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ItemGiovanni Paolo Panini architetto in Santa Maria della Scala a Roma(Università Mediterranea di Reggio Calabria, 2020)Il progetto architettonico della cappella di Santa Teresa nella chiesa di Santa Maria della Scala in Trastevere (1734-1745) è stata attribuita a Giovanni Paolo Panini, notissimo pittore, sia a suo figlio Giuseppe, architetto, poi autore delle cantorie e della bussola all’ingresso principale (1756). Questo articolo conferma l’attribuzione del progetto della cappella − nonché del disegno del pavimento marmoreo della chiesa − a Giovanni Paolo, che prestò i suoi servizi gratuitamente per i committenti carmelitani scalzi. Già prima del 1732, il priore fra Bernardo di San Tommaso d’Aquino ottenne da Panini un modello (forse per le pareti laterali) per il rifacimento delle preesistenti decorazioni lignee della cappella. Il 25 marzo 1733 il contratto stipulato dallo scultore Camillo Zaccaria faceva riferimento al progetto e alla direzione di Panini. Il progetto, approvato il 26 giugno 1734, doveva essere attuato con un lascito testamentario del cardinale Alessandro Falconieri, titolare della chiesa, con il supporto del Cardinale Vicario di Roma, Giovanni Antonio Guadagni, carmelitano scalzo. I lavori procedettero secondo i piani di Panini, anche se nel 1735 si decise di sostituire con decorazioni in rilievo gli specchi inizialmente da lui ideati per le pareti laterali. Nel maggio 1737 furono poste in opera le due colonne di verde antico al lato destro dell’altare, che fu consacrato solo il 2 ottobre 1745 dal cardinale Guadagni, al termine delle opere di decorazione che videro impegnati scultori primari come Giuseppe Lironi, Filippo Della Valle, Giovanni Battista Maini e Michelangelo Slodtz. Dodici giorni dopo la cappella fu inaugurata alla presenza di papa Benedetto XIV.
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ItemEditorial(Wiley, 2016-10-01)
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ItemReviews of Maria Antonella Fusco and Nicoletta Ossanna Cavadni (eds), Luigi Rossini 1790–1857. Incisore. Il Viallio Segreto /Engraver. The Secret Journey, Ciniselllo Balsamo, Milan: Silvana Editoriale, 2014 and Alberto Caldana, with studies by Mario Bevilacqua, Marcello Fagiolo and Clemente Marigliani, introduction by Howard Burns, Roma Antica: Piante topografiche e vedute generali, Vicenza: Centro Internazionale di Studi di Architettura Andrea Palladio, 2013(Print Quarterly Publications, 2016)Reviews of Maria Antonella Fusco and Nicoletta Ossanna Cavadni (eds), Luigi Rossini 1790–1857. Incisore. Il Viallio Segreto /Engraver. The Secret Journey, Ciniselllo Balsamo, Milan: Silvana Editoriale, 2014 and Alberto Caldana, with studies by Mario Bevilacqua, Marcello Fagiolo and Clemente Marigliani, introduction by Howard Burns, Roma Antica: Piante topografiche e vedute generali, Vicenza: Centro Internazionale di Studi di Architettura Andrea Palladio, 2013
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ItemMonsignor de Canillac's macchina for the Festa in Piazza Farnese to Honour the Marriage of the Dauphin of France and the Infanta of Spain in 1745(Università Mediterranea di Reggio Calabria Dipartimento PAU, 2018-01-01)Giovanni Paolo Panini’s unfinished Festa in Piazza Farnese to Honour the Marriage of the Dauphin of France with the Infanta of Spain, recently exhibited at the Getty Museum in the exhibition Eyewitness Views: Making History in Eighteenth-Century Europe, was made for the commissioner of the festa, Monsignor de Canillac. It shows the macchina as executed, which differed in a number of ways from the print by Louis-Joseph Le Lorrain, a pensionnaire at the French Academy in Rome, which was published in advance of its construction. Because the festa was delayed, the first macchina of the festival of the Chinea for Prince Colonna, which took place in the same piazza, was scrapped and replaced by one that re-used the armature of Canillac’s macchina. It is possible to infer the approximate form of this armature, part of which is visible in the painting (but not the print) as a tree-trunk. This raises the question of the nature of the second Chinea macchine, which were the main feature of the second day of the festival: after 1751 they re-used the armature of the first macchina, but prior to this many, if not all, may have been paintings rather than architectural structures.
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ItemRepresenting the Piazza del Quirinal in the reign of Clement XII: Panini's 'View of the Piazza del Quirinale'( 2002)By the eighteenth century some subjects for Roman view-paintings already had a long pictorial tradition, while others only came to prominence as a result of a site acquiring a new significance in the wake of papal building programs. One of the most important of these new subjects was the Piazza del Quirinale.
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ItemCarpaccio, Saint Stephen, and the topography of Jerusalem( 1984)Those buildings and topographical motifs in Jerusalem represented by Carpaccio in his Saint Stephen cycle are discussed, as are the ways in which they were represented by artists before Carpaccio. It can be deduced that Carpaccio's sole source for his renderings was in the woodcuts by Reuwich in the 1486 book by Breydenbach on the Holy Land. Suggestions of other sources and of a visit by Carpaccio may be discarded. Conclusions can be drawn about Carpaccio's approach to the representation of real landscape.
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ItemPiranesi, Juvarra, and the triumphal bridge tradition( 2003)This article examines the idea of the triumphal bridge from the Renaissance to Piranesi, by way of Flavio Biondo, Onofrio Panvinio, Pirro Ligorio, Nicolas Poussin, Fischer von Erlach, and Filippo Juvarra, in order to explore attitudes toward the reception and representation of ancient architecture. It shows how the eighteenth-century theme of the "magnificent (triumphal) bridge" had its roots in topographical inquiry and examines the contribution that Piranesi's interest in the archaeological problem of the triumphal bridge made to the creative process that resulted in the "Ichnographia", the large map of the ancient Campus Martius in his 1762 "Campo Marzio".
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ItemLa tentation néoclassique: les plafonds peints romains de Panini à Mengs(Musee Fesch, 2002)The following is the original English text of: Marshall, David R., ‘La tentation néoclassique: les plafonds peints romains de Panini à Mengs’, in Jean-Marc Olivesi (ed.), ‘Les Cieux en Gloire’. Bozzetti et modelli pour les eglises et les palais de la Rome Baroque, Musee Fesch, 2002, pp. 377-386. In 1711 Giovanni Paolo Panini arrived in Rome from Piacenza; fifty years later in 1761 Anton Raphael Mengs left Rome for Madrid. The former, better known as a painter of architectural capricci and vedute, was the heir to the Bolognese Baroque tradition of quadratura, or illusionistic architectural painting; the latter at the Galleria Albani rejected Baroque illusionism for the strict quadro riportato, or fictive framed easel painting, and so produced the first Neoclassical ceiling. Their paths seem hardly to have crossed, yet both worked for Cardinal Alessandro Albani, and both had to accommodate themselves to the mainstream of Roman ceiling painting, the illusionistic tradition stemming from Pietro da Cortona and reformulated in the last quarter of the seventeenth century in terms of an opposition between Carlo Maratta and G.B. Gaulli, Il Baciccio. Common to the masterpieces of these artists—the ceiling of the Salone of the Palazzo Altieri and the vault of the Gesù—is the ceiling cartouche, or rectangular field with semicircular ends, a framing motif that played so conspicuous a part in subsequent Roman ceilings that the history of the eighteenth-century Roman ceiling can be written in terms of the history of the relationship between the cartouche and the rest of the ceiling.
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