Abstract
On October 2, 1700, the young Hapsburg king Charles II, terminally ill and heirless, declared that the throne of Spain should pass to the French duke of Anjou, Philip, grandson of Louis XIV, whose wife Maria Teresa was the eldest daughter of the Spanish Hapsburg Philip IV, who preceded Charles. From a cultural perspective, Spain was not a tabula rasa upon which the new Bourbon monarchs could simply paint their artistic visions. In Rome, the funeral rites to mourn the death of Charles II were carried out at both the Spanish church of San Giacomo degli Spagnoli on the Piazza Navona and in the basilica of Santa Maria Maggiore, both important monuments to the Spanish community in the city. Perhaps no architect, Italian or French, played a more instrumental role in the formation of eighteenth-century Spanish architecture than Filippo Juvarra.
On October 2, 1700, the young Hapsburg king Charles II, terminally ill and heirless, declared that the throne of Spain should pass to the French duke of Anjou, Philip, grandson of Louis XIV, whose wife Maria Teresa was the eldest daughter of the Spanish Hapsburg Philip IV, who preceded Charles. From a cultural perspective, Spain was not a tabula rasa upon which the new Bourbon monarchs could simply paint their artistic visions. In Rome, the funeral rites to mourn the death of Charles II were carried out at both the Spanish church of San Giacomo degli Spagnoli on the Piazza Navona and in the basilica of Santa Maria Maggiore, both important monuments to the Spanish community in the city. Perhaps no architect, Italian or French, played a more instrumental role in the formation of eighteenth-century Spanish architecture than Filippo Juvarra.