Ephemeral constructions and pyrotechnic machinery: dialogue between history and representation. Rome in XIX century

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1 Proceedings of 2015 IFToMM Workshop on History of Mechanism and Machine Science May 26-28, 2015, St-Petersburg, Russia Ephemeral constructions and pyrotechnic machinery: dialogue between history and representation. Rome in XIX century Emanuela Chiavoni Dipartimento di Storia, Disegno e Restauro dell Architettura. Università Sapienza Roma [email protected] Claudio Impiglia Dipartimento di Storia, Disegno e Restauro dell Architettura. Università Sapienza Roma [email protected] Abstract: Through a lasting period of time between XVI and the beginnings of XX century the arrangement of Catherine wheels and firework displays during important religious and secular festivals represented for the inhabitants of Rome one of the most popular and awaited events of the tradition. The planning and the construction of the pyrotechnical mechanisms in the most suggestive places of the town (St. Peter s Basilica, the Janiculum Hill, the Coliseum, Castel S. Angelo, Piazza del Popolo with the public gardens of Pincio) kept busy a wide and heterogeneous group of makers including architects, engineers, craftsmen, painters, sculptors and skilful stokers. The tradition of the so called Girandola Romana can be considered a form of total art show in which the urban landscape was transformed by a series of ephemeral architectures, made of different materials (wood, iron, papier-mache and cloth) that were juxtaposed to the monuments facades. The contribution aims to analyze some of these impressive pyrotechnic costructions through their different representations: these drawings reproduce in a very sophisticated way the ephemeral scenographies of festivals wisely using methods and techniques of representation. The attention will also be turned to the design strategies of architects and engineers involved in the construction of these phantasmagoric structures. The ability of the designer is essential to understand the functioning of these mechanisms and also to retrace the creative process to the base of a pyrotechnical display with its games of colours and lights. Keywords: Catherine wheels, Pyrotenic machinery, Ephemeral construction, Drawings, Etching, Engraving. Introduction «Oh, it was marvellous before the war, the girandola. Really marvellous. [ ] A terrific esplosion interrupted the distant selections from Rigoletto and the sky was suddenly full of coloured lights; the Girandola had begun [ ] A cataract of silver fire was poring down the slopes of the Pincian Hill, and the shining smoke-clouds rolled away from it like the spray from a tumbling river»[1]. In a short story in 1930 Rome during the fascist era, Aldous Huxley ( ) described the suggestive night atmosphere of a typical Girandola in Piazza del Popolo: the crowd in euphoric anticipation of the event, the sonorous bursts of fireworks, the galaxy of light effects, the melancholy of the aftermath, seemed to reproduce an ancient rite which for centuries had been perpetuated and renewed in the live, pulsating historic center of Rome. The fireworks of the Roman Girandola had since time immemorial been the pre-eminent popular feast, celebrated on the occasion of special events, such as the election of a new pontiff or particular religious festivities like Easter and the 29th of June, dedicated to Saints Peter and Paul. 1. The rite of Girandola and the masterly play of illusion: Simulacra of history between light and darkness. During the pontificate of Pious IX, between 1846 and 1878, religious festivities marked by pyrotechnics known as Girandole [2], became the major propaganda tool of the Church: as in the past, the construction of a "pyrotechnic machine", i.e. an ephemeral piece of architecture destined to be set fire to during nocturnal celebrations, was the ideal occasion for oneiric and fantastic visions to turn into reality, the archetypes from the history of architecture being absolute protagonists. The Roman temple, the arch of triumph, antique remains, the exotic monument, the city gate, the city walls, the beacon, the Christian basilica, the palace, the villa and the garden were the preferred simulacra used by Roman architects of the nineteen century to create contrasting picturesque landscapes aimed at audiences gathering in the theatre space of the historical city. Only in the nocturnal dimension of the feast these kaleidoscopic compositions, some gigantic, acquired a somewhat credible "reality". The artificial light color of pyrotechnic displays drew a false vision of stone structures, which were no more than simple wood frame volumes covered with textile and papier maché panels, painted to suggest the fictitious consistency of ancient colored marble. The complex of Piazza del Popolo and Monte Pincio [3] became one of the most suitable places scenographically to host this type of events only after the urban and architectural transformation by Giuseppe Valadier

2 ( ) at the beginning of the nineteen century: on the one end the big piazza could accommodate large numbers of spectators, and on the other the terraced structure and access ramps leading up to the panoramic terrace constituted a scenographic background perfectly suited to the insertion of ephemeral illusion architecture. On such occasions the space of the piazza would become a real and proper "theatre" where thanks to a clever play of pyrotechnics, urban landscape elements such as gardens, terraces, obelisks and architectural side scenes lost their original connotation to acquire unexpected fantastic and picturesque semblance (Figure 1). Figure 1. Unknown Author, Girandola at the Pincio viewed from the Piazza del Popolo (Roma, Museo di Roma, Gabinetto delle Stampe, GS ). Figure 2. Unknown Author, Girandola at Castel Sant Angelo (Roma, Museo di Roma, Gabinetto delle Stampe, MR - 819) Figure 3. Unknown Author, The representation of fireworks inside the Coliseum in a postcard of XIX century. In actual fact before Piazza del Popolo it had been Castel Sant Angelo (Figure 2) to represent the most characteristic place for the Girandola [4]: Here the fireworks were even more suggestive because of the monumentality of the ancient building and the play of reflections amplified by the surface of the river Tiber. Apart from the political events which through the centuries would cause Rome to turn from papal city to capital city of Italy, the Girandola represented the irreplaceable event for the yearly celebration of a tradition which began in the XVI century, reached its apex between the XVII and XIX century [5], and gradually declined during the XX century. The topic of religious and secular feast rites in Rome, studied by Marcello Fagiolo [6] in his many works, offers an opportunity to take a fresh look at the City with a different approach, more aware of the scenographic value of the urban spaces in question (Figure 3). For the Festa della Chinea [7] on June 29th, festivity of Saints Peter and Paul, splendid and highly exotic architectures of light [8] were produced by Paolo Posi ( ), architect of the Colonna family. The construction of these temporary structures would influence the character of the so called pyrotechnic machines, designed during the nineteen century by the architects of Pope Pious IX ( ) [9], including Luigi Poletti ( ) and Virginio Vespignani [10] ( ). The engravings of girandolas designs of the nineteen century by a mixed multitude of artists (architects, artisans, bricklayers, boiler-men, etc.) document, over and above the event in question, an effort in architectural, figurative and structural research which with time became fully autonomous, parallel to that expressed by permanent stone architecture. Although the festivity reflected the continuously changing political and social developments of the period, the nineteen century - witnessing the twilight of papal power and the advent of Rome as capital city in justifies reconsideration in the light of the pyrotechnic machines put in place to celebrate the ideological glory of Popes first and of the Comune of Rome afterwards. The ephemeral compositions commissioned by the Comune of Rome to architect Virginio Vespignani in the '60s of the nineteen century, are in this sense the absolute apex of picturesque design, deeply indebted to ephemeral baroque. In such cases the poetics of the architect drew inspiration from a set of scholarly architectural and archaeological citations: the design of a pyrotechnic machine offered Vespignani the chance to play literally with the archetype styles and shapes of the Past [11]. The ephemeral setup of a Girandola translated in the philological reconstruction, in some cases for real, of ancient and modern buildings: The intelligent placement of these simulacra on the sides of Pincio and Gianicolo lent itself to unusual and suggestive landscape solutions. The graphic representation of the Girandola at the Pincio in 1864, depicting the Forum of Stabia renders the phantasmagorical atmosphere of this historic spectacle and the skill of the architect-set designer in reshaping to his will the bowl of the piazza and its terraces: temple-like pavilions were built at various heights on the slope of

3 Monte Pincio, converted to a picturesque and smoking Vesuvius. The aim to replicate the dramatic event of the volcanic eruption and consequent annihilation of the Forum projected the ambiguity of the "Girandola", suspended between the joyous wonders of the Christian feast and the dramatic memories of the ancient cataclysm of pagan times (Figure 4). held here, the light of fireworks reflected by the Tiber lighting up the Roman nights. Some programs of the girandola celebrations taking place at Castel Sant Angelo have survived to this day, with playbills listing all details of the event and equipment used for the fireworks (Figure 5). Figure 4. for the Pincio, representing the Forum of Stabia, 1864, engraving (Roma, Museo di Roma, Gabinetto delle Stampe, GS 814) 2 On representation of clever play of light and mechanisms for pyrotechnic effect. To retrace the steps of the Roman feast today implies investigating a critical cultural aspect of the City's image and associated social, spiritual and political role at the time. Falk feasts and religious events, processions, tournaments, carnivals and masked balls, corteges, open-air events: all celebrations marked by the presence of the all-important "temporary apparatuses as stucco and papier maché protagonists [ 12 ]. Scenic machines and ephemeral constructions to create illusionistic effects, symbolic images, allegoric figures and clever play of light and arousing astonishment and wonder in spectators [13]. But also aesthetic example of total art and propaganda tool. Technical ability to build, organize and manage such systems and mechanisms, and to represent the events through graphic and figurative art is critical. Designs, oils and watercolors, etchings, all representations produced are today witness to and memory of those events and essential for their knowledge. Most representations analyzed in this scope of research depict the apex of the feast; the crucial moment at which the reflections of fireworks paint the sky. There are many images referring to the Castel Sant Angelo complex, imposing architecture well suited to this type of events also because of its location by the river Tiber. Officially the Vatican's jail the building, considered a war machine arousing feelings of terror, when used for celebration of festivities would be completely transformed. The pyrotechnic show most popular with the citizens was Figure 5. Unknown Author, The program of a Girandola in 1882 (Roma, Museo di Roma, Gabinetto delle Stampe, GS -833). In some of the representations reviewed, the pyrotechnic machines are located high-up in the building to provide a better view of the fireworks from afar and also for improved illumination and visibility of the monument. The chromatic hue of the painting is vivid and intense, the light itself depicting the sky. Drawing with light is inherent in firework design: the effects mark the sky with tracts, geometries, effects and colors. Fireworks symbolize the joie de vivre, an attachment to all that is beautiful, bright and colorful in life. Drawings produced by the various artistic techniques render on paper these suggestions and the sky becomes the protagonist of graphic compositions, because the scene occupies that very immaterial space. Another representation of events at Castel Sant Angelo is an ephemeral structure external to the building (Figures 6, 7). This other option of placing an ephemeral construction in front of the architectural complex alters its perception.

4 Figure 6. Unknown Author, Fireworks at Castel Sant Angelo during the Girandola of 1875 (from L Illustrazione Universale, year II, n. 42, 20 june 1875) Figure 8. G. Conrado F. Fornari (photographers), Ephemeral structure, 1911 (Roma, Museo di Roma, Archivio Fotografico, XA 2799). Figure 7. F. T. Aerni, The Girandola at Castel Sant Angelo, , oil on canvas (Roma, Museo di Roma in Trastevere, MR 361). Figure 9. E. Chiavoni, Graphic restitution of the ephemeral structure represented in Aerni s painting. In fact here we have an array of lights superimposed on the contour of the building and in contrast to it, revealing only the outline, a dark form. A graphic reconstruction of this structure was attempted based on the pictorial representation, the graphic result in terms of shape, geometry and symmetry reminding one of other images found on constructions of ephemeral scenographies. Worthy of mention are also some photos reproducing the framework of ephemeral constructions; the load-bearing structure was usually in wood with papier maché, cloth and similar lightweight materials added on (Figures 8-10).

5 Figure 10. E. Chiavoni, Graphic restitution of some ephemeral structures for the Girandola. These images show the constructional simplicity which made for quick assembly. Other documentation reviewed is that of a photo of Piazza del Popolo with an ephemeral architectural construction placed in front of the Porta and adorned with girandolas (Figure 11). Figure 12. E. Chiavoni, Graphic restitution of ephemeral structure for the Girandola, represented in the previous figure. This is a proposed graphic reconstruction meant to emphasize the degree of refinement of these elements, with fans superimposed on a beam of varying size decorated with geometric motifs presumably also highly colored. The beams, presumably some 5 or 6 meter high, supported horizontal bands carrying a number of small tapered containers probably meant to hold the powder for the fireworks which would have created small trails of light between the beams (Figura 12). Many images of the festivities also included the Coliseum, a rather highly representative one being that of an external view with fireworks in progress within the monument: lights and colors on a postcard of Rome. Moreover, an oil of 1845 by Ippolito Caffi shows a detail of the monument's interior with multi-colored Bengal light fireworks burning; the composition in contrasting bright colors is reminiscent of suggestive light effects [14] (Figure 13). Figure 11. The Piazza del Popolo with some ephemeral structures for the Girandola, albumen print (Roma, Fondazione Marco Besso, Collezione Bedeschi, C15.2).

6 Figure 13. I. Caffi, Bengala fireworks inside the Coliseum, , oil on paper. Significant examples also of the technical skill in the design of these ephemeral constructions include the projects or pyrotechnic machines by V. Vespignani and engraved by G. della Longa between 1862 and 1866 using the etching technique. The topics reviewed are diversified but all graphic processing is done with clarity and particular graphic sensitivity. The subjects of these etchings include a villa on the Pincio in Rome, reproduction of the main facade which is highly monumental, symmetrical to the entrance and surrounded by thick luxuriant vegetation. (Figure 14). Figure 15. for the Pincio, representing the Oriental Hanging Gardens, 1864, engraving (Roma, Museo di Roma, Gabinetto delle Stampe, GS 815). Figure 16. for the Pincio, representing the Temple dedicated to 26 Japanese Martyrs, 1862, engraving (Roma, Museo di Roma, Gabinetto delle Stampe, GS 809). Figure 14. for the Pincio, representing a great Villa of XVIII century, 1865, engraving (Roma, Museo di Roma, Gabinetto delle Stampe, GS 6060). Another project representing ancient oriental gardens was meant for the Pincio; this representation consists of four vertical tiers and the layout of walls and all elements of greenery are neatly described and characterized (Figure 15). What makes these etchings reminiscent of oriental culture is the temple dedicated to the 26 Martyrs of Japan, itself also meant for the Pincio (Figure 16). Figure 17. for the Pincio, representing the Triumph of Christianity, 1865, engraving (Roma, Museo di Roma, Gabinetto delle Stampe, GS 816).

7 Furthermore, a pyrotechnic machine showing Christian monuments over the ruins of pagan monuments, probably conceived for The Pincio, calls to mind diverse types of buildings and combines architectural reference models from different sources (Figure 17). representation in the night sky created with variously colored motifs of light [ 15 ]. All apparatuses and mechanisms participate in the graphic-visual process and careful analysis of these systems provides useful insights in historical knowledge (Figure 20). Figure 18. E. Chiavoni, Graphic restitutions of ephemeral structures for the Girandola, inspired by the illustrations of Di Maio s studies. Italian literature on the subject of pyrotechnics also by artillery chemistry experts (F. Di Maio, Modern Pyrotechnics, Hoepli Editore Milan 1816) (Figure 18) is abundant, and there are also important English language contributions with fine illustrations specifically dedicated to fireworks. For example, the treatise Artificial Fireworks by John Marshall, 1785, consisting of several volumes, provides comprehensive explanations also of firework production and, and in many instances is accompanied by drawings of mechanisms, devices and description of operation. The representations, of exceptionally high quality, show both individual elements and the process of aggregation of parts. For these representations use was made of Indian ink on raw paper, meticulously precise calligraphy and freehand drawings, in some cases with added clear watercolor background. (Figure 19) There are drawings of wheels, contrivances and mechanisms in axonometric projection, in plan view and front view chosen case by case to clarify their intended use. Moreover, merely hinted in some drawings is the color used to define the parts or to differentiate between the various graphic areas. Also these specific documents clearly show how fireworks design is a function of the patterns to be depicted high above; a Figure 19. Some illustrations extrapolated from the treatise of John Maskall (J. Maskall, Artificial fireworks, 1785).

8 architectures were burned during the nights of 28, 29 june, in the Piazza SS. Apostoli; this festival will be destined to end in References Figure 20. E. Chiavoni, Graphic restitutions of ephemeral structures for the Girandola. Conclusions (1) The architectures of the Catherine wheels in the XIX century can be considered in some way an eclectic development of those experiences gained in the Ephemeral Baroque whose unsurpassed "director" was Gian Lorenzo Bernini ( ): his lesson [16] was assimilated by Vespignani who managed to perfect a form of show total art, in which light and architecture make up a striking vision dedicated to the viewer, suspended between the joy of the feast and the fear of the apocalypse. (2) Retracing history through drawing was the objective of this research that will provide data and information to those working in the field of enhancement of cultural heritage. The study aimed at the analysis of historical drawings is always a complex task that requires the integration of skills that come often from multi-disciplinary areas that work together during the operational phase and share the choice of methodologies and equipment suitable to investigate, understand and represent these particular products of human genius [17]. Acknowledgements THE CHINEA FESTIVAL: Eighteenth century roman festival during which a prince of Colonna Family, on behalf of the King of Due Sicilie, according to an ancient custom dating to XI century, offered to the pope a tribute in money and a white mare, called Chinea ; after the traditional ride from Palazzo Colonna in piazza SS. Apostoli to the Vatican Basilica, two distinct ephemeral [1] Huxley A. (1930), After the fireworks, in Brief candles stories by Aldous Huxley, Leipzig, pp. 236, 237, 239, 241, [2] Impiglia C. (2011), La pirotecnia come arte di disegnare e dipingere con la luce: la progettazione eclettica dell effimero a Roma nel XIX sec. in «Disegnare, Idee, Immagini», Anno XXII, n. 42/2011, pp [3] Lewis E. F. (1914), The Piazza del Popolo in Rome, in «Landscape Architecture», April 1914; Ashby T.- Pierce S. R. (1924), The Piazza del Popolo: Rome; its history and development, in «The Town Planning Review», December, 1924, pp ; Hoffmann P. (1967), Il monte Pincio e la Casina Valadier, Roma. [4] Piccininni R. (1982), La girandola a Castel S.Angelo, in AA.VV., "Fochi d'allegrezza" a Roma dal '500 all'800, Catalogo della mostra a Palazzo Braschi, 15 settembre-31 ottobre 1982, Roma 1982, pp [5] Leone R. (1982), Il sec. XIX, in AA.VV., "Fochi d'allegrezza a Roma, Cit., pp ; [6] Fagiolo M. (1997), La festa degli stili, in Fagiolo M., La Festa a Roma. Dal rinascimento al 1870, Roma, pp ; Fagiolo M. (1997), Pio IX: il canto del cigno della religione, in Fagiolo M., La Festa a Roma, Cit., pp [7] Tozzi S. Piccininni R. (1982), Feste dinastiche e religiose, in AA.VV., "Fochi d'allegrezza" a Roma, Cit., pp ; Margiotta A. (1982), Le feste della Chinea, in AA.VV., "Fochi d'allegrezza" a Roma, Cit., pp [ 8 ] Lotz A. (1941), Das Feuerwerk, seine Geschichte und Bibliographie, Leipzig; Sedlmayr H. (1989), La luce nelle sue manifestazioni artistiche, Palermo. [9] Spagnesi G. (1976), L architettura a Roma al tempo di Pio IX ( ), Roma; Impiglia C. (2014), L eclettismo pittoresco di Ersoch: architetture per il verde e per la festa in Cremona A. - Crescentini C. - Pentiricci M. Ronchetti E., Gioacchino Ersoch Architetto Comunale, Roma, pp [10] Barucci C. (2006), Virginio Vespignani: architetto tra Stato Pontificio e Regno d'italia, Roma. [11] Eco U. (2009), Vertigine della lista, Milano. [12 ] Fagiolo M. (1997), La città delle feste, in Fagiolo M., La Festa a Roma. Dal rinascimento al 1870, Roma, p. 2. [13] Fagiolo M. (1997), La città delle feste, in Fagiolo M., La Festa a Roma. Dal rinascimento al 1870, Roma, p. 5. [14 ] Pittaluga M. (1971), Il pittore Ippolito Caffi, Vicenza; Vedute Romane di Ippolito Caffi ( ), Palazzo delle Esposizioni giugno-luglio 1859, Roma; Scarpa A. (2005), Ippolito Caffi, Luci del Mediterraneo, Milano. [15 ] Chiavoni E. (2012), Note sul trattato ottocentesco The Theory and Practice of Landscape Painting in Water Colours di George Barnard., in Elogio della teoria, Identità delle discipline del disegno e del rilievo, 34 Convegno Internazionale dei docenti della rappresentazione, Unione italiana per il Disegno, Roma 2012, pp [16] Lavin I. (1980), Bernini and the Unity of Visual Arts, New York; Bernardini M. G. - Fagiolo M., (1999), Gian Lorenzo Bernini: regista del Barocco, Milano. [17] This article was jointly written by two authors. Claudio Impiglia edited the paragraph entitled The rite of Girandola and the masterly play of illusion: Simulacra of history between light and darkness while Emanuela Chiavoni edited the paragraph On representation of clever play of light and mechanisms for pyrotechnic effect.