of the overall conception the staircase within justifies Morellis reputationThe

Of the overall conception the staircase within

This preview shows page 76 - 79 out of 280 pages.

of the overall conception, the staircase within justifies Morelli’s reputation.The scenographic masterpiece is studded with ancient sculpture and granite columns. The Palazzo Braschi is the last in a long line of nepotistic papal palaces in Rome.The consciousness of its constructed role required of Morelli a historicist operation perhaps less brilliantly achieved than Marchionni’s but of the same ilk.While Pope Pius VI was building the Palazzo Braschi in Rome, French revolutionaries were dismantling the Bastille in Paris. But Pius, who was bereaved by 76 the architecture of modern italy
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Louis XVI’s beheading, should not be seen in the clarity of historical hindsight as a pathetic anachronism but as a man convinced that the traditions of Rome would never wane. giuseppe piermarini and milan in the eighteenth century Milan, under Hapsburg rule from Vienna, was guided by the best of Enlightenment governing policies.Although Empress Marie Therese’s attitude was paternalistic, her effect on intellectual and artistic life in Lombardy was undeniably positive.Archduke Ferdinand, her son, was dispatched to wed Maria Beatrice d’Este, and when he arrived in Milan he found the city lacking in buildings he thought worthy of his image. He promptly set about rectifying this situation. In a half- century of Hapsburg administration, palaces, villas, thoroughfares and gardens, academies of learning, and public theaters came into being. Pietro Verri wrote to his brother,“since you have left Milan many changes have occurred that could not have been imagined before .... They’re tearing down [the church of] La Scala to build a theater.At [the Jesuit monastery of] the Brera they’re setting up a painting school .... In no other country have there been as many changes over these twelve years while no other country is so contrary to change as ours.” Ferdinand wanted his own palace on the order of Shönbrunn, or Caserta, for Milan, so a serious headhunting campaign for an architect began. Luigi Vanvitelli was brought to Milan in 1769 to consult on the conversion of the Palazzo Ducale, whose medieval structures needed a complete overhaul.Vanvitelli, used to working on a tabula rasa , told them to knock everything down, but Wenceslaus Kaunitz, the minister who held the purse strings in Vienna, vetoed the idea.Vanvitelli had little patience for petty patrons but satisfied his contract by leaving behind one of his trusted minions, Giuseppe Piermarini. Piermarini had gone to Rome in 1755 to study with Paolo Posi, but he found his work less than satisfying and drew up some of his 77 the challenge of tradition, 1750–1900
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own solutions for the Pantheon’s attic.Vanvitelli’s reputation attracted him to Naples, where he worked on secondary projects and not, it seems, on the Reggia at Caserta. But in this industrious atmosphere he learned the indispensable tools of the trade: patron relations and the cosmopolitan classicism that appealed to them.Thus,Vanvitelli could boastfully claim to the Milanese, perhaps a bit nonplused by his
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  • Spring '17
  • Archt. De Veyra

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