On this day, the 3rd March 1585, the first permanent theatre to be built in the West since the days of Ancient Rome opened in the Italian city of Vicenza. How was this possible?
This is the story of a cultural and architectural resurrection 🧵 1/
The Italian Renaissance, in its most literal essence, was the move to rebirth and reinvent the classical world, whose architectural and artistic vestiges were emerging from the soils of medieval Rome. In its earliest days, it was a time of profound reckoning for the West. 2/
For the princes and scholars of Europe were faced with a humbling and intimidating realisation, that a civilisation far greater than their own had existed over a thousand years earlier, an Empire that was the progenitor of the world as we know it - Ancient Rome. 3/
Ever since Pompey the Great had erected the first stone theatre in Rome in 55 BC, from Britannia to Syria there would scarcely be a city in the Empire without one. The Romans, once sceptical of the 'Oriental corruption' they perceived in theatre, would elevate it to glory. 4/
With the fall of the Western Roman Empire in AD 476, volumes of human knowledge were lost. The classical arts faded into memory, the men of the West no longer knew how to build an arch, while theatres, viewed once more as dens of vice in Papal Rome, fell into disfavour. 5/
The early Church Fathers, and Saint Augustine in particular, railed against theatres, denouncing them as licentious offshoots of pagan temples. By telling the deeds of false gods, Augustine asserted, the theatres were "gratuitously fanning the flame of human lust". 6/
As a result, the building of theatres was near universally prohibited in Western Europe for much of the medieval era. Ironically, this merely resulted in the de facto censorship of 'sophisticated' productions, encouraging the spread of amateurish and bawdy 'undertheatre'. 7/
Yet by the 16th century, a love of learning flourished in Italy once more, buoyed by the wealth of knowledge saved from Constantinople in the wake of the Ottoman conquest of 1453, and breathtaking discoveries in the Eternal City herself, from sculptures to shattered temples. 8/
One of the greatest scions of this rebirth was a stonecutter's son from Padua, a man who would near single-handedly restore the built aesthetics of the West to their former glory. For what Michelangelo was to sculpture, Andrea Palladio was to architecture. 9/
As a young stonemason, Palladio's life was rather unremarkable until 1538, when while living in the Venetian city of Vicenza, he was employed by Gian Giorgio Trissino, a humanist scholar who had developed a fascination for the ancient texts of the Roman architect Vitruvius. 10/
Trissino, seeing in the young Palladio potential great indeed, took the young stonemason with him to Rome, there to observe the ruins of Antiquity with his own eyes. Palladio, dumbstruck, realised that the buildings of his day paled in comparison with what Rome had once been. 11/
Determined to learn the old ways, Palladio devoted the rest of his life to bringing this grandeur back from oblivion. Over the course of multiple sojourns in Rome and her hinterlands in the years to come, he studied all that he could, from ruins to forgotten texts. 12/
But when Andrea Palladio began to construct his own buildings, he did not only copy. Two qualities above all others graced his plans - a tightly mathematical approach to proportions, and an awareness of the surrounding landscape and how it could complement architecture. 13/
Over the next forty years, Andrea Palladio would immortalise the Renaissance in stone, gracing the Veneto with what are still today many of the most majestic works of architecture ever erected in the West, from the villas of the nobility to the churches of Venice. 14/
Fortunately for posterity, Palladio recorded his learned wisdom in his magnum opus, 'The Four Books of Architecture', a seminal treatise that would have profound implications for European architecture for centuries to come, and consolidate the 'built Renaissance'. 15/
A mark of this blossoming came in 1555 when Palladio, along with twenty other prominent citizens of Vicenza, built upon the legacy of Trissino and founded the Accademia Olimpica, or Olympic Academy, an independent learned society dedicated to the cultivation of the arts. 16/
Initially, Academy meetings rotated among the residences of its members, where theatrical performances were frequently staged in courtyards, halls, or wherever space could be found. Before long, however, the Academy sought more permanent premises. 17/
In 1580, the Academy received permission from the Vicentine authorities to construct a theatre on land formerly occupied, ironically, by the old prisons. For an architect, they needed look no further than their own - the now seventy two year old and highly revered Palladio. 18/
Now armed with decades of experience studying Roman ruins, and the wisdom contained within the treatise of Vitruvius - De architectura - Palladio planned the first permanent covered theatre Europe had seen in over a thousand years. 19/
Paid for by donations by the academics themselves, immortalised now by the statues that overlook the auditorium, works progressed rapidly, and just as well - on the 19th August of the same year, Andrea Palladio died of old age, making the Theatre his final work. 20/
Fortunately for posterity, Vicenza had not pinned all of her cultural hopes on one man alone, and local architect Vincenzo Scamozzi, drawing on the work of both Palladio and Vitruvius, stepped in to take up the project with enthusiasm, alongside Palladio's son Silla. 21/
As a result, the death of Palladio proved an emotional, but not terminal blow to the Olympic Theatre, whose structure was largely completed in just three years, with her interior ready for the inaugural performance, to be held on the 3rd March 1585. 22/
It was for this grand occasion that Scamozzi crafted his most breathtaking contribution to the Theatre. With Oedipus Rex forming the inaugural production, Scamozzi reproduced the seven streets of the city of Thebes, unfurling behind the triumphal arch of the scaenae frons. 23/
Constructed of wood, it is a masterpiece of perspective. The streets appear to vanish into the distance, yet the stage is only seven metres deep. It is the oldest surviving theatre scenery in the Western world, having miraculously survived centuries of fire and war. 24/
The scenery indeed was only ever intended to be temporary, yet almost five centuries later, it stands in near perfect condition, such was the quality of the design and materials, while Scamozzi also designed the Odeon, and other spaces within the structure for the Academy. 25/
Following the triumphant opening, the fame of the Olympic Theatre spread to Venice and beyond, enduring even centuries later. Visiting on the 17th September 1786, Goethe lauded the "theatre based on the ancient model, but in small proportions and indescribably beautiful...". 26/
Even when the Counter Reformation would largely suppress performances within, the Theatre would regularly be used for occasions of state, receiving Pope Pius VI in 1782, as well as Emperors Francis I of Austria in 1816 and Ferdinand I in 1838. 27/
Over the centuries to come, the concept of a great European city lacking a permanent theatre of her own would be unthinkable. Monuments of entertainment, once considered scarcely better than brothels, were now objects of tremendous prestige, inseparable from high culture. 28/
Despite this, the Olympic Theatre of Vicenza, along with the Teatro all'Antica at Sabbioneta and the Teatro Farnese in Parma, is one of only three Renaissance theatres to survive into the 21st century, and still today both the Theatre and the Academy serve the city. 29/
For over four centuries, the Olympic Theatre has stood not only as an architectural wonder of Vicenza, but as an immortal testament to the determination of enlightened men that monumental beauty, and classical culture, need not be confined to the ancient past. 30/
If you enjoyed this thread, and indeed believe that this magnificent Theatre and the story behind it deserves broader recognition, please do consider sharing the first post here so we can help spread the word!
Origin: Monte Copiolo, Emilia-Romagna
States: Lordship, County and Duchy of Urbino, Papal States
Highest Titles: Duke of Urbino, Count of Montefeltro, Count of Castel Durante
Heraldic Blazon
Bendy of six azure and or
As a branch of the dynastic counts of Carpegna, the Montefeltro adopted their arms, replacing silver with gold. Following their ennoblement by Frederick II in 1213, the eagle of the Holy Roman Empire was added to the upper golden bend.
Heraldic Variants
Evolving along with the family fortunes, the original arms were quartered with the imperial eagle under Federico III, before the addition of the red pale, Papal tiara and crossed keys following his appointment as Gonfaloniere of the Church in 1474.
Origin: Poggibonsi, Tuscany
States: Republic of Florence, Grand Duchy of Tuscany, Papal States, Kingdom of Italy, Republic of Italy
Highest Titles: Pontifex Maximus (Pope), Prince of Sismano
Heraldic Blazon
Bendy Argent and Gules, a fess Azure
Disputed origin, however the Corsini arms (left) are likely derived from Hugh the Great, Margrave of Tuscany (953-1001), who various Tuscan families honoured by adopting variants of his arms (right) as their own.
Extended Titles
Roman Prince, Duke of Casigliano, of Civitella, Count Palatine, Marquis of Laiatico, of Orciatico, of Tresana, of Giovagallo, of Castagnetolo, Patrician of Florence, of Venice, of Genoa, of Ferrara, Roman Noble
On this day, the 31st January AD 828, a priceless treasure arrived in Venice. Yet aboard that ship was no earthly gold, but relics holy indeed - the body of Saint Mark the Evangelist.
This is the story of how the City of Canals gained her patron saint 🧵1/
Following a gruelling victory in AD 810 over the armies of Pepin, son of Charlemagne, Doge Agnello Partecipazio took a momentous decision - to transfer the capital from Malamocco, on the Lido of the Venetian Lagoon, to the more protected Rivo Alto, or 'Rialto', at its heart. 2/
Now shielded by the natural fortress of the Lagoon, Venice began to swell from a beleaguered settlement to a flourishing city, as her vast merchant navy began to fan out across the Mediterranean, seeking the conquest of markets well beyond the shores of the Adriatic. 3/
It scarcely seems possible that so modest a chamber, illuminated by the light of a sole barred window, once housed one of the greatest minds who ever lived.
Yet here, for two months in 1530, Michelangelo Buonarroti would hide for his very life 1/
It was on the 17th May 1527, just days after the rebellious mercenary Landsknechts of the Emperor had sacked Rome with ruthless abandon, that the oligarchs of Florence seized the opportunity afforded by the chaos to cast out the ruling House of Medici, and install a Republic. 2/
Yet with the reigning Pope Clement VII himself a Medici, this would prove to be a disastrous move. Indeed the Pope and the Emperor, putting aside their differences, resolved to end the illegitimate Florentine Republic, and reinstate the Medici by force of arms if necessary. 3/
On the Australian 'Voice', and the case of Austria-Hungary
If there is one thing that unites the West, beyond the paper trail of debt and supranational allegiance, it is a historic crisis of legitimacy.
Australia, long deemed the 'Lucky Country', is now on the frontline 1/
On the 14th October, Australia is to hold a referendum on the following question:
“A Proposed Law: to alter the Constitution to recognise the First Peoples of Australia by establishing an Aboriginal and Torres Strait Islander Voice.
Do you approve this proposed alteration?” 2/
Expressions ranging from 'Recognition' and 'Listening' to 'Bringing Australia Together' are regularly mobilised for the cause, along with 'Making history'.
Let us therefore consider a historical precedent for 'recognition and reconciliation' - The Austro-Hungarian Compromise 3/