Orden arquitectónico y escenografía italiana del siglo XVII y primeras décadas del XVIII : el foco genovés
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2024
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26/05/2023
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Universidad Complutense de Madrid
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Abstract
El siglo XVII supuso el punto de mayor desarrollo escenográfico en Italia. Partiendo del concepto de la “ventana albertiana” se desplegaron toda una serie de especulaciones perspectivas por medio de la disposición de arquitecturas cuyos referentes remitían, en la primera mitad del Seicento, a modelos de prestigio de la arquitectura de la época o variantes de ésta. Arcadas, balcones, torres, serlianas, fachadas monumentales, fueron elementos presentes en las escenas de toda la centuria. La corte florentina de los Medici fue el foco creador de toda una semiótica del poder transmitida a través de fastuosos espectáculos. En el siglo XVII fue la figura de Giulio Parigi (1571-1635) la que aportó los modelos escenográficos de referencia, desde la primera década del siglo, que se fijaron en todas las escenografías de distintos artistas, como: las ruinas, grutas, plazas, inframundos, marinas, jardines, salas regias y vistas de palacios o ciudades, todo ello planteado en espacios axiales con un solo punto de fuga central, esquema que permaneció hasta casi el último cuarto de siglo. A estos motivos se sumó la representación de los cuatro elementos que formaban el cosmos: aire, agua, tierra y fuego, que tenían un significado simbólico ya desde que Bernardo Buontalenti (1536-1608) planteara en los Intermedios de la Pellegrina (1589) dicha iconografía aludiendo a la capacidad del gobernante para controlar y ordenar estos elementos...
The XVII century marked the point of greatest scenographic development in Italy. Starting from the concept of the “Albertian window”, a whole series of perspective speculations were unfolded through the arrangement of architectures whose referents referred, in the first half of the Seicento, to prestigious models of the architecture of the time or variants of it. Arcades, balconies, towers, serlians, monumental facades, were elements present in scenes throughout the century. The Florentine court of the Medici was the creative focus of a whole semiotics of power transmitted through lavish spectacles. In the 17th century it was the figure of Giulio Parigi (1571-1635) who provided the reference scenographic models, from the first decade of the century, which were set in all the scenographies of different artists, such as: the ruins, caves, squares, underworlds, seascapes, gardens, royal halls and views of palaces or cities, all laid out in axial spaces with a single central vanishing point, a scheme that remained until almost the last quarter of the century. On this account was added the representation of the four elements that made up the cosmos: air, water, earth and fire, which had a symbolic meaning since Bernardo Buontalenti (1536-1608) proposed in La Pellegrina(1589) that iconography alluding to the ability of the ruler to control and order these elements...
The XVII century marked the point of greatest scenographic development in Italy. Starting from the concept of the “Albertian window”, a whole series of perspective speculations were unfolded through the arrangement of architectures whose referents referred, in the first half of the Seicento, to prestigious models of the architecture of the time or variants of it. Arcades, balconies, towers, serlians, monumental facades, were elements present in scenes throughout the century. The Florentine court of the Medici was the creative focus of a whole semiotics of power transmitted through lavish spectacles. In the 17th century it was the figure of Giulio Parigi (1571-1635) who provided the reference scenographic models, from the first decade of the century, which were set in all the scenographies of different artists, such as: the ruins, caves, squares, underworlds, seascapes, gardens, royal halls and views of palaces or cities, all laid out in axial spaces with a single central vanishing point, a scheme that remained until almost the last quarter of the century. On this account was added the representation of the four elements that made up the cosmos: air, water, earth and fire, which had a symbolic meaning since Bernardo Buontalenti (1536-1608) proposed in La Pellegrina(1589) that iconography alluding to the ability of the ruler to control and order these elements...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, leída el 26-05-2023