Maderno s façade for St Peter s, Rome [71 74]

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1 10 V3 A.X Renaissance Architecture vol _Layout 1 20/02/ :30 Page 240 NEW ST PETER S Maderno s façade for St Peter s, Rome [71 74] When Pope Paul V ascended the throne in May 1605, St Peter s was still unfinished after nearly a century of construction. Until then, the building had remained largely faithful to the scheme devised by Michelangelo (from 1547), which was for a church with a centralised plan and a monumental dome. This was intended to be given, at around the time of Michelangelo s death (1564), a façade made up of two rows of giant columns (see 4), but the design was still controversial, since it did not provide for a benediction loggia, a time-honoured location for the pope s traditional Easter blessing Urbi et Orbi, and so would require a change to ceremonial. This was particularly problematic in an age when traditional practices were being reasserted in the face of Protestant opposition. Although Michelangelo s scheme had its defenders in the shape of the Congregation of St Peter s, who were still determined even as late as October 1606 to persist with it, stressing its aesthetic qualities and Michelangelo s stature as an artist, Paul V overruled their decision late in 1606 and, intent on making his own mark on the design, insisted on a scheme that included a façade with a benediction loggia and also a nave behind it. Carlo Maderno ( ), then incumbent architect to the Fabbrica of St Peter s, prepared a first scheme by April His design (see p. $$) managed to retain much of the integrity of Michelangelo s centralised scheme by means of an internal visual barrier but, externally, transformed the church into a Latin cross that entirely covered the consecrated ground of the previous Constantinian basilica, with a new nave that had a portico in front supporting a benediction loggia above. The latter preserved aspects of the Michelangelo façade, notably its detailing and its overall scansion of ten shafts with the four central ones being the most prominent, but also depended on Maderno s own ground-breaking design for S. Susanna (1597) for the superimposed planes that give the centre a dramatic emphasis. Given papal approval in September 1607, construction began, but was compromised c when the pope demanded the addition of two campanili (bell-towers), one at each end of the façade. Maderno had incorporated these into his design by September 1612, but they were never finished. When Paul V died in 1621, the belfries had still not been added and, although the southern one was subsequently built to a revised design by Bernini, it had to be demolished soon afterwards because of structural instability. Ultimately, both campanili were left in an unavoidably truncated state. Even below the belfries, Maderno s scheme was slightly altered in that his attic windows are different from those that were finally realised [Fig. 33]. Four drawings from the Paper Museum, mounted on three consecutive folios of the Stirling-Maxwell Architecture album, belong to this penultimate phase in the evolution of St Peter s façade. One shows the façade proper, one the dome with its drum, and the other two the added campanili. From the way the four drawings match up with one another so closely it is clear they once formed one single large drawing. When all four are put together in their original positions [Fig. 34], they conform exactly to an engraving of 1613 by Matthaeus Greuter (1564/6 1638) [Fig. 35], both the reassembled drawing and the engraving measuring 675 mm in overall width. The original drawing was probably produced in Maderno s workshop and used for the production of the engraving, perhaps cut up to assist the engraver in the production of the print, while the surface damage to the four surviving fragments may well have resulted from the rubbing they received from the engraver s hands and tools. In June 1613 Maderno sent Greuter s print (together with his other engravings of the St Peter s scheme) to the head of the Congregation, Cardinal Maffeo Barberini, later Pope Urban VIII, who responded with a stinging critique of the design and complained in particular that the elevation did not show how the dome would be hidden by the addition of the nave. Maderno replied carefully (Thelen 1967a, p. 27, n.61; Hibbard 1971, p. 69f., n.4), explaining that the elevation was drawn using the conventions of orthogonal projection, although his defensive stance was a courtesy rather than a necessity since he already knew that his scheme had the pope s full backing. The Paper Museum had two copies of the Greuter print, one in the album entitled Templa Diversa Romae (fol. 15) [Fig. 35], compiled by Cassiano in the 1630s, and another in the misnamed Popish Ceremonies II (fol. 95), a later compilation by Carlo Antonio (see p. $$). The Templa Diversa Romae album, in addition, contains many other prints showing projected designs for St Peter s from around this same period (for description, see p. $$). bibliography: Hibbard 1971, pp and Fig. 33. Façade of St Peter s, Rome

2 10 V3 A.X Renaissance Architecture vol _Layout 1 20/02/ :30 Page 242 NEW ST PETER S Fig. 34. Reconstruction (photomontage) of original form of Fig. 35. Project by Carlo Maderno for the façade of St Peter s, Rome. Engraving, London, BL, 54.i.7, fol. 15 (Paper Museum impression)

3 10 V3 A.X Renaissance Architecture vol _Layout 1 20/02/ :30 Page 244 ST PETER S AND OTHER CHURCHES 71. Rome, St Peter s, Maderno s façade (1613), upper centre and dome WORKSHOP OF CARLO MADERNO ( ) Private collection; previously sma, fol. 58 Pen and brown ink and wash over black chalk and stylus lines on buff paper mm (max.). Two sheets of paper cut from a larger composite sheet and partly silhouetted; losses along edges; rubbed and stained. Watermark: circle containing?anchor mount sheet: type B. Watermark: fragmentary rim of circle surmounted by letter V [cut; see 74] [*] Once part of a single image of the whole façade elevation [see Fig. 34], this drawing shows the principal drum, dome and lantern, and also the two minor domes to the front, all built under Michelangelo and his successors during the second half of the sixteenth century. Although the drawing corresponds closely to the relevant sector of Greuter s engraving [see Fig. 34], it does not include the latter s explanatory captions, or if it did then they were located in a different position from those in the engraving and outside the edges of the present sheet. For example, the O of the word ROMA next to the lantern s globe on the engraving is absent in the drawing. The layout of the captions would probably have been left to the engraver, as suggested by the varying position of the wording on different versions of the print. Especially obvious in this drawing and in the print is the inaccurate representation of the main drum and dome. Both appear significantly flatter than they should be, which is a characteristic of drawings from Maderno s workshop (e.g. a façade project for S. Vincenzo, Bassano Romano, Archivio Giustiniani; Hibbard 1971, pl. 103b). literature: Phillips cat. 1990, p. 142f., lot 339 object drawn: see above, p. $$ engraved: see

4 10 V3 A.X Renaissance Architecture vol _Layout 1 20/02/ :30 Page 246 ST PETER S AND OTHER CHURCHES 72. Rome, St Peter s, Maderno s façade (1613), lower centre and portico WORKSHOP OF CARLO MADERNO ( ) Private collection; previously sma, fol. 56 Pen and brown ink and wash over black chalk and stylus lines on buff paper mm. Losses along edges; old vertical at centre and several other old folds; old patches on verso; rubbed and stained. Watermark: anchor in circle with indistinct pendant element (?letter) annotations: [bottom left] part of scale key in Roman palmi mount sheet: type B [*] Originally part of a larger drawing, cut up for engraving by Matthaeus Greuter in 1613 [see Fig. 34], to which it corresponds in all its details, even to the extent that some of the façade openings are shaded while others are not. The only difference is the scale key, which in the drawing is in units of 25 palmi and located on the platform just above the façade steps, whereas in the print it is in units of 10 palmi and set below the steps. Although primarily drawn in orthogonal projection, as Carlo Maderno explained in his letter to Cardinal Maffeo Barberini, the openings of the portals and windows are given an individual perspective, showing the inner faces of their jambs and the undersides of the lintels. The technique was also applied to lower-storey niches housing statues of St Peter and St Paul, and to the platform on which the whole building stands, presumably to introduce some relief to the image and by extension monumentality which it would otherwise have lacked. The strip showing the statuary adorning the façade balustrade is missing, possibly because this part of the drawing was damaged, or it was removed, so that the statuary could be included in another part of the Paper Museum, but was then lost. literature: Phillips cat. 1990, p. 142f., lot 339 object drawn: see above, p. $$ engraved: M. Greuter, Ritratto della famosiss. Fabrica della chiesa di S. Pietro di Roma in Vaticano, Rome 1613 [Fig. 35]; mm

5 10 V3 A.X Renaissance Architecture vol _Layout 1 20/02/ :30 Page 248 ST PETER S AND OTHER CHURCHES 73. Rome, St Peter s, Maderno s façade (1613), left campanile WORKSHOP OF CARLO MADERNO ( ) Private collection; previously sma, fol. 57 (i) Pen and brown ink and wash over black chalk and stylus lines on buff paper mm (max.). Losses along edges; partly silhouetted; old folds and tears; rubbed and stained annotations: [bottom] part of scale key in Roman palmi mount sheet: type B. Also bears 74 [*] Once part of a much larger drawing of the whole façade, which was engraved by Matthaeus Greuter in 1613 [see Fig. 34], this shows Maderno s project for the left (southern) campanile. When adding the campanili c , Maderno took pains to harmonise their design with his existing façade and with the rest of the building. At their lower level the orders and window frames continue those of the façade s central section, except that each campanile accommodates a large ground-level arch, the northern one to accommodate an entrance to the Vatican Palace, the southern one the one under consideration here purely in the interests of symmetry. Above this level, the two-storey belfries have arched openings that echo those of the smaller domes behind them, whilst their canopied lanterns have concave profiles that are like those of Michelangelo s lantern above them (see 72). The uppermost reaches, however, allowed a greater degree of freedom for experiment, and the stretched octagonal windows of the lanterns are different from all others in the design. literature: Phillips cat. 1990, p. 142f., lot 339 object drawn: see above, p. $$. For the campanili in particular, see Hibbard 1971, p. 161f.; McPhee 2003, pp engraved: see Rome, St Peter s, Maderno s façade (1613), right campanile WORKSHOP OF CARLO MADERNO ( ) Private collection; previously sma, fol. 57 (ii) Pen and brown ink and wash over black chalk and stylus lines on buff paper mm (max.). Two sheets of paper, partly silhouetted; losses along edges; old tears and skinning; rubbed and stained mount sheet: type B. Also bears 73. Watermark: fleur de lys in double circle surmounted by letter V [*] The mirror image of 73, this drawing represents Carlo Maderno s project for the right-hand (northern) campanile of the façade of St Peter s. See 73 for discussion. literature: Phillips cat. 1990, p. 142f, lot 339 object drawn: see above, p. $$, and 73 engraved: see

6 10 V3 A.X Renaissance Architecture vol _Layout 1 20/02/ :30 Page Rome, St Peter s, façade portico: interior view SEVENTEENTH-CENTURY ITALIAN Private collection; previously sma, fol. 37 (iii) Black chalk mm. Stained. Watermark: bird on hills in circle surmounted by letter P [cut] mount sheet: type B. Also bears 81 and 88 [*] More a veduta than an architectural study, this sketch shows the portico that runs behind the façade of St Peter s, constructed to Maderno s design from 1607 (see 71 74), looking from the area under the left (southern) bell-tower along the length of the space. It was formerly mounted in the Stirling-Maxwell Archi-tecture album, in 75 company with an interior view of S. Maria Maggiore by the same hand, and with the same watermark (see 81 for further discussion). Given its subject, the St Peter s sketch must date from after 1620, but how much later is hard to say. literature: Phillips cat. 1990, p. 134, lot 325 Barberini project for remodelling St John Lateran [76 79] Four related sheets, in slight disorder in the Stirling-Maxwell Architecture album, belong to a seventeenth-century project for the renovation of the cathedral of Rome, St John Lateran, a building dating from the fourth century ad, which was in a precarious state by the end of the sixteenth century. Their association with this church is established by the iconography of the statues on the roofline combined with the five-aisled plan. Two show slightly variant schemes for the façade (76 77), whilst two others, bound earlier in the album, provide sections and elevations of the interior (78 79). The project dates from the papacy of Maffeo Barberini as Urban VIII ( ), whose family is signified by the giant Barberini bees decorating the pediment of one of the façade designs (76). Two Barberini initiatives for the renovation of the church are known to have been launched during that period, neither completed, the first undertaken by the pope s nephew Cardinal Francesco Barberini, archpriest of the Lateran from 1623 (DBI, vi (1964), p. 172 [A. Merola]). The cardinal asked Giovanni Ambrogio Mazenta ( ) from Milan, who was already a trusted Barberini architect (see A.IX/2, p. 766f), to prepare a proposal, which survives in written form among the dal Pozzo papers at Montpellier (A.X/3, Appendix I, no. 1). It is not dated, but a letter of 12 May 1630 from Mazenta accompanied its dispatch to Cassiano, which makes it clear that Mazenta, who was in Pavia at the time, considered the project active (A.X/3, Appendix I, no. 2). He had left his draft design among his papers in the convent of S. Paolo in Piazza Colonna (his Barnabite base in Rome) and was writing to ask the vicar to let Cassiano have it. Cassiano himself later annotated the letter with an account of how far the project had got before it was aborted when Cardinal Francesco, following an agreement connected with the marriage of his brother Taddeo to Anna Colonna (14 October 1627), ceded the Lateran office to Anna s newly promoted cardinal brother (Girolamo Colonna became cardinal in February 1628). The second known Barberini initiative is documented in January 1640, when Urban VIII allocated 600 scudi for restoration, although precisely what the money was intended for was not specified (Pollak 1928, i, p. 143f.). Who the architect was to be on this occasion is also unknown (Mazenta had died in 1635), but nothing seems to have happened on site before Urban VIII himself died in The idea was taken up by his successor, the Pamphilj pope Innocent X, and the commission passed to Francesco Borromini, who remodelled the interior ( ), but whose design for the façade was never implemented. The present façade dates from a campaign begun in Whether the four dal Pozzo drawings are directly connected with either of the two Barberini initiatives is doubtful, but their attribution to Mazenta can almost certainly be ruled out. The handwriting of the annotations, the terminology they employ and the style of draughtsmanship are not Mazenta s, and the façade he describes, which was to incorporate the 12 columns of its predecessor, does not tally with the drawings at all. However, a good candidate who might have been associated with Urban VIII s initiative of 1640 is Giovanni Battista Mola ( ). Mola was working for the Camera Apostolica as early as 1616 and for the Barberini in 1630 or , when he designed a façade for the Forte Urbano near Castelfranco Emilia (London, V&A, d ; see also 263), followed by work at the Lateran hospital in 1636 (for his career see Mola 1966; Curcio 1989; Antinori 1991). In architectural style, the Forte Urbano façade (see comp. fig. 76i) closely resembles the lower storeys of the alternative Lateran façades (76 77). Moreover, the same technique employed to indicate the construction of the sectioned walling in 78 was used by Mola in a signed drawing of 1637 for the Oratorio di S. Filippo Neri in Rome (Archivio della Congregazione dell Oratorio a S. Maria in Vallicella, c.ii. 8, no. 31; see Mola 1966, p. 25 and fig. 10; Connors 1980, p. 207f., no. 31). Also indicative of Mola s style is the treatment of the scale keys in 76 and 78, which are subdivided into ten units of 10 palmi that are each individually numbered. The

7 10 V3 A.X Renaissance Architecture vol _Layout 1 20/02/ :30 Page 252 Oratory drawing has an identical scale and so does Mola s design for a monastery in Tolfa (London, SAL, Album of Prints and Drawings Collected before 1750, fol. 41). The handwriting, too, would appear to be his. bibliography: for the Lateran, see Pollak 1928, i, p. 143f.; CBCR, v (1977); Hoffmann 1978; Roca de Amicis 1992; Freiberg 1995; Herklotz Rome, St John Lateran, project for façade: elevation and plan GIOVANNI BATTISTA MOLA ( ) Private collection; previously sma, fol. 42 (ii) Pen and brown ink and brown and grey wash over black chalk mm. Backed onto a seventeenth-century sheet; cropped at bottom and right; water stained; losses along edges. Watermark: fleur de lys on hills in circle surmounted by letter A annotations: [bottom] scale key [cut] mount sheet: type B. Also bears 230 [*] This façade scheme for St John Lateran is drawn in elevation and plan. It corresponds in format to the five-aisled basilica behind, that is, it has a very wide (seven-bay) lower storey and a relatively narrow (three-bay) upper one, rather squat as well as very broad. It retains the three portals of the original fourth-century building, giving access to the nave, but also provides additional portals to the aisles, and a porch (implied by the shading inside the arches around the rectangular openings), which extends the façade s full width. This approach to the renovation of an Early Christian building is typical of the early seventeenth century, when architects adopted a certain reverence for traditional forms and fabrics but modernised them in a way appropriate to their status and sanctity (see, e.g. Hill 2001). Retaining the silhouette of the pre-existing building posed a difficult design problem. The façade had to reconcile the building s excessive width and restricted height with a need to take account of the contemporary preference for dramatic verticality. This is partly achieved by the introduction of strong vertical accents by placing gigantic statues above the ground 76 Fig. 76i. G.B. Mola, Project for the Forte Urbano, Castelfranco Emilia, c Pen and ink and brown and blue wash. London, V&A, D (detail)

8 10 V3 A.X Renaissance Architecture vol _Layout 1 20/02/ :30 Page 254 Fig. 76ii. G.B. Mola, Project for the Façade of S. Agnese in Agone, Rome, Pen and ink, mm. Oxford, AM, Largest Talman Album, fol. 17 (inv. wa ) (detail) storey s paired pilasters, but this creates a new problem in that the statues are so big that they dwarf the squat upper storey and thus detract significantly from the façade s monumentality. Jarringly large too are the oversized putti in the segmental pediment over the entrance and the gigantic bees that cluster adoringly at the foot of a cross at the façade s apex. Many of these problems are resolved in the other façade project (77), which almost certainly makes this one the earlier of the two. This design shows several hallmarks of Mola s architectural style. Many of its features are found in his drawing for the entrance to Forte Urbano near Castelfranco Emilia (1630 or ) (comp. fig. 76i): the paired Doric pilasters, the full Doric entablature, the simple unframed arches, the segmental pediment and the lugged panels over the arches that include a more complex one in the central bay. Other features reappear in Mola s project for S. Agnese in Piazza Navona of 1652 (Eimer 1970, p. 57f, fig. 21) (comp. fig. 76ii), namely, the lugged panels in the upper-storey outer bays that are counterparts of the one above the central arch below; the side scrolls supporting a continuation of the upper-storey entablature; and the predilection for swags in panels, which appear here in only the right-hand bay of the attic storey, but were presumably intended, as in the S. Agnese scheme, for all the bays. literature: Phillips cat. 1990, p. 137, lot 329 object drawn: see above, p. $$ Rome, St John Lateran, project for façade GIOVANNI BATTISTA MOLA ( ) Private collection; previously sma, fol. 41 (ii) Pen and brown ink and brown and grey-blue wash over stylus lines mm. Partly backed onto a seventeenth-century sheet; pricked for construction of drawing; torn at bottom right; ink stained. Watermark: fleur de lys in circle mount sheet: type B. Also bears 80 This façade scheme for St John Lateran is a variant on 76. On the lower storey, the panels above the aisle portals no longer have lugs; the panels over the arches either side of the main entrance now bear figurative decoration; and the segmental pediment now contains a smaller triangular one, like that of Giacomo della Porta s façade for the Gesù (1571) (see p. $$). In the attic, lugged panels have been placed beneath the statues to give them visual support, and, on the upper storey, the giant bees in the pediment have been replaced by putti bearing the papal arms. There are also various changes in scale, which strongly suggest that the drawing was produced to eradicate or at least minimise the problems in the other scheme. The statuary on top of the attic and the sculpture in the upper-storey pediment are reduced in size, giving the design a greater coherence and the façade an increased monumentality. On the lower storey the Doric order is reduced in height, while the height of its attic and that of the upper storey are increased, avoiding the jarring relationship in the first scheme between a very tall Doric lower storey and a very short Corinthian upper one. The proportional ideals here are inherited from those of the Renaissance. The lower storey has a height that is exactly one quarter the façade s overall width, and with the attic a height that is precisely one third. literature: Phillips cat. 1990, p. 137, lot 329; Sotheby s cat. 2004, p. 132, lot 97 object drawn: see above, p. $$

9 10 V3 A.X Renaissance Architecture vol _Layout 1 20/02/ :30 Page Rome, St John Lateran, project: longitudinal section GIOVANNI BATTISTA MOLA ( ) Private collection; previously sma, fol. 35 (ii) Pen and brown ink over black chalk mm. Partly backed onto a seventeenth-century sheet. Cropped at top, bottom and left; losses at left edge; stained. Watermark: fleur de lys in circle surmounted by crown annotations: [upper left] Scenografia della nave di mezzo ( view of the middle nave ); [bottom right] Profilo del Porticale ( section through the portico ); [bottom] scale key [cut] mount sheet: type B (part inlaid in window, part laid down). Also bears 130 This longitudinal section through St John Lateran shows the nave, the portico with the loggia above it, and the façade, and it is closely related to the nave elevation shown in 79 and to the two façade schemes 76 and 77. The sectioned façade shows a Doric lower storey, a Corinthian upper one and a pediment with a cross as a crowning feature, all of which are found in the front elevations. However, it agrees more exactly with the façade in 76, in both its proportions and also in particular details, such as the rosettes embellishing the necks of the Doric capitals, although it still differs in some minor respects, notably the omission of the lower-storey pediment. This is either a draughting error or reflects a now-lost third façade scheme. The piers in the nave are adorned with paired Corinthian pilasters. A minor order of Ionic pilasters on the inside of the arcades have capitals with garlands between the volutes, like those used by Michelangelo in the Palazzo dei Conservatori and by many subsequent architects. The Corinthian pilasters are continued above the level of the entablature as plain strips linked by a continuous horizontal band at the top, framing clerestory windows alternating with panels probably intended for frescos. The elevation recalls previous renovation schemes for Early Christian churches in Rome, for example, S. Sebastiano fuori le Mura ( ) and S. Crisogono ( ), but is especially like that by Carlo Lambardi for S. Francesca Romana in the years (comp. fig. 78). The portico is decorated with Ionic pilasters that differ from the nave pilasters in being set on a single rather than a double plinth and do not quite reach the same height. At its far (liturgical south) end a portal with a shouldered frame and a broken pediment provides access to the adjacent palace. The hall of the loggia on the upper level is entirely unadorned, and even the door at its far end is without a frame, presumably because it was used for papal appearances and benedictions only rarely or was not part of the project. literature: Phillips cat. 1990, p. 134, lot 324 object drawn: see above, p. $$ Comp. fig. 78. Interior of S. Francesca Romana, Rome

10 10 V3 A.X Renaissance Architecture vol _Layout 1 20/02/ :30 Page Rome, St John Lateran, project: transverse half-section and nave elevation GIOVANNI BATTISTA MOLA ( ) Private collection; previously sma, fol. 33 Pen and brown ink over black chalk and stylus lines mm. Cropped at right; losses at right edge; stained annotations: [beneath section] Profilo delle due nave delle Sponde ( section through the two side aisles ) mount sheet: type B (part inlaid in window, part laid down) The half-section on the left (a) differs from the elevation of the nave on the right (b) in the profiles of the clerestory windows and in showing the nave pilasters with just one socle below them rather than two. Other than this, (a) provides information that is lacking in the elevation, revealing, for instance, that the elevation would be topped by a cornice and then a flat wooden ceiling. It also shows that the aisles are of identical width and height, divided by a row of Ionic columns that match the Ionic pilasters supporting the nave arches and the pilasters overlaid on half-pilasters on the church s side wall. The aisles are covered with cross vaults, the only form of vaulting that corresponds to both section and elevation shown here, set under a single pitched roof. In the original fourth-century building, the nave supports were spaced further apart than the aisle colonnades, constituting two different and unrelated rhythms running the length of the church, which jarred with sixteenth- and seventeenth-century sensibilities. This new scheme rectified this problem, and in doing so foreshadows the solution devised by Borromini when he redesigned the nave and aisles just a few years later. The elevation (b), in its present state, shows only three bays of the nave and the springing of a fourth, but it may originally have extended further to the right where the sheet has been cropped. It is identical to the elevation shown in 78 except in one significant respect. The nave s minor Ionic order rises here from a double socle, a plinth and an attic base that are of exactly the same height as those used for the taller Corinthian order, giving the design some unity, but is disproportionate to the size of the Ionic order. This problem is resolved in 78 by differentiating the supporting elements of the two orders, which probably suggests that the latter is a later drawing. literature: Phillips cat. 1990, p. 134, lot 322 object drawn: see above, p. $$

11 10 V3 A.X Renaissance Architecture vol _Layout 1 20/02/ :30 Page Rome, Il Gesù: longitudinal interior elevation SEVENTEENTH-CENTURY ITALIAN Private collection; previously sma, fol. 41 (i) Pen and brown ink and grey-brown wash over black chalk mm. Cropped on all sides; four old vertical folds 73 mm, 140 mm, 210 mm and 288 mm from left edge; torn and stained. Watermark: six-pointed star in circle surmounted by cross mount sheet: type B. Also bears 77 This drawing is apparently a view of the interior of the Gesù church in Rome, the mother church of the Jesuit order, designed and begun for Cardinal Alessandro Farnese by Jacopo Barozzi da Vignola ( ) in 1568 and then continued to a modified design by Giacomo della Porta ( ) from 1571 (see comp. fig. 80). The church shown here is like the Gesù in having a dome on pendentives over the crossing, barrel vaults covering the nave, chancel and transepts, and domed side chapels separated by paired pilasters carrying a full entablature and an attic, which in the Gesù was added to the original design by Della Porta in 1571 or after (Schwager/Schlimme 2002, p. 272f.). Also like the Gesù are the form and placement of the organ on the east side of the north transept, the design of the clerestory windows and that of the balconied coretti (small choirs), complete with screens, over each of the nave arches. In the existing building these were added in 1616 (Schwager/Schlimme 2002, p. 293), and so the drawing must have been made after that date. It was presumably made before the 1670s, since it does not show the decoration of the vault executed then by Giovanni Battista Gaulli Il Baciccio ( ). Despite the similarities, there are some intriguing anomalies in the drawing, most notably in the treatment of the crossing, where the pilasters are fewer in number, and the bays to either side of the dome, which are narrower and less elaborate compared with those of the church as built. These final bays have pediments sitting comfortably underneath the impost moulding rather than above it and there are no window openings in the clerestory above. Other differences include the addition of broad bands spanning the vault (which lacked any ribs before Gaulli decorated it) and a haphazard series of projections and recessions in the entablature and attic, which bear no relation to the church as built and do not follow any consistent pattern in themselves. Unless the church is not the Gesù after all, which seems most improbable, the simplest explanation is that the draughtsman made a mistake and having done so then used the drawing as a vehicle for experimentation. The faint sketching in in a very squashed fashion of the missing clerestory windows in the side bay to the left of the crossing may represent the point at which he realised his error. The Paper Museum contained various prints of the Gesù (London, BL, 134.g.11, fol. 31; Maps 3.Tab.34, fols 8 10, 15 18). literature: Phillips cat. 1990, p. 137, lot 329; Sotheby s cat. 2004, p. 132, lot 97 object drawn: extant. See Fokker 1933; Pecchiai 1952; Lotz 1955; Ackerman 1972; Schwager 1977; Bösel 1986, i, pp ; Robertson 1992, pp , ; Schwager/Schlimme Comp. fig. 80. G.F. Venturini, Il Gesù, Rome. Engraving. G.G. de Rossi Insignium Romae templorum, 1684, fol

12 10 V3 A.X Renaissance Architecture vol _Layout 1 20/02/ :30 Page Rome, S. Maria Maggiore, Sforza Chapel: view through portal SEVENTEENTH-CENTURY ITALIAN Private collection; previously sma, fol. 37 (i) Black chalk mm. Stained. Watermark: bird on hills in circle surmounted by letter P [cut] mount sheet: type B. Also bears 75 and 88 [*] Michelangelo s Sforza Chapel in S. Maria Maggiore was begun in 1564 and consecrated in It is drawn here from a vantage point in the adjacent aisle, showing the pilasters and lintel of the entrance portal, which was removed in the eighteenth century (Argan/Contardi 1990, p. 348), and a view across the chapel into one of the shallowly curved side altar recesses. The hand is the same as that of 75, mounted on the same folio, and similar to some early perspectival sketches by Francesco Borromini ( ), who was fascinated by Michelangelo s architecture. The technique of parallel curved hatching in black chalk to suggest the curvature of column shafts is typical of Borromini (cf. Thelen 1967a, ii, figs 68 9), but the drawing is rather too crude for a confident attribution to his hand. literature: Phillips cat. 1990, p. 134, lot 325 object drawn: partly extant. See Ackerman 1961, ii, pp ; Argan/Contardi 1990, p. 348f.; Satzinger

13 10 V3 A.X Renaissance Architecture vol _Layout 1 20/02/ :30 Page Rome, S. Teodoro, project: plan MID-SEVENTEENTH-CENTURY ITALIAN Private collection; previously sma, fol. 45 Pen and brown ink and watercolour over black chalk mm. Watermark: letter F on hills in shield annotations: Per S.Teodoro d(ett)o Santo Todo in Campo Vacino ( for S. Teodoro called Santo Todo in the Campo Vaccino ) mount sheet: type B [*] Shown here is the plan of a circular church with a projecting frontal block, which is situated towards the rear of a rectangular two-level precinct that is entered through a columned portal. The annotation identifies the church as S. Teodoro in the Campo Vaccino, that is, the Roman Forum, and the plan has much in common, in its shape and size, with that of the extant building (comp. fig. 82), although it differs in the design of the three altar chapels and the preceding frontal block. These differences led Ian Campbell to doubt the accuracy of the identifying annotation (A.IX/1, p. 46), but they could be explained if the drawing were a project for the church s modernisation, and this is in fact suggested by the two tones of watercolour that are used, a lighter one for the existing building and a darker one for the proposed alterations. A date of the mid-seventeenth century can be proposed on the basis of the rather conservative decoration of the dome (represented by means of dotted lines), which derives ultimately from the dome of St Peter s, and on the basis of the semicircular portico, which, with its pair of columns, is very like that of Bernini s S. Andrea al Quirinale (begun 1658). The handwriting would also accord with a seventeenth-century dating. If the annotation is reliable and the drawing really is for S. Teodoro, then the likely date for this proposed modernisation would presumably be either before the renovations to the building effected by Cardinal Francesco Barberini in (CBCR, iv, p. 280f.) or again later in 1674 (Braham/Hager 1977, pp , especially p. 80), when the mosaic in the church s semicircular eastern apse (eradicated in the project drawing) was restored (see A.II/2, p. 322). literature: Phillips cat. 1990, p. 138, lot 332; A.IX/1, p. 46 [I. Campbell] object drawn: extant. For S. Teodoro, see Matthiae 1967, pp ; CBCR, iv, pp ; Braham/Hager 1977, pp ; Finocchi Ghersi 1988; Ferrara 2002 Comp. fig. 82. Modern plan of S. Teodoro, Rome