On a man made island in the lake M Asprucci concocted a Temple to Aesculapius

On a man made island in the lake m asprucci concocted

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several new “ruins.” On a man-made island in the lake, Mario Asprucci concocted a Temple to Aesculapius, and Christoph Unterperger, the animal painter at the villa, mocked up a Temple to Faustina reusing real ancient architectural fragments. Charles Percier, a young Parisian student at the French Academy, designed an aqueduct carried on stout Doric columns, and Asprucci padre , the ancient-style hippodrome called the “Piazza di Siena.” Marcantonio brought in the Scottish landscape painter Jacob More to make sure everything in this picturesque garden was right. Marcantonio rendered the Villa Borghese not only a more gentle but also a more public place. Continuing a family tradition, he opening many of the grounds’ minor structures for popular reception, festivities, and relaxation.At the Villa Borghese of the late eighteenth century, collecting, interior decoration, architecture, and landscape design all conjoined to enhance the continuity of Roman culture under enlightened aristocratic patronage. the patronage of pope pius vi Pope Pius VI pursued a wide program of arts patronage.The Braschi pope had been the financial advisor on the Lateran apse project and the Museum Clementinum, and the titular cardinal at Santa Scholastica. By the time his turn as pope came, he had firm ideas about cultural heritage, in particular the mediation between forces of tradition and necessities for innovation.The Basilica of Saint Peter had no proper sacristy. Michelangelo hadn’t planned one, and there was no satisfactory solution in any of the proposals that had been pouring in since then. Pius put the job of developing a new project to his Fabbrica architect, Carlo Marchionni, by then seventy-four years old.The new sacristy stands a dozen meters to the south of the basilica’s exterior wall, connected by bridges at the level of the 73 the challenge of tradition, 1750–1900
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cathedral floor.The rich materials employed were supposed to have been representations of the wealth of the papal states and the genius of her artisans, but the structural iron elements Marchionni used had to be imported. Marchionni’s skill is seen in the handling of the material and decorative complexity of the sacristy surfaces, a virtuosic synthesis of High Renaissance and baroque motifs from Michelangelo to Bernini, earlier masters at Saint Peter’s. Marchionni’s task was complicated by the proximity of Michelangelo’s exterior, which was many times larger, richer, and more interesting than the sacristy needed to be. He treated the three essential parts of his construction, the blocky canons’ residence, the vaulted sacristy proper, and the linking galleries, with increasing surface decoration and in declining elevation as they cascade quietly toward the basilica. Its careful proportions and self-effacing asymmetry have proven a masterly deferential gesture. But what makes the project work is the historicism of Marchionni’s outlook. Pius required a sacristy consonant with the layered complexity of the cathedral’s own evolution across the sixteenth and seventeenth centuries. In a mixture of styles and details, Marchionni created an
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  • Spring '17
  • Archt. De Veyra

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