The essay explores the theme of professional relationships during the Roman training of the main architect of Sicilian neoclassicism, Giuseppe Venanzio Marvuglia (1729-1814). The opportunity arises from the analytical study of a drawing attributed to the Palermo architect in comparison with a project by Robert Adam's studio (1728-1792) kept at the Soane's Collection in London.The text traces the main stages of Marvuglian design in the transition from late Baroque to neoclassicism, identifying, among other things, for the first time, the reference model for Villa Villarosa in Bagheria and bringing to attention how much the architect's fame had depended from his studies at the Accademia di San Luca, revealed by archival documents to a specific time frame by the author of the contribution (1755-1759).The recognition of the value of Marvuglia, passing from the reviews of authoritative personalities such as Léon Dufourny or Jacques I. Hittorf, and his probable adhesion to Freemasonry (adduced by reading a letter to Dufourny at the Municipal Library of Palermo), show how much he was at the center of a system of European relations far beyond what has been previously thought, which originated from close contacts during the Roman stay and developed subsequently.The supposed contiguity with Robert Adam, who was present in Rome in the same period, is further substantiated on the basis of new supporting elements and also allows us to backdate Adam's design development to his Roman years.
|Title of host publication||Storie dell’Arte. Studi in onore di Francesco Federico Mancini|
|Number of pages||19|
|Publication status||Published - 2020|