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Palazzo Gio Vincenzo Imperiale

The Palazzo Vincenzo Imperiale is a building in Campetto at number 8a, in the area of the Soziglia Market in the historical centre of Genoa. The building was included in the list of palaces included in the Rolli di Genova, UNESCO World Heritage List sites. Designed and decorated in the second half of the 16th century by Giovan Battista Castello, it constitutes one of the major Mannerist creations in Liguria.

Palazzo Gio Vincenzo Imperiale
Facade of the Palazzo Gio Vincenzo Imperiale in Piazza Campetto 8a
General information
StatusIn use
TypePalace
Architectural styleMannerist
LocationGenoa, Italy
Address8a Piazza Campetto
Coordinates44°24′33″N 8°55′54″E / 44.409028°N 8.931703°E / 44.409028; 8.931703
Current tenantsHousing/offices
Construction started1560
Completed1560
Design and construction
Architect(s)Giovan Battista Castello
Andrea Ansaldo

History edit

 
Particular of the facade

Adjacent to the disappeared Palazzo Spinola Doria and dominating almost the whole of Campetto, the palace was built around 1560 by the celebrated artist Giovan Battista Castello known as il Bergamasco for Vincenzo Imperiale, as is written on the architrave of the main portalː VINCENTIUS IMPERIALIS MICHAELIS FILIUS 1560. His son Gio Giacomo, who had it in fideicommissum, commissioned the extension towards Soziglia to a design by Andrea Ansaldo, and the construction of the rectifilo that connects it to San Lorenzo.[1]

Included from 1576 in the first list of rolls of Genoa with Vincenzo's heirs, he remained there until that of 1664. Since, in 1584, Gio Giacomo Imperiale — elected in 1617—1619 doge of the Republic of Genoa — opened the new 'imperial road' (today Scurreria la Nuova), a small part of the façade is, together with the portal, visible from Piazza San Lorenzo according to a perspective not envisaged by the Castle, which imagined a sumptuous façade to respond to a foreshortened view from below upwards.

He then bequeathed it to his son, Giovanni Vincenzo Imperiale, a famous man of letters who housed one of the city's most famous art collections, divided between the palace and the villa in Sampierdarena, known as Villa Imperiale «La Bellezza». Among the most famous pieces were the Portrait of Giovanni Vincenzo Imperiale, by Antoon van Dyck (1626), now in New York, National Gallery of Art, and the Portrait of the Marchioness Brigida Spinola Doria, second wife of Vincenzo Imperiale, by Peter Paul Rubens, now in Washington, National Gallery of Art.

The palace was damaged in the naval bombardment of 1684 and more seriously in the aerial bombardment of 1942.

Description edit

Façade edit

The façade, unanimously attributed to Bergamasco, presents clear references to the Roman Palazzo Massimo alle Colonne, a masterpiece by Peruzzi.[2] Like this one, it curves to follow the irregular course of the piazza, and has a portal on the ground floor with columns and frieze of Doric order, which opens onto an ashlar roof.

In contrast to the sobriety of the ground and first piano nobile, on the upper floors a lively decoration unfolds, with an unusual and anticlassical repertoire, where stucco fantasies clearly prevail over the frescoed backgrounds. On the second piano nobile elongated female herms in profile support alternating triangular and ribbed tympanums resting on curved volutes reminiscent of Ionic capitals. On the upper floor, the elaborate stuccowork reaches its acme in the window frames, in the demonic, lion, zoomorphic and winged masks, and in the rounded putti seated on garlands, stuccowork that echoes the elaborate ornamentation of the famous Francis I Gallery|Fontainebleau Gallery, here unexpectedly bringing it back to an external elevation. On the last level, in the theory of herms placed alternately in frontal view and in profile, the fantasy tends towards the monstrous grotesque.

The Greek deities depicted in fresco between the windows follow a cryptic magical-alchemical symbology, inspired by Hermeticism (philosophy) and the ancient text of the Picatrix.[3] The most prominent figure above the main portal is Jupiter, with thunderbolts in his fist, seated on the eagle, the symbol of the Imperial household. This is followed by the Three Graces, Diana, Mars, Apollo, Venus. On the other side, the deities of the sublunar world, Ceres, Proserpine, and Hebe. The frescoes are considered the late work of Ansaldo, from the third decade of the 17th century.

Interior edit

 
Frescoed atrium

The large atrium on the ground floor opens completely with four arches towards the courtyard: pillars support the arches, similarly to the palazzo Cambiaso Pallavicini in Strada Nuova, today's via Garibaldi. The interiors preserve on the ground floor frescoes by Giovanni Battista Castello and Luca Cambiaso with a fantasy of grotesques and stucco-framed figurines, among which the two major episodesː the banquet for the Marriage of Cupid and Psyche and Cupid asks Jupiter for Psyche in marriage'.[4]

Centred on a square courtyard with only two bays on each side, the palazzo, which the Anonymous in 1818 described as immense, is developed on staircases facing loggias differently oriented in unprecedented unfolding of spaces. A shop now occupies the entire ground floor, so that the staircase is accessible from a secondary entrance to the right of the main entrance. The staircase leads to the first floor, which houses a bar/restaurant and an architectural studio. It also housed the Filigree Museum.

The frescoes on the first floor, the Rooms of Apollo and the Rape of Proserpine, are in a poor state of conservation.

On the second piano nobile, a famous 'pictorial duel' took place between Luca Cambiaso and Giovanni Battista Castello, who frescoed — separated by a partition but with compatible and high results according to Raffaele Soprani — several episodes of the Stories of Cleopatra. Other decorations can be attributed to Bernardo Castello (Sala della Gerusalemme Liberata) and Domenico Piola, who intervened to repair the damage left by the Sun King's bombs in 1684. The staircase also features a frescoed decoration on the vault, with fine grotesques and beautiful portals surmounted by marble busts, as well as frescoes depicting the Contention between Apollo and Love and Apollo and Daphne, painted by Cambiaso. Today, the best-preserved rooms are the Conquest of Jerusalem room, frescoed on the vault by Bernardo Castello, together with six episodes from Jerusalem Delivered pertaining to the history of Genoa, and the Virtues of Athenian Cimon room, also by Cambiaso (for the frescoes) and Bergamasco (for the stuccoes).

Subdivided in the 19th century into rented flats, brutally stripped by wartime neglect, inside it is still possible to admire a monumental fireplace (building).

.

Notes edit

  1. ^ Painting in Liguria. Il Cinquecento, Parma, Elena, Publisher: Banca Carige (1999), p. 211
  2. ^ Luciana Muller Profumo, Le Pietre Parlanti, Banca Carige, 1992, p. 359.
  3. ^ Luciana Muller Profumo, Le Pietre Parlanti, Banca Carige, 1992, p. 372.
  4. ^ Painting in Liguria. Il Cinquecento, Parma, Elena, Publisher: Banca Carige (1999), p. 213

External links edit

  Media related to Palazzo Gio Vincenzo Imperiale at Wikimedia Commons

  • Palazzo Gio Vincenzo Imperiale

palazzo, vincenzo, imperiale, this, article, includes, list, general, references, lacks, sufficient, corresponding, inline, citations, please, help, improve, this, article, introducing, more, precise, citations, august, 2023, learn, when, remove, this, message. This article includes a list of general references but it lacks sufficient corresponding inline citations Please help to improve this article by introducing more precise citations August 2023 Learn how and when to remove this message The Palazzo Vincenzo Imperiale is a building in Campetto at number 8a in the area of the Soziglia Market in the historical centre of Genoa The building was included in the list of palaces included in the Rolli di Genova UNESCO World Heritage List sites Designed and decorated in the second half of the 16th century by Giovan Battista Castello it constitutes one of the major Mannerist creations in Liguria Palazzo Gio Vincenzo ImperialeFacade of the Palazzo Gio Vincenzo Imperiale in Piazza Campetto 8aGeneral informationStatusIn useTypePalaceArchitectural styleManneristLocationGenoa ItalyAddress8a Piazza CampettoCoordinates44 24 33 N 8 55 54 E 44 409028 N 8 931703 E 44 409028 8 931703Current tenantsHousing officesConstruction started1560Completed1560Design and constructionArchitect s Giovan Battista CastelloAndrea Ansaldo Contents 1 History 2 Description 2 1 Facade 2 2 Interior 3 Notes 4 External linksHistory edit nbsp Particular of the facade Adjacent to the disappeared Palazzo Spinola Doria and dominating almost the whole of Campetto the palace was built around 1560 by the celebrated artist Giovan Battista Castello known as il Bergamasco for Vincenzo Imperiale as is written on the architrave of the main portalː VINCENTIUS IMPERIALIS MICHAELIS FILIUS 1560 His son Gio Giacomo who had it in fideicommissum commissioned the extension towards Soziglia to a design by Andrea Ansaldo and the construction of the rectifilo that connects it to San Lorenzo 1 Included from 1576 in the first list of rolls of Genoa with Vincenzo s heirs he remained there until that of 1664 Since in 1584 Gio Giacomo Imperiale elected in 1617 1619 doge of the Republic of Genoa opened the new imperial road today Scurreria la Nuova a small part of the facade is together with the portal visible from Piazza San Lorenzo according to a perspective not envisaged by the Castle which imagined a sumptuous facade to respond to a foreshortened view from below upwards He then bequeathed it to his son Giovanni Vincenzo Imperiale a famous man of letters who housed one of the city s most famous art collections divided between the palace and the villa in Sampierdarena known as Villa Imperiale La Bellezza Among the most famous pieces were the Portrait of Giovanni Vincenzo Imperiale by Antoon van Dyck 1626 now in New York National Gallery of Art and the Portrait of the Marchioness Brigida Spinola Doria second wife of Vincenzo Imperiale by Peter Paul Rubens now in Washington National Gallery of Art The palace was damaged in the naval bombardment of 1684 and more seriously in the aerial bombardment of 1942 Description editFacade edit The facade unanimously attributed to Bergamasco presents clear references to the Roman Palazzo Massimo alle Colonne a masterpiece by Peruzzi 2 Like this one it curves to follow the irregular course of the piazza and has a portal on the ground floor with columns and frieze of Doric order which opens onto an ashlar roof In contrast to the sobriety of the ground and first piano nobile on the upper floors a lively decoration unfolds with an unusual and anticlassical repertoire where stucco fantasies clearly prevail over the frescoed backgrounds On the second piano nobile elongated female herms in profile support alternating triangular and ribbed tympanums resting on curved volutes reminiscent of Ionic capitals On the upper floor the elaborate stuccowork reaches its acme in the window frames in the demonic lion zoomorphic and winged masks and in the rounded putti seated on garlands stuccowork that echoes the elaborate ornamentation of the famous Francis I Gallery Fontainebleau Gallery here unexpectedly bringing it back to an external elevation On the last level in the theory of herms placed alternately in frontal view and in profile the fantasy tends towards the monstrous grotesque The Greek deities depicted in fresco between the windows follow a cryptic magical alchemical symbology inspired by Hermeticism philosophy and the ancient text of the Picatrix 3 The most prominent figure above the main portal is Jupiter with thunderbolts in his fist seated on the eagle the symbol of the Imperial household This is followed by the Three Graces Diana Mars Apollo Venus On the other side the deities of the sublunar world Ceres Proserpine and Hebe The frescoes are considered the late work of Ansaldo from the third decade of the 17th century Interior edit nbsp Frescoed atrium The large atrium on the ground floor opens completely with four arches towards the courtyard pillars support the arches similarly to the palazzo Cambiaso Pallavicini in Strada Nuova today s via Garibaldi The interiors preserve on the ground floor frescoes by Giovanni Battista Castello and Luca Cambiaso with a fantasy of grotesques and stucco framed figurines among which the two major episodesː the banquet for the Marriage of Cupid and Psyche and Cupid asks Jupiter for Psyche in marriage 4 Centred on a square courtyard with only two bays on each side the palazzo which the Anonymous in 1818 described as immense is developed on staircases facing loggias differently oriented in unprecedented unfolding of spaces A shop now occupies the entire ground floor so that the staircase is accessible from a secondary entrance to the right of the main entrance The staircase leads to the first floor which houses a bar restaurant and an architectural studio It also housed the Filigree Museum The frescoes on the first floor the Rooms of Apollo and the Rape of Proserpine are in a poor state of conservation On the second piano nobile a famous pictorial duel took place between Luca Cambiaso and Giovanni Battista Castello who frescoed separated by a partition but with compatible and high results according to Raffaele Soprani several episodes of the Stories of Cleopatra Other decorations can be attributed to Bernardo Castello Sala della Gerusalemme Liberata and Domenico Piola who intervened to repair the damage left by the Sun King s bombs in 1684 The staircase also features a frescoed decoration on the vault with fine grotesques and beautiful portals surmounted by marble busts as well as frescoes depicting the Contention between Apollo and Love and Apollo and Daphne painted by Cambiaso Today the best preserved rooms are the Conquest of Jerusalem room frescoed on the vault by Bernardo Castello together with six episodes from Jerusalem Delivered pertaining to the history of Genoa and the Virtues of Athenian Cimon room also by Cambiaso for the frescoes and Bergamasco for the stuccoes Subdivided in the 19th century into rented flats brutally stripped by wartime neglect inside it is still possible to admire a monumental fireplace building nbsp Part of the facade seen from via di Scurreria nbsp The courtyard nbsp Embarkation of Cimon fresco on the second floor nbsp Bernardo Castello Conquest of Jerusalem nbsp Scala nbsp Anthony van Dyck Portrait of Giovanni Vincenzo Imperiale 1626 New York National Gallery of Art Notes edit Painting in Liguria Il Cinquecento Parma Elena Publisher Banca Carige 1999 p 211 Luciana Muller Profumo Le Pietre Parlanti Banca Carige 1992 p 359 Luciana Muller Profumo Le Pietre Parlanti Banca Carige 1992 p 372 Painting in Liguria Il Cinquecento Parma Elena Publisher Banca Carige 1999 p 213External links edit nbsp Media related to Palazzo Gio Vincenzo Imperiale at Wikimedia Commons Palazzo Gio Vincenzo Imperiale Retrieved from https en wikipedia org w index php title Palazzo Gio Vincenzo Imperiale amp oldid 1215862516, wikipedia, wiki, book, books, library,

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