the city gates houses villas and dozen theaters he built including an

The city gates houses villas and dozen theaters he

This preview shows page 94 - 97 out of 280 pages.

the city gates, houses, villas, and dozen theaters he built, including an enlargement of La Scala, but his ubiquitous work brought Percier and Fontaine’s adaptable architecture to the Italian cityscape. In the end, only the most minimal suggestions of the original forum idea were executed by Canonica.Ten thousand trees were planted in substitution for a colonnade, and behind the castle, a vast parade ground, the piazza d’armi , was opened at the entrance of the Simplon route. Napoleon decreed the construction of an ancient- style arena in 1806 and Canonica worked it into the Foro Bonaparte plans.The wide, low grandstands were constructed from the rubble of the former bastion.With a capacity of up to four thousand 94 the architecture of modern italy
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the challenge of tradition, 1750–1900 2.3 Giovanni Antonio Antolini, Foro Bonaparte, Milan, 1801. Engraving by Alessandro Sanquirico, 1806 2.4 Luigi Canonica,Arena, Foro Bonaparte, Milan, 1806–7 2.5 Luigi Cagnola,Arco delle Vittorie napoleoniche (now Arco della Pace), Milan, 1807–38
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citizen-spectators, it was the largest such structure since antiquity.A triumphal arch served as an entrance and a stately “pulvinar,” or imperial tribune, was made of reclaimed ancient columns.A screen of shade trees completed the ellipse. The encouragement of an imperial imagery coincided with Napoleon’s crowning as Emperor of Italy on 26 May 1805.The Milanese, anxious to please their exacting overlord, were confident that a triumphal arch “in imitation of those decreed by the Senate and built by the people of Rome for the Caesars” would effectively commemorate this occasion.A celebratory archway could double as a utilitarian city gate and as such ranked among the indispensable projects impervious to cutbacks. In 1806 Luigi Cagnola designed a temporary structure in celebration of Viceroy Beauharnais’s marriage to Amalia Augusta of Bavaria.The edifice was admired and led to Cagnola being commissioned for Milan’s second permanent arch. Cagnola was an erudite aristocrat with a cultivated interest in the arts. He collaborated on an illustrated translation of a Winckelmann text and designed Ledoux-inspired toll houses for his own pleasure. His diplomatic career in Vienna was terminated with the rise of the French, so the future marquis retreated to Venice to study Palladian architecture. Cagnola returned to his native Milan under the second republic to take a seat on the city council and Ornato board. He was primarily interested in issues of celebratory urban decor, but his personal tastes coincided with Canonica’s. Cagnola’s triumphal arch for Napoleon, the “Arco delle Vittorie napoleoniche,” was begun in 1807 at the entrance to the Foro Bonaparte. Urbanistically, it was the only construction that recalls Antolini’s original ideas and archeological spirit. Building materials from new quarries were meticulously selected, as were the collaborating sculptors from the Brera. Like many projects conceived under Napoleonic rule, the arch was completed by later governors with some slight but significant alterations to its name and iconography.
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  • Spring '17
  • Archt. De Veyra

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