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Download (11Mb) 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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