Light, colour and space in Roman Baroque Sacred Architecture: changes through misleading non -conservative nineteenth century restorations, in Couleur & Temps. La couleur en conservation et restauration,

Light, colour and space in roman Baroque sacred architecture. Changes through misleading non Ðconservative nineteenth century restorations In the paper we focus our attention on the most significant roman church liturgical places, as the altarpieces, presbyteries and choirs, analysing the aspects connected with colour, light and architectural space, features that assumed different meanings according to the aesthetic principles set up by the community of intellectuals and experts. Belonging to the theory of art these three concepts were in continuous evolution from XVIIth to XIXth century, depending on the dominant sense of time and of temporality distinctive of each subsequent transitory generations. The present study, although limited to Rome, is related to the European context , taking in to account the cosmopolitan and singular character of the Roman catholic culture, its influence out of the Papal State and in Italy, and its propensity to absorb as to reject suggestions from abroad . It is well known the debate about the colour in ancient Greek architecture, particularly in Sicily, and the interest in the use of marbles in imperial Rome. In particular we examine how the architectural interior space was influenced by the role of the natural and artificial illumination in new roman churches of post-tridentine period, from the refined kind of stained glasses adopted ( most of them now have disappeared), to the rooms of hidden light designed by the great baroque architects, in order to reach a perfect Gesamstkustwerk and to arouse a feeling of wonder in the spectator, surrounded by synaesthetic perceptions. Among several examples we describe the intervention of Bernini in Santa Maria del Popolo, in Santa Maria della Vittoria, in SantÕAndrea al Quirinale, Pietro da Cortona and Borromini on the Cappella Falconieri in San Giovanni dei Fiorentini, evaluating the restoration and the transformation done without understanding and thus recreating the baroque art of "bel composto".