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PROGETTO DI INGLESE BECOMING A GUIDE IN ROME ROME AS AN OPEN THEATRE PROF. GALLIANO SPERI CLASSE 3B ANNO: 2012-2013. PIAZZA DI SPAGNA . Piazza di Spagna.
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PROGETTO DI INGLESE BECOMING A GUIDE IN ROME ROME AS AN OPEN THEATRE PROF. GALLIANO SPERI CLASSE 3B ANNO: 2012-2013
PIAZZA DI SPAGNA
At the center of the squarethereis the famousFountainof Barcaccia, datingto th earlyBaroque, sculptedby Pietro Bernini and his son, the mostfamous Gian Lorenzo Bernini. At the right site of the stairsthereis the home of the English poetjhonKeats, wholivedthere and died in 1821, nowconvertedinto a museumdedicated in hismemory and thatofhis friend Percy Shelley, full ofbooksof English Romanticism. At the left corner thereis, instead, Babigton’s Tea Roomfounded in 1893. From the side of Via Frattinathereis the Palazzo di Propaganda Fidei, ownedby “Santa Sede”. In frontof the facade, designedby Bernini (while the front side isofBorromini), stands the ColumsofImmaculateConception, whichwasbuilttwoyearslater the proclamationof the Dogma (1856)
The monumental stairway of 135 steps was inaugurated by Pope Benedict XIII on the occasion of the Jubilee of 1725, it was realized (thanks to the funding of the French from 1721 to 1725) to link the Bourbon Spanish Embassy (that gave the name to the square) to church of TrinitàdeiMonti.It was designed by Alexander Mirrors and by Francesco De Sanctis after generations of discussions about how the steep slope on the side of the Pincio should be urbanized to connect it to the church. The final solution chosen was that of Francesco De Sanctis, a big staircase decorated with numerous garden terraces, which in spring and summer is beautifully decorated with many flowers. The sumptuous, aristocratic stairs, located at the apex of a long road that led to the Tiber, was designed so that as they approached the stage effects would increase gradually. Typical of the great Baroque architecture was in fact the creation of long, deep perspectives culminating with scenes or backgrounds monumental character. The staircase was restored in 1995.
The ObeliskSallustianois 13.91 meters high, wasbuilt in romantime, copyinghieroglyphsof the pharaon Seti I and Ramses II, itdecorated the garden of Sallustio. Donatedto Pope Clement XII byLudovisi, waslatererected in frotof Church of Trinità dei Monti at the top of the stairsleading up from Piazza di Spagna.
The fountain was built between 1626 and 1629 by Pietro Bernini, appointed architect of the Virgin Water by Barberini Pope Urban VIII (1623-1644); some scholars attribute it to his son Gian Lorenzo, but it is more likely that these limited itself to conclude work on the death of his father. Its implementation resulted in overcoming some technical difficulties , due to low pressure aqueduct Virgin Water in that particular place, on that allowed the creation of jets or waterfalls. The Bernini, however, solved the problem by designing the fountain in the shape of a sinking boat in oval bathtub mail slightly below street level, with bow and stern, identical shape, very elevated with respect to the lateral edges lower, just above the level the basin. At the center of the boat a short baluster supports a small tub oblong, the lower end of the bow and stern, from which emerges a gush of water that filled the tub, falls inside the boat pre overflow then, from the side edges lower and flared, into the basin below. The water flows from the other six points (three to three and bow and stern): two sculptures shaped like a sun with a human face, throwing water to as many hollows inside the boat, and four circular holes (two for part) facing outwards, similar to the mouths of cannon. In addition to the two suns, two coats of arms decorations complement the papal tiara and the bees with the heraldic symbol of the pope's family (the Barberini), at the outside of the boat, between the two mouths of cannon. In the internal part there are only two with a human face, from whose mouths out of the water, collected by volutes that the funnel to the outside. At the center, a tank, leaving a big gush of water. The symbolism of the fountain, with the bees and the only, refer to the founder of the monument Urban VIII. The term " Old Boat" refers to second-hand boats on the Tiber in the nearby port of Ripetta. Other inspirations for luck are to be found, probably, in the news depending on which existed in the area a naval battle-outdoor building where he instituted games and battles with naval warships in miniature and in the floods of the Tiber, which dragged the boats to the foot of the Trinità de’ Monti.
In 1494, Saint Francis of Paola, a hermit from Calabria, bought a vineyard from the papal scholar and former patriarch of Aquileia, ErmolaoBarbaro, and then obtained the authorization from Pope Alexander VI to establish a monastery for the Minimite Friars. In 1502,Louis XII of France began construction of the church of the TrinitàdeiMonti next to this monastery, to celebrate his successful invasion of Naples. Building work began in a French style with pointed late Gothic arches, but construction lagged. • The present Italian Renaissance church was eventually built in its place and finally consecrated in 1585 by the great urbanized Pope Sixtus V, whose via Sistina connected the Piazza dellaTrinitàdeiMonti (outside the church) to the Piazza Barberini across the city. The architect of the facade is not known for certain, but Wolfgang Lotz suggests that it may have originated in a design by GiacomodellaPorta, who had built the church of San AnastasiodeiGreci, which has similarities, a little earlier.The double staircase in front of the church was by Domenico Fontana. In front of the church stands the ObeliscoSallustiano, one of the many obelisks in Rome, moved here in 1789. It is a Roman obelisk in imitation of Egyptian ones, originally constructed in the early years of the Roman Empire for the Gardens of Sallust near the PortaSalaria. The hieroglyphic inscription was copied from that on the obelisk in the Piazza del Popolo. During the Napoleonic occupation of Rome, the church, like many others, was despoiled of its art and decorations. In 1816, after theBourbon restoration, the church was restored at the expense of Louis XVIII.
In the first chapel to the right is a Baptism of Christ and other scenes of the life of John the Baptist by the Florentine Mannerist painter GiambattistaNaldini. In the third chapel on the right is an Assumption of the Virgin by a pupil of Michelangelo, Daniele daVolterra. In the fourth chapel, the Cappella Orsini, are scenes of the Passion of Christ by Paris Nogari and the funeral monument of Cardinal Rodolfo Pioda Carpi by Leonardo Sormani.In a chapel near the high altar is a canvas of the Crucifixion painted by Cesar Nebbia. In the Cappella Pucci, on the left, are frescoes (1537) by Perino del Vaga finished by Federico and TaddeoZuccari in 1589. The second chapel on the left has a well-known canvas of the Deposition in grisaille, by Daniele daVolterra, which imitates in trompel'oeil a work of sculpture; flanking it are frescoes by Paolo Céspedes and Cesar Arbasia. The first chapel on the left has frescoes by Nebbia. In the sacristy anteroom are more frescoes by TaddeoZuccari: a Coronation of the Virgin, an Annunciation, and a Visitation.
The shape of the square The SHAPEof the square assumes the conformation present only at the end of the nineteenth century. Previously it was a small square, trapezoidal, which widened to Trident. At the time of Napoleon's, in fact, the architectural and urban planning of the square was revised neoclassical architect Giuseppe Valadier, who already in 1793 had presented a plan according to which two cavalry barracks were to be placed on the sides of the square . But with the first invasion by Napoleon, the French imposed a Valadier a new project, but it could not be done because it did not take into account the uneven ground between the Pincio and the square below. After a second project that had the same problem, the work of arrangement was entrusted to Berthault, but as soon as the French were gone away from Rome was again Valadier in the project's final transformation. Thanks to his intervention, the square acquired its present elliptical shape in the center, complete with a double exedra, decorated with numerous fountains and statues, which stretches out to the terrace of the Pincio.
PINCIO The Valadier continued his work of renewal arranging also the area of the slopes of the Pincio, joining Piazza del Popoloand the hill with wide ramps, adorned with trees. The terrace of the Pincio became one of the most famous meeting places of the people. The Pincio is a hill in Rome. The hill lies to the north of the Quirinal, and overlooking the Campus Martius. Several villas and gardens occupy the hill, including Villa Borghese. On top of the hill, there is a wide view of the Piazza del Popolo.
An Egyptian obelisk of Sety I (later erected by Rameses II) from Heliopolis stands in the centre of the Piazza. Three sides of the obelisk were carved during the reign of Sety I and the fourth side, under Rameses II. The obelisk, known as the obelisco Flaminio or the Popolo Obelisk, is the second oldest and one of the tallest obelisks in Rome (some 24 m high, or 36 m including its plinth). The obelisk was brought to Rome in 10 BC by order of Augustus and originally set up in the Circus Maximus. It was re-erected here in the piazza by the architect-engineer Domenico Fontana in 1589 as part of the urban plan of Sixtus V. The piazza also formerly contained a central fountain, which was moved to the Piazza Nicosia in 1818, when fountains, in the form of Egyptian-style lions, were added around the base of the obelisk. Obelisk and lionsfountains
Fontana del Nettuno in Piazza del Popolo • Author: Giuseppe Valadier, John CeccariniDating: 1814-1823Materials: marble, travertineOriginalsupply: acquedottoVergine The fountain of Neptune, built in the hemicycle left, was completed in 1823. Placed exactly opposite to that of the goddess Rome hemicycle opposite, it consists of a large semicircular travertine basin above which a large shell of a shell, also of travertine, collects water poured from a small cup placed a little higher. The fountain is adorned with an impressive group of sculptures designed by Giuseppe Valadier and sculpted by John Ceccarini (c. 1790-1861), in which the main element is represented by a statue of Neptune with trident in his right hand, at the foot of which hosts two statues of tritons resting on dolphins. In the original project by Valadier at the base of the two semicircles were also two small lakes at ground level that were never realized.
Fontana della Dea Roma in Piazza del Popolo Author: Giuseppe Valadier, John CeccariniDating: 1814-1823Materials: marble, travertineOriginalsupply: acquedotto Vergine The fountain of the Goddess Roma located in the center of the hemicycle east, below the slopes of the Pincio exactly opposite to that of the hemicycle opposite Neptune, was completed in 1823. It derives its name from the large group of sculptures placed above the tank consists of a huge statue of the goddess Roma armed and flanked by two seated statues representing two rivers of Rome, the Tiber and Aniene. At the foot of the goddess is placed the she-wolf suckling the twins, representation that celebrates the legendary origins of the city. The impressive group was designed by the architect Giuseppe Valadier and sculpted by John Ceccarini (1790-1861). The initial project involved the training of Valadier, in the center of the two semicircles, at ground level, including two small lakes ever made.
THE SUPREMACY OF PIAZZA DEL POPOLO The supremacy of Piazza del Popolo is emphased by the TWIN CHURCHES. The origin of the two churches traces back to the 17th-century restoration of what was the main entrance to the Middle Ages and Renaissance Rome, from the Via Flaminia (known as Via Lata and Via del Corso in its urban trait). Though initiated by the architect Carlo Rainaldi ,under the commission of PopeAlexander VII, they were completed by Gian Lorenzo Bernini with the collaboration of Carlo Fontana.
Rainaldiinvested the best of his abilities into the design and construction of Santa Maria dei Miracoli. His task was to both inspire and impress travellers entering the city, drawing them across the square to the beauty of the churches beyond. As well as being elevated from the level of the square, the two churches emphasized the elegant lines of the Trident, Via del Babbuino, Via del Corso and Via di Ripetta, radiating out beyond, adding depth and perspective to the overall picture. He also used an element of illusion, as the churches, which appear so similar from a distance, are in fact charmingly individual.
Piazza del popolo around 1750 by incision of Giovanni Battista Piranesi.
SANTA MARIA IN MONTESANTO • Santa Maria in Montesanto, erected over a church with the same name that lay at the beginning of Via del Babuino, and was occupied by Carmelite monks. The name Montesanto (Holy Mountain) referred to Mount Carmel in Israel. The patron was Cardinal Gerolamo Gastaldi, and construction of the present church was begun on July 15, 1662, and finished in 1675, with other additions by 1679. • Originally by Carlo Rainaldi, the plans were revised by Gian Lorenzo Bernini, and ultimately completed by Carlo Fontana. A belfry was added in the 18th century. The statues of saints on the exterior have been attributed to Bernini's design. The interior has an elliptical plan, with a dodecagonal cupola. • In 1825, the church was made a minor basilica. • In 1951, the Monsignor established a tradition of the Mass of the Artists, where on the last Sunday of October till June 29, a mass is held every Sunday with reading by an artist, and animated by music. At the end of the mass, a prayer for the artists is read.
INTERIOR DECORATION • The first chapel to the left is, the cappella of Santa Lucia (Saint Lucy). The second chapel is dedicated to Santa Maria Magdalena de Pazzi, designed by Carlo Rainaldi to honor the Carmelite nun canonized by Pope Clemente XI in 1669. The ceiling and the altarpiece of the Miracle of the saint (c. 1685) was painted by Ludovico Gimignani. • The third chapel is the cappella Montioni. The Montioni family commissioned TommasoMattei , pupil of Carlo Fontana, for the design. The altarpiece of the Madonna with Child and Saints Francis and Jacob (c. 1687) was completed by Carlo Maratta. The Assumption fresco was painted by Giuseppe Chiari. Upon the altar is a modern statue of the Angel for the artists by Guelfo (1937–1997). At one time, the sacristy held frescoes by Baciccia. • The presbytery is stuccoed with angels by Filippo Carcani and houses the miraculous 15th century altarpiece of Virgin of Montesanto, which tradition holds was painted by an 11 year old girl. The sacristy has a frescoed vault with angels and the instruments of passion, the altarpiece of the Deposition (c. 1600) is attributed to Biagio Puccini.
SANTA MARIA DEI MIRACOLI Santa Maria dei Miracoli was begun in 1675 and finished in 1681. With a circular plan, it has an elegant 18th century bell tower by Girolamo Theodoli and an octagonal cupola. The interior has a rich stucco decoration by Antonio Raggi, Bernini's pupil. The monuments for Cardinals Benedetto and Gastaldi were designed by Carlo Fontana, who also provided design for the cupola and the lamp. The busts in bronze were completed by Girolamo Lucenti.
PIAZZA S.IGNAZIO
The Church of Saint Ignatius Dario Burdyn Francesca Benvenuti Elisabetta torre
IgnatiusofLoyola Ignatius of Loyola was a Spanish knight who, after a debilitating injury, had a long recuperation period. It was during this time that he did a lot of reading and determined that if he could no longer be a warrior, then he would dedicate his life to God and be a soldier for Him. Loyola is the founder of the Society of Jesus, known as the Jesuits, who were instrumental in enforcing the dictates of the Catholic Church’s Counter Reformation period – and not always in a good way. But equally important, the Jesuits believed that people, no matter how poor, should have the opportunity to learn and they taught reading, which helped increase literacy rates and the lives of many people. Even today, the Jesuits run many universities under the name of Loyola, determined to continue their belief in education.
The original project for the façade of S. Ignazio was modified during its construction; the height was raised by some 15 feet thus making the façade even more out of proportion in relationship to the small square which lay in front of it.The buildings surrounding the square were regarded as examples of bad taste by Francesco Milizia, a neoclassic art historian, but they still retain their elaborate decoration and their original size.
Detailof the façade; the inscriptioncelebrates the roleofCardinal Ludovico Ludovisi In 1562-66 a church was built on the site of today's S. Ignazio; it was dedicated to S. Maria Annunziata and its façade can be seen in a 1588 Guide to Rome. The church however did not meet the requirements of Collegio Romano which was attended by some 2,000 students and in 1626 it was pulled down to make room for a larger church. The construction was financed by Cardinal LudovicoLudovisi, nephew of Pope Gregory XV ; the new church was dedicated to St. Ignatius of Loyola, the founder of the Jesuit order, who was canonized in 1622.OrazioGrassi, who taught mathematics at Collegio Romano, designed the new building and his project was endorsed by a commission which included Carlo Maderno. The church was completed in 1685 except for the dome.
The design of S. Ignazio included a dome at the intersection between the main nave and the transept, but at a certain point the Jesuits realized that the dome was no longer consistent with the already built parts of the church. As an interim solution they asked a Jesuit painter, Andrea Pozzo to cover the ceiling above the intersection between nave and transept with an apparent dome. Pozzowas expected to show again his illusionistic skills and he fully met these expectations. The entablature of the cornice, i.e. the framing of the ceiling among painted columns and architraves was not unusual, but Pozzo designed a sort of open ancient temple framing the sky with a myriad of figures, including allegories of the four continents. The subject of the painting - St. Ignatius' glory - is just a scene at the center of the ceiling. The illusion is perfect from any point in the nave, but the viewer is impressed by the skill, not by the drama, and ends by looking at the details, by testing the view of columns and arches from different angles. Pozzo wrote a book on perspective laws Perspectivapictorum and architectorum which had a lasting influence on scenographers throughout the XVIIIth century
Altare di S. Luigi Gonzaga - ceilingby Andrea Pozzo Because a lavishly decorated altar to St. Ignatius already existed at ilGesù, a similarly impressive altar was dedicated to St. Aloysius Gonzaga, a Jesuit who died in 1591 at the age of 23 while caring for the sick during a pestilence; he was canonized in 1605, before the founder of his order. Pozzo painted the illusory ceiling above this altar and also that for Chiesa del Gesù at Frascati; in 1703 he went to Vienna where he decorated Jesuitenkirche and the interior of Liechtenstein Palace.
(left) Altare di S. Luigi Gonzaga; (right) Annunciazione, reliefby Filippo Della Valle on the opposite altar Pope Gregory XV and hisnephew Cardinal Ludovico Ludovisiwereburied in the church; the imageshown in the background ofthispageshows a detailoftheirmonument.
The dome (left) Modelof the dome; (right) painted dome by Andrea Pozzo seenfrom the nave The initial design of the church included a dome, but when in 1685 the rest of of the building was completed, the Jesuits had no money left for the construction of the dome. At this point Andrea Pozzo suggested to temporarily complete the interior of the church by painting an illusory view of the dome on canvas. His knowledge of perspective led to a very successful result and the matter was settled for good. In the nave a circular slab of yellow marble indicates the point selected by Pozzo to develop his calculations; moving away from there, one gradually notices that the church has a rather unusual dome.
ORATORIO DEL CARAVITA (left) Oratorio del Caravita; (right) detailof the façadewithdedicatoryinscriptionto St. Francis Xavier The oratorywasbuilt in 1630-33 at the initiativeofFather Pietro Gravita, a Jesuit in chargeofMissione Urbanai.e.ofpreachingto the farm labourersof the Roman Campagna, especiallytothosewhoworked on a seasonalbasis. The oratorybecameknownasOratorio del Caravita, a corruptionofFatherGravita's surname; the building wasusedfor musical performances and educational plays; italsohoused a famousMacchina delle Quarant'Ore.
Piazza S. Ignazio Central building The houseswhichstoodopposite the churchwereredesigned in 1727-28 by Filippo Raguzzini, the preferredarchitectof Pope Benedict XIII; theydidnotbelongtoimportantfamilies and theyweresplitintoflats. Raguzziniarrangedthem in a way thattheyresemble the stage of a theatre.
Pantheon • Francesco Roscia • Dumitrita Bobeica
Whatis the Pantheon Hadrian in 118 A.D. In the same place there was the Agrippa’s Pantheon but it was destroyed by . the fire of 80 A.D. The Pantheon is an ancient circular temple to all the gods in Rome commissioned by Emperor 1 2
