For the villaAlessandro needed a project coordinator like Borgheses Asprucci

For the villaalessandro needed a project coordinator

This preview shows page 139 - 143 out of 280 pages.

familiar tone with them that was not always appreciated. For the villa,Alessandro needed a project coordinator, like Borghese’s Asprucci. His choice was Giovanni Battista Caretti, who had studied with Albertolli at the Brera and then at the Accademia di San Luca. He had taken on a three-year stint decorating places in Poland and returned to Rome in 1826 when he found employ in 139 the challenge of tradition, 1750–1900
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the architecture of modern italy 3.7 Giuseppe Valadier, then Giovanni Battista Caretti, then Giuseppe Jappelli,Villa Torlonia, Rome, 1802–42. Engraving by Gaetano Cottafavi, 1842
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the Torlonia pool. By 1832, Caretti had added a monumental Ionic portico to Valadier’s villa structure, and the interiors were done up in a variety of alternative historical styles.To allude to another namesake from history, and to amplify his self-image,Alessandro had a chamber decorated with a relief showing the life of Alexander the Great. On several trips to Britain and on a tour of gardens in Italy, including Saonara,Torlonia had seen the best his era could offer in landscape design and wanted to outdo the Borghese with Rome’s most genuinely picturesque garden. In response, Caretti supplied a temple to Saturn, a caffèaus , sham ruins, and an amphitheater—a panorama of structures explicitly inspired by Hadrian’s Villa. Even the boundary wall with its teetering pile of counterfeit antiquities, broken columns, and statues is a simulated stratification.The noble portico of the enlarged palazzo lords over the scene.“With a single sweep of his gaze,” writes Giuseppe Checchetelli, an observant if sycophantic contemporary,Torlonia “could enjoy the product of his greatness...just as Hadrian who from a single point in his villa took in all the monuments of various styles his powerful will had collected.” Piranesi’s influence can be detected here in an assemblage of symbolic elements drawn from an array of historical materials.To continue the works,Torlonia sought out top names, like Giovanni Antolini, whom he unsuccessfully tried to coax down from Bologna. He settled for Quintiliano Raimondi, who constructed a theater to draw the public onto the villa grounds. Raimondi demonstrated little sensibility for landscape, so Torlonia purchased the expertise of Giuseppe Jappelli, who was tempted by the enormous amounts of cash Torlonia was prepared to spend on the project.The rear parts of the Villa Torlonia are Jappelli’s only creation outside his native Veneto region, though he came to regret taking it on. Jappelli introduced accidents of terrain to isolate the small area he had to work with.A little Mount Olympus sprang up behind Caretti’s temples, and its spiraling paths took one into secluded forest valleys behind. Jappelli tucked into his fantastical landscape a Gothic ruin, a secret grotto of sylvan nymphs, an arena for medieval jousts, a Moorish pavilion of exotic pleasures, and a rustic farmstead.As at Saonara, Jappelli’s garden is essentially a literary inspiration, his 141 the challenge of tradition, 1750–1900
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architecture stock settings for romantic adventures.The cement campo da tornei
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  • Spring '17
  • Archt. De Veyra

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