Tools and Methods for Historical Research

María Luisa Cervantes Serrano

Tools and Methods for Historical Research María Luisa Cervantes S.

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SAPIENZA UNIVERSITÀ DI ROMA MASTER IN ARCHITECTURE CONSERVATION 2021-2022 Prof. Antonio Russo Arch. Alper Metin Book by: Maria Luisa Cervantes Serrano 2009919

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María Luisa Cervantes Serrano

Index Attic Base & Corinthian Base Pieno in Asse (With & Without) Palladio & Vignola Cornner Solutions Banded & Simplified Solutions Facade Types Description of Churches Facades Horizontal Section of Churches Facades Main Nave Horizontal Section Mola Project for San Giovanni Plan Church Exercise Drums Horizontal Sections Bell Towers Palazzo Stati Maccarani Palazzo dei Conservatori Palazzo Barberini San Giovanni in Laterano S. Maria Maggiore: the history of one of the Papal major Basilica in Rome Arc of Aquino Pantheon and Hagia Sophia San Ignasio in Bogota The Santa Capilla of the Lady of the Pilar Classroom exercises

4 6 8 10 12 14 16 23 28 33 35 38 43 50 52 55 58 62 66 70 74 76 80

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Attic Base & Corinthian Base

Attic Base

Upper Torus Listel Scotia Listel Torus

Plinth

Hotel Portoghesi

Chiesa Sant’Agnese in Agone

Chiesa del Gesù 4

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Corinthian Base Upper Torus Listel Scotia Listel Astragols Listel Scotia Listel Torus

Plinth

Chiesa Santa Maria di Loreto

Chiesa Sant’Agnese in Agone

Pantheon 5

Pieno in Asse (With & Without)

Pieno In Asse Santa Maria della Pace

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Without Pieno In Asse Palazzo Borghese

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Palladio & Vignola

Palladio and Vignola Tuscanic Order

Doric Order

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Ionic Order

Corinthian Order

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Cornner Solutions

Corner Solutions Palazzo Medici

Palazzo della Cancelleria

Palazzo Venezia

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Santa Maria della Pace

Palazzo Farnese

Palazzo Ducale in Urbino

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Banded & Simplified Solutions

Pallazzo del Orologio Simplified ribattitura

Ribattitura of banded order Ribattitura of giant order

Simplified Order Banded Order

Giant Banded Order Giant Column Order

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Simplified Order

Santi Claudio e Andrea dei Borgognoni

San Francesco a Ripa

Banded Order

Carabinieri Comando Generale Nucleo Tutela Patrimonio Culturale

Santa Maria Maggiore

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Facade Types

Aedicule Facade

Santa Maria della Scala

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Attic F

San P

Facade

Pietro

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Intersected Facade

San Francesco della Vigna

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Description of Churches Facades

Description of Churches Facades San Gregorio al Celio, Roma

The San Gregorio al Celio Church has a hybrid façade. The ground floor has a portico with three arch openings of the same dimensions creating a regular A-A rhythm. The next level there is a palazziale style façade. In order to give the entrance hierarchy, the center part is moved forward marking the center opening as the main access to the building, its importance is also reinforced by crowning this part with a pediment. Regarding the column order, on the ground floor there are pilasters with bases and ionic capitols on both sides of the arches, although the frontal two pilasters have one extra ionic ribattitura in addition to the banded order ribattitura in all the 6 pilasters. The upper level has the same logic but with Corinthian capitols.

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María Luisa Cervantes Serrano

San Gaetano, Padua

The San Gaetano church in Padua has a hybrid façade with a palazziale style and an attic. The Temple has a rhythm A-A-B-A-A, it is like the prono of a temple the center is larger in order for a mother to enter with its child, like Vitruvius said. On its ground level has a giant composite column order on entablature without the pedestal. Followed by an attic with a simplified order.

The entrance is made through a door with an ionic framed and it is enhanced on the attic with a finestra termale or Diocletian window.

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Description of Churches Facades

Oratorio del SS. Crocifisso, Roma

The temple is a hybrid façade with elements form the aedicule and palazziale.

It has an A-B-A rhythm like the scheme of a triumphal arch. Both levels have a simplified column order with triglyphs in the capitol portion in the ground level.

Here we can also see an example of a bocca di lupo window that were made in order to illuminate a space. The door has an ionic frame. The entrance is enhanced by an attic on the most upper part, on top of it there is a pediment and on the sides it has scrolls

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María Luisa Cervantes Serrano

Santa Maria Maggiore, Roma

The church of Santa Maria Maggiore in Rome has a hybrid façade with a portico con the ground level, a loggia on the first level, and scrolls from an aedicule. In. The portico has an A-B-C-B-A rhythm and is made with ionic freestanding columns on entablature and ribatittura on either side. The logia on the first level has an B-C-B rhythm with arches on semi-columns. The center is enhanced by a pediment. Between the two levels there are 3 pediments in the two ways, like in the pantheon, and a zoccolo between the entablature of the first level and the pedestal of the second one.

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Description of Churches Facades

Santa Croce in Gerusaleme, Roma

The church of Santa Croce in Gerusaleme has a hybrid façade with an oval portico on the ground level and a palazziale style in the first level. The three bays have an A-B-A rhythm like a triumphal arch with a giant composite order on pedestal with ribatittura. The entrance to the portico is in the shape of a serliana with an arch on free standing ionic columns. All of the column orders are on top of a zoccolo in order to be at the same height with the altar.

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María Luisa Cervantes Serrano

Sant’Alessio all’Aventino, Rome

The San Gaetano church in Padua has a hybrid façade with a palazziale style and an attic. The Temple has a rhythm A-A-B-A-A, it is like the prono of a temple the center is larger in order for a mother to enter with its child, like Vitruvius said. On its ground level has a giant composite column order on entablature without the pedestal. Followed by an attic with a simplified order.

The entrance is made through a door with an ionic framed and it is enhanced on the attic with a finestra termale or Diocletian window.

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Description of Churches Facades

San Petronio, Castel Bolognese

The church of San Petronio is an intersected façade. It has an A-B-A rhythm like the scheme of a triumphal arch. With a giant column order for the central nave in the Doric style that finishes with a pediment on top. It has a smaller column order with tuscanic style in the sides. The central nave has an arch on pillar that results on a finestra termale.

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Horizontal Section of Churches Facades Santo Spirito In Sassia

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Horizontal Section of Churches Facades

Chiesa del Gesú Vignola

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Santa Susana

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Horizontal Section of Churches Facades

San Vicenzo e Anastasiox

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Santa Maria in Portico

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Main Nave Horizontal Section

Main Nave Horizontal Section Santo Spirito In Sassia Floor Plan

Counter Facade

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Corner Solution

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Chiesa del Gesú Vignola Corner Solutions

Floor Plan

Counter Facade

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Main Nave Horizontal Section

Sant’Andrea della Valle Floor Plan

Counter Facade

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Corner Solution

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Sant’Ignazio de Loyola Corner Solutions

Floor Plan

Counter Facade

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Main Nave Horizontal Section

Santa Maria in Portico Floor Plan

Counter Facade

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Corner Solution

María Luisa Cervantes Serrano

Mola Project for San Giovanni The basilica of San Giovanni in Laterano was a gift from the imperator Constantine to the catholic church. It the church of the bishop of Rome and one of the most important ones of the world. Although initially was a simple basilica building during its history it has been through a lot of renovation and transformation projects. In the following paper we are going to see a project for the renovation of this church that was not built by the architect Giovanni Battista Mola.

The pope Urbano VIII (1623-1644) wanted to make a renovation plan for Rome’s cathedral. Its requirements included to preserve the basilica church, seeing that they had destroyed the one in Saint Peter. With this in mind Giovanni Battista Mola started to design the project which resulted in two proposals for the front façade and a redesign for the inside nave.

Façade design The design for the façade he proposed a hybrid with a portico on the ground floor and a loggia on the first floor, with aedicule scrolls in both of the designs. According to the information founded Mola wanted to have an iron structure. The entrance part was enhanced with a pediment between the two floors and one on the top. The entrance resembles also the scheme of a triumphal arch with an A-B-A rhythm.

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Mola Project for San Giovanni

Main nave For the interior of the church Mola proposed a new design, with twin pilasters and openings of arches on pillars. A continuous entablature that was followed by an attic on the upper lever with a banded solution.

Some of its references for this design may be, first the solution of Vignola for the Gesù Church. With twin pilaster between the arch openings. As well as being influences by his work on San Sebastiano fuori le Mura by Flaminio Ponzio. This is specially on the attic solution with banded order that follow the same rhythm as the one on the ground floor.

Other proposal based on his work on San Sebastiano is extending the lateral naves with two free standing columns.

We can analyze other changes he proposed thanks to the survey made by Borromini in the 18th century, such as the change in the structure and rhythm. Structurally wise he proposed for the lateral naves to be covered by cross section vaults and arches that connected to the free-standing columns.

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Plan Church Exercise

The building has an attic façade. It has an A-B-A-C-A-B-A rhythm. The ground level has a doric column order with pedestal, the architrave includes triglyphs and metopes. The upper level or attic level has an attic proportion with a banded order. In this level we can see a serliana style window. The plan is a central space reminiscent of a Greek cross. The central space has pendentives in order to support the dome. Its solution includes arches on pillars around this central space, with pilasters with a simplified order. The dome drum, on the other hand has a banded order.

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Plan Church Exercise

This plan is based in two central shapes plus an apse on one of the ends. It has an A-B-A rhythm similar to a triumphal arch on each of the squares. The pilasters are of composite order with pedestals and have a ribatittura. On the top level there are finestre termale and also a lanter on top of the altar. This is similar to the plan and idea of the church San Fedele in Milano

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María Luisa Cervantes Serrano

Chiesa di Santa Maria della Visitazione,Forli

The church of Santa Maria della Visitazioni in Forli was clearly influence by the church of Sant’Andrea al Quirinale in Rome based on its circular shape. However there a few differences starting with the fact that Santa Maria has an intersected façade with scrolls to the side a gigantic ionic column order with a broken pediment. While Sant’Andrea has a portico façade with a corinthian column order and a continues pediment. Finally, the dome on the first church is bigger than the façade while on the second one is smaller

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Drums Horizontal Sections

Drums Horizontal Sections Sant’Eligio degli Orefici

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Santa Maria Maggiore

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Drums Horizontal Sections

Sant’Andrea della Valle

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Santi Ambrogio e Carlo al Corso

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Drums Horizontal Sections

Sant’Eligio degli Orefici

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Bell Towers Caravaggio, Ss. Fermo and Rustico Church

It has a medieval type with a rhythm of A-A-A. Its column order is mainly pilasters in simplified order. The central openings are mainly on arches, there is also arches on the main axes. It has an orthogonal lantern which has a continuous entablature crowned by a ribbed dome.

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Bell Towers

Macerata, Civic Tower

The bell tower is medieval tower its ground level has a banded order with a ribatittura. The next one has a banded order and ribatittura as well but this leve has an arch opening in the way of a serliana. Topped by a pediment on an attic. The entire tower is topped by an octagonal lantern with ribbed dome.

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Copertino, Main Church

The bell tower has an A-B-A rhythm like the scheme of a triumphal arch, and arch on pillars. It has Ionic semi columns with a large pedestal. It is topped with a broken entablature.

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Bell Towers

Lequile, Main C hurch

The bell tower is in the ideal way. Its first level has an A-B-A rhythm in the doric order and an arch opening. The next level keeps the same rhythm but this time with an ionic twin pilasters. The upper level is the lantern with a opening and only one pilaster to each side, this is topped by a pyramidal shaped roof.

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Lecce, Cathedral

The bell tower is in the ideal typology. With a banded column order with twin pilasters, and a ribatitura in the openings with a continuous pedestal. It is crowned with an octagonal lantern with a ribbed dome.

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Bell Towers

S. Andrea delle Fratte

The bell tower is the ideal type. The first level has three quarter corinthian columns on a diagonal plinth. The next level consists of twin three quarter corinthian colums.

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Palazzo Stati Maccarani

Palazzo Stati Maccarani Palazzo Stati Maccarani was designed by architect and painter Giulio Pippi, known as Giulio Romano. It is located at Piazza S. Eustachio ,which is between Pantheon and Piazza Navona. It was completed in a few years, between 1519 and 1524, the palazzo is one of the few Roman works by the artist. He was inspired by the structure, albeit simplified, of Palazzo Caprini del Bramante. The building has seen multiple restorations so far and an additional half floor has been added to the building. This addition did serious damage to the structure of the palace.

Palazzo Stati Maccarani has accident typology in the plan. It has a regular facade but not a regular plan according to the entrance and the courtyard. Entrance seems like in the middle but when we look at the plan, it doesn’t correspond with the main courtyard. Courtyard stays on the left of the entrance axis.

When we start to examine the façade; we can see the rustic manor on the ground floor as a typical palazzo decoration. And Pippi used the column orders respectively on the upper floors. He used simplified order on the second floor and banded order for the 3rd floor which has attic typology.

Also in the courtyard, he used again rustic manor with the doric column order and pedestal on the ground floor. For the second floor Pippi used the gigantic ionic order with the pedestal.

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María Luisa Cervantes Serrano

In addition, Palazzo Stati Maccarani is small according to later Palazzo Farnese and earlier Palazzo della Cancelleria. But they still have similar features in comparison between functions. Widespread since the urban formation of ancient Rome, but class differences are now drawn by Bramante in the tectonics of the building face. While he was not the first to introduce shops into the palazzo typology, Bramante’s radical remix of the mixed-use palazzo type was to make this class distinction between public and private, retail and residential in the social sphere architecturally explanatory, in effect reversing the significance of this class distinction. Also, the use of shops in the ground floor under the rustic manors and residential features in the upper floors gave the chance of earning money from the rent for the owner of the palazzo.

Bibliography : Rakatansky, M. (2017, February 1). Aggregate – The Transformations of Giulio Romano: Palazzo Stati Maccarani. Palazzo Stati Maccarani. Retrieved June 29, 2022, from http://we-aggregate.org/piece/ the-transformations-of-giulio-romano-palazzo-stati-maccarani Micaela Antonucci (2021). I Soffitti Lignei di Palazzo Stati Cenci Maccarani A Roma. Retrieved June 29, 2022, from fupress.net (Firenze University Press)

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Palazzo dei Conservatori

Palazzo dei Conservatori The building of “Palazzo dei Conservatori”, was part of the remodeling project for the “Piazza del Campidoglio”, done by Michelangelo. The complex was commissioned during the pope Paul III of the Farnese family in order to have a governmental center in Rome. Initially, was intended as a small project with one palace and a public space, but with Michelangelo´s vision, it expanded to have the Senator´s palace and the two identical palaces of “Conservatori”, all surrounding a trapezoidal square. “Michelangelo proposed to transform the governmental center of the city of Rome into a series of spaces marking a monumental path of ascent and framed by grand palace facades.” (Burroughs, 1993, p. 88). The initial design of the project was made in the late 1530´s, but because of other papal commissions, the works on “Campidoglio” started around the 1540´s and the “Palazzo dei Conservatori” was not begun until the 1560´s.

The façade of the palace consists of a portico with pillars on entablature and a giant Corinthian column order in the shape of pilasters. On the sides of the pillars are free-standing Ionic order columns, framing each of the entrances. The inside of the portico is made of Ionic order columns in “alveolata”, that projects the freestanding columns on every side of the entrances. The upper level has windows with aedicules with Doric order semi columns. The central window is larger with Ionic order columns in “alveolata”, mirroring the Ionic columns that constitute the portico. Regarding the uses, the palace had to accommodate a city hall, the communal palace and government offices. To achieve this, Michelangelo decided to make a distinction of the uses on the two existing levels, noticeable by the expression of the architectural elements.

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Firstly, the Corinthian giant order represents a monumental style fit for the functions of the government as the face of the Roman citizen elite. This element also makes links with the old public buildings on the Roman Forum in which Corinthian or Composite columns were normally used. Consequently, the ground level would host offices for different guilds located inside the portico, which are framed by the subordinated Ionic columns that represent the area of labor and crafts, especially in contrast with the monumental giant order. This urban space served as a dispute for businesses, as it used to happen on the main market of the city. But, as the difference between the two levels is distinguishable, the giant order serves also to bring continuity to the whole façade, as when viewed at a specific angle, the Ionic columns disappear by the mass of the Corinthian pilasters.

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Palazzo dei Conservatori

In conclusion, the façade of the “Palazzo dei Conservatori” is an urban space that used the architecture as an expression for the function and the character of the square. Michelangelo conveyed its artistic values to be expressive but with knowledge of the classic architecture. “Michelangelo envisaged an art marked by originality in design and the free combination of elements, by responsiveness to each particular project, and by coherence within the work itself…” (Burroughs, 1993, p. 98).

Bibliography : Rakatansky, M. (2017, February 1). Aggregate – The Transformations of Giulio Romano: Palazzo Stati Maccarani. Palazzo Stati Maccarani. Retrieved June 29, 2022, from http://we-aggregate.org/piece/ the-transformations-of-giulio-romano-palazzo-stati-maccarani Micaela Antonucci (2021). I Soffitti Lignei di Palazzo Stati Cenci Maccarani A Roma. Retrieved June 29, 2022, from fupress.net (Firenze University Press)

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María Luisa Cervantes Serrano

Palazzo Barberni Palazzo Barberini was built for Taddeo Barberini, the nephew of Urban VII and was a residence that involved all the leading Roman architects of the day- Carlo Maderno, Gian Lorenzo Bernini and Francesco Borromini.

Maderno hoped that Palazzo Barberini would be one of his best works and this made him present on the working site, giving directions despite his dying state. He radically altered the architectural language of the seventeenth century.

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Palazzo Barberini

In 1625 he extended and renewed the original building who was bought by the Cardinal Francesco Barberini the Elder. The existing building, owned by the Sforza family was incorporated in the new project. The architect developed the rural villa type of architecture, based on the typical U-layout that later it turned to be an H-layout because the palace could not run straight beside the main street laid out by Sixtus V. , however, it was a perfect approach for the use of space in the manner pioneered by Peruzzi in the Villa Farnesina. The palace opens directly on to the garden by three-tiered monumental façade that features arches and windows and has no courtyards on its four sides of which facades are more simple in composition as the column order is simplified.

The widows compare to the arch at the foot of the steps of Palazzo Mattei which echoes the way the courtyard is connected to the atrium in Palazzo Farnese. The latter is characterised by a portico with three orders of receding spanned spaces that lead into an exedra. From there an elliptical atrium points the way to a long outdoor staircase that accesses the garden which is set on a higher level than the entrance.

The entrance level is composed by Doric column order, the second level is composed by Ionic column order and the third by Corinthian. The façade rhythm is A-A-A-A-A-A-A-A having at each level seven openings with the same dimension. In the main axis there is a balcony on the second floor as well as the coat of arms of the Barberini , the third floor we can see the balustrade element which is characteristic for the palazziale façade type.

The longitudinal axis is running between the back garden and the front façade, along which a great oval-shaped room and a double-volume hall are aligned. This axis creates a movement into profound spatial depth, an intuition that would become an important compositional feature of later Baroque architecture.

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Bernini took over the project of Palazzo Barberini after the death of Maderno in January 1629, working together with Borromini whom was entitled as “assistant to the architect”. He constucted the side that runs along Via Barberini as well as the winding staircase on an elliptical plan in 1634 (a type of structure first used

by Bernini and Vignola), the antechambers, the great salon and the broken bridge that was designed as a fake ruin constructed out of fragments of ancient buildings which was, as Franco Borsi said, an indicator of a new trend that aimed at astonishing and mystifying in order to get recognition.

Within the sumptuous residence, Cardinal Francesco Barberini formed a library composed of 80.000 volumes and manuscripts.The “borrominesque” character of the palazzo is evident in certain details on the facades as Bernini provided a free way of working that allowed Borromini to actively contribute to the project.

The top-floor window situated next to the arcaded center is one of the details that witness the influence of Maderno’s work, nevertheless there is Borromini’s dynamic interpretation of detail such as the segmental capping with endings turned outward at the end of 45 degrees and the undulating “ears” with festoons fastened to them. (Art and Architecture in Italy-Rudolf Wittkower, pg.40) The major part of the palazzo was done in 1633 but work finished in 1638, moment from which Borromini set out on his own. The entrance designed by architect Azzurri in 1848, built in 1864, opens onto Via delle Quattro Fontane through a gate with large telamons sculpted by Adamo Tadolini.

Pietro da Cortona had a turning point in his career between 1633 and 1639, years in which he completed the ceiling of the Gran Salone – work of vast dimensions and a staggering performance by any standards. (Pietro da Cortona: Glorification of Urban Viii’s Reign, 1633-9. Fresco. Rome, palazzo Barberini, Gran Salone in Art and Architecture in Italy-Rudolf Wittkower, pg.76) The painting was divided into five compositions representing Religion and Faith, the Church and Prudence, the forge of Vulcan, Hercules overcoming the Hydra and the center that represents the Barberini coat of arms borne heavenward by the Virtues that are accompanied by Providence, Time, Faith and Eternity.

Bibliography : -Christian Rome : a historical view of its memories and monuments, 41-1867, Volume 2.

-Rome Art and Architecture, Konemann, Marco Bussagli.

-Art and Architecture in Italy-Rudolf Wittkower.

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San Giovanni in Laterano

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San Giovanni in Laterano Rome’s Cathedral also known as San Giovanni Laterano located has been through a lot of transformations since it was first built. Founded by the Emperardor Constantine, it was consecrated to Christ the Saviour and given to the bishop of Rome as his cathedral, where papal services were held, (Jäggi, 2020). From that moment on the building has suffered different transformations throughout history. Resulting in a cathedral inspired in different elements of monumental architecture. The current interior of the basilica was design by Borromini in the XVII century, with its main façade by Alessandro Galilei that was added in the XVIII century (Milioni, 2007). Within this example of religious architecture, we can find a references to the triumphal arch, the column orders and a few variations, the basilica style and more. Making it a real example of architectural evolution

throughout history.

The façade of the basilica has a hybrid scheme that includes a portico on the ground level followed by a loggia on the first level. It has an A-A-B-A-A rhythm with a giant Corinthian order, twin pilasters on each side and the single pilasters. The central space is projected forward, in order to give it a higher level of hierarchy, in the way of a prono, although unlike it the column order has a pedestal. The entrance is enhanced by two twin semi columns. On the ground level there is also two free standing columns on entablatures and ribatittura, on the first level this scheme translates into a serliana opening. On the rest of the ground floor the openings are marked with twin pilasters on entablature. For the loggia on the first level these spaces are arches on twin pilasters.

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San Giovanni in Laterano

The basilica has a crossed plan and is divided into 5 naves with small chapels on the side and a portico entrance. The main nave is bigger than the lateral ones and it ends with an apse. The transversal axis ends with the lateral chapels with simplified order on both sides. On the center of the two axis there is transept marked with a baldachin enhance with the light that comes off the lateral chapels. The main nave has an a-b-a rhythm, also known as trabatta ritmica, inspired by the triumphal arch scheme. Made with a giant column order of pillars with Corinthian capitols in a trilithic solution and a unique base proposed

by Borromini. The ground level has arches on pillars followed by a cleristorium ending with the entablature of the column order. The walls between the arches are decorated with aedicules made with spolia from the initial green marble columns of the Constantine’s Basilica.

In conclusion, the cathedral of Rome shows an architectural solution of how a building can be renovated through the centuries with an understanding and a respect for its past.

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Bibliography : Bosman, L. (2016). S. Giovanni in Laterano and Medieval Architecture: The Significance of Architectural Quotations. Monuments & Memory: Christian Cult Buildings and Constructions of the Past, 43–51. https://doi.org/10.1484/m.acsha-eb.4.2018005 Connors, J., & De Amicis, A. R. (2004). A New Plan by Borromini for the Lateran Basilica, Rome. The Burlington Magazine, 146(1217), 526–533. http://www.jstor.org/stable/20073645 Jäggi, C. (2020). MATER ET CAPUT OMNIUM ECCLESIARUM: Visual Strategies in the Rivalry between San Giovanni in Laterano and San Pietro in Vaticano. In The Basilica of Saint John Lateran to 1600. https://doi.org/10.1017/9781108885096.015 Milioni, A. (2007). L’Arcibasilica papale del Laterano nei secoli. Quasar. https://books. google.it/books?id=RLcVAQAAIAAJ Ward-perkins, B. (2020). The Basilica of Saint John Lateran to 1600 British School at Rome Studies Director of the British School at Rome School at Rome A History in Art The Punic Mediterranean : Identities and Identification from Phoenician Settlement to Roman Rule (Issue 2013).

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S. Maria Maggiore: the history of one of the Papal major Basilica in Rome

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S. Maria Maggiore: the history of one of the Papal major Basilica in Rome The church of Santa Maria Maggiore is an early Christian Basilica with 3 naves, it has two chapels that made the plan as a cross therefore has a transept, and an early Christian bell tower. Its entrance has been greatly modified. We can see from bufalinis plan from 1551 the oldest to date plan which only shows 3 naves a series of altars and no extra chapels. By 1748 in the Noli plan of Rome all of the transformations were already done. Starting from the Sforza chapel, the sixtine chapel and more.

White color: original Basilica plan; yellow color: Sforza chapel and Cesi Chapel; blue color: Sistine Chapel and other spases built during the Sixtus V Pontificate; green color: during the pontificate of Paul V; red color; new apse facade projected by Carlo Rainaldi during the Clement X Pontificate; violet color: facade and lateral building designed by Ferdinando Fuga during the Benedict XIV Pontificate.

The earliest building on the site was the Liberian Basilica or Santa Maria Liberiana, named after the Pope Liberius (352–366). This is in relation the miracle of snow in august as a way to remember it. However, the currect basilica was built under Celeste I (422–432) and was consecrated under Pope Sixtus III (432– 440), on the 5th of August, the day of the VIrgin. The plan of the church started as a three-naved simple basilica design. The basilica grew and evolve during the following centuries.

The first big addition was the Sforza Chapel by Michalengelo and the Cesi Chapel added in the 16th century. Then, during the Pontificate of Sixtus V (15851590) the Sistine Chapel was designed. During the Pontificate of Paul V (16051621) the Pauline Chapel was made, and then during the Pontificate of Clement X (1670- 1676, the staircase and the entrance were transformed by Carlo Rainaldi.

Finally, during the Pontificate of Benedict XVI (1740-1758) a new façade and lateral building was added designed by Ferdinando Fuga.

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S. Maria Maggiore: the history of one of the Papal major Basilica in Rome

In 1621 and according to the section byDe Angelis the church had a typical basilica scheme with wooden structure in the upper part. The roof was simple on the main naves and the lateral naves were covered with a vault. This solution is reminiscent of the Greek temples. We can also observe the series of elements from previous chapels added along time, and the entrance to the Sforza chapel.

This was a similar solution to Santa Maria in Trastever a entablature supported by free standing columns The Sforza Chapel was designed by Michelangelo, it includes a unique solution for the column order. By doing so makes it the protagonist of the space. With a composite style and a triumphal arch scheme, Michelangelo proposed a different type of making a baldachin with Four free standing columns in the corners and then other four in the center.

The Sistine chapel made by Domenico Fontane shows us a new way to use the marble with other material. The scheme of the chapel is a Greek cross and has connections to both the interior and the exterior of the church. The column order has a shaft made with ancient marbe decorated and its part of the decoration as well as the corinthian capitol.

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The Paoline chapel was made by Flaminio Pozio built in the baptistery where the architect proposes an entrance that changed the rhythm of the façade. By doing so he creates the idea of a transept that was did not previously exist. This entrance is in the scheme of a contracted serliana and enhances the entrances with columns of different colors. His column order is higher.

Bernini design a project façade in the shape of a peripteros around an apse. He proposes an attic reminiscent of a triumphal arch. By doing so combined two ancient typologies. However instead of his proposal Carlo Rinaldi’s solution was built.

The current façade was design by Ferninado Fuga which destroyed the idea of a portico by adding a loggia to the second level. However, this solution was made in order to preserve the mosaic

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Arc of Aquino

Arc of Aquino The Roman arches started to be reused in new projects the XVI century after they learned about them by surveying them or analyzing the ruins that still existed. The process of survey is a vital part of the architects learning process.

One of arches that was surveyed was the Arch of Aquino. The analysis made by Salusstio Peruzzi shows the resulting outcomes of his approach.

The arch of Mark Anthony is in Aquino, a small town in the south of Rome. The structure I outside the southern gate of the city, more specifically on Via Latina towards Casinum. It has a little more than six meets wide, 1.7 meter deep and the width of the bay (fornix) is 3.7 meter. The arch of Aquino has one fornix, is partially destroyed of the whole of the upper part including what would be the entablature and the attic. The arch is built entirely of travertine in opus quadratum. There is a part that is not visible thanks to the fact that is partially submerge. A pair of composite columns support the pilasters at the building’s corners were corinthian capitals are used. Small corner semi-columns with Ionic capitals support the arch.

The details of the survived architectural decoration and some unusual solutions, like the twin columns in the corners, instead of having three quarter detached columns; semi-columns below the vault of the arch which leads to suggest the time of its initial built in the Augustan age, around 40 BC. The building can probably be related to the establishment of the colony of Aquino, founded in 41 BC, during the Triumvirate.

The first drawings know where the survey made by Giuliano da Sangalo who drew the arch with one bay with corinthian pilasters and capitols with leaves and ionic columns that hold the archways. He then explains how the two orders were made. He did not draw the entablature in front of the attic which may suggest he in fact made it up.

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Antonio da Sangallo the Younger also did a drawing of the arch which was more realistic. Antonio drew like a direct survey. He removed inventions belong to previous one. He drew the arch without the entablature and the attic. He then proceeded to make description current state of the monument which said “arco di Aquino dove nasce una aqua fuora della terra” the meaning is “the arch of Aquino where a water is born out of the land.” But Sangallo was not precise in reproducing the orders which are, as can be seen in the plan, made up of threequarter columns, both of the Ionic order.

There are varios anonymous drawings for Arch of Aquino, the architect represents as a plinth, as perhaps it actually has, and with an attic on which there is a triangular pediment and on which stands there is a stepped pyramid.

Also, this first author of this drawing be aware about previous drawings because some elements recall from Giuliano’s drawings Also in this drawing, has some element that recall back to a drawing by Antonio da Sangallo the Younger with a hypothesis for the Mausoleum of Halicarnassus and it is also similar to another of his drawings for a tomb.

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Arc of Aquino

In the next drawing the arch has been invented to a great extent, but it is interesting to note that the unknown artist drew an arch surmounted by a complex attic where there is a bas-relief showing a ploughman. This representation has to be considered as a relation to the commemoration of the founding colony of Aquino and it shows that as early as the sixteenth century, the arch was considered a monument dedicated to the foundation of the colony.

In the drawing, the arch is surmounted by a termination with a niche with the statue flanked by two theatrical masks and two sphinxes. These sphinxes show a relation in the ancient roman figures too.

One of the last drawings for Arc of Aquino, which made by Sallustio Peruzzi. He imagined more elements of the arch mostly in comparison to the previous ones.

The architect drew the arch with three fornixes and a double attic. The arch is decorated with bas-reliefs illustrating the commemoration of the foundation of the colony. Generally, he assumed that the monument is bigger than the current state. According to his invention, we can assume that he took a reference from Arch of Constantine and Court of Belvedere.

To sum up, Arc of Aquino mysterious current situation, made a case study for sixteen century architect who have different cultures and knowledges. Thanks to their invention and surveying drawings for Arc of Aquino, we can analyze that their different periods and references

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Pantheon and Hagia Sophia

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Pantheon and Hagia Sophia

Pantheon

Circle plan Geometry -Hemispherical Dome -Single Dome Material -Brick and Mortar -Lead Cladding

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Hagia Sophia

Square plan Geometry -Hemispherical Dome -Single Dome Material -Roman Concrete -Lead Cladding

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San Ignasio in Bogota

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San Ignasio’s Dome Bogota-Colombia 1800-1805

hemispherical dome Reinforced ring

Lantern Fish-scale tiles Mortar layer Dome Drums

Flat trapezoidal tile Flat fish-scale glass tile Mortar Masonry dome Clay tile

Painted on the inside

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The Santa Capilla of the Lady of the Pilar

The Santa Capilla of the Lady of the Pilar In the city of Zaragoza inside the Cathedral-Basilica of Our Lady of the Pilar (Nuestra Señora del Pilar in Spanish) there is an important example of the Spanish baroque, this is the Santa Capilla, a tempietto or chapel inside the church for the column, or pilar, from which the church receives its name. It was design by Ventura Rodriguez an Spanish architect heavily influenced by Roman architecture (Chueca Gottia, 1991). Even though, he never travelled to Rome its way of making architecture can be trace back to important figures of the roman baroque, such as Bernini and Borromini. From which a lot of their churches show up as references for his work like, Sant’Andrea al Quirinale, Santa Maria Assunta in Ariccia, San Carlino alle Quattro Fontane, Sant’Ivo alla Sapienza and so many more. (Rodríguez Ruiz, 2013).

Starting from 1680 the gothic basilica undergoes a series of transformations and renovations with projects from Francisco Herrera Mozo, Felipe Sanchez and Domingo Yarza. So by the beginning of the XVIII century most of the church was completed, however, the medieval chapel in which the pilar had resided since the IV century was still waiting to be renovated. (Rincón Garcia, 2018) This presented a problem for the baroque architects, seeing that the easier option: moving the pilar and demolishing the entire chapel, like Herrera Mozo proposed was not approved by the religious entities, Ventura Rodriguez project which would not move the pilar ended up being chosen. (Chueca Gottia, 1991).

“The way in which Ventura Rodriguez solves the position of the pilar problems inside the basilica is masterful, because this eccentric shaft caused that the inside of the chapel occupy a different direction, making the diagonal axis much more important” (Chueca Gottia, 1991)

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The solution proposed by Ventura is an oval plan reminiscent of Borromini’s San Carlino alle Quattro Fontane. its central part is covered by an oval drum to which four semicircles are added, the atrium and altar are cover in a semioval drum, while the other two by a semicircle one. By doing so the loads are carried from the main drum to the semi circular and then to the pillars and walls. Like the church from Sant’Andrea al Quirinale the main axis of the chapel is the transversal one, however, unlike Bernini Ventura does not use the pieno in asse solution.

There may be a few reasons to do that, the main one being that he opens the lateral sides as entrances as well as the opposite one of the altar, giving the covered semicircle the hierarchy it needs.

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The Santa Capilla of the Lady of the Pilar

The three entrances to the chapel are through a curved façade that leads to the central space. These entrances serve the job of an atrium for the chapel. Even though the main entrance is bigger than the side ones they all share the same logic. They have a triumphal arch scheme with an A-B-A rhythm plus two side walls, unlike the triumphal arch there are not arches, just the Corinthian columns with pedestals on the central part and three-quarter columns on the side. The central part is enhanced by a pediment n the semioval drum.

One of the most interesting things to study about the Santa Capilla is its solution for the altar. At first sight it has a triumphal arch scheme with an A-B-A rhythm with Corinthian semi columns with pedestals. On the center there is a religious sculpture that has two side spaces made by arches on pillars. But when further inspected the scheme from the Santa Capilla has the central part smaller that the ones at the sides, unlike any roman church. After further observation the reason Ventura Rodriguez made this project was in order to solve the problem regarding the Pilar from which the church receives its name. Taking into account that he did not want to move this ancient relic this solution is a evidence of the architects skills and knowledge. (Rodríguez Ruiz, 2013). The central part is embellished with the figured of the apparition of the Lady of the Pilar, it is a sculpture made by Jose Ramirez de Avellano, the lady is depicted pointing towards the relic heling the viewer to understand the important object of the

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chapel.

“The prints (of Roman architecture that were shared in Spain) could serve the architect, artist or enthusiast to have the buildings in mind, even thought they were not physically close… in this sense Ventura Rodriguez was able to answer to the critics regarding the Santa Capilla… were he referred to roman churches, baldachins and altars with enough knowledge that it seemed he had been there” In conclusion, the Santa Capilla inside the Cathedral - Basilica of our Lady of the Pilar shows the direct influence from the Italian, specially the Roman, baroque.

Even thought its author Ventura Rodriguez, never visited Rome and only studied its buildings second hand. The references from his work can be tracked back to important Roman figures such as Bernini and Borromini. But at the same time, he had to adapt his knowledge and skills to the preexisting elements in order to result in a masterful solution.

Bibliography : Chueca Gottia, F. (1991). Fidelidad a los Orígenes en la arquitectura de Ventura Rodriguez.

Rincón Garcia, W. (2018). Siete Siglos de Escultura en la Basílica de Nuestra Señora del Pilar de Zaragosa.

Rodríguez Ruiz, D. (2013). De viajes de estampas de arquitectura en el siglo xviii . El Studio d’Architettura Civile de Domenico de Rossi y su influencia en España. 115–141.

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Classroom exercises

Arches

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Classroom exercises

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San pietro in Montorio

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Classroom exercises

Mola Design

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Bell tower S. Maria dell’Anima

Bell tower Sant’Agnese in Agone

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