Theatricality in Early Modern Art and Architecture by Caroline van Eck & Stijn Bussels

Author:Caroline van Eck & Stijn Bussels
Language: eng
Format: epub
Publisher: Wiley
Published: 2011-04-08T04:00:00+00:00

In princely theatres the tragic scene à la Serlio was at the same time a representation of the glory of the ancients and the achievements of modern rulers. In the letter to Ranuccio I of February 1618 cited above, Aleotti wrote that he wanted his design for the tragic scene in the Teatro degl'Intrepidi in Ferrara – the only type of scene he considered fit for a huge building like the Teatro Farnese – to ‘appear in this Theatre of the World’ under Ranuccio's ‘most glorious name’.34 While calling the daily life-world a theatre – a common metaphor of the time – the architect consciously saw to it that the stage set for the ducal theatre matched both the status of its patron and the notions of sublimity associated with ‘noble’ buildings and their architectural display.35

5 Giovanni Battista Aleotti, Theatre in the Farnese Palace, Parma, 1518–28. Interior (destroyed in 1944; rebuilt without its original statues and paintings, 1950–62). Anonymous photograph c. 1920, courtesy of Paolo Sanvito, Berlin.

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