16 research outputs found
Ponzio, Orazio Censore, Montano, Rainaldi per la cappella Colonna in S. Giovanni in Laterano
No full textLa cappella del coro d'inverno venne costruita nell'ambito della ristrutturazione della "nave trasversa" di S. Giovanni in Laterano patrocinata da Clemente VIII (Aldobrandini, 1592-1605), intrapresa appena dopo l'elezione al pontificato. Introdotta, dal deambulatorio – poi demolito – attraverso la sagrestia dei Beneficiati, già costruita nel 1594, anche la cappella del coro d'inverno, poi anche dei Colonna, deve risalire a quegli anni. E' attribuita, in base alle parole di antichi biografi e all'analisi critica di F. Fasolo, a Girolamo Rainaldi e l'esecuzione viene ricondotta agli anni del gran contestabile del Regno di Napoli Filippo Colonna che la ebbe nuovamente in assegnazione nel 1623 per costruirvi il monumento funebre della moglie Lucrezia Tomacelli, morta l'anno prima.
La documentazione edita e quella inedita rintracciata ha dimostrato che le vicende costruttive e decorative della cappella sono state lunghe e complesse, vedendo impegnati più artisti; lo "stile" di Rainaldi riconosciuto da Fasolo è in realtà comune anche ad altri artisti attivi negli stessi anni o poco prima, come Flaminio Ponzio, ricordato quale architetto della basilica nel 1597 in una annotazione di G. Zander e redattore di una stima sui lavori eseguiti nella cappella del 1613, dalla quale si sa che l'opera architettonica e decorativa era in quell’anno in gran parte eseguita.
Alla cultura di maestranze dell’entourage di Montano si è attribuito il progetto del coro ligneo per i canonici, di cui si è scritto nel commento al saggio precedente; Orazio Censore, noto fonditore di metalli, è richiamato da Baglione come autore della cappella – ma probabilmente solo per le numerose opere bronzee che la decorano -; Girolamo Rainaldi fu probabilmente solo l'autore della fase finale di completamento di opere impostate da altri, ma che hanno indotto la storiografia ad individuare e ricercare uno "stile" rainaldesco in più architetture del periodo.
The winter choir chapel was built within restoration of the “transverse nave" of the Basilica of St. John Lateran sponsored by Clement VIII (Aldobrandini, 1592-1605), which he started as soon as he became Pope. Connected through the ambulatory – then demolished – to the Sacristy of the Beneficiaries, already built in 1594, the winter choir chapel – named also the Colonna chapel later on – must date back to those years, too. In accordance with old biographers and the critical analysis of F. Fasolo, it was ascribed to Girolamo Rainaldi while the erection was related to the years of the Grand Constable of the Kingdom of Naples Filippo Colonna, to whom it was assigned again in 1623 for building in there a memorial of his wife Lucrezia Tomacelli, dying the year before.
Pursuant to both the published and unpublished documentation found, the construction and decoration aspects of the chapel were long and complex, with several artists at work; the "style" of Rainaldi, recognised by Fasolo, was in fact shared by other artists operating in those years or a little earlier, too, such as Flaminio Ponzio, mentioned as architect of the Basilica in 1597 in a note by G. Zander, and author of a survey on the works carried out at the chapel in 1613, through which it is known that the architectonic and decorative work was almost finished in that year.
The project of the wooden choir for canons was assigned to the workers from the Montano entourage; that project was mentioned in the commentary to the previous essay; Orazio Censore, well-known caster of metals is recalled by Baglione as the creator of the chapel, probably just for the numerous bronze works decorating it; Girolamo Rainaldi is likely to have carried out just the final phase, the completion of works planned by others, nevertheless inducing historiographers to identify or look for the Rainaldi style in several architectures of the period
Girolamo Rainaldi per il duomo di Milano: il progetto di facciata del 1642 e alcune precisazioni sul corpus grafico dell'architetto
No full textOur knowledge about the activity of Girolamo Rainaldi (1570-1655) in northernItaly, and particularly inMilan, has recently been enriched with data coming from previously unpublished documents. From those, we discover that the architect was active in theLombardcity for the long-running question of the conclusion of Duomo’s façade, for which a project dating to circa 1607 is preserved in the Ambrosiana Library.Now the discovery of a presentation drawing with a proposal for the façade of the same church, dated and signed in 1642, preserved in a private collection, allows a further contribution to the information on Rainaldi's activity in Milan where he claims to be at the time of execution of the drawing. In 1642 the bishop ofMilanwas Cardinal Cesare Monti, for whom, in the same year, Girolamo had presented a project for the transformation of a suburban building into the family residence.In the occasion of this design for the façade of the largest Lombardchurch, we appreciate how Girolamo is dealing with a pre-existing building. His "hybridizing" approach already expressed in the drawing for the same church of 1607 and in the well-known foglio with the proposal for the façade of the Basilica of San Petronio in Bologna from the 1620s, gets confirmed in the project discussed in this study, albeit less explicitly.At the same time, this study permits reaching some clarifications on Rainaldi's graphic corpus which confirm the attributions previously made by the author and resolves some historiographical issues on the architect's activity during his long career. La conoscenza dell’attività di Girolamo Rainaldi (1570-1655) nel nord Italia, e in particolare a Milano, si è nell’ultimo periodo arricchita di dati inediti che vedono l’architetto attivo nella città lombarda per l’annosa questione della conclusione della facciata del Duomo già con un progetto, conservato nella biblioteca Ambrosiana, risalente al 1607 circa.Ora il rinvenimento di un disegno di presentazione con una proposta per la facciata della medesima chiesa, datato e firmato nel 1642, conservato in una collezione privata, permette un ulteriore apporto alla conoscenza dell’attività di Rainaldi a Milano dove afferma di stare nel momento dell’esecuzione del disegno. Nel 1642 vescovo di Milano era il cardinale Cesare Monti, per il quale, nello stesso anno, Girolamo aveva presentato un progetto di trasformazione di un edificio suburbano nella residenza di famiglia dello stesso cardinale. Edificio poi modificato da Francesco Maria Ricchino e oggi, dopo ulteriori trasformazioni settecentesche, sede della biblioteca Sormani. È probabile dunque che sia stato Monti a volere Rainaldi a Milano, facendolo ‘trasferire’ lì da Parma; nel foglio di progetto egli si dichiara infatti architetto dell’ “inclito popolo romano e del serenissimo duca di Parma”.L’occasione del riconoscimento del disegno per la facciata della più grande chiesa lombarda permette nuovamente di comprendere come Girolamo si confronti con un edificio preesistente; in effetti, il suo approccio “ibridante” già espresso nel disegno per la stessa chiesa del 1607 e nel noto foglio con la proposta per la facciata della basilica di San Petronio a Bologna degli anni venti del XVII secolo, trova una conferma nel foglio qui discusso, sebbene in maniera meno esplicita. Conformare il nuovo al preesistente, provando a combinare la maniera “romana” a quella “gotica” è una questione dibattuta da sempre in architettura; comprendere le scelte in tal senso di un architetto del seicento per mezzo dei suoi disegni di progetto è un’occasione di certo interesse che apre nuove prospettive di ricerca futura.L’occasione ha anche permesso di fare alcune precisazioni sul corpus grafico di Rainaldi che confermano le attribuzioni di fogli fatte da chi scrive in precedenti occasioni, e di sciogliere alcuni nodi storiografici sull’attività dell’architetto durante la sua lunga carriera.
La peste a Roma: disegni di Carlo Rainaldi (1633)
No full textA causa della pestilenza dilagante in tutta Italia, fin dal 1629 viene istituita la Congregazione della Sanità, che in brevissimo tempo mette a punto vari provvedimenti per la salvaguardia dei centri urbani non ancora colpiti dal contagio. In particolare per la città di Roma, venne stabilito di chiudere la maggior parte delle Porte cittadine, ed inibire il più possibile l’entrata in città di merci o ogni altra possibile fonte di contagio. Per le poche porte, che furono lasciate aperte, venne istituito un presidio di soldatesche e controlli sanitari, con relative strutture d’appoggio, ove venivano trattenuti i forestieri in osservazione. All’interno della città inoltre, vennero istituiti dei veri e propri lazzaretti per i malati conclamati e per quelli sospetti, riadattando strutture edilizie già esistenti. Tale articolazione di organismi di fermo e di assistenza, sia per ciò che concerne l’esterno, che l’interno della città, è stato disegnato dal giovane Carlo Rainaldi e si trova documentato in un manoscritto Barberini, conservato presso la Biblioteca Apostolica Vaticana, che in questo contributo si analizza puntualmente, del quale si pubblicano numerosi disegni inediti; di essi si elabora un accurato studio che mette in luce l'organizzazione di quanto sopra esposto. Particolare attenzione viene dedicata all’analisi delle diverse tipologie destinati a lazzaretti (disegnati nel manoscritto - e in questa sede pubblicati), talvolta semplici, talvolta più complessi. Nel contributo si è quindi inizialmente documentata l'attività progettuale, per poi approfondire gli aspetti compositivi, anche rispetto ad alcuni disegni di targhe-didascalie, che compaiono nei grafici a corredo dei disegni in esame. Elementi che hanno evidenziato, ancora una volta, l’espressività del giovane Carlo Rainaldi, individuabile tra meccanismi formali tardo-cinquecenteschi (provenienti dalla collaborazione con il padre Girolamo), ed elaborazioni embrionalmente barocche. Tali riflessioni sono sviluppate anche attraverso schemi di lettura (elaborate dall'autrice- pubblicati nel saggio), i quali mettono in evidenza gli elementi figurativo-formali presenti nella composizione. In calce all'articolo viene altresì inserita un'appendice documentaria inedita, citata ed analizzata nel contributo. ABSTRACT IN INGLESE: Because of the epidemic plague, since 1629 the Health Congregation was established in Rome. In a short time, different preventive actions were started in the towns not jet infected by the plague. In the Rome the most of the city gates were closed, and the soldiers had to check every person or vehicle in the allowed passages. Inside the circuit of the walls, several recovery centers were organized for the sick people. The young Carlo Rainaldi was appointed as Superintendent to manage on the architectural projects prepared for the plague, inside and outside the city. A manuscript in the Vatican Library documents the projects for all the lazarettos. The Author examined the different architectural typologies of the projects, as well as graphic composition of the tables with title and captions. Even these last details enhanced the style of the young architects, between the late Fifteenth century articulation (due to the cooperation with the father Girolamo) and a primitive Baroque
Orazione funebre nelle solenni esequie dell'augustissimo imperador de' Romani Francesco Primo : celebrate dalla serenissima repubblica di Lucca, il di XIV d'Ottobre MDCCLXV nella cattedrale di essa città /
No full textUnsigned plate of the catafalque is reproduced in a similar work: Orazione funebre ... Giuseppe Secondo of C. Boccella, Lucca, 1790. Oechslin professes to see the derivation of this catafalque from the mausoleum for Pope Sixtus V (Rainaldi and Fontana, 1591).Pages XXVI-XXVIII record memorial inscriptions, and an elegy by Vincenzo Minutoli.Title page in red and black.Oechslin, W. Festarchitektur,Mode of access: Internet.Library's copy 1 has 4 leaves of manuscript bound in, with notes on this and similar events.Library's copy 2, 29 cm., has in place of the typeset author statement the author's name (autograph ?) written into that space on the t.p.: Gian Battista Montecatini
Outsider art : forty years out
No full textFrench artist Jean Dubuffet delivered an anti-cultural manifesto in the 1940s. He fought against the status quo in the art world and argued against the traditions of art history, where art is studied in the context of its historical development and where art standards are the result of cultural conditioning and the opinions of art critics. To illustrate his thesis, Dubuffet went on to create an art collection, which he called art brut, from artists who he believed were not influenced by culture or social norms. In 1972 Roger Cardinal, a British scholar, wrote a book about art brut, calling it outsider art. Many new definitions of outsider art subsequently evolved, particularly in the United States, and there has been little agreement on the definition of outsider art or the terminology coined to describe it.
This thesis examines the American and European perspectives on outsider art and suggests the underlying biases, ideologies, and social factors that informed the definitions, such as the myths surrounding mental illness, movements towards social inclusion, and movements away from the marginalizing effect of labels. As outsider art gains more recognition in the art world, some defend its categorization as a separate genre of art while others challenge the need to keep it separate from mainstream art, and those reasons are explored. Finally, it is suggested that there may be little value in attaching labels to any genre of art because every definition of outsider art reflects the biases and personal logic of its author. Dialogue and debate are encouraged and suggestions for continuing research are outlined.Education, Faculty ofCurriculum and Pedagogy (EDCP), Department ofGraduat
Author Correction: Virtual exam for Parkinson’s disease enables frequent and reliable remote measurements of motor function
No full textThe church of the Order of the Visitation of Holy Mary [Wizytki] in Warsaw versus Benedykt de Renard and architecture of late-Baroque eclecticism of the break of the 17th and 18th centuries
No full textSt. Joseph the Betrothed church in Warsaw, belonging to the Order of the Visitation
of Holy Mary [Wizytki], was built at two stages. At the first one (1728-1733), construction
was carried out Carlo Antonio Bay, at the second one – by Jakub Fontana (1755-1762). In the
former studies, it was generally accepted that both construction (archivally certified) and a
detailed design was made by Bay. Undoubtedly, Carlo Antonio Bay was an author of the first
stage of the detailed design of the Wizytki’s church. However, producing designs of the altars,
Andrei Pozza assimilated stylistics of the master and performed orders within the scope of
small-scale architecture in this manner. It is not known where he completed his architectural
internship. Undoubtedly it must have happened within the circle of the architect associated
with the Academy of Saint Luke in Rome. Bay might have known the late-Baroque Roman
eclectic architecture from the break of the 17th and 18th centuries from personal observation,
although his architectural style was more heavily influenced by the circles of north Italian
architects working in the Habsburg Empire (the Czech Republic, southern Germany).
The concept and the detailed design of the church were elaborated by the outstanding architect,
a representative of the late-Baroque Roman eclecticism, educated in the Academy of Saint
Luke in Rome under the direction of Carlo and Francesco Fontana. According to the practice
of the Academy, he perfectly adopted architectural forms of Cortona, Borromini and Rainaldi,
as well as the architecture of the break of the 17th and 18th centuries. In the Warsaw design, inspired by selected compositions and motives, he made a synthesis of architectural motives
and the art of great creators of Baroque Rome, da Cortona, Rainaldi and Borromioni, which is
unusual even in Rome. Excluding other architects working in those days in Poland, also among
graduates of the Academy, it may be supposed that the only possible designer was Benedykt de
Renard. It was probably him who made “Abrys facyaty naszego Kościoła”, being one version
of the detailed design, produced possibly after signing the contract with Bay. According to the
practice adopted from the Academy of Saint Luke, the detailed design was made precisely and
including drawn in details, which made it possible for the following architect, probably Jakub
Fontana, finished the work (from 1755) according to the original design, although within the
scope of stylistics of decorations with foreign influence characteristic of the mid-18th century.
From the moment of establishing the foundations, the church must have been designed with
the impressive, broken top, yet, its finish or slight modifications might have been done in
the second stage of construction, and then monuments on the top were made by Johann G.
Plersch
‘Una colonia tutta francese: l’Accademia di Francia in Palazzo Mancini’
No full textThe article reviews the way the Accademia di Francia in Rome used and transformed the Palazzo Mancini, which was its seat for roughly eighty years, from 1725 to 1804. The ‘Accademia di pittura, scultura, architettura e musica’ had been founded by Jean-Baptiste Colbert on the instructions of Cardinal Giulio Mazzarino in 1666. After various changes in location between the Gianicolo and Sant’Andrea della Valle, the French institution was eventually installed in the Palazzo Mancini in Via del Corso. This was a building of great interest, yet little known, a late work of the architect Carlo Rainaldi, who entrusted its execution to the young Sebastiano Cipriani (1686-1690). The long and distinctive presence of the Accademia di Francia in the Palazzo Mancini played a role of great significance in the building’s history. Charles Poerson and Nicolas Wleughels filled the posts of director and co-director of the academy since the early months of 1725, while the duc d’Antin was the superintendent of buildings of the crown. The superintendent and director were in fact the main protagonists in the administration of the building, and from a study of their respective correspondence the author has elucidated the salient events in the history of the Palazzo Mancini during this period. The analysis is mainly based on Italian and French archival sources and is correlated with largely-unpublished iconographic material. At the centre of Roman and French current affairs for almost two centuries, and one of the buildings most frequented by Roman high society in the eighteenth century, the Palazzo Mancini is now the property of the Banco di Sicilia, which has transformed it into its head office in Rome. Since then it has curiously remained ‘ a’ l’écart’ of the interest of historians
Virtual exam for Parkinson's disease enables frequent and reliable remote measurements of motor function
No full textUncertainty-Aware PPG-2-ECG for Enhanced Cardiovascular Diagnosis using Diffusion Models
No full textAnalyzing the cardiovascular system condition via Electrocardiography (ECG)
is a common and highly effective approach, and it has been practiced and
perfected over many decades. ECG sensing is non-invasive and relatively easy to
acquire, and yet it is still cumbersome for holter monitoring tests that may
span over hours and even days. A possible alternative in this context is
Photoplethysmography (PPG): An optically-based signal that measures blood
volume fluctuations, as typically sensed by conventional ``wearable devices''.
While PPG presents clear advantages in acquisition, convenience, and
cost-effectiveness, ECG provides more comprehensive information, allowing for a
more precise detection of heart conditions. This implies that a conversion from
PPG to ECG, as recently discussed in the literature, inherently involves an
unavoidable level of uncertainty. In this paper we introduce a novel
methodology for addressing the PPG-2-ECG conversion, and offer an enhanced
classification of cardiovascular conditions using the given PPG, all while
taking into account the uncertainties arising from the conversion process. We
provide a mathematical justification for our proposed computational approach,
and present empirical studies demonstrating its superior performance compared
to state-of-the-art baseline methods
