Manuela Walz, Department of Art History
During the fifteenth and sixteenth century, the ruins of Rome began to be seen with different eyes. The flourishing of classical studies that had begun to take place with the coming of humanism, had kindled great interests. The ancient Roman monuments that in the Middle Ages had been either destroyed or ignored, began to appear in a different light and studied in a different perspective. Thanks to the works of humanists of the previous century, such as Flavia Biondo and Poggio, who were dedicated to the study of antiquities, the need to save or at least record what remained of ancient Rome had began to be felt. The study of antiquity flourished in sixteenth century Rome, as it denoted passion and seriousness in the dedication to the research of the past. This is evident in the great production of prints and studies of antiquities that started during the pontificate of Pope Julius II (1503-1513), and ended with that of Pope Clement VIII (1592-1605). Many publications and writings, such as Vasari’s Vite and Palladia’s Le Antichita’ di Roma, coincided with the year of the Jubilee, 1550. This interest in antiquities continued to the end of the century, and can be seen in the art and writings of the sculptor and antiquarian Flaminio Vacca.
In 1594 Vacca finished a compilation of reports of discoveries of antiquities in Rome and the surrounding area, which occurred during the course of the sixteenth century. This important account, entitled Memorie di varie antichita’ trovate in divers! luoghi della citta’ di Roma, has not been readily accessible to scholars, and therefore under-used if not overlooked. I have completed the first translation from the original sixteenth century Italian text into modern English. For an overview of the compilation and some facts about the life and works of the author, and further observations regarding his contribution as an antiquarian and art dealer, see my report published in Insight, an Honors publication.
Vacca’s denouncement of the expropriation and destruction of antiquities, occurring in Rome during the sixteenth century, reflects an accurate portrayal of the time. The works of art that were found, as well as remains, marble slabs, statues, jewels, ornaments, decorations, and treasures, were often destroyed if deemed worthless, or expropriated by private citizens, art lovers, and art dealers. There is virtually no building erected in Rome during the sixteenth century that did not draw its building material from the destruction or mutilation of some ancient structure. The Church, through powerful popes, princes and their connections, also took part.
The Septizodium (Fig. 1), a building that originally stood at the foot of the Palatine Hill, illustrates the magnitude of such destruction. It cost a fortune to dismantle, and only served as a source of material for the construction or the restoration of various public works of art in Rome, such as the Spanish Steps and the north facade of the church of St. John in Lateran.
Other antiquities that were not thought to be worth saving, were sent to supply the many Roman lime furnaces that flourished in the close proximity of rich excavation sites.
By the end of the first half of the century, a new science concerning the search for prized works of art began to emerge, and with that the awareness of the importance of preserving antiquities from the classical past. Statuary and inscriptions were especially prized, and they were often utilized in the decorations of churches and buildings, particularly since the finding of the Laocoon group in 1506 among the ruins of the House of Titus on the Oppian Hill (Fig. 2) . Many columns and slabs of marble became part of the decorations of roman churches, like SS. Quattro Coronati and S. Paolo, to name only two, and those of nearby cities and towns.
The years of the pontificate of Pope Paul III (1534-1550) marked a new beginning. Despite the fact that other papal edicts of the past had threaten presumed destroyers of antiquities, papal patronage had still furthered the erection and renovations of churches and other buildings through the expropriation of marbles from other buildings, such as the Colosseum, Paul III issued most strict regulations that no one should destroy antiquities under penalty of death. According to various art historians, this is the event that resulted in a steady increase in the number of public and private antiquity collections in Rome.
The collections had a practical purpose, besides that of personal appreciation of antiquities and the desire to show them off. Every artist in Rome and the rest of Europe wanted to have access to original works of art to copy and model for his own creations, since classical antiquity was considered a perfect model in scale, subject and proportions. Many artists would come to Rome to obtain access to such precious collections, to copy, adapt to their own creations, or simply imitate. Many antiquities would change hands, from Popes and Cardinals to artists and connoisseurs, and vice versa.
The year 1575 corresponded to the Holy Jubilee, and an unprecedented number of pilgrims flooded Rome. Such event caused a great number of guidebooks to the city and its collections to be printed. Works that were published throughout the first half of the century, from authors such as Pirro Ligorio, Onofrio Panvinio, and Giovanni Marliani, are still treasured today as they provide a vision of the city as it was in its progressive stage of renovation to prepare it for the magnificence of the Baroque age.
As a final consideration, I would like to thank the Office of Research and Creative Work for the opportunity to share the results of my research, and renew my interest and commitment to Art History Scholarship.
References
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- Walz, Manuela. “Flaminio Vacca: sculptor and antiquarian in Sixteenth century Rome”. Insight, IX, n.3, p. 8-12. Provo, Brigham Young University, 1994.
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- Zander, Giuseppe. “Roma e llantico nell’arte e nella cultura italiana.11 Cenni sullo studio dell’architettura di Roma antica e sulla sua evoluzione nel ‘500, 29 (1982), p. 237.