By Victor Deupi
Architectural Temperance examines family members among Bourbon Spain and papal Rome (1700-1759) in the course of the lens of cultural politics. With a spotlight on key Spanish architects despatched to check in Rome by way of the Bourbon Kings, the e-book additionally discusses the institution of a software of architectural schooling on the newly based genuine Academia de Bellas Artes de San Fernando in Madrid.
Victor Deupi explores why a robust kingdom like Spain might mood its personal development traditions with the extra cosmopolitan tendencies linked to Rome usually on the cost of its personal nationwide and local traditions.
Through the inclusion of formerly unpublished records and photographs that make clear the theoretical debates which formed eighteenth-century structure in Rome and Madrid, Architectural Temperance presents readers with new insights into the cultural historical past of early glossy Spain
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Extra info for Architectural Temperance: Spain and Rome, 1700-1759
Spain and Rome 15 which were nephews of the pope, Carlo and Alessandro Albani, departed from the Piazza del Popolo in the morning and headed down the Via del Corso adding to the newly elected cardinal’s presence in Rome. In 1708, after Naples had been conquered by Austria, Philip V named Acquaviva cardinal protector of Spain and in 1716, after the War of Spanish Succession had subsided and Naples had been formally ceded to Austria, Philip appointed him as the new ambassador to Rome, setting in place a sequence of cardinal-ambassadors at the Palazzo di Spagna that would represent Bourbon interest in Rome throughout the eighteenth century (Storace 1738: 94–9; Anselmi 2001: 107; León Sanz 2010).
Described as a “teatro per la serenata di Filiippo V,” the design was commissioned by the Spanish ambassador, the Duke of Uceda, and situated in front of the Palazzo di Spagna in the space known as the Piazza Mignanelli (after the family palace it fronts), a branch of the 12 Spain and Rome larger Piazza di Spagna. Though no images of the celebrations exist, the designs were carefully described in the Diario di Roma of 1701 (Valesio 1977: I, 366–71; Fagiolo 1997: II, 7–8). From this account, one learns that the teatro occupied the whole of the piazza and had at the center a double pedestal painted to look like lapis lazuli with inscriptions on the lower level celebrating Philip’s succession to the throne, and an equestrian portrait of the new monarch above.
3 Giuseppe Vasi, “San Giacomo degli Spagnoli,” from I collegj, spedali e luoghi pii… Rome (1759). BHR: Dg 536-3470/9 gr raro. and female hospices that were located elsewhere in the city. It was run by the Cofradía de la Santísima Resurrección, or confraternity of the church, which was founded on March 15, 1579, during the papacy of Gregory XIII Boncompagni (1572–85), and placed under the protection of Philip II, King of Spain. Among the many activities carried out by the confraternity, perhaps none was as popular as their Easter celebrations on the Piazza Navona.
Architectural Temperance: Spain and Rome, 1700-1759 by Victor Deupi