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References (42)
-
Connors (Borromini and the Roman Oratory, cat. 39) was the first to date it rightly before no. 284, although the terms 'first' and 'second' are only part of the story -
Connors identifies three phases in this drawing: (1) the straight underlying copy from Maruscelli's plan -
Borromini's Book, p. 63; Opus -
(1979)
For a detailed discussion of these three sources of inspiration and support, see Anthony Blunt -
The compound facades of S. Susanna and S. Giacomo degli Incurabili offer very poor precedents -
The impetus for this work came from the legacy of Father Saluzzi, who had died on -
(1975)
English version here quoted from Rudolf Wittkower -
Opus, p. 8. 19 non averlo formato perfettamente (ibid -
Also in the Windsor drawing -
Maruscelli ignored ground levels' (ibid -
24 (italics mine); also p. 192 leading to a quite unnecessary date amendment -
For Maruscelli's plan, see ibid -
No complete upper-floor plans by Borromini are known. His other careful copies are ibid., cats 37b-f (Albertina nos 278 -
November (Pollak, Die Kunsttatigkeit unter Urban VIII, reg. 1790) -
R. Wittkower (1975)
Studies in the Italian Baroque -
finalmente nefeci uno a sodisfazione, di tutti col quale restorono superate tutte le dificolta (Downes, Borromini's Book -
The complexity of steps might be a virtue in a Frank Lloyd Wright private mansion -
This story is told in all the early Neri sources as an instance of divine guidance -
Sopra la volta dell' oratorio nuovo sifaccino stanze per Padri (Decreti -
Reactions and a third plan -
One minor design change was accepted and minuted -
the paper made by His Reverence and endorsed by the architect, as to why it proves impossible to make the room on a rectangular plan -
cm. References to Albertina drawings here (all in the same class) are simply by the Arabic number. Figs 4-6 and 10 here are traced for the sake of clarity in reproduction -
Giannini used the plate, slightly reworked, as plate V of the Opus (Fig -
II. 8a, f. 12; not in Connors. The drawing was possibly produced by Maruscelli from memory after he had resigned in May -
The curve is identical with those seen in the Albertina drawings nos -
(1995)
On post-Albertian architects' (including Michelangelo's) attempts to ensure the continuity of their designs see Howard Burns -
The niches answer the arcades; the string courses continue the lines of mouldings on the arcades. Neither the plans in Opus nor that of Paul Letarouilly (Edifices de Rome moderne -
Die Kunsttatigkeit unter Urban VIII, reg. 1805); the foundations were 'nearly finished -
The principal exception was the failure of the library's wall over the oratory vault; it fell to Arcucci to remove it and extend the library to the west end, which he did with discretion and skill -
N. Berberova (1969)
The Italics are Mine -
Connors's fig. 13 reconstructing Maruscelli's south elevation diverges substantially from the information in the plan -
In particular the ruled setting out of the same kitchen building as in no -
In the 'Relation' various designs were made 'both by their own architect and by others' (Downes, Borromini's Book, p. 67; Opus -
Borromini's Book, p. r j r j; Opus -
Why Maruscelli initially thickened the western bays, and also the south end of the west elevation, is a mystery, although it may have been for stability -
April 1638 concerning the oratory's lower floor level (Decreti, 108), and (probably) 23 November 1641 with outside consultants (Decreti, 174 -
Die Kunsttatigkeit unter Urban VIII, reg. 1802,1803 -
distinguishing the two phases of the sheet (1636-37,1637) from a later one (see below at n. 32; see further in section 'A complete plan -
(1975)
Whether the idea was really the pope's or Bernini was flattering him with the ascription -
quoting Decreto 134: non si innovb cosa alcuna -
moreover, the lower floor levels were the result of Maruscelli's ignorance of the site levels and the need to compensate for it
- Publisher
- Cambridge University Press
- Copyright
- Copyright © Society of Architectural Historians of Great Britain 2014
- ISSN
- 2059-5670
- eISSN
- 0066-622X
- DOI
- 10.1017/S0066622X00001398
- Publisher site
- See Article on Publisher Site
Abstract
St Philip Neri, founder of the Roman Oratory, died in 1595, just in time to see the completion, after twenty years, of the church of Santa Maria in Vallicella (known as the Chiesa Nuova)— except for the facade (finished c. 1607). Even before his canonization in 1622 the church was a place of pilgrimage. The community he founded inhabited a mass of miscellaneous buildings east of the church, decrepit, cramped, and acquired piecemeal over time when funds allowed. The musical ‘oratories’ — concerts with a sermon in the middle — also attracted many visitors, and the eponymous hall in which these events took place was inadequate. The community's rule allowed them to accept donations but not to beg or canvass for them. Nevertheless, by 1624 they were able to contemplate building a new sacristy on the west of the church and they were also buying up adjacent properties on that side. Initially most of the block was already built on, but by 1650 they owned practically all of it, and the shape of a new complex (Figs 1 and 2) was discernible from partly or wholly completed new structures.
Journal
Architectural History – Cambridge University Press
Published: Jan 12, 2016