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Rediscovering a Baroque Villa in Rome. Cardinal Patrizi and the Villa Patrizi. 1715-1909. di Marshall David R. - -
  Rediscovering a Baroque Villa in Rome. Cardinal Patrizi and the Villa Patrizi. 1715-1909.
Rediscovering a Baroque Villa in Rome. Cardinal Patrizi and the Villa Patrizi. 1715-1909.
Marshall David R.

Year: 2015
Edizione: L'ERMA di BRETSCHNEIDER
ISBN: 978-88-913-0934-1
Pages: 508, 519 ill. B/N, 30 ill. Col.
Dimensione PDF: 29.81 MB

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Abstract Table of contents Authors / Editors
Rediscovering a Baroque Villa in Rome: Cardinal Patrizi and the Villa Patrizi
1715-1909 draws on a large body of archival material to reconstruct in detail the creation of the Villa Patrizi outside Porta Pia from 1715 to 1727 and its afterlife. This material includes building documentation, inventories, and above all the letters written by Cardinal Giovanni Batista Patrizi, papal legate in Ferrara, to his brothers in Rome, both dilettante artist-architects. These letters provide a unique insight into the decision-making processes involved in such a large-scale enterprise, in particular the hiring of artists and the decoration of individual rooms. These rooms included a Gallery inspired by the Galleria Colonna, a romitorio, or fictive hermitage, a Mirror Room anticipating those created later in the century, and one of the first Chinoiserie interiors in Rome. The Villa Patrizi emerges as perhaps the most important secular project in the barocchetto manner, a distinct design sensibility prevalent in the early decades of the eighteenth century that was oriented towards modern taste (to be found in Northern Italy and France), as opposed to the antiquarianism of Cardinal Albani, whose Villa Albani it faced across the valley. The book demonstrates the crucial role played by Giovanni Paolo Panini, later famous as a painter of capricci and Roman views, not only as a painter of the frescoes that decorated many of the rooms, but also as co-ordinator of the design of the more adventurous interiors, and his progress from employee to friend and collaborator of the family. We follow the fluctuating fortunes of the main building (the Casino) and its surroundings: from the terraces, gardens, and vigna of the original villa, through the acquisition of the Villa Bolognetti next door and the creation of one of the finest English-style gardens of nineteenth-century Rome, the almost complete destruction of the villa and grounds in 1849, its subsequent rebuilding to the same design, the subdivision of the garden in the building frenzy following unification in 1870, through to the demolition of the Casino in 1909 and the levelling of the site.

Embedded in the dominant narrative of the construction and destruction of the villa are the lives of the individual members of the Patrizi family (including the women): their marriages, alliances, and their preoccupation with succession and inheritance. We learn how a Roman family organised itself between its principal residences: the Villa Patrizi outside Porta Pia, the Palazzo Patrizi palace opposite the church of S. Luigi dei Francesi in Rome, and the palace at Castel Giuliano. The wealth of evidence that is drawn upon provides a unique insight into the motivations of Cardinal Patrizi and his brothers, who was preoccupied with the signs of status appropriate to a cardinal, the constraints of etiquette, and above all his desire to leave a building that would enhance the status of his family, and would be a blessing and not a burden on those who come after me' .

David R. Marshall is Principal Fellow, Art History, School of Culture and Communication, the University of Melbourne, and a fellow of the Australian Academy of the Humanities. He is a specialist in seventeenth and eighteenth century landscape and view painting, particularly the work of Giovanni Paolo Panini, Piranesi and Filippo Juvarra. His interest in architectural view painting was initiated by his research into the seventeenth-century architectural painters, Viviano and Niccolò Codazzi, resulting in his publication Viviano and Niccolò Codazzi and the Baroque Architectural Fantasy (Rome: Jan di Sapi Editori, 1993). He has published widely since on architectural view painting and landscape painting in seventeenth- and eighteenth-century Rome in such journals as Art Bulletin, Burlington Magazine, Journal of the History of Collections, Artibus et Historiae, Storia dell' Arte and Journal of the History of Gardens and Designed Landscapes. He was the founder and editor of Melbourne Art Journal from 1997 to 2015, and in this role he edited (and contributed chapters to) monographs that include The Italians in Australia: Studies in Renaissance and Baroque Art (Florence: Centro Di, 2004), Art, Site and Spectacle: Studies in Early Modern Visual Culture (Melbourne, 2007), and most recently The Site of Rome: Studies in the Art and Topography of Rome 1400-1750, (Rome: L' Erma di Bretschneider, 2014). With Susan Russell and Karin Wolfe he was the editor of Roma Britannica: Art Patronage and Cultural Exchange in Eighteenth-century Rome, British School at Rome, London, 2010. Complementary to this monograph on the Villa Patrizi is his edition of the letters of Cardinal Patrizi (David R. Marshall (ed.), The Letters of Cardinal Patrizi 1718-1727' , Collectanea Archivi Vaticani (Dall'Archivio Segreto Vaticano. Miscellanea di Testi, Saggi e Inventari VIII , pp. 143-520.).
Acknowledgements
Colour Plates
Introduction
Roman Villas and the Villa Patrizi
Notes
Patrizi Naro Montoro Family Tree
Part 1. The Cardinal and his Family
Chapter 1.1 Patrizio Patrizi the Elder
Patrizio Patrizi the Elder (1629-1689)
The Dispositions of Patrizio' s Will
Patrizio' s Will and the Palazzo at S. Luigi dei Francesidecommesso and Primogenitura
Notes
Chapter 1.2 Architect and Patrons
Cardinal Giovanni Battista Patrizi (1658-1727)
A Villa in Albano
Cardinal Patrizi as Patron
The Brothers as Patrons
Mariano Patrizi (1663-1744)
Francesco Felice Patrizi (1665-1734)
Costanzo Patrizi (1654-1739)
Filippo Patrizi (1660-1733)Sebastiano Cipriani (1662-1738)
Giovanni Paolo Panini (1691-1765)
Attitudes to other Roman Villas
Villa Catena at Poli
Villa Sacchetti at Castelfusano
Notes
Chapter 1.3 The Cardinal in Ferrara 1718-1727
Family, Friends and Visitors of Rank at the Villa
The Stuarts
Visitors to Ferrara
The Cardinal' s Life in Ferrara
Conditions in Ferrara
The Conclave of 1721
The Conclave of 1724
The Last Six Months of the Cardinal' s Life
The Commission for the Silver Bust of S. Francesco di Paola
Funeral
The Catafalque
Burial
Antiquarianism and Fashion
Cardinal Patrizi as Collector
Notes
Chapter 1.4. Ottavia Sacchetti and Patrizio Patrizi the Younger 1722-1739
Ottavia Sacchetti (c. 1701-?) and Patrizio Patrizi (1684-1747)
Discord between Ottavia and Patrizio
Ottavia' s Situation and Patrizio' s Ailments
Felice Trulli' s Portrait of Ottavia
Ottavia and Patrizio in Ferrara: Carnival and Villeggiatura
Carnival 1726
Planning the Lombardy Trip
Lombardy, Venice and Bologna
Carnival 1727
Cardinal Patrizi' s Will
Patrizio' s Will
Ottavia in the Villa e Antonio David Portrait of Ottavia
Notes
Chapter 1.5 Maria Virginia and Giovanni, Porzia and Francesco
Maria Virginia Patrizi (1718-1788) and Giovanni Chigi Montoro (1700-1772)
The Married Life of Maria Virginia and Giovanni
Entertainments in the Villa
The Villa during the Reign of Benedict XIV
Maria Virginia Patrizi and the Masked Ball in Palazzo Farnese in 1751
Maria Virginia Patrizi and the Villa Albani
Vigna Silva
Pope Clement XIV and the Stanza del Trucco
Porzia Patrizi (1752-1835) and Francesco Naro (1743-1813)
Notes
Part 2 Vigna and Villa
Chapter 2.1 Vigna Patrizi 1650-1715
The Site
Villas near the Porta Pia
Disposition
Gardens
The Casino
Boschetto
Conclusion
Notes
Chapter 2.2 Constructing the Casino
Building Trades
Supply of Materials
Paving Bricks
Window Glass
Transport
Plan
Main Staircase (Scala Grande)
Service Staircase (Scaletta)
Basement and Kitchens
Chimneys
Spiral Staircase, Guardarobba and Roof Terrace
Plan Comparisons
Elevation
Room Heights
Blind Windows
Notes
Part 3 Decoration and Function
Chapter 3.1 Organisation of the Piano Nobile
The Inventories of the Villa Patrizi 1739-1814
The Paintings Collection
The Nicoletti Drawings
Room Functions and Door Curtains
Window Curtains
Ceiling Frescoes
Decoration of Window Embrasures and Door Jambs
Notes
Chapter 3.2 Anterooms
Introduction
Boiseries and Fixed Installations
The First Anteroom
The Bacchanals in the Second Anteroom
The Taste of the Pope
Notes
Chapter 3.3 Gallery
Introduction
The Nature of the Baroque Galleria
The Gallery of the Palazzo de Carolis
The Villa Patrizi Gallery: Circulation and Sources
Mirrors and the Paintings by Raffaello Vanni
Choosing the Painter of the Vault Frescoes
Giuseppe Chiari
The Tardiness of Painters
Giovanni Paolo Panini and Antonio Grecolini
Executing the Gallery Vault Fresco
The Vault Fresco by Panini and Grecolini
Chandeliers
Furnishing the Gallery
The Decoration of the Gallery
The Frescoed Overdoors
Pietro Zerman and Filippo Sciugatrosci in the Galleriola Dipinta
Notes
Chapter 3.4 Stanza alla Cinese
Introduction
China and the Early Eighteenth Century
All' Indiana and alla Cinese
Porcelain and Lacquer
Lacquer, Porcelain and Mirror Cabinets
The Villa Patrizi Stanza di Porcellana
The Fireplace: Patron, Middleman, and Artisan
The Lacquer Tavole and Panini as Coordinator of the Decoration
The Pope' s Mezzanines
The Hang of the Tavole
The Remodelling of the Stanza alla Cinese and Chinoiserie at Montoro
Notes
Chapter 3.5 Stanza delli Cristalli
Introduction
Mirrors in Roman Palaces
Bologna and the Mirror Pilaster 1720-1721
The Mirror Cabinet 1722-1724
The Patrizi Mirror Cabinet and its Roman Successors
Mirrored Enfilades
The Renewing of the Mirroring of the Large Gilded Mirror'
Sconces and Tables
Notes [...]

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