FUGA, Ferdinando - b. 1699 Firenze, d. 1781 Roma - WGA

FUGA, Ferdinando

(b. 1699 Firenze, d. 1781 Roma)

Italian architect. Before 1717, he studied under the sculptor and architect Giovan Battista Foggini in Florence. From 1717 to 1726, Fuga studied architecture in Rome. In 1726, he was called to Naples to work for Cardinal Nicola del Giudici. In 1728, he entered the service of the King of Naples. In 1730, Fuga returned to Rome and served as papal architect during the pontificate of Clement XII and Benedict XIV. In 1751, he returned to Naples to work for King Charles III of Naples as one of the court architects in renovations to the city of Naples.

He is best known for his rebuilding of Santa Maria Maggiore in Rome. In a similar project he provided the façade for Santa Cecilia in Trastevere. Much of his early work was in Rome, notably, the Palazzo della Consulta (1732-35) at the Quirinal, the Palazzo Corsini (1736-54), the façade of the Santa Maria Maggiore (1741-43), and the Church of Sant’Apollinare (1742-48). In Naples he notably designed the Albergo de’Poveri (an enormous poor-house) (1751-81), the façade of the Chiesa dei Gerolomini, and that of the Palazzo Giordano (both c.1780,).

Fuga was considered a virtuoso in the synthesis of classical, Baroque, and Mannerist styles.

Baldacchino
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Baldacchino

A new apse of the basilica of Santa Maria Maggiore, replacing the original one built during the papacy of Sixtus III, was constructed by Pope Nicholas IV, who enriched it with new mosaics executed by Jacopo Torriti in 1295 and frescoes of the school of Cavallini. However, many more centuries still were to pass before the space took on its current appearance. Pope Benedict XIV offered his contribution to the major work of renovation of the interior in preparation for the jubilee of 1750, remodeling the altar with the red porphyry sarcophagus which according to tradition held the remains of Giovanni Patricio and his wife. Above it, he had Fuga build the great porphyry and bronze baldacchino, which turned out, however, to be somewhat too large, obscuring the view of the mosaics in the apse vault.

The picture shows the baldacchino with the apse mosaics in the background.

Exterior view
Exterior view by

Exterior view

The Palazzo della Consulta on the Piazza del Quirinale, a late Baroque palace in central Rome designed by the Florentine architect Ferdinando Fuga, is now the seat of the Italian Constitutional Court.

Exterior view
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Exterior view

Pope Clement XII commissioned new buildings like the Palazzo della Consulta, directly opposite Palazzo Quirinale and destined to serve one of the many commissions of the cardinals.

Exterior view
Exterior view by

Exterior view

Pope Benedict XIV (1740-1758) encouraged architectural and urban development to a considerable extent. He continued the restoration of ancient churches such as the Pantheon and Santa Croce in Gerusalemme as well as the church of Santa Maria degli Angeli that had already been altered by Michelangelo. He took action to ensure the structural stability of St. Peter’s dome, had a new fa�ade built for Santa Maria Maggiore, completed the Trevi Fountain, and extended the Capitoline Museum.

Ferdinando Fuga’s fa�ade for Santa Maria Maggiore dates from 1741-43. It shows the influence of the recently completed fa�ade of the Lateran basilica, particularly in the loggia and the portico. The new fa�ade was set apart from the original one to allow a view of the mosaics.

Exterior view
Exterior view by

Exterior view

Pope Benedict XIV (1740-1758) encouraged architectural and urban development to a considerable extent. He continued the restoration of ancient churches such as the Pantheon and Santa Croce in Gerusalemme as well as the church of Santa Maria degli Angeli that had already been altered by Michelangelo. He took action to ensure the structural stability of St. Peter’s dome, had a new fa�ade built for Santa Maria Maggiore, completed the Trevi Fountain, and extended the Capitoline Museum.

Ferdinando Fuga’s fa�ade for Santa Maria Maggiore dates from 1741-43. It shows the influence of the recently completed fa�ade of the Lateran basilica, particularly in the loggia and the portico. The new fa�ade was set apart from the original one to allow a view of the mosaics.

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