During Clement XIVs papacy forty seven statues fifty nine busts seven

During clement xivs papacy forty seven statues fifty

This preview shows page 69 - 71 out of 280 pages.

territory as well as eminent domain over any bishop’s collection. During Clement XIV’s papacy, forty-seven statues, fifty-nine busts, seven sarcophagi, sixteen vases and candelabra, twenty-three animal figures, twenty-eight ancient altars, forty-one reliefs, and 124 inscriptions were acquired. In 1771, a reorganization of the Belvedere Villa was projected by the in-house architect,Alessandro Dori.The original Renaissance loggia was rearranged and outfitted with statues on pedestals, busts on shelves, and generous ornament in a manner similar to that of Villa Albani.A portico was applied to the unadorned walls of the pre-existing courtyard of the Belvedere complex.The vaulted, top-lit portico provides adequately sumptuous cover for the statues.There is 69 the challenge of tradition, 1750–1900
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no reason to suppose that at this first phase of the museum’s development the elegant architectural handling was designed to be anything substantially different from the Villa Albani, a perfectly modern reliquary that might extol the integrity of this world capital’s cultural assets. Dori died only a year into the project. Marchionni was busy, so the museum project was continued and completed in 1774 by Dori’s successor, Michelangelo Simonetti. When Gianangelo Braschi, Clement XIV’s treasurer and perhaps the driving force behind the project, was elected Pope Pius VI in 1775, he directed Simonetti to organize the complex with new rooms and new routes.The courtyard’s oblique cross axis was extended through a series of new monumental galleries.The former jumble of incidental spaces and clashing axes were elegantly reconfigured into the semblance of a coherent plan and a coherent institution, promptly renamed Museo Pio-Clementino.Ancient models, such as the Pantheon, were adapted freely by Simonetti to the museum’s spatial requirements and although the architecture is in no way a reconstruction of ancient forms, hypothetical or otherwise, the gracious volumes effectively draw out the nature of the ancient art on display.As with Albani at his villa, Pius availed himself of a curatorial team headed by Giovanni Battista Visconti, and Simonetti could be counted upon to carry out the team’s directives. Indeed, Giacomo Quarenghi, bitter that he had not impressed Braschi at Subiaco, spat that they had advanced a common “Measurer named Simonetti who now passes for a famous Architect.” For the first time in Rome, architecture had conformed in theme and function to the display of specific works of art in a secular setting, not the other way around.The Museo Pio-Clementino is not a lavish reliquary as captivating as its treasures, but a space designed to elicit appropriate responses consonant with the art.With a print series of interior views, a gallery guide, and eventually a complete catalog of the collection, the Museo Pio-Clementino became Rome’s first planned public art museum, the most durable and successful promotion of visual culture in eighteenth-century Europe, unmatched in its artistic patrimony.
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  • Spring '17
  • Archt. De Veyra

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