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Luigi Vanvitelli and the Reggia at Caserta
Clement XII’s consolation prize of the Trevi Fountain commission to Salvi was coupled with another commission to the second runner-up in the Lateran competition,Luigi Vanvitelli.Vanvitelli was the son of a Dutch landscape painter working in Italy,Gaspar Van Wittel,who Italianized his son’s last name.Luigi trained like many in his day in scenography yet found employ in civil engineering.His participation in the competition for the facade of the Lateran assured his reputation although the bulk of his work continued to be in rather utilitarian tasks.He built the bastions and quarantine hospital in the pope’s Adriatic port of Ancona,his consolation prize,and reorganized Michelangelo’s Church of Santa Maria degli Angeli in Rome,itself a reintegration of the ancient Baths of Diocletian,which stirred criticism comparable to the contemporaneous Pantheon restorations.As head architect of the building commission at Saint Peter’s,called the Fabbrica,his restoration project of Michelangelo’s dome was contested yet successful.In Vanvitelli,the indispensable professional qualifications of engineer and architect,scenographer and coordinator were recognized by,among many,King Carlos III of Naples.
Naples and the southern reaches of the Italian peninsula,ancient Magna Graecia,had been ruled over by a succession of foreign powers.The early eighteenth century brought the Bourbon
monarchy to Naples under Carlos III.Born the son of King Felipe V
of Spain and Elisabetta Farnese,Carlos inherited not only the
traditions arcing back through the French Bourbons to King Louis
XIV,his great-grandfather,but also through his maternal line to the Farnese and Medici dynasties of Italy.Carlos III became,in 1734,the absolute monarch of the new and autonomous Kingdom of Two
Sicilies which bordered the papal states to the south.Naples,which
for over two centuries had languished,was now under Carlos’s rule
to be promoted to rank with Madrid,Paris,and Rome.Carlos
instigated ameliorative policies in architecture,urbanism,and regional infrastructure that became a primary function of his reign.By ordering landed aristocrats to be physically present at the capital’s urban court,Carlos stimulated the local economy in construction while simultaneously directing Naples toward a more cosmopolitan image.The king set the example by supporting the arts,undertaking archeological excavations at the buried ancient city of Herculaneum,and building several royal palaces.
Carlos had lived in many of his parents’ residences,yet the
structures available to the new monarch in Naples were not up to
those standards either in the nature of their planning or in their lessthan-imposing scale.At Portici,the Herculaneum excavation site on the bay of Naples,he began a great royal palace more for the good fishing than the promise of archeological finds the site promised.
我要的是通顺啊！翻得好再加100分！
On a hill above Naples at Capodimonte he had a hunting lodge built that outstripped in its ambitious scope that modest program.Both palaces were in large part the work of a Sicilian architect,Giovanni Antonio Medrano,but both projects proved insufficient in Carlos’s eye on
aesthetic,representational,and functional grounds.
Finding local architects lacking,Carlos turned to Rome’s prominent architectural culture for the professionals he required.Nicola Salvi was first on his wish list,but with the architect in ill health and concerned for the ongoing fountain project,he deferred,
recommending instead his collaborator Vanvitelli.Benedict XIV may have been loath to see not only Vanvitelli but also another of his prized architects,Ferdinando Fuga,summoned by the powerful new monarch to the south,but the pope sent them along at the close of the Holy
Year of 1750 as a diplomatic payment of cultural tokens.
Luigi Vanvitelli and the Reggia at Caserta
Clement XII’s consolation prize of the Trevi Fountain commission to Salvi was coupled with another commission to the second runner-up in the Lateran competition,Luigi Vanvitelli.Vanvitelli was the son of a Dutch landscape painter working in Italy,Gaspar Van Wittel,who Italianized his son’s last name.Luigi trained like many in his day in scenography yet found employ in civil engineering.His participation in the competition for the facade of the Lateran assured his reputation although the bulk of his work continued to be in rather utilitarian tasks.He built the bastions and quarantine hospital in the pope’s Adriatic port of Ancona,his consolation prize,and reorganized Michelangelo’s Church of Santa Maria degli Angeli in Rome,itself a reintegration of the ancient Baths of Diocletian,which stirred criticism comparable to the contemporaneous Pantheon restorations.As head architect of the building commission at Saint Peter’s,called the Fabbrica,his restoration project of Michelangelo’s dome was contested yet successful.In Vanvitelli,the indispensable professional qualifications of engineer and architect,scenographer and coordinator were recognized by,among many,King Carlos III of Naples.
Naples and the southern reaches of the Italian peninsula,ancient Magna Graecia,had been ruled over by a succession of foreign powers.The early eighteenth century brought the Bourbon
monarchy to Naples under Carlos III.Born the son of King Felipe V
of Spain and Elisabetta Farnese,Carlos inherited not only the
traditions arcing back through the French Bourbons to King Louis
XIV,his great-grandfather,but also through his maternal line to the Farnese and Medici dynasties of Italy.Carlos III became,in 1734,the absolute monarch of the new and autonomous Kingdom of Two
Sicilies which bordered the papal states to the south.Naples,which
for over two centuries had languished,was now under Carlos’s rule
to be promoted to rank with Madrid,Paris,and Rome.Carlos
instigated ameliorative policies in architecture,urbanism,and regional infrastructure that became a primary function of his reign.By ordering landed aristocrats to be physically present at the capital’s urban court,Carlos stimulated the local economy in construction while simultaneously directing Naples toward a more cosmopolitan image.The king set the example by supporting the arts,undertaking archeological excavations at the buried ancient city of Herculaneum,and building several royal palaces.
Carlos had lived in many of his parents’ residences,yet the
structures available to the new monarch in Naples were not up to
those standards either in the nature of their planning or in their lessthan-imposing scale.At Portici,the Herculaneum excavation site on the bay of Naples,he began a great royal palace more for the good fishing than the promise of archeological finds the site promised.
我要的是通顺啊！翻得好再加100分！
On a hill above Naples at Capodimonte he had a hunting lodge built that outstripped in its ambitious scope that modest program.Both palaces were in large part the work of a Sicilian architect,Giovanni Antonio Medrano,but both projects proved insufficient in Carlos’s eye on
aesthetic,representational,and functional grounds.
Finding local architects lacking,Carlos turned to Rome’s prominent architectural culture for the professionals he required.Nicola Salvi was first on his wish list,but with the architect in ill health and concerned for the ongoing fountain project,he deferred,
recommending instead his collaborator Vanvitelli.Benedict XIV may have been loath to see not only Vanvitelli but also another of his prized architects,Ferdinando Fuga,summoned by the powerful new monarch to the south,but the pope sent them along at the close of the Holy
Year of 1750 as a diplomatic payment of cultural tokens.
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