Maderno's Façade for St Peter's, Rome [71–74]

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Maderno’s façade for St Peter’s, Rome [71–74] aspects of the Michelangelo façade, notably its detailing and its overall scansion of ten shafts with the four central ones being the most prominent, but also depended on Maderno’s own ground-breaking design for S. Susanna (1597) for the superimposed planes that give the centre a dramatic emphasis. When Pope Paul V ascended the throne in May 1605, St Peter’s was still unfinished after nearly a Given papal approval in September 1607, construction began, but was compromised c.1610–11 when century of construction. Until then, the building had remained largely faithful to the scheme devised the pope demanded the addition of two campanili (bell-towers), one at each end of the façade. Maderno by Michelangelo (from 1547), which was for a church with a centralised plan and a monumental had incorporated these into his design by September 1612, but they were never finished. When Paul V dome. This was intended to be given, at around the time of Michelangelo’s death (1564), a façade died in 1621, the belfries had still not been added and, although the southern one was subsequently made up of two rows of giant columns (see 4), but the design was still controversial, since it did not built to a revised design by Bernini, it had to be demolished soon afterwards because of structural provide for a benediction loggia, a time-honoured location for the pope’s traditional Easter blessing instability. Ultimately, both campanili were left in an unavoidably truncated state. Even below the Urbi et Orbi, and so would require a change to ceremonial. This was particularly problematic in an age belfries, Maderno’s scheme was slightly altered in that his attic windows are different from those when traditional practices were being reasserted in the face of Protestant opposition. Although that were finally realised [Fig. 33]. Michelangelo’s scheme had its defenders in the shape of the Congregation of St Peter’s, who were Four drawings from the Paper Museum, mounted on three consecutive folios of the Stirling-Maxwell still determined – even as late as October 1606 – to persist with it, stressing its aesthetic qualities and Architecture album, belong to this penultimate phase in the evolution of St Peter’s façade. One shows Michelangelo’s stature as an artist, Paul V overruled their decision late in 1606 and, intent on making the façade proper, one the dome with its drum, and the other two the added campanili. From the way his own mark on the design, insisted on a scheme that included a façade with a benediction loggia the four drawings match up with one another so closely it is clear they once formed one single large and also a nave behind it. drawing. When all four are put together in their original positions [Fig. 34], they conform exactly to an Carlo Maderno (1556–1629), then incumbent architect to the Fabbrica of St Peter’s, prepared a first engraving of 1613 by Matthaeus Greuter (1564/6–1638) [Fig. 35], both the reassembled drawing and the scheme by April 1607. His design (see p. $$) managed to retain much of the integrity of Michelangelo’s engraving measuring 675 mm in overall width. The original drawing was probably produced in centralised scheme by means of an internal visual barrier but, externally, transformed the church into a Maderno’s workshop and used for the production of the engraving, perhaps cut up to assist the Latin cross that entirely covered the consecrated ground of the previous Constantinian basilica, with engraver in the production of the print, while the surface damage to the four surviving fragments may a new nave that had a portico in front supporting a benediction loggia above. The latter preserved well have resulted from the rubbing they received from the engraver’s hands and tools. In June 1613 Maderno sent Greuter’s print (together with his other engravings of the St Peter’s scheme) to the head of the Congregation, Cardinal Maffeo Barberini, later Pope Urban VIII, who responded with a stinging critique of the design and complained in particular that the elevation did not show how the dome would be hidden by the addition of the nave. Maderno replied carefully (Thelen 1967a, p. 27, n.61; Hibbard 1971, p. 69f., n.4), explaining that the elevation was drawn using the conventions of orthogonal projection, although his defensive stance was a courtesy rather than a necessity since he already knew that his scheme had the pope’s full backing. The Paper Museum had two copies of the Greuter print, one in the album entitled Templa Diversa Romae (fol. 15) [Fig. 35], compiled by Cassiano in the 1630s, and another in the misnamed Popish Ceremonies II (fol. 95), a later compilation by Carlo Antonio (see p. $$). The Templa Diversa Romae album, in addition, contains many other prints showing projected designs for St Peter’s from around this same period (for description, see p. $$).

bibliography: Hibbard 1971, pp. 65–75 and 155–88

Fig. 33. Façade of St Peter’s, Rome

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Fig. 34. Reconstruction (photomontage) of original form of 71–74 Fig. 35. Project by Carlo Maderno for the façade of St Peter’s, Rome. Engraving, 1613. London, BL, 54.i.7, fol. 15 (Paper Museum impression)

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71. Rome, St Peter’s, Maderno’s façade (1613), upper centre and dome

WORKSHOP OF CARLO MADERNO (1556–1629) Private collection; previously sma, fol. 58 Pen and brown ink and wash over black chalk and stylus lines on buff paper 410 × 385 mm (max.). Two sheets of paper cut from a larger composite sheet and partly silhouetted; losses along edges; rubbed and stained. Watermark: circle containing ?anchor mount sheet: type B. Watermark: fragmentary rim of circle surmounted by letter ‘V’ [cut; see 74]

[*] Once part of a single image of the whole probably have been left to the engraver, as façade elevation [see Fig. 34], this drawing shows suggested by the varying position of the wording the principal drum, dome and lantern, and also on different versions of the print. the two minor domes to the front, all built under Especially obvious in this drawing and in the Michelangelo and his successors during the print is the inaccurate representation of the main second half of the sixteenth century. drum and dome. Both appear significantly flatter Although the drawing corresponds closely to than they should be, which is a characteristic the relevant sector of Greuter’s engraving [see of drawings from Maderno’s workshop (e.g. a Fig. 34], it does not include the latter’s explana- façade project for S. Vincenzo, Bassano Romano, tory captions, or if it did then they were located Archivio Giustiniani; Hibbard 1971, pl. 103b). in a different position from those in the engraving and outside the edges of the present sheet. literature: Phillips cat. 1990, p. 142f., lot 339 For example, the O of the word ROMA next to the object drawn: see above, p. $$ lantern’s globe on the engraving is absent in engraved: see 71 the drawing. The layout of the captions would

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72. Rome, St Peter’s, Maderno’s façade (1613), lower centre and portico

WORKSHOP OF CARLO MADERNO (1556–1629) Private collection; previously sma, fol. 56 Pen and brown ink and wash over black chalk and stylus lines on buff paper 248 × 405 mm. Losses along edges; old vertical at centre and several other old folds; old patches on verso; rubbed and stained. Watermark: anchor in circle with indistinct pendant element (?letter) annotations: [bottom left] part of scale key in Roman palmi mount sheet: type B

[*] Originally part of a larger drawing, cut up the platform on which the whole building stands, for engraving by Matthaeus Greuter in 1613 [see presumably to introduce some relief to the image Fig. 34], to which it corresponds in all its details, – and by extension monumentality – which it even to the extent that some of the façade open- would otherwise have lacked. ings are shaded while others are not. The only The strip showing the statuary adorning the difference is the scale key, which in the drawing façade balustrade is missing, possibly because is in units of 25 palmi and located on the platform this part of the drawing was damaged, or it was just above the façade steps, whereas in the print removed, so that the statuary could be included it is in units of 10 palmi and set below the steps. in another part of the Paper Museum, but was Although primarily drawn in orthogonal pro- then lost. jection, as Carlo Maderno explained in his letter to Cardinal Maffeo Barberini, the openings of the literature: Phillips cat. 1990, p. 142f., lot 339 portals and windows are given an individual object drawn: see above, p. $$ perspective, showing the inner faces of their engraved: M. Greuter, Ritratto della famosiss. jambs and the undersides of the lintels. The tech- Fabrica della chiesa di S. Pietro di Roma in Vaticano …, nique was also applied to lower-storey niches Rome 1613 [Fig. 35]; 697 × 647 mm housing statues of St Peter and St Paul, and to

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73. Rome, St Peter’s, Maderno’s façade (1613), left campanile

WORKSHOP OF CARLO MADERNO (1556–1629) Private collection; previously sma, fol. 57 (i) Pen and brown ink and wash over black chalk and stylus lines on buff paper 456 × 118 mm (max.). Losses along edges; partly silhouetted; old folds and tears; rubbed and stained annotations: [bottom] part of scale key in Roman palmi mount sheet: type B. Also bears 74

[*] Once part of a much larger drawing of the belfries have arched openings that echo those whole façade, which was engraved by Matthaeus of the smaller domes behind them, whilst their Greuter in 1613 [see Fig. 34], this shows Mad- canopied lanterns have concave profiles that erno’s project for the left (southern) campanile. are like those of Michelangelo’s lantern above When adding the campanili c.1610–11, them (see 72). The uppermost reaches, however, Maderno took pains to harmonise their design allowed a greater degree of freedom for experi- with his existing façade and with the rest of ment, and the stretched octagonal windows of the building. At their lower level the orders and the lanterns are different from all others in the window frames continue those of the façade’s design. central section, except that each campanile accommodates a large ground-level arch, the literature: Phillips cat. 1990, p. 142f., lot 339 northern one to accommodate an entrance to object drawn: see above, p. $$. For the the Vatican Palace, the southern one – the one campanili in particular, see Hibbard 1971, p. 161f.; under consideration here – purely in the interests McPhee 2003, pp. 11–35 of symmetry. Above this level, the two-storey engraved: see 71

74. Rome, St Peter’s, Maderno’s façade (1613), right campanile

WORKSHOP OF CARLO MADERNO (1556–1629) Private collection; previously sma, fol. 57 (ii) Pen and brown ink and wash over black chalk and stylus lines on buff paper 465 × 120 mm (max.). Two sheets of paper, partly silhouetted; losses along edges; old tears and skinning; rubbed and stained mount sheet: type B. Also bears 73. Watermark: fleur de lys in double circle surmounted by letter ‘V’

[*] The mirror image of 73, this drawing repre- literature: Phillips cat. 1990, p. 142f, lot 339 sents Carlo Maderno’s project for the right-hand object drawn: see above, p. $$, and 73 (northern) campanile of the façade of St Peter’s. engraved: see 71 See 73 for discussion.

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75. Rome, St Peter’s, façade portico: interior view Barberini project for remodelling St John Lateran [76–79] SEVENTEENTH-CENTURY ITALIAN Private collection; previously sma, fol. 37 (iii) Four related sheets, in slight disorder in the Stirling-Maxwell Architecture album, belong to a seven- Black chalk teenth-century project for the renovation of the cathedral of Rome, St John Lateran, a building dating 146 × 195 mm. Stained. Watermark: bird on hills in circle surmounted by letter ‘P’ [cut] from the fourth century ad, which was in a precarious state by the end of the sixteenth century. mount sheet: type B. Also bears 81 and 88 Their association with this church is established by the iconography of the statues on the roofline combined with the five-aisled plan. Two show slightly variant schemes for the façade (76–77), whilst [*] More a veduta than an architectural study, this company with an interior view of S. Maria two others, bound earlier in the album, provide sections and elevations of the interior (78–79). sketch shows the portico that runs behind the Maggiore by the same hand, and with the same The project dates from the papacy of Maffeo Barberini as Urban VIII (1623–44), whose family is façade of St Peter’s, constructed to Maderno’s watermark (see 81 for further discussion). Given signified by the giant ‘Barberini’ bees decorating the pediment of one of the façade designs (76). Two design from 1607 (see 71–74), looking from the its subject, the St Peter’s sketch must date from Barberini initiatives for the renovation of the church are known to have been launched during that area under the left (southern) bell-tower along after 1620, but how much later is hard to say. period, neither completed, the first undertaken by the pope’s nephew Cardinal Francesco Barberini, the length of the space. It was formerly mounted archpriest of the Lateran from 1623 (DBI, vi (1964), p. 172 [A. Merola]). The cardinal asked Giovanni in the Stirling-Maxwell Archi-tecture album, in literature: Phillips cat. 1990, p. 134, lot 325 Ambrogio Mazenta (1565–1635) from Milan, who was already a trusted Barberini architect (see A.IX/2, p. 766f), to prepare a proposal, which survives in written form among the dal Pozzo papers at Montpellier (A.X/3, Appendix I, no. 1). It is not dated, but a letter of 12 May 1630 from Mazenta accompanied its dispatch to Cassiano, which makes it clear that Mazenta, who was in Pavia at the time, considered the project active (A.X/3, Appendix I, no. 2). He had left his draft design among his papers in the convent of S. Paolo in Piazza Colonna (his Barnabite base in Rome) and was writing to ask the vicar to let Cassiano have it. Cassiano himself later annotated the letter with an account of how far the project had got before it was aborted when Cardinal Francesco, following an agreement connected with the marriage of his brother Taddeo to Anna Colonna (14 October 1627), ceded the Lateran office to Anna’s newly promoted cardinal brother (Girolamo Colonna became cardinal in February 1628). The second known Barberini initiative is documented in January 1640, when Urban VIII allocated 600 scudi for restoration, although precisely what the money was intended for was not specified (Pollak 1928, i, p. 143f.). Who the architect was to be on this occasion is also unknown (Mazenta had died in 1635), but nothing seems to have happened on site before Urban VIII himself died in 1644. The idea was taken up by his successor, the Pamphilj pope Innocent X, and the commission passed to Francesco Borromini, who remodelled the interior (1646–50), but whose design for the façade was never implemented. The present façade dates from a campaign begun in 1735. Whether the four dal Pozzo drawings are directly connected with either of the two Barberini initiatives is doubtful, but their attribution to Mazenta can almost certainly be ruled out. The handwriting of the annotations, the terminology they employ and the style of draughtsmanship are not Mazenta’s, and the façade he describes, which was to incorporate the 12 columns of its predecessor, does not tally with the drawings at all. However, a good candidate who might have been associated with Urban VIII’s initiative of 1640 is Giovanni Battista Mola (1585–1665). Mola was working for the Camera Apostolica as early as 1616 and for the Barberini in 1630 or 1633–4, when he designed a façade for the Forte Urbano near Castelfranco Emilia (London, V&A, d.114–1890; see also 263), followed by work at the Lateran hospital in 1636 (for his career see Mola 1966; Curcio 1989; Antinori 1991). In architectural style, the Forte Urbano façade (see comp. fig. 76i) closely resembles the lower storeys of the alternative Lateran façades (76–77). Moreover, the same technique employed to indicate the construction of the sectioned walling in 78 was used by Mola in a signed drawing of 1637 for the Oratorio di S. Filippo Neri in Rome (Archivio della Congregazione dell’Oratorio a S. Maria in Vallicella, c.ii. 8, no. 31; see Mola 1966, p. 25 and fig. 10; 75 Connors 1980, p. 207f., no. 31). Also indicative of Mola’s style is the treatment of the scale keys in 76 and 78, which are subdivided into ten units of 10 palmi that are each individually numbered. The

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Oratory drawing has an identical scale and so does Mola’s design for a monastery in Tolfa (London, SAL, Album of Prints and Drawings Collected before 1750, fol. 41). The handwriting, too, would appear to be his.

bibliography: for the Lateran, see Pollak 1928, i, p. 143f.; CBCR, v (1977); Hoffmann 1978; Roca de Amicis 1992; Freiberg 1995; Herklotz 1995

76. Rome, St John Lateran, project for façade: elevation and plan

GIOVANNI BATTISTA MOLA (1585–1665) Private collection; previously sma, fol. 42 (ii) Pen and brown ink and brown and grey wash over black chalk 240 × 329 mm. Backed onto a seventeenth-century sheet; cropped at bottom and right; water stained; losses along edges. Watermark: fleur de lys on hills in circle surmounted by letter ‘A’ annotations: [bottom] scale key [cut] mount sheet: type B. Also bears 230

[*] This façade scheme for St John Lateran is the early seventeenth century, when architects drawn in elevation and plan. It corresponds in adopted a certain reverence for traditional forms format to the five-aisled basilica behind, that is, and fabrics but modernised them in a way appro- it has a very wide (seven-bay) lower storey and priate to their status and sanctity (see, e.g. Hill a relatively narrow (three-bay) upper one, rather 2001). squat as well as very broad. It retains the three Retaining the silhouette of the pre-existing portals of the original fourth-century building, building posed a difficult design problem. The giving access to the nave, but also provides façade had to reconcile the building’s excessive additional portals to the aisles, and a porch width and restricted height with a need to take (implied by the shading inside the arches around account of the contemporary preference for the rectangular openings), which extends the dramatic verticality. This is partly achieved by façade’s full width. This approach to the renova- the introduction of strong vertical accents by tion of an Early Christian building is typical of placing gigantic statues above the ground 76

Fig. 76i. G.B. Mola, Project for the Forte Urbano, Castelfranco Emilia, c.1630. Pen and ink and brown and blue wash. London, V&A, D.114-1890 (detail)

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of a cross at the façade’s apex. Many of these problems are resolved in the other façade project (77), which almost certainly makes this one the earlier of the two. This design shows several hallmarks of Mola’s architectural style. Many of its features are found in his drawing for the entrance to Forte Urbano near Castelfranco Emilia (1630 or 1633–4) (comp. fig. 76i): the paired Doric pilasters, the full Doric entablature, the simple unframed arches, the segmental pediment and the lugged panels over the arches that include a more complex one in the central bay. Other features reappear in Mola’s project for S. Agnese in Piazza Navona of 1652 (Eimer 1970, p. 57f, fig. 21) (comp. fig. 76ii), Fig. 76ii. G.B. Mola, Project for the Façade of S. Agnese namely, the lugged panels in the upper-storey in Agone, Rome, 1662. Pen and ink, 309 × 391 mm. outer bays that are counterparts of the one above Oxford, AM, Largest Talman Album, fol. 17 (inv. wa the central arch below; the side scrolls supporting 1944.102.17) (detail) a continuation of the upper-storey entablature; and the predilection for swags in panels, which appear here in only the right-hand bay of the attic storey’s paired pilasters, but this creates a new storey, but were presumably intended, as in the problem in that the statues are so big that they S. Agnese scheme, for all the bays. dwarf the squat upper storey and thus detract significantly from the façade’s monumentality. literature: Phillips cat. 1990, p. 137, lot 329 Jarringly large too are the oversized putti in the object drawn: see above, p. $$ segmental pediment over the entrance and the gigantic bees that cluster adoringly at the foot

77. Rome, St John Lateran, project for façade

GIOVANNI BATTISTA MOLA (1585–1665) Private collection; previously sma, fol. 41 (ii) Pen and brown ink and brown and grey-blue wash over stylus lines 228 × 330 mm. Partly backed onto a seventeenth-century sheet; pricked for construction of drawing; to eradicate or at least minimise the problems in The proportional ideals here are inherited from torn at bottom right; ink stained. Watermark: fleur de lys in circle the other scheme. The statuary on top of the attic those of the Renaissance. The lower storey has mount sheet: type B. Also bears 80 and the sculpture in the upper-storey pediment a height that is exactly one quarter the façade’s are reduced in size, giving the design a greater overall width, and with the attic a height that is This façade scheme for St John Lateran is a vari- the Gesù (1571) (see p. $$). In the attic, lugged coherence and the façade an increased monu- precisely one third. ant on 76. On the lower storey, the panels above panels have been placed beneath the statues to mentality. On the lower storey the Doric order the aisle portals no longer have lugs; the panels give them visual support, and, on the upper is reduced in height, while the height of its attic literature: Phillips cat. 1990, p. 137, lot 329; over the arches either side of the main entrance storey, the giant bees in the pediment have been and that of the upper storey are increased, avoid- Sotheby’s cat. 2004, p. 132, lot 97 now bear figurative decoration; and the segmen- replaced by putti bearing the papal arms. ing the jarring relationship in the first scheme object drawn: see above, p. $$ tal pediment now contains a smaller triangular There are also various changes in scale, which between a very tall Doric lower storey and a very one, like that of Giacomo della Porta’s façade for strongly suggest that the drawing was produced short Corinthian upper one.

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78. Rome, St John Lateran, project: longitudinal section

GIOVANNI BATTISTA MOLA (1585–1665) Private collection; previously sma, fol. 35 (ii) Pen and brown ink over black chalk 217 × 272 mm. Partly backed onto a seventeenth-century sheet. Cropped at top, bottom and left; losses at left edge; stained. Watermark: fleur de lys in circle surmounted by crown annotations: [upper left] Scenografia della nave di mezzo (‘view of the middle nave’); [bottom right] Profilo del Porticale (‘section through the portico’); [bottom] scale key [cut] mount sheet: type B (part inlaid in window, part laid down). Also bears 130

This longitudinal section through St John Lateran The portico is decorated with Ionic pilasters shows the nave, the portico with the loggia above that differ from the nave pilasters in being set on it, and the façade, and it is closely related to the a single rather than a double plinth and do not nave elevation shown in 79 and to the two façade quite reach the same height. At its far (liturgical schemes 76 and 77. The sectioned façade shows south) end a portal with a shouldered frame and a Doric lower storey, a Corinthian upper one and a broken pediment provides access to the adja- a pediment with a cross as a crowning feature, cent palace. The hall of the loggia on the upper all of which are found in the front elevations. level is entirely unadorned, and even the door However, it agrees more exactly with the façade at its far end is without a frame, presumably in 76, in both its proportions and also in particu- because it was used for papal appearances and lar details, such as the rosettes embellishing benedictions only rarely or was not part of the the necks of the Doric capitals, although it still project. differs in some minor respects, notably the omis- sion of the lower-storey pediment. This is either literature: Phillips cat. 1990, p. 134, lot 324 a draughting error or reflects a now-lost third object drawn: see above, p. $$ façade scheme. The piers in the nave are adorned with paired Corinthian pilasters. A minor order of Ionic pilasters on the inside of the arcades have capitals with garlands between the volutes, like those used by Michelangelo in the Palazzo dei Conservatori and by many subsequent architects. The Corinthian pilasters are continued above the level of the entablature as plain strips linked by 78 a continuous horizontal band at the top, framing clerestory windows alternating with panels probably intended for frescos. The elevation recalls previous renovation schemes for Early Christian churches in Rome, for example, S. Sebastiano fuori le Mura (1609–12) and S. Crisogono (1618–26), but is especially like that by Carlo Lambardi for S. Francesca Romana in the years 1612–15 (comp. fig. 78). Comp. fig. 78. Interior of S. Francesca Romana, Rome

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79. Rome, St John Lateran, project: transverse half-section and nave elevation

GIOVANNI BATTISTA MOLA (1585–1665) Private collection; previously sma, fol. 33 Pen and brown ink over black chalk and stylus lines 205 × 392 mm. Cropped at right; losses at right edge; stained annotations: [beneath section] Profilo delle due nave delle Sponde (‘section through the two side aisles’) mount sheet: type B (part inlaid in window, part laid down)

The half-section on the left (a) differs from the rectified this ‘problem’, and in doing so fore- elevation of the nave on the right (b) in the shadows the solution devised by Borromini profiles of the clerestory windows and in show- when he redesigned the nave and aisles just a ing the nave pilasters with just one socle below few years later. them rather than two. Other than this, (a) The elevation (b), in its present state, shows provides information that is lacking in the only three bays of the nave and the springing of elevation, revealing, for instance, that the eleva- a fourth, but it may originally have extended tion would be topped by a cornice and then a further to the right where the sheet has been flat wooden ceiling. It also shows that the aisles cropped. It is identical to the elevation shown are of identical width and height, divided by in 78 except in one significant respect. The a row of Ionic columns that match the Ionic nave’s minor Ionic order rises here from a double pilasters supporting the nave arches and the socle, a plinth and an attic base that are of exactly pilasters overlaid on half-pilasters on the the same height as those used for the taller church’s side wall. The aisles are covered with Corinthian order, giving the design some unity, cross vaults, the only form of vaulting that corre- but is disproportionate to the size of the Ionic sponds to both section and elevation shown here, order. This problem is resolved in 78 by differen- 79 set under a single pitched roof. tiating the supporting elements of the two orders, In the original fourth-century building, the which probably suggests that the latter is a later nave supports were spaced further apart than drawing. the aisle colonnades, constituting two different and unrelated rhythms running the length of the literature: Phillips cat. 1990, p. 134, lot 322 church, which jarred with sixteenth- and seven- object drawn: see above, p. $$ teenth-century sensibilities. This new scheme

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80. Rome, Il Gesù: longitudinal interior elevation

SEVENTEENTH-CENTURY ITALIAN Private collection; previously sma, fol. 41 (i) Pen and brown ink and grey-brown wash over black chalk 191 × 330 mm. Cropped on all sides; four old vertical folds 73 mm, 140 mm, 210 mm and 288 mm from left edge; torn and stained. Watermark: six-pointed star in circle surmounted by cross mount sheet: type B. Also bears 77

This drawing is apparently a view of the interior rate compared with those of the church as built. of the Gesù church in Rome, the mother church of These final bays have pediments sitting comfort- the Jesuit order, designed and begun for Cardinal ably underneath the impost moulding rather Alessandro Farnese by Jacopo Barozzi da Vignola than above it and there are no window openings (1507–73) in 1568 and then continued to a modi- in the clerestory above. Other differences include fied design by Giacomo della Porta (1532–1602) the addition of broad bands spanning the vault from 1571 (see comp. fig. 80). The church shown (which lacked any ribs before Gaulli decorated here is like the Gesù in having a dome on pen- it) and a haphazard series of projections and dentives over the crossing, barrel vaults covering recessions in the entablature and attic, which the nave, chancel and transepts, and domed side bear no relation to the church as built and do chapels separated by paired pilasters carrying not follow any consistent pattern in themselves. a full entablature and an attic, which in the Unless the church is not the Gesù after all, which Gesù was added to the original design by Della seems most improbable, the simplest explanation Porta in 1571 or after (Schwager/Schlimme 2002, is that the draughtsman made a mistake – and p. 272f.). Also like the Gesù are the form and having done so then used the drawing as a placement of the organ on the east side of the vehicle for experimentation. The faint sketching north transept, the design of the clerestory in – in a very squashed fashion – of the missing windows and that of the balconied coretti (small clerestory windows in the side bay to the left choirs), complete with screens, over each of the of the crossing may represent the point at which 80 nave arches. In the existing building these were he realised his error. added in 1616 (Schwager/Schlimme 2002, p. 293), The Paper Museum contained various prints and so the drawing must have been made after of the Gesù (London, BL, 134.g.11, fol. 31; Maps that date. It was presumably made before the 3.Tab.34, fols 8–10, 15–18). 1670s, since it does not show the decoration of the vault executed then by Giovanni Battista literature: Phillips cat. 1990, p. 137, lot 329; Gaulli ‘Il Baciccio’ (1639–1709). Sotheby’s cat. 2004, p. 132, lot 97 Despite the similarities, there are some intrigu- object drawn: extant. See Fokker 1933; Pecchiai ing anomalies in the drawing, most notably in 1952; Lotz 1955; Ackerman 1972; Schwager 1977; the treatment of the crossing, where the pilasters Bösel 1986, i, pp. 160–79; Robertson 1992, are fewer in number, and the bays to either side pp. 181–96, 296–317; Schwager/Schlimme 2002 of the dome, which are narrower and less elabo-

Comp. fig. 80. G.F. Venturini, Il Gesù, Rome. Engraving. G.G. de Rossi Insignium Romae templorum, 1684, fol. 21

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81. Rome, S. Maria Maggiore, Sforza Chapel: view through portal

SEVENTEENTH-CENTURY ITALIAN Private collection; previously sma, fol. 37 (i) Black chalk 209 × 146 mm. Stained. Watermark: bird on hills in circle surmounted by letter ‘P’ [cut] mount sheet: type B. Also bears 75 and 88

[*] Michelangelo’s Sforza Chapel in S. Maria gelo’s architecture. The technique of parallel Maggiore was begun in 1564 and consecrated in curved hatching in black chalk to suggest the 1573. It is drawn here from a vantage point in curvature of column shafts is typical of Borromini the adjacent aisle, showing the pilasters and lintel (cf. Thelen 1967a, ii, figs 68–9), but the drawing of the entrance portal, which was removed in is rather too crude for a confident attribution to the eighteenth century (Argan/Contardi 1990, his hand. p. 348), and a view across the chapel into one of the shallowly curved side altar recesses. literature: Phillips cat. 1990, p. 134, lot 325 The hand is the same as that of 75, mounted object drawn: partly extant. See Ackerman on the same folio, and similar to some early 1961, ii, pp. 122–5; Argan/Contardi 1990, p. 348f.; perspectival sketches by Francesco Borromini Satzinger 2003–4 (1599–1667), who was fascinated by Michelan-

81£

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82. Rome, S. Teodoro, project: plan

MID-SEVENTEENTH-CENTURY ITALIAN Private collection; previously sma, fol. 45 Pen and brown ink and watercolour over black chalk 384 × 256 mm. Watermark: letter ‘F’ on hills in shield annotations: Per S.Teodoro d(ett)o Santo Todo in Campo Vacino (‘for S. Teodoro called Santo Todo in the Campo Vaccino’) mount sheet: type B

[*] Shown here is the plan of a circular church literature: Phillips cat. 1990, p. 138, lot 332; with a projecting frontal block, which is situated A.IX/1, p. 46 [I. Campbell] towards the rear of a rectangular two-level object drawn: extant. For S. Teodoro, see precinct that is entered through a columned Matthiae 1967, pp. 143–8; CBCR, iv, pp. 279–88; portal. The annotation identifies the church as Braham/Hager 1977, pp. 79–86; Finocchi Ghersi S. Teodoro in the Campo Vaccino, that is, the 1988; Ferrara 2002 Roman Forum, and the plan has much in common, in its shape and size, with that of the extant building (comp. fig. 82), although it differs in the design of the three altar chapels and the preceding frontal block. These differences led Ian Campbell to doubt the accuracy of the identify- ing annotation (A.IX/1, p. 46), but they could be explained if the drawing were a project for the church’s modernisation, and this is in fact suggested by the two tones of watercolour that are used, a lighter one for the existing building and a darker one for the proposed alterations. A date of the mid-seventeenth century can be proposed on the basis of the rather conservative decoration of the dome (represented by means of dotted lines), which derives ultimately from the dome of St Peter’s, and on the basis of the semicircular portico, which, with its pair of columns, is very like that of Bernini’s S. Andrea al Quirinale (begun 1658). The handwriting would also accord with a seventeenth-century dating. If the annotation is reliable and the drawing really is for S. Teodoro, then the likely date for this proposed modernisation would presumably be either before the renovations to the building effected by Cardinal Francesco Barberini in 1642–3 (CBCR, iv, p. 280f.) or again later in 1674 (Braham/Hager 1977, pp. 79–86, especially p. 80), when the mosaic in the church’s semicircular eastern apse (eradicated in the project drawing) was restored (see A.II/2, p. 322). Comp. fig. 82. Modern plan of S. Teodoro, Rome

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