Having arrived in Rome in 1629 with his friend Pietro Testa, the thirty-three year old Francesco Buonamici immediately saw his talent recognized thanks to a series of crucial close relationships with leading figures in the Roman cultural environment of those years, including Vincenzo Giustiniani, and some significant assignments. In the space of six years, and before his final departure for Malta, where he would take on the role of primary engineer of the Order of the Knights, Buonamici moved to the territories of architecture and painting with some relevant proofs such as the Church of Suffrage in Lucca and the much debated story of the scenography of Sant'Alessio staged on a libretto by Cardinal Giulio Rospigliosi and music by Stefano Landi.
Giunto a Roma nel 1629 insieme all’amico Pietro Testa, il trentatreenne Francesco Buonamici vede da subito riconosciuto il proprio talento grazie a una serie di cruciali rapporti stretti con esponenti di spicco dell’ambiente culturale romano di quegli anni, tra cui Vincenzo Giustiniani, e alcuni significativi incarichi. Nell’arco di sei anni, e prima della definitiva partenza per Malta dove assumerà il ruolo di ingegnere primario dell’Ordine dei Cavalieri, Buonamici si muove nei territori dell’architettura e della pittura con alcune prove rilevanti quali la lucchese Chiesa del Suffragio e la vicenda, molto dibattuta, delle scenografie del Sant’Alessio messo in scena su libretto del Cardinale Giulio Rospigliosi e musiche di Stefano Landi.
Francesco Buonamici (1592-1677): gli anni degli esordi tra Lucca e Roma. Disegno e architettura: le scene del San'Alessio barberiniano
Paolo Bertoncini Sabatini
2018-01-01
Abstract
Having arrived in Rome in 1629 with his friend Pietro Testa, the thirty-three year old Francesco Buonamici immediately saw his talent recognized thanks to a series of crucial close relationships with leading figures in the Roman cultural environment of those years, including Vincenzo Giustiniani, and some significant assignments. In the space of six years, and before his final departure for Malta, where he would take on the role of primary engineer of the Order of the Knights, Buonamici moved to the territories of architecture and painting with some relevant proofs such as the Church of Suffrage in Lucca and the much debated story of the scenography of Sant'Alessio staged on a libretto by Cardinal Giulio Rospigliosi and music by Stefano Landi.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.