Chinea
The Chinèa (Italian also acchinèa ) was a tribute to be paid by the kings of Naples as vassals of the Pope as a token of their loyalty to the Popes . The tribute was probably first paid in 1059 by the Norman ruler in southern Italy, Robert Guiskard . The actual Chinea ceremony was founded in 1265 under Charles I of Anjou and Pope Clement IV and lasted until 1788 in a ceremonial form and then as a monetary commitment until 1855.
Ceremony and Chinea Festival
The Chinea festival (ital. Festa della Chinea ) reached its greatest importance from 1550 to 1776. The ceremony included the delivery of an elegantly dressed white horse to the Pope in St. Peter's Basilica and, since the end of the 17th century, an equivalent of 7,000 ducats in silver . The festival took place annually on June 29th, the festival of the apostles Peter and Paul , and was accompanied by lavish celebrations in Rome . The tribute was always brought by a Neapolitan nobleman, over the years these were members of the Colonna , Sanseverino and Carafa families .
The Chinea festival was celebrated with large temporary structures erected during the celebrations in honor of the Pope in the city of Rome. The name Chinea is probably derived from the French word "haquennée" for a special breed of horse, also known as the Hackney horse .
In 1776, King Ferdinand IV of Naples and his Foreign Minister Bernardo Tanucci and the philosopher Domenico Caràcciolo tried to remove the tribute obligations because of the rowdy behavior of the audience during the ceremony. But ultimately the actual ceremony was not abolished until 1788, while the tribute in the form of a cash payment was retained. In 1855 under Pope Pius IX. The tribute payments were completely canceled because King Ferdinand II of the Kingdom of the Two Sicilies had paid 10,000 Scudi for the erection of the Column of the Immaculate Conception on the Piazza di Spagna in Rome.
Buildings and artistic representations
The Chinea Festival was designed by numerous artists using temporary structures and images. In the Kupferstichkabinett of the Staatliche Kunstsammlungen Dresden there are etchings and copper engravings for the Chinea Festival in Rome by various artists, including by Giuseppe Vasi (1710–1782), Alessandro Specchi (1668–1729), Giovanni Battista Sintes (approx. 1680 - approx. 1760) and Filippo Vasconi (around 1687-1730). The “white Chinea horse” is also a theme in the buildings. Views of buildings for the "Festa della Chinea", which were recorded on copper engravings, are compiled in the following list:
| Description of the construction | year | architect | Engraver | image |
|---|---|---|---|---|
| Temple of Janus (first ephemeral architecture in 1722 in Piazza dei Santi Apostoli in Rome) | 1722 | Alessandro Specchi | Giovanni Girolamo Frezza (1671 - after 1748) | [2] |
| Triumphal arch for Charles VI. (second ephemeral architecture in 1722 in the Piazza dei Santi Apostoli in Rome) | 1722 | Alessandro Specchi | Giovanni Battista Sintes | [3] |
| Prospetto in veduta della Prima Macchina de Fuochi Artificiali (fireworks, first ephemeral architecture in 1723 in Rome) | 1723 | Alessandro Specchi | Giovanni Girolamo Frezza | [4] |
| Prospetto in veduta della Seconda Macchina de Fuochi Artificiali (fireworks, second ephemeral architecture in 1723 in Piazza dei Santi Apostoli in Rome) | 1723 | Alessandro Specchi | Giovanni Battista Sintes | [5] |
| Prospetto in veduta della Prima Macchina rappresentante il Tempio della Virtù (The Temple of Virtue, first ephemeral architecture in 1724 in Rome) | 1724 | Alessandro Specchi | Francesco Faraone Aquila (active around 1676 - 1740) | [6] |
| Prospetto in veduta della Seconda Macchina rappresentante il Tempio dell'Onore (The Temple of Honor, second ephemeral architecture in Rome in 1724) | 1724 | Alessandro Specchi | Francesco Faraone Aquila | [7] |
| Prospetto in veduta della prima delle due Macchine ( Mercury brings peace, first ephemeral architecture in 1725 in Rome) | 1725 | Alessandro Specchi | Francesco Faraone Aquila | [8th] |
| Prospetto in veduta della seconda Macchina, la quale rappresenta il Typo della Pace, e Concordia (Peace and Concord, second ephemeral architecture in 1725 in Rome) | 1725 | Alessandro Specchi | Gasparo Massi (approx. 1698–1731) | [9] |
| Prospetto in veduta della prima Machina de fuochi, che significa Ercole ( Hercules and the Hydra , first ephemeral architecture in 1726 in Rome) | 1726 | Alessandro Specchi | Francesco Faraone Aquila | [10] |
| Prospetto in veduta della seconda Machina, che segnifica il Valore sopra il Cavallo Pegaseo (Bravery on Pegasus , second ephemeral architecture in 1726 in Rome) | 1726 | Alessandro Specchi | Francesco Faraone Aquila | [11] |
| Prospetto della prima macchina in veduta col typo della Gloria della Maestà dell'Augustissimo Imperatore (The glory of the Emperor Augustus , first ephemeral architecture in 1727 in Rome) | 1727 | Alessandro Specchi | Gasparo Massi | [12] |
| Prospetto in veduta della seconda Macchina rappresentante il Monte Vesuvio (The Vesuvius , second ephemeral architecture in 1727 in Rome) | 1727 | Alessandro Specchi | Andrea Rossi (active around 1725/75) | [13] |
| Prospettiva della Prima Macchina nelle sue parti d'Architettura rilevate rappresentante un'ameno Giardino (Representation of a pleasant garden, first ephemeral architecture in 1728 in Rome) | 1728 | Gabriele Valvassori (1683–1761) | Filippo Vasconi | [14] |
| Prospettiva della seconda Macchina rappresentante il Simbolo della Fortuna Reduce (representation of the symbol of luck, second ephemeral architecture in 1728 in Rome) | 1728 | Gabriele Valvassori | Filippo Vasconi | [15] |
| Prospettiva della Prima Macchina dipinta con accordo sul gusto grottesco alla Chinese (Chinese grotto, first ephemeral architecture in 1729 in Rome) | 1729 | Gabriele Valvassori | Filippo Vasconi | [16] |
| Prospettiva della Seconda Macchina de Fuochi d'artificio (fireworks, second ephemeral architecture in 1729 in Rome) | 1729 | Gabriele Valvassori | Filippo Vasconi | [17] |
| Nocte ardet Troia, exurgunt Capitolia Mane Jupiter, aut alter Caesar in Imperio est (The Burning Troy , second ephemeral architecture in 1730 in Rome) | 1730 | Michelangelo Specchi (around 1684 - after 1750) | Filippo Vasconi | [18] |
| Prospettiva della seconda Macchina rappresentante la Felicitas publica (The common good - second ephemeral architecture on the occasion of the "Festa della Chinea" in 1739 in Rome) | 1739 | Michelangelo Specchi | Pierre Parrocel (1670-1739) | [19] |
| Temple de Venus, projet pour la fete de la Chinea (Temple of Venus, ephemeral architecture in 1747 in Rome), Bibliothèque nationale de France, Paris | 1747 | Louis Joseph Le Lorrain | (Picture above) | |
| Fortes creantur fortibus (strong ones descend from strong ones, ephemeral architecture on the occasion of the birth of the first son of Charles III of Spain and Maria Amalia of Saxony in 1748 in Rome) | 1748 | Louis Joseph Le Lorrain (1715–1759) | [20] | |
| Prospettiva della prima Macchina de fuochi d'artificio rappresentante il Tipo della Pace (The Temple of Peace, first ephemeral architecture in 1749 in Rome) | 1749 | Michelangelo Specchi | Miguel de Sorelló (around 1700 - around 1765) | [21] |
| Prospettiva della seconda Macchina de fuochi d'artificio rappresentante un Idea alludente alla nuova scoperta del Teatro di Erculano (ideal view of the temple of Herculaneum , second ephemeral architecture in 1749) | 1749 | Ennemond Alexandre Petitot (1727–1801) | Michelangelo Specchi | [22] |
| Prospettiva della prima Macchina de fuochi d'artificio rappresentante in Idea il Molo nuovo al Porto di Napoli (ideal view of the new pier in Naples , ephemeral architecture in 1750 in Rome) | 1750 | Michelangelo Specchi | Jérôme Charles Bellicard (1726–1786) | [23] |
| Un ponte trionfale ornato con reperti della città di Ercolano ( triumphal arch with spolia from the city of Herculaneum, design for the Chinea festival of 1755), Istituto Nazionale per la Grafica, Rome | 1755 | Paolo Posi (1708–1776) | Giuseppe Vasi | - |
| Disegno della seconda macchina rappresentante un luogo di delizia [...], si dispone il volo di un pallone aereostatico (place of joy when a balloon is launched , design of the second ephemeral architecture in Rome in 1785) | 1785 | Giuseppe Palazzi | Francesco Barbazza | (Picture above) |
literature
- Gudula Metze, Iris Yvonne Wagner: Encounters with Rome, Staatliche Kunstsammlungen Dresden (ed.), Catalog for the exhibition, Dresden, Sandstein-Verlag, 88 pages, ISBN 978-3-95498-258-5
- Marcello Fagiolo (Ed.): La Festa a Roma dal Rinascimento al 1870, Umberto Alimandi & C., Torino 1997, Part 1: Texts, 284 pp. (Exhibition catalog: Roma, Palazzo Venezia, 1997)
- Marcello Fagiolo (ed.): La Festa a Roma dal Rinascimento al 1870, Umberto Alimandi & C., Torino 1997, Part 2: Atlante, 278 p. (Catalog of the exhibition: Roma, Palazzo Venezia, 1997)
Web links
- John E. Moore: Prints, Salami, and Cheese: Savoring the Roman Festival of the Chinea, The Art Bulletin, Vol. 77, No. 4 (Dec. 1995), pp. 584-608, see http: // www. jstor.org/stable/3046138
- John E. Moore: Building Set Pieces in Eighteenth-Century Rome: The Case of the CHINEA, Memoirs of the American Academy in Rome, Vol. 43/44 (1998/1999), pp. 183-292, see http: // www.jstor.org/stable/4238761
- David R. Marshall: Piranesi, Juvarra, and the Triumphal Bridge Tradition, The Art Bulletin, Vol. 85, No. 2 (June 2003), pp. 321-352, see http://www.academia.edu/450055 or . http://www.jstor.org/stable/3177347
Individual evidence
- ^ Encyclopedia Treccani (Italian) (accessed October 24, 2016)
- ↑ Ancient homage of the kings of Naples to the Pope (Italian) (accessed October 24, 2016)
- ↑ Matthias Schnettger: The end of the Chinea presentation and the collapse of the papal feudal system, in Zeitenblicke 6 (2007), No. 1, pp. 1–22 (accessed on October 26, 2016)
- ↑ Mario Gori Sassoli: La ciremonia della Chinea. Dal teatro alle corti del popolo festeggiante. In Marcello Fagiolo (ed.): La Festa a Roma dal Rinascimento al 1870, Part 2, Torino 1997, pp. 42-55 (ital.)
- ↑ Representations of the Chinea Festival in Rome (Staatliche Kunstsammlungen Dresden) (accessed August 29, 2017)
- ↑ Le Lorrain - Temple of Venus (Bibliothèque nationale de France, Paris) (accessed October 24, 2016)
- ↑ Mario Gori Sassoli: Della Chinea e di altre “macchine di gioia” - Apparati architettonici per fuochi d'artificio a Roma nel Settecento, Catalogo della mostra (Roma), Villa della Farnesina, Milan: Verlag Charter, 1994, p. 129– 130 (ital.), See [1]