Architectural Temperance: Spain and Rome, 1700-1759 by Victor Deupi

By Victor Deupi

Architectural Temperance examines kin among Bourbon Spain and papal Rome (1700-1759) in the course of the lens of cultural politics. With a spotlight on key Spanish architects despatched to review in Rome by way of the Bourbon Kings, the ebook additionally discusses the institution of a application of architectural schooling on the newly based genuine Academia de Bellas Artes de San Fernando in Madrid.
Victor Deupi explores why a robust country like Spain may mood its personal construction traditions with the extra cosmopolitan tendencies linked to Rome usually on the fee of its personal nationwide and local traditions.
Through the inclusion of formerly unpublished files and photographs that make clear the theoretical debates which formed eighteenth-century structure in Rome and Madrid, Architectural Temperance presents readers with new insights into the cultural historical past of early sleek Spain

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As we have already seen in Chapter 1, the Palazzo di Spagna had to be evacuated, though it remained in Spanish hands. Philip argued his point from a secular position, letting it be known in Rome that he had no intention of renouncing obedience to the Vatican. The Pope nevertheless invoked the mediation of Louis XIV to solve the issue and Philip eventually conceded. Once peace was established with the Treaties of Utrecht and Rastatt, Philip set out quickly to stabilize relations with the papacy by putting in place a series of cardinal-ambassadors that would reside at the Palazzo di Spagna, and represent both the Spanish community in Rome as well as the interests of the Spanish nation (Barrio Gozalo 2007c; León Sanz 2010).

Photo by author. 42 Italian grandeur front of the Propaganda Fide. Giant obelisks were located at the four corners of the platform like minarets and a statue of a crowned nymph occupied the center of the pavilion. Symbols of Fertility and Abundance alluded to both the nuptial couple and the reign of Naples. This was not only one of Fuga’s more elaborate ephemeral structures for the Spanish community in Rome, but also his first for the Neapolitan monarch to whom he would later serve as architect from 1748 until his death in 1782.

The church was draped inside, and portraits of the Pope and the Emperor were placed above the church portal, while below on either side were pictures of the Spanish King Charles III and his older brother Joseph I, King of the Romans. The French Cardinal Forbin de Janson protested and with, the support of the Pope, the celebrations were cancelled and the portrait of Charles was re-hung in the great Salone of the Palazzo Caetani. On December 19, 1705, the funeral rites of the deceased Holy Roman Emperor Leopold I of Austria were celebrated in the church of Santa Maria dell’Anima, with sumptuous designs by Carlo Fontana (Braham and Hager Spain and Rome 13 1977: 89–97; Fagiolo 1997: II, 19–20).

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