The historical and artistic view of Rome in the second half of the Seventeenth century, as reflected in the new edition of the Study of Painting, Sculpture and Architecture, edited by Filippo Titi in 1686, has changed compared to the one outlined in the princeps printed in 1674. Domenico Guidi become the most important sculptor in Rome, requested by all the most famous customers. In 1674 Titi had remained neutral in his judgments on the sculptor, but in 1686 he did not hesitate to praise him greatly, so much so that he considered him an «immortal» artist. Titi reminded that in the Pantheon the sculptor from Torano would have liked to make the sepulchres with the portraits of Lanfranco and his master Algardi. In this way Titi makes himself as an alternative to Bellori and the ideal beauty. Guidi’s latest project was in contrast and also in controversy with the commission of the busts of Raphael and Annibale Carracci to Paolo Naldini, promoted in 1664 by the classicist Carlo Maratta for the same place.
L’«immortale» Domenico Guidi nelle guide di Filippo Titi / Delle Fave, Damiano. - In: HORTI HESPERIDUM. - ISSN 2239-4141. - 1, X(2019), pp. 371-388. (Intervento presentato al convegno Tommaso de’ Cavalieri. Arbitro del gusto nella Roma della seconda metà del Cinquecento tenutosi a Roma, Palazzo Barberini).
L’«immortale» Domenico Guidi nelle guide di Filippo Titi
Delle Fave, Damiano
2019
Abstract
The historical and artistic view of Rome in the second half of the Seventeenth century, as reflected in the new edition of the Study of Painting, Sculpture and Architecture, edited by Filippo Titi in 1686, has changed compared to the one outlined in the princeps printed in 1674. Domenico Guidi become the most important sculptor in Rome, requested by all the most famous customers. In 1674 Titi had remained neutral in his judgments on the sculptor, but in 1686 he did not hesitate to praise him greatly, so much so that he considered him an «immortal» artist. Titi reminded that in the Pantheon the sculptor from Torano would have liked to make the sepulchres with the portraits of Lanfranco and his master Algardi. In this way Titi makes himself as an alternative to Bellori and the ideal beauty. Guidi’s latest project was in contrast and also in controversy with the commission of the busts of Raphael and Annibale Carracci to Paolo Naldini, promoted in 1664 by the classicist Carlo Maratta for the same place.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
