The course aims to provide an highly specialized knowledge about the main historical and artistic phenomena in Rome during the early modern age, investigated under the different aspects of the historical context, the historiography of the art history, and the stylistic analysis. At the end of the course, the student should be able to present the contents learned through the frontal lectures, the reading of the bibliography and the visits to the artistic monuments, with clarity and competence, demonstrating the ability to relate, through an independent judgment and a critical awareness, different historical and artistic phenomena in Rome in the early modern age.
teacher profile teaching materials
The course aims at analysing and interpreting some liturgical spaces in the city of Rome, in particular the articulation and decoration of sacred buildings and places - such as oratories of the confraternities, churches of the newly founded religious orders and noble chapels - after the conclusion of the Council of Trent, understood as places of self-representation and social and political affirmation of the patrons, both secular and religious. We will therefore examine the spaces created or reshaped in the post-Tridentine era, conceived as vehicles of Catholic propaganda, or as places of affirmation of the social status of a family or patron, trying to interpret the dynamics behind the conception, creation and ornamentation of these places, with a focus on their pictorial and sculptural decorations.
M. G. Bernardini, L’oratorio del Gonfalone. Il ciclo cinquecentesco della Passione di Cristo, Cinisello Balsamo 2002, pp. 19-44; 51-115.
J. von Henneberg, L’oratorio dell’Arciconfraternita del Santissimo Crocifisso di San Marcello, Roma 1974, pp. 11-83.
R. Eitel-Porter, The Oratorio del SS. Crocifisso in Rome revisited, in “The Burlington Magazine”, Oct. 2000, pp. 613-623.
Chiese:
D. Ferrara, Artisti e committenze alla Chiesa Nuova in La Regola e la Fama, catalogo della mostra Roma, pp. 108-129.
S. Barchiesi, San Filippo Neri e l’iconografia mariana della Chiesa Nuova, in La Regola e la Fama, catalogo della mostra Roma, pp. 130-149.
H. Hibbard, Ut pictura sermones: le prime decorazioni dipinte al Gesù, in R. Wittkower e I. Jaffe, Architettura e arte dei Gesuiti, Milano 1972, pp. 30-43.
C. Robertson, Il Gran Cardinale. Alessandro Farnese Patron of the Arts, New Haven – Yale 1992, pp. 149-206.
G. A. Bailey, Between Renaissance and Baroque: Jesuit Art in Rome. 1565-1610, Toronto 2009, pp. 187-260.
Cappelle:
C. Franceschini, Ricerche sulle cappelle di famiglia a Roma in età moderna, in “Archivio Italiano per la storia della pietà”, 2002, pp. 345-513.
S. F. Ostrow, L’arte dei papi. La politica delle immagini nella Roma della Controriforma, Roma 2002, pp. 19-228.
P. Tosini, New Documents for the Chronology and Patronage of the Cappella del Rosario in Santa Maria sopra Minerva, in “The Burlington Magazine”, 2010, pp. 517-522.
P. Tosini, The Frangipani Chapel in San Marcello: Farnesian Devotion, Antiquarian Taste, and Municipal Pride, in Chapels of the Cinquecento and Seicento in the Churches of Rome. Form, Function, Meaning, Officina Libraria, Roma 2020, pp. 18-39.
C. Franceschini, A Splendid Shine for an Ugly Image: Visual interactions in the Salviati Chapel at San Gregorio al Celio, in Chapels of the Cinquecento and Seicento in the Churches of Rome. Form, Function, Meaning, Officina Libraria, Roma 2020, pp. 112-145.
E. Parlato, Caetani’s Blood: Magnificence, Lineage, and Martyrdom in the Family Chapel in Santa Pudentiana, in Chapels of the Cinquecento and Seicento in the Churches of Rome. Form, Function, Meaning, Officina Libraria, Roma 2020, pp. 64-87.
Programme
Sacred spaces in post-Tridentine Rome (1565-1615). Decoration and family self-representation in the oratories, churches and chapels of the papal city.The course aims at analysing and interpreting some liturgical spaces in the city of Rome, in particular the articulation and decoration of sacred buildings and places - such as oratories of the confraternities, churches of the newly founded religious orders and noble chapels - after the conclusion of the Council of Trent, understood as places of self-representation and social and political affirmation of the patrons, both secular and religious. We will therefore examine the spaces created or reshaped in the post-Tridentine era, conceived as vehicles of Catholic propaganda, or as places of affirmation of the social status of a family or patron, trying to interpret the dynamics behind the conception, creation and ornamentation of these places, with a focus on their pictorial and sculptural decorations.
Core Documentation
Oratori:M. G. Bernardini, L’oratorio del Gonfalone. Il ciclo cinquecentesco della Passione di Cristo, Cinisello Balsamo 2002, pp. 19-44; 51-115.
J. von Henneberg, L’oratorio dell’Arciconfraternita del Santissimo Crocifisso di San Marcello, Roma 1974, pp. 11-83.
R. Eitel-Porter, The Oratorio del SS. Crocifisso in Rome revisited, in “The Burlington Magazine”, Oct. 2000, pp. 613-623.
Chiese:
D. Ferrara, Artisti e committenze alla Chiesa Nuova in La Regola e la Fama, catalogo della mostra Roma, pp. 108-129.
S. Barchiesi, San Filippo Neri e l’iconografia mariana della Chiesa Nuova, in La Regola e la Fama, catalogo della mostra Roma, pp. 130-149.
H. Hibbard, Ut pictura sermones: le prime decorazioni dipinte al Gesù, in R. Wittkower e I. Jaffe, Architettura e arte dei Gesuiti, Milano 1972, pp. 30-43.
C. Robertson, Il Gran Cardinale. Alessandro Farnese Patron of the Arts, New Haven – Yale 1992, pp. 149-206.
G. A. Bailey, Between Renaissance and Baroque: Jesuit Art in Rome. 1565-1610, Toronto 2009, pp. 187-260.
Cappelle:
C. Franceschini, Ricerche sulle cappelle di famiglia a Roma in età moderna, in “Archivio Italiano per la storia della pietà”, 2002, pp. 345-513.
S. F. Ostrow, L’arte dei papi. La politica delle immagini nella Roma della Controriforma, Roma 2002, pp. 19-228.
P. Tosini, New Documents for the Chronology and Patronage of the Cappella del Rosario in Santa Maria sopra Minerva, in “The Burlington Magazine”, 2010, pp. 517-522.
P. Tosini, The Frangipani Chapel in San Marcello: Farnesian Devotion, Antiquarian Taste, and Municipal Pride, in Chapels of the Cinquecento and Seicento in the Churches of Rome. Form, Function, Meaning, Officina Libraria, Roma 2020, pp. 18-39.
C. Franceschini, A Splendid Shine for an Ugly Image: Visual interactions in the Salviati Chapel at San Gregorio al Celio, in Chapels of the Cinquecento and Seicento in the Churches of Rome. Form, Function, Meaning, Officina Libraria, Roma 2020, pp. 112-145.
E. Parlato, Caetani’s Blood: Magnificence, Lineage, and Martyrdom in the Family Chapel in Santa Pudentiana, in Chapels of the Cinquecento and Seicento in the Churches of Rome. Form, Function, Meaning, Officina Libraria, Roma 2020, pp. 64-87.
Type of delivery of the course
Taught classes and visits to main artistic monuments of the course, with the active participation of the students, through seminars and oral papers.Attendance
The attendance to the course is not mandatory, even if recommended.Type of evaluation
The exam will be oral and will test the knowledge of the topics developed during the course.