The creation of a theater displays all the complex crosscurrents of the

The creation of a theater displays all the complex

This preview shows page 84 - 88 out of 280 pages.

The creation of a theater displays all the complex crosscurrents of the age—Palladian traditions, scientific advance, commercial interests, lingering rococo taste—and the creation of a self-image of modern society all blended into one elusive, ever changing expression. La Fenice would have been better named “La Chimera” rather than “the Pheonix.” The architectural forms of late-eighteenth-century classicism, from Galilei to Selva, are clearer in structural representation, simpler in volumetric clarity, and more linear and planar than the earlier baroque. Francesco Milizia, who promulgated his ideas through rigorous criticism of contemporary architecture, spelled out principles of composition, structure, and ornament more severe than contemporary tastes. His principles helped to redefine an architecture for the public weal that was commodious, solid, and grand. A tendency toward purer architectural form made the re- emerging classical style once again, as it was in the Renaissance, adaptable to a wide range of new building types.The strong, forthright forms of public architecture provided the appropriate impact for the underlying pedagogic aim of the arts during the Enlightenment.The reforms of Bourbon Naples, of Hapsburg Milan, even papal Rome, were manifest in contemporary architecture of more stoic, secular images.As Diderot explained in his Encyclopédie , the edifying effect of the arts would make virtue more attractive. Museums and theaters were of paramount importance in the risorgimento , or resurgence of the arts, as contemporaries called it. This was not a “revolutionary” architecture. In most cases patron, artist, and style were lodged firmly within the continuities of the old regimes.The term “neoclassicism” seems out of place in Italy, where scientific reconstruction of architectural principles independent of 84 the architecture of modern italy
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Renaissance precedent were rare and the idea of a “true style” was expressed only by foreigners looking for it.This was a perennial return to a hardly absent classicism.The essence of tradition— recognizable schema established by recurrent use—exerts a remarkable force on the Italian consciousness.The result was a judicious balance of tradition and innovation at Caserta, La Scala, Villa Albani, Museo Pio-Clementino.The Roman palimpsest of Nolli’s map favored cultural continuity.As Salvi’s Trevi Fountain shows, to trace upon the layered surface of Italian cities one is profoundly influenced by what lies below. 85 the challenge of tradition, 1750–1900
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2.1 Giuseppe Camporese,Andrea Vici, and Paolo Bargigli, Festa della Federazione , in Piazza of Saint Peter, Rome, 20 March 1798. Painting by Felice Giani
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Chapter 2 napoleon in italy, 1800–1815 napoleon’s italic empire Napoleon Bonaparte brought the ideals and imagery of the French Revolution to Italy. In March 1796, as an offensive army commander against the Austrian empire in Lombardy, he entered Italian territory to secure free passage across Piedmont from the Savoyard monarch.
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  • Spring '17
  • Archt. De Veyra

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