Dynamics of architecture in late baroque Rome. Cardinal pietro ottoboni at the cancelleria

Cardinal Pietro Ottoboni (1667-1740) is well known as a major Roman patron of music, theater, and painting. This study is the first characterization of his architectural patronage. In it, I identify the architects who worked in his court in the Cancelleria, from Filippo Juvarra to Domenico Gregorini, and the dozen in between in the half century from 1690 to 1740. His resident architects included Simone Felice del Lino, Carlo Enrico di San Martino, Giovanni Francesco Pellegrini, Nicola Michetti, Filippo Juvarra, Domenico Gregorini, and G.B. Oliverio. Never entered in the cardinal’s official rolls although given projects from time to time were Ludovico Rusconi Sassi, Alessandro Mauri, and Francesco Ferrari. Ottoboni had brief contacts with Carlo Fontana and Filippo Cesari. I begin this study by discussing the architectural holdings of the Ottoboni family in Venice and Rome. I chronicle the projects of Cardinal Ottoboni in his official residence of the Cancelleria as Vice-Chancellor of the Church, and in the basilica of San Lorenzo in Damaso enclosed within the palace grounds. I characterize and suggest locations for his several palace theaters by assembling data never previously considered. For the first time, three permanent theaters are identified in his palace, the initial space by Simmone Felice del Lino on the ground floor as a commercial venture. I locate and reconstruct the cardinal’s lost theater from Filippo Juvarra’s drawings, room measurements, and palimpsests of decorations and architectural details in the palace. The findings are based on extensive documentation from Ottoboni family archives in the Vatican and Lateran holdings, the diary accounts of Francesco Chracas and Francesco Valesio, and the Correspondances of the French Academy in Rome. Ottoboni’s projects for the basilica of San Lorenzo in Damaso included chapels by Sassi and by Gregorini, and over the years numerous grand devotional machine by most of his architects. His architectural commissions, both permanent and ephemeral, were almost exclusively official and public. The cardinal’s participation in the competition for the façade of St. John Lateran in the early 1730s was the result of his function as the basilica’s archpriest. His voice was but one of several in the final decision, causing him gradually to lose interest in the process. A National Endowment for the Humanities Fellowship for Independent Study and a Fulbright Hays Fellowship in support of a sabbatical year project in 1979-1980 on the art patronage of Cardinal Pietro Ottoboni produced volumes of intact and unpublished material from the Fondo Ottoboni of the Vatican Library’s Barberini Archives, and the Archivio Ottoboni in the Archivio Storico del Vicariato at St. John Lateran.

• Tipo de recurso: Book
• Fecha de publicación: 2015
• Institución: Universidad de Bogotá Jorge Tadeo Lozano
• Repositorio: Expeditio: repositorio UTadeo
• Idioma: eng
• OAI Identifier: oai:expeditiorepositorio.utadeo.edu.co:20.500.12010/15807
• Acceso en línea: https://directory.doabooks.org/handle/20.500.12854/45579; http://hdl.handle.net/20.500.12010/15807
• Palabra clave: Dynamics of Architecture; Baroque; Arquitectura; Arte barroco; Jardines barrocos
• License: Abierto (Texto Completo)