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Palazzo Farnese ((:paˈlattso farˈneːze; -eːse)) is one of the most important High Renaissance palaces in Rome. Owned by the Italian Republic, it was given to the French government in 1936 for a period of 99 years, and currently serves as the French embassy in Italy. First designed in 1517 for the Farnese family, the building expanded in size and conception when Alessandro Farnese became Pope Paul III in 1534, to designs by Antonio da Sangallo the Younger. Its building history involved some of the most prominent Italian architects of the 16th century, including Michelangelo, Jacopo Barozzi da Vignola and Giacomo della Porta. At the end of the 16th century, the important fresco cycle of ''The Loves of the Gods'' in the Farnese Gallery was carried out by the Bolognese painter Annibale Carracci, marking the beginning of two divergent trends in painting during the 17th century, the Roman High Baroque and Classicism. The famous Farnese sculpture collection, now in the National Archeological Museum of Naples, as well as other Farnese collections, now mostly in Capodimonte Museum in Naples, were accommodated in the palace. ==History== "The most imposing Italian palace of the 16th century", according to Sir Banister Fletcher,〔D. Cruikshank, ed. ''Sir Banister Fletcher's A History of Architecture'', 20th edition 1996:873.〕 this palace was designed by Antonio da Sangallo the Younger, one of Bramante's assistants in the design of St. Peter's and an important Renaissance architect in his own right. Construction began in 1515 after one or two years of preparation,〔The definitive date, based on new documentary information was published by Christoph Frommel, (in A. Chastel, ed. ''Le palais Farnèse''; Murray 1963 cited construction beginning in 1513, Giedion in 1514〕 and was commissioned by Alessandro Farnese, who had been appointed as a cardinal in 1493 at age 25 〔Thanks to his sister, who was Pope Alexander VI Borgia's official mistress〕 and was living a princely lifestyle. Work was interrupted by the Sack of Rome in 1527. When, in January 1534, Cardinal Alessandro became Pope Paul III, the size of the palace was increased significantly and he employed Michelangelo who completed the redesigned third story with its deep cornice and revised the courtyard as well. The post-1534 developments were not only a reflection of Alessandro's change in status but employed architecture to express the power of the Farnese family, much as at their Villa Farnese at Caprarola. The massive palace block and its facade dominate the Piazza Farnese. Architectural features of the main facade〔Facade conservation works made in 2000 by Laura Cherubini see Alessandro Pergoli Campanelli, Il Restauro di Palazzo Farnese - AR, XXXV, luglio-agosto 2000, pp. 36-39.〕 include the alternating triangular and segmental pediments that cap the windows of the piano nobile, the central rusticated portal and Michelangelo's projecting cornice which throws a deep shadow on the top of the facade. Michelangelo revised the central window in 1541, adding an architrave to give a central focus to the facade, above which is the largest papal ''stemma'', or coat-of-arms with papal tiara, Rome had ever seen. When Paul appeared on the balcony, the entire facade became a setting for his person.〔"The incredibly pretentious magnificence of this residence for a single man points to the imminence of Baroque.... This monumental window seems to await the arrival of the great overlord who is about to show himself to the populace", remarked Siegfried Giedion, ''Space, Time and Architecture'' (1941) 1962, pp 56-57.〕 The courtyard, initially open arcades, is ringed by an academic exercise in ascending orders (Doric, Corinthian, and Ionic). The ''piano nobile'' entablature was given a frieze with garlands, added by Michelangelo. On the garden side of the palace, which faced the River Tiber, Michelangelo proposed the innovatory design of a bridge which, if completed, would have linked the palace with the gardens of the Vigna Farnese, Alessandro's holding on the opposite bank, that later became incorporated into the adjacent villa belonging to the Chigi family, which the Farnese purchased in 1584 and renamed the Villa Farnesina.〔Coffin David, ''The Villa in the Life of Renaissance Rome'', Princeton University Press, 1979, p. 90〕 While the practicalities of achieving this bridge remain dubious, the idea was a bold and expansive one. During the 16th century, two large granite basins from the Baths of Caracalla were adapted as fountains in the Piazza Farnese, the "urban" face of the palace. The palazzo was further modified for the papal nephew Ranuccio Farnese by Jacopo Barozzi da Vignola. It was completed for the second Cardinal Alessandro Farnese by Giacomo della Porta's porticoed facade towards the Tiber which was finished in 1589. Following the death of Cardinal Odoardo Farnese in 1626, the palazzo stood virtually uninhabited for twenty years. At the conclusion of the War of Castro with the papacy, Duke Odoardo was able to regain his family properties, which had been sequestered. The resulting inventory (see below) is the oldest surviving complete inventory of Palazzo Farnese. After Odoardo's death, Pope Alexander VII allowed Queen Christina of Sweden to lodge in the palace for several months, but she "proved a tenant from hell".〔Quoted from: Colvin, Clare. ''Eccentric Rebel Without a Crown''. ''Independent'', May 24, 2004.〕 After her departure for Paris, the papal authorities discovered that her unruly servants not only had stolen the silver, tapestries, and paintings, but also had "smashed up doors for firewood" and removed sections of copper roofing.〔Pavel Muratov. ''Images of Italy''. Berlin, 1924. Reprinted St. Petersburg, 2005. ISBN 5-352-01476-2. Vol. 2, page 155.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Palazzo Farnese」の詳細全文を読む スポンサード リンク
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