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A Reconstruction of the Settings for Three Operas Designed by Filippo Juvarra in Rome, 1710-1712

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A Reconstruction of the Settings for Three Operas Designed by Filippo Juvarra in Rome, 1710-1712 Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1973 A Reconstruction of the Settings for Three Operas Designed by Filippo Juvarra in Rome, 1710-1712. Thomas Charles Tews Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Tews, Thomas Charles, "A Reconstruction of the Settings for Three Operas Designed by Filippo Juvarra in Rome, 1710-1712." (1973). LSU Historical Dissertations and Theses. 2576. https://digitalcommons.lsu.edu/gradschool_disstheses/2576 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. Silver prints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages you wish reproduced. 5. PLEASE NOTE: Some pages may have indistinct print. Filmed as received. Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 74-18,372 TEWS, Thomas Charles, 1935- A RECONSTRUCTION OF THE SETTINGS FOR THREE OPERAS DESIGNED BY FILIPPO JUVARRA IN ROME, 1710-1712. The Louisiana State University and Agricultural and Mechanical College, Ph.D., 1973 Theater University Microiilms,A XEROX Company, Ann Arbor, Michigan © 1974 THOMAS CHARLES TEWS ALL RIGHTS RESERVED THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED. A RECONSTRUCTION OF THE SETTINGS FOR THREE OPERAS DESIGNED BY FILIPPO JUVARRA IN ROME, 1710-1712 A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the requirements for the degree of Doctor of Philosophy in Hie Department of Speech by Thomas Charles Tevs B.S., University of Wisconsin, 1957 M.S., University of Wisconsin, i9 6 0 December, 1973 DEDICATION I dedicate this work to my wife, Mary-Kate, and to my daughters, Carey Alice and Kate Angela, who willingly gave up the security of home and country to sojourn with me in Rome during the research for this study. ill ACKNOWLEDGEMENTS The writer gratefully acknowledges the Indispensable assistance of many individuals in the writing of this work: first, to the professors at Louisiana State University: the late Richard Morrison, who had the original idea for the study and helped to frame its direction; Oresdna A. Doty and Claude L. Shaver, the directors of this study; the members of the examining coomittee: Waldo W, Braden Clinton W. Bradford William J. Harbin Robert W. Heck M&rchlta B. Mauck James Wockenfuss, who along with Professor Shaver, arranged for the writer to pursue his graduate studies at LSD; second, to Dottoressa Mercedes Vlale Ferrero of Turin, Italy, for her study of Javarra, her personal assistance, and her words of encouragement; and, third, to the Italian and United States' Fulbright-Bays Commissions, which provided the funds for the research in lone during the 1970-71 academic year, and especially to the Director of the Italian Comnlsslon, Dottoressa Ciprlana Scelba, and her chief administrative officer, Luigi Filadoro. CONSENTS Age DEDICATION.............................................. 11 acknowledgements . „ ..................................... Ill LIST OF F I G U R E S ......................................... v LIST OF ILLUSTRATIONS............................... viii ABSTRACT................................................ x INTRODUCTION............................................ I Chapter I. THE BASIS FOR THE SCENIC DESIGNS OF FILIPPO JUVARRA . 9 II. THE OTTQBQNI THEATRE IN THE PALAZZO DELLA CANCEELERIA23 IH. A RECONSTRUCTION OF THE SETTINGS FOR COSTAHTINO PIO (1710)...................... kl IV. A RECONSTRUCTION OF THE SETTINGS FOR TE0DO8IO IL GIOVANE ( 1 7 T L ) ............................... 102 V. A RECONSTRUCTION OF THE SETTINGS FOR IL CIRO (1712) . 1^5 VI. CQNCLUSIQNS.................................... 1 7 7 BIBLIOGRAPHY . ..................................... 100 COLLECTIONS OF JUVARRA DRAWINGS CONSULTED ................. 18 5 APPENDIX I. COSTAHTINO P I O ............................. 186 APFHTDIX II. TEODOSIO IL GI O V A N E ......................... 210 APPENDIX III. IL GIRO .......................... 232 VITA ................................................... 255 V LIST OF FIGURES Figure Rage 1. Proposition 30, Perspectives Llbrl Sex .......... 16 2. Engraving 23, Archltettura c i v i l e ..................... 17 3. Engraving 22, Archltettura c i v i l e ..................... 1 8 If. Ground Plan, Ottobonl T h e a t r e ......................... 32 3 . Side Section View, Ottobonl T h e a t r e ................. 33 6 . Auditorium, Ottobonl Theatre ..................... Jk 7* Stage, Ottobonl Theatre ........... * ............. 35 8. Figure 37 from Fozzo's Ferspectlva..................... If5 9. Combined Section Views of the First and Second Settings 52 10. Combined Ground Plans of the First and Second Settings 53 11. First Setting, Costantlno Plo, Tracing from the Engraving 55 12. First Setting, Costantlno Plo, Section V i e w ............ 57 13. First Setting, Costantlno Plo, Ground Plan ....... 5 8 llf. First Setting, Costantlno Plo, Detail of "Religion" M a c h i n e ........................................... 60 15. FirBt Setting, Costantlno Plo, Detail of "Cherub" Machine 6l 1 6. Second Setting, Costantlno Plo, Tracing from the E n g r a v i n g ......................................... 61* 17. Second Setting, Costantlno Plo, Section View ...... 6 5 18. Second Setting, Costantlno Plo, Ground P l a n ............ 66 19. Third Setting, Costantlno Plo, Tracing from the Engraving 6 9 20. Third Setting, Costantlno Plo, Act One, Scene Eleven, Section V i e w ............................. 70 vi Figure Ihge 2 1 . Third Setting, Costantlno Plo, Act One, Scene Eighteen, Section View , ........... ...... 71 2 2 . Third Setting, Costantlno Plo, Ground Plan ........... 72 23. Fifth Setting, Costantlno Plo, Tracing from the fiigravlng 76 24. Fifth Setting, Costantlno Plo, Section V i e w ......... 77 25. Fifth Setting, Costantlno Plo, Ground Flan ............ 7 8 2 6. Eighth Setting, Costantlno Plo, Tracing from the Engraving 8 3 27. Eighth Setting, Costantlno Plo, Section V i e w ......... 84 2 8. Eighth Setting, Costantlno Plo, Ground F l a n ......... 85 29. Ninth Setting, Costantlno Plo, Tracing from the Engraving 8 8 30. Ninth Setting, Costantlno Plo, Section V i e w ......... 89 31* Ninth Setting, Costantlno Flo, Ground Plan ••••••• 9 0 32. Tenth Setting, Costantlno Plo, Tracing from the Engraving 92 33. Tenth Setting, Costantlno Plo, Section View .•••.. 94 34. Tenth Setting, Costantlno Plo, Ground P l a n ........... 95 35. Tenth Setting with Machine, Costantlno Plo, Tracing from the Engraving ............ ................... 97 36. Tenth Setting with Machine, Costantlno Plo, Section View 9 8 37. Tenth Setting with Ifachine, Costantlno Plo, Ground Flan 99 38. First Setting, Teodoslo 11 Slovene, Tracing from the Engraving ....................... ......... 1 0 8 39. First Setting, Teodoslo 11 Glovane, Section View .... 109 4o. First Setting, Teodoslo H Glovane, Ground Plan • • • • 1 1 0 4i. First and Fourth Settings, Teodoslo 11 Glovane, Detail of the Water Machine ••••••...••• ....... ill 42. Second Setting, Teodoslo 11 Glovane, Tracing from the E n g r a v i n g ........................ .............. 1 1 5 43. Second Setting, Teodoslo 11 Glovane, Section View . 1 1 6 vll Figure Efege 1(4. Second Setting, Teodoslo II Glovane, Ground Flan . , . 117 45. Seventh Setting, Teodoslo II Glovane, Tracing from the Engraving.........................................126 46. Seventh Setting, Teodoslo
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