Egyptian allusions here a in the garden may owe something to the patrons

Egyptian allusions here a in the garden may owe

This preview shows page 157 - 159 out of 280 pages.

wall paintings referenced Hadrian’s Villa. Egyptian allusions here and in the garden may owe something to the patron’s freemasonry practices, but things remain enigmatic in Fantastici’s charged poetic atmosphere of color, shadow, and suggestion.Although Fantastici had few followers of his inimitable poetry, he helped, like Piranesi before him, to reinvigorate hopes of productivity in the arts. Elsewhere in Tuscany, Romantic sensibility was focused on public and patriotic aims.At the Villa Puccini (no relation to the later composer) outside Pistoia, built from 1824 to 1844, dozens of little constructions were arranged across several acres of land, including: a ruined Temple of Pythagoras, a medieval tower, a hermitage, a rustic hut, a caffè, and a “Teatro Napoleonico.”There were monuments to Dante and Tasso,Vico, Linneaus, Gutenberg, Galileo, Machiavelli, Michelangelo, Raphael, the Madonna, Canova, Columbus, and Cleopatra. Lording over it all was a “Pantheon” with a roof terrace from which twenty-six sites throughout this theme park could be admired. Niccolò Puccini, with the assistance of friends and architects, was responsible for the garden’s creation. Luigi de Cambray Digny and the garden designer Alessandro Gherardesca, a jack of all styles, discussed the project at dinner parties with a circle of Puccini’s intellectual friends. Puccini got them all involved in his philanthropic effort to elevate the lower classes “who talked only of girls and card games.”The guide to the gardens reads like a Gothic romance; each scene suggests virtuous achievements in civilization’s march of progress, a great “school of mutual instruction.”The undercurrent of Italian patriotism that courses through lyric opera pools here in Puccini’s energetic philanthropy under the tolerant reign of the grand dukes of Lorraine. 157 the challenge of tradition, 1750–1900
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Patriotic messages are reiterated in another Pistoia monument, a Pantheon to Illustrious Men. Conceived at the same time as Puccini’s park, this city monument just within the walls at Piazza San Francesco faces an open space once used as the Foro Bonaparte.The somber temple was finished up in 1826 to the designs left by Cosimo Rossi-Melocchi.The plasticity of Rossi-Melocchi’s interpretation of traditional classical form recalls the liberties explored by Niccolini in Naples with Doric columns of exaggerated entasis.What was once the gathering place of the marginalized poor in Franciscan care, then for citizens drilled in Napoleonic consensus, is now a Romantic corner of meditation on national glories as yet unfulfilled. Tuscany under the restored grand dukes of Lorrain enjoyed a considerable cultural efflorescence.When Ferdinando III was restored, he set about planning improvements to his grand duchy. Pasquale Poccianti typified the well-trained Florentine professional with his systematic knowledge of architecture and engineering issues.As head architect of the Lorraine, Poccianti continued works in the Palazzo Pitti with a new main vestibule, a reorganization of the piazza, apartments on the second floor, and a new grand staircase.The grand
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  • Spring '17
  • Archt. De Veyra

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