LEADER 04293nam 22006855 450 001 996308755603316 005 20221206180401.0 010 $a3-11-045246-4 024 7 $a10.1515/9783110452464 035 $a(CKB)3710000000519880 035 $a(SSID)ssj0001589298 035 $a(PQKBManifestationID)16274991 035 $a(PQKBTitleCode)TC0001589298 035 $a(PQKBWorkID)14871916 035 $a(PQKB)11365459 035 $a(WaSeSS)IndRDA00057380 035 $a(DE-B1597)460157 035 $a(OCoLC)1002221811 035 $a(OCoLC)1004868883 035 $a(OCoLC)1011447714 035 $a(OCoLC)945783215 035 $a(OCoLC)979746322 035 $a(OCoLC)980188374 035 $a(OCoLC)987934170 035 $a(OCoLC)992524356 035 $a(OCoLC)999354760 035 $a(DE-B1597)9783110452464 035 $a(MiAaPQ)EBC5494956 035 $a(Au-PeEL)EBL5494956 035 $a(EXLCZ)993710000000519880 100 $a20190615d2015 fg 101 0 $aeng 135 $aur||||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aDynamics of Architecture in Late Baroque Rome $eCardinal Pietro Ottoboni at the Cancelleria /$fEdward Olszewski 210 1$aWarsaw ;$aBerlin : $cDe Gruyter Open Poland, $d[2015] 210 4$dİ2015 215 $a1 online resource (155 pages) $cillustrations 300 $aBibliographic Level Mode of Issuance: Monograph 311 08$aPrint version: 9783110452457 320 $aIncludes bibliographical references and index. 327 $tFrontmatter -- $tContents -- $tPreface -- $tAbbreviation -- $t1 Introduction -- $t2 Architectural Beginnings -- $t3 Theater Architecture -- $t4 Other Cancelleria Spaces -- $t5 Architectural Collaboration -- $t6 Fugitive Architecture -- $tAppendix -- $tBibliography -- $tList of Figures -- $tIndex 330 $aThis is the first study to characterize the architectural patronage of Cardinal Pietro Ottoboni (1667-1740), and to identify twelve architects during his half century of patronage in his Ecclesiastical court of the Cancelleria. Most eminent among them were Filippo Juvarra and Domenico Gregorini. Commercial and private theaters in the palace are located from archival data, room measurements, drawings, diary accounts, Correspondence of the French Academy, and palimpsests of architectural details. The size, shape, appearance, capacity, and location of Filippo Juvarra's theater are discussed. Archival documents are cited to reveal why, how, and when it vanished. Detailed analysis is devoted to Juvarra's stage construction with its elaborate sets and moving apparatus. In his official function as Vice-Chancellor of the Church, it is well known that Ottoboni was positioned as a major patron of music, theater, and painting in late Baroque Rome. He was a librettist for oratorios performed by his resident composer, Arcangelo Corelli, and by Alessandro Scarlatti in venues in the palace, and in his basilica of San Lorenzo in Damaso, located in the palace grounds. His resident painters included Francesco Trevisani and Sebastiano Conca. He completed the construction of Bernini's Confessione in the nave of his basilica. As the sponsor of the Arcadian Academy, Ottoboni dictated taste in Roman cultural circles. His involvement in the competition for the façade of St. John Lateran is amplified. A grand overview is provided for the cardinal's commission of devotional machine constructed to rival the Lenten carnivals. As ephemeral constructions, and normally ignored liturgical phenomena, these are explored in detail for the first time. Late Baroque architecture, architectural patronage, Roman palace architecture Edward J. Olszewski, Case Western Reserve University, Cleveland, Ohio, U.S.A. 606 $aArchitecture, Baroque$zItaly$zRome 606 $aArchitecture, Modern$y20th century 610 $aLate Baroque Rome. 610 $aPatronage. 610 $aTheater Architecture. 615 0$aArchitecture, Baroque 615 0$aArchitecture, Modern 676 $a720 700 $aOlszewski$b Edward, $0969264 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a996308755603316 996 $aDynamics of Architecture in Late Baroque Rome$92202369 997 $aUNISA