The commission to Filippo Parodi of the decoration of the ship Paradiso (1667-1668) can now be defined with greater detail thanks to a complete, correct reading of notarial documents, useful for a reconstruction of the work’s timeline, its patronage and Domenico Piola’s involvement in the project. Set in the context of a rich tradition of theatrical ornamentation of state vessels, the employment of Parodi on this occasion allows for a focus on two important and seldom clarified aspects of the Genoese sculptor’s career: the dates of his journeys to the Rome of Bernini — fundamental for how the artist refined the practice of carving and what he learned about the treatment of marble — and the role of drawing during the planning stage.
Filippo Parodi e il decoro della nave 'Paradiso': precisazioni cronologiche e spunti di riflessione
SANGUINETI, DANIELE
2012-01-01
Abstract
The commission to Filippo Parodi of the decoration of the ship Paradiso (1667-1668) can now be defined with greater detail thanks to a complete, correct reading of notarial documents, useful for a reconstruction of the work’s timeline, its patronage and Domenico Piola’s involvement in the project. Set in the context of a rich tradition of theatrical ornamentation of state vessels, the employment of Parodi on this occasion allows for a focus on two important and seldom clarified aspects of the Genoese sculptor’s career: the dates of his journeys to the Rome of Bernini — fundamental for how the artist refined the practice of carving and what he learned about the treatment of marble — and the role of drawing during the planning stage.
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