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model, but inserted a series of chains in the masonry (especially in the upper part of the dome) to hold the transverse forces pushed by the vault they used high-quality materials, hinging travertine plates with molten lead; features, which allowed the dome not to bear any serious damage after the
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Della Porta and
Fontana were not mere performers of Michelangelo's drawings; in fact, they had the merit of the technical execution of a firm that sanctioned an important stage of technological advances at the end of the sixteenth century. Not only did they make a noticeable change in the bend
521:
Katherine W. Rinne, "Between
Precedent and Experiment: the Restoration of the Acqua Vergine (1560–1570)", in L. Roberts, S. Schaffer and P. Dear (eds.), The mindful hand: inquiry and invention from the late Renaissance to early industrialisation (Edita/University of Chicago Press: 2007),
152:, his teacher of architecture. With these two great masters, he became one of the most important architects in the history of the Roman Renaissance. In fact, after 1563 he carried out Michelangelo's plans for the rebuilding of the
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earthquake of 1703. They also made the costumes with the help of sophisticated wooden finishes and drew the technical details of the 1: 1 scale dome directly on the floor of the
Basilica of
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Katherine Rinne, "Fluid
Precision: Giacomo della Porta and the Acqua Vergine fountains of Rome", in Landscapes of Memory and Experience, ed. Jan Birksted (London, 2000), 183-201.
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by acting on the load-bearing structures and internal partitions creating, through the orthogonality of the entrance gallery and the entrance hall of the Palace, a unique
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133:, in his uncle Bartolomeo's workshop. Among the works he did in the city are the statues in the chapel of the aristocratic
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Giacomo della Porta completed a number of Rome's fountains from the 16th century; these included the fountains in the
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From 1573 he was in charge of the ongoing construction of St. Peter's
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curvature of
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After the death of
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order, and in 1584 modified its façade after his own designs.
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Hill's open spaces where he completed the façade and steps of
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Palazzetto Inside
Palazzo Albertoni Spinola Perspective
199:, completed Michelangelo's dome between 1588 and 1590.
125:, into a family of sculptors. He began his activity in
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Palazzetto Inside
Palazzo Albertoni Spinola Perspective
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238:He died suddenly in 1602 coming back to Rome from
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144:He was influenced by and collaborated with
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235:very important for the Roman legends.
184:He also worked on the construction of
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496:. New York: Robert Appleton Company.
447:Cappella Aldobrandini (1600–02) in
381:Fontana di Piazza alli Monti (1589)
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508:"BIOGRAFIA - Giacomo Della Porta"
484:Herbermann, Charles, ed. (1913).
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321:at the Capitol Hill (1573–1602)
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16:Italian architect (1532–1602)
541:Italian Mannerist architects
404:Fontana della Terrina (1590)
399:Fontana di Piazza d'Aracoeli
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546:Italian Mannerist sculptors
487:"Giacomo della Porta"
391:Fountains at the Piazza di
280:Oratorio del SS. Crocifisso
177:, the mother church of the
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421:San Paolo alle Tre Fontane
210:St. Paul outside the Walls
150:Giacomo Barozzi da Vignola
129:, then the capital of the
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449:Santa Maria sopra Minerva
433:Palazzo Albertoni Spinola
393:Santa Maria in Campitelli
366:Palazzo Marescotti (1585)
221:Fountain of Neptune, Rome
190:prospective visual effect
186:Palazzo Albertoni Spinola
576:Architects from Lombardy
356:Fontana delle Tartarughe
233:Fontana delle Tartarughe
72:Fontana delle Tartarughe
571:Italian Roman Catholics
471:Encyclopædia Britannica
362:Santa Maria Scala Coeli
343:Sant'Atanasio dei Greci
467:"Giacomo della Porta."
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325:Palazzo della Sapienza
242:where he was building
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312:One fountain at the
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417:Palazzo Fani (1598)
305:Small fountains at
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225:La Fontana del Moro
121:, then part of the
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439:Villa Aldobrandini
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154:Campidoglio
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535:Categories
455:References
407:Sculpture
384:Cupola of
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164:, and the
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388:(1588–90)
167:Cordonata
113:Biography
99:architect
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240:Frascati
119:Porlezza
103:sculptor
83:(1594),
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96:Italian
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