Santa Maria in Vallicella, elevation; plan (recto) blank (verso) 1575 - 1600

Curator: This drawing offers us a glimpse into the design process of the Santa Maria in Vallicella, created anonymously between 1575 and 1600. It shows both the elevation and a plan view. Editor: It has such a commanding presence even in this early rendering. The facade's symmetry is almost imposing, like a carefully constructed stage for divine theatre. Curator: Exactly. Look at the paper itself – it shows signs of aging, of being handled and poured over by the builders. And the meticulous ink work; each line represents hours of labor, shaping and refining the vision. This wasn't just about aesthetics; it was about the tangible construction, the ordering of stone and materials. Editor: Absolutely. The repeated motifs, the pillars, and pediments, create an undeniable rhythm. But beyond the formal language, consider what a place like this represents. Churches served as powerful symbols. What stories did they tell, not just through sermons, but through their very architecture? This is meant to inspire awe and reverence. Curator: The sheer scale, when realized, must have been transformative for the urban landscape. The production of materials alone– the quarrying, transporting, and carving of stone – think about the logistics! And how the economic investment shaped the immediate surroundings. Editor: I am intrigued by the iconography incorporated. It hints at deeper narratives and underscores the cultural significance of the Church, and one can ask, were people invited inside or were the symbolism placed as a boundary for those who were not initiated? Curator: A potent reminder that a work of art, even architectural plans, embodies both spiritual aspiration and very real, grounded production processes. Editor: I agree, understanding these symbols in their social and historical framework is key to decoding their emotional impact.