Theatre Design & Technology - Fall 2008 - 60

there was a wide variety, and machinery to change the background, which
was usually sliding shutters. The overhead decoration was sky and did not
change except for the addition of clouds..
Il Commodo was presented in 1539 in the Second Courtyard of the
old Palazzo Mediceo (Medici-Ricardi) for the wedding of Duke Cosimo
I to Eleanor of Toledo. Aristotile di San Gallo designed the production,
creating a view of Pisa as the setting. The intermezzi were performed in
the same setting (Nagler 1964, 9-12). This approach was still used by
Giorgio Vasari as late as 1565 when La Cofanaria was presented in the
Salon de Cinquecento of the Palazzo Vecchio for the wedding of Francesco
di Medici and Joanna of Austria. The set for La Cofanaria, a view of the
Santa Trinita Quarter of Florence, was used for the six intermezzi with only
the addition of clouds and under-stage effects (Nagler 1964, 18).
This situation changed in 1568 when Il Fabii was produced with
intermezzi in the Salon de Cinquecento for the Baptism of Lenora, the
daughter of Francesco and Joanna. Although the intermezzi utilized the
same set as Il Fabii, the designer, Baldassare Lanci, changed the setting
from one part of Florence to another for the fifth act of the play. The De-

scrizione indicated that the settings "were changed by being rotated on
their vertical axes" (Nagler 1964, 40). Unfortunately no further details
about the method of scene change were mentioned.
In 1569, Joanna's father, Archduke Karl of Austria, visited Florence
and the Medici presented La Vedova in the Salon dei Cinquecento. Once
again the set for the play was used for the intermezzi with the addition of
a few elements and, again, the set for the play was changed. After the third
act, Lanci's set changed from a view of Florence to a scene outside the
walls of Florence. The descriptions of the scene change of this production referred to the scene "turning" (Nagler 1964, 41). This production
was seen by Ignazio Danti, who described the production and included
a floor plan (fig. 2) showing five periaktoi in his edition of Vignola's Le
Due regoli della prospettiva Pratica (Vignola 1583, 92). This drawing of
periaktoi is the earliest evidence of a specific type of changeable scenic
wing used at the Medici court.
The next play with intermezzi opened the new theatre in Palazzo
Uffizi, the Teatro Mediceo. Bernardo Buontalenti designed both the theatre and the scenery for L'Amico fido. This production was part of the

figure 2. lanci's five periaktoi
from dante's edition of vignola.

figure 3. floorplan of Guidizio di Paride from buonarroti's
manuscript (1608) showing parigi's quadrilateral wing units.
Courtesy of Casa buonarroti, florence.

F

figure 4. possible interpretation of parigi's quadrilateral
wing units as the double periaktoi described by
furttenbach.

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L

2008

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Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 2008

Contents
Theatre Design & Technology - Fall 2008 - 1
Theatre Design & Technology - Fall 2008 - 2
Theatre Design & Technology - Fall 2008 - 3
Theatre Design & Technology - Fall 2008 - Contents
Theatre Design & Technology - Fall 2008 - 5
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