The representation of Baroque Ephemeral

FacoltĂ di Architettura Corso di Laurea Magistrale in Architettura (Restauro) aa. 2018/19

The Representation of Baroque Ephemeral Definition of an operational methodology for a historical, critical and virtual reconstruction of baroque ephemeral apparatus, and application to a case study.

Candidate Margherita Antolini

Tutor prof. Alfonso Ippolito

The Representation of Baroque Ephemeral Architecture Faculty Department of Drawing, History and Restoration Master in Architecture (Restoration) Margherita Antolini matr. 1766014 Tutor Alfonso Ippolito aa. 2018/2019

Abstract In the extremely wide panorama of Italian art there seems to be advanced research about each and every imaginable detail and field but one: Baroque art is still somehow suffering because of an old preconception of loudness and superficiality.

Ephemeral practices are the first victim of this vision, which is causing a gap in research about what could possibly be the most complete artistic phenomenon of that era.

This paper aims to use Marcello Fagiolo and Maurizio Fagiolo dall’Arco’s research as a starting point for developing a methodology of study of Ephemeral artifacts that takes into consideration all the different aspects of the specific art form that is Ephemeral Baroque.

For this reason, the starting point will be the analysis of ephemeral architecture in the baroque era as an artistic and social phenomenon, in order to isolate its main characteristics; secondly, the research and analysis of a wide range of case studies is necessary to define the common and recurring features among projects and realizations, especially in regard of available data. Thus, the main goal of the research will be to outline a methodology of approach to the single cases based on reconstruction from text and graphic data, with special attention reserved to the relationship between the ephemeral apparatus and the surrounding urban space.

This methodology will not only ensure a range of shareable outcomes, but will as well allow a certain degree of adaptability to the specificity of each and every artifact.

The operational steps are then applied to the specific case of the Funeral celebrations for the Cardinal Mazarin in Rome in 1661 as designed by Elpidio Benedetti and Giovanni Francesco Grimaldi for the Church of Saints Vincent and Anastasius at Trevi (Rome).

1 Johan Paul Schor, Il Carro d'oro, Gallerie degli Uffizi, 1664

Table of Contents ~ Introduction ~ State of art ~ Ephemeral baroque practices ~ Methodological issues ~ Case study ~ Cultural context

~ Description ~ The site

~ Urban framework

~ Survey ~ Historical-critical analysis

~ Festival apparatus

~ Graphic data analysis ~ Text data analysis

~ Reconstruction ~ Conclusions ~ Bibliography

~ Historical research ~ Scientifical aspects

~ Cultural aspects ~ Index of figures ~ Appendix I Elpidio Benedetti, Pompa funebre nell’esequie celbrate in Roma al Cardinal Mazarini nella chiesa de SS. Vincenzo & Anastasio, Roma

~ Appendix II Text transcription and analysis ~ Appendix III Drawings

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Introduction «The ‘Intangible Cultural Heritage’ means the practices, representations, expressions, knowledge, skills – as well as the instruments, objects, artefacts and cultural spaces associated therewith – that communities, groups and, in some cases, individuals recognize as part of their cultural heritage. This intangible cultural heritage, transmitted from generation to generation, is constantly recreated by communities and groups in response to their environment, their interaction with nature and their history, and provides them with a sense of identity and continuity, thus promoting respect for cultural diversity and human creativity. » 1 This is how UNESCO defines Intangible Heritage, a fundamental part of every culture, but still left behind in the debate about conservation. Especially in the architectural field research tends to relegate the social and ritual aspects to a secondary role, forgetting the value they had as engine for design and building of various works.

An example of such practices in Italian culture is the Baroque Ephemeral, object of the present paper, that for long time has been addressed from the critic as folkloric celebrations, of bad taste, and without cultural and artistic relevance. From a technical point of view, instead, they are real architectural and ornamental temporary structures, realized at a urban scale, in private facilities as well as in places of worship for the celebration of specific periodic events (Carnival, Quarantore, …) o special events (funerals, triumphs, ….); from an historical and artistic point of view the Baroque Ephemeral is the most complete example of artistic and social synthesis, that englobes not only visual arts, but also music, literature and contemporary technical-scientific advancements, in order to achieve a product that can be enjoyed by the public as well as by the aristocracy and intellectuals, and convey political and cultural messages at the same time.

It is an extremely complex phenomenon that represents fully the culture of that time and its approach toward the city and its image, using different media as expression.

Unlike architecture and art history as more traditionally intended, where the artist communicates in time through aa artwork and it is the role of the historian to retrace its steps, the Baroque Ephemeral apparatus are not limited to the celebration, but are part of a system of documents edited with a communicative purpose in order to disseminate and explain the event and its symbolic meaning. If on one hand this implies a certain wideness in the corpus of available sources, on the other hand opens an important question regarding the modality of conservation. We can’t forget that the Baroque Era is a moment of weakness for central power in Rome, which lead to reckless displays of strength, which often translate into hyperbolic sources vis-à-vis the reality of facts.

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UNESCO, Convention for the Safeguarding of the Intangible Cultural Heritage, Paris, 2003, art.2

How to interpret them? Moreover, what to preserve? Is it more important, for conservation issues, the apparatus as practically realized, or the image of it that it was intended to communicate to posterity?

The concept of “ephemeral” itself, meaning existing for a limited time, poses problems of difficult solution: how is it possible to convey the memory of an object that existed but it is not anymore? Is it valid to apply the same principles than destroyed buildings, of is a specifical approach necessary? Is the periodical reconstruction of an apparatus acceptable, and is this the best way of communicating and interpreting?

These were the issues that started the present research, founded on the research of an experimental methodology for study, representation and communication -and consequently conservation- of Baroque Ephemeral artworks in their entireness: as artistic, architectonic, urban, social and political phenomena.

Thus, the historical research and analysis of archive documents, as well as the study of previous critics works, were fundamental for understanding the phenomenon and its features, later decomposed and analysed one by one, in order to achieve an operational methodology empirically inferred from the study of more than fifty cases and applied to one of them. The final result is a commingling of historical, technological, methodological, scientific and communication aspects that looks at the past with critical eye and with all the tools that contemporaneity has, starting from virtual databases, through 3D laser scanner technologies until the use of AR. The study of Ephemeral Baroque practices will not only be an enrichment of the already marvelous landscape of Italian Art and Architecture history, but can as well open new patterns on the multidisciplinary design method of Baroque architects as well as their relationship with the urban fabric.

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State of art Literature concerning Baroque Ephemeral apparatuses is quite limited, and mostly linked to the field of scenography.

Practices since Antiquity and strengthened by the theater experience of Cinquecento, the festive phenomenon quickly spread in all the Italian territory in the XVII century and was welcomed in the major European courts, especially Munchen, Paris and Vienna.

Nevertheless in the second half of the XVII century the principles that made its rise possible were questioned by the Enlightenment, who contributed to start a radical renewal in the arts field. These innovations, linked to the progressive spread of neoclassical instances, implied the abandonment of the Baroque exuberance therefore also a new way of considering the apparatuses, which summarized tastes and principles of Baroque art.2 On a theoretical level, the change of course of taste, already announced by the writings of Francesco Algarotti and other treatises, was sanctioned by the condemnation issued by the Vocabulario della Crusca and by the Encyclopédie, in which the Baroque is defined as «une nuace de bizarre. Il en est, si l'on veut, le raffinement, ou, s'il était possible de le dire, abus, en est le superlatif.»3, as the Milizia in the Dizionario delle belle arti del disegno, Buckhardt and Winckelmann will repeat.

The derogatory meaning will come in the twentieth century through Benedetto Croce, who in 1929 writes: «è certo che il concetto di barocco si formò nella critica d’arte per contrassegnare la forma di cattivo gusto artistico che fu propria di gran parte dell’architettura e altresì della scultura e pittura del Seicento; proprio perché assunse originariamente significato dispregiativo e negativo è necessario che parola e concetto Barocco riprendano nell’uso rigoroso questo significato.».4, leading scholars not to consider celebrations as a sector of art worthy of investigation.

Without forgetting the pioneering excursions of Bragaglia, Craig, Kernodle and Tintelnott, only in the second half of the last century there was an effective reawakening of interest around this line of Italian creativity in the wake of Elena Povoledo, Merdeces Viale Ferrero, Ludovico Zorzi, Giuliana Ricci, Maurizio and Marcello Fagiolo dell'Arco.

Although failing to exhaust such a complex theme, they have at least defined its outlines and focused the salient aspects, restoring dignity to an artistic expression long ignored, promoting publications and exhibitions.

Indeed, it is precisely through the exhibitions that the research on the subject comes alive: we find one in Naples in 1997, Capolavori in festa: effimero barocco a Largo di Palazzo, 1683-1759, in Parma in 2018, Il dovere della festa. Effimeri barocchi farnesiani a Parma, Piacenza e Roma, and one in Florence in 2019, Il Carro d'oro di Johann Paul Schor, L’effimero splendore dei carnevali barocchi, which represent a moment of focal study around the theme and corpus of works available.

But it is certainly Maurizio Fagiolo dall'Arco in the 70s and 80s to conduct the most

exhaustive and systematic study of the Baroque Ephemeral published to date: expert in Baroque, among his publications we find Bibliografia della festa barocca, and a work edited with Silvia Carandini who represents the real cornerstone for studies on the theme, L’effimero barocco: strutture della festa nella Roma del ‘600, as well as numerous publications and articles on the subject.

In particular, the aforementioned work is divided into two volumes, the first of which is a real Catalog of festive occasions celebrated with ephemeral apparatuses in Rome in the XVII century, with data sheets that report, for each occasion, quantity and quality of the material existing in this regard, while in the second volume, Texts, the focus is on the interpretative aspects of the cultural phenomenon, with articles clearly and comprehensively analyzing the various technical and cultural aspects of the phenomenon.

Other studies regard the monographies of artists involved in the apparatus design, as it is the case of Danuta Baroska, Rossella Ariuli and Anna Maria Matteucci, who couldn’t ignore the activity as an Ephemeral designer of Giovanni Francesco Grimaldi in their monographic studies about the artist, even though they all analyzed it only considering engravings and leaving the construction aspect behind.

Recently the theme of Baroque Ephemeral gained the attention of various academics that elaborated the reconstruction aspects, without reaching exhaustive results.5 We can see a variety of approaches and methods: after an awareness and revaluation of the Baroque few monographic studies were conducted, all of a purely documentary nature, while on the other hand interpretative and communicative approaches (exhibitions, reconstructions) privileged the visual aspect at the expense of scientific reliability . In this context it is clear how the research has been able to rely on previous studies for the historical-documentary side, while it has assumed an empirical character in regard to the interpretative and reconstructive methodology.

Franco Mancini, Perennità dell'effimero, in Capolavori in Festa, Napoli, 1997, pag.3 https://gallica.bnf.fr/ark:/12148/bpt6k50534p 4 Benedetto Croce, Storia dell'età barocca in Italia. Pensiero, poesia e letteratura, vita morale, Milano, 1993, p.532

Paolo Belardi e Paolo Lattuada hanno condotto delle sperimentazioni sulla rappresentazione degli apparati effimeri in modo indipendente.

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Ephemeral Baroque Practices «Il fenomeno della festa barocca è il vero tessuto connettivo dell’epoca nella sua globalità. Architetti, scultori, pittori possono controllare l’effetto di una fabbrica a venire in scala 1:1 sul piano operativo, o possono eseguire opere destinate a rimanere. A parte questo aspetto sperimentale è anche da notare il contributo per il quadro della committenza politica e culturale, per la dichiarazione allegorica, per il programma dell’immagine e della meraviglia. Particolare attenzione è rivolta al rapporto con gli elementi e quindi con la natura (anche nel senso di scambio tra vero e artificiale). Si dimostra, in queste feste, che la finalità del secolo che è quella nota della "meraviglia", attraverso un dispiegamento di musiche, rappresentazioni, fuochi, "macchine", in un rapporto globale con il pubblico tutto basato sull’immagine. "Il fin la meraviglia" viene raggiunto con la persuasione, mentre la vera arma del secolo diventa "la propaganda": due aspetti che fanno del Barocco il primo momento della civiltà dell’immagine. Proprio per gli aspetti a volte contrastanti che riflette o riassume la festa effimera diventa del Barocco la "orma simbolica".» 6 With these words Fagiolo dell'Arco masterfully summarizes all the elements that characterize the ephemeral apparatuses for celebrations in the Baroque era, and introduces many crucial aspects of their socio-political role.

The concept of ephemeral architecture - and therefore temporary and "false" - as well as the construction techniques used have their roots in theatrical scenography, an artistic practice that experienced a moment of intense development in the 16th and 17th centuries, with the birth of melodrama and the works of artists such as Palladio, Scamozzi, Serlio and Peruzzi. The idea of arranging urban spaces to celebrate events is the logical consequence of the conception of the new acting space, and it naturally encompasses all of its characters.

On the other hand, the depictions of pomp and luxury that characterize these projects are only a staging of power: rather than representing the stability of the institutions and their highest representatives, these evanescent creations actually seem to be the symbol of an equally labile and inconsistent power, of the political void of a fragmented and often subject to foreign domination country.7 Used to divert the attention of ordinary people from the precarious reality and to create a fictitious link between the various social classes, ephemeral constructions found a particularly fertile terrain during the XVII century when, with the spread of Baroque poetry, the spectacular effect became the primary component of any artistic expression.

Thus art becomes an instrument of political propaganda and manipulation of the people who, through a new form of panem et circenses finds a moment of liberation from the working reality and contact with the unreachable world of the Roman aristocracy.

Marcello Fagiolo dell'Arco, Silvia Carandini, L'effimero barocco, Strutture della festa nella Roma del '600, Vol I, Roma, 1977-78, p.15 7 Franco Mancini, op. cit., p.5 6

2 Pietro da Cortona e altri, due scene del Sant’Alessio di Giulio Rospigliosi, Roma 1634 3 Arco di trionfo in Campidoglio in onore di Gregorio XIV, Roma 1590 4 P. Guidotti, Canonizzazione dei cinque santi, Roma 1622 5 E. Benedetti, G.F. Grimaldi, Catafalco per Anna d’Austria, Roma 1667

At the same time celebrations are a demonstration of strength also towards other nations. A clear example are the installations built for the celebration of the birth of foreign princes, as in the case of the Dauphin of France in 1662 designed by Bernini, or the exceptional one for the arrival in Rome of Christina of Sweden in 1655. On this occasion, on the 23rd and 24th of December 1655, apparatuses similar to those of the Papal possession were set up for the entrance into Rome, in a path that unraveled among Porta del Popolo, San Pietro and Palazzo Farnese, by Gian Lorenzo Bernini, Giovan Paolo Schor, Ercole Ferrata and Carlo Rainaldi; in February of the following year the presence of the former queen animated the Carnival with special floats in Via del Corso, and theatrical performances at Palazzo Barberini designed by Giovanni Francesco Grimaldi.

The religious-political-social program of the Baroque Ephemeral exploits the technique of wonder according to the politics of persuasion, giving the artist a particular role as an image specialist. In this case, art does not give us the real face of the century but the face it believed (or wanted to be believed) to have: splendid, idealized, sumptuous, rich. The relationship of the artist with the client, and therefore with power, becomes particularly delicate to interpret at this point. Despite being an instrument in the hands of religiouspolitical power, the artist manages to impose his intellectual power, integrating the allegory, bearer of the political message, in the imaginative method. Thus, Bernini will make Graziano, the character of his comedy L'impresario, say: «L'ingegno e il disegno sono l'arte magica attraverso cui si arriva a ingannare la vista in modo da stupire».8 Festive occasions retrace the entire life span of illustrious personalities, first of all of the Pope, in a mixture of civil and religious occasions. T he public feast, enjoyed by the community in an integral manner, is an complete event, both sacred and profane at the

Gianlorenzo Bernini, L’impresario., Roma, 1992, p.73 Menestrier (Lione 1631 - Parigi 1705), gesuita, celebre araldista e intellettuale

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same time, during which the judgment is suspended and one deliberately enters into a reality different from the daily life.

Among the most important occasions we mention the Possession: the ride of Rome immediately after the papal election, during which the pope is symbolically welcomed in triumph in the ancient area of the city passing under two arches erected in the area of the Imperial Forums, in one close dialogue between ancient and contemporary. Generally these apparatuses were made by the Architetto del Popolo Romano, and were made in similar forms also for visits by foreign sovereigns.

An important role was played by Castrum Doloris and funeral celebrations in general.

Menestrier9 describes the regulations for the funeral ceremony: the funeral is divided into different moments (invitation, convoy, service, funeral eulogy, burial) which must correspond to the different parts of the church decoration (external facade, nave, altars, inscriptions, catafalque) as places appointed for an allegorical representation that culminates in the luminous vision of the Castrum Doloris, where the triumph of death and religious and temporal power represented by the deceased are celebrated.10 The catafalque is the mirror of Baroque taste, increasingly aimed at dematerialisation and to the refined invention, which will culminate in the triumphs of the macabre designed

by Bernini.

The only celebration that survives after the Enlightenment is Carnival, a profane and popular festival in which the staging is almost entirely entrusted to the people with the exception of some carriages designed by great artists with propaganda intent. On the other hand, the ecclesiastical world, in particular the Jesuit one, responds by deploying all the ephemeral means of the scenography and rivals the Quarantore feasts in the last days of Carnival, with the aim of eliminating the differences between the sacred and the profane.11 From a planning and organizational point of view, the celebration follows the same process regardless of the occasion. The main manager is the intellectual, who often coincides with the client: man of culture or religion, he takes care of drafting the ideological program of the festival, experimenting with new tools for cultural diffusion.

In the next phase, the artist and the creator collaborate to identify a more or less complex communication code, which will then be translated into forms. In every single apparatus, the plastic, pictorial and literary solutions are therefore a support for the ideological and cultural connotation, and are arranged in a spatial - and consequently temporal -succession in order to to fulfill all the allegorical implications of the program.

The event is also complete by a report drawn up by the intellectual and illustrated with few engravings, in which the apparatus and its meaning are described and explained,

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with the aim of functioning as a booklet for those who participate in the occasion, but also as means of diffusion especially in foreign courts.

In this context, the relationship with the place and the city is fundamental: Rome first of all presents itself as a spectacle, with its history and its tradition. The ancient city becomes an immense and prestigious theater and, if on the one hand it recalls the almost obsessive use of theatrical terminology in Baroque culture, on the other it clarifies the particular political, social and urban configuration of the city in relation to the shows that on that scene take place.

6 Progetto allegorico per arco trionfale a Eblag, 1677 (Gdansk, AcadÊmie Polonaise des Sciences) 7 Frontespizio Relazione degli allestimenti per la morte di Ludovico Delfino di Francia 8 D. Barrière, Festa della Resurrezione in Piazza Navona con gli apparati di C. Rainaldi e G.P. Schor, 1650 (Museo di Roma)

2 Progetto allegorico per arco trionfale a Eblag, Gdansk, AcadĂŠmie Polonaise des Sciences ,1677 Hans Tintelnot, Annotazioni sull'importanza della festa teatrale per la vita artistica e dinastica nel Barocco, 1955, p.235 11 Marcello Fagiolo dell'Arco, Silvia Carandini, op. cit 10

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The entire urban space is involved in festive occasions. Streets, squares, churches, stairways, cliffs and uncultivated land constitute the scenario of the festival in its most spectacular and demonstrative public moment. Noble palaces, gardens and courtyards are places where the celebration is privatized and denied to the general public. Even if the two moments and the two spaces actually constitute a homogeneous whole within the festive project, in the Baroque era there tends to be a fracture between public and private.

The event space is grafted onto the city space, continuously fertilizing a relationship full of mutual suggestions: the festive traditions, the needs of the show, can affect the urban aspect and at the same time the scenographic solutions and the spectacular inventions of the celebration develop starting from the place, from its structure, from its history.

The festival, in taking possession of the city, establishes a confrontation with its spatial organization.

The staging tends to involve the spectator in the space of the ceremony itself. In the large squares, in the sudden free spaces that scenically open up in the dense urban fabric, the event stops, chooses the ideal place for more grandiose and elaborate shows and the public watches from the windows, from the stages or behind the barriers. Here the show takes place in a fixed frame, composing play, fun, demonstration, tension, catharsis, applause in a single allegorical and celebratory dimension.

Each space in the city is marked by precise political, ideological and historical values. The scenographic apparatus no longer reconstructs the sixteenth-century utopia of the wellregulated city but the mirrored and strongly enlarged image of the political and social structure, in which the conflicts of power, propaganda and demonstration instances are also evident and publicized.

The ephemeral, while transforming the Roman places for a very short time, comes to give new faces to ancient architecture, using it as a support wall and qualifying it in the memory of the devout or courtier.

A phenomenon to consider carefully is that of some façades of Roman churches that were used as a simple backdrop, or rather as a scaffolding, on the occasion of sacred or secular feasts, for the placement of paintings, banners, sculptures, pylons of images, stuccos, festoons and candelabra. Among them, the most exploited during the XVII century are the façades of San Giacomo degli Spagnoli, Sant’Agostino, San Luigi dei Francesi and Santa Maria sopra Minerva, as well as Palazzo Farnese.

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9 G. Bernini, G.P. Schor, Apparato per la nascita del Delfino, Roma 1661

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Methodological issues The study of the cultural phenomenon of the ephemeral in the Baroque era has highlighted several characterizing and relevant aspects for the study of the individual artefacts: in particular the literary and socio-political components were found to be fundamental.

Approaching the individual projects, some recurring features from the documentary point of view emerge. Analyzing a wide range of examples, it was clear that there are several basic structures which, if analyzed, can facilitate and simplify the study. In particular: • each occasion presents recurring types and expedients, explained in specific treaties; • each artist uses a more or less homogeneous language, and given the short time dedicated to the design and construction of the apparatus, he often reuses the same pieces on different occasions; • each occasion is documented by a written text and some "official" engravings, as well as paintings and other testimonies.

In this study, attention is paid to the latter as the only tool available for the reconstruction of ephemeral apparatuses.

The relationship between text and architecture is a theme dealt with starting from the reading of Vitruvius in the 16th century, or of Leon Battista Alberti's Descriptio Urbis Romae, and is still an object of interest in various areas of study. In these cases, unlike what happens in the field of restoration and archeology, the reconstruction does not start from the study of the artefact to be integrated with iconographic sources, but proceeds in the opposite direction, using texts and images as a starting point to then be confronted with the built reality.

Some scholars attempted reconstructions of baroque ephemeral systems, achieving results that we believe are partial and not very relevant, but which open the way to a series of interesting reflections and observations.

On the one hand Paolo Lattuada reconstructs, in a virtual and physical environment, the celebratory machine designed by Ferdinando Sanfelice in 1740 for the birth of the Reale Infanta in Naples. If on the one hand he manages to interpret all the metric and space integration aspects, both the realization in wooden panels and the virtual restitution are lacking considering the figurative restitution of the desired atmosphere and obtained by the designer.12 On the other side, Paolo Belardi and Valeria Menchetelli deal with Giuseppe Piermarini's work by returning well-defined and metric correct models, but completely ignoring the material, figurative and integration aspects with the context.13 The need of an operative methodology that would allow to obtain a historical, critical and virtual reconstruction of the baroque ephemeral architectures arose from the analysis of the two proposed examples and archival documents. By these terms it is understood

Paolo Lattuada, La macchina da festa: un'esperienza tra filologia e tecnologia, in Capolavori in Festa: effimero barocco a Largo di Palazzo, Napoli, 1977, p.202 13 Paolo Belardi, Valeria Menchetelli, Architetture immateriali. La ricostruzione digitale di progetti e apparati effimeri di Giuseppe Piermarini, in Fagiolo Marcello, Tabarrini Marisa, Giuseppe Piermarini tra Barocco e Neoclassicismo Roma Napoli Caserta Foligno. Perugia, 2010, pp. 285-287 12

10 Paolo Lattuada, Macchina da festa designed by Ferdinando Sanfelice in Naples in 1740 for the birth of the royal Infanta.

that the methodology presented aims to indicate a series of effective steps which, if followed and applied with a critical conscience on a case-by-case basis, return a historically reliable product that takes into account the historical distance and the transformations that happened in the places and in the urban fabric.

The choice of the virtual environment as the main theater of restitution derives from a reasoning on the most appropriate means for communicating this form of intangible heritage. Two aspects have led to the exclusion of pure two-dimensional representation and the hypothesis of the construction of temporary constructions: • the virtual environment respects the idea of temporary set-up without producing fake and always temporary artefacts, however allowing to interact with the place and participate in a possible museum project; 14.15 • the virtual environment is the contemporary response to the baroque desire to expansion and manipulation of space.

In addition to these premises, the method was empirically deduced from the study of the sources of a case series varied from the point of view of the occasions and the artists involved, which unfolds during the XVII and XVIII centuries in Rome.

The process is structured in four fundamental phases, which can be summarized in the study of the material, study of the artefact, analytical phase and restitution; while the first and the last clearly represent the initial and final moment of the work, the two intermediates can be considered complementary and represent the real critical moment of the study.

Once a project to be analyzed has been selected, the first step in the process is the

Sara de Felici, La rappresentazione scenica dal bozzetto alla realizzazione. POtenzialità espressiva e di indagine delle tecnologie informatiche, Roma, 2012, pp.106-110 15 Fabio Luce, La comunicazione dell'architettura: nuove forme di rappresentazione, nuove forme di fruizione, Roma, 2012, pp. 89-93 16 Maurizio Fagiolo dell'Arco, Silvia Carandini, op. cit.

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collection and study of the sources relevant to the case study. In most cases it will be a report and official engravings, which can be accompanied by commemorative paintings and period chronicles. Fagiolo dell'Arco and Carandini have already drawn up a catalog of ephemeral apparatuses realized in Rome, which lists each project according to year, occasion, artists, material produced, material available and transcription of textual sources.16 This volume is extremely relevant and can constitute the beginning of a systematic study, but it is limited to a documentation without interpretation of the data collected in any way.

The second moment aims at the appropriation of the data with the aim of analyzing it later: it is therefore a matter of transcribing the texts, often manuscripts or seventeenth-century prints, and of redesigning the engravings collected. In this way it is possible to begin to discern the characteristic elements and the amount of information available regarding the specific case.

Afterwards, two courses of study open up: on one side the study of the artefact, on the other the analytical phase. The following will be presented one after the other, but it is clear that there is a continuous exchange between the two.

As for the study of the artifact, it was highlighted how the place was a fundamental component of the Baroque festival and the design of the equipment. For this reason, it is firstly planned to carry out the survey of the area concerned, in its current configuration and in a reconstructive hypothesis of the contemporary configuration at the date of the celebration. For this, we will apply on the one hand the methods of integrated surveying with massive acquisition for the survey of the current state, and on the other the techniques of historical research through archival documents, historical maps, analysis of the walls, etc.

The operations described will result in a pointcloud17 and a time line, which will be graphed in a two-dimensional (drawings) and three-dimensional(models) restitutions of the current state of the place and of the reconstructive hypothesis of the historical moment involved in the study. In this case it is not strictly necessary to study in depth each building phase, but it is certainly important to have a clear vision of the evolution of the fabric and the construction. In the same way, in the representation it is not necessary to reach a level of in-depth detail of the degradation and patina aspects, but for the decorative and ornamental ones: we remember that the aim of the study is the reconstruction of the celebratory apparatus that was made in the place, which in this sense becomes a sort of background for the scenography.

At the same time it is possible to start the analytical phase, studying the cultural environment. Given the importance of the ideological and allegorical contents,

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Methodology

Massive acquisition

Laser scanner

Data: Metrical Geometry RGB

Acquisition

Data: Geometry RGB

Tools and softwares

FARO Cam2Focus

Survey project

Elaboration

Structure from Motion

Registration

Reflex camera Agisoft Photoscan 1.4.4

Eidotypes

Autodesk Recap PRO

11 Diagramma di flusso del processo di rilievo attraverso acquisizione massiva

Modello numerico descrittivo del luogo ottenuto attraverso l'elaborazione di dati raccolti da Laser Scanner o Structure From Motion. Restituisce informazioni metriche, geometriche e colorimetriche.

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attention will be paid in particular to the figure of the client and the artists involved, as well as to the research for comparisons of similar cases. Considering the scarcity of iconographic material, in fact, the deepening of the artist's style can lead to valid interpretations of the data gaps, or to clarifications of unclear points.

At this point the actual analysis of the documents begins: firstly we will analyze the geometric-proportional aspects of the graphic data, interpreting the techniques and graphic choices used in the engravings and paintings, and applying the rules of reversed perspective and of the orthogonal projection. In this way, it will be possible to establish the reliability of the designs and their correspondence to reality, and to understand if particular visual effects have been sought. Knowing the geometry of the place, in fact, it will be sufficient to overlay the two representations to notice any deformations, technical tricks, or inaccuracies.

A similar approach will be applied to textual data, from which all possible information will be derived. Graphic and textual data will then be interpolated to develop a model as exhaustive as possible regarding elements, geometries, colors, settings, lighting, details, allegorical meanings, plastic solutions, etc.

To proceed in the knowledge we then proceed by working on classifications that synthesize the distinction between ephemeral and permanent elements, the artistic techniques used, which range from painting to sculpture to pyrotechnic installations, but also musical, to finally distinct an abacus of serial and special elements.

Note how these two phases are the most conditioned by the specificity of each case.

The last moment is the restitution. This can take different forms depending on the sensitivity of the operator, the specific case study, and the use that will be made of it, but it must necessarily be composed of a series of two-dimensional drawings regarding the appearance of the place during the party, and of the three-dimensional models that present the layout in its original setting and the integration of the layout in today's environment.

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Study of the sources

Study of the object

Analitical phase

Summarizing:

Restitution

{

{

{

{

Collection of archive materials, Relazione, incisioni, dipinti commemorativi, cronache d’epoca, ..., ;

Transcription (and translation) of text data; Redrawing of iconographical data.

Survey through massive acquisition, Point cloud/dimensionally

and geometrically correct 3D model;

Historical study, Through archive documents, historical maps, technical analysis,....;

Restitution of the state of fact, 2D and 3D; Restitution of the architectural configuration at the time of the realization of the ephemeral apparatus, 2D e 3D.

Study of the cultural environment, Research about customers,

artists involved, research of comparisons, ...;

Study of proportions and geometry in the iconographic data, Interpretation of graphic techniques and use of perspective and ortogonal projections;

Interpolation of graphic and text data, Colors, materials, details ..., ;

Distintion of ephemeral and permanent objects; Study of the simbology; Classification of techniques, Painting, fabric, lighting, sculptures, fireworks, ..., ;

Abacus of recurring and special elements; ....

2D: the apparatus at the moment of the celebration 3D: the apparatus in the original environment 3D: the apparatus in the contemporary environment

12 Diagramma di flusso della metodologia proposta

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Case study Cultural context The chosen case study is the Pompa Funebre nell'Esequie celebrate in Roma al Cardinal Mazarini nella Chiesa dei SS Vincenzo e Anastasio that took place in 1661.

In this year Rome was under the pontificate of Alexander VII Chigi (1655-1667), at a time of particular weakness of ecclesiastical power due to the conclusion of the Peace of Westphalia 18 and various plague epidemics that decimated the population, but also of intellectual and artistic fervor thanks to the presence of Cristina of Sweden.

A few years earlier, Cardinal Giulio Mazzarino, minister of Louis XIV, financed the construction of a church in the area of Piazza di Trevi, the church of Saints Vincent and Anastasius at Trevi, which was completed a few months before his death. Here the funeral was celebrated in Rome, with an apparatus created by Elpidio Benedetti as the intellectual of reference and Giovanni Francesco Grimaldi as the artist.

That of the funeral is one of the main themes of the practice of the baroque ephemeral, and it is possible to trace a real typological evolution in the forms taken by the catafalques during the 17th century from the forms of the ancient mausoleums: from an initial temple shape (Catafalque for Sixtus V, D. Fontana, 1591) we move on to a temple or pyre type (Catafalque for Philippe the III, Torriani, 1621), and then prefer real miniature mausoleums (Catafalque for Gregorius XV, Lippi, 1623) ; these typologies are accompanied by exotic experiments, such as the Catafalque della Valle in 1627, while in the second half of the century pyramid forms are preferred (Catafalque for the Jesuits, Sacchi, 1639) and types based on assembly, such as the temple type- baldachin (Catafalque for Philippe the IV, Del Grande, 1665), mausoleum with obelisks (Catafalque for Philippe IV, C. Rainaldi, 1665) and triumphal arch and small temple with pyramid (Catafalque for Anne of Austria, Grimaldi, 1666), up to pyramids supported by living skeletons (Catafalque Beaufort, 1668).

Throughout his life Grimaldi enjoyed the admiration and favor of a large group of admirers. The reasons for its success derive from the ability to adapt to the client's needs, from his good-natured and quiet character and perhaps from the moderate rewards required.19 Among the first to express appreciation on the artist was Elpidio Benedetti himself: notes of commendation appear in the reports drawn up on the occasion of feasts and religious celebrations where he worked, as the judgment reported to him by Antonio Perez De Rua when the artist he decorated the external facade of the church of San Giacomo degli Spagnoli on the occasion of the funeral rite of the Spanish king Philip the IV: «cuio diseno es de Iuav Francisco Grimaldi Bolognese, no menos valiente

Pace di Vestfalia (1648) sancì la fine della guerra dei Trent'Anni e l'inizio della sovranità nazionale Rossella Ariuli, Anna Maria Matteucci, Giovanni Francesco Grimaldi, Bologna, 2002, pp.10-12

en el pincel, que bizarro en el compas, y en este genero de obras estimado por el primero desta Corte.» 20 Up to now 22 installations designed by Grimaldi are known, including: • Starting from 1638 we find the artist engaged on three fronts: the staging of San Bonifacio for the Barberini theater, La Sincerità Trionfante ovvero l’Erculeo ardire at the French Embassy and the decoration for the entrance to Rome of the Ferdinand the III's ambassador. Among the clients of these works the Barberini stand out.

• In 1639 he designed the scenographies for Chi soffre speri and San Bonifacio.

• We won’t find any other apparatus until 1644, when the return of the Barberini family from exile in France starts a new season of scenographies. During this year he collaborates with Algardi in the decoration of the church of Santi Giovanni e Petronio dei Bolognesi for the funeral of the ambassador of Bologna for Urban the VIII, but Grimaldi’s contribution seems minimum and not influential in his projects for these occasions.

• 1656 for the arrival of Cristina of Sweden: Joust of the Saracen, apparatus for the prayer of the Quarantore and preparation of La Vita Humana overo il trionfo della Pietà. In this context, friendship was established with the librettist of Barberini Giulio Rospigliosi, later Pope Clement IX.21

Description Upon the death of Cardinal Mazarin on March 9, 1661, Benedetti received instructions from Louis XIV to create an adequate funeral pump.

The funeral report, written and published by Benedetti, contains five engravings by Dominique Barrière22 which document the catafalque, the decorations for the facade, the counter-facade, the nave and the choir on one facade drawing, three views of the interior, one towards the choir, the second towards the main entrance and the third of the walls of the lateral nave, and of the catafalque.

Barrière’s name appears only in the engravings of the facade and the catafalque, while all the engravings bear the inscription Abbas Elpidius Benedictus Inven., and Grimaldi is referred to as Architect of the entire funeral apparatus, or artist responsible for its construction.

In the decoration of the facade and the interior it is difficult to find Grimaldi's hand: the

Danuta Batorska, Giovanni Francesco Grimaldi (1605/6-1680), Roma, 2011, p.23 Maurizio Fagiolo dell'Arco, Silvia Carandini, op. cit.

22 Dominique Barrière (1622–1678), incisore e pittore

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two landscapes on the facade, representing the sunset and the rising sun, are somewhat elementary and do not seem to be the work of a specialist, so it seems that he entrusted this project to his aid given the contemporary commitment in the Palaces Santacroce and Nunez. On the other hand, the engraving of the cardinal's catafalque highlights the typical stylistic elements of Grimaldi, on the basis of which both the invention and the execution are attributable to him.

The catafalque is a simple structure which, although lacking specific preparatory studies, retains many elements also found in the preparatory studies for the catafalque for Anne of Austria (fig. 15), designed and built by Grimaldi in 1666: some of the elements present in the first sketch were incorporated into the catafalque of cardinal Mazarin, for example the candle holders on the sides, the antique style putti on the right at the base of the catafalque of Anne of Austria are also present next to that of cardinal Mazarin. Likewise, the two female figures holding the urn reappear in Mazarin's catafalque, although their function has been changed. Furthermore, the two putti holding the queen's coat of arms perform almost the same function when they raise the cardinal's hat. Finally, in both monuments, the urn is placed on top of the funeral structure and above the urn appears the portrait of the deceased flanked by two figures.

The second sketch (fig. 4) contains elements that are found in the catafalque of Cardinal Mazarin, such as the pyramidal structure at the base of which, both in the drawing and in the engraving, two putti hold the coat of arms of Cardinal Mazarin while in an elaborate urn is placed high. In both cases, the entire structure ends with the portrait of the deceased flanked by two figures. Although the catafalque of Cardinal Mazarin is different, all the elements that compose it as well as the style of the female figures, the putti, the olive trees and palm trees refer back to Grimaldi rather than Benedetti.

Grimaldi has in fact repeatedly used the same elements in his career.

It is not clear who created the iconography: it could have been a collaboration between the French authorities, Benedetti and, perhaps, Grimaldi. In any case, it is based on a tribute to Cardinal Mazarin's services to the French crown and Christianity. At the foot of the square base sit two parts of the world in reference to Cardinal Mazarin's broad political action. Above the base there are the coat of arms and the cardinal's hat and above it there is a representation of Rome in tears over the death of the cardinal and on the other three sides are the relief representations of France, Spain and Christianity.

Above the pyramidal structure rests the urn of Cardinal Mazarin who acts as a support for his portrait surrounded by a laurel wreath.

On the left an olive tree, a symbol of peace, under which the Religion appears and behind it the Justice. On the right a palm tree, a symbol of war, with the Fortress underneath and Providence behind. Among the branches, two cherubs hold an olive crown with the inscription ET PACE and a palm crown with the inscription ET BELLO.

13 Engravings

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Analyzing the catafalque and its iconography Berendsen observed that the introduction of trees in the design of the apparatus was unprecedented and adds that the idea of inserting trees did not immediately become popular and was used occasionally, for example, in the catafalque of Cardinal Antonio Barberini in 1671.

Dark drapes hung outside creating contrast with the white marble of the columns. A fake gold medallion, placed on the door represented Death and on the sides, between the columns, there were two paintings in chiaroscuro with the most glorious actions of the cardinal. The interior of the building was covered with black fabric as well: skeletons and funeral symbols in chiaroscuro and gold stood out on the walls. A powerful lighting contrasted the bleak environment as three hundred candlesticks were placed on the perimeter cornice under the vault and another hundred, arranged on three orders and colored in silver in the form of death, were affixed to the pillars.

In the counter-faรงade, a plaque, flanked by Immortality and Glory, welcomed the cardinal's funeral eulogy. The wall behind the main altar was decorated with the same wealth of detail: at the top Virtue held Fortune by the hair and had Death on the left, on the sides of the altarpiece there were paintings with allegorical images. At the center of the building stood the catafalque, similar to that for Facchinetti, on a square pedestal of fake marble where in the front two putti held the emblem of the deceased and at the bottom four statues represented the continents of the world. On top of this base, a second one rose with festoons and funeral symbols on whose sides stood out gilded figures depicting Christianity, Rome, Spain and France. On the sides of the catafalque stood four silver statues with burning torches: the Fortress, Providence, Religion and Justice. Behind them there were a palm and an olive tree between whose fronds hung two putti.

14 Giovanni Francesco Grimaldi, Disegno per un catafalco, Londra, British Museum 15 Giovanni Francesco Grimaldi, Catafalco per Anna d'Austria

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Il luogo Urban framework The celebration took place in the church of Saints Anastasio and Vincenzo, located in Vicolo dei Modelli, overlooking the Trevi Fountain.

In fact, the two monuments have followed a parallel evolution: in the climate of architectural renewal of seventeenth-century Rome, Urban VIII Barberini (1623-1644) decided to change the appearance of the Piazza di Trevi, an obligatory stop for those who reached the Quirinale from via Lata , moving the new fountain so that it could be seen from his Montecavallo palace. In 1640 he issued two Brevi, the first in favor of the Fathers of Saints Vincenzo and Anastasio for the new arrangement and reconstruction of the church, and the other for the renewal of the Fontana dell'Acqua Vergine with Bernini's project. From 1641 to 43, the area on which the new Fountain of the Virgin Water would rise was clearly defined, as many houses that formed the backdrop to the ancient Lavatore were demolished.

The church was commissioned by Mazarin himself, but it is possible that he never visited it nor had relations with the architects who took care of it.

Today the church has a baroque facade in travertine raised on a staircase, while the interior has a nave with six side chapels, three on each side, and an apse. The interiors are decorated in the eighteenth-century style, and the design choices are very different from the outside, denoting numerous transformations over time, and a rather complex building history.

Survey The survey was carried out with the integrated survey methodologies with massive acquisition through laser scanner and Structure from Motion.

Once the scale of representation of 1:50 was defined, a survey project was prepared and then scans were performed with the FARO CAM2Focus 3D scanner. In this way, a point cloud was obtained which was satisfactory for the set objective, but which was affected by the position of the church: in fact, it was not possible to perform the scans in conditions of absence of people, which therefore led to data gaps.

Scan name Overlap Balance Point<6mm S00 S01 S02 S03 S04 S05 S06 S07 S08 S09 S10 S11 S12 S13 S14 S15 S16 S17 S18 S19 S20 S21 S23 S24 S25 S26 S27 S28

36,45% 38,5% 56,2% 57,9% 12,1% 32,6% 39,7% 44,9% 45,9% 52,2% 44,5% 45,7% 30,1% 30,9% 32,6% 35,8% 25,0% 46,8% 50,9% 47,2% 57,1% 53,9% 61,7% 53,6% 53,8% 30,4% 24,4% 13,9%

49,55% 55,4% 64,4% 47,5% 37,7% 50,4% 54,7% 58,2% 51,8% 47,4% 47,9% 61,2% 52,7% 52,5% 65,1% 68,3% 42,2% 68,6% 68,7% 68,6% 62,8% 60,9% 45,1% 66,9% 68,1% 44,3% 42,4% 80,9%

99,55% 99,3% 99,3% 99,2% 99,4% 98,4% 98,3% 99,0% 99,3% 98,8% 99,0% 98,2% 99,0% 98,3% 99,1% 99,3% 98,5% 98,5% 98,3% 99,2% 99,1% 98,8% 99,0% 98,5% 99,0% 99,3% 97,2% 78,6%

16 Tabella di controllo dell'allineamento delle nuvole di punti

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Historical-critical analysis

17-18 Martino Longhi, Progetto per la facciata di SS. Anastasio e Vincenzo

From the archive of the Parish of Saints Vincenzo and Anastasio preserved in the State Archives in Rome we deduce the news that gives us a complete picture of the various construction phases of the factory, the church and the convent from 1613 to 1873 After 1614 (first concession of an area for the congregation), only on February 17, 1640 we find new news concerning the building, through a short article by Urban VIII which confirms to the Fathers the right of expropriation on the areas necessary for the extension of the house and the church.

On March 7, 1640, the notary Ruggero Ottaviano stipulated a contract for the sale of a house located in the canton of the island of particular houses, finally giving the church a view of the square which will arise after the demolition of the Trevi arch and a part of houses facing the Lavatore.

On 29 June 1641, the Maestri di Strada granted the fathers the license â&#x20AC;&#x153;to be able to make the side of their church" and established its line. From the license the fathers annexed a part of public land and grant it a triangular equivalent to widen the mouth of the alley.

Between this document and the one concerning the beginning of the facade (June 9, 1946) silence falls, despite being the years in which the body of the building is being built, however the silence is partially balanced by the abundant news concerning the exhibition of the 'Acqua Vergine, in a precise desire to renew the entire theater in the square.

The desire to renovate the Piazza di Trevi can be traced back to Bernini himself, whose project became known to Martino Longhi and may have influenced his formal choices.

But after the death of Urban VIII, the project slowed down which led to leaving the fountain unfinished for almost a century, and as can be seen from the engravings of the time, the only true protagonist of this square remained the facade of Martino Longhi for a long time.

A Notice of Rome dated 9 June 1646 says that "At the expense of Mr. Cardinal Mazzarini began the facade of the new church of Santi Vincenzo et Anastasio at the Trevi Fountain ", as confirmed by a letter from Mazarin to Paolo Maccarani, while on September 22 of the same year the Maestri di Strada of Rome issued the building permit to the Fathers for the factory of the facade and the travertine staircase. Work had therefore started before the license was issued.

In the following years, until the second half of the 19th century, the interventions of the other architects concerned the interior of the church and the Convent. 23

Lâ&#x20AC;&#x2122;analisi documentaria è tratta da Pugliese A., Rigano S., Martino Longhi il giovane: architetto, Roma: Bulzoni, 1972

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Given the narrowness of the site, the organism consisted of a nave flanked by chapels which, without a transept, ended in the presbytery with a flat deep wall, at the height of the pilasters that will then frame the eighteenth-century tribune. The Tribune, with the high altar and the elliptical dome above it, belong to the intervention after 1748.

Regarding the nineteenth-century interventions, in addition to the decoration of the chapels, we remember the fresco of the vault in 1818 and the restoration of 1857 with remaking of the marble floor.

The building history can therefore be summarized in three main phases: 1. 1641-1646; Interior construction, with back wall and six chapels by Gaspare de Vecchi; 2. 1646-1650; Construction of the facade by Martino Longhi the Younger; 3. Post 1748; Extension of the church with Tribune, apse and dome; decoration of the chapels. (fig.19) For the purpose of the study, the configuration relating to 1661, i.e. shortly after the completion of the second phase, was analyzed and redesigned, based on the comparison between the current configuration of the church, archival documents, engravings of landscape painters and engravings related to the apparatus.

19 Schematizzazione delle principali fasi costruttive

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Festival apparatus Graphic data analysis Following the previously described methodology, once the place and the general characteristics of the case study have been studied, the attention is focused on the iconographic sources of the apparatus. As for the funeral in question, no paintings or engravings other than those of the report were found, i.e. five engravings by Dominique Barrière depicting the facade, the counter-facade, the nave, the altar and the catafalque.

First of all, it was necessary to deal with the problem of scale and deformation: the engravings in fact have no dimensional indication and are not all represented on the same scale, but rather designed to fit the same format. Therefore they have been divided into two groups, as two of them are drawn in orthogonal projection while the other three in central perspective.

Analyzing those in orthogonal projection, that is the facade and the nave, at first it seemed sufficient to exploit the geometry of the church, that is to say trivially to superimpose the engraving on the reconstructive hypothesis advanced during the historical study of the place. However, the operation has been proved not sufficient, since the drawings are deformed in height, probably to obtain visually more captivating effects of grandeur and vertical development.

As for the counter-façade, the altar and the catafalque, they were divided into two further subgroups. The first includes the engravings of the counter-façade and the altar: in this case too the solution seemed simple, that is to apply the rules of descriptive geometry and of the reverse perspective to obtain the real measurements, but a more detailed examination revealed that these two engravings present three central vanishing points and therefore are an assembly of three overlapping perspectives. Here too, as for the orthogonal projections, the goal of the engraver was to obtain a vertical expansion of the space of the drawing compared to the real space. The process was therefore to recognize the three perspectives with their vanishing points, horizons and landlines, and to recognize which parts of the drawing referred to the single system of projections, and then to apply the rules of inverse perspective. (Fig. 20).

The last reasoning concerns the catafalque: as far as the perspective study is concerned, it was much simpler here as the drawing is a central perspective with a single vanishing point. However, the engraving exclusively shows the catafalque, removed from the architectural context, so it was possible to reconstruct its geometry but not its dimensions and position. Thanks to the integration with the textual data and with the stylistic comparisons, it was possible to know the position of the catafalque in the church and to

20 Studio della prospettiva dell'incisione relativa all'altare

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notice how all the Grimaldi catafalques respond to the same dimensional relationships between the catafalque and the setting.

At this point it was possible to integrate the information deriving from the graphic data with the survey and reconstruction drawings previously produced, obtaining the nature, position and size of each element; at the same time it was possible to distinguish the elements of the ephemeral apparatus from those of the permanent architecture.

An interesting detail is the study of shadows in the engravings. These, in fact, have been designed with such detail as to allow to distinguish the painted elements from those in relief, and for the latter to determine their depth and position with respect to the background. (Fig. 21).

Text data analysis At the same time, the textual data was analyzed, first reading and transcribing the report carefully. The informative nature of the text was immediately evident, given the celebratory but at the same time simple language used by the author, and the absence of Latinisms.

The report consists of seventeen pages of text. The first two cite a praise of all those who were involved in the organization of the funeral and introduce the following five chapters, each of which accompanied by an engraving. All these chapters follow the same approach: commendation of the deceased, description of a part of the apparatus and explanation of the allegorical meaning.

As mentioned above, the text played a crucial role in defining the position and size of the catafalque, but also provided a number of important information. First of all, the analysis of the text confirmed the distinction of the elements in ephemeral and permanent; subsequently, it allowed the characterization of the models with data regarding materials, colors, lighting and desired atmosphere, and finally a further characterization through the allegorical reading.

To obtain this result, the text has been reread several times, highlighting the different types of information and classifying them according to: element involved, chromatic, material, and symbolic data.

In the example below, the stylistic / allegorical information is marked in red and the

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technical / material information in orange24: «Nelle quatro facciate di questa base si vedevano quatro figure di basso rilievo parimente finte di metallo dorato, che rapresentavano la Christianità, Roma, Spagna, e Francia piangenti nelle loro maggiori speranze l’intempestiva perdita di chi haveva sparsi tanti sudori, e sofferte tante penose vigilie per la publica tranquillità e felicità loro.»

These informations were interpolated with the result of the analysis of the graphic data, and generated an abacus of elements based on the artistic techniques used and the seriality or not of the artefact, which clarified all the characteristics of the apparatus and facilitated the modeling process.

Symbology information was not easy to integrate with two-dimensional models, but can be added to the three-dimensional model as easy-to-understand interactive popups.

Restituzione The final result of the study consists of two-dimensional (1:50 scale) and threedimensional (potentially in 1: 1 scale) elaborations, born from the integration of relief, historical study, analysis of textual data and analysis of graphic data.

At the communicative level, if two-dimensional drawings can be more useful for communication at an academic level and are easily readable, the model is more versatile for dissemination and possible use in the context of museum display, while maintaining the same level of reliability and scientificity .

The models produced, moreover, not only want to return the reconstruction of the 1661 exhibition, but investigate the relationship that is created between the apparatus designed by Grimaldi with the current location, establishing a critical dialogue between past and present, between ephemeral and permanent, in which both become changeable and question the concept of real space and space of representation.

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RIFERIMENTO ALL'APPENDICE 2

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Conclusioni The presented study therefore achieved two complementary results valid for further developments.

First of all, there is the creation of the 3D models of the setting up of Mazarin's funeral, or the outcome of the analysis carried out on the case study. These can be immediately made available and used for academic purposes but also, and above all, for communicative and conservative reasons.

However, the models mentioned are the result of the application of a study and analysis method drawn up here to address and resolve representation issues that have never been fully analyzed so far.

If applied systematically and correctly, i.e. with a critical sense, the methodology could lead to interesting results in several areas: • first of all, the study of a fundamental cultural phenomenon for Baroque society; • as seen previously, the design of the ephemeral apparatuses gave the possibility to the artists to create study models on a 1: 1 scale of stable architectures that they would later build.

• Their knowledge could open new scenarios regarding the design process of Baroque architects; • communication and museum display of artifacts that can facilitate users in understanding the society of Baroque Rome with immediate, easily available and low-cost means of management; • conservation of the intangible heritage in the manner most appropriate to the specific characteristics of the phenomenon.

Overall, the methodology aims to be operational, historically reliable, critical of the transformations of places and to return the results in a virtual environment, and is the result of an empirical approach.

Lacking previous research based on the specific topic, it was fundamental first to understand the phenomenon of the Baroque Ephemeral from an ethnographic point of view, to establish its importance and to better interpret the relationship between the apparatuses and the places, or the relationship between artists, power and the city.

Subsequently, by deepening the historical-artistic aspects, it became clear the fundamental role that the celebrations play in Baroque poetics, as the sum of its three fundamental aspects: the aim for wonder, experimentalism and the synthesis of the arts.

From the beginning, the relevance of these projects evident, as well as the recurring characteristics in the conduct of the celebrations and above all in their representation.

Therefore a study of a wide range of cases was considered necessary to confirm the hypothesis. Hence the need for a study method that would take into account both the specific features of each apparatus and their typicality, and which could open up the possibility of studying this artistic practice in a systematic way.

22 Integrazione di dato grafico, testuale e restituzione tridimensionale

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Bibliografia Ricerca storica Batorska Danuta, Giovanni Francesco Grimaldi (1605/6-1680), Roma: Campisano, 2011, 252 p.

Di Stefano Fausto, L’effimero e l’illusorio in età barocca, eBook per l’Arte, 2011 Bernabei Roberta, Chiese di Roma, Milano: Electa, 2007, 339 p.

Ariuli Rossella, Matteucci Anna Maria, Giovanni Francesco Grimaldi, Bologna: CLUEB, 2002, 322 p.

Cassani Silvia, Capolavori in festa: effimero barocco a Largo di Palazzo, 1683-1759, Napoli: Electa, 1997, 254 p.

Fagiolo Dell’Arco Maurizio, Bibliografia della festa barocca a Roma, Roma: A. Pettini, 1994, 143 p.

Croce Benedetto, Storia dell'età Barocca in Italia, Milano: Adelphi, 1993, 656 p.

Bernini Gian Lorenzo, L'impresario, Roma: Salerno, 1992, 124 p.

Krautheimer Richard, Roma di Alessandro VII, 1655-1667, Roma: Ed. dell’Elefante, 1987, 213 p.

Tesei Giovanni, Le chiese di Roma, Roma: Anthropos, 1986, 563 p., pp. 72-73 Fagiolo Marcello, Madonna Maria Luisa (a cura di), saggi di Adorni Bruno, Barocco romano e barocco italiano: il teatro, l’effimero, l’allegoria, Roma: Gangemi, 1985, 331 p.

T. Spike John, Strauss Walter R., The illustrated Bartsch, vol.42: Italian masters of the Seventeenth Century, New York: Abaris Books, 1981, 466 p.

Argan Giulio Carlo, I Longhi, una famiglia di architetti tra manierismo e barocco, Catalogo della mostra, Milano: Clup, 1980, 130 p.

Rizzi Viviana, Indagine su di una facciata barocca : la facciata della Chiesa dei Ss. Vincenzo e Anastasio di Martino Longhi il Giovane a Roma rilevata e disegnata da Viviana Rizzi, Roma: Fratelli Palombi, 1979, 34 tav., pp. 80-81 Fagiolo Dell’Arco Maurizio , Carandini Silvia, L’effimero barocco: strutture della festa nella Roma del ‘600, vol.I Catalogo, Roma: Bulzoni, 1977-78, 390 p.

Fagiolo Dell’Arco Maurizio , Carandini Silvia, L’effimero barocco: strutture della festa nella Roma del ‘600, vol.II Testi, Roma: Bulzoni, 1977-78, 390 p.

Fagiolo Dell’Arco Maurizio (a cura di), Architettura barocca a Roma, Roma: Bulzoni, 1972, 379 p.

Pugliese A., Rigano S., Martino Lunghi il giovane: architetto, Roma: Bulzoni, 1972 Mariani Valerio, Le chiese di Roma dal 17 al 18 sec., Bologna: Cappelli, 1963, 300 p., pp. 128-129, 174 Fagiolo Marcello, Lo spettacolo barocco, in Storia dell’Arte, 1969, n.1-2, p.229 Frutaz Amato Pietro, Le piante di Roma, Istituto Nazionale di Studi Romani, 1962 Clementi Filippo, Il teatro romano nelle cronache contemporanee, vol.I: Dalle origini al secolo 17, Castello: edizioni R.O.R.E., 1958, 664 p.

Tintelnot Hans, Annotazioni sull’importanza della festa teatrale per la vita artistica e dinastica nel Barocco, in Retorica e Barocco, 1955, num. unico, pp.233-242

Ozzola Leandro, L’arte alla corte di Alessandro VII, Roma: Forzani, 1908, 96 p.

Elpidio Benedetti, Pompa funebre nell’esequie celbrate in Roma al Cardinal Mazarini nella chiesa de SS. Vincenzo & Anastasio, Roma, 1661 Vocatus, in omnibus prodigioso ingenio clarus, & carus omnibus. Inde christianissimo rege commendante, apostolico aggregatus collegio. ... Tandem christianae reipublicae pace donata, regioque firmata coniugio, ad summum gloriae culmen euectus, primarijs Europae princibus affinitate coniunctus, in prosperis, in aduersis, & in morte triumphans, ... obdormiuit in Domino anno salutis 1661. aetatis suae 58. mense 7. die 22. Abbas Elpidius Benedictus G.A.E Anonimo, Notizie bibliografiche di Grimaldi, manoscritto 254, Bologna, Biblioteca universitaria.

Aspetti scientifici Belardi Paolo, Menchetelli Valeria, Architetture immateriali. La ricostruzione digitale di progetti e apparati effimeri di Giuseppe Piermarini, in Fagiolo Marcello, Tabarrini Marisa, Giuseppe Piermarini tra Barocco e Neoclassicismo Roma Napoli Caserta Foligno. Perugia: EFFE Fabrizio Fabbri Editore, 2010, pp. 285-287 http://www.paololattuada.net/progetti/recupero-e-restauro/ricostruzione-filologica/ Ippolito Alfonso, Handbook of research on emerging technologies for architectural and archaeological Heritage, Hershey : Information Science Reference, 2017, 646 p.

Brusaporci Stefano, The Representation of Architectural Heritage in the Digital Age. In: Mehdi Khosrow-Pour (a cura di). Enyclopedia of Information Science and Technology, Third Edition, Hershey PA: IGI Global, 2015, pp. 4195-4205 Belardi Paolo (a cura di.), Atopie: idee per la rappresentazione. 5: atti del Seminario di Studi: Napoli, Palazzo Reale, sala Accoglienza, facoltà di Architettura, Università degli studi di Napoli Federico II: 4 maggio 2012, Roma: Artegrafica, 2013, 254 p.

Bianchini Carlo, Rilievo e metodo scientifico, In Carlevaris Laura, Filippa Monica (a cura di). Elogio della Teoria. Identità delle discipline del Disegno e del Rilievo, Roma: Gangemi Editore, 2012, pp.391-400 Centofanti Mario, Brusaporci Stefano, Lucchese Vittorio, Architectural Heritage and 3D Models. Di GIamberardino Paolo, Iacoviello Daniela, Natal Jorge Renato, R.S. Tavares Joao Manues (eds). CompIMAGE 2012 Computational Modeling of Objects Presentend in Images: Fundamentals, Methods and Applications 3rd edition. Atti del Convegno Internazionale, Roma Settembre 2012. London: Taylor & Francis Group, 2012, pp. 3149 De Felici Sara, La rappresentazione scenica dal bozzetto alla realizzazione: potenzialità espressive e di indagine delle tecnologie informatiche, Tesi di dottorato, tutor: Antonino Gurgone, Marco Carpiceci, Roma: Dipartimento di Storia, Disegno e Restauro dell’Architettura, 2012, 145 p.

Fabio Luce, La comunicazione dell’architettura: nuove forme di rappresentazione, nuove

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Indice delle figure modalità di fruizione, Tesi di dottorato, tutor: Roberto de Rubertis, co-tutor: Giovanna A. Massari, Roma: Dipartimento di Storia, Disegno e Restauro dell’Architettura, 2012, 111 p.

Apollonio Fabrizio I., Gaiani Marco, Baldissini Simone, Construction, Management and Visualization of 3D Models for Cultural Heritage GIS Systems. In Digital Media and its Application in Cultural Heritage. Amman, 16-17 March 2011. Amman: CSAAR Press, 2011, pp. 283-299.

Chiavoni Emanuela, Filippa Monica (a cura di), Metodologie integrate per il rilievo, il disegno, la modellazione dell’architettura della città. Ricerca Prin 2007, coordinatore nazionale Mario Docci. Roma: Gangemi Editore, 2011, 264 p.

Di Fede Maria Sofia, Scaduto Silvia (a cura di.), I quattro canti di Palermo: retorica e rappresentazione nella Sicilia del Seicento, 1608-2008, Palermo: Caracol, 2011, 159 p.

Molyneaux Brian L, The Cultural Life of Images Visual Representation in Archaeology, London: Routledge, 2011, 296 p.

Mandelli Emma, Uliva Velo (a cura di.), Il modello in architettura: cultura scientifica e rappresentazione, Firenze: Alinea, 2010, 188 p.

Docci Mario, Maestri Diego, Manuale di rilevamento architettonico ed urbano, RomaBari: Laterza, 2009, 380 p.

Palestini Caterina, Sacchi Livio, Mezzetti Carlo, La rappresentazione tra progetto e rilievo, Roma: Gangemi, 2008 Grutter Ghisi, Disegno e immagine. Tra comunicazione e rappresentazione, Roma: Kappa, 2006, 192 p.

Borgherini Malvina, Dal disegno alla scienza della rappresentazione: documenti per una storia della rappresentazione architettonica in Occidente, Venezia: Cafoscarina, 2005, 179 p.

Sardo Nicolò, La figurazione plastica dell’architettura: modelli e rappresentazione, Roma: Kappa, 2004, 207 p.

Valenti Rita, Architettura e simulazione: la rappresentazione dell’idea dal modello fisico al modello virtuale, Cannitello (RC): Biblioteca del Cenide, 2003, 176 p.

Mezzetti Carlo (a cura di.), La rappresentazione dell’architettura: storia, metodi, immagini, Roma: Kappa, 2000, 222 p.

Maurizio De Luca (et al.), La costruzione dell’architettura illusoria, Roma: Gangemi, 1999, 271 p.

Docci Mario, Manuale di disegno architettonico, Roma-Bari: Laterza, 1990, 360 p.

Aspetti culturali Ballachino Katia, La festa: dinamiche socio-culturali e patrimonio immateriale : Atti del Convegno, Nola Sala Consiliare del Palazzo di Citta 27-28 settembre 2008, Nola: l'arcael'arco, 2009, 159 p. UNESCO, Convenzione per la salvaguardia del patrimonio culturale immateriale, Parigi, 2003, 15 p.

[1] Johan Paul Schor, Il Carro d'oro, Gallerie degli Uffizi, 1664.

[2] Paolo Lattuada, Macchina da festa designed by Ferdinando Sanfelice in Naples in 1740 for the birth of the royal Infanta.

Progetto allegorico per arco trionfale a Eblag, Gdansk, Académie Polonaise des Sciences,1677.

[3] Diagramma di flusso del processo di rilievo attraverso acquisizione massiva.

[4] Diagramma di flusso della metodologia proposta.

[5] Giovanni Francesco Grimaldi, Catafalco per Anna d'Austria.

[6] Giovanni Francesco Grimaldi, Disegno per un catafalco, Londra, British Museum.

[7] Tabella di controllo dell'allineamento delle nuvole di punti.

[8] Martino Longhi, Progetto per la facciata di SS. Anastasio e Vincenzo.

[9] Martino Longhi, Progetto per la facciata di SS. Anastasio e Vincenzo.

[10] Schematizzazione delle principali fasi costruttive.

[11] Studio della prospettiva dell'incisione relativa all'altare .

[12] Dettaglio della navata.

[13] Integrazione di dato grafico, testuale e restituzione tridimensionale.

[14] [15] [16] [17] [18] [19] [20] [21] [22]

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Appendix I

Here we present a copy of the original report of "Esequie celebrate in Roma al Cardinal Mazarini".

The original copy is available for consultation at Biblioteca Casanatense, Rome.

Elpidio Benedetti, Pompa funebre nellâ&#x20AC;&#x2122;esequie celbrate in Roma al Cardinal Mazarini nella chiesa de SS. Vincenzo & Anastasio, Roma, 1661

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Appendix II

Transcription of the record of the funeral apparatus for Cardinal Mazarini written by Elpidio Benedetti

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Cover

POMPA FUNEBRE Nell'Esequie celebrate in Roma Al CARDINAL MAZARINI Nella Chiesa de SS. Vincenzo, & Anastasio.

L'ABBATE ELPIDIO BENEDETTI Agente del medesimo Cardinale in detta Città, L'inventò, la descrisse, e la dedicò ALL'ECCELLENTISS. SIGNOR DUCA MAZARINI ARMANDO CARLO DELLA PORTA Gran Maestro dell'Artegliaria di Francia.

IN ROMA, Nella Stamparia della Rev.Cam.Apost.1661.

Con licenza de' Superiori.

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ECCELLENTISSIMO SIGNORE SE ne viene alla vostra presenza un parto remoto della vostra pia magnificenza, e della vostra generosa gratitudine. Vederete impressi in questi fogli gli applausi funebri resi in questa Città dalla publica divotione alla gloriosa memoria del Cardinal Mazarini. Se non corrisponderanno alla grandezza del vostro animo, gradite almeno la prontezza, con la quale haveremo facilmente corrisposto alla vostra intentione: E supplite voi meglio con eternare vivamente (mediante una numerosa prole) la celebre ricordanza di quell'Eroe, che con le preclare sue attioni ha illustrato l'Europa, & il nostro secolo; e che con sano giuditio vi ha scelto trà tanti altri Personaggi per portarne il suo nome alla Posterità, depositando in voi come in sicuro erario la ricca messe de' suoi virtuosi sudori. Dovete ciò sperare nelle benedittioni del Cielo, che vi hà dotato di virtù, e qualità si riguardevoli, oltre le segnalate prerogative del sangue si nobilmente qualificato ne i rilevanti servigi resi da i vostri Antenati alla Corona, e singolarmente da quel Marte de' nostri tempi il Maresciallo vostro padre, c'hà saputo col suo invitto valore in tante parti, & in tante guise far' gloriosamente trionfare il suo Re nelle fasce. Hora adulto d'età rallegratevi di rimirarlo nel fior' degli anni vechio di senno in quella saggia applicatione al governo, ch'è propria de'i Principi da Dio destinati per pastori de'i popoli, e con la quale s'incammina ad oscurare

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la fama più chiara de i Maggiori Imperatori de secoli andati, & à rendere non solo agli Esteri formidabile la potenza del suo augustissimo Regno, ma anche à i suoi Popoli, la felicità d'un secol'd'oro. In questa dovete però voi confidare d'haver'a godere sotto li benignissimi auspicij di si giusto e gran Monarca tranquillamente il possesso di quelle gratie, ch0egli per voi medesimo con mano così liberale viene ad havere versate nel vostro Testatore. Porgete con tutti i buoni Francesi incessanti voti al Cielo per la lunga conservatione dun Re datovi dal Cielo, mentre io con riverente affetto pregherò Dio che vi conservi lungamente felice, di Roma li 29 Aprile 1661.

Di V. Eccellenza Humilissimo, & Divotissimo Servitore Elpidio Benedetti

63 NON men lodevole, che antia è l'usanza di rendere al merito delle anime de Grandi publici tributi di veneratione, & universali acclamationi di stima alla loro gloriosa memoria. Sono somiglianti ufficij atti di giustitia, che li rendono alla virtù de i Morti, & opere di Carità che si compartono al bisogno de i vivi, i quali dalla rimebranza delle celebri attioni di quelli, non possono, che sentirli animare, e stimolare ad una vita virtuosa.

Così pareva ben dicevole, che Roa doppo haver in tanti modi sentito rinovarsi glorioso il titolo del nome Romano, per gli eccelsi fatti del suo novello Giulio il Cardinal Mazarini, fosse hora à rinovare ancor'ella questo antico, e lodevole rito, concorrendo tutta in lacrime à compiangere amaramente la perdita di quell'Eroico figliuolo, nella cui confervatione haveva tanto interesse non solo la sua privata, mà anche la publica felicità del Christianesimo.

All'espressione di questi dovuti sentimenti è principalmente concorsa la pietà del Sig. Card. Mancini, el a Magnificenza del Sig. Duca Mazarini, che non contento d'aver nobilissimamente soddisfatto in Parigi agli ossequij dovuti ò quella grand'Anima, hà anche desiderato, che in ogni parte, e particolarmente in ROma, spiccassero i sentimenti della sua divot volontà, e grata riconoscenza. Quindi è che per vedere con ogni maggior' celerità esseguita la mente de i predetti Signori mi risolvei di applicare da me medemo all'essecutione di essa, mà forse con poca sorte del nostro Personaggio, essendosi unite insieme alla diminutione dell'apparato funerale la strettezza del tempo, la povertà del mio ingegn, e l'angustia del luogo; elettasi à questo effetto la Chiesa de SS. Vincenzo, & Anastasio come parto della pietà di quel Cardinale, che con la cortese assistenza, & esquisito intendimento del Signor Paolo Maccarani suo; confidentissimo Amico, la fece negli anni addietro fabricare da fondamenti; giudicatosi anche convenevole di celebrare i di lui gloriosi funerali in quel Tempio, dal quale si può dir che ei ne sortisse così felici natali.

Ad un'apparato fatto in pochi giorni corrisponderà la presente descrittione fatta in poche hore, non intendendo io, se non di dare un cenno de i significati de i miei pensieri, per la loro simplicità, e realtà poco bisognevoli d'altra dichiaratione, massimamente essendo stati assai ben praticati dalla peritia del Sig. Giov. Francesco Grimaldi Bolognese Pittore, & Architetto, e venendo assai ben supplito intorno alle virtù del Cardinale dalla mirabile facondia del Padre Leone Carmelitano Francese, celebre Predicatore de Rè Christianissimo nella sua elegante oratione

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funebre recitata in questa occasione, e qui in fine inferita nel suo originale latino, e nella traduttion in Italiano, Francese, e Spagnuolo.

Dividerò l'espositione in cinque parti,c he corrisponderanno alli cinque Rami, che se ne sono fatti.

La prima sarà della facciata esteriore della Chiesa La seconda della Macchina funerale La Terza dell'Altare Maggiore La Quarta delle parti laterali, e La Quinta della facciata di dentro sopra la porta grande.

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Della facciata esteriore Non consiste sempre il maggior pregio delle cose nella vasta grandezza di esse, anzi in mille forme sovente miriamo le più pretiose ristrette in picciol giro di sito. La faccia esteriore di questa Chiesa del disegno del Signor Martin Longo famoso Architetto,

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corrisponde proportionatamente al resto del corpo di essa, e con una architettura venusta, e composta passa tra le più belle della sua sfera. Si vedeva tutta nel fondo piano ricoperta di panni lugubri con varie cascate di veli neri ne i vani capaci di questo ornamento: l'oscurità de' quali al contraposto del candore delle colonne, e delli capitelli faceva un misto, che appagava perfettamente la vista degli spettatori. Sopra la porta vedevasi un gran Medaglione finto di metallo dorato, che racchiudeva una Morte, la quale facendo pompa della sua insuperabile potenza sopra queste cose mortali confondeva con dispregio Mitre, COrone, ori e gemme trà ceneri, & ossa per dinotare la caducità di tutte le cose più pretiose di questo Mondo col motto SIC GLORIA MUNDI Pendevano appese dal detto Medaglione per li fianchi due cascate di trofei di morte del medemo lavoro, che compivano à maraviglia l'ornamento della Porta.

Nelle parti laterali in due gran vani trà le Colonne erano esposte in quadri di chiaroscuro due delle principali attioni del Cardinale, cioè la Pace di Casale, e l'altra di S. Gio. de Luz, con i motti espressi in alcuni Cartelloni vagamente ornati alla prima di PUGNANTIUM COMPOSITOR alla seconda di REGUM CONCILIATOR Attioni che sole sarebbono sufficientissime ad immortalare, e rendere eternamente glorioso il nome Mazarino; la prima delle quali fù il principio, & fondamento delle fortune del Cardinale, e la seconda il fine col quale hà coronato tanti degni, e memorabili successi, il che si volle significare nelle due imprese poste nelli due vani sopra detti quadri d'un Sole nascente sopra la Pace di Casale, e d'uno cadente sopra quella di S. Gio de Luz co'i motti FELIX ORTUS FELICIOR OCCASUS

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Haverei qui un vastissimo campo da diffondermi nelle lodi del Cardinale mà essendo la materia più da historia che da somigliante descrittione, mi rimetterò alle penne, che ne sormaranno grossi volumi, & ad una raccolta da me fatta delle attioni di questo grand'huomo.

Sopra il Frontespitio grande posavano due Morti, che sostenevano un festone di cipresso, quale con belli ricinti andava à circondare il Cartellone di mezzo, in cui è inciso il nome del Cardinale come di fondatore della Chiesa.

Si ergevano dalle parti sopra due gran Pilastri quatro maestose Urne antiche, dalle quali uscivano fiamme di fuoco, & alle quali corrispondevano molte altre di minor grandezza, nel frontespitio superiore in mezzo di cui posavano la gloria, e la fama che reggevano l'Arme del Cardinale.

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Della macchina funerale Li famosi Roghi di odorifere legna, & aromati che la cieca Gentilità ergeva per illuminare collo splendore del fuoco le ceneri de morti Campioni accompagnati da mille vane superstitioni, cedano pur'oggi alle nostre pompe funebri, nelle quali non si simboleggiano che le virtuose doti de morti Personaggi con RIti Sacrosanti di vera Religione.

Vedevasi in mezzo della Chiesa elevata al nostro Eroe una gran Base quadrata finta di marmo mischio sodamente adornata con due grandi arme di rilievo del Cardinale sostenute da due puttini il tutto messo à argento nelle parti principali, come nelle altre due laterali due Cartelloni simili con le stelle della sua impresa, e co varie banderuole

con trofei dovuti alla sua santa intentione contro dell'Eresia, e dell'Ottomano, la despressione delli quali era oggi l'oggetto principale delle sue maggiori applicationi.

Ne i lati da basso erano quatro statue parimente di rilievo, che figuravano le 4 parti del Mondo come proportionate, & uniche mete de i vasti pensieri del Cardinale.

Sopra la detta Base altra se n'elevava d'ordine composto riccamente adornata di varij festoni, imprese dell'arme teste, & ossa di Morte di metallo corintio con molti intagli messi à oro, & altri vaghi e nobili ornamenti.

Nelle quatro facciate di questa base si vedevano quatro figure di basso rilievo parimente tinte di metallo dorato rapresentavano la Christinanità, Roma, Spagna, e Francia piangenti nelle loro maggiori speranze l'intempestiva perdita di chi haveva sparsi tanti sudori, e sofferte tante penose vigilie per la publica tranquillità, e felicità loro.

Serviva questa superba Base di piedestallo à una nobilissima Urna di forma antica finta di paragone arricchita di varij fogliami, & intagli dorati nella quale si rimostrava essere le Ceneri del Cardinale, e sopra di essa con proportionato finimento era collocato un Medaglione à due faccie recinto da un'festone di lauro, e sostenuto da due Angelini inargentati con il ritratto del Cardinale in basso rilievo dorato.

Terminava tutta la Macchina in una Piramide formata da due Alberi, che da terra d'innalzavano alla somità di essa congiungedosi insieme. L'uno era di Palma, e l'altro di Olivo con due Genietti à quelli appesi, che scherzando con le foglie veniva ciascheduno à formarne una Corona, e con quella à coronare il Medaglione del ritratto con uno svolazzo trapassante l'una e l'altra Corona col motto ET BELLO, ET PACE

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per dinotare l'eminenza de i talenti del Cardinale nell'uno, e nell'altro stato, havengo saputo trattare non meno vittoriosamente la guerra, che avantaggiosamente la Pace; con la distintione però espressa ne i motti dè i due svolazzi, che si raviluppavano attorno à i tronchi degli arbori, leggendosi in quello della Palma allundente alla guerra, UNUM EX NECESSITATE PROSECUTUS e nell'altro dell'olivo simbolo della Pace ALIAM EX VOLUNTATE COMPLEXUS Per sincerare la rettitudine della sua mente assai ben'nota alle persone che seppero conoscere e vollero considerare nel Cardinale forzosa la continuatione di quella guerra, che alsuo ingresso nel Ministero haveva trovato tanto avanzata, & ripiena d'intricatissimi lacci, che ne minacciavano una lunghissima durata; ove che quando piacque a Dio di dargli uno spiraglio di riuscibile pacificatione, non mancò d'inaffiare co' i suoi sudori l'aperture, che se gli presentarono per partorire alla luce quella Pace ch'egli haveva sempre covata nel cuore, come meta delle sue gloriose fatiche.

Sù li quatro angoli della base quadrata si ergevano in piedi quatro grandi statue inargentate, che sostenevano 4 grandi torcioni accesi, e rapresentavano le due dalla parte della palma.

La Fortezza e la Providenza per significare quanto il Cardinale si fosse mostrato non meno intrepido, e forte negli emergenti più pericolosi, che provido, & accurato nel saper maravigliosamente pensare, prevedere, e provedere à casi inopinati, in modo che alcun successo non gli arrivò mai ne improviso, ne impensato, e per lo quale non havesse di già pronto il rimedio.

Dalla parte dell'Olivo la Religione, e la Giustitia cause impulsive della sua applicatione alla Pace, e che con l'accompagnamento di tante altre virtù che armarono sempre i

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lat à quel grand'Huomo, produssero per suo mezzo effetti tanto avantaggiosi, & utili non meno alla Christianità, che alla Francia.

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Dell'Altare Maggiore Per non defraudare la memoria delle tante virtuose attioni del Cardinale si è cercato d'andarne simboleggiando alcuna ne i vani c'ha permesso la picciolezza della Chiesa.

Così nel SOrdino grande sopra l'Altare Maggiore si espresse la figura della virtù in genere, che assisa in un Carro trionfale con la destra teneva per i capelli la fortuna posata sù la sua volubil ruota, e ciò in segno del dominio assoluto ch'egli in tutti i rincontri mostrò sopra di essa, mediante il suo prudentissimo governo, & ammirabile superiorità, & alli prosperi, & agli avversi avvenimenti. Con la sinistra reggeva incatenata la Morte che come vinta dalla di lui mirabile intrepidezza piegava la cervice, & haveva gettato per terra il formidabile instrumento della sua falce quasi che havesse perduto il taglio nel troncar la vita d'un uomo, che non solo ella prevedeva nelle sue attioni immortale, mà che negli ultimi suoi assalti haveva così trionfato della di lei invincibile potenza con la franchissima maniera di morire, tuttociò espresso col motto.

VIRTUTE VICIT, Nelle parti laterali dell'Altare Maggiore facevano mostra di due principalissime virtù del Cardinale i quadri rapresentati la fede Cattholica, & il Perdono.

Non tremò mai maggiormente l'Eresia, che alla spavento del religioso, e christiano zelo del Cardinale Mazarini. Prevedeva questa col beneficio della pace un gran crollo alla sua falsa credenza, e non ne sarebbe andata ingannata, se la di lui intempestiva morte non havesse troncate le fila già ordite contro i Settarij de' falsi dogmi, e dell'Inimico commune della Christianità. Onde parve non mal'addattato il seguente Motto, che nel Cartellone di questa figura si pose IN HOS TANTUM INIMICOS Potrei in prova di questi Christiani sentimenti del Cardinale addurre innumerabili irincontri ne' quali fec'egli maravigliosamente apparire quanto gli fosse à cuore il decoro, e l'aumento della vera Religione, il rispetto, l'ubbidienza, e sommessione alla Santa Sede Romana. Potrebbono così ridirlo l'Inghilterra, la Suetia, la Danimara, e molti altri Paesi, ne' quali per castigo di Dio languisce la nostra vera Fede, e ne' quali per opera del Cardinale godono oggi i Cattolici effetti tanto avantaggiosi, e piaccia à Dio che non habbiano sempre più à compiangere la perdita di un sì po-

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tente, e Zelante difensore della Religione.

Della sua generosa facilità al perdono parlano tanti vivi essempij delle sue magnanime beneficenze verso i suoi Inimici, che è superfluo il prendere ad essaggerarla.

Stimò ong'uno relegato nel suo Ministero il castigo, non vedendosi praticato se non il perdono, col quale la grandezza, e nobiltà dell'animo suo gli facevano compromettersi tanto più facili l'emende, e le gratitudini; mà perchè gli huomini sono più proclivi al peccare, che al correggersi, così egli si trovò sovente, come Cesare, ingannato nell'esercitio di questa sua Regia virtù, che diede anche campo alla malignità de' Critici di condannare questa sua troppo clemente politica: in espressione della qual virtù si leggeva nel Cartellone il Motto POTENS NON VINDEX Nelle altre due parti à i fianchi dell'Altare assistevano due altre pellegrine virtù del Cardinale, la Carità e la Clemenza, col Motto

alla prima. IN OMNES alla seconda. ERGA OMNES esercitate da lui con altrettanta modestia con quanta generosità. E ben potrà il mondo ammirarne gli effetti nelle fabriche sontuose fatte, e che nel suo Testamento lascia da farsi, & à luochi pij, e nel famoso Collegio destinato in Parigi per lo mantenimento di 60 Alunni delle Provincie acquistate, e riunite alla Corona, e de i nativi di Roma e d'Italia.

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De i fianchi della Chiesa.

Erano riccamente adornate le parti laterali composte di sei Cappelle; poi che oltre l'essere ricoperte tutte à bruno come erano ancora non solo le volte delle dette Cappelle, mà anche la principale della Chiesa, vi si vedevano diverse imprese, e trofei di Morte di chiaro scuro con oro, che in varij scompartimenti formavano con una brillante simetria un vaghissimo apparato.

Alcuni sottilissimi Veli ricorrevano con bell'intreccio intorno al cornicione di mezzo; & altri simili pendendo con varie ritorte, rosoni, e cascate in mezzo delle Cappelle racchiudevano in forma sferica una gran Corona, ciascheduna di significato corrispondente à diverse lodevoli operationi del Cardinale.

Vedevasi in primo luoco la Reale, col Motto REGALI FIRMATO SCEPTRO per dimostrare la Regia autorità da lui non solo sostenuta nelle maggiori turbolenze della Francia nella bassa Minorità d'un Rè pupillo, mà anche fattala maravigliosamente comparire vigorosa, e vittoriosa con innumerabili felici Succesi, che per la di lui prudente, & accorta direttion accompagnarono in istupore di tutto il Mondo i primi anni della Reggenza. La seconda era di ALloro con due Trombe, col Motto ET TOGAE, ET ARMIS Dovuta al merito del Cardinale, e come ò Letterato, e Mecenate de' Virtuosi, e come à supremo DIrettore d'eserciti, essendo egualmente comparsa la sua virtù nell'uno, e nell'altro con tante prove del suo sapere, e coraggio, quanti gloriosi eventi furono meri parti delle sue saggie direttioni.

La terza dell'Olivo col Caduceo, e col Motto PACIFICO Alludenndosi alle due principali Paci da lui stabilite di Casale, e di S. Cio. de Luz di sì alte consequenze, & à tante altre, che andava meditando, e sollecitando per rinovare al nostro secolo la felicità di quello di Ottaviano, onde con qualche altro Anno di VIta haverebbe potuto fare sperare con le sue cure, mediationi, & applicatione di senstirsi dire TOTO ORBE IN PACE COMPOSITO

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La quarta era l'aurata piena di gioie, col Motto MULTIPLICI MERITO Simbolo della perfettione del suo ingegno aureo, e genio benignissimo, e delle tante virtù singolari, che come gioie pretiose ornarono inseparabilmente l'animo del Cardinale, nelle cui operationi Fisiche, e Morali apparve la virtù d'una particolare assistenza del Cielo, alla quale mostrò ben'egli di corrispondere col prefiggere smepre à tutte le sue attioni per unico, e principal oggetto il buono, e l'honesto con una ammirabilissima superiorità à tutte le humane passioni, onde fù, ch'egli ne sortisse poscia in quasi tutti i rincontri così felici, e fortunati eventi.

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La quinta di Gramigna ossidionale, col Motto LIBERATORI Ben da lui più volte meritata dell'havere in tante parti, e sì gloriosamente liberate diverse PIazze dagli assedij, e tanti Eserciti dalla loro distruttione.

La sesta era la Navale, col Motto PER AEQUORA QUOQUE in segno delle floriose imprese di Mare felicemente seguite per la sua prudentissima direttione, e delle maggiori che andava meditando nell'animo suo per una formidabile Armata che con le forze della Francia, unione dela Spagna, e d'altri Potentati sperava ben tosto far solcare i mari in difesa della Christianità, & in sicurezza della navigatione oggi così pericolosa per l'innondatione di tanti Corsari.

Per non impacciare la Machina funerale col ordinario numeroso ornamento de' lumi (provistane sufficientemente con diverse Urne) vedevasi abbondantemente illuminata tutta la Chiesa , ne i pilastri, da quali pendevano tre ordini di candelieri inargentati in forma di morte, & in gruppi delle fasce consolari, che in tutti sostenevano più di cento candelotti di cera, & al contraposto del fondo nero facevano una vaghissima vista, massime con la corrispondenza di altri 300 altri candelieri collocati nel cornicione di sopra.

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Della facciata di dentro sopra la porta Occupava la maggior parte di questa Facciata un gran Cartellone sostenuto dalla Immortalità, e dalla Gloria, negli angusti termini del quale procurai di rachiudere à gran caratteri senza adulatione, e senza schiribizzi d'ingegno nel seguente Elogio Seculcrale l'ampio Oceano della vita del Cardinale, D.O.M. IULIUS MAZARINUS ROMANUS VIRTUTE, AC PURPURA ILLUSTRIS, URBEM, ET ORBEM ILLUSTRATURUS VITAE PRIMORDIA SUPRA AETATEM ILLUSTRAVIT IN IUVENTA MILITIAE ADSCRIPTUS IMMORTALITATI NOMEN ADSCRIPSIT, ADHUC PUBER PATER PACIS SUB CASALE. E CASTRIS AB URBANO VIII. AD PUBLICAS CURAS VOCATUS, IN OMNIBUS PRODIGIOSO INGENIO CLARUS, ET CARUS OMNIBUS. INDE CRISTHIANISSIMO REGE COMMENDANTE, APOSTOLICO AGGREGATUS COLLEGIO. ARMANDI CARDINALISI RICHELII AMOREM AB AESTIMATONE ADEITUS, DIGNIOR MERVIT IUDICARI SUCCESSOR. LUDOVICI XIII, PROPENSIONE, ET ELECTIONE CALLICI IMPERII DESIGNATUS MODERATOR, REGNATURI INFANTIS E SACRIS UNDIS SUCEPTOR REGIAEQUE SOBOLIS REGIAE TUTRICIS IMPERIO CONSILIARIUS. QUO IN MUNERE DICENDUM NUMQUAM SATIS. GALLIA, EO DIRECTORE, NUNQUAM MAIOR, AUT FELICIOR. LUDOVICI XIV

EXIMIA DIRECTION, AC EXISTIMATIONE EXIMIIS ORNATUS HONORIBUS. TANDEM CHRISTHIANAE REIPUBLICAE PACE DONATA, REGIOQUE FIRMATA CONIUGIO, AD SUMMUM GLORIAE CULMEN EVECTUS, PRIMARIIS EUROPAE PRINCIPIBUS AFFINITATE CONIUCTUS, IN PROSPERIS, IN ADVERSIS, ET IN MORTE TRIUMPHANS, OMNIA SUA PRAECONIA IN HOC UNO CONCLUSIT, ET IN EO SOLUM GAVISUS, DEO INSERVISSE, AC REGI, OBDOR MIVIT IN DOMINO ANNO SALUTIS MDCLXI AETATIS SUAE LVIII MENSE VII DIE XII Nel Sordino di sopra comparivano due gran figure rapresentanti le Muse, Clio, e Caliope, col Motto in uno svolazzo sostenuto da un Genietto UTRIUSQUE PABULUM per figurare il copioso alimento, che le attioni del Cardinale daranno all'epico, & all'Historia à la gloria del nostro Secolo, & ò benefitio, & ammiratione della Posterità.

Ne i fianchi di questa parte si mostravano l'Eloquenza, e la Liberalità, la prima col Motto NON MINUS SERMONE ci significava la Forza della persuasivaa del Cardinale, con la quale incantava, per così dire, chi l'ascoltava: restando, e confessandosi ogn'uno

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vinto dalla potentissima Facondia del suo discorso ammirato per ciò come un nuovo Ercole Gallico, la seconda, col Motto ET GENIO, ET MERITO dinotava la Liberale distributione delle Sue gratie non solo à Chi egli lo credeva meritevole, mà anche à chi incontrava il suo genio, il quale come era per lo più portato à ose altissime potè tal volta lasciare qualche desiderio della sua munificenza in alcune private: Onde le maggiori lodi in questa parte se gli devono per gli atti magnanimi, e da Monarca, quali per l'appunto appaiono l'ultime SUe dispositioni Testamentarie.

Con tale apparato la mattina delli 28 Aprile si cantò una Messa solenne da Monsignor Gavotti Vescovo di Ventimiglia, con li Offitiali di Palazzo, & una numerosa & eccellente Musica arricchita di flebili sinfonie di Viole, e d'altri instrumenti.

Vi assisterono i Signori Cardinali de i partiti Francese, e Spagnuolo, che furono Antonio Barberino, Colonna, Grimaldi, Sforza & Astalli Preti, (a' quali per suo particolar affetto verso il morto Cardinale volle aggiungersi il Sig.Card.Albici) & all'incontro Orsino, Este, e Mancini Diaconi, con buon numero di Prelati.

Si compiacquero ancora li Signori D. Louis Ponze de Leon Imbasciatore di Spagna, Nicolò Sagredi Imbasciatore di Venetia, Marchese del Borgo Imasciatore di Savoia, e D. Maffeo Barberini Prencipe di Pelestrina intervenire alla funtione ne i Coretti della Chiesa. Fù infito il concorso della Nobiltà, e del Popolo, à sodisfattione de' quali convenne lassare per otto giorni continoui esposto l'apparato; e per compire perfettamente i Suffraggi si andò nel medemo tempo distribuendo Pane, & altre carità à poueri.

Gradisci ò Lettore questo succinto raggualgio, che se bene è povero di ornamenti retorici, è però ricco di materia degna di Lodi universali; e ne i Successi così grandi del

70 Cardinale Mazarini ravvisa la forza d'una Virtù fortunata, e rifletti alla fragilità delle mondane grandezze, che qual luminosa fiamma al soffiar d'un vento immantinente s'estinguono.

Compatisci la mia debolezza e nell'intentione, e nella descrittione, appagandoti solamente della costanza de i miei riverenti ossequij verso la memoria d'un Padrone, c'hà voluto fin negli ultimi periodi della sua vita usar meco gli atti della sua gran benignità, in lasciar registrato nel suo testamento con dichiaratione assai singolare l'intiero suo gradimento della mia antica, e fedel servitù; & alla mia persona il titolo di non inutile servitore della Corona, essendosi di più compiaciuto di prendere da ciò motivo di supplicare Sua Maestà à degnarsi di continuarmi le sue gratie, e Real patrocinio.

IL FINE.

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Appendix III

Boards with 2D and 3D elaborations on the case study.

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