written by Evan McMurtry Imagine, if you will, being a visitor to the Roman forum in the sixteenth-century, bearing in mind all of the ancient literature that formed the European cultural inheritance. What would inspire awe were half-buried, pastoral Roman ruins in a largely rural setting; few of Rome's noble palaces, exuberant churches, and festive squares had yet to be built. The task of a modern museum professional and that of a tourist - Alice and I have been to Italy recently - is to imagine the city and its ruins not just from one's own perspective, but from that of past eras. Only then will they no longer seem to be a natural and harmonious part of their environment, but instead changing along with evolving urban, national and aesthetic visions. For example, the church of San Lorenzo in Miranda exists today an ancient and modern pastiche, incorporating a second-century temple dedicated to an emperor's wife, a baroque church designed by Orazio Torriani, and, since 1429, part of a college of pharmacy, which maintains a museum and archives in the adjoining buildings. Interestingly, in 1536 the previous church had had its chapels and other features removed to highlight the original temple. This was done because of a visit of Holy Roman Emperor Charles V, who apparently had an antiquarian streak. The wider context of the forum is made clearer in this illustration from 1580 (see below). The present church was built between 1601 and 1607. It is decidedly understated, which is understandable due to the surrounding temple, and likely took inspiration from the emerging Jesuit style of architecture, which merged practicality and beauty in churches like Il Gesu. An apse was never built onto the church, as one would not fit within the columns of the original temple. In an index to a printed panorama of Rome, published by Giuseppe Vasi in 1765, the church of San Lorenzo in Miranda was put in the context of the Forum's architecture, both extant and demolished: "In the marvellous columns of the temple of Antonino and of Faustina, his wife, that are in this church, which after was a college, in the year 1430 it was Martin V who conceded it to the College of the Speziali who sent their young men, and you can admire between the other paintings, that are in the church, the levite painted by Pietro da Cortona... " [author's translation] Vasi continues to describe ancient features nearby, "Before this church was the Arch of Fabius the Censor, after which the famous Via Sacra continued on a direct line to end at the Colosseum. She had such a name, because in effect Romulus and Titus Tatius, King of the Sabines, gave each other the seat of friendship. Next to it..." Vasi knew of the Arch of Fabius through ancient inscriptions that were found in 1540 and 1543 (though later lost), and/or through several references in the works of Cicero (A New Topological Dictionary of Ancient Rome p. 154). Overall, the task of Torriani was to balance tradition and innovation, which is achieved with dramatic effect in San Lorenzo in Miranda. Moreover, he needed to enhance the aesthetic vision of his patron, whether it be a antique Arcadian landscape or an urban space devoted to pilgrimage and festivities.
Next time you visit some far-flung destination, be aware of the historical mosaic that our present culture is built on.
1 Comment
|
Archives
June 2019
Categories |