Pompeii in the Visual and Performing Arts by Mirella Romero Recio;

Author:Mirella Romero Recio; [Recio, Mirella Romero]
Language: eng
Format: epub
ISBN: 9781350277908
Publisher: Bloomsbury UK
Published: 2023-02-25T00:00:00+00:00

Classical sculpture as a decorative element in Spanish royal palaces

In 1759, Charles VII renounced the Neapolitan throne and relocated to Spain in order to ascend to the Spanish throne. Although he left the excavation works and the publication of the results well in hand, his successor Ferdinand I’s interest in the future of the Ercolanese Museum waned following his departure (Allroggen 1993: 36).

On his arrival in Madrid, Charles III of Spain encountered a royal palace still under construction, the old palace having been destroyed in a fire on Christmas Eve of 1734. The successive architects responsible for the project had opted to build in accordance with the new aesthetic canons of the time, and to decorate the rooms with sculptures in the classical tradition.

While the works were being completed, the monarch resided in the Buen Retiro Palace, a building which he too decided to decorate with classical sculptures. Accordingly, in 1761, he commissioned Camillo Paderni, director of the Portici Museum, to buy a series of sculptures in Rome (Alonso 2003) and to send casts of the sculptures found in the Villa of the Papyri, as attested by a letter that Charles III sent on 31 March 1761 to Bernardo Tanucci:

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