With his bold personality Poletti managed to cut through the debilitating

With his bold personality poletti managed to cut

This preview shows page 173 - 177 out of 280 pages.

With his bold personality, Poletti managed to cut through the debilitating network of conflicting committees that had ruined Valadier.When necessary he appealed directly to the pope, by then Gregory XVI.The rebuilding of the basilica’s original ground plan would include a magnificent forecourt, a baptistry, and a bell tower. Inside, Poletti rebuilt the columns and walls in their former locations and to their former proportions, but everything in a totally renewed manner, his biographer tells us,“to give a new San Paolo all the splendor of magnificence and of the perfection of construction of materials.” Poletti rebuilt San Paolo as if its original builders had returned and, in their spirit, availed themselves of all the erudition compiled in the interim, revisiting the design and correcting its errors. 173 the challenge of tradition, 1750–1900
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Poletti’s San Paolo is an idealized image of its own past, an evocative simulacrum of itself. Its pure space and brilliant surfaces shine with surreal precision, transporting us to a storybook-perfect history.Whereas Valadier had quipped that scholars and the curious could be satisfied with a model as a record of the former structure, the Romantic generation that buried Valadier made the new building itself a didactic model. Saint Paul’s reconstruction com’era, dov’era —as it was, where it was—significantly influenced the nature of architectural restoration in Italy for the next century. 174 the architecture of modern italy
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the challenge of tradition, 1750–1900 3.22 Luigi Poletti, San Paolo fuori le mura, reconstruction, Rome, 1831–54. Engraving by Giuseppe Bianchi, 1854
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revivalism and camillo boito In other European countries in the nineteenth century, the Gothic Revival was associated primarily with issues of architectural restoration and national imagery.This was not the case in Italy, where architects confronted Gothic architecture only in rare instances, such as the completion of the cathedral of Milan. Under construction continuously since the late Middle Ages, the Duomo still lacked a facade. Portals had been added in the late Renaissance not consonant with the building’s original Gothic forms.The clash of styles only became more irksome to later generations. Attention to civic imagery under Archduke Ferdinand’s rule at the end of the eighteenth century encouraged many architects to propose solutions to the variegated facade, many of which tried to diminish the impact of the classical intrusions. In 1807 Napoleon sanctioned funds for the execution of Carlo Amati’s project for the facade, which reshaped the buttresses and completed the finials in the Gothic style of the cathedral’s flanks.Amati, the designer of San Carlo al Corso nearby and a committed classicist, admitted that when he was forced to study the Gothic structure he was moved by its intelligence.“Whoever takes the time to examine with an erudite eye any of these monuments will not forget the architectonic sensibility of their execution and the shrewd selection of material components.
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  • Spring '17
  • Archt. De Veyra

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