- Rome, Italy
The two triangular staircases in palazzo Barberini. Typology, construction and hybridisation from the Pantheon to Baroque palaces. The two triangular staircases in the intermediate block of the Pantheon constituted a famous model: the... more
The two triangular staircases in palazzo Barberini. Typology,
construction and hybridisation from the Pantheon to Baroque
palaces.
The two triangular staircases in the intermediate block of the Pantheon
constituted a famous model: the subject of representations,
studies, and re-propositions especially in the Renaissance. Perhaps
their most famous derivation was the design of the staircase around
the circular courtyard of villa Madama in Rome. This paper focuses
on a particular declination of such a characteristic antique example
at the beginning of the Baroque period: the pair of triangular staircases
connected to the Sala Ovale of palazzo Barberini in Rome. A
solution of composition that seems – again – a reference to the prototype
of the Hadrian's Rotunda. The construction systems are analysed
especially in comparison with earlier examples, also derived
from antiquity.
construction and hybridisation from the Pantheon to Baroque
palaces.
The two triangular staircases in the intermediate block of the Pantheon
constituted a famous model: the subject of representations,
studies, and re-propositions especially in the Renaissance. Perhaps
their most famous derivation was the design of the staircase around
the circular courtyard of villa Madama in Rome. This paper focuses
on a particular declination of such a characteristic antique example
at the beginning of the Baroque period: the pair of triangular staircases
connected to the Sala Ovale of palazzo Barberini in Rome. A
solution of composition that seems – again – a reference to the prototype
of the Hadrian's Rotunda. The construction systems are analysed
especially in comparison with earlier examples, also derived
from antiquity.
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This essay deals with a singular construction built by Giovanni Battista Caretti in the garden of Villa Torlonia in Rome, between 1800 and 1830. The so-called "ruin of nymphaeum", the only surviving part of a composite system of... more
This essay deals with a singular construction built by Giovanni Battista Caretti in the garden of Villa Torlonia in Rome, between 1800 and 1830. The so-called "ruin of nymphaeum", the only surviving part of a composite system of ruins, built for Alessandro Torlonia, has not, until now, been the object of any exhaustive study which could clarify historic and design aspects, and furthermore, characterize this particular class of folies. The essay analyses the building with the help of accurate measurements. A lack of archival documents did not prevent the author proposing some interesting theses on the method of construction and the possible models of reference, also in relation to the antiquarian culture of the architect (who was also the architect of the Gallery of Ercole and Lira in the destroyed Palazzo Torlonia in piazza Venezia). Particular attention is paid to the spolia which were re-used in the ruin, among which, a part from the original complex of statues (classifi...
The object of study for the Thesis of "Scuola di Specializzazione", the particular case of the "Ponte Ruinante", represented a particularly representative subject for many questions concerning the conservation of Baroque Architecture.... more
The object of study for the Thesis of "Scuola di Specializzazione", the particular case of the "Ponte Ruinante", represented a particularly representative subject for many questions concerning the conservation of Baroque Architecture. Aspects such as the theatrical fiction, the simulation of noble materials, here together with reflections on the Antiquity and on the aesthetic value of the Ruins, have represented an interesting test-bed for the application within the basic concepts of the “critical-conservative restoring”. Starting from some initial considerations on the "conceptual value" of architectural materials, which in Palazzo Barberini represents the dominant theme applied on a large scale, this short essay deals with the architectural and constructive analysis (based on archival documents) of the Ponte Ruinante, in order to arrive at the historical understanding of the artifact in question, and outline the guiding ideas for its preservation project, respectful of the multiple cultural values inherent in it.
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The treatise “Origine e Lode dell'Architettura " (Origin and Praise of Architecture”) is a precious but as yet little-examined document on building practice in 18th-century Rome, preserved in Palazzo Braschi. In spite of its title, the... more
The treatise “Origine e Lode dell'Architettura " (Origin and Praise of Architecture”) is a precious but as yet little-examined document on building practice in 18th-century Rome, preserved in Palazzo Braschi.
In spite of its title, the work devotes only a few pages to historical and theoretical issues, and instead the volume is mainly devoted to managerial and economic aspects of good management of buildings, subdivided by type and analysed from a variety of perspectives, from the foundations to the decorations. A unique feature of the treaty is the inclusion of extensive excerpts from the diaries of construction sites of renowned buildings, considered exemplary also in the running of the works.
In spite of its title, the work devotes only a few pages to historical and theoretical issues, and instead the volume is mainly devoted to managerial and economic aspects of good management of buildings, subdivided by type and analysed from a variety of perspectives, from the foundations to the decorations. A unique feature of the treaty is the inclusion of extensive excerpts from the diaries of construction sites of renowned buildings, considered exemplary also in the running of the works.
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The villa that Cardinal Alessandro Albani wanted on the Via Salaria represents the highest manifestation of his patronage. The ambition to create a large complex in the ancient style was commissioned to Carlo Marchionni, an architect who... more
The villa that Cardinal Alessandro Albani wanted on the Via Salaria represents the highest manifestation of his patronage. The ambition to create a large complex in the ancient style was commissioned to Carlo Marchionni, an architect who was not always able to achieve the ambitious visions of the great collector. As Anna Ottani Cavina already suggested, "to separate with the most powerful of lasers the ideas of Marchionni and those of Albani" represents a knot that still needs to be solved. Moreover, the critical judgment on Marchionni's architecture still presents substantial lacks. Of the approximately three hundred drawings of the three Torlonia albums, described by Joachim Gaus but still unpublished, only a few were published on sporadic occasions. On the basis of the few drawings found so far, the intervention intends to advance a hypothesis on the design evolution of the Villa Albani Casino, born from the remodeling of a pre-existing factory, with several proposals for expansion and changes by Marchionni until the realized version.
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The Census of Antique Work of Art and Architecture known in the Renaissance (founded in 1946 at the Warburg Institute in London and at the Institute of Fine Arts in New York, based at Humboldt University since 1995), in addition to being... more
The Census of Antique Work of Art and Architecture known in the Renaissance (founded in 1946 at the Warburg Institute in London and at the Institute of Fine Arts in New York, based at Humboldt University since 1995), in addition to being a pioneering research database in the Humanities, has become more and more an international reference point for fields of study such as archaeology and Renaissance history of art and architecture. Over time, the Census has established important collaborations with scholars and research centers all over the world (Warburg Institute, Getty Trust, Berlin-Brandenburg Academy of Sciences, Winckelmann Society), and particularly with institutions in Rome. The Census database represents today an indispensable tool, not only for the theoretical knowledge of Roman ancient monuments and their reception in the Renaissance, but also as a useful instrument to deepen the analysis of monuments and to work in applied research fields.
As a conclusion of the Humboldt Talent Travel Award program, by which the research activities of the Dipartimento di Storia disegno e restauro dell’architettura at Sapienza University of Rome got in touch with the Census, this studies day aims to represent an opportunity for dialogue among distinct institutions and multiple research lines, brought together by a common subject such as the study of ancient monuments in different phases of their millennial history.
The vast amount of graphic and written documentation on the remains of “Roma quanta fuit” produced starting from the Renaissance has always been considered by archaeologists as a useful source to understand the transformations of ancient monuments during the long passage from their genesis to their current state, and lies at the heart of Western history of art and architecture. However, to a substantial difference of intent corresponds an equally substantial diversity of approach to the study of these testimonies. On the one hand, the actual interpretation of the document that, recalling the hermeneutical knowledge, is not limited to the observation of the objective datum but places it in its historical and cultural context, facing the multiple issues that this operation requires. On the other hand, an approach that could be defined as heuristic, where the analysis of the document does not follow a clear path, being mainly entrusted to intuition and above all to the comparison with other heterogeneous sources as well as with the evidence still existing today.
Therefore, the main aim is to highlight complementarities and encourage cooperation among the various actors involved in studies on antiquity. A desirable and important synergy, both for a strictly art-historical subject such as the reception of the Antique in the Early-Modern age, and for the knowledge of the monuments themselves and the related methodological aspects: restoration, enhancement, divulgation.
Following these premises, the studies day will be subdivided according to the traditional Census dichotomy between ancient monuments and post-antique documents: a first part addressed to specific interventions on documents, widening the gaze even towards periods following the Renaissance; a second one with specific research on specific monuments in which modern documentation can play a decisive role for a better definition of the ancient monument and becoming necessary in its applications and methodological implications, such as conservation issues or communication to a wider public.
As a conclusion of the Humboldt Talent Travel Award program, by which the research activities of the Dipartimento di Storia disegno e restauro dell’architettura at Sapienza University of Rome got in touch with the Census, this studies day aims to represent an opportunity for dialogue among distinct institutions and multiple research lines, brought together by a common subject such as the study of ancient monuments in different phases of their millennial history.
The vast amount of graphic and written documentation on the remains of “Roma quanta fuit” produced starting from the Renaissance has always been considered by archaeologists as a useful source to understand the transformations of ancient monuments during the long passage from their genesis to their current state, and lies at the heart of Western history of art and architecture. However, to a substantial difference of intent corresponds an equally substantial diversity of approach to the study of these testimonies. On the one hand, the actual interpretation of the document that, recalling the hermeneutical knowledge, is not limited to the observation of the objective datum but places it in its historical and cultural context, facing the multiple issues that this operation requires. On the other hand, an approach that could be defined as heuristic, where the analysis of the document does not follow a clear path, being mainly entrusted to intuition and above all to the comparison with other heterogeneous sources as well as with the evidence still existing today.
Therefore, the main aim is to highlight complementarities and encourage cooperation among the various actors involved in studies on antiquity. A desirable and important synergy, both for a strictly art-historical subject such as the reception of the Antique in the Early-Modern age, and for the knowledge of the monuments themselves and the related methodological aspects: restoration, enhancement, divulgation.
Following these premises, the studies day will be subdivided according to the traditional Census dichotomy between ancient monuments and post-antique documents: a first part addressed to specific interventions on documents, widening the gaze even towards periods following the Renaissance; a second one with specific research on specific monuments in which modern documentation can play a decisive role for a better definition of the ancient monument and becoming necessary in its applications and methodological implications, such as conservation issues or communication to a wider public.
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The aim of this paper is to present part of a new study examining the area surrounding the ancient Temple of Serapis on the Quirinal Hill in relation to its complex post-antique stratigraphy.1 The study compares the Renaissance drawings... more
The aim of this paper is to present part of a new study examining the area surrounding the ancient Temple of Serapis on the Quirinal Hill in relation to its complex post-antique stratigraphy.1 The study compares the Renaissance drawings of this Roman site with the actual state of the ruins between the fifteenth and sixteenth centuries as revealed by topographical evidence recently found in the Colonna Archive and elsewhere. The analysis concentrates on the double stairway complex and the adjoining properties of the estate belonging to the Colonna family since the early fourteenth century. These properties include
the no longer extant Palazzo dell’Olmo (demolished in 1924 and replaced by the Pontifical Gregorian University) and the so-called »Loggia dei Colonnesi«. I have tried to describe the transformation of the ancient remains that presumably occurred at exactly the time when celebrated architects were engaged in the study of Antiquity and hence inspected the site. My aim was to find clues as to the architect’s various interpretative solutions. The research report also dwells on the changes and destruction that this ancient monument endured in the seventeenth and eighteenth centuries when its fame and past magnificence slipped into oblivion.
the no longer extant Palazzo dell’Olmo (demolished in 1924 and replaced by the Pontifical Gregorian University) and the so-called »Loggia dei Colonnesi«. I have tried to describe the transformation of the ancient remains that presumably occurred at exactly the time when celebrated architects were engaged in the study of Antiquity and hence inspected the site. My aim was to find clues as to the architect’s various interpretative solutions. The research report also dwells on the changes and destruction that this ancient monument endured in the seventeenth and eighteenth centuries when its fame and past magnificence slipped into oblivion.
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Two recently identified drawings show Fuga’s initial designs for a pair of nave platforms in S. Maria Maggiore intended for the display of relics displaced by the recent reorganisation of the choir. They were not executed, almost... more
Two recently identified drawings show Fuga’s initial designs for a pair of nave platforms in S. Maria Maggiore intended for the display of relics displaced by the recent reorganisation of the choir. They were not executed, almost certainly because they conflicted with Benedict XIV’s wish to see a radical simplification of the church’s interior.
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Furnishing academies: notes on the cultural patronage of Cardinal Francesco Barberini, addenda to Bernini`s and Cortona’s work for the Accademie di San Luca and degli Humoristi. The artistic and cultural patronage of Cardinal Francesco... more
Furnishing academies: notes on the cultural patronage of Cardinal Francesco Barberini, addenda to Bernini`s and Cortona’s work for the Accademie di San Luca and degli Humoristi.
The artistic and cultural patronage of Cardinal Francesco Barberini (1597 - 1679) is well known and one of the most important in seventeenth century Rome. As part of the cultural strategies employed by Barberini politics, the support of academic institutions was certainly one of the major activities, it also involved thorough architectural interventions, durable or ephemeral, for the academies spaces. This paper presents new archival evidence from Cardinal Francesco Barberini 's Giustificazioni relating to two small interior architetctural interventions financed by the Prelate and commissioned to the two major artists of his circle: Bernini and Cortona, respectively for the Accademia di San Luca in the former headquarters at Santa Martina, and the Accademia degli Humoristi at the Palazzo Mancini.
The artistic and cultural patronage of Cardinal Francesco Barberini (1597 - 1679) is well known and one of the most important in seventeenth century Rome. As part of the cultural strategies employed by Barberini politics, the support of academic institutions was certainly one of the major activities, it also involved thorough architectural interventions, durable or ephemeral, for the academies spaces. This paper presents new archival evidence from Cardinal Francesco Barberini 's Giustificazioni relating to two small interior architetctural interventions financed by the Prelate and commissioned to the two major artists of his circle: Bernini and Cortona, respectively for the Accademia di San Luca in the former headquarters at Santa Martina, and the Accademia degli Humoristi at the Palazzo Mancini.
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Il Ponte Ruinante di Palazzo Barberini e il giardino della Guglia, scheda in M. FAGIOLO, Roma Barocca, i protagonisti, gli spazi urbani, i grandi temi, Roma 2013
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Il Colosseo: disegni e modelli dal Grand Tour, scheda in M. FAGIOLO, M. TABARRINI (a cura di), Giuseppe Piermarini tra Barocco e Neoclassicismo: Roma, Napoli, Caserta, Foligno, catalogo della mostra (Foligno, palazzo Trinci,... more
Il Colosseo: disegni e modelli dal Grand Tour, scheda in M. FAGIOLO, M. TABARRINI (a cura di), Giuseppe Piermarini tra Barocco e Neoclassicismo: Roma, Napoli, Caserta, Foligno, catalogo della mostra (Foligno, palazzo Trinci, giugno-ottobre 2010), Perugia 2010
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Il cardinale Girolamo II Colonna: incarichi pubblici e committenza privata, in M. FAGIOLO, M. TABARRINI (a cura di), Giuseppe Piermarini tra Barocco e Neoclassicismo: Roma, Napoli, Caserta, Foligno, catalogo della mostra (Foligno, palazzo... more
Il cardinale Girolamo II Colonna: incarichi pubblici e committenza privata, in M. FAGIOLO, M. TABARRINI (a cura di), Giuseppe Piermarini tra Barocco e Neoclassicismo: Roma, Napoli, Caserta, Foligno, catalogo della mostra (Foligno, palazzo Trinci, giugno-ottobre 2010), Perugia 2010.
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The interest on the capo mastro Nicola Giobbe, among the most important in Rome in the first half of the Eighteenth century, has recently clarified many aspects on the figure of the first Piranesi’s patron. So far, historiographical... more
The interest on the capo mastro Nicola Giobbe, among the most important in Rome in the first half of the Eighteenth century, has recently clarified many aspects on the figure of the first Piranesi’s patron. So far, historiographical attention has been spent mainly in focusing his profile as art collector, bibliophile, scholar and theorist of architecture. Requirements absolute prominent when associated to its position of technical, however rich, but always placed in the subordinate rank of the workers. However, for the full understanding of his personality, additional analysis of the professional work (about which many steps of the famous Piranesi’s letter of 1743 necessarily seem to refer) is required. As part of Giobbe’s brilliant career, emerges definitely his
long activity for the Colonna family. Moving from some archival sources, the essay illustrates the role as both builder and art connoisseur who Giobbe as served during the long professional relationship with the Colonna family. Activities that engaged the young Nicholas since the early years, with his father Antonio, in the most important enterprise of the eighteenth century in Rome.
long activity for the Colonna family. Moving from some archival sources, the essay illustrates the role as both builder and art connoisseur who Giobbe as served during the long professional relationship with the Colonna family. Activities that engaged the young Nicholas since the early years, with his father Antonio, in the most important enterprise of the eighteenth century in Rome.
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THE SHATTERED TEMPLE OF VILLA ALBANI AND THE SUBJECT OF THE FAKE RUINS IN THE ROME OF THE XVIII CENTURY The complex of Villa Albani not only represents a formidable evidence of the Roman eighteenth-century scene, but also the first... more
THE SHATTERED TEMPLE OF VILLA ALBANI AND THE SUBJECT OF THE FAKE RUINS IN THE ROME OF THE XVIII CENTURY
The complex of Villa Albani not only represents a formidable evidence of the Roman eighteenth-century scene, but also the first expression of ideas and theories that begun to spread during the second part of the century. It is sufficient to remind the fundamental role of personalities such as Johann Joachim Winckelmann or Anton Raphael Mengs, but also the important confrontation with the Roman antiquarian tradition of Ridolfino Venuti or Giovanni Battista Piranesi. An encounter that will lay down the bases of the Neoclassical art giving an impulse to a blend of roles between ancient and modern. Villa Albani represents the model of villa-museum, where art and archaeology meet between restoration and philology from which took inspiration the major succeeding works in Italy and especially in Rome. In this context, the shattered temple is one of the most discreet manifestation of the villa, but at the same time rich in attractiveness and meaning Because of its particular typology, the study of the temple is fundamental to the analysis of the related problems, from a critical and historical point of view to a conservative one.The role of this particular monumental category within the Neoclassical garden is to be tracked down in the complex cultural change of the XVIII century, regarding first of all the new consideration of the Ancient and also the theorization of integrative restoration by Bartolomeo Cavaceppi and his fellows students. If Cavaceppi restored in order to learn', and so to transmit what the ancient element is no lon-ger able to evoke, the assemblage of fake ruins together with the use of spolia (elements at that time thought to be less evocative than a sculpture torso), finds in this principle its reasons to exist The study of the fake ruins of Villa Albani (a study based on the new acknowledgements) took into consideration the different valences ascertained in the work, from the exhibition and museum valences to aesthetic and contemplative ones.
The complex of Villa Albani not only represents a formidable evidence of the Roman eighteenth-century scene, but also the first expression of ideas and theories that begun to spread during the second part of the century. It is sufficient to remind the fundamental role of personalities such as Johann Joachim Winckelmann or Anton Raphael Mengs, but also the important confrontation with the Roman antiquarian tradition of Ridolfino Venuti or Giovanni Battista Piranesi. An encounter that will lay down the bases of the Neoclassical art giving an impulse to a blend of roles between ancient and modern. Villa Albani represents the model of villa-museum, where art and archaeology meet between restoration and philology from which took inspiration the major succeeding works in Italy and especially in Rome. In this context, the shattered temple is one of the most discreet manifestation of the villa, but at the same time rich in attractiveness and meaning Because of its particular typology, the study of the temple is fundamental to the analysis of the related problems, from a critical and historical point of view to a conservative one.The role of this particular monumental category within the Neoclassical garden is to be tracked down in the complex cultural change of the XVIII century, regarding first of all the new consideration of the Ancient and also the theorization of integrative restoration by Bartolomeo Cavaceppi and his fellows students. If Cavaceppi restored in order to learn', and so to transmit what the ancient element is no lon-ger able to evoke, the assemblage of fake ruins together with the use of spolia (elements at that time thought to be less evocative than a sculpture torso), finds in this principle its reasons to exist The study of the fake ruins of Villa Albani (a study based on the new acknowledgements) took into consideration the different valences ascertained in the work, from the exhibition and museum valences to aesthetic and contemplative ones.
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Educational video from the project MuMoSiSt: “Multidisciplinary approach to multilayer monumental sites studies: the case of the Quirinal Hill in Rome”. Host Institution: Institut für Kunst und Bildgeschichte, Humboldt-Universität zu... more
Educational video from the project
MuMoSiSt: “Multidisciplinary approach to multilayer monumental sites studies: the case of the Quirinal Hill in Rome”.
Host Institution: Institut für Kunst und Bildgeschichte, Humboldt-Universität zu Berlin (Census of antique works of art and architecture known in the Renaissance). Marie Sklodowska Curie Action Individual fellow 2014 (Horizon 2020 Excellent Science, European Commission).
MuMoSiSt: “Multidisciplinary approach to multilayer monumental sites studies: the case of the Quirinal Hill in Rome”.
Host Institution: Institut für Kunst und Bildgeschichte, Humboldt-Universität zu Berlin (Census of antique works of art and architecture known in the Renaissance). Marie Sklodowska Curie Action Individual fellow 2014 (Horizon 2020 Excellent Science, European Commission).
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La Collezione d'Arte della Fondazione Roma Dipinti, sculture e grafica dal XV al XXI secolo a cura di Maria Celeste Cola e Stefano Colonna Dipartimento di Storia dell'Arte e Spettacolo Facoltà di Lettere e Filosofia - Sapienza... more
La Collezione d'Arte della Fondazione Roma Dipinti, sculture e grafica dal XV al XXI secolo
a cura di Maria Celeste Cola e Stefano Colonna
Dipartimento di Storia dell'Arte e Spettacolo
Facoltà di Lettere e Filosofia - Sapienza Università di Roma
anno accademico 2012 / 2013
Gangemi Editore, 2 volumi, in corso di pubblicazione
(aggiornamento del 12 Dicembre 2017 con i nomi dei prefatori e degli schedatori in formato PDF
http://www.bta.it/riv/muse/Progetti/Fondazione_Roma/SAPIENZA-DSAS-COLA,Maria_Celeste_&_COLONNA,Stefano_Novita_Collezione_Arte_Fondazione_Roma_20171212.pdf
a cura di Maria Celeste Cola e Stefano Colonna
Dipartimento di Storia dell'Arte e Spettacolo
Facoltà di Lettere e Filosofia - Sapienza Università di Roma
anno accademico 2012 / 2013
Gangemi Editore, 2 volumi, in corso di pubblicazione
(aggiornamento del 12 Dicembre 2017 con i nomi dei prefatori e degli schedatori in formato PDF
http://www.bta.it/riv/muse/Progetti/Fondazione_Roma/SAPIENZA-DSAS-COLA,Maria_Celeste_&_COLONNA,Stefano_Novita_Collezione_Arte_Fondazione_Roma_20171212.pdf
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Questa tre giorni di studi e confronti ruota attorno all’Ordine di Malta quale committente e Ordine religioso, militare e nobiliare, capace di influenzare, tramite i suoi membri, cambiamenti e scelte in campo artistico, qui considerati... more
Questa tre giorni di studi e confronti ruota attorno all’Ordine di Malta quale committente e Ordine religioso, militare e nobiliare, capace di influenzare, tramite i suoi membri, cambiamenti e scelte in campo artistico, qui considerati limitatamente agli ambiti architettonico e decorativo dalla “Controriforma al Settecento”. Gli obiettivi rientrano sia in un esteso quadro di rivalutazione della committenza e del profilo artistico di alcuni membri dell’Ordine di Malta appartenenti a famiglie dell’aristocrazia italiana, sia nell’ambito degli studi sull’Ordine stesso come istituzione statuale, capace di instaurare scelte artistiche virtuose. Le figure e le opere indagate permetteranno di comprendere l’approccio all’architettura e alla decorazione viste come elemento di rappresentanza e di relazione fra luoghi, artisti e committenti legati, ognuno, dalla presenza costante di quest’ordine millenario. Un momento di riflessione sui rapporti fra la penisola italiana e l’Ordine Gerosolimitano, committente emblematico – attraverso la figura di Giovanni Battista Rezzonico, allora Gran Priore di Roma – della maggiore opera architettonica di Piranesi, la chiesa di S. Maria del Priorato e l’annessa villa sull’Aventino, si pone poi in sintonia con le celebrazioni del terzo centenario della nascita di Piranesi che si svolgono a Roma tra 2020 e 2021. Oltretutto, a dispetto della grande rilevanza, lo studio della storia dei cavalieri stessi in età moderna resta ancora alquanto incompleto: la dispersione documentaria, sia per i diversi cambi di sede, sia a seguito della soppressione degli ordini religiosi, rende difficile in molti casi la ricerca e l’identificazione delle fonti, sparse negli Archivi di Stato di tutta Europa. Dal punto di vista architettonico, le stesse indagini in situ(archeologiche e stilistiche) soffrono della mancanza di comparazione vista la diffusione territoriale del vastissimo patrimonio, che rende talvolta ardua l’identificazione di una possibile identità visiva dell’istituzione perseguita a livello europeo. L’area geografica d’indagine nel corso di queste giornate sarà limitata alla Lingua d’Italia, la più sviluppata fra le Lingue dell’Ordine (comprendendo sette Gran Priorati: Roma, Lombardia, Venezia, Pisa, Capua, Barletta e Messina) pur non essendo la più antica. Lungi pertanto dal voler essere esaustivo, ma anzi assai circoscritto negli ambiti cronologici e territoriali, questo convegno mira a rappresentare un primo tassello di un programma di possibili studi sul patrimonio dell’Ordine di Malta in età moderna, raccogliendo interventi da parte di esperti che si sono imbattuti, o si stanno misurando, in ricerche su un parterre artistico e architettonico a oggi presente come monumentum diffuso, disseminato e profondamente legato alle storie locali, ma facente capo al contempo a una più ampia chiave identitaria di fondamentale importanza per la storia europea. L’ambizione è altresì di dare vita a un progetto di ampio respiro che possa rivalutare e aggregare gli studi sin ora frammentari in questo settore, avviando una possibile rete di competenze estesa a livello internazionale.
Convegno internazionale promosso da
Politecnico di Torino - Dipartimento di Architettura e Design
Università “G. d’Annunzio” di Chieti-Pescara - Dipartimento di Architettura
Malta Study Center, Hill Museum & Manuscript Library (HMML)
Centro di Studi sulla Cultura e l’Immagine di Roma
Associazione Scientifica “Palazzo Cappello”. Centro Internazionale per la Ricerca ed il Restauro degli Apparati Decorativi Barocchi e Neoclassici
Centro di Ricerca CSELT di Torino (Centro Studi E Laboratori Tecnologici Sulle Innovazioni Tecnologiche Del Nuovo Millennio)
Accademia Nazionale di San Luca
Curatela scientifica
Federico Bulfone Gransinigh(Università “G. d’Annunzio” di Chieti-Pescara, LabiSAlp-Accademia di Architettura di Mendrisio, Università della Svizzera Italiana)
Valentina Burgassi (Politecnico di Torino, École Pratique des Hautes Études Sorbonne)
Daniel K. Gullo (Malta Study Center, Hill Museum & Manuscript Library)
Alessandro Spila (Politecnico di Torino)
Comitato scientifico
Francesco Amendolagine Foschini (Università eCampus, Ass. Scientifica “Palazzo Cappello”)
Lorenzo Bartolini Salimbeni (già Università “G. d’Annunzio” di Chieti-Pescara)
Donata Battilotti (Università di Udine)
Mario Carlo Alberto Bevilacqua (Università degli Studi di Firenze)
Federico Bulfone Gransinigh (Università “G. d’Annunzio” di Chieti-Pescara, LabiSAlp-Accademia di Architettura di Mendrisio, Università della Svizzera Italiana)
Emanuel Buttigieg (Università ta’ Malta)
Valentina Burgassi (Politecnico di Torino, École Pratique des Hautes Études, Sorbonne)
Maria Celeste Cola (Sapienza Università di Roma)
Marcello Fagiolo (CSRoma, Accademia dei Lincei)
Sabine Frommel (École Pratique des Hautes Études, Sorbonne)
Daniel K. Gullo (Malta Study Center, Hill Museum & Manuscript Library)
Fabio Mangone (Università degli Studi di Napoli Federico II)
Sergio Pace (Politecnico di Torino)
Delfín Rodriguez Ruíz (Universidad Complutense de Madrid)
Marco Rosario Nobile (Università di Palermo)
Pasquale Rossi (Università degli Studi Suor Orsola Benincasa)
Valentina Russo (Università degli Studi di Napoli Federico II)
Alessandro Spila (Politecnico di Torino)
Claudio Varagnoli (Università “G. d’Annunzio” di Chieti-Pescara)
Marcello Villani (Università “G. d’Annunzio” di Chieti-Pescara)
Con il patrocinio di
Sovrano Militare Ordine Ospedaliero di San Giovanni di Gerusalemme di Rodi e di Malta (SMOM), Conservatoria delle Raccolte d’Arte
Malta Study Center. Hill Museum & Manuscript Library
Università degli Studi di Napoli Federico II - Centro Interdipartimentale di ricerca per i Beni Architettonici e Ambientali e per la Progettazione Urbana
University of Malta – Department of History, Faculty of Arts
University of Malta – Department Library Information & Archive Sciences, Faculty of Media & Knowledge Sciences
AISTARCH - Associazione Italiana di Storia dell’Architettura
Associazione Scientifica “Palazzo Cappello”. Centro Internazionale per la Ricerca ed il Restauro degli Apparati Decorativi Barocchi e Neoclassici
Centro di Ricerca CSELT di Torino (Centro Studi E Laboratori Tecnologici Sulle Innovazioni Tecnologiche Del Nuovo Millennio
https://www.accademiasanluca.eu/it/news/id/3428/convegno-internazionale-strong-br-l-ordine-di-malta-e-la-lingua-d-italia-br-architettura-e-temi-decorativi-dalla-controriforma-al-settecento-strong-
Convegno internazionale promosso da
Politecnico di Torino - Dipartimento di Architettura e Design
Università “G. d’Annunzio” di Chieti-Pescara - Dipartimento di Architettura
Malta Study Center, Hill Museum & Manuscript Library (HMML)
Centro di Studi sulla Cultura e l’Immagine di Roma
Associazione Scientifica “Palazzo Cappello”. Centro Internazionale per la Ricerca ed il Restauro degli Apparati Decorativi Barocchi e Neoclassici
Centro di Ricerca CSELT di Torino (Centro Studi E Laboratori Tecnologici Sulle Innovazioni Tecnologiche Del Nuovo Millennio)
Accademia Nazionale di San Luca
Curatela scientifica
Federico Bulfone Gransinigh(Università “G. d’Annunzio” di Chieti-Pescara, LabiSAlp-Accademia di Architettura di Mendrisio, Università della Svizzera Italiana)
Valentina Burgassi (Politecnico di Torino, École Pratique des Hautes Études Sorbonne)
Daniel K. Gullo (Malta Study Center, Hill Museum & Manuscript Library)
Alessandro Spila (Politecnico di Torino)
Comitato scientifico
Francesco Amendolagine Foschini (Università eCampus, Ass. Scientifica “Palazzo Cappello”)
Lorenzo Bartolini Salimbeni (già Università “G. d’Annunzio” di Chieti-Pescara)
Donata Battilotti (Università di Udine)
Mario Carlo Alberto Bevilacqua (Università degli Studi di Firenze)
Federico Bulfone Gransinigh (Università “G. d’Annunzio” di Chieti-Pescara, LabiSAlp-Accademia di Architettura di Mendrisio, Università della Svizzera Italiana)
Emanuel Buttigieg (Università ta’ Malta)
Valentina Burgassi (Politecnico di Torino, École Pratique des Hautes Études, Sorbonne)
Maria Celeste Cola (Sapienza Università di Roma)
Marcello Fagiolo (CSRoma, Accademia dei Lincei)
Sabine Frommel (École Pratique des Hautes Études, Sorbonne)
Daniel K. Gullo (Malta Study Center, Hill Museum & Manuscript Library)
Fabio Mangone (Università degli Studi di Napoli Federico II)
Sergio Pace (Politecnico di Torino)
Delfín Rodriguez Ruíz (Universidad Complutense de Madrid)
Marco Rosario Nobile (Università di Palermo)
Pasquale Rossi (Università degli Studi Suor Orsola Benincasa)
Valentina Russo (Università degli Studi di Napoli Federico II)
Alessandro Spila (Politecnico di Torino)
Claudio Varagnoli (Università “G. d’Annunzio” di Chieti-Pescara)
Marcello Villani (Università “G. d’Annunzio” di Chieti-Pescara)
Con il patrocinio di
Sovrano Militare Ordine Ospedaliero di San Giovanni di Gerusalemme di Rodi e di Malta (SMOM), Conservatoria delle Raccolte d’Arte
Malta Study Center. Hill Museum & Manuscript Library
Università degli Studi di Napoli Federico II - Centro Interdipartimentale di ricerca per i Beni Architettonici e Ambientali e per la Progettazione Urbana
University of Malta – Department of History, Faculty of Arts
University of Malta – Department Library Information & Archive Sciences, Faculty of Media & Knowledge Sciences
AISTARCH - Associazione Italiana di Storia dell’Architettura
Associazione Scientifica “Palazzo Cappello”. Centro Internazionale per la Ricerca ed il Restauro degli Apparati Decorativi Barocchi e Neoclassici
Centro di Ricerca CSELT di Torino (Centro Studi E Laboratori Tecnologici Sulle Innovazioni Tecnologiche Del Nuovo Millennio
https://www.accademiasanluca.eu/it/news/id/3428/convegno-internazionale-strong-br-l-ordine-di-malta-e-la-lingua-d-italia-br-architettura-e-temi-decorativi-dalla-controriforma-al-settecento-strong-
Research Interests:
Research Interests:
This panel is the first of a series of seminars planned to present studies and researches on the art and cultural patronage of the Barberini family in Rome and Europe, between the last quarter of the XVIth century and the end of the... more
This panel is the first of a series of seminars planned to present studies and researches on the art and cultural patronage of the Barberini family in Rome and Europe, between the last quarter of the XVIth century and the end of the XVIIth.
Prepared in decades of alliances and diplomatic agreements, with the support of family finances, the reign of Pope Urban VIII, born Maffeo Barberini (Florence 1568 – Rome 1644) lasted twenty-one years and determined the political future of the Papacy in Europe as well as the diffusion of a new artistic style and taste throughout the Continent. Born in a noble Florentine family of merchants and bankers, Maffeo was formed in Pisa by illustrious scholars, he soon went to Rome where he was destined to the ecclesiastical career. Helped by his uncle Monsignor Francesco (Florence 1528 – Rome 1600) an apostolic notary, the young and bright cleric entered the entourage of Cardinal Pietro Aldobrandini (Rome 1571 - 1621), nephew of the ruling Pope Clement VIII (Reg. 1592 – 1605). Educated by those prodigious politicians and diplomats, Maffeo himself a distinguished writer and poet, elaborated an amazingly detailed programme to cover all aspects of the Government of the Church. Differently from the less structured and organized reign of Paul V Borghese (Reg. 1605 – 1622), who made him a Cardinal in 1606, Maffeo’s political project involved all the Arts, architecture, painting and sculpture, as well as the literary and historical studies, the erudite disciplines, the new research in the natural world promoted by the “scientists“ of the Accademia dei Lincei. From 1623, and especially throughout the first decade of his reign, Pope Urban VIII, his nephews Cardinals Francesco (Florence 1597 – Rome 1679) and Antonio Barberini (Rome 1607 – Nemi 1671) along with their ministers, clever agents and talented artists formed an extraordinarily resourceful government which used all the Arts and the Letters to attract and seduce the rest of the world to the Roman Catholic faith. In a famous letter written to Galileo Galilei (Pisa 1564 – Arcetri 1642), the historian Agostino Mascardi (Sarzana 1590 - 1640) defines the election of Maffeo Barberini to the Papacy as a Mirabil Congiuntura. As a renovated Mirabilia Urbis Romae of the High Renaissance papacies, the new marvel of the Roma Barberina sparkled throughout Europe with the objective of diffusing the arts of the newly created Propaganda Fide (1622).
This panel has been called to testimony the liveliness of “Barberini studies” after the major colloquium organised in Rome in December 2004 and its proceedings published in 2008
Prepared in decades of alliances and diplomatic agreements, with the support of family finances, the reign of Pope Urban VIII, born Maffeo Barberini (Florence 1568 – Rome 1644) lasted twenty-one years and determined the political future of the Papacy in Europe as well as the diffusion of a new artistic style and taste throughout the Continent. Born in a noble Florentine family of merchants and bankers, Maffeo was formed in Pisa by illustrious scholars, he soon went to Rome where he was destined to the ecclesiastical career. Helped by his uncle Monsignor Francesco (Florence 1528 – Rome 1600) an apostolic notary, the young and bright cleric entered the entourage of Cardinal Pietro Aldobrandini (Rome 1571 - 1621), nephew of the ruling Pope Clement VIII (Reg. 1592 – 1605). Educated by those prodigious politicians and diplomats, Maffeo himself a distinguished writer and poet, elaborated an amazingly detailed programme to cover all aspects of the Government of the Church. Differently from the less structured and organized reign of Paul V Borghese (Reg. 1605 – 1622), who made him a Cardinal in 1606, Maffeo’s political project involved all the Arts, architecture, painting and sculpture, as well as the literary and historical studies, the erudite disciplines, the new research in the natural world promoted by the “scientists“ of the Accademia dei Lincei. From 1623, and especially throughout the first decade of his reign, Pope Urban VIII, his nephews Cardinals Francesco (Florence 1597 – Rome 1679) and Antonio Barberini (Rome 1607 – Nemi 1671) along with their ministers, clever agents and talented artists formed an extraordinarily resourceful government which used all the Arts and the Letters to attract and seduce the rest of the world to the Roman Catholic faith. In a famous letter written to Galileo Galilei (Pisa 1564 – Arcetri 1642), the historian Agostino Mascardi (Sarzana 1590 - 1640) defines the election of Maffeo Barberini to the Papacy as a Mirabil Congiuntura. As a renovated Mirabilia Urbis Romae of the High Renaissance papacies, the new marvel of the Roma Barberina sparkled throughout Europe with the objective of diffusing the arts of the newly created Propaganda Fide (1622).
This panel has been called to testimony the liveliness of “Barberini studies” after the major colloquium organised in Rome in December 2004 and its proceedings published in 2008
Research Interests:
International Conference | Convegno Internazionale
Cardinal Alessandro Albani: collecting, dealing and diplomacy
in Grand Tour Europe / Il cardinale Alessandro Albani: collezionismo, diplomazia e mercato nell’Europa del Grand Tour
Cardinal Alessandro Albani: collecting, dealing and diplomacy
in Grand Tour Europe / Il cardinale Alessandro Albani: collezionismo, diplomazia e mercato nell’Europa del Grand Tour