temples except as a theoretical alternative a line of enquiry pursued in French

Temples except as a theoretical alternative a line of

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temples except as a theoretical alternative, a line of enquiry pursued in French treatises, like Laugier’s, and built in English garden follies. The Doric column became an emblem of architecture’s primal origins and was almost exclusively a foreign purview. The only use of the Doric in Italy in the late eighteenth century was by a Frenchman.At the Villa Giulia of Palermo, the city’s first 64 the architecture of modern italy
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public gardens (where Goethe was want to read from Homer), a botanical academy building was designed by Léon Dufourny. Dufourny, a student of Julien-David Leroy, had recently returned from ten months in the field measuring the Doric temples of Sicily, and eagerly accepted the invitation to design “the first major edifice in which the Doric order, buried amongst the ruins of the temples of Greece and her colonies, is recuperated in all its purity.”The building, which incorporates a lecture hall, library, and herbarium, features Doric columns at the entrance. Dufourny, who upon returning to his native Paris founded a museum of the history of architecture, had initiated in Palermo the significant ideological movement to recompose principal theories of architecture in light of archeological investigation. The Palermitano architect Giuseppe Venanzio Marvuglia, enthused by Dufourny’s ideas, added flanking pavilions to the botanical academy. He also designed a villa in Palermo in the Chinois manner for Ferdinando IV, La Favorita , which has a “Fountain of Hercules” in the garden consisting of a single free-standing Doric column. Marvuglia’s variegated production belies a less theoretical focus than his foreign contemporary, suggesting that the concerns of Italian architects were quite different from the interests of the rather radical foreigners present in Italy at the time. collecting and cultural heritage In Rome, the popes could not monopolize the archeological culture as the Bourbon king managed, so they sought to intervene with creative policies for the protection and potentializing of this cultural heritage.With intense demand for antiquities, especially among the British, economic incentive aggravated the likelihood of illicit digging for new items and of Roman aristocrats selling off their collections for cash. Pope Clement XIII, through his commissioner of antiquities, Ridolfino Venuti, renewed the enforcement of limiting excavation licenses to registered agents, the right to entail one third of everything found by them, and strict export regulations.The 65 the challenge of tradition, 1750–1900
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consequent amassing of objects in papal possession helped to boost the initiative of a public art museum in Rome.An account of the relationship between private and public collecting in Rome illustrates the crucial importance of formulating a policy for the protection of this heritage.
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  • Spring '17
  • Archt. De Veyra

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