [Show full text]
  • Celebriamo Leonardo 500 WE CELEBRATE LEONARDO DA VINCI 500 YEARS AFTER HIS DEATH
    Celebriamo Leonardo 500 WE CELEBRATE LEONARDO DA VINCI 500 YEARS AFTER HIS DEATH EVENT OFFICIAL INTRODUCTION 2019 - ITALY ORGANIZED BY THE PARTNER: PROMOTED BY: Lomonen Group SE WORLD DIGITAL FOUNDATION (Member of “Discovery Kepler “) (A Scientific Foundation for the International Organisation) HQ. Adress: Corso Principe Oddone nr.18 - 10121 TORINO (ITALY) General Secretary Contacts + 39 334 2177239 Press Office: + 39 333 4509653 - E-mail: [email protected] CELEBRIAMO LEONARDO 500 (WE CELEBRATE LEONARDO DA VINCI 500 YEARS AFTER HIS DEATH) 1519-2019 THE NATIONAL INSTITUTIONAL EVENT FOR 500 YEARS CELEBRATIONS FROM THE ITALIAN GENIUS LEONARDO DA VINCI’S DEATH “Once you have tasted flight, you will forever walk the earth with your eyes turned skyward, for there you have been, and there you will always long to return” Leonardo Da Vinci (The Atlantic Code ) _________________________________________________________________________________________ 29 NOVEMBER – 1st DECEMBER 2019 ROYAL CASTLE OF MONCALIERI TURIN - ITALY Castello di Moncalieri (Torino) ( ITALIA) THE EVENT’S LOCATION PROFILE The castle of Moncalieri is a Palace in the town of Moncalieri in the province of Turin (Italian Piedmont region). Along with other Royal residences of the Savoy dynasty in 1997, the year inscribed in the UNESCO world Cultural Heritage site by UNESCO. The first building on this site was a fortress built on a hill approximately 1,100 th year on the orders of Tom Zavoiskogo. The main task of the fortress was controlling the southern approach to Turin. In the mid-17th century Yolanda of Valois, wife of Duke Amadeus IX, turned the building into a charming country residence. By the architect Carlo di Castellamonte, the fortress was expanded considerably, and the interiors redesigned by local artists.
    [Show full text]