Historia de la escenografía del siglo XVII: Divino Escenario. Otras obras de Giulio Parigi en Madrid. La Edad Dorada Florentina

Resumen

Art on Stage in the modern age included the theatrical decor, festivals and those ornaments designed to celebrate funeral ceremonies, entrances, fair, or masquerades equestrian ballets. In that context, ephemeral art production, was conceived the operatic genre and the choreography, and certainly the most spectacular staging of Baroque. In many cases, you can access the knowledge of what events were similar, through visual evidence, pictures, or written scripts, in which left evidence of the richness and the conceptual difficulty hiding behind the images. The festive iconography iconology, often compilations also conceived as amulets or gifts for the privileged audience. In addition, during the process of creation and consolidation of the plastic form of the Festival fun with a plot, derived from the medieval Tournaments Theme, was conceived the figure of professional Sets, held in Italy in Florence in general and in particular, a special education centre for the artists involved and integrated into the scope of the Medici courtier. A seasoned business dynasty, as the wish to impress the Royal Houses, with the splendour of the festivities, looking for one main objective: the pride of a stock interest in affinity with the absolute monarchs eventually constructed in which princes and lords Europe's ancient lineage, legitimizing the Grand Duchy granted by the Habsburgs to Cosimo I.
Vasari, Buontalenti, Torelli, Tacca, Aleotti, Vigarani, Bernini, Guitti. Balbi, Santurini, Burnacini or Bibbiena were some of the most illustrious names of the figures of Stages Designer of these times, in which Giulio Parigi laid the foundation for an art career become eminent.