Proceedings of the First International Congress on Construction History, Madrid, 20th-24th January 2003, ed. S. Huerta, Madrid: I. Juan de Herrera, SEdHC, ETSAM, A. E. Benvenuto, COAM, F. Dragados, 2003.
The baroque Roman building yard: Technology and building machines in the reverenda fabbrica of St. Peter's (16th-18thcenturies)
Nicoletta Marconi
The triumphal raising of the Vatican obe]isk between technologica] and experimental workshop and a April and September 1586, commissioned by Sisto V qualified school for skilled workers, at the same time. Peretti (] 585-1590) to Domenico Fontana It is managed like a modern building enterprise, with (1543-] 607), starts a process of innovation and a rigid hierarchica] structure, and has at its disposal a improvement in the building technology, heir of the large amounts of materia]s, too]s and building Roman-imperial mechanics, which will reach a level machines, the so-called «munitioni», accumulated in of efficiency and functionality between the XVI and centuries of building activity and stored in at least XVII Century, for a long time unsurpassed. What is five stores inside the Basilica. These provisions have the main contribution of the experimentation of been accumu]ated from the period of Michelange]o' s Fontana to such techno]ogy, which persists at least up supervision up to the construction of the portico, and to the XIX Century') This experimentation is also later. The purchase, use and ]oss of tools and supported by the new impulse in the Roman building materia]s are recorded in many documents of the of the XV Century, as well as by the renewed interest Fabbrica of Sto Peter's. From the half of the XVI for the mechanics, intended to create more functiona] Century, the cardinal congregation supervising the and modern devices. In addition, it contributes to the Fabbrica develops a ingenious system for the hire and deve]opment of an extraordinary organizational and sale of these tooIs and materials, as well as for the technical system for building management, based «Ioan» of qualified manpower, the minor buiJding upon the ingenious mechanism of the Reverenda yards. In this way, they can face the economic ]oad Fabbrica of Sto Peter's and the entrepreneurial required by the use of the big bui]ding machines, the character of the masters of Lombardia, able to purchase of expensive lumber and meta] for conjugate the Gothic constructive ability to a wise construction, the provision of richer materials, like management of workers. From the first half of the freestones and ropes (Rice 1997). This system is XVI Century to the first half of the XIX Century, the structured as follows: initially, the materia] to rent is Fabbrica is the real propeller of the Roman building carefully estimated and measured, then de1ivered to a economy. It is the institution assigned to control of representative of the app1icant building yard, who the financial and technical administration of the becomes personally responsible for returning the Vatican building yard, similar to the «Opera de] materia] at the end of the works. Once returned, the Duomo» in Florence or the «Fabbrica di Sto Petronio» materia] is re-estimated, to assess the wearing caused in Bologna (Basso ] 987; Haines and Riccetti 1992, by use. In case of partia] damage or complete XI; Conforti 2001, ]6). The Fabbrica of Sto Peter's uselessness of the materia], a penaJty is applied to the can be considered a government institution, a initial price of the hire, corresponding to a percentage 1358 N. Marconi up to the complete value of the object, depending on stile prefer to improve the devices verified in the gravity of the situation. The difference between centuries of practice, in particular the building the initial and final estimation of the material machines developed by Filippo Brunelleschi represents the debt contracted by the minor building (1377-1446) for the dome of Santa Maria del Fiore in yard with the Congregation of St. Peter's. Flarence, Mariano di Jacopo called the Taccola Furthermore, all the material s remaining from the (1381-1458), Bonaccarso Ghiberti, Giuliano da minar building yard, also those acquired from other Sangallo, and Leonardo da Vinci (Taccola [1427/1433] suppliers, are purchased by the Fabbrica of St. Peter' s 1969, l4v-14r). These machines, assembled with and added to its inventory. These exchanges gear wheels, endless screws, racks and winches, also sometimes enrich the Fabbrica considerably: between used far the hoisting and transpartation of columns, 1653 and 1654, the sale to the Sant' Agnese building obelisks and pyramids, reveal a considerable yard of \64 pieces of travertine, coming from the technical maturation. However, only Domenico demolition of the bell-tower of St. Peter's (1647), Fontana will be able to create a really efficient yields to the Fabbrica around 4,000 scudi. A similar apparatus, thanks to his extraordinary technical talent amount is obtained in July 1662 by the sale of the and to the resources made avai]able to him by the columns of same bell-tower, which are used far the churches of Piazza del Popolo. The meticulous estimation of the material also allows to understand the technical and constructive difficulties encountered by architects and workers during the works. The history of the objects concerns some of the most famous building yards of the Baroque Rome, like the Fabbrica of Santa Maria della Pace. For the frescoes of its dome, all the purlins, the boards of ilex, chestnut and elm wood, and the iron stirrups necessary to build the scaffoldings far the painters are taken on loan from the Fabbrica of St. Peter's on 20th November 1650 and returned on 13td March 1665.1 In this system, the building technology, and particularly the building machines, have the most important role; in some cases they represent the only subject of the agreements between the Vatican Fabbrica and the minar building yards. What is the status of the building technology at the end of the XVI Century? The building machines, as shown by the treatises and the architectural iconography of this period, are quite similar to the ancient ones, Jike levers and chutes used by the Egyptians during the third millennium before Christ, or the building machines in use at the time of the Imperial Rome (Cupelloni 1996, 54).2 Nevertheless, a new interest far the applied mechanics appears in the XV Century, noticeable through the study of the X book of the De Architectura of Vitruvio and in the invention of spectacular and bizarre machines. A very famous example are the «alzacolonne» of Francesco di Figure 1 Giorgio (1439-1501), to whom Vasari attributes the The scenographic scaffold designed from Domenico revaluation of the machinatio, an integral part of Fontana for the raising of the Vatican Obelisk (Zabaglia Architecture (Fiare 1978). However, the technicians 1743. fig. XLII) The baroque Roman building yard 1359
Fabbrica of St. Peter's. The scaffolds and building nails and rivets, partly come from the stores of the machines developed by Domenico Fontana for the Basilica, partly are fused either in the papal foundry removaI, transportation and raising of the granite of the Fabbrica, or in the foundries of Ronciglione obelisks, either monolithic or «Íracti», are conceived and Subiaco (Fontana C. 1694,475-476).' The papa! in a way that they can be applied also to the common foundry, located near Santa Marta in Vaticano, is practice. This is particularly true for the machines and used 10 make the «traglioni», big tackles in iron with tools used for the erection of the Vatican obelisk six or four swivel joints, requested by Fontana. For (Figure 1). Although initially acquired by the their fusion, around 10,000 pounds of metal are used Fabbrica of St. Peter's with a big economical effort, in addition to a large quantity of firewood (D'Onofrio then will represent for the Fabbrica a very precious 1992,475-476). Most ofthe lumber used for scatfolds, property for the following three centuries. Either used «curli»4 and other machines comes from the woods of for the raising of other Sixtine obelisks (1587-1589) Nettuno, Terracina and Santa Severa, property of the or rented to other building yards, they are a real Camera Apostolica (Fontana D. 1590,6-7). source of gain. To raise the Vatican obelisk, having a Due to the poor quantity of lumber available in the weight of 400 tons, forty winches, five 15 meters long Roman country, the supplies must be optimized, the levers and 139,000 pounds of ropes are used (Figure quantities must be exactly assessed, the process 2). The iron tools, like pulleys, hammers, tackles, wastes must be strictly controlled, and the lumber re- used where possible. To have an idea of the compIexity of the scaffoldings, the one supporting the Vatican obelisk can be considered. It is composed of eight big masts (<
Figure 4 The «antenna» (mast) designed by Zabaglia for installing the SO statues of the SI. Peter's Portico in 1703 (Zabaglia 1743. fig.VIl)
As shown in Table VII 01' Castelli e Ponti. it is a vertical mast composed of a number of minor beams, made 01' chestnut wood and joint together with metallic stirrups. It bears an horizontal beam (the «falcone») on the top, supporting the hoisting tackle (Marconi 1998, V 46-52). With this «1'alcone» the balustrade can be easily accessed and the statues can be exactly centered on their pedestal. The base of the «antenna» is installed on «curli», a sort of strong wooden cylinders with iron rings at both ends, which move the antenna's base by rolling on the ground. Such device allows reducing the costs in a considerable Figure 3 manner, as it avoids the assembly and disassembly of Anonimous, The building yard of palano Farnese at the half the traditional scaffolds, otherwise required for the of XVI centuries (detail). On left side is visible the «antcnna» (mast) used for lifting material s and stone blocks installation of each statue. Due to the considerable on the scaffold (Naples, BNN, Sez. mss e rari, ms. XII. D. l. height of the statues (3 meters) and 01'the portico (17 fo!. 8) meters), the «antenna» is stabilized by 1'our «ventole», The baroque Roman building yard 1361 two manufactured ad hoc for the work, two taken on Carrara, on ships sailing along the Aniene and the ]oan fram a «funara» of the Fabbrica of St. Peter's.6 Tevere. The closed version of the gin consists of three Thc statues are raised by means of a big winch and a masts ]inked together at one end with rapes, supporting capstan made of i]ex wood, mounted on the base of a tack]e (Figure 5). The rape of the tackle is connected the antenna. Zabaglia analyses accurately each phase to a winch fixed to the base of two of the three masts. of the pracess, in a]] details, even the way to twist the On the contrary, the opcn version of the gin is rapes araund a statue. For this purpose, he makes a stronger and of bigger dimensions. It consists of a sma]] gypsum mode] of a statue, wrapped up with trestle whose horizontal crassbar supports the tackles ropes, still preserved in the store of St. Peter' s. operated by winches (Figure 6). However, in the common building yards the hoisting machines in use are frequent]y simpler. They can be , ~__~~M__.-._-- «burbere» or capstans, small horizontal winches with -~ tack]es to raise wooden buckets containing various materia]s (Marconi 2001, 108-] ]2). A]so the gin (< ~ Figure 6 The open version's gin, used for lifting massive stones (Zabaglia 1743. fig. VI) «Antenne» and «capre», the most common hoisting machines, are already described in De Architectura of Vitruvio, as well as in De Re Aedificatoria of Leon Figure 5 Battista A]berti (1485), and a]so in the drawings of The closed version's gin, used in Renaissance and Baroque Nicolas Tessin the younger. In particular, Tessin building yard for raising stone block s and statues (Zabaglia describes two of the «antenne» of the Fabbrica of St. 1743. fig. 11) Peter' s rented to the building yard of Sant' Agnese in 1362 N. Marconi Agone at the time of the supervision of Francesco onerous as to require the support of the Fabbrica of Borromini from 1654 to 1658. For this work, Sto Peter's to continue the works. Without such commissioned by the Pamphili family, the Fabbrica support, the foremen have to personally provide all also provides 166 iron stirrups, iron lifting pins, a the tools, machines and scaffolds, and are constrained «burbera» for the dome's scaffolding, «curli», pulleys to surcharge their fee. In particular, the provision of and tackles, and other minor tools7 three ropes supporting up to 7000 kg and required for The primary role played by the Fabbrica of Sto the stabi1ization of the scaffolds has a prohibitive Peter' s in the Roman building is evident from the costo11 One of these ropes is long around 290 meters analysis of a number of significant building yards. and has a di ame ter of 19 cm: the resort to the Fabbrica One is that started up for the restoration of the of StoPeter's is therefore inevitable. 12 The Fabbrica, Pantheon's portico, commissioned by Alessandro VII also thanks to the intermediation of the Pope, supplies Chigi (1655-1667) from 1662 to 1667, to reinstall all the required material s and tools, and undertakes to two columns on the eastern side replaced by a brick pay for the manufacture of these ropes, provided that wall in the Middle Age (Marconi 1998, VI 63-87).8 on completion of the works they be come property of The Dominican Giuseppe Paglia (1613-1683), the «munizione generale di San Pietro e di specialized in mechanics and hydraulics, is made Castello».13 responsible for this work. The problem of the In November 1666, the responsible for the stores of replacement columns is solved in 1662 with the use of the Reverenda Fabbrica (< "; Figure 8 Lateral view of the same scaffold that Zabaglia awards to Pantheon's Portico (Zabaglia 1743. fig. XXXII) J (1605-1621) to enhance the city of Rome. It has an urban function, that is to be a perspective focus for Figure 7 the square, like the obelisk of St. Giovanni in Frontal view of the scaffold comparable with the one used in reinstalling the two columns on eastern side of the Laterano with which it is visually in contact, as well Pantheon's Portico (Zabaglia 1743. fig. XXXI) as a sacred function, that is the celebration of the Virgin Mary, through the statue installed on its capital. This column is a marble monolith of Corinthian order, coming from the Templum Pacis inside the scaffolding, to enable the oscillations (or Basilica di Massenzio). The works are assigned to necessary to correctly pile the blocks. The capitals are Carlo Maderno, not only because he is Architect of positioned finally. They are lifted up and slided the Fabbrica of SI. Peter's, but also for his technical horizontally to reach the correct position above the preparation achieved in the building yards of column. Then the roof is rebuilt, and the surface of Domenico Fontana (his relative) and especially in the columns, the lintel and the capital s finished off. that for the Vatican obelisk.16 The works begin in Once the restoration is completed, the scaffolds are August 1613 and are completed after around ayear, gradually dismantled so as to allow the structure to in June 1614.17 The organization of the building yard recover its original static equilibrium (Figure 8). of Maderno is structurally similar to the Fontana's The supremacy and the primary role of the Fabbrica enterprise, where teams of specialized workers and a of SI. Peter's in the Roman Baroque building is also rigorous planning of the jobs allow perfectly evident from the reports of the raising of two other coordinating the all phases of the process. monumental columns: one dedicated to the Virgin The transportation and installation of the column is Mary in Piazza Santa Maria Maggiore (1613-1614), accomplished by the masons, with the support of supervised by Carlo Maderno (1556-1629), and one sailors from the pontifical fleet for the operation of dedicated to Antonino Pio in Campo Marzio the ropes; also the reaJization of the wooden (1703-1704), supervised by Franccsco Fontana scaffoldings is assigned to the masons, but with the (1668-1708). contribute of carpenters and blacksmiths. The The raising of the column of Santa Maria Maggiore stonecutters are responsible for the stoneworks and is One 01' the works promoted by Paolo V Borghese also 1'orproviding the marble necessary to restore the 1364 N. Marconi capital. The marble comes fram the Templum Pacis as well. 18 Also other artists take part to the works, like Guillaume Berthélot (\ 570-1648), who sculpts the statue of the Virgin Mary, and Annibale Corradini, who accomplishes the gilding of the statue. The lumber is pravided directly by Maderno, who refers to the usual suppliers of the Fabbrica of Sto Peter' s, to which he'lI resell all the lumber in excess on completion of the works, at the purchase price.19 Other materials are taken on loan fram the Fabbrica, Í.e. many big «curli» of elm wood, used to move the column fram the Fori to Santa Maria Maggiore,20 1160 planks of elm wood of various dimensions, 200 oaken boards, and also rapes, iron and leaden tools. On completion of the works, the ropes will be resold to the building yard of the Civitavecchia's port, while part of the lumber wiIJ be used for the port of Fiumicino. It is possible that also the six-pulley tackles used for the Vatican obe\isk were provided by the Fabbrica. The column is wrapped up with wooden planks and ropes, in order to protect its surface and be able to hook the hoisting tools. It is lifted, then placed horizontally on a wooden sledge, and towed towards Santa Maria Maggiore by means of winches, hoists and 60 horses. Here the column is positioned at the base of the scaffolding, which is very similar to that made for the Vatican obelisk. By means of winches, each operated by 16 men, and tackles, the column is Figures 9 lifted and simultaneously rotated to reach the vertical Scaffold commonly used for raising monolithic columns, position, then lowered and positioned on the pedestal, maybe comparable with the one employed for the Santa to which it is fixed by means of iron dowels, sealed Maria Maggiore's column (Zabaglia 1743. fig. XXXV) with lead. The capital is installed finally. It is inserted horizontally in the space between the top of the scaffold and the column, then lowered and positioned on the top of the column (Figure 9). but is going to be forgotten and gradually unlearnt. In 1703, another descendant of Domenico Fontana, The reason for failure of the raising of Antonino Pio' s Francesco Fontana, is commissioned to raise the column can just be found in the concurrence of this column of Antonino Pio in Campo Marzio, in front of fragility of mechanic science and the operational the Curia's palace.21 This work can be considered one insecurity of designers and workers. of the most sensational failures of the technology of Although decisive in this case, the intervention of the XVIII Century, as confirmed by analysis of the the Fabbrica of St.Peter's is not sufficient to prevent working pracess and the scaffolding used for the the failure of the works. The unsuccess is determined raising of this granite monolith from Assuan not only by the inaccuracy and lack of coordination of (Marconi 1999, 43-54). The analysis highlights the the manoeuvres accomplished, but especially by the contrast typical of this period of transition between erroneous position of the tackles on the top of the the outward trust in the new scientific research on one scaffold, which causes the supporting structure to yield side and the continuous reference to the practice of in more points with consequent damage of the column the past on the other side, which is still the sole (Figure 10). Neither the contribution of the Fabbrica of reliable instrument to control operational processes St. Peter's, nor that of Francesco Fontana, can prevent The baroque Roman building yard 1365 Fig.1O Spectacu]ar scaffold and hoisting machines in the bui]ding-yard of Antonino Pio's Co]umn in Campo Marzio (Piranesi 1762. fig. XXXI) this failure. The Fabbrica supplies ropes, iron tools and ARCHIVES ABBREVIATIONS lumber in large quantity, and sends the excellent foreman Giacomo Patriarca, follower of Nicola AFSP =Archives of the Fabbrica of SI. Peter' s Zabaglia, together with Giacomo Visco, a blacksmith ASR =State Archives of Rome experienced in tackles and hoisting tools, and the BA V = Vatican Library carpenters Marcantonio Ravasio and Francesco BNN = National Library of Naples Radice,22 experienced in the repair of machines and scaffolds. For his part Fontana, now called «ingegnere», arranges a massive system of men and equipment: 520 NOTES workers, 13 specialized foremen responsible for the winches, vast sums of money for the provision of 1. AFSP. armo 26. rip. E. vol. 393. Ir. 2. See also Usher ]954; Singer and Holmyrard 1957; lumber, ropes, and «torce a vento», candles used to Drachmann ]963; Hodges 1970; Gille 1980; Martines work at night. Nevertheless, despite all efforts, the 1999. column is damaged irremediably. It is abandoned in the 3. In Carlo Fontana's treatise on Templum Vaficanum square of Montecitorio until174S, when its granite will A]essandro Specchi shown the < Fabbrica for this «antcnna» and other scrapped tools Bianchini, F. 1704. Considerazioni teoriche e pratiche (AFSP, armo 7. rip. F. 466 and D'Amelio and Marconi intorllo al trasporto della Colonna d'Antonino Pio 2000, pp. 406-418). collocata in Monte Citorio. Roma. 8. See also Fontana C. 1694, 473; Cerasoli 1909; Marder Cancellieri, F. 1821. «Lettera sopra lo scoprimento e la 1974,1989, 1991; Pasquali 1996; Lucchini 1996. traslazione della colonna di Antonino Pio». Effemeridi 9. BA V, ms Chigiani M. VlIl. LX. 169r. See also letterarie. fasc. V. Roma. Krautheimer 1985. Cerasoli F. 1909. «l restauri del Pantheon dal seco XV al lO. BAV, codo Chig. PVI1. 9.101, «Ristretto di tutto il XVIII», Bollettino della Commissione Archeologica denaro speso per il corrente giorno 26 novembre (1666) comunale di Roma, XXXVII: 287-288. per il risarcimento delle due Colonne da rimettersi nel Conforti, C. 2001. Architetti, committenti e canticri. In fianco destro del Portico». Storia del!' architettura italiana. II secondo Cinquecento, 11. To have an idea 01' the load capacity of this rope, edited by C. Conforti and R. Tuttle. 9-22. Milano: Electa. consider that a rope 01' 5.5 cm of diameter has a load Corbo, A. M. and Pomponi, M. eds 1995. Fonti per la storia capacity up lo 2000 kg. artistica romana al tempo di Paolo V. Roma. 12. BAV, codo Chig. PVII. 9.101r. Crescimbeni, G. M. 1705. Racconto di tutta l'operazione 13. BAV, codo Chig. PVI1. 9.102r per l' elevazione e abbassamento della colonna Antonina. 14. AFSP. armo 26. rip. E. 303. 15r. «Libro dove si notano Roma. tutte le robbe che si prestano dalla Reverenda Fabbrica Cupelloni, L. 1996. Antichi cantieri moderni. Concezione, di San Pietro (1650-1685»>. Further information are sapere tecnico, costruzione da Iktinos a Brunelleschi. available in AFSP, armo 26. rip. E. 337, 83-87, «Entrata Roma: Gangemi. e Uscita di Monitione 1659-1683». D' Amelio, M. G. and Marconi, N. 2000. Macchine, apparati 15. AFSP, armo 26. rip. E. 337. 83-84r. e cantiere nella fabbrica di San!' Agnese in Agone a 16. Carlo was born in 1556 in Capolago, on the Lugano's Roma. In Francesco Borromini, edited by C. L. Frommel lake, from Paolo Maderno and Caterina Fontana, sister and E. Sladek. 406-418. Milano: Electa. of Domenico. Carlo becomes Architect of the Fabbrica Di Mamo, L. 1987. Il cantiere di palano Farnese in un of St.Peter's, together with Giovanni Fontana, in 1603, disegno inedito. Achitettura storia e documenti. 113-123. following the death of Giacomo della Porta (See D'Onofrio, C. 1992. Gli obelischi di Roma. Roma: Romana Hibbard 1970). Societa Editrice. 17. ASR. Camerale 1. Fabbriche. 1537, 250r-251 V. See also Drachmann, A. G. 1963. The Mechanicul Tecnology of Corbo A.M. and Pomponi M. eds. 1995. Greek and Roman Antiquity. Copenhagen. 18. ASR, Camerale 1. Fabbriche. 1537. 266r. Fiore, F. P. 1978. Citta e macchine del '400 nei disegni di 19. AFSP, ann. 1. rip. A. vol. 2.,49. Francesco di Giorgio Martini, Firenze: Olschki. 20. ASR, Camerale 1, Giustificazioni di Tesoreria. 39. 1'.6. Fontana, C. 1694. Templum Vaticanum et ipsius origo. 4r. Roma. 21. Bianchini 1704; Cancellieri 1821; Crescimbeni 1705; Fontana, C. 1708. Discorso sopra I 'antico Monte Citatorio Fontana C. 1708; Pellegrini 1881; Posterla 1705; situato ne! Campo Marzio con l'istoria di cio che e Vignoli 1705; Vogel 1973. aec'aduto ne! ritrovamento, & alzamento della Nuova 22. From 1703 to 1704, Francesco Radice. foreman Colonna Antonina. Roma. carpenter in the Fabbrica 01' SI. 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