By Victor Deupi
Architectural Temperance examines relatives among Bourbon Spain and papal Rome (1700-1759) during the lens of cultural politics. With a spotlight on key Spanish architects despatched to check in Rome by means of the Bourbon Kings, the e-book additionally discusses the institution of a software of architectural schooling on the newly based genuine Academia de Bellas Artes de San Fernando in Madrid.
Victor Deupi explores why a strong country like Spain could mood its personal construction traditions with the extra cosmopolitan developments linked to Rome usually on the price of its personal nationwide and nearby traditions.
Through the inclusion of formerly unpublished records and pictures that make clear the theoretical debates which formed eighteenth-century structure in Rome and Madrid, Architectural Temperance offers readers with new insights into the cultural heritage of early smooth Spain
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Extra info for Architectural Temperance: Spain and Rome, 1700-1759
The decorations of the teatro were completed the morning of April 30 and that afternoon a serenata was performed in the space. In an effort to emphasize the legitimacy of the succession, and in order to maintain peace and tranquility at the event, the Spanish ambassador ordered more than 300 armed guards to be stationed around the piazza. m. The festive atmosphere, however, would not last long, as relations between Spain and Rome would quickly deteriorate with the War of Spanish Succession. On November 5, 1702, diplomacy was tested by an unfortunate carriage incident on the Via del Corso, between the Spanish ambassador’s wife and the Venetian Cardinal Vincenzo Grimani, representative of the Imperial faction in Rome (Anselmi 2001: 181).
Nearby on the Via Condotti, Giovanni Antonio De Rossi, architect of the confraternity of S. 11 Giuseppe Vasi, “Palazzo (Caetani) Ruspoli,” from Le basiliche e chiese antiche di Roma… Rome (1753). BHR: Dg 536-3470/3 gr raro. 12 Spanish Steps (Scalinata della Trinità dei Monti), Rome. Photo by author. 13), a prestigious residence for the Spanish marquis in 1658, one of the more recognizable properties in the quarter (Spagnesi 1964: 72–4). 13 Giovanni Giacomo de’ Rossi, “Palazzo Nunez,” from Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna…, Rome (1665–99).
At the foot of the structure was the orchestra pit for the musicians and vocalists. The decorations of the teatro were completed the morning of April 30 and that afternoon a serenata was performed in the space. In an effort to emphasize the legitimacy of the succession, and in order to maintain peace and tranquility at the event, the Spanish ambassador ordered more than 300 armed guards to be stationed around the piazza. m. The festive atmosphere, however, would not last long, as relations between Spain and Rome would quickly deteriorate with the War of Spanish Succession.
Architectural Temperance: Spain and Rome, 1700-1759 by Victor Deupi