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A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/90103 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications 1 Scenography at the Barberini court in Rome: 1628-1656 by Leila Zammar A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Warwick Renaissance Studies Centre for the Study of the Renaissance 2 Table of contents List of Abbreviations…………………………………………................ p. 4 List of Illustrations………………………………………………..……. p. 5 Acknowledgements……………………………………………………... p. 10 Abstract…………………………………………………………………. p. 12 Introduction…………………………………………………………….. p. 13 Chapter 1 New light on early performances (August 1628 and Carnival of 1632)……………………………………….. p. 36 Il contrasto di Apollo con Marsia: August 1628……....... p. 41 Il Sant’Alessio: Carnival 1632…………………………... p. 51 Chapter 2 Operas staged with the collaboration of Francesco Guitti (1633-1634)……………………………………… p. 62 Erminia sul Giordano (Carnival 1633)…………………. p. 64 Il Sant’Alessio (Carnival 1634)…………………………. p. 88 Chapter 3 Further developments (1635-1638)………………..…… p. 120 I Santi Didimo e Teodora (Carnivals 1635 and 1636)…... p. 123 La pazzia d’Orlando and San Bonifacio (Carnival 1638)... p. 145 Chapter 4 Inaugurating the newly-built theatre (1639 and 1642). p. 163 The Teatro Barberini from its construction to its demolition (1637-1932)…………………………………. p. 166 L’Egisto ovvero Chi soffre, speri (Carnival 1639)……… p. 175 The intermedio La fiera di Farfa (Carnival 1639)……… p. 183 Il palazzo incantato d’Atlante (Carnival 1642)………..... p. 191 Chapter 5 Performances for the Queen’s Carnival of 1656…….. p. 199 The Patronage of the Barberini after 1642, including their exile in France…………………………………………… p. 201 La vita humana ovvero Il trionfo della pietà……………. p. 208 La giostra dei caroselli……………………….……………… p. 224 Conclusion………………………………………………………..……... p. 238 3 Appendix Transcriptions from Vatican City, BAV, Arch. Barb., ‘Giustificazioni I’………………………………………. p. 255 [Il contrasto di Apollo con Marsia]……………………... p. 260 [Il Sant’Alessio]…………………………………………. p. 271 [La pazzia d’Orlando and San Bonifacio]………………. p. 273 [Chi soffre, speri and La fiera di Farfa]……………............ p. 305 [La vita humana and La giostra dei caroselli]………….. p. 325 Glossary………………………………………………………………… p. 328 Bibliography…………………………………………………….……… p. 333 4 List of Abbreviations APUG Archivio della Pontificia Università Gregoriana (Archive of the Pontifical Gregorian University in Rome) Arch. Barb. Archivio Barberini (Barberini Archives) Barb. lat. Barberini latini BAV Biblioteca Apostolica Vaticana (Vatican Apostolic Library) BNCR Biblioteca Nazionale Centrale di Roma (Central National Library of Rome) ca. carta (paper) cas. cassetto (drawer) Comp. Computisteria (accountancy) Cors. Biblioteca Accademia Nazionale dei Lincei e Corsiniana (Rome) Cred. credenza (closet) Giust. Giustificazioni ind. indice (index) lett. lettera (letter) maz. mazzo (bunch) MS or ms manuscript Ottob. lat. Ottoboniani latini sc. scudi VAdS Archivio di Stato di Venezia (State Archives of Venice) Vat. lat. Vaticani latini 5 List of illustrations Chapter 1 Fig. 1.1 Palazzo Barberini in 1632………………………………………………... p. 39 Fig. 1.2 Palazzo Barberini alle Quattro Fontane: piano nobile…………………… p. 40 Fig. 1.3 Frontispice of Ottavio Tronsarelli’s Drammi musicali……………….…. p. 43 Fig. 1.4 Andrea Sacchi, Marc’Antonio Pasqualini crowned by Apollo……….…. p. 46 Fig. 1.5 Pietro Da Cortona, detail from Triumph of Divine Providence…………. p. 47 Fig. 1.6 Sebastiano Serlio, Tutte l’opere d’architettura, p. 51……………………. p. 49 Fig. 1.7 Morione………………………………………………………………….. p. 50 Fig. 1.8 Sebastiano Serlio, Tutte l’opere d’architettura, vol. II, p. 51……………. p. 60 Chapter 2 Fig. 2.1 Frontispiece of Michelangelo Rossi’s score of Erminia sul Giordano….. p. 66 Fig. 2.2 Macerata, Associazione Compagnoni Floriani, codex α, fol. 15r, table VIII, detail……………………………………………………………….. p. 71 Fig. 2.3 Second engraving from the score of Erminia sul Giordano…………….. p. 72 Fig. 2.4 Macerata, Associazione Compagnoni Floriani, codex β, fol. 18r, table LXII……………………………………………………………………… p. 74 Fig. 2.5 Third engraving from the score of Erminia sulGiordano……………….. p. 75 Fig. 2.6 a. Detail from fig. 2.4 and b. detail from fig. 2.5………………………... p. 75 Fig. 2.7 Macerata, Associazione Compagnoni, codex β, fol. 2r, table II………… p. 76 Fig. 2.8 Macerata, Associazione Compagnoni Floriani, codex α, fol. 15r, table VIII, detail……………………………………………………………………... p. 77 Fig. 2.9 Fourth engraving from the score of Erminia sul Giordano……………... p. 78 Fig. 2.10 Fifth engraving from the score of Erminia sul Giordano ………………. p. 79 Fig. 2.11 Sixth engraving from the score of Erminia sul Giordano………………. p. 80 Fig. 2.12 Macerata, Associazione Compagnoni Floriani, codex α, fol. 15v, table IX p. 87 Fig. 2.13 Frontispiece of Stefano Landi’s score of Il Sant’Alessio……………….. p. 88 Fig. 2.14 Thirteenth engraving embellishing Guido Bentivoglio’s Relatione ……. p. 90 Fig. 2.15 Details from the second engraving of the score of Il Sant’Alessio……… p. 90 Fig. 2.16 Detail from the first engraving of the score of Il Sant’Alessio………….. p. 91 Fig. 2.17 Nicola Sabbatini, Pratica, p. 60…………………………………………. p. 96 Fig. 2.18 First engraving from the score of Il Sant’Alessio……………………….. p. 96 Fig. 2.19 Engraving embellishing Luigi Altoviti’s printed argomento of La Svevia p. 97 6 Fig. 2.20 Sebastiano Serlio, Tutte l’opere d’architettura, vol. II, p. 51…………… p. 98 Fig. 2.21 Second engraving from the score of Il Sant’Alessio ……………………. p. 99 Fig. 2.22 Detail from the third engraving ofthe score of Il Sant’Alessio………….. p. 100 Fig. 2.23 Michael Holden, sketch………………………………………………….. p. 101 Fig. 2.24 Macerata, Associazione Compagnoni Floriani, codex α, fol. 22v, table XXIII, detail……………………………………………………………… p. 102 Fig. 2.25 Fourth engravings from the score of Il Sant’Alessio…………………….. p. 103 Fig. 2.26 Macerata, Associazione Compagnoni Floriani, codex β, fol. 13r, table LVII, detail……………………………………………………………..… p. 104 Fig. 2.27 Fifth engraving from the score of Il Sant’Alessio………………………... p. 105 Fig. 2.28 Sixth engraving from the score of Il Sant’Alessio……………………....... p. 107 Fig. 2.29 Seventh engraving from the score of Il Sant’Alessio…………………….. p. 108 Fig. 2.30 Eighth engraving from the score of Il Sant’Alessio………………………. p. 109 Fig. 2.31 Detail from Parma, State Archives, Mappe e disegni, 4/16………………. p. 110 TABLE 2.1a Second engraving from the score of Erminia sul Giordano with the scenographic elements highlighted with different colours……..… p. 82 TABLE 2.1b Hypothetical stage plan for the Prologue of Erminia sul Giordano p. 82 TABLE 2.2a Third engraving from the score of Erminia sul Giordano with the scenographic elements highlighted with different colours……….. p. 83 TABLE 2.2b Hypothetical stage plan for Act I of Erminia sul Giordano ……….. p. 83 TABLE 2.3a Fourth engraving from the score of Erminia sul Giordano with the scenographic elements highlighted with different colours……..… p. 84 TABLE 2.3b Hypothetical stage plan for the first setting of Act II of Erminia sul Giordano………………………………………………………… p. 84 TABLE 2.4a Fifth engraving from the score of Erminia sul Giordano with the scenographic elements highlighted with different colours……….. p. 85 TABLE 2.4b Hypothetical stage Stage plan for the second setting of Act II of Erminia sul Giordano…………………………………………………. p. 85 TABLE 2.5a Sixth engraving from the score of Erminia sul Giordano with the scenographic elements highlighted with different colours……….. p. 86 TABLE 2.5b Hypothetical stage plan for Act III of Erminia sul Giordano…….. p. 86 TABLE 2.6a First engraving from the score of Il Sant’Alessio with the scenographic elements highlighted with different colours……..… p. 111 TABLE 2.6b Hypothetical stage plan for the Prologue of Il Sant’Alessio ……… p. 111 TABLE 2.7a Second engraving from the score of Il Sant’Alessio with the scenographic elements highlighted with different colours…….… p. 112 TABLE 2.7b Hypothetical stage plan for the the fourth scene of Act I of Il Sant’Alessio……………………………………………………… p. 112 7 TABLE 2.8a Third engraving from the score of Il Sant’Alessio with the scenographic elements highlighted with different colours………… p.113 TABLE 2.8b Hypothetical stage plan for the fifth scene of Act I of Il Sant’Alessio p. 113 TABLE 2.9a Fourth engraving from the score of Il Sant’Alessio with the scenographic elements highlighted with different colours………… p. 114 TABLE 2.9b Hypothetical stage plan for the sixth scene of Act I Il Sant’Alessio… p. 114 TABLE 2.10a Fifth engraving from the score of Il Sant’Alessio with the scenographic elements highlighted with different colours………… p. 115 TABLE 2.10b Hypothetical stage plan for the seventh scene of Act II of Il Sant’Alessio ………………………………………………………. p. 115 TABLE 2.11a Sixth engraving from the score of Il Sant’Alessio with the scenographic elements highlighted with different colours……….. p. 116 TABLE 2.11b Hypothetical stage plan for the ninth scene of Act II of Il Sant’Alessio……………………………………………………… p. 116 TABLE 2.12a Seventh engraving from the score of Il Sant’Alessio with the scenographic elements highlighted with different colours……… p. 117 TABLE 2.12b Hypothetical stage plan for the third scene of Act III of Il Sant’Alessio……………………………………………………… p. 117 TABLE 2.13a Eight engraving from the score of Il Sant’Alessio with the scenographic elements highlighted with different colours……… p. 118 TABLE 2.13b Hypothetical stage plan for the fourth and sixth scene of Act III of Il Sant’Alessio ……………………………………………….…. p. 118 Chapter 3 Fig. 3.1 Frontispiece of the printed argomento of I Santi Didimo e Teodora…. p. 129 Fig.
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    DELL’ ACCADEMIA DI PALERMO DI PALERMO ACCADEMIA DELL’ DELL’ ACCADEMIA DI PALERMO CONOSCENZA, CONSERVAZIONE E DIVULGAZIONE SCIENTIFICA Musei e siti delle opere originali National Gallery of Art - Washington (D.C.) Museo dell'Hermitage di S. Pietroburgo British Museum, Londra Royal Academy, Londra Musée del Louvre di Parigi Grande Museo del Duomo - Milano Gipsoteca di Possagno Galleria degli Uffizi - Firenze Galleria dell’Accademia - Firenze Museo Nazionale del Bargello - Firenze Battistero di San Giovanni – Firenze Museo dell’Opera del Duomo - Firenze Musei Vaticani – Città del Vaticano Museo Gregoriano profano - Città del Vaticano Musei Capitolini – Roma Museo dell’Ara Pacis -Roma Museo Nazionale Romano di Palazzo Altemps, Roma Museo Nazionale Romano di Palazzo Massimo - Roma Galleria Borghese - Roma Museo Archeologico di Napoli Duomo - Monreale Galleria Interdisciplinare Regionale della Sicilia di Palazzo Abatellis - Palermo Galleria d'Arte Moderna (GAM) - Palermo Palazzo dei Normanni - Palermo Palazzo Ajutamicristo - Palermo Chiesa e Oratorio di S. Cita - Palermo Oratorio del Rosario in San Domenico - Palermo Cattedrale - Palermo Chiesa di S. Agostino - Palermo Chiesa di S. Maria della Catena - Palermo Museo Pepoli di Trapani Chiesa di S. Maria La Nova - Palermo Chiesa di Santa Maria dello Spasimo - Palermo Teatro Massimo - Palermo Palazzo Sottile - Palermo Museo Archeologico, Olimpia Palazzo della Cassa di Risparmio Vittorio Emanuele - Palermo Museo Interdisciplinare Regionale “A.Pepoli” - Trapani Museo Archeologico, Atene Museo Interdisciplinare Regionale “M. Accascina” - Messina LA GIPSOTECA DELL’ ACCADEMIA DI BELLE ARTI DI PALERMO conoscenza, conservazione e divulgazione scientifica a cura di Giuseppe Cipolla 1 fotografco di Palazzo MIUR – Ministero DIRETTORE CATALOGO RINGRAZIAMENTI dell’Istruzione, dell’Università Mario Zito a cura di Giuseppe Cipolla Abatellis, Palermo Il Direttore, i coordinatori del SOMMARIO e della Ricerca N.
  • Ironworks and Iron Monuments Forges Et

    Ironworks and Iron Monuments Forges Et

    IRONWORKS AND IRON MONUMENTS FORGES ET MONUMENTS EN FER I( ICCROM i ~ IRONWORKS AND IRON MONUMENTS study, conservation and adaptive use etude, conservation et reutilisation de FORGES ET MONUMENTS EN FER Symposium lronbridge, 23-25 • X •1984 ICCROM rome 1985 Editing: Cynthia Rockwell 'Monica Garcia Layout: Azar Soheil Jokilehto Organization and coordination: Giorgio Torraca Daniela Ferragni Jef Malliet © ICCROM 1985 Via di San Michele 13 00153 Rome RM, Italy Printed in Italy Sintesi Informazione S.r.l. CONTENTS page Introduction CROSSLEY David W. The conservation of monuments connected with the iron and steel industry in the Sheffield region. 1 PETRIE Angus J. The No.1 Smithery, Chatham Dockyard, 1805-1984 : 'Let your eye be your guide and your money the last thing you part with'. 15 BJORKENSTAM Nils The Swedish iron industry and its industrial heritage. 37 MAGNUSSON Gert The medieval blast furnace at Lapphyttan. 51 NISSER Marie Documentation and preservation of Swedish historic ironworks. 67 HAMON Francoise Les monuments historiques et la politique de protection des anciennes forges. 89 BELHOSTE Jean Francois L'inventaire des forges francaises et ses applications. 95 LECHERBONNIER Yannick Les forges de Basse Normandie : Conservation et reutilisation. A propos de deux exemples. 111 RIGNAULT Bernard Forges et hauts fourneaux en Bourgogne du Nord : un patrimoine au service de l'identite regionale. 123 LAMY Yvon Approche ethnologique et technologique d'un site siderurgique : La forge de Savignac-Ledrier (Dordogne). 149 BALL Norman R. A Canadian perspective on archives and industrial archaeology. 169 DE VRIES Dirk J. Iron making in the Netherlands. 177 iii page FERRAGNI Daniela, MALLIET Jef, TORRACA Giorgio The blast furnaces of Capalbio and Canino in the Italian Maremma.