#DigitalBaroque / #GlobalBaroque

Fellowships on the Age and the Culture of the Baroque, 2020 Edition

Once again, I am delighted to share this information about the fellowship program for emerging scholars in Baroque studies run by my friends at the Fondazione 1563 per l’Arte e la Cultura in Turin. The topic for the 2020 edition is “#DigitalBaroque / #GlobalBaroque.” Please use the links below to learn more, and address any questions directly to the Fondazione 1563.

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The Fondazione 1563 per l’Arte e per la Cultura has announced the eighth edition of its annual program of five fellowships for postdocs, doctoral candidates, or other advanced degree holders in baroque studies, Borse di alti studi sull’Età e la Cultura del Barocco Intitolate a Rosaria Cigliano: VIII Bando – Edizione 2020. The application deadline this year is 31 August 2020. For more information, see the call for applications in Italian or English.

#DigitalBaroque / #GlobalBaroque

The current scenario in Italy, in Europe and around the world has brought to the fore the relevance of digital projects. In light of the pandemic, the cultural sector has reacted promptly to the temporary closure of its main sites (museums, theaters, libraries, archives, foundations, cultural institutes, residences, estates, parks, etc.) by making the cultural heritage available digitally. These actions are complementary and not intended to replace direct on-site cultural experiences. However, the availability of videos, images and archives online has increased the visibility of cultural assets and reached out to new and different audiences.

As regards active research, digital access to archival, library and photo library resources has become even more essential and has made the object of widespread scientific-philosophical discussion. Regardless of the lockdown phase in connection with the pandemic, digital resources have proven extraordinarily useful, particularly in promoting exchanges, advancing knowledge and fostering a more international dialogue across different disciplines.

To this end, building on the opportunities offered by the current scenario, the 2020 Fellowships made available by Fondazione 1563 will focus on proposals concerning the study of Baroque through or thanks to digital means in a global historical perspective, with special emphasis on the exchanges that have led to the creation of a globalized world.

Applicants are invited to submit proposals that rely on (existing) digital materials and that provide new research perspectives on documents, sources, images or collections, of different genres, themes and types, available in digital form or online. Applications may also concern the creation of new materials to establish, integrate or expand existing archives or collections. Applicants will outline in their proposals which materials their research will focus on and how they will be integrated.

The Call aims to promote research based on the use of digital instruments both in project design and execution, and in the way the project will be made accessible upon completion. Therefore, applicants should possess adequate digital skills and familiarity with digital instruments, particularly with reference to Human Language Technologies, Historical Content Analysis, Temporal and Spatial Content Tracking, Data Visualization, GIS and Linked Open Data. Proposals will be evaluated also according to their dissemination potential, that is to say the accessibility of the project outcomes both in digital and traditional forms.

The Call is open to researchers born after 1st January 1982, holding a doctoral degree or an advanced or master’s degree issued by Italian universities or equivalent degrees from foreign Universities.

Applications may be submitted exclusively online by filling out the forms available on the Fondazione 1563’s website at www.fondazione1563.it under About us/Funding opportunities.

Applications must be submitted by 31 August 2020 at h 24.00 (midnight, Italian time / CET).

Important: For the complete Notice of Competition for the fellowships, consult the PDFs in English or Italian.

Deadline 31 August 2020

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Other news from the Fondazione 1563

The first publication in the series Quaderni di ricerca (Libri bianchi) of the Fondazione 1563, La riscoperta del Seicento. I libri fondativi, edited by Andrea Bacchi and Liliana Barroero (Genoa: Sagep, 2017) is now available as an open access download from the foundation’s website.

According to the flyer for the book:

Il libro raccoglie gli esiti di un seminario curato da Andrea Bacchi (Università di Bologna) e Liliana Barroero (Università di Roma Tre) e promosso dalla Fondazione 1563 per l’Arte e la Cultura della Compagnia di San Paolo nell’ambito del Programma di studi sull’Età e cultura del barocco, diretto da Michela di Macco (Università Sapienza, Roma). Ciascuno degli autori dei saggi (Andrea Bacchi, Liliana Barroero, Giovanna Capitelli, Elisa Coletta, Valeria Di Giuseppe Di Paolo, Michela di Macco, Tomaso Montanari, Giovanna Perini Folesani, Stefano Pierguidi, Yuri Primarosa, Giovanni Romano, Lucia Simonato, Maddalena Spagnolo, Maria Cristina Terzaghi, Stefania Ventra, Arnold Witte) “rilegge” uno dei libri che, a giudizio dei curatori, hanno segnato e segnano in modo significativo gli studi sul Seicento artistico italiano, da Renaissance und Barock di Heinrich Wölfflin (1888) al Niccolò Maria Pallavicini di Stella Rudolph (1995), offrendone una trattazione critica secondo la prospettiva attuale.

Download the book here.

Broken Window in Dome of Guarini’s Chiesa dell’Araceli, Vicenza

As reported by Vicenzareport, on 10 April 2020 a portion of one of the oval windows in the dome of Guarino Guarini’s Santa Maria d’Araceli, Vicenza, crashed to the floor of the church. No one was injured in the apparently spontaneous mishap.

Video footage shows firemen securing the window by removing the remaining sections of glass before a temporary covering was installed. The video also provides a close look at the roof and exterior of the dome, views of the building rarely included in photographic surveys.

The church, for a convent of Poor Clare nuns (Clarisse), was built from 1675-1680. The local architect Carlo Borella oversaw the construction. It is the only church that Guarini completed for a female religious order, and his only extant church outside Piedmont.

The recent accident, while minor, is disturbing, since the church underwent a thorough restoration from 1981 to 2000. One hopes that this is not a sign of larger issues of deferred maintenance accumulating in the intervening decades.

Further reading on Santa Maria d’Araceli

Sketching Santa Maria d’Araceli: with additional bibliography.

Guarini Sites Outside Turin: with a link to additional images.

Early Modern Monuments to Deliverance from the Plague

As lockdown restrictions due to the coronavirus COVID-19 begin to ease after six to eight weeks, one gains new appreciation for humanity’s historic experience of epidemics. It is no coincidence that the word “quarantine” derives from a forty-day period of isolation, nearly identical to the length of our collective lockdown. The monuments erected to celebrate deliverance from historic epidemics also appear in a new light as we emerge from our circumscribed private lives back into the public realm. These commemorations historically included paintings and regular performances but the selection below focuses on votive buildings and sculpture.

The two prominent Venetian churches, Palladio’s Redentore and Longhena’s Santa Maria della Salute, begun after the plagues of 1575-76 and 1630, respectively, underscore Venice’s position as a prosperous port city subjected to recurring waves of disease introduced by international trade. The numerous central European plague columns (or pyramids), such as those in Vienna and Maribor, represent more modest but no less fervent expressions of civic gratitude. The Obelisk (or Guglia / Spire) of San Domenico in Naples also belongs to this category of monument. Guarino Guarini’s high altar in San Nicolò, Verona, like Santa Maria della Salute, fulfilled a vow to celebrate the end of the plague of 1630, although the altar was not installed until the mid-1670s and statues were still being added in the early eighteenth century.

What form will the coronavirus monuments take? Arguably, adequate healthcare infrastructure and universal healthcare access for everyone on the planet would be the most lasting way to express thanksgiving and prevent similar tragedies in the future.

Further Reading

Harold Avery, “Plague Churches, Monuments, and Memorials,” Proceedings of the Royal Society of Medicine 59(2), February 1966: 110–116.

Celebrating the End of the Plague (Festa del Redentore),” Google Arts and Culture. (h/t @schelbertgeorg)

EAHN 2020 Program Available and Registration Open

Important Update, March 2020

Sixth International Meeting of the European Architectural History Network
Edinburgh, 10-13 June 2020

The program and list of session speakers for the European Architectural History Network (EAHN) Sixth International Meeting are now available on the conference website. Conference events include plenary lectures by Anne Lacaton, Miles Glendinning, and Caroline van Eck. Details of the program of tours around Edinburgh and other sites in Scotland will be announced in the coming weeks. Twenty-five panels and roundtables, with additional open sessions, furnish rich content across a range of periods, methodologies, and geographies.

Conference registration is open, with special early bird registration rates available until 10 April. Standard registration at higher rates will be available until 3 June. The conference website has complete information about registration categories and rates.

EAHN 2022 Preview

For those thinking ahead to the next EAHN biennial conference – EAHN 2022 will be held in Madrid!

General Plan of the City, Castle and Suburbs of Edinburgh. Engraved by W. Faden. Faden and Jefferys, Pub., 1773.
Source: Beinecke Library, Yale University / public domain

 

Update to Guarino Guarini Resources

Some of the original periodicals are also yellowed. Here, D. G. Cravero, “Il Palazzo Carignano.” Atti e rassegna tecnica della Società degli ingegneri e degli architetti in Torino 5, no. 2 (1951): 55–63.
Source: Digital Repository, Politecnico di Torino

My files for my work include dozens of tattered old photocopies that I painstakingly collected during the work on my dissertation decades ago. Some of these historic articles appeared in obscure journals available only in a limited number of libraries. As the copies fade and the paper yellows, I sometimes wonder how much longer the texts will be legible.

Fortunately, more and more of these publications are being digitized. Last month, a sentimental favorite of mine – Hugo Schmerber’s “Einige Nachrichten über Guarino Guarini,” (Monatsberichte über Kunstwissenschaft und Kunsthandel 2, no. 8 (1902): 286–87) – appeared among the wonderful art journals digitized at the University of Heidelberg. A quote from Schmerber’s brief article served as a kind of motto for my dissertation: “Bei einem Manne, der wie Guarini sein Leben einem Orden geweiht hat, erscheint es einleuchtend, dass er in seinem Wirken als Künstler mehr oder minder von der religiösen Genossenschaft, der er angehörte, influenziert war.” His essay also provided the first published discussion of Guarini’s Prague design and its historic context.

I have now updated the Resources section of this website with a new page that gathers links to Schmerber and digitized versions of other older literature on Guarino Guarini. All the items date to before 1970, when the Guarini literature virtually exploded due to the catalytic effect of the 1968 conference on the architect held in Turin. The page will be updated periodically as new material becomes available in digitized formats.

Complete List of Resources Pages

Guarini’s Publications Online
Early Biographies of Guarini
Guarini Drawings Online
Guarini Sites Outside Turin
Guarino Guarini Timeline
Older Literature on Guarino Guarini Online
Other Guarini Resources
Re | Visiting Piedmontese Baroque Architecture

An Eighteenth-Century French Engraving of San Lorenzo, Turin

Gabriel-Pierre-Martin Dumont, after Guarino Guarini, “Plan, et coupe de la chapelle royale du St. Suaire de Turin” [but in fact San Lorenzo, Turin], 1781.
From: [Oeuvres de] Jacques-Germain Soufflot, plate 16.
Source: Bibliothèque de l’Institut National d’Histoire de l’Art (INHA), collections Jacques Doucet / “Licence Ouverte / Open Licence” Etalab

Inspiration for the Panthéon in Paris

This print has fascinated me ever since I discussed it in an article in 2001. The image reproduces the plan and section of Guarino Guarini’s church of San Lorenzo, Turin, based on plates from the architect’s treatise, except the caption misidentifies the building as Guarini’s Chapel of the Holy Shroud (Cappella della Sindone). As the caption goes on to say, Jacques-Germain Soufflot, the architect of Sainte-Geneviève in Paris, had the plate engraved by Gabriel-Pierre-Martin Dumont to bolster the number of authoritative examples for constructing the dome of his church.

Sainte-Geneviève (now the Panthéon) was constructed from 1758-1790, and spirited discussions in the architectural community accompanied the long process of planning and realization. In several meetings of the French academy of architecture, Soufflot defended his plans to construct a large, structurally daring dome over the crossing of the church. In these sessions, he cited multiple precedents that he had seen on his travels throughout Europe: the churches of Notre Dame in Dijon, Toussaints in Angers, Sant’Agostino in Piacenza, San Carlo al Corso in Rome, Christopher Wren’s Saint Mary-le-Bow in London, Milan cathedral, and unnamed churches by Guarino Guarini. From the guidebook published by Soufflot’s traveling companion Charles-Nicolas Cochin, we know that the French architect had been to Turin and had seen both San Lorenzo and the Cappella della Sindone in 1750.

This extraordinary print testifies to Soufflot’s appreciation of Guarini’s structural achievement at San Lorenzo. Since Soufflot hoped to build a dome at Sainte-Geneviève seemingly supported primarily by slender columns, San Lorenzo provided a good example of how to do this. Guarini’s design at San Lorenzo relied on a framework of hidden brick and timber arches to support the dome, rather than placing any significant weight on the marble columns that visually carry the superstructure.

The mistake in the caption was perhaps due to confusion on the part of the engraver Dumont as he produced the print after Soufflot’s death in 1780. Construction of the church continued for another decade until it was completed after the beginning of the French Revolution.

Soufflot’s commission of such an engraving is surprising in view of the criticism of Italian baroque architecture voiced by the French architectural writers in the eighteenth century. French critics targeted Guarini in particular because of his ill-fated, incomplete church of Sainte-Anne-la-Royale in Paris. Nonetheless, Soufflot’s admiration for San Lorenzo demonstrates the power of an innovative architectural solution to transcend polemics based on style, taste, and nationality.

Fredrick Nash, Interior of the Panthéon in Paris, first half 19th century. Watercolor over graphite.
Source: Cleveland Museum of Art / public domain

 

White Walls: Practical Advice from Guarino Guarini

“Paint your neighbor’s wall white”

Guarino Guarini’s posthumous architectural treatise Archittetura civile (Turin: Mairesse, 1737) is filled with common sense observations. This one on the power of white paint, in a larger section devoted to optical adjustments for altering the perception of architecture, is one of my favorites:

Gli Oggetti, che sono bianchi pajono più grandi, che di colore oscuro, ò nero, e più illuminati

… Il bianco ha forza disgregare e dilatare la vista, e perciò le cose bianche paiono sempre maggiori di quelle che sono d’altro colore; massime che nel bianco ogni sinuosità si conosce a motivo del’ombre, che nel bianco più si vedono che in qualunque altra spezie di colore. Che poi appariscono più luminose è si manifesto, che nelle contrade strette ed oscure per aver luce maggiore nelle stanze basta imbiancare l’opposto muro del vicino.

Architettura civile, Trattato III, Capo xxi, Osservazione 6, p. 159.

[“Objects that are white seem larger and brighter than those of a dark color or black
… White has the power to fragment and widen sight, and therefore white things always seem bigger than those that are of another color; especially since in white every sinuosity is revealed because of the shadows, which you can see in white more than in any other kind of color. That they then appear brighter is shown since in narrow and dark streets to get more light in your rooms it suffices to paint your neighbor’s opposite wall white.”]

I am considering using this tactic for a dark window well in my basement – some of Guarini’s advice is still relevant today!

Borromini Colloquium in Einsiedeln

30 June-1 July 2019

Portrait of Francesco Borromini, frontispiece to Opera del Cav. Francesco Boromino, Cavata da Suoi Originali cioè L’Oratorio e Fabrica per l’Abitazione De PP. dell’Oratorio di S. Filippo Neri di Roma, ed. Sebastiano Giannini (Rome, 1725).
Source: Getty Research Institute / Internet Archive

Werner Oechslin (Stiftung Bibliothek Werner Oechslin / ETH Zürich) and Francesco Moschini (Accademia di San Luca, Rome) have organized a two-day colloquium on Francesco Borromini, his sources, and his architectural offspring. The event assembles many established and emerging Borromini scholars and features a special keynote address by Paolo Portoghesi.

I am looking forward to participating with my presentation, “Borromini and Guarini: The French Connection.” My talk examines Guarino Guarini’s adaptation of Borrominian motifs at his ill-fated church of Sainte-Anne-la-Royale in Paris, and the subsequent reception of this design by French architectural writers.

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Program

Sonntag, 30. Juni / Domenica, 30 giugno
1. Arbeitstag. Borromini und seine Architektur im Kontext / Primo giorno: Borromini e la sua architettura nel contesto

09.30 –12.00 Uhr / Ore 09.30–12.00

● Francesco Moschini / Werner Oechslin
Einführung, Hypothesen / Introduzione, Ipotesi

● Paolo Porthoghesi (Rom)
Prolusione inaugurale: L’architettura di Borromini

● Federico Bellini (Rom)
La SS. Sapienza: l’espressione visual e sonora del misterio trinitario

13.30 –18.00 Uhr / Ore 13.30–18.00

● Giuseppe Bonaccorso (Rom)
Borromini e i rapporti con amici, conoscenti e committenti: una chiave di comprensione del suo processo del fare

● Eleonora Gaudieri (Wien)
Alois Riegels „Entstehung der Barockkunst in Rom“

Kaffeepause

● Alina Aggujaro (Rom)
Bramante e Borromini: le due prospettive

● Alexander von Kienlin, Gunnar Schulz-Lehnfeld (Braunschweig)
„Aufgebrochene Schlingen und Ketten“ – zum Michelangiolesken in Borrominis Architektur

Montag, 01. Juli / Lunedì, 01 Luglio
2. Arbeitstag: Borromini und die Folgen: Geometrie, Entwurfsprozesse / Secondo giorno: Borromini e le consequenze: Geometria, procedure del disegno

09.30 –12.30 Uhr / Ore 09.30–12.30

● Susan Klaiber (Winterthur)
Borromini and Guarini: The French Connection

Kaffeepause

● Martin Raspe (Rom)
Il Calvino dell‘ Architettura? Borromini und die Doktrin vom rechten Winkel

● Werner Oechslin (Einsiedeln)
Borromini il Cartesio dell’Architettura und die (nachfolgende) Disziplinierung der Kurve

14.30 –18.00 Uhr/ Ore 14.30–18.00

● Daniel Tischler (Wien)
Synoptische Architekturzeichnungen Borrominis

● Richard Bösel (Tuscania) – Diskutant

● Torsten Tjarks (Bonn) – Diskutant

Kaffeepause

● Stefan Kummer (Würzburg)
Anmerkungen zur vermeintlichen ‚Kurvenfeindlichkeit‘ Balthasar Neumanns am Beispiel der Würzburger Residenz

● Sebastian Schütze – Diskutant

● Schlussdiskussion / conclusione

18.15 Uhr / Ore 18.15: Besichtigung der Klosterkirche Einsiedeln / Visita della abbazia di Einsiedeln

Venue

Stiftung Bibliothek Werner Oechslin
Luegetenstr. 11
8840 Einsiedeln

Attendance is free, but registration requested at info@bibliothek-oechslin.ch.

Download

Download the colloquium program as a PDF.

From my presentation, “Borromini and Guarini: The French Connection”

EAHN 2020, Edinburgh: Call for Papers

David Roberts (1796–1864), Edinburgh from the Castle, 1847, Oil on canvas, Yale Center for British Art, Paul Mellon Collection
Source: Yale Center for British Art / public domain

European Architectural History Network Sixth International Meeting
Edinburgh, Scotland, 10-13 June 2020

The scientific committee for EAHN 2020 in Edinburgh has selected twenty-five sessions and round tables for the conference, and published the call for papers for these panels. I am no longer actively involved in the EAHN, but am delighted to see that the colleagues currently leading the organization have pulled together such a varied and stimulating program. For complete details on the call for papers, see the conference website and the listing of panels. An additional webpage provides a convenient overview of all the panels with their individual details.

EAHN 2020 CALL FOR PAPERS – DEADLINE 20 SEPTEMBER 2019

The call for papers (sessions) and discussion positions (round tables) is now live. The deadline is 20 September 2019, and proposals should be submitted to the Session Chairs, whose details may be found below. All proposals should include the following information:

· A proposal, in English, of no more than 300 words

· The title of the paper, or discussion position

· Your name

· Your professional affiliation

· A short curriculum vitae (maximum of two pages)

· A mailing address, email address and telephone number

Sessions will consist of either five papers or four papers and a respondent, with time for dialogue and questions at the end. Each paper will be limited to a 20-minute presentation. Abstracts for presentations should define the subject and summarize the argument to be presented in the proposed paper. The content of that paper should be the product of well-documented original research that is primarily analytical and interpretative rather than descriptive in nature.

Round tables will consist of five to ten participants and an extended time for dialogue, debate and discussion among chair(s) and public. Each discussant will have 10 minutes to present a position. Abstracts for round table debates should summarize the position to be taken in the discussion.

Please note: papers may not have been previously published, nor presented in public. Only one submission per author will be accepted. All abstracts will be held in confidence during the selection process. In addition to the thematic sessions and round tables listed below, open sessions may be announced in due course – details to be provided on the conference website.

Sessions and Round Tables:

● Urban planning during state socialism: global ambitions, national ideologies and local desires

● Public Health in the Early Modern City: Salutogenesis Through Architecture

● Ephemerality and Monumentality in Modern Europe (c.1750-1900)

● Splitted Cultures/New Dialogues: Research in Architectural History and Theory

● User Comfort, Functionality, and Sustainability as (Early?) Modern Architectural Concerns

● Shifting Identities of the Ottoman Vernacular

● Migration and Domesticity in the Long Nineteenth Century

● Cosmopolitanism’s Others: Transnational Architecture and Planning beyond Europe and North America

● Design as Process in Pre-Modern Architecture

● Rethinking Architecture for Friars: Process and Spatial Solutions in the Medieval and Early Modern Europe, 1200 – 1500

● English as the Academic Lingua Franca?

● The Urban Commons: Collective Actors, Architectural Agency and the City

● Multilateralism since 1945. From the Comecon to the Belt and Road Initiative

● The Role of Women in the Building of Cities in Medieval and Early Modern Europe

● Architects do not make buildings: A last call for disegno

● Drive-In Architecture, Carriage to Motor Age

● Radical Exchanges between Latin America and Europe in the Everlasting Sixties

● Hotels in the Global South and the Architectures of Contact Zones

● Empires of Heritage: World Monuments before UNESCO

● European Welfare Landscapes: Histories and Futures

● Southern Exchanges: Relocating Architectural Knowledge Production

● Territories of incarceration: The project of modern carceral institutions as an act of rural colonisation

● Flexibility and its Discontents: Techniques and Technologies in Twentieth Century Architectural Production

● Genius Loci: The Politics of Pre-Modern Architectural Style

● Cultivating the Child Eye’s View

Fortuna del Barocco in Italia. Le grandi mostre del Novecento

Book Launch: Proceedings of November 2016 Conference

Fortuna del barocco book launch invitation
As the work on the research project Antico / Moderno. Parigi, Roma, Torino 1680-1750 concludes, the second publication arising from the project will be presented at the Salone del Libro in Turin on 10 May at 16:30. Volume 2 in the series Quaderni di Ricerca of the Fondazione 1563 per l’Arte e la Cultura collects the conference proceedings from the November 2016 conference Fortuna del Barocco in Italia. Le grandi mostre del Novecento.

My contribution to the volume consists of a response to the talk by Joseph Connors entitled “Il barocco in Italia visto dall’estero. Le mostre di architettura.” View details of the other essays comprising the book in the table of contents. Looking forward to this volume documenting a very stimulating conference!

Publication

Di Macco, Michela, and Giuseppe Dardanello, editors. Fortuna del Barocco in Italia. Le grandi mostre del Novecento. Fondazione 1563, Quaderni di ricerca 2. Genoa: Sagep Editori, 2019.

Other news from the Fondazione 1563 per l’Arte e per la Cultura

● This is a great chance to note the new Summer School organized by the Fondazione 1563, entitled “Ripensare il Barocco (secoli XVII e XVIII). Nuove prospettive storico-critiche.” The Summer School takes place in Turin from 2-7 September 2019 and the deadline for applications is 31 May 2019. For more information, see the call for applications in Italian or English.

● The Fondazione 1563 per l’Arte e per la Cultura has also recently announced the seventh edition of its annual program of fellowships for postdocs or advanced doctoral candidates in baroque studies, Borse di alti studi sull’Età e la Cultura del Barocco Intitolate a Rosaria Cigliano: VII Bando – Edizione 2019. The five annual fellowships support emerging scholars under the age of 35. The application deadline this year is 27 July 2019. For more information, see the call for applications in Italian or English.