Sacred Architecture in the Neapolitan Baroque Era. Space, Decorations, and Allegories
Abstract
In Naples (Italy), the passage from Renaissance to Baroque architectonic language could be identified between 1580 and 1612. During this era, one of the most significant topics of the architectonic research on the sacred space was the right compromise among the Counter-Reformation patterns, the central space and the oval plan. Giovanni Antonio Dosio and Dionisio di Bartolomeo were the most representative architects of this passage. They provide the access to new experimental varieties. So, when the architect Cosimo Fanzago arrived in Naples in 1612, the city was almost ready to use the emblematic ellipse plan of the Baroque, such as the churches Santa Maria della Sanita` and San Giovanni dei Fiorentini by Fra’ Nuvolo prove. Fanzago’s architectonic research was followed by the studies by Bartolomeo and Francesco Antonio Picchiatti, father and son, up to Domenico Antonio Vaccaro that was the most representative director of the Baroque sacred space scene. Moving from the analysis and comparison of the most representative churches of Neapolitans Baroque era, the paper proposes an unedited studio about the evolution of sacred space’s idea related to decoration, symbology and allegory, with a focus on Domenico Antonio Vaccaro’s works, such as the churches of Santa Maria della Concezione in Montecalvario neighbourhood, San Michele Arcangelo in Naples’ Piazza Dante, San Michele in Anacapri (on Capri Island), the Palazzo Abbaziale di Loreto and Saviour Church in San Guglielmo al Goleto Monastery, both near Avellino.
Full text article
References
Abbate, F. (2002). Storia dellarte nellItalia meridionale. Il secolo doro. Roma: Donzelli.
Accademia nazionale dei Lincei (1962). Manierismo, barocco, rococo`: concetti e termini. Relazioni e discussioni. Roma.
Ali, S. (1994). Settecento napoletano. Sulle ali dell’aquila imperiale. 1707-34. Napoli: Electa Napoli.
Anceschi, L. (1984). L’idea del Barocco. Studi su un problema estetico. Bologna: Nuova Alfa. (Studi su un problema estetico).
Ancheschi, L. (1945). Rapporto sull’idea di Barocco. In Ors, E., editor, Del Barocco, pages XVIII–XX, Milano: Rosa e Ballo.
Ancheschi, L. (1966). Fenomenologia della critica: alcune appendici. Bologna: R. Patron.
Baldinucci, F. (1682). Vite del Cavalier Giovan Lorenzo Bernini, scultore, architetto, e pittore, scritta da Filippo Baldinucci Fiorentino alla Sacra e Reale Maesta` di Cristina Regina di Svezia. Firenze: .
Blunt, A. (1975). Neapolitan baroque and rococo architecture: Zwemmer.
Brauen, F. (1973). Cosimo Fanzago and Seventeenth century Neapolitan marble decoration. New York: . Cantone, G. (1984a). L’architettura. In Civilta` del Seicento a Napoli, Napoli; Napoli, pages 49–75: Electa. Cantone, G. (1984b). Napoli Barocca e Cosimo Fanzago. Napoli: Banco di Napoli. (II).
Cantone, G. (1984). L’architettura, in Civiltà del Seicento a Napoli, Napoli: Electa Napoli .
D’Agostino, P. (2011). Cosimo Fanzago scultore, Napoli: Paparo Edizioni.
Dominici, B. D. (1742-1745). Vite de’ pittori, scultori, ed architetti napoletani non mai date alla luce da autore alcuno dedicate agli eccellentissimi signori, Eletti della fedelissima citta di Napoli. pages 1742–1745: stamperia Ricciardi.
Donatone, G. (1995). Il chiostro maiolicato di Santa Chiara. Napoli: ESI.
Eisenhof, A. D. E. (1936). Il chiostro maiolicato di Santa Chiara. Napoli: Arti grafiche D. Amodio. Fittipaldi, T. (1980). Scultura napoletana del Settecento. Napoli: Liguori.
Electa Napoli. (2009). Ritorno al Barocco: da Caravaggio a Vanvitelli. Napoli.
Gallino, T. M. (1951). Il chiostro maiolicato del Monastero di Santa Chiara in Napoli. Studio storico artistico. Napoli: .
Gravagnuolo, B. & Adriani, F. (2005). Domenico Antonio Vaccaro. Napoli: Alfredo Guida editori. (Sintesi delle arti).
Gravagnuolo, B., & Adriani, F. (2005). Domenico Antonio Vaccaro. Sintesi delle arti. Napoli: Alfredo Guida editori.
Griseri, A. (1967). Le metamorfosi del Barocco. Torino: Einaudi. Guglielminetti, E. (1999). Metamorfosi nell’immobilita`. Milano: Jaca Book.
in Festa, C. (1997). Capolavori in Festa. Effimero barocco a Largo di Palazzo. Napoli: Electa Napoli. Jovino, G. (1983). La Chiesa e il Chiostro maiolicato di S. Chiara in Napoli: ASMEZ.
Lavin, I. (1980). Bernini and the Unity of Visual Arts. New York-London: Oxford University Press.
Manzo, E. (1997). La merveille dei Principi Spinelli di Tarsia. Architettura e artificio a Pontecorvo. Pontecorvo, Napoli: ESI.
Manzo, E. (2004a). Dal Classicismo ordinato alla rivoluzione spaziale barocca. Napoli: ESI. Manzo, E. (2004b). Dal Classicismo “ordinato” alla rivoluzione spaziale barocca: ESI.
Manzo, E. (2014). Tra sacro e profano: metamorfosi barocche nelle architetture di Domenico Antonio Vaccaro. Acta/Artis. Estudis dArt Modern, pages 13–24.
Maravall, J. A. (1975). La Cultura Del Barroco: Ana´lisis de una Estructura Histo´rica. Barcellona: Ariel.
Mormone, R. (1961). Domenico Antonio Vaccaro Architetto (I), in Napoli Nobilissima. Pane, R. (1939): .
Pane, R. (1955). Il chiostro di Santa Chiara in Napoli: . Pavone, M. A. (2003): Electa.
Pisani, S. (2005). Concezione a Montecalvario e la tradizione della pianta centrale. In Gravagnuolo, B. & (ed.),
Praz, M. (1960). Introduzione al Barocco: Il Saggiatore.
Schu¨tz, S. (2004). Estetica barocco: (Roma: Campisano editore). Snyder, J. R. (2005). L’estetica del Barocco. Bologna: Il Mulino: .
Tedesco, S. (2003). Le Sirene del Barocco. Il nuovo spazio dell’estetico nel dibattito italiano su dialettica e retorica. Aesthetica, 68, 68–68.
Tesauro, E. (1670). Il Cannocchiale Aristotelico. O sia Idea dellArguta et Ingeniosa Elocutione Che serve a tutta lArte Oratoria, Lapidaria; et Simbolica. Esaminata co Principij del divino Aristotele. Torino.
Authors
Copyright (c) 2019 Resourceedings
This work is licensed under a Creative Commons Attribution 4.0 International License.
- The Author shall grant to the Publisher and its agents the nonexclusive perpetual right and license to publish, archive, and make accessible the Work in whole or in part in all forms of media now or hereafter known under a Creative Commons Attribution 4.0 License or its equivalent, which, for the avoidance of doubt, allows others to copy, distribute, and transmit the Work under the following conditions:
- Attribution: other users must attribute the Work in the manner specified by the author as indicated on the journal Web site;
With the understanding that the above condition can be waived with permission from the Author and that where the Work or any of its elements is in the public domain under applicable law, that status is in no way affected by the license.
- The Author is able to enter into separate, additional contractual arrangements for the nonexclusive distribution of the journal's published version of the Work (e.g., post it to an institutional repository or publish it in a book), as long as there is provided in the document an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post online a pre-publication manuscript (but not the Publisher's final formatted PDF version of the Work) in institutional repositories or on their Websites prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (see The Effect of Open Access). Any such posting made before acceptance and publication of the Work shall be updated upon publication to include a reference to the Publisher-assigned DOI (Digital Object Identifier) and a link to the online abstract for the final published Work in the Journal.
- Upon Publisher's request, the Author agrees to furnish promptly to Publisher, at the Author's own expense, written evidence of the permissions, licenses, and consents for use of third-party material included within the Work, except as determined by Publisher to be covered by the principles of Fair Use.
- The Author represents and warrants that:
- The Work is the Author's original work;
- The Author has not transferred, and will not transfer, exclusive rights in the Work to any third party;
- The Work is not pending review or under consideration by another publisher;
- The Work has not previously been published;
- The Work contains no misrepresentation or infringement of the Work or property of other authors or third parties; and
- The Work contains no libel, invasion of privacy, or other unlawful matter.
- The Author agrees to indemnify and hold Publisher harmless from Author's breach of the representations and warranties contained in Paragraph 7 above, as well as any claim or proceeding relating to Publisher's use and publication of any content contained in the Work, including third-party content.
This work is licensed under a Creative Commons Attribution 4.0 International License.