03 — ARTWORK
Exterior view
- MEDIUM
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- TYPE
- Other
PALETTE
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- 1500 × 1125 px · JPEG
COMMENTARY
UNDERLINED TERMS ARE DEFINED IN THE GLOSSARY.
In the first quarter of the eighteenth century there was a stagnation in the architectural activities in Rome. But in the second quarter, between 1725 and 1745 Rome recovered to such an extent that she seemed to reconquer her leading position. Talented architects produced numerous important structures in this period. The new flowering of architecture in Rome is mainly connected with the names of Filippo Raguzzini, Gabriele Valvassori, Alesandro Galilei, Francesco de Sanctis, Niccolò Salvi, and Ferdinando Fuga. Each of the first five created one great masterpieceA term now loosely applied to the finest work by a particular artist or to any work of art of acknowledged greatness or of preeminence in its field. Originally it meant the piece of work by which a craftsman, having finished his training, gained the rank of'master' in his guild., namely the <a onclick="return OpenOther('/html/r/raguzzin/ignazio.html')" href="/html/r/raguzzin/ignazio.html">Piazza Sant'Ignazio</a> (Raguzzini, 1727-28), the façadethe front or principal face of a building, especially one elaborately constructed; a blind façade is a façade that is purely decorative and does not relate to the structure of the building. of the PalazzoPalaces: large urban dwellings, 'palazzo' in Italian carries no regal connotations. Alberti described the palace as a city in little, and, like cities, Italian Renaissance palaces vary in type according to differences of climate, tradition and social structure. On to these regional stocks were grafted new architectural strains, reflecting theoretical reinterpretations of antiquity and individually influential examples. The atrium and peristyle house described by Vitruvius and now known from Pompeii did not survive antiquity, and much of the interest of Renaissance designs lies in creative misunderstandings of Vitruvius's text. Medieval palace architecture probably inherited the insula type of ancient apartment house, related to the modest strip dwellings which never disappeared from Italian cities. In Florence a merchant palace developed from fortified beginnings, with vaulted shop openings on the ground floor, and the main apartments above, reached by internal stone staircases opening from an inner court. Renaissance developments regularized without changing the essential type, although large cloister-like courtyards were introduced, while shops came to be thought undignified. At Michelozzo's Medici Palace (1444) a square arcaded courtyard with axial entrance lies behind a façade of graduated rustication, with biforate windows, a classical cornice replacing the traditional wooden overhang. The apartments on the 'piano nobile' formed interconnecting suites of rooms of diminishing size and increasing privacy. The classical orders which Alberti introduced to the façade of the Palazzo Rucellai (c.1453) were not taken up by the conservative Florentines, who continued to build variations on the Medici Palace (Palazzo Pitti; Palazzo Strozzi). In the 16th century rustication was reduced to quoins and voussoirs, and large windows appeared on the ground floor, 'kneeling' on elongated volutes. At Urbino the Ducal Palace (1465) reflected Alberti's recommendations for the princely palace, and was in turn influential on late 15th century palaces in Rome (e.g. the Cancelleria). A harmonious Florentine courtyard and ample staircase replace the embattled spaces of medieval seigneurial castles, of which vestiges remain only in the towers flanking the balconies of the duke's private apartments, designed as a scholarly retreat. In the absence of a merchant class or a cultured nobility in 15th century Rome, the architectural pace was set by the papal court. Papal incentives to build, and large households, meant less compact plans for cardinals' palaces, often built next to their titular churches. Renaissance forms appear in the unfinished courtyard of the Palazzo Venezia (1460s), with its arcade system derived from the nearby Theatre of Marcellus, and in the delicately ordered stonework of the Cancelleria (1485). In the 16th century vestigial corner towers and shops disappear from cardinals' palaces, and Antonio da Sangallo's Palazzo Farnese (1516) introduces symmetrical planning and Vitrivuan elements, like the colonnaded vestibule, behind a sober Florentine façade, enlivened by Michelangelo's cornice. A smaller palace type supplied the needs of an enlarged papal bureaucracy, more ambitious for display than for domestic accommodation. Bramante's 'House of Raphael' sets the façade style not only for this new type, but also for Renaissance houses all over Europe. Raphael and Peruzzi made ingenious use of difficult sites (Palazzo da Brescia; Palazzo Massimi), and their sophisticated façades flattered the architectural pretensions of patron and pope (e.g. Palazzo Branconio dell'Aquila). Movement of patrons and architects, especially after the Sack of Rome, meant a diffusion of Roman forms to central and northern Italy, where Sanmicheli's palaces in Verona, and Palladio's in Vicenza, adapted Roman types to suit local conditions. Palladio's 4-columned atrium is a Vitruvian solution to the traditionally wide Veneto entrance hall, and his plan for the Palazzo da Porto-Festa contains explicit references to Vitruvius's House of the Greeks. In Venice, defended by its lagoon and a stable political system, the hereditary aristocracy built palaces open to trade and festivity on the Grand Canal. The traditional Venetian palace has a tripartite structure: long central halls above entrance vestibules used for unloading merchandise are lit on the canal façade by clusters of glazed windows (rare elsewhere), and at the back from small courts with external staircases (as in the Ca' d'Oro). Codussi's palaces introduced biforate windows and a grid of classical orders into the system, while Sansovino's Palazzo Cornaro retains vestiges of the Venetian type (small courtyard; tripartite façade) despite its Bramantesque coupled orders and licentious window surrounds. Other cities, like Genoa, evolved influential types. Through engravings and the illustrated treatises, Italian Renaissance ideas of palace planning, originally evolved in response to specific conditions, came to be applied all over Europe. Doria-Pamphilj (Valvassori, 1730-35), the <a onclick="return OpenOther('/html/g/galilei/lateran1.html')" href="/html/g/galilei/lateran1.html">façade of San Giovanni in Laterano</a> (Alessandro Galilei, 1733-36), the <a onclick="return OpenOther('/html/s/sanctis/spanstep.html')" href="/html/s/sanctis/spanstep.html">Spanish Steps</a> (de Sanctis, 1723-26), and the <a onclick="return OpenOther('/html/s/salvi/trevi.html')" href="/html/s/salvi/trevi.html">Fontana di Trevi</a> (Salvi, 1732-62). Only the sixth, Ferdinando Fuga, the most profuse talent of the group, secured a number of first-rate commissions for himself, best known are the <a onclick="return OpenOther('/html/f/fuga/consult1.html')" href="/html/f/fuga/consult1.html">Palazzo della Consulta</a> (1732-37) and the <a onclick="return OpenOther('/html/f/fuga/maggior1.html')" href="/html/f/fuga/maggior1.html">façade of Santa Maria Maggiore</a> (1741-43).
The present Palazzo Doria-Pamphilj had expanded laterally from the palace at the site once owned by the Della Rovere and Aldobrandini families. Initialthe first letter of the text in medieval manuscripts and early printed books, made to stand out emphatically by its colour, size, and ornamentation. designs by Carlo Maderno were amplified by Antonio del Grande and added to by Carlo Fontana (including chapela small separate place for worship, either part of a large church or a separate building.) and Francesco Nicoletti. Valvassori is responsible for the massive façade on the Via del Corso.
Valvassori's façade of the Palazzo Doria-Pamphilj is notable for the playful movement of the window pediments, the balconies and balusters.
CITE THIS RECORD — BIBTEX
@online{wga-r4a26c4755015fd,
author = {Krén, Emil and Marx, Daniel},
title = {Exterior view by VALVASSORI, Gabriele},
organization = {{Web Gallery of Art}},
date = {2026-09-13},
url = {https://beta.wga.hu/artists/valvassori-gabriele-ra0417650721d1b/exterior-view-r4a26c4755015fd},
urldate = {2026-09-13},
langid = {english}
}ACCESSED 2026-09-13. REPLACE THE AUTHOR FIELD WITH THE COMMENTARY AUTHOR WHERE ONE IS NAMED.
OTHER WORKS BY GABRIELE VALVASSORI
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