Construction
begun in 1621 on the site of the destroyed church of St. Cecilia
1637/43 by
the brilliant Francesco Borromini (1599/1667)
with Paolo Marucelli (1594/1649), who later
quit, for the Congregation of St. Philip Neri (1515/95)
“At the
request of the congregation, the façade was not covered in stone, so that it
was not in competition with the nearby church. Borromini therefore developed a
new and extremely subtle technique that allowed the finer graduations and an
absolute precision of detail” (Rudolf Wittkower)
“The main
façade, originally facing a measured triangular piazza, arises from afar as a
replica of the façade of the church built by Rughesi. But as one approaches it,
the analogy turns out to be false appearance and the attempt (...) to
distinguish hierarchically the oratory from the church, making it less ornate,
turns out to be totally frustrated by an extraordinary density and intensity of
images that immediately makes Borromini's building the real star of the
surrounding space” (Paolo Portoghesi)
1650/56 wings toward Via di Monte Giordano and Via della
Chiesa Nuova by Camillo Arcucci (active from
1646/d. 1667)
ORATORY (or Sala Borromini)
1637/40 by Francesco Borromini
It was here
that the musical form known as Oratorio (an opera with a sacred theme,
little action and limited drama) which was adopted by the congregation of St.
Philip Neri as a liturgical instrument
At the
center of the stucco decoration of the vault “Divine Wisdom” 1788 by Pietro Angeletti (about 1737/98)
Altar “St.
Cecilia and St. Philip Neri in contemplation of the Madonna in Glory” in 1665
by the Sienese Raffaello Vanni (1587/1673)
REFECTORY
with two marble washstand by Borromini
“Borromini conceived
the distribution of the various rooms based on the already tested functionality
criteria and representative consistency: there is in fact, says Paolo
Portoghesi, a courtly tone in communal areas and a resigned and friendly one in
the rooms for the private residence” (Carlo Bertelli, Giuliano Briganti,
Antonio Giuliano)
1647/49 by Francesco Borromini
Aedicula
below the clock in mosaic 1657 maybe by Pietro Berrettini aka Pietro da Cortona (1597/1669)
“The urban
layout, as background of Via dei Banchi (Benches Street), a road that was familiar to him,
because it was where Carlo Maderno lived, suggested the idea of a tower,
designed to accommodate a large public clock. Vertical volume of the tower is
continuity in the facade below to display the powerful vertical bands which
provide a first grand rhythm of partitions. Borromini within this frame designs
mirrors repeated grouping using different elements and, on the effect of mild
graduated shots surface, set the silver chiaroscuro bending the system
of the Mannerist order in swaddling clothes, laid in front of the Collegio Romano, a
new rhythmic combinations” (Paolo Portoghesi)
ROMAN
NEWSPAPER AND MAGAZINES LIBRARY
COLLECTION
OF ROMAN NEWSPAPERS
HISTORICAL
CAPITOLINE ARCHIVE
“Miracle of
St. Agnes” in stucco by Alessandro Algardi
(1598/1654)
ROMAN
LIBRARY
“Encounter of S. Leo the Great with Attila” 1648 in stucco by Alessandro Algardi, model in actual size of the masterpiece
in the Chapel of the Column of the Basilica of St. Peter
VALLICELLIANA
LIBRARY
The oldest
olibrary pen to the public in Rome with 118,000 volumes and 2500 manuscripts
Hall dating back to the years 1642/44 by
Francesco Borromini
“Divine
Wisdom surrounded by stars and emblems of the Doctors of the Church” by Giovanni Francesco Romanelli (1610/62) from Viterbo, a
pupil of Pietro da Cortona
ROMAN
SOCIETY OF ITALIAN HISTORY
No comments:
Post a Comment