By Andrew Brookes
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The interior was readied for the visit in 1773 of Gianangelo Braschi, Subiaco’s titular cardinal, who was unimpressed. Subiaco is also rather remote and Quarenghi’s work there had only a limited impact. When it was finally inaugurated in October 1776, Braschi was pope, and Quarenghi was soon looking elsewhere for work. ” Quarenghi jumped at the opportunity. At thirtyfive and with only Subiaco to show for himself, he left Rome for St. Petersburg. In a few years, Quarenghi delineated classical St.
Vanvitelli’s son, Carlo, strove to complete the key features of the sculptural program of his father’s gardens. The Ovidian themes of fertility and metamorphosis that Vanvitelli listed in his publication were carefully determined as a Vichian mythopoeic historiography of the land. The fountain sculptures reference both the king’s passion for hunting here and the site’s historical association with the virginal goddess of the hunt, Diana. At the top of the park, a dramatic ensemble of statues play out the scene of Actaeon’s fateful encounter with the goddess in her bath who in her ire flings drops of water onto the hapless hunter who is transformed into a stag and devoured by his dogs.
The deep central niche on the upper floor, which emphasizes the wall’s solidity, is ideal for royal appearances. ” The towers, which were not executed due to later financial constraints, would have lightened the facade’s horizontality with bright vertical accents. For the central cupola the architect may have been thinking of Saint Peter’s, but this suggestion would have been overridden by the patron’s own more pertinent reference to El Escorial. Here, this cupola does not mark a chapel within the palace.
Air War over Italy 1943-1945 by Andrew Brookes