public theater expressed the new found civic consciousness of the

Public theater expressed the new found civic

This preview shows page 107 - 110 out of 280 pages.

public theater expressed the new-found civic consciousness of the Triestines.They consulted with Piermarini in Milan and eventually hired Selva in 1798 to build a theater comparable to La Fenice.When Selva’s facade was found to lack monumentality a competition, won by Matthäus Pertsch, followed to alter it. German born, Pertsch studied at the Brera under Piermarini, and brought to the Trieste theater the robust porte-cochère and colossal columnar order that had made La Scala a monumental event in its urban fabric. 107 the challenge of tradition, 1750–1900
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the architecture of modern italy 2.11 Pietro Nobile, Canal Grande with the Church of Sant’Antonio Taumaturgo,Trieste, 1808–31
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Pertsch had come to Trieste to build the palace of a wealthy Greek merchant, Demetrios Carciotti.The Palazzo Carciotti fills an entire city block with warehouses and stables, proprietor’s quarters facing the port, and sixteen rentable residential units along the sides. Finished in 1806, the facade was synthesized from Palladian models, combining a colossal Ionic colonnade, a balustrade with statuary, and a pure hemispherical cupola. Pertsch introduced to Trieste a decorous register of private building emulated throughout the next century. Pietro Nobile designed the church of Sant’Antonio at the center of the new city development. Nobile was one of Trieste’s few native architects. He studied at the local naval academy and was sent on scholarship to the Accademia di San Luca in Rome in 1798. He spent two years at the academy in Vienna and when he returned to Trieste in 1807 assumed the directorship of the office of public works.As the only architect working in Trieste with experience in Rome, Nobile’s work stood out for the purity of its archeological spirit. Unlike Antolini’s exactly contemporaneous Foro Bonaparte designs, Nobile’s stern forms have none of the political meanings normally associated with neoclassicism. His masterpiece was a church at the top of the Canal Grande modeled on the Pantheon. Its monumental scale, clarity and simplicity of form, and rigorous archeological style earned him an invitation to head the Viennese academy, in 1818, where he spoke of lucid Mediterranean classicism to northern Europeans nostalgic for Italy. The variety of Trieste’s architects—Mollari, Pertsch, and Nobile—demonstrates the diverse routes to neoclassicism in Italy. Its architecture showed the signs of cross-currents that flowed through its society: Palladian traditions from the peninsula, the cosmopolitan classicism of Piermarini from Milan, archeological purism from Rome, and the northern Europeans’ classical idea of Italy.Trieste was a crucible in which a particular neoclassicism was forged, an alchemic amalgam of Enlightenment components, economic, social, intellectual, and architectural. It was not a rigid, exclusive system, but a fluid expressive universal language, decorous and dignified, adaptable to a variety of building types and urban conditions, ordered and rational and perfectly reflective of Triestine society at the turn of the century.
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  • Spring '17
  • Archt. De Veyra

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