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Progeny of Tholoses in the Architecture of Classicism. Part I

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Progeny of Tholoses in the Architecture of Classicism. Part I 72 ZNUV 2018;61(4);72-81 Tomasz Dziubecki Politechnika Białostocka Progeny of Tholoses in the Architecture of Classicism. Part I Summary The paper presents analyses of antique tholos tradition in the English architecture in the 18th century, in context of the antique tradition perceived via the Bramante’s Tempietto as well as icono- graphical sources in prints, drawings and paintings. Key words: tholos, English architecture, antique and renaissance tradition. Tholos type buildings were not common in European architecture in the 18th century, except for two countries: England and Poland. In 1729 an eminent English architect, Nicolas Hawksmoor (ca. 1661-1736), known for his unique baroque architecture of the palace Blenheim, in another residence – the Castle Howard in North Yorkshire – created, as a gar- den pavilion, the mausoleum for 3rd Earl of Carlisle (who died in 1738). Question of what idea influenced Howksmoor, was widely discussed: in the correspond- ence to Lord Carlisle can be seen and archeological approach manifested by the archi- tect. The clasicist style of the Castle Howard Mausoleum reflects the basic influence of Bramante’s Tempietto in Rome (Summerson 1955, p. 167-168). [illustration 1-2] Its widely known image could be found in book IV, chapter XVII of the Palladio’s treatise, as well as in Sebastiano Serlio’s Il Terzo Libro di Sebastiano Serlio Bolognese (ed. Venetia 1544), where the Tempietto is presented under no. XLIII . There should be mentioned also an important – and above all local – paradigm, which evidently was the dome for London St. Paul’s Cathedral designed in 1675 by Christopher Wren [illustration 3] The brilliant construction of the 3 layers dome, completed in 1710, has outside shape similar to the Tempietto – the basic difference is the size. Another example of use of the Bramante concept in a dome composition was the church of Ste Geneviève (1764-1790, since 1791 Pantheon) in Paris, designed by Jacques Germain Sufflot. The resemblance was already noticed by Nicolaus Pevsner, who indicated the relation between them, saying that it was Soufflot who followed the Wren›s design (Pevsner 1972, p. 363; von Kalnein, Levey 1972, p. 321). The Castle Howard Mausoleum was criticized by Lord Burlington: in a letter to Lord Carlisle he expressed opinion on the proportions of the colonnade which in his opinion had no precedents in antiquity. Hawksmoor, who was Secretary to the Board of Works at Whitehall, was generally criticized for his architecture (as well as his master Sir Christopher Wren), because it was to be ”influenced by French and Italian architects” and character- TOMASZ DZIUBECKI 73 Illustration 1 Tempietto Source: photo M. Królikowska-Dziubecka. Illustration 2 Tempietto, by Andrea Palladio Source: Palladio (1955). 74 PROGENY OF THOLOSES IN THE ARCHITECTURE OF CLASSICISM. PART I ized by “extravagance of Baroque Counter-Reformation architecture of Catholic Europe” (Cruickshank, Burton 1990; Parisien 2000, p. 60). One of the features of the Castle Howard tholos is number and size of windows, which – what is relatively rare – were located on the drum. This was against the classical tradition but here its purpose was to maximize enlight- enment of the interior. Illustration 3 St. Paul’s Cathedral, London Source: as in Illustration 1. Next example of the popularity of the model in English garden architecture was the Temple of Virtue in Stowe built in 1737, created by William Kent (1685-1748). [illustration 4] Kent travelled to Italy 1709-1719, when Richard Boyle, Third Lord of Burlington (1694- 1753) brought him back to England (see also Sicca 1986, p. 134-147, who underlined that his architecture was influenced also by antique Rome and not only by Palladio, what has been a prevailing idea – see Parisien op. cit. p. 89). His architectural activity started in the thirties. This temple is a tholos of 16 Ionic columns (number equal to the Tempietto), with 2 entrances (without doors), in the interior between the entrances there are 4 niches where statues of Homer, Socrates, Lycrotas and Epaminodas. The above described three architectural masterpieces: St. Paul’s Cathedral dome and two garden pavilions – the Lord’s Carlisle mausoleum in Castle Howard and the Temple of Virtue in Stowe – were created in the first decades of the 18th. century in England following TOMASZ DZIUBECKI 75 the paradigm of the Tempietto. In Hanoverian United Kingdom the atmosphere of research- ing new architectural language, the Bramante’s masterpiece was the answer, filtrated by the Palladianism (Honour 1972, p. 14; see also S. Parisien op. cit., p. 37-46). Illustration 4 Stowe, Temple of Virtue Source: photo from the author’s collection. The Tempietto played the pivotal rôle in the architectural tradition of tholos type build- ing in the early modern period architecture within a net of variety influences and traditions. Furthermore, the following statement of Vasari must have been of value, as he described the Tempietto „del quale non puó di proporzione, ordine e varietà imaginarsi...” (Vasari 1879, p. 160). The direct sample for Bramante was the Sybil (Vesta) temple in Tivoli. The architect visited the place personally, as stated by Vasari (Freiberg 2014, p. 71). We should remember the Tivoli temple was destroyed, just a fragment of Corinthian colonnade, part of the cella and no roof have been preserved. Tempietto furthermore belongs to a long tradition of an- tique and post antique tholos type structures, known to the architect›s circle. There should be indicated as the sources of inspiration two buildings, which were visited prior to erecting the Tempietto by cardinal Bernardino López da Carvajal (1455-1523), who was governor of Rome, member of the Roman Curia and representative of King Ferdinand of Aragon and Queen Isabela of Castilla to the Holy See. Cardinal Carvajal was entrusted by the king 76 PROGENY OF THOLOSES IN THE ARCHITECTURE OF CLASSICISM. PART I Ferdinand with supervising the construction by Bramante the mausoleum dedicated to Saint Peter on the Ianiculum Hill (eadem, p. 37). Thus visiting the Mausoleum of Theodoric in Ravenna, erected in 520-526, was of importance, as well as seeing the mausoleum of San Lorenzo Maggiore (dated 355-372) in Milan. It is worth mentioning that saint Lorenzo was a martyr coming from Spain. The Theodoric mausoleum in Ravenna, built on a ground plan of decagon, was covered with monolithic dome weighing ca. 300 tons of 10 m. diameter while the interior dome has a Greek cross plan of two crossed rib vaults. The inspiration for Bramante, confirmed by a drawing made in his circle, was only the external shape of the building consisting of a cylinder circled with arcades on pillars. San Lorenzo in Milan was visited by Bramante between August of 1496 and 1497, when he met cardinal Carvajal for the first time (ibid.). Architect could have studied then the cir- cular central structure, discussing its shape with the cardinal. The tholos tradition was developed also in drawing studies in the epoch of Italian Renaissance. Here we should indicate drawings by Francesco di Giorgio Martini (1439- 1502). The artist processed reconstructions of architecture in his drawings (Waters 2014, pp. 27-28 and 38). He showed also domed monuments in Rome he assumed were antique (Freiberg op. cit., 89-90). One was Vatican mausoleum of St. Petronilla, legendary daughter of St.Peter, where her relics were translated by pope Stephen II (752-757) from catacombs to the mausoleum of Emperor Honorius built in the 4th c. That chapel was then the burial place of the French kings and was demolished as the new basilica was built (Mackie 2003, p. 59). The drawing of di Giorgio is precise and on the same plan as St. Andrew (Vatican Rotunda) dating 3rd century, demolished in 1777, which originally was a Severan mausoleum, con- verted by Pope Symmachus (498-514) into a church of St. Andrew the Apostle, drawn not only by Marten van Heemskerck, but also by Giovanni Battista Piranesi. Another sample coming from antique architecture was the Temple of Hercules Victor at the Piazza Bocca della Verità at Forum Boarium in Rome, existing until today.[illustration 5] Since the 16th c. it was widely known from drawing by Giovanni Antonio Dosio (1533-1611) and in the eighteen century above all via the print of Giovanni Battista Piranesi Veduta del Tempio di Cibele a Piazza della Veritá included in the serie Vedute di Roma. These prints were being executed from the 1740 onward and sold as individual sheets and the set of 135 eachings was edited in 1778. The temple bared various names, besides the name used by Piranesi, more common was of Hercules Victor or Vesta (notabene name used by Palladio). When the temple was converted into a Christian church, in 1132 obtained the name of S. Stefano alle Carrozze and finally since the 17th c. – S. Maria del Sole. Analysis of this building directs to the problem of roofing: the temple at Forum Boarium has not hemispherical dome but the conical roof type (on morphology of dome structure forms see Mirski 2002). We do not know what type of roof was covering it in antiquity, however we should analyse the tholoses of ancient Greek architecture (actually unknown TOMASZ DZIUBECKI 77 in Renaissance). There should be indicated the temple in Epidauros (ca. 360-320 B.C.) de- signed, as Pausanias stated, by Polykleitos the Younger. Exterior colonnade consisting of 26 Doric columns on stylobate of diameter ca.21 m. However it was destroyed in the 4th c. and the excavations started only in 1881, so its shape was unknown to early modern architects. Also the rotunda (not tholos, as there was no external colonnade) of Arsinoe in Samothraca (289-281 B.C.), large – diameter of 21 m.
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