Cinecittà, red Pompeii stage set up
Centrale Montemartini from above
Machinery drawings at Centrale Montemartini
Condensation turbine direct fit and 2-cylinder queued drawing (above). This is a steam turbine whose operating cycle ends with the condensation of steam. These turbines are used to drive the generators at all large steam and atomic power plants, as the propulsion engines of ships and to drive the turbo blowers of blast furnaces.These condensing turbines often have several stages and a complete system for regenerative heating of feed water.
Cinecittà, facade support details
Trompe-l’œil at Trinità dei Monti
This is an interesting false perspective at the back wall of the corridor of Trinita die Monti. It is an anachronism as the image is painted to give a sense of perspective, extension of the floor and side walls are drawn while the fragments of the frescoes on the wall are left as if hanging in the air with no wall support. In addition the shadow of the sculpture (probably St John carrying the Christ in his left hand while cross in his right hand) is casting a shadow that does not belong to the drawing. Because of this it is difficult to understand this fresco as it is since it plays on our perceptual and cultural field of vision and understanding. It could be seen as the work that (unintentionally) combines unusual times and media similar to some works of Robert Rauschenberg (combines).
Pantheon, pagan temple and sky through oculus
Bernini’s Pluto and Proserpina and Gaulli’s fresco Triumph in the Name of Jesus (details), Rome
Baroque in art and architecture is about bringing the sacred to the profane through the body, the senses and the emotions. Utilizing theatrical techniques Bernini was the master of such illusions in architecture, in sculpture and in painting making us feel the divine through our body and our senses. It is believed that he was the master and main supporter of Giovanni Battista Gaulli who painted the ceiling of the church of the Jesuit order, the Gesù, Taken under Bernini’s well-connected wing, Gaulli was introduced to the great patrons of seventeenth century Rome, and was taught to capture the spontaneity of expression of the Baroque.