Magnificenza His ordine ionico moderno is the product of a creative

Magnificenza his ordine ionico moderno is the product

This preview shows page 56 - 59 out of 280 pages.

Magnificenza . His ordine ionico moderno is the product of a creative transformation of ancient examples and natural elements into abundant ornament held in congruence to its architectural frame.There is a comparable plastic treatment of the manipulated motifs around the oculus where a fluted sarcophagus, wings, reeds, pipes, prows, and paddles appear all at once transformed and unified in as compactly integrated a meaning as in its formal composition.The inventions of ornamental incrustations are called by Piranesi and his workmen scherzi , a joking playfulness that brings to mind earlier capricci and the tradition of mannerist grotesques and similar to many passages in the plates of his enigmatic Parere . Like the reliefs in the piazza, the facade is imaginatively enlivened with etched collages of diverse motifs equivocal and fragmentary that communicate encoded messages along Piranesi’s route through Maltese memory.The interior presents, finally, the complete and climactic expression of all the episodic meanings. By extending and elevating the presbytery and puncturing the apse with a window in the back and the crossing with a lantern, Piranesi subtly reconfigured the spatial and lighting effects of the interior, incurring no structural alterations to the original chapel.A progressively enriched ornament intensifies the sensation of the space.Along the 56 the architecture of modern italy
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the challenge of tradition, 1750–1900 1.18 and 1.19 Giovanni Battista Piranesi, Santa Maria del Priorato, Rome, 1764–66
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vault’s crown a central panel of superabundant symbols composed with the intensity of a collector’s cabinet of precious objects brings together all references to the order, its religious duties, and military achievements.The priory altar is a fitting climax of the episodes that lead to it. Saint Basil is hoisted in apotheosis upon the nude form of a perfect sphere emerging from a pile of sarcophagi and ships prows. The iconography of the piazza, the facade and the nave is reiterated here in a compounded three-dimensional capriccio of enormous scale. The immense variety of Piranesi’s brain explodes at the altar in monstrous potency. Pope Clement XIII visited the church in October 1766 and was impressed—or pressed—enough to grant Piranesi the knighthood of the Sperone d’Oro he so avidly desired. Piranesi’s articulated speculations on design caught up with his fervent practice with the publication of Diverse maniere di adornare camini in 1769. In it he concocted elaborate chimneypieces precisely because this element had no ancient precedent.These plates are lessons in composition and decoration that draw on the widest variety of sources to get architecture “out of the old monotonous track.” Piranesi elaborates upon the extraordinary variety possible with the creative license:“Mankind is too fond of variety to be always pleased with the same decorations.We are alternatively pleased with the gay and the serious, and even with the pathetic, even the horror of a battle has its beauty, and out of fear springs pleasure.”This
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  • Spring '17
  • Archt. De Veyra

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