InvestIgatIng and WrItIng archItectural hIstory: subjects, MethodologIes and FrontIers Papers from the third eahn International Meeting edited by Michela rosso InvestIgatIng and WrItIng archItectural hIstory: subjects, MethodologIes and FrontIers

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Michela rosso (ed.) InvestIgatIng and WrItIng archItectural hIstory: subjects, MethodologIes and FrontIers Papers from the third eahn International Meeting Contents

Editor Preface, Michela rosso 15 Michela rosso 1. Early ModErn

1.1. Fortiied Palaces in Early Modern Europe, 1400–1700, 33 English editing layout Pieter Martens, Konrad Ottenheym, Nuno Senos adrian Forty elisa bussi 1.1.1 Fortiied Palaces in early Modern : Models, Image strategy 35 josephine Kane Functions, Emanuela Garofalo, Fulvia Scaduto susan Klaiber Copyright 1.1.2 the Castrum Sanctae Crucis in cremona: From Fortiied castle 48 daniel Millette the authors to courtly residence, Jessica Gritti, Valeria Fortunato nancy stieber 1.1.3 From old to new: the transformation of the castle of Porto de 62 Publishing Mós, Luís Serrão Gil Editorial proof-reading Politecnico di torino 1.1.4 symphony in brick: Moscow Kremlin at the time of Ivan III, 72 studio associato comunicarch Elena Kashina ISBn 1.1.5 seventeenth-century Fortiied villas in the county of , with 81 Cover Image 978-88-8202-048-4 residences Modelled on the type of a venetian Palace with corner towers, Mauro Melis Helena Seražin

1.2. Piedmontese architecture Studies Fifty years on, 92 Susan Klaiber 1.2.1 the exchange of architectural Models between rome and 94 before guarini’s arrival, Marisa Tabarrini 1.2.2 : the First ‘baroque’ architect, Marion Riggs 102 1.2.3 the Multifaceted uses of guarini’s architettura civile in 1968, 109 Martijn van Beek 1.2.4 Idealism and realism: augusto cavallari Murat, Elena Gianasso 115 1.2.5 a regional artistic Identity? three exhibitions in comparison, 121 Giuseppe Dardanello 1.2.6 Wittkower’s ‘gothic’ baroque: Piedmontese buildings as seen 122 around 1960, Cornelia Jöchner

3 1. Early ModErn the 1960s,or presentalternativeapproaches intheformofcasestudies or discussion positionsmaydirectly addresshistoriographyormethodologyof has newmaterialevidence altered long-heldassumptions? engineers? agents like civic authorities, construction workers, or military ields likegeography, sociology, ofscience –reframetherolesof orhistory methodologies–drawingfrom riage alliances?dorecent interdisciplinary throughout europeandwhoserulingdynastyentered supraregionalmar remain fruitful for investigating a region whose two major architects built concepts provenrobust?doesatraditionalgeographic-stylistic designation tage ofthe1960s.havegriseri’s andPommer’s ‘challenging’(Wittkower) montese baroquearchitecturethroughacriticalassessment oftheheri this roundtableaimstocommemoratethegoldenage ofstudiesonPied corpus juvarrianumin1979. guarini (1968)andbernardovittone(1970),aswell theinitiationof this scholarship culminated in major international guarino conferences on and richardPommer’s Piemontese (1963),andreina griseri’s output includethearchitecturesectionofexhibitionMostradelbarocco ofthemilestonesthisscholarly ray ofpublicationsontheperiod.some oechslin, MarioPassanti,and nino carboneriproducedanimpressivear Millon, Wernerguarini (1956), international and local henry scholars like andbriefmonographon (1958), orPaoloPortoghesi’s seriesofarticles “architecture inPiedmont”his ing frompioneeringworksofthe1950ssuchasrudolf Wittkower’s chapter Studies Fiftyyears on architecture 1.2 PiedmonteseBaroque studies onPiedmontese ofthegreatlowering the currentdecademarksiftiethanniversary Independent scholar, Switzerland susan KlaIber ROUNDTABLE CHAIR 92 Eighteenth-Century Architecture inPiedmont Eighteenth-Century baroque architectureduringthe1960s.Proceed Art andArchitectureinItaly1600-1750 Art Metamorfosi delBarocco Metamorfosi (1967), (1967). - - - - -

half century, aswellwhereitmightgointhenextiftyyears. to relect on where the ield has been during the past provide an opportunity breakingoutofthesemonographicconstraints, this roundtablewill sortium. togetherwiththevenariaorganized bythebibliothecahertziana realecon graphic conferencesinturinalieri, garove,andjuvarra onarchitectslike and internationalscholars,asdemonstratedbytherecentseriesofmono empire. Piedmontese baroque architecture continues to occupy both local europe, andtheformerhapsburg peninsula, Franceandspain,northern mont isamajoreuropeancrossroadforculturalinluencesfromtheItalian venue foraninternationalroundtablewithregionalfocus:thenasnow, Pied host regionindedicatedpanels.turin, however, arguablypresentsanideal its previousconferences,the arship onPiedmontesebaroquearchitecture,urbanism,andlandscape.at new research projects that critically engage with this historic body of schol eahn didnothighlightthearchitectureof 93 - - - -

1. Early ModErn 1. Early ModErn turin, architecture rainaldi,Shroud, Baroque, rome, Keywords architecture inPiedmont. guarino guarini,whomarkedaturningpointinbaroque the arrivalin1666of turin1650s in coincidewith aphaseoftransitionandexperimentationbefore griseri andof1960sscholarshiponturin asamodelcity. the1640sand andreina the attentionofcontemporariestendstoreinforce thesesof rome.that turin unrealized projectsfortherenewalof couldthuscommand a capitalcitywasnotignoredbyromanarchitectsascan beseeninsome turin urbanandarchitecturalplanningof the noveltyofcontemporary as inthe1650s.however,resumption ofworksinthechapelholyshroud ments duringthe1620s,andbypromotionof‘dynasticcult’with by the turinarrival in of the theatines and the Minims with their irst settle focusonromewasenhanced this roman counterparts. the worksoftheir the ducalengineerswereattractedbymonumentalpersuasivenessof in1630andtheprofessionalmaturationofhissonamedeo, programmes beingplannedinturin. Inaddition,betweenthedeathofcarlodi rome forthechallengingarchitectural they hadknownduringtheirstayin quite logicalalsotoconsiderideasandsuggestionsofthearchitectswhom Forthemitwas accademia deidesiosi. same interestsdevelopedinsidethe milieuofthecityandshared both hadgrownupintheculturalandartistic Maurizio wasstillacardinalandFilippohisgentlemanofthechamber;they rizio of savoy. the two menhad been close since theirsejourin rome when Maestro delleFabbriche”in1643,andherformerbrotherlaw, PrinceMau d’aglié,appointed“gran Martino 1637 to1648,werecountFilipposan regentsavoyfrom architecturaladvisorsofMariacristinabourbon, the abstract La Sapienza-UniversitàdiRoma, MarIsa tabarrInI turinrome and guarini’s before arrival Modelsbetween Exchangeof architectural 1.2.1 the 94 - -

ment ofbaldinucci,writingthatrainaldi: experience. oftherainaldian of perspectiveillusion,butalsoemphasizedtheimportance structures ofthejesuitasvehiclestransmissionforspatialsolutions and andreaPozzo,notonlyidentiiedthesacredtheatresephemeral andreina griseriandninocarboneri, intheirstudiesongiovenale boetto despite her strong ties with France, the regent herstrongties withFrance,thecouldnotescapemed despite mont. borromini) ofthe‘openarchitecture’hearguesischaracteristicPied mentions girolamo rainaldi’steresa s. caprarola asaforerunner(via in ofthe1960s.ForexamplerichardPommer lighted sincetheirstsurveys one oftheaspectsspread borrominian, is the prevailingrainaldianinluence,overberninianor son carlo emanuele II. tommaso andMaurizioofsavoy, and totheirstdecadeofreignher of theregencyMariacristina ofbourbonafterherreconciliationwith the titleofKnight–hisfunctions asarchitectwoulddatebacktotheyears around 1649–theyearfromwhich If weconsiderthetwotestimoniestruthfuland dating ofthemerit dling ofherbrothers-in-law inarchitectural andurbanpolicy, of particularly awarded the equestrian order of saints Mauriceandlazarus. awarded theequestrianorderof andwasthus carlo emanuele,dukeofsavoy’ activeinserving was ‘very in the tural modelsinthe on the spread of rainaldian architec In respect to these irst observations Filippo baldinucci (1681) reports that the roman architect carlo rainaldiroman that the architect Filippo baldinucci(1681)reports and periodspriortothoseindicatedbystandardhistories. by Francesco lanfranchi intheprojectforchurchofs.rocco (1667). intoPiedmont from thepersonalexperienceofarchitect,soonimported derived opposed totheoriginalscenicdeinitionofcolumnararticulation juxtaposed on adomedsanctuary, considered alien toromanmodels,is Italianinluenceinthetypology,in rome. northern the afalsegreek cross dencies concerningtheprojectof 1 Lives himself, who performed thefunctionpublicly.himself, whoperformed Mauriceandlazarus receivedbythehandsofcardinal fantrymen several times, he hadthe honour of the cross of thenobleorder of In in rome; andbeyondconsiderable donationshereceivedfromthem , andmuchbycardinal Maurizioduringthetimeshewas was muchemployedby carlo emanueleofsavoyforthebuildings rudolf Wittkower signalled,however, rudolfWittkower amoredirectexchangeoften dedicated to 3 duchy ofsavoy 6 vittorio amedeo II , wewouldliketosuggestearlierchannels carlo rainaldiforMariaincampitelli s. roman inPiedmont,wellhigh baroque rainaldi iguresinthedocumentswith of 5 savoy savoy strengthens the argu 4 lione Pascoli - 95 2 ------

1. Early ModErn 1. Early ModErn and artistic milieuofthecityandacademydesiosi. and artistic man cardinalateofMaurizio,thetwonoblemenwereformedincultural tional s. sudario. church of at s. andrea dellavalle,yard ofthetheatines adjacenttothesmallna at Montegiordano,andalong with hisfather girolamo at theconstruction met himasayoungarchitectandmusicianinrome intheorsinicourt rainaldi wasintroducedtothe savoy,cardinal Maurizioof whomayhave Theatrum Sabaudiae exploring, aswellinothercollectionsandsomeprojectdrawingsofthe also byindirectmeans,withsolutionsproposedcarlorainaldi, isworth esis, albeitvague,thatsomeofthesesheetsmayhavesomethingtodo, the expansion ofthePamphiliPalacein rome andtheadjacentchapel of sincehehaddesigned(withhis father) rainaldi couldbeavaluable partner decisions oftheinexperiencedyoungduke. Mauriziohadaconsiderableinluenceoverthe uncleandbrother-in-law the pointed gran Maestro delle Fabbriche in 1643. d’aglié,ap count FilipposanMartino cristina forarchitecturetogetherwith daughter ludovica,becomingherson-in-law. Mauriziowasacounsellorof Maurizio who,havingrenouncedthepurple,hadobtainedhandofher irst halfofthecentury, theattributionsstillremainuncertain. composition stressingthatformanyofthedrawings,datingmostlyfrom albums, analyzedbygiuseppewhohasthoroughlystudiedits dardanello, consistencyandsigniicancearerevealedinthetwovalpergaParticular tants fortheirbuildingprojects. autonomy. Itisthereforelikelythatthedukeswouldaskforexternalconsul engineers of the ducal entourage manifested signiicant talent and artistic and before the professional maturation of amedeo, his none son of the carlo di on theotherhand,betweendeathofcastellamontein1630 relationship duringtheirstaysin rome. planned in turin, ideasfromarchitectswithwhomtheyhadenteredinto logical forthemtoalsoconsider, forthedemandingarchitecturalinitiatives in 1666. involved inturin asconsultant orasanarchitectbeforethearrivalof guarini Maurizio and his carlo nephew emanuele II and whether he could have been the issueofwhatmighthave beentherelationsbetweencarlorainaldi, emanuele I and then vittorioemanuele Iandthen amedeoItoestablish theirquar shroud. II toaskfortheresumptionofconstruction chapeloftheholy near the ducal palace, were the irstafter the advent of carloemanuele church ofsudarioinrome entrustedtocarlorainaldi.s. continuation ofthe 96 11 14 Inthiscontextofreneweddynasticpropaganda,inaddition tothe shroud chapel,wasthescheduledreconstruction ofthe shroud (1682). 10 the the same theatines, who were askedbycarlo 13 only gerhard eimerhasraised onlygerhard 7 close since the time ro of 12 8 9 Itwasquite ters in thehypoth turin - - - - - a subordinaterole. castellamonte, relegatedto architect,count amedeo di of theirstcourt Quadri,attheexpense entrusted totheimpresarioandsculptorbernardino architectural commissionsponsoredbythe of s. lorenzowithsimilarparametersof of s. andthepalatinechurch imprint thedesignofchapelholyshroud camera lombarda.camera some ofhisarchitectrelativeslivedinnearbyMilan,workingattheregia romini. thehypothesisofajourneytoturin byrainaldi islikelyalsobecause Mauriceandlazarus,withwhomhesharedahatredforbor saints rainaldi,by whoin thatyearapparentlyreceivedthecrossoforder role ofarchitect.Itmaybesuggestedthathecouldhavebeenaccompanied ofsavoy,he foundrefugeinthecourt whichimmediatelyenlistedhiminthe borromini. Forcedtoleavethecityatendof1649, serious conlictwith john lateran,whereheisrememberedfora bernini, tothatofs. with Peter’ roman decorativecampaignsofthe1640s,fromnaves. graphische sammlungofMunich), this regardthedrawingsdiscoveredby albrechtinthe stephan staatliche itelli: fromtheexperimentationofadomedstructure oncolumns(seein drawings bycarlorainaldifors.agnesein Mariain agone ands. camp attributiontocarloorcastellamontewithpreparatory amedeo di uncertain weneedtorelectonthelinguisticsimilarityofsomesheets certainly Italianinluenceofthe rainaldian idiomiswellknown,but the northern ticipated insomestage. with cardinal Maurizio even afterhisinvestitureasaknight,mayhavepar the chapelof and aproject for Peter’ss. withfourplanimetric options(square, square, surrounded byuniformarchitectural ‘stagesets’inavanishingperspective, exander vIIchigi:aproject for thePiazzadelPopolowithtwinchurches proposals fortwoofthemajor architecturalandurbaninitiativesunder al naldi thusconirminghispossible directknowledge of thecity. were those castellamonte waspreciselycarlo rai- around piazzasancarloby carlo di only architectin rome toproposesomethingsimilartheuniformfaçades of thistraditionin turin wasduetoastrongFrenchinluence.Infact,the architects ofcentralItalyneverabandonedisolatedfaçades, thebreaking turning notedthatwhilethe fromreligioustocivilarchitecture,Wittkower the new design chapel for of the the holy shroud, the most prestigious escorial. hispanophile PopeInnocentx ofaroyalpalacewithpalatinechapelfromthe s. agneseincompliancewiththeprogrammaticmodelsuggestedby axis articulated withfree-standingcolumns. axis articulated 15 Klaiberhasalsoshownhowthe inturinsusan dukes intendedto holy shroud alsocarlorainaldi,holy shroud whoremainedincontact 17 18 Quadri could claim experience in the most important Quadricouldclaimexperienceinthemostimportant We suggestthatintheprocessofconstruction 19 totheprojectofanovalwithcrossed grandeur 20 savoy dynasty . 16 , wassurprisingly 97 s - - - -

1. Early ModErn 1. Early ModErn Figure 1. Figure brary, chigiP.vII.9, f.40v-41r. 98 carlo rainaldi.Projectfors.Peter’s square inrome. by stepsbehind. framed sacellumaccessible 20. notetheperspectively inv. n.codiceq.II.40,folio onale universitaria, serie x, torino, the biblioteca nazi and andrea Pozzo. developed byguarini basic rainaldianconcepts inspiredbythe sanctuary a greekcrosswithanoval uted). Planofachurchwith barolo (1671-1760,attrib 2. Figure Source antonio Fallettida : thevatican li Source : - - - While indicate, inmyopinion,acrucialknotyettobeuntied. ofcircumstances,dates,andcharactersonlyhintedathere the intertwining by scholarssuchasWittkower, Pommer,griseri and around iftyyearsago, del disegnodaCimabue dreina griseri, dreina of ss.of Maurizioelazaro; boetto andPozzoforthechurchofMondovìanonymousbasilica of spreadandpersistenceofrainaldianthe lessonsisconirmedbytheproject Piedmont. baroque architecturein who markedadecisiveturningpointinthefateof adventofcarlosavoycoincideswithatransitionalstage the emanuele IIof chitetto, 1642-1709 3 ninocarboneri(ed.), Penguin books,1958). in Italy:1600to1750 2 rudolfWittkower, york: newyork universityPress,1967),5. tures of Juvarra, Alfieri & Vittone Architecture in Piedmont. The open struc ch’e’ fu alla corte di roma’.theknighthood ch’e’ fuallacorte prestatoglineltempo derdone dellaservitù per mezzo del cardinal Maurizio, per gui sima dellostessocarloduca di savoia, savoja […]conferitoglidall’altezza serenis dicarloemanueleduca di molto ne’servigj Franchi, 1681),492,639-40: ‘impiegato 4 Filippobaldinucci, cassa dirisparmioFossano,1966). for turineseguarino guarini, architecturebeforethearrivalin1666of saturnia, 1961);ninocarboneriandan façade (Figure1). withthesamecontinuousarcaded round, ovalandhexagonal)articulated 1 richardPommer, with aninterestingdrawingattributedtohimby richard bösel(Figure2). documentedhere from baroloatthebeginningofeighteenthcentury in Fano;andbythegraphicproductionofjesuitarchitectantonioFalletti altars establishedby rainaldi’ Giovenale Boetto s connectionswithPiedmontwerebrushedupontangentially 21 Notizie de’professori Art andArchitecture Art (trento: grafiche arti Eighteenth (harmondsworth: (harmondsworth: girolamo rainaldiPietroin inthe mainaltarofs. valle Andrea Pozzoar (Firenze: santi (Firenze: 22 (Fossano: by the diffusion ofacompositionalschemefor bythediffusion

Century Century (new - - - - - assenza delre: le reggentidalXIValXVII (torino, 1868-69);Francavarallo (ed.), di CristinaFranciaduchessa diSavoia 6 gaudenzioclaretta, funzione pubblicamente’. dalle stessemanidelcardinale,che fecela ordine de’fantiMaurizioelazzaro avuta ricevé anchel’onoredellacrocedelnobil guardevoli donativiricevutipiùvoltedaloro, nel tempochestetteinroma;edoltreiri di Piemonte;emoltodalcardinalMaurizio carlo emanueledisavoiaperlefabbriche si, 1730),I,310:‘moltofuimpiegatoda architetti moderni 5 lionePascoli, 125, n.11b. 1970),I, (stockholm: almqvist&Wiksell, Handwerker imZeitalterdesNepotismus Römische Architekten,Bauherrenund mer, ei of rainaldiisdocumentedbygerhard La fabbricadiS.AgneseinNavona. Vite de’pittori,scultori,ed (roma:antoniode’ros Storia dellareggenza 99 23 In - - -

1. Early ModErn 1. Early ModErn allestimenti decorativi ecollezionismodi sionale neidisegnidagliAlbum : cenate deiletteratiedegliartisti principe cardinale Maurizio di Savoia me secolo (PiemonteedEuropa) electa napoli,1994);Id., ence, naples,12-14june1991) (napoli: dell’architettura (ed.), biblioteca nazionale di torino,” in g. alisio banca, 1989);Id.,“glialbumvalperga della bum Valperga Emanuele I e di Cristina di Francia dagli al diCarlo rativi ediarchitetturaperlecorti 9 giuseppedardanello(ed.), 3 (1995),121-55. desiosi,” 1999); riccardoMerolla,“l’accademia dei von savoyen(1593-1657)(Weimar: vdg, tum desPrinzenundKardinalsMaurizio ‘Magnificentia Principis’: das Mäzenaten di torino, 1995) 350;Matthiasoberli, Fondazione e banca cassa di risparmio Le collezionidiCarloEmanueleI (1619-1627),” ingiovanniromano(ed.), cipe’. cultura figurativa di Maurizio savoia di Michela diMacco,“‘l’ornamento delPrin della ricercastorica del xvIIsecolo,” e lapresenzasabaudaaromaall’inizio Mörschel, “IlcardinaleMauriziodisavoia 1963-1982);t.di archeologiaebellearti, al XVIIIsecolo Schede Vesme: inPiemontedalXVI l’arte c., 1891); alessandro baudi di vesme, stamp. realedelladittag.b.Paraviae 8 vittorioenricogianazzodiPamparato, silvana editoriale,2009). tra Cinque e Settecento dei Savoia cerimonie e spettacoli alla corte and Francavarallo (eds.), Piemontesi, 2005);cleliaarnaldidibalme d’agliè(torino:san Martino centrostudi il Costante:operainedita gero bardelli(eds.),la 1988); vera comoliandcostanzarog rino: IstitutobancariosanPaoloditorino, di MadamaRealeCristinaFrancia 7 andreinagriseri, olschki, 2008). 100 Idisegnid’archivioneglistudidistoria Roma modernaecontemporanea (torino: Fratelli cerianas.p.a. (torino: societàPiemontese (proceedingsoftheconfer Dimensioni eproblemi , 2(2001),147-78; Il Diamante.Lavilla balsamo: (cinisello prigionediFillindo (1643)diFilippo Memoria profes Feste barocche: Disegni deco (torino: (torino: (Firenze: (to Il , ------77-88; silvana ghigonetto,“bernardino 77-88; cinese alla corte sabauda,” giorgio in Mollisi cinese alla corte Quadri. scultore,stuccatoreearchitetto ti mestiere et unstuccatore,’”inId., Quadri eil‘negotioscabrosofra l’architetto 17 giuseppedardanello,“bernardino Guarini a.Millon(eds.), Klaiber andhenry lorenzo,” ingiuseppedardanello,susan Emanuele I rial,” in chapel ofsanlorenzo:turin andtheesco 11 Francescoandreu,“Iteatini atorino,” nascita centenariodella Carlo Rainaldinelquarto in simonabenedetti(ed.), savoia aroma:lachiesadelsantosudario,” 10 Marisatabarrini, “carlorainaldiei 163-252. cantieri, leprovince lacittà,i Barocco inPiemonte.Lacorte, rino,” ingiovanniromano(ed.), eimpresedecorativeato“cantieri dicorte cassa dirisparmiotorino, 2007);Id., tesi diSeieSettecento Id. (ed.), 16 susan elizabeth Klaiber, “the first ducal lano: electa,2000),86-97. 2000)(Mi ference, rome,13-15january cesco Borromini Frommel andelisabethsladek(eds.), palazzi diborromini,”inchristophluitpold 15 elisabethsladek,“l’architettura dei vona, I,125,n.11c. 14 eimer, lafabbrica dis.agneseinna 13 oberli, roma”. 12 tabarrini, “carlorainaldieisavoiaa 2003). in Turin chitecture fortheShroud:relicandritual 1999), 345-63;johnbeldonscott, 1995)(Firenze: olschki, rin 21-24February Madrid nell’età diCarloEmanueleI.Torino, Parigi, della sindoneatorino,” in dardanello, “Progettiperleprimecappelle ed arti La Zagaglia:rassegnadiscienze,lettere (torino: allemandi,2006),329-37. (proceedingsoftheconference,tu (roma:gangemi,2012)296-321. (chicago:univ. of chicagoPress, 22 (1964), 165-71;giuseppe Politica eculturanell’etàdiCarlo Disegnare l’ornato:internipiemon (torino: Fondazionecrt, 1995); , 329-43;ead.,“lefontipersan Magnificentia Principis (proceedings of the con (torino: editris,1988) (torino: Fondazione Disegnare l’ornato Politica ecultura Architetture di . Figure del Guarino Fran- Ar- , ------Annali diarchitettura on therainaldianresearchfordomed 20 (2010), 183-208. burger JahrbuchfürKunstwissenschaft in turin: einneuerZeichnungsfund,” schichte derKapelle des grabtuchs christi 19 stephanalbrecht,“diePlanungsge torino, 1991),schede28-29. società degli ingegneri e degli architetti di tografia delCinquecentoeSeicento 18 benedetti, 99. ad oggi nella cultura,nell’economiadalCinquecento (ed.), 1635, seeF. barrera, author ofthedescrittionedelPiemonte on giovanleorainaldi,acousinofcarloand in turin (bav, chigiP. vII.9f.23.).augusto evident similarity with that castellamonte by characterized byacontinuousserlianwith as acounterprojectfors.Peter’s square 21 seealsotheanonymousdrawingknown la comprensionedisant’agneseinagone,” “una cupolasucolonne.nuovielementiper structures on columns see Fulvio lenzo, angeli (eds.),labasilicadisanPietroin Pinelli, Mariabeltraminiandalessandro roca deamicis,“lapiazza,”inantonio Svizzeri a Roma nella storia, nell’arte, Svizzeri aRomanellastoria,nell’arte, , arte &storia,xI(2011),52,188- , arte Architetture di CarloRainaldi 24(2012). Il Piemontenellacar (torino: Mar- 37 . - - (1999), 71-94. del barocco te”, in 23 ninocarboneri,“guariniedilPiemon Piazza s. Pietro:lostatodeglistudie Piazza Römische historischeMitteilungen drezeption zwischenZitatundParaphrase,” gardekirche vonnikolausPacassi;vorbil getragen’:dieWiener romanischer art 1970) 347-83;richardbösel,“‘nach 1968) (torino: accademiadellescienze, ference, turin, 30 september - october 5 danello, Klaiber, el’emilia,”indar 1, 285-291;Id.,“guarini qualche precisazione,” (rome, 24-26 March 1988) (rome, 1989) del XXIII Congresso di storia dell’architettura barocco,” ingianfrancospagnesi(ed), al rainaldi tra sperimentalismo e apertura see augustorocadeamicis,“girolamo ous patternsfromserlioandMichelangelo, showing rainaldianroots,althoughonprevi cappuccini. onthecompositionalschemes cesco di Paola s. and Maria del Monte dei s. Fran thealtarsof 22 seeinparticular (1999), 43-50. III, 283-301;“leprimeideediberniniper vaticano, vol.3(Modena:Panini,2000), Guarino Guariniel’internazionalità , vol.2(proceedingsofthecon Henry A.Mitton Henry Palladio 12,n.23 , 471-9. 101 41 Atti ------

1. Early ModErn 1. Early ModErn K of theconcept‘ reappraisal ofthesigniicancePiedmontesearchitecture intheformation architecture.Insodoing,mydiscussionalsocallsfor a notions of‘baroque’ oftheformationtheseearly guarini asadistinctiveandcrucialpart cism of when it was introduced into architectural criticism and to recognize the criti seeks toreevaluatecurrentperceptionsofwhattheterm ‘ such a discussion critics. ‘baroque’, in the minds of late-eighteenth-century guarini’sMy discussionfocusesonwhatmade architectureunique,and guarini aloneas‘lemaîtredubaroque’. architectural term,infactsingledout criticism. QuatremèredeQuincy, inhiswell-knowndeinitionof‘baroque’asan whom modern scholars most often consider the focus of eighteenth-century thearchitect thoseofborromini, those ofotherarchitects,andparticularly Quincy,guarini’s andothers–madecleardistinctionsbetween failings and blondel, FrancescoMilizia, antoineQuatremèrede rists –jacques-François Prominenttheo also unique,andinsigniicantwaysnotdiscussedbybordini. criticism guarini was of characterize as ‘baroque’. but late-eighteenth-century of abroadertrendcensuringtheworkarchitectswhomwewouldnow rightlyclaims,thiscriticismofguariniwasindeedpart barocca’. asbordini guarini nellageneralevalutazionenegativedell’arte writers ‘accomunano guarini, claimingatonepointthatremarks ofeighteenth-century cism of guarini, Borromini, Quatremère, Milizia, historiography, Quatremère, Baroque guarini, Borromini, barocco In hercontributiontotheconference A rIggs MarIon architect the First ‘Baroque’ guarino guarini: 1.2.2 Independent scholar, Italy 102 BSTRACT EYWORDS of1968, baroque’ architecturemoregenerally. silvia bordinipresentedahistoricalover silvia Guarino Guarini e l’internazionalità del Guarino Guariniel’internazionalitàdel view ofthecriti baroque’ meant baroque’ meant - - - méthodique:Architecture inhis ère deQuincyinhisdeinition oftheterm‘baroque’ lebri architettid’ogninazione ed’ognitempo cesco Milizia in his biography of guarini includedinhis cesco Miliziainhisbiographyof cited,Fran- criticsbordini guarini madebytwooftheeighteenth-century I wanttobeginthediscussionbypayingcloserattention tocommentson ofthetime. yields fruitfulinsightintoarchitecturaltheory texts how analyzingthisconstructasitwaspresentedineighteenth-century the ideaofthisinluenceasahistoricalconstructand alsoseektoshow inluencedguarini,to validateordiminishtheideathatborromini Iconsider fromthatofthesescholarsinthat,insteadattempting approach differs My discussion takes the form bordini’sof a response to paper, butit none ‘baroque’ meantwhencodiiedinarchitecturaldiscourse. recognition ofthisuniquenessallowsforasubstantialre-evaluationwhat who followed borromini. this particular idea of guarini is signiicant because, guarini ideaofissigniicantbecause, borromini. thisparticular who followed modelofanarchitect themostimportant guarini cametostandasperhaps uniqueness hadtodowithwhatcriticsperceivedashisrelationborromini: more broadly. bordini spoke guarini’sof relation to borrominias a preoccu ceived, thatQuatremère’s receptionofguariniwasinluenced byMilizia’s stead that that guarini was a unique igure in eighteenth-century criticism, but that the criticism,butthatthe that guarini wasaunique igureineighteenth-century imitation ofsuchforms. modeof elaborate architecturalformsperse,butratherwithaparticular needs reconsideration;‘baroque’wasnottodosimplywithseeminglyoverly the conceptof‘baroque’inarchitectureindicatesthatitself recognizing theplaceofcriticism guarini intheearlydevelopmentof Quatremère deQuincy’s conceptofthe‘baroque’inarchitecture.Indeed, as Iwillproceedtoshow, itwastransformedintoafundamentalelementof theless alsorespondstoapproachesthestudyof guarini inthe1960s remarks. more precise nature ofthisinluence. architects of his day. writers’criticismsetguarini withinthebroadercritical attackon century tothe1960s,andclaimedthateighteenth- from thelateseventeenthcentury barocco In hercontributiontotheconference on guarini,commentedtherelationbetween two architects. Pommer, aswellanumberofotherspeakers atthe1968conference discussions ofguarini’scarboneri, griseri, architecture;argan,Millon,and century. pation ofguarini’s totheearlytwentieth criticsfromtheeighteenthcentury 2 in 1968, silvia bordini discussed the history ofguarini’s bordinidiscussedthehistory in 1968,silvia reception Inscholarshipofthe1960s,subjectappearsrepeatedlyin 5 atthesametime,however, sheseemsnottohaverealizedthe guarini heldauniquepositionineighteenth-centur 1 In this paper, I take issue with this claim; I argue in overall, then,thispaperunder (1788). 4 bordiniimplied,andthus rightlyper Guarino Guarini e l’internazionalità del Guarino Guariniel’internazionalitàdel (1768) and antoine Quatrem (1768)and takes to show not only takes toshownotonly Le vitede’piùce y criticism. Encyclopédie 103 3 My this ------

1. Early ModErn 1. Early ModErn guarini’sborromini. relationto term hadnotbeenapplied to guarini inthiswaythatbounditsmeaningto it was deined as one of its synonyms, not its superlative. while itwasassociatedwith theterm‘bizarre’inmoregeneralparlance, discourse didnothaveaclear associationwiththeterm‘bizarre’and,even usage: tectural dictionary, butQuatremère’s ‘baroque’clearlydivergedfromearlier architectural discourseatthetimeandhadalreadybeen deinedinanarchi applied the the term ‘baroque’. term, as we know, was already in use in aspresentedbyMilizia. toborromini thispre-existingconcept,Quatremère of architectural discourse,thisportrayal Quatremère’s ‘baroque’ thus embodied elements of a pre-existing concept in Quatremère’s text withtheoriginalItalianeditionofMilizia’s Milizia’s inluenceonQuatremèreismoreapparentif,insteadofcomparing deinition areasfollows: tion between ‘baroque’ and‘bizarre’ byusingguarini’s relationship to who took le il P. guarino guarini’,totheFrench,‘detousles architectesquiontadopté all’ecessolestravaganzeborrominesche,ècertamente che abbiaportato interestistranslatedfromtheItalian,‘seviè statomaiarchitetto particular did, wecompare it withtheFrenchtranslation of Milizia’s text. lineof the d’exèsque lepereguarinoguarini’. reappear inQuatremère’s deinition of‘ of guarini as the architect borromini’swho took bizarreness to an extreme lative form,theassociationofborrominiwithbizarreness,andexample greatest excess. ideaofbizarrenesstakentoanextreme,oritssuper the being theexample,ofallborromini’s followers,whotookhisfaultstothe one exampleofafollower borromini’s whotookhisfaultstoexcess from being extravagant to guarini being goes bizarre from and being simply two shiftstakeplaceinthisactoftranslation: moves borromini important up borromini’s bizarrestyle,wastheonewhotookittogreatestexcess. formed intheFrenchintoideathatguarini, ofallthearchitectswhotook 104 style bizarre de baroque. grands modèlesdebizarrerie.guarinipeutpasserpourlemaître du c’est-à-dire qu’ilenestlesuperlatif.[...]borrominiadonné les plus que la sévérité est à la sagesse ou goût, le baroque l’est au bizarre, on veut,lerainement,ou,s’ilétoit[sic]possible de ledire, l’abus. ce le baroque,enarchitecture,estunenuancedubizarre,ilest,si prior to Quatremère’s deinition, the term ‘baroque’ in architectural borromini’ 7 s extravagancetoexcessintheItalianeditionistrans borromini, 9 by constructing a particular semanticrela byconstructingaparticular il n’en est aucun qui ait donné dans tant 6 the idea of guarini theideaofbeinganarchitect baroque’. therelevantpar baroque’. guarini asamodeloffollower 8 Vite Moreover, the , as bordini , as ts ofhis - - - - and moregenerally,chitectural theory recognizingthelinkbetweenQuatremère ar second, intermsofour understandingofeighteenth-century his merits. critics, albeit for hisfailingsratherthan as exceptional by eighteenth-century derstanding ofguarini’s earlyreception, itunderscoresthathewasviewed histor recognizing thelinkbetweenQuatremère’s andthe deinitionof‘baroque’ of borromini’s. to morelong-standingandwidespreadperceptionsof guarini asafollower Milizia, theideasaboutguarini thatQuatremère’s termembodiedbelonged relations ofQuatremère’s deinitionof‘ was understood. ing createdwhatbecamea standardframeworkwithinwhichhisdeinition of manyexamplestheetymology andusageoftheterm,insodo broader conceptof‘baroque’ treatedQuatremère’s deinition asjustone tremère’s conceptofthe‘baroque’.earlystudiesdevelopment of borromini. identiied guariniasanarchitectwhofollowedorcreatedworkinthestyle plus extravagantdansses[borromini’s] pratiques’aswell. not only wanted borromini, to but follow that he had ‘choisi ce qu’il y avoit de d’architecture before thepublicationofMilizia’sbefore guarini wasnotitselfeitherentirelyoriginalorunique. of that thisportrayal rini asasourceforQuatremère’s ‘baroque’, we mustalsoacknowledge If weacceptMilizia’s, or, moreprecisely, histranslator’s,gua of portrayal lotted atermtopre-existingconcept. simply reframed and al in architecture and yet, on theother hand, in part, something thatwasstrikinglynewintermsofthemeaning‘baroque’ borromini to illustrate this relation, Quatremère, on the one hand, created was particularly badabout was particularly les défautsqu’onluireproche’. moins génie que le boromini [sic], il[guarini] a beaucoup renchéri surtous maniere duborromini,&enchéritsursabizarrerie’andanotherthat,‘avec tion ofMilizia’s In fact,theideacirculatedinFrenchtextsyearsfollowingpublica however, nolongeruniquetoMiliziabythetimeofQuatremère’s publication. ideathatguarinicriticisms. the hadtakenborromini’s faultstoexcesswas, took borromini’s grew out of such faults to excess, it nonetheless certainly ia’s fromtheseothersinitsspeciicationthat critiqueclearlydiffers from general parlance intoarchitectural discourse.rather, hecreateda recognize thatQuatremère did notsimplyabsorbthemeaningof‘baroque’ guarini’s receptionshiftsthecontextwithinwhichweunderstand Qua y of the reception of guariniy ofthereceptionissigniicantintwoways.First, forourun 10 (1683), for example, François blondel claimed that guarini (1683),forexample,Françoisblondelclaimedthat Moreover, theideathat guarini’s workembodiedthatwhich Vite 13 Perhaps as a result,subsequentscholarshavefailedto Perhaps : onewriter,guarini forexample,claimedthat‘adoptala borromini’ 12 thus, while particular termsandsemantic whileparticular thus, Vite s hadalsobeenvoiced:inhis baroque’ seemtocomedirectlyfrom , anumberofFrenchwritershad 11 althoughMiliz guarini 105 Cours ------

1. Early ModErn 1. Early ModErn guarini wasaprimeexample. abroaderphenomenonofwhich tative ofandworsethanthatborromini, created terminology that described architecture that was perceived as imi course, yetforwhichtherewasnospeciicterm.Inparticular, Quatremère he did so byendowing it with anidea that was current in architecturaldis thatwasspeciictoarchitectureand,moreover,new meaningof‘baroque’ 1 silvia bordini,“lacriticaguariniana,” 1 &Vittone The OpenStructuresofJuvarra,Alfieri Architecture in Piedmont: teenth-Century ziller, 1961),18-19;richardPommer, chitettura,” in vittorio viale (ed.), sansoni, 1968),372;ninocarboneri,“ar italiana Storia dell’arte 3 Forexample,seegiuliocarloargan, 2 Ibidem,288. accademia dellescienze,1970),284. l’internazionalità delBarocco in vittorioviale(ed.), & RococoArchitecture a.Millon, 1967), 183-4;henry delBarocco metamorfosi di torino, 1963), 3;andreinagriseri, del barocco piemontese rini ed il barocco romano,”inviale(ed.), rini edil text. see bordini,“lacriticaguariniana,” text. ments onanumberoftheseworks inher l’internazionalità France,” inviale(ed.), 713-25; georgescattaui,“guarini etla Guarino Guariniel’internazionalità 302-3. Press, 1967),9;sandrobenedetti,“gua 106 (newyork: newyork university , vol.2:511.bordinicom (newyork: g.bra , vol.3(Florence: , vol. 1 (turin: città Guarino Guarinie Guarino Guarinie (turin: einaudi, , vol.2(turin: , vol.1, Baroque Mostra Eigh- Le - - - - tions theymakebetween guariniandborro between thetwoandspeaksof distinc ics, butalsorecognizesgreater similarities the commentsonguariniofthese twocrit ana,” 285.benedettisimilarly juxtaposes ia’s work.seebordini,“lacriticaguarini ‘ containing certain 5 bordinispeaks of Quatremère’s writings riniana,” 284,f.3. Quatremère’s. see bordini,“lacriticagua from the Italian translation of a later text of 2006), 718.bordiniherselfcitespassages des lumièresaupositivisme L’encyclopédie méthodique,1782-1832: andMichelPorret(eds.), claude blanckaert de Quincy: codifier le néoclassicisme,” in dictionnaire d’architecturedeQuatremère tremère’s text,seelaurentbaridon,“le ofQua work. Forthepublicationhistory published in1788,ofhisthree-volume ofthefirstvolume, peared inthefirstpart Quatremère’s definitionof‘baroque’ap chitecture de Quincy, (rome, 1768),378-9;antoineQuatremère architetti d’ogninazioneetempo 4 FrancescoMilizia, (Paris,1788),s.v. ‘baroque’. Encyclopédie méthodique:Ar temi ripresi Le vitede’piùcelebri (genève:droz, ’ fromMiliz ------

ii. the lackofsynonymybetween‘baroque’ ii. Quatremère, dit deschosesquiontunefigureirrégulière’. s.v. ‘baroque’. lier,un espritbaroque.une bizarre,inégal. imparfaite. un collierdeperlesbaroques. imparfaite. dictionnaire del’académie edition ofthe laugier clearly suprenant, duprodigieux’. au-dela desbornes, & onferadubeau, gulier, dubisarremême, sansallerjamais qu’on ymetteduvrai,naturel,sin gier writes,‘aulieud’ornemensbaroques, speaking of architecture in strasbourg,lau casions intheencyclopédieméthodique.In an authorQuatremèrecitesonseveraloc comment madebyMarc-antoinelaugier, isapparent ina the eighteenthcentury and ‘bizarre’inarchitecturaldiscourseof been familiarwiththisearlierdefinition.see cyclopédie méthodique the introductionoffirstvolume fers to is, 1770),s.v. Quatremèrere ‘baroque’. 7 Quatremère, (Paris, 1771),2:320. Vies desarchitectesanciensetmodernes 6 Milizia, romano,” 713-4. navale, antique,ancienneetmoderne tionnaire d’architecture,civile,militaireet see charles François roland le virloys, François rolanddevirloyas:‘baroque,se 8 theterm‘baroque’wasdefinedbycharles (Paris, 1762),s.v. ‘baroque’. see expression baroque.unefigure baroque’. baroque seditaussiaufiguré,pour Irrégu des perlesquisontd’unerondeur fort as: ‘terme qui n’a d’usage qu’en parlant publication: theacademydefined‘baroque’ française closest in date to Quatremère’s tion oftheterm‘baroque’includedin tween ‘baroque’ and ‘bizarre’ in the defini there was,however, aclearrelationbe sai surl’architecture acceptable. seeMarc-antoinelaugier, former beingunacceptableandthelatter disassociates ‘baroque’and‘bizarre’,the mini. see benedetti, “guariniedilbarocco 9 jérômedela landeappliedthetermto Dictionnaire del’Académiefrançaise Le dictionnairedeRolandleVirloys Le vite Encyclopédie méthodique Encyclopédie méthodique , 378;FrancescoMilizia, (Paris,1753),238. and,thus,mayhave (Par , 1: Dic- En- Es- in , , , ------et 1766 françois enItalie,faitdanslesannées1765 after borromini, canbeunderstoodinrela after posed tootherItalianarchitectswhocame de Paris 250; brice, royale d’architecture d’architecture enseignédansl’Academie Paris (Paris,1749),265;blondel, lier d’argenville,voyage pittoresquede environs Marly, de Vincennes, de S. Cloud et des Les curiousitez de Paris, de Versailles, de the ‘ la-royale andthes.sindoneinrelationto Pierre jeangroselyspokeofste.anne- du Cavalier François Boromini [sic] rini ‘ germain bricesimilarlyclaimedthatgua wanted to‘ mini that thechurchwas‘ nicolas dézallierd’argenvillealsoclaimed goût duBoromini[sic]Romain claimed thatste.anne-la-royalewasin‘ 10 Forexample,george-louislerouge this passageinlatereditions. that the term ‘baroque’ disappears from rini’. seejérômedelalande, trouve toujourslegoûtbaroqueduP. gua doriques cannelées&àbossages:onyre elle estornéedemarbres&descolonnes quatre, &enmêmetempslaplusdécorée. duPô,quiestlaplusorientaledes la porte guarini’s diPo:hewrites:‘onyvapar Porta blondel refersto guariniasthe‘l’architecte 11 blondel, torino, 2001),30-2. ra e Vittone l’architettura: Guarini,Juvarra,Alfieri, Bor giuseppe dardanello(ed.), e Parigi:interscambiculturali critici,” in to thisproject,seesusanKlaiber, “guarini For adiscussionofthenegativeresponse in Paris,thechurchofs.anne-la-royale. tion toreactionstowardshisarchitecture ers towardsguariniinparticular, asop 1764), 64-5. the animosity of French writ sur l’Italieetlesitaliens sley, Nouveauxmémoires,ouobservations ’, Françoisblondelclaimedthatguarini entreprit desuivrelesextravagances école duBorromini , vol.2(Paris,1718),488;dézal , vol.1(venice, 1769),226.note , vol.2(Paris,1698),303; suivre l’exampleduBorromini (turin: cassadirisparmio di Description nouvelledelaville Cours d’architecture , vol.2 (Paris, 1683), dans legoûtduBorro ’. seelerouge, , vol. 1 (london, Sperimentare Voyage d’un ’, antoine- , 250. 107 ’, and Cours Gro- le ’, ------

1. Early ModErn 1. Early ModErn ‘barocco’,” in Migliorini, “etimologiaestoriadeltermine 13 examplesofsuchstudiesinclude,bruno 362. tionnaire historique 554; louis-Mayeulchaudon, portatif de l’Italie portatif 12 à Paris’. qui acommencél’eglisedesPP. theatins una parola,”in 1962), 46;ottoKurz,“barocco:storiadi (rome: accademianazionaledeilincei, 108 Dictionnaire historiqueetgéographique Manierismo, Barocco,Rococò Lettere italiane , vol. 1 (Paris, 1775), , vol.3(caen,1779); Nouveau dic xII (1960), -

‘barocco’. deldisegno belle arte tion, seeFrancescoMilizia, definition of‘barocco’.ForMilizia’s defini tremère’s definition of ‘baroque’ for his own discuss Milizia’s clearborrowingofQua that proposedinthispaper. theauthors and Miliziaisdescribedasthereverseof direction ofinfluencebetweenQuatremère 1962), 23.notethat,inthesestudies,the e baroccoveneziano in vittorebranca(ed.), 425; Id.,“barocco:storiadiunconcetto,” (bassano:1797),s.v. (Florence:sansoni, Barocco europeo Dizionario delle - - an analysisoftheargumentativeuses treatises inarchitecturalhistoriographygeneral.this paperwillpresent the conferencecontributionsof1968inordertoquestion thehandlingof with histext.Itisinterestingtoevaluatetheapplicationoftreatisein genius with his theoretical abilities, and his buildings connecting his artistic promoted guarini as an architect and scientist combined in one person, theoretical textonarchitectureinthebaroqueperiod.bydoingso,giedion and by chitecture, giedion pointed at the work baroque by architects the in general ography ofguarini.Inhissearchforatheoreticalfoundationmodernar giedionference contributionsechoestheinluenceofsigfried inhistori Keywords the existenceoftreatiseinluencedguarinihistoriography? guarini’svisible intheargumentativeusesof treatise?andinwhichwayhas chitectural historian,anideaexpressedin1968aswell. Isthisdistinction tafuri’sManfredo distinctionofthe operativearchitectandthecriticalar the hypothesisthat formsthebasisofanalysisis conference papers. of guarini’sdeconstruct supposedknowledgeofstereotomybyaclose-reading symbolical conclusions from the comparative analysis of his drawings, or to guarini’s treatise various waysinwhichthepresentershadfoundargumentstextof took placeinturin. theconferencepaperspublishedin1970show Vrije UniversiteitAmsterdam,Netherlands MartIjn van beeK guarini, Baroque, treatise, methodology, treatise, guarini, Baroque, tafuri In 1968 the conference abstract Civile 1.2.3 theMultifacetedusesofguarini’s Trattato IV in1968 guarini inpar

. the way in which the treatise was applied for the 1968 con Architettura Civile ticular. Guarino Guarini e l’InternazionalitàdelBarocco after all, guarini wastheauthorofanextensive , forinstancetodrawphilosophicaland Architettura Civile Architettura Architettura inthe1968 109 - - - -

1. Early ModErn 1. Early ModErn contemporary application of contemporary lected the status guarini quo research, of and as such also relects the 1968conference the abilities, andhisbuildingswithtext. geniuswithhistheoretical combined inoneperson,connectinghisartistic giedion promotedguarinisive theoreticaltext. asanarchitect andscientist because of his exten baroque architects guarini in in particular general and theoretical foundationformodernarchitecture,giedionhighlightedworkby the handling of treatises in architectural history this in general. the handling of treatises in architectural history toquestion of thetreatiseinconferencecontributions1968serves elaboration oftherelationbetweenscienceandarchitecture. instance inthecomparisonwith the text,references,orbibliography, giedion’s ‘spirit’isclearlypresent,for 1600-1750 had providedalargestageforguariniinhis Importantly, rudolfWittkower, thekeynotespeakerofconference, research ingeneralandtheargumentativeusesoftreatisepar guarini state of architectural historian is connected to the contemporary 1968 call for a distinction between the operative architect and the critical analysisrestsonthehypothesisthatManfredotafuri’sproceedings. the lyzes theargumentativeusesof tecture: thegrowthofanewtradition sigfried giedion’sble. presentationofthetreatisein guarino guarini’s architecturaltreatise are commonsourcesinarchitecturalhistory, andthereforethestudyof and architectural history.the buildings themselves, in art ego-documents remark isanearlyexampleoftheroleandutilitytreatises,morethan title suggests a comparisonofthework of guariniininternationalcontext, and guariniasmathematician, philosopherandscientist.theconference ofthebaroque, sources, interpretationofguarini, guariniandthediffusion sessionsare:thearchitecturalworks, the guarini astheorist,guarini’s guarini. divided intosixsessions,ordered bythemethodsselectedtostudy broadscopeofthe1968conferenceisrelected inthetitleanditwas the also inmethod,asweshallsee. wasnotonlypresentattheconferencein1968person,but Wittkower resultinginanevenmorethoroughsyntheticimageofguarini. desargues, guarini andleibniz, introducesmorespecializedscientiiccomparisonswith instead ofcopying lies, andthathewasknownratherforhisbooksthanbuildings. vasariIn hislifeofalberti, wrotethatthearchitect’s booksdidnotcontain 110 (1958). althoughthereisnoexplicitreferenceto giedion in giedion’ Guarino Guariniel’InternazionalitàdelBarocco s hypothesisoftheoreticalparallelsbetween Architettura Civile Architettura Civile borromini, inhisterminology (1941) iswellknown. Architettura Civile Art andArchitectureinItaly Art . evaluating the application inthe1968conference Space, Time &Archi Space, Time iscomprehensi searching fora 2 , andinhis Wittkower, paper ana ticular. 1 this this re- - - - - of amoresynchroniclineconsidersthescientiicmodernityandaccuracy but sary (orevenbetter)instrumenttounderstand thearchitecture. sary chitettura Civile searchers use several re the secondsessionnaturallyrefersprimarilytotreatise. In thesessionfocusing on guarini’s usesof architecture two different not necessarilyforargumentativemeans. their conclusionsvary. diachronicstudyof the treatise. not allpapersreferto extentrelatedtothequantityandqualityofemploying is toacertain the textandillustrationsoftreatisepersession,forsession’s theme on one hand, and study of the afterlife on the other. I will analyse the use of sentative for it.the session divisions show twolines: study of theartefacts presuming ageneralbaroquecultureandtheexistenceofpersonrepre the printsin presents hisconclusionsvisuallyinnewdrawingstoelucidateobscurities of vitruviantreatisesbestowsguarini withculturalandintellectualstatus. pecially theprints,forcompositionofresearch questions. and personality. way todescribe remark aboutalberti. treatise isconsideredafactualsource–conclusionthatechoes approaches yield a method of considering oeuvre canbeconsideredunambiguous. tive relectionofguarini’s othertreatises,throughwhichhiswholewritten regularly referred to. the representationsarepresented asargumentswith regularly referredto. ra Civile tions. Civile duce andhispersonalopinionisclearlydescribed.Forexample, ofthearchitect,wherehiswhereabouts areeasytode read asthediary the samevalidity asafactualtext,incidentally nexttoimagesfrom other In thethirdsession, on guarini’s sources, In sessionfour, regarding theinterpretationofguarini, thetextof from Marconi, however, choosesnottotake proach tothetreatise. source, andpaysattention toreconstructingcontext,aphilologicalap declarations of the architect’s personal choices. Architettura Civile isusedtoreconstructguarini’s travels,andthushispossibleinspira 10 Architettura Civile Furthermore, treatise statementsare read as direct andtruthful Furthermore, isnotexplicitlypresentedas anargument,buttheillustrationsare Architettura Civile Architettura Civile 9 emerge. First,presenting Architettura Civile , withlesspositiveconclusions. 4 andsecond,usingexclusively 12 areusedbothinandoutoftheirtreatisecontext. . Architettura Civile to study guarini in a literary context,but guarini inaliterary tostudy asrepresentative for theauthor’s mind 8 thissyntheticapproachopensthe Architettura Civile Architettura Civile Architettura Civile Architettura Civile Architettura Civile 11 , andwhentheydo,itis Importantly, the quotes 7 these varying literary literary thesevarying Architettura Civile as a substan issometimes asafactual asaneces Architettura 5 Architettu- intheline 3 Passanti thusthe vasari’s 111 , es Ar- 6 ------

1. Early ModErn 1. Early ModErn in guarini’s architecture. Architettura Civile problem instead of the object. scope tocreateamorenuanced impressionofhistory, focusing onthe In that way historians are allowed to set their utopian ideas aside and have look forward, and historians,whoareallowedtocriticallylookatthe past. look forward, architecturalculture,namely between architects,whoareallowedto porary contains errorsandtracesofsloppiness. authors evenmentionthat oeuvre. treatises by guariniaswell, synthesizing the illustrations from hisentire Interestingly, the argumentative use of and not. synthetic approach, and the illustrations not. are used as factual sources, tation guarini’sof (obviously complex) personality, and not; a source for a themselves.the textispresentedasasourceoffacts,andnot;represen argument: occasionallylegitimate,oftendivergentandinconsistentamongst t scure. guarini’stradition andhadwrittenambiguouslythathefound cupolasob vittone,whohadbrokenwith text waseditedbybernardo guarini’s formal tally problematic,sinceitwaspublished50yearsafterguarini’s death.the created, but moremannerist than classicist incharacter – tafuri proposes dini towrite:‘continuiamo,paradossalmente’. criticism founditselfandforwhichnosolutionwasavailable –causing bor state of guarini researchasarelection ofthecomplexsituationinwhichart remarks madebyManfredotafuri illuminatetheseproblems. he sawthe consideration ingeneral1968? In theinaltwosessions, detached fromtheillustrations. as ‘unodeitantimitidestituitidiseriofondamento’. knowledge did not enable his bold constructions, and should be regarded mathematical correctness,withtheconclusionthat guarini’s mathematical treatise itself.Intheirstexampleischallengedtoatestfor debunk amythaboutguarini, forwhichtheargumentoriginatedfrom and what was added or altered by and reassembledthematerial,butdetailsremain vague. treatment ofimages. research for its inability to draw logical conclusions, especially because ofits in 112 his guarini research.In analysis summarizes the ways in which a treatise can be used as an 16 13 Itremainsunknownwhatkindofmanuscriptguarinihadleftbehind the textofthetreatise,andevenarchitectureitself,ishere the isusedtocontradictWittkower’s notionofspatialininity 20 hissolutionproposesarigidseparationincontem Teorie estoriadell’architettura 15 Architettura Civile Architettura Civile 22 thus, for guarini, a synthetic image may be vittone Architettura Civile – it is only stated that he cleaned 18 ispresentedtwiceinorderto Whywasthisnottakeninto 19 , bothtextandillustrations, tafuri knewoftheproblems 14 second, thetextof second, he criticizes is even fundamen 17 the 1968 guarini 21 - - - - -

irst stepinshowingthatbaroquetreatises,including 1 anna brizio Maria (ed.), authority ofthearchitecturaltreatisewasn’treconsidered yet evenmoreproblematicthanhedescribesin dressed abiggerproblem,alsoexempliiedinthecaseofguarini research, are not equivalent, but can be divided into different categories. are notequivalent,butcanbedividedintodifferent l’internazionalità delBarocco Guarino Guarini per viaindiretta’. Civile the architect,andisalsorelectedinargumentativeuseof the 1968presentationofguariniillustratesmethodologiesusedtostudy a methodological tiegeschiedenis van guarino guarini,” tiegeschiedenis van to theuseof sis inthispaperIhavelooked primarily 3 vittorioviale(ed.), 86 (2011),34-47. 401-2. an example in session viale, two: accademia dellescienze,1970), 36,41, not get that part clear,not getthatpart useofit. wemustreconsider theorthodox about thewayinwhichpublicationof1737cameintobeing.Ifwecan pay moreattentiontoitsprocessofcanonization,andneedknow dation. If in thelattercaseresponsibleforcreationofmythsbuiltonaweakfoun Architettura Civile the argumentativeuseof asasource. it isfundamentallyuntrustworthy signals;moreover tiously usedasanargumentin1968,despitecautionary my own publication “the limitsofinfinity.my ownpublication“the books, 1958),268- Middlesex: Penguin in Italy1600to1750 2 rudolfWittkower, this quoteouttome. thanks toKonradottenheymforpointing Giorgio Vasari oneindigheid. sigfried giedion en de recep guarino guarini/degrenzenvanception of sigfried giedionandtheevolutionofre 75. onthistopicIwouldliketorefer . bordini sums it up: ‘guarini viene studiato e gradualmente riscoperto . bordinisumsitup:‘guarinivienestudiatoegradualmenteriscoperto Architettura Civile (torino: utet, 1969),228. Architettura Civile , vol.1,475.Formyanaly 25 subsequently is visible at two levels: directly and indirectly, concordia discors Art andarchitecture Art asIhaveshown, Guarino Guarinie (harmondsworth, (harmondsworth, , vol.1(torino: Vite scelte di remains the ‘bible’ of guarini research,wemust remainsthe‘bible’of asitwas OASE - - -

instead of Architettura Civile vol. 2,290. 48. Insessionfour:viale, 5 viale, york: routledge,2002),35-82. Reading ArchitecturalHistory raphy andthereconstructionof canon,” arnold, “theauthorityoftheauthor. biog the subjectofauthorialgenius,see:dana viale (ed.), causaleassoluta’.vittorio di unacertezza treatises as a‘sussidio […] [con un] crisma four Fagioloreferstothetextsofguarini’s (Milano: IlPolifilo,1968),xvIII. bianca tavassi lagreca, tion. guarino guarini, nino carboneri, and prints werealsousedforthe1737publica 1686. Itisnotedthoughthatmanyofthese the title cation ofprints published in1737,andnottothepubli 4 viale, Guarino Guarini Dissegni d’architetturacivile Guarino Guarini concinnitas Teorie estoria Guarino Guarini isregularlytenden guarini’s designsunder Architettura Civile per se . , vol. 1,422,425- 23 , 49. In session Architettura Civile he takes the , vol. 2, 205.on , vol.2,205.on Guarino Guarini , becausethe Architettura 24 (london, new . tafuri ad 113 […]in , , ------

1. Early ModErn 1. Early ModErn vol. 2,554-6. 17 guarini, 16 Ibidem,284,356. 15 Ibidem,593. 14 Ibidem,556-7. 195, 204,206-7. 438, 533-5,563.viale, 18 viale, 6 viale, 13 viale, Guarino Guarini 12 Ibidem,617,624.Insessiontwo:viale, 11 Ibidem,685. 10 Ibidem,622,706. Ibidem, 25. 9 viale, rino Guarini 8 Ibidem,558.Insessionfour:viale, 7 Ibidem,535. 114 Guarino Guarini Guarino Guarini Guarino Guarini Guarino Guarini , vol. 2,126,180. Architettura Civile , vol. 1,574-85. , vol. 1,451-2. , vol. 1,564,508. , vol. 1,50,91, Guarino Guarini , vol. 2, 117, , xvIII-xx,5. Gua- , 24 tafuri, 674. 25 viale, ture,” furi, criticality and the limits of architec ta21 andrewleach,“choosinghistory: 1980), 116. of architecture 20 Manfredotafuri, 19 viale, 23 viale, (2003), 98. Society ofArchitecturalHistorians the architectashistorian,” 22 Maristellacasciato,“theItalianMosaic: giedion. cized the method of among sigfried others 3 (2005),235-6.Indoingso,tafuri criti The JournalofArchitecture Guarino Guarini Guarino Guarini Theories Guarino Guarini (new york: harper&row, , 137. Theories and history Theories andhistory , vol. 2,289. , vol. 2,305. , vol. 1, 671, Journal ofthe 62,n.1 10, n. - - - to introduce and explore an approach to the built environment. the methodto introduceandexploreanapproachthebuiltenvironment. space boundedbycitywallsconsideredthehistoriccentre,asacasestudy Politecnico diTorino, Italy elena gIanasso augusto1.2.4 Idealismand CavallariMuratrealism: Cavallari Murat, method, research, survey, torino Baroque, Cavallari Murat,method, research, richard griseri Pommerpublishedtheir and In thelate1960s,whenandreina A enteenth andeighteenth the baroqueperiodindepth(sev unI standard.the authorexaminesthe a uniied coniguration of the historical urban center, after it merged into presents itsresultsinaconjecturalphilologicalsurvey, atooltoprovide tural history andrestoration. tural history duced manypublicationsnowincludedamongthemilestonesofarchitec Istituto diarchitetturatecnicaatthesameuniversity, cavallariMuratpro duated from the Politecnico torino,di then professor and director of the coordinated byaugustocavallariMuratsince1962.anengineerwhogra- (1968) waspublishedinturin, theoutcomeofnationalresearchprojects nella Torino barocca.Dallepremesseclassichealleconclusionineoclassiche K works onPiedmontese the city’s architecture’inthenineteenthcentury. subsequent usesoftheoreticalprinciplesandpractical operatingmodesof an emblematic reference for ‘making history’ today.an emblematicreferencefor‘makinghistory’ thus, technique still crop up as method applied by cavallari Murat and his survey cepts of‘historiccentre’and‘monument’.however, the historicalresearch lights cavallari Murat’s idealistic, regarding the con position, todayperhaps chitecture. the comparison between thesecontemporaneousstudies high literature producedduringthesameperiodonPiedmontese baroquear from thePolitecnicodi torino inthe1960s,likeningitwithscholarly by scholars the paper highlights the methodology of research undertaken to theprioroperationsoftracingoutbyroman colonization[…]andtothe appearance and of the concrete planning more distant in time, all the way almost 50yearsafteritspublication, remainsrelevant. BSTRACT EYWORDS baroque architecture,

centuries), becauseit‘getstotherootsof Forma urbana choseturin, the inparticular Forma urbanaearchitettura Forma Urbana 115 , ------

1. Early ModErn 1. Early ModErn nico ditorino, 2010),162. neri e architettiex-allievi del Politec page,Istitutodiarchitettura tec title 1968). editrice torinese,unione tipografico alle conclusionineoclassiche) barocca (dallepremesseclassiche urbana earchitetturanellaTorino nica delPolitecnicoditorino, suoi allievi età. Lascuolapolitecnicatorinese ei augusto cavallari Murat, in vittorio augusto cavallariMurat,in Marchis (ed.), 116 (turin: associazioneIngeg Progetto culturasoci (torino: Forma - - - - rian andcritic,hediedinturin in1989. associations, a well-known engineer, histo cultural perspective. Fellow of important analyzing anareawithamultidisciplinary projects, heintroducedanewmethodfor various didacticexperiencesandresearch cnica atthePolitecnicodi torino. on based director oftheIstitutodiarchitetturate- until 1976.hewasthefounderand chitecture and tecture, architectural documentation, ar from 1962–hetaughttechnical archi rin in1961where–asafullprofessor nearly 1500 pages, istheoutcomeofa barocca Forma urbanaeArchitettura nellaTorino were outlined. city and regional history plored urban history, of the the history the objectives of new disciplines that ex he wroteinthesameperiodduringwhich andrestoration. of architecturalhistory tions nowincludedamongthemilestones cavallari Muratproducedmanypublica teacher inPadua,hecamebacktotu ofcagliari.aregular at theuniversity then professor technicalof architecture came alectureroncampusinturin and was his teacher. In the 1950s,he be torino in 1934 wheregiuseppe albenga in venna (sondrio)in1911.hegraduated decade. cavallariMuratwasborninchia cavallari Muratsincethebeginningof research projectscoordinatedby augusto published inturin, theoutcomeofnational alle conclusionineoclassiche) Torino barocca (dalle premesse classiche ture, works on Piedmontese baroque architec seri andrichard Pommerpublishedtheir In thelate1960s,whenandreinagri civil engineeringfromthePolitecnicodi Forma urbanaearchitetturanella , agreatscientiicpublication of architectural composition (1968)was 1 ------

multifaceted culturalevent’ characteristic culturaloperators’. the activities of some gregation and composition that was needed to serve he wrotethenewdisciplinehadtoidentify‘therangeofphenomenaag ofcityplanninganditspurposes. of thebook,heinquiredintohistory essential reference for scientiic beginning with research. the irst chapter second integratesthetheoreticalframeworkwith“Mapsandregulations”, irstvolume,intwobooks,treats“Methodandthecriticaltext” the which latermergedwiththeregiotorino. museoindustriale,Politecnicodi architecture attheregiascuoladiapplicazionepergliingegneriintorino, two volumes,openingwithadedicationto nineteenth century. Inlateryearshepublished ni -whoalsowrotesomesectionsofthestudy. Mario FIameni,oreglia, giovanniPicco,Paoloscarzella,adelescriba gualtiero borelli, li, vincenzoborasi,luigicappabava, secondino coppo, teamofresearchers-Piergiovannibardel work thatinvolvedanimportant Po tural philological survey.cavallari’sthe writingsshow ‘abilityto investigate pendium ofhisstudies,which includedsomeresearchregardingtheconjec principles andpracticaloperating modesofthecity’s architecture’ out byromancolonization[…]andtothesubsequent usesoftheoretical authorexaminesthebaroqueperiodindepth because–hewritesin the culture. thus emphasizing the value of seventeenth and eighteenth-century and builtabovethelineofbaroqueadditionsin nineteenthcentury, turin,baroque period consideringonlytheareabuiltwithincitywallsduring of In 1968cavallariMuratpublishedthetwovolumespresenting thesurvey symbols. cartographic guishing thetypeofspaceanditscharacteristics,still others representing presents ideogramsdocumentingthevolumeofbuildings, othersdistin methodsofdescriptionandclassiicationblocks,thestudy determining unI standardrule7310/74. and three-dimensions,thenmergedintothe a tooltoprovideuniied coniguration of the historicalurbancentreintwo ment. themethodpresentsitsresultsinaconjecturalphilologicalsurvey, an approachtothesenewbranchesofknowledgeandthebuiltenviron considered thehistoriccentre,asacasestudytointroduceandexplore Forma urbana and cityplanning,whoexchangedviewsamongstthemselves. competenciesinhistory,searchers withdifferent geography, economy art, planning more distant in time, all the way to the prior operations of tracing the preface–‘itgoestorootsofappearance and oftheconcrete (1976) and many essays gathered in (1968-9), choseturin, thespaceboundedbycitywalls inparticular Lungo laSturadiLanzo 4 that,tobeunderstood,hadstudiedbyre 3 the history ofthecityisconsideredas‘a thehistory (1972), Come carena viva carlo Promis,theirstteacher of 2 the publicationisdividedin the Antologia monumentaledi Tra Serrad’,Orcoe (1982),acom 5 inthe 117 ------

1. Early ModErn 1. Early ModErn technical andscientiicphenomenawithahistorian’s methods’. the timesof premises andtothe time of the subsequent evolution and ‘feeling of artistic totality’, ‘feeling ofartistic In cavallari’s works,the‘structure’ isthe‘urbanscape’,understoodasa new information.WhenPassanti,inhis existing buildingsandwiththeirstschemesofsurvey, thusintegratedwith tion, comparinghistoricaldocuments–quotedinthefootnotes-with shape. thereforeheconsiderseachpalazzoinitsarchitecturalcomposi of theprojectandthenhewritesabout(anddraws)eachparcelits at thebeginningofseventeenthcentury.cavallari examinesthemainaxes and themainsquare,Piazzasancarlo,arecentreoflandmanagement inwhichthemainstreet,contradanuova, critical historicalcartography of structural southward expansion,theirstexpansionofcityfoundedonchoice with othermodesofstudying.Forexample,whencavallaristudiesturin’s perspectiveincontrast andmultidisciplinary ferences betweenhissurvey proposing asimilarmethodologyofhistoricalresearch,butpresentthedif for examplebyMarioPassantior nino carboneri,show cavallari Murat on Piedmontesebaroquearchitectureproducedduringthesameperiod, lous, stillemployedtoday. hisworks,likeningthemtothescholarlyliterature private archives-wasanalyzedwithscientiicmethods,realisticandmeticu research project; the material - illustrated or not, belonging to public or itself,isessentialforthe the studyofdocuments,inadditiontosurvey like vera published comoli, amongothers.she fundamental fortheresearchofmanyscholarsat Politecnico di torino only aboutlocalculture.hismethod,appliedtothebaroque city, became reference forinsightsnot cavallari Muratimmediatelybecameanimportant architecture and,then,design.bothlefttheirmarkson theschoolofturin. pose: toproposeamethodforanalyzingthebuildingsin ordertounderstand searchers (andPolitecnicoteachers)wrote,andtaught, withthesamepur beyond thescopeofthispaper. toemphasizethatbothre now itwillsufice mathematical approach.acomplete,complexcomparison ofapproachesis parcels, but he draws and writes about each building with an historical and ofthe Passanti,infact,doesnotdrawacriticalsurvey completely different: he printsafundamentalschemeofthemtoo. the samearea,healsowritesaboutthreeexpansionsofcityand of thehistoriccity”,butto “historicalstructureofthecity”’. more culturallycorrect,introducing analysisnotaddressedto“thestructure the historiccentre[…]instead toagreeapolicymoreconstructiveand debateabout entale’ andlandscape.comoliwroteabout‘theunnecessary studiesabout‘bene culturale’,‘beneambi nella storiad’Italia”,andfurther 118 integration with the existing one, he draws apatternbased on 8 asascenewithunbounded limitsthatitbinds‘to Architettura inPiemonte Torino however, theperspectiveis , intheseries“lacittà 7 6

, studies ------tezza urbanistica piùlontanineltemposino radicinegliaspettienellaconcre 5 ‘affonda 4 ‘unfattoculturalepoliedrico’,Ibidem, 10. di torino, tuto di architettura tecnica del Politecnico lizzato el’equivocodelfalsostorico,” inIsti rat, “Ilcompitorestaurativonelpaese stabi operatori culturali’.augustocavallari Mu alle attivitàdialcuni tipici positivi che serve 3 ‘gamma dei fenomeni aggregativi e com utet, 1968),xII. siche alleconclusionineoclassiche) nella Torino barocca(dallepremesseclas and artistic statements’, and artistic like a ‘lap of existing urban fabric’ in which you recognize ‘historical, cultural tion, in which the historic centre, already deined in 1958 by the engineer as future’. rat,” in vittorio Marchis(ed.), rat,” in nico ditorino, (Istituto diarchitetturatecnicadelPolitec consiglio nazionaledellericerche(cnr). cavallari Murat ‘under the auspices’ of the 2 theresearchersworkedwithaugusto no, 2010),162-3. e architettiex-allievidelPolitecnicoditori e isuoiallievi tura società. La scuola politecnica torinese 1 riccardo nelva,“augustocavallariMu ifty yearsaftertheirpublication,stillremainrelevant. the samehistoricalresearchmethodinusetodayandhiswritings,almost studiesandmoderninformationtechnologies,is dated withcontemporary today.blematic referencefor‘makinghistory’ thus, cavallari’s method,up techniquestillcropupasanem applied bycavallariMuratandhissurvey torical structureofthecity. thehistoricalresearchmethod nevertheless, and abstractposition,todaytheyareonlyelementsforstudyingthehis the conceptsofmonumentandhistoriccentre,however, stateanidealistic through lookingatthesame‘whole’ fact, is no longer read through the stories of individual monuments, but 9 theresultisareadingof‘whole’,placedinhistoricalperiodiza Forma urbanaearchitettura (turin: associazioneingegneri Forma urbanaearchitettura 10 Progetto cul is linked to newer parts ofthecity. islinkedtonewerparts city, the in , turin: , 6. . ------

novembre 1989,” gabettinell’adunanzadel15 dente roberto commemorazione lettadalsociocorrispon gabetti, “augustocavallariMurat: roberto tecniche e scientifiche, con metodo storico.’ 6 ‘capacità di indagare lefenomenologie città,’ Ibidem,xIII. modi operativipraticidell’architetturadella successive utilizzazioni di principi teorici e di delle romanecolonizzazioni[…]esinoalle alle antecedentioperazioniditracciamento Mandracci, ”in“vicende edibattititorinesi,” tura estoriaperilprogetto:vera comoli ttà”’. costanzaroggerobardelli, “architet storica”, maalla“strutturastorica dellaci analisi rivoltenonalla“struttura della città e piùcorrettoculturalmente,introducendo aderire inveceauncriteriopiù costruttivo 7 ‘l’inutile dibattito sui centri antichi […] per Torino Società degliIngegnerieArchitettiin na tecnica”, gabetti. scrittiperattierasseg “roberto le ScienzediTorino lv-3 (2001),91. Atti eRassegnatecnicadella Atti dellaAccademiadel 124(1990),121-5,in 119 ------

1. Early ModErn 1. Early ModErn Politecnico ditorino, rico,” in Istituto architettura di tecnica del tempi delleevoluzionisuccessiveefuture.’ 9 ‘silegaaitempidellepremesseed paese stabilizzatoel’equivocodelfalsosto cavallari Murat,“Ilcompitorestaurativonel augusto 8 ‘sensazioneditotalitàartistica’. (2007), 28. Ingegneri e degli Architetti in Torino Atti eRassegnatecnicadellaSocietàdegli 120 Forma urbana 10. lxI-1 - xII-4 (1958),116-8. degli IngegnerieArchitettiinTorino na,” vallari Murat,“centrostoricoecittàmoder che, culturaliedartistiche.” ’ augusto ca in cuisiriconoscono“testimonianzestori 10 ‘ “lembo ditessutourbanopreesistente” falso storico,”Ibidem. rativo nelpaesestabilizzatoel’equivocodel augusto cavallariMurat,“Ilcompitore-stau Atti eRassegnatecnicadellaSocietà - - - -

Comparison need to be addressed. need tobeaddressed. obtained bythesethreeexhibitionsinoutliningtheresearchissuesthatstill eas and the savoy.capital of the exhibition betweentheprovincialar ment inthedialecticalrelationshipcentre-periphery architectural types in seventeenth and eighteenth-century architectural typesinseventeenthandeighteenth-century Università degliStudidiTorino, Italy gIusePPe dardanello Exhibitionsin three Identity? 1.2.5 a regionalartistic the of exemplary models. this discussion position critically compares the results models. this discussion position critically compares the results of exemplary out theinnovativeroleplayedbyPiedmontesearchitectureindevelopment Europa 1600-1750 monte delSeicento of the city,history whiletheexhibition bernardo vittone.subsequentresearchshiftedtheinteresttourbanismand suchas guarino guarini,Filippojuvarra and personality andworkof artists andarchitecturalhistorianstowonderaboutthe international contingentofart ence ofPiedmont.theexhibitioninspiredmajorinitiativesstudythatledan gested therecognitionofastrongarchitecturalidentityinhistoricalexperi Mostra delBaroccoPiemontese (turin develop 1989)recognizedtheengineofartistic (stupinigi 1999) intended to illustrate the development of (stupinigi 1999) intended to illustrate the development of organizedbyvittorioviale in1963sug Diana Trionfatrice. Arte di corte nelPie Diana Trionfatrice. di corte Arte I Trioni del Barocco. Architettura in europe, andpointed 121 - - - - -

1. Early ModErn 1. Early ModErn of Piedmontintheseventeenth on thiscritiquebyintegratingthe‘rapidpoliticaldevelopment’(Wittkower) rudolf Wittkower’s chapter“architecture inPiedmont”(1958)arebased Piedmontese architecture.Postwarstudiesinarchitecture,particularly ed to establish critical-historical methods to identify the characteristics of stead of such an idealistic model of fromoutside.In (‘boden’) whichmadeitpossibletoattracttheseartists in contrasttobrinckmann’s area perspective onPiedmontasacertain like guarini and juvarra seemed to be interesting this for was Piedmont. saw no tradition established between the eighteenth the connectionofan“openstructure”asdescribedbyvittoneatend guarini, richardPommer(1967)arrivedatoppositeconclusions:forhim, K space history, Piedmont, Wittkower,architectural Baroque, Brinckmann, erichbrinckmann’sIn hisreviewofalbert A Bochum,Germany Ruhr-Universität jÖchner cornelIa 1960 Buildings asSeenaround Piedmontese ‘gothic’Baroque: 1.2.6 Wittkower’s (1931), to examine spaces which are built both by architecture as well as by politics. andarchitecture,todayitseemsmore productive separating politicalhistory dynasties, whichhasbeenaniconographicparadigmup tonow. Insteadof fortheruling form andstylewereintellectuallybroughtintoakindof‘service’ way duringthe1960sagainstbackgroundof1930s. after thewar, and politicalspace,exploringhowthisrelationshipwas shapedinanew My contributionwillfocusontherelationshipbetween architecturalform brought intotheorderoftypologies. Formwasnowoften Murat schoolintotheproductive term of‘territory’. time, the geographical frame regarding the city was altered cavallari by the architecture, butnowwithinthefocusofanindividual form.atthesame Piedmont againbecomesa 122 BSTRACT EYWORDS giulio carlo argan

century isvisiblealreadyinguarini’scentury turin.s. lorenzo, here (1932) considered the reasons why architects Kunstlandschaft

and eighteenth Kunstlandschaft juvarra’ thatcreatesalongtraditionof Theatrum NovumPedemontii

centuries. While Wittkower centuries. WhileWittkower s architecture and that of the argan young want - -

jacob burckhardt completely unknown.’ cences: ‘Inmystudentdays,backintheearly1920’s,guarini’s name was an advocateofthesebuildings,asbecomesobviousfrom his1972reminis whom Ishallreturnpresently. perceived himselfas after1945,Wittkower erich to brinckmann albert cornelius tably gurlitt(1887)andinparticular germanwas aieldthatespeciallyattractedtheinterestof scholars,no Italy of Piedmont;intheensuingdecades,architecture of northwestern to itslackoffamiliarityoutsideItaly. II, thishighregardforthearchitectureofPiedmontformed astarkcontrast juvarra andvittonearewithoutpeers. even intheperiodafterWorld War cortona’s architectureanddecoration, the architectural works byguarini, book madehisviewexplicit:as presupposto (…).’ quale questeimmaginifuronocreate, quali processidipensieronesonoil ci ‘se vogliamocomprendere il signiicatodelleimmaginibarocchecome“ an advancedlevelofstylistic criticism. del BaroccoPiemontese and architectural history.art turin the 1963 exhibitioncatalogue was inspiringforthehistoriography onseventeenthandeighteenth-century phy, production which chronologyandthemes aswellcurrentsofartistic and Architecture in Italy Art classicism’. hedubbed‘high baroque ‘high’, and‘late’,complementedbyacategory developmentalmodelof‘early’, author employedthenineteenth-century sawasunfairlyovershadowedbypainting.Inhisapproach, the Wittkower the book’s chapteronPiedmontemphasisedtheroleofarchitecturewhich Italy isdemonstratedbyhistravellingintheregion. book Piedmont. hisrome lecture formedakindofepiloguetohismostimportant architectureof nist ofresearchintotheseventeenthandeighteenth-century since1954–wasthemostnotableinternationalprotago the unitedstates –who hademigratedto great in1933andtaught britain time, Wittkower from1940 onwards.at the perceived asaloodofnewstudiesundertaken period; and third, what he the pioneers after 1887; second, the inter-war search intothebaroque.hedistinguishedthreephasesofresearch:irst, romerococò’ inwhere he provided an outlineofthecurrenttasksre in1960attheinternationalcongress‘Manierismo, Wittkower ously intheseries“ that atermsuch as‘classicismotardo barocco bolognese’wasnot self- ” –secioèconsideriamocomenostrocompitodisvelarelospiritonel Art andArchitectureinItaly1600to1750 Art 2 Wittkower’s high esteem for the architecture in northwestern 1 had frankly confessed to have omitted these programmatic sentences were delivered by rudolf theseprogrammaticsentencesweredeliveredby the Pelicanhistor 5 conceivedbyvittorioviale is alsodistinguishedby is characterized by a combination of topogra bernini’ 4 Intheprefacetohis y of 6 s statuary, Wittkower’s 1960lectureclariied ar t”. , publishedtwoyearsprevi borromini’ 3 forewordtohis the turin and Cicerone s buildings,or of1855, the whole barocco, Mostra 123 stori------

1. Early ModErn 1. Early ModErn have hadtoItalianFascismplayedaroleinthiscontext. I havenotyetbeenabletoclarifywhetheranycontactsbrinckmannmight logue ofFilippo juvarra’s oeuvre, with brinckmann focusing onthedrawings. ontheirstvolumeofcata ofsavoy patronage ofumberto crown Prince oftheteamscholarsworkingin1937under rovere, heformedpart during the nazi period. mann’s internationalroleasrepresentativeoftheso-called‘new germany’ that the emigré scholar Wittkower wouldhavebeenunawareof that theemigréscholarWittkower baroque architectureofPiedmont.asearly1924,alber baroque Internationally, was not the irst scholar to be intriguedbythe Wittkower of art andinseparablefromit. of art work reciprocal interaction between ‘contents’ and style germane to every contents whichheunderstoodnotsimplyasiconographic meaning butasa rather,suficient. hewasultimatelyconcernedwiththeso-calledproblemof in particular offered uncharted territory ( territory uncharted offered in particular indenromanischen Ländern Jahrhunderts mann had written – in the ifth edition of his linking rome to austria and southern germany was to be found. chain to itsfullcompletioninPiedmontwherethecruciallinkartistic asItalianarchitectureonlycame overlooked by specialists on baroqueart, mann hadinitially edited the to digest’. indenromanischenLändern derts publications and his characterization of the 1937 an academicisdemonstratedbyWittkower’s quotationsfromtheformer’s the distance to brinckmann ultimatelyrestedonmethodologicaldifferenc distancetobrinckmann the ‘standard work’. modern Piedmontese architects. together vittorio with viale and lorenzo lection ofdesignsandbuildingsbyguarini,juvarra,vittoneotherearly es. Wittkower notedthat es. Wittkower tion – Wittkower argued–hadthusfarrarelybeenappliedtothe tion –Wittkower mann’s publications. yet thewayin whichthesearchitectsare approached same trio ofarchitects guarini, – juvarra, vittone – asemployedinbrinck history. Wittkower’s Piedmont chapter is subdivided into nevertheless, the or cultural theory asmuch as possible with references to artistic of artists andarchitecture by integrating the history the data on individual works of art to Wittkower’s historical andpositivistwayofthinking. he aimedtoexpand rather than chronology. this formalistic approach was diametrically opposed Kunstwissenschaft of art’ volume. of art’ a criticismheexplicitlyalsoturnedagainsthisownrecent‘Pelican history 124 13 this survey, ofthe multi-volume formingpart 8 12 , is arranged according to formal elements and types 11 yet theesteeminwhichbrinckmannwasheldas brinckmann’ Theatrum Novum Pedemontii 7 a‘symbolic’,Warburgiansuch interpreta of 1915 was ‘stimulating, but dificult of1915was‘stimulating,butdificult s Baukunst des17.und18.Jahrhun Neuland – thatPiedmontesearchitecture Baukunst des 17. und 18. ) whichhadwronglybeen Corpus Juvarrianum 10 Itisquiteunlikely (1931),acol Handbuch der t erich brinck baroque, baroque, 9 brinck brinck as a ------strong impactofmodernism: Wittkower’s understandingofarchitecturethathadbeenformedunder the structure’ and pictorialusecontrastedwith space. articulations’‘surface the asvisualisationofthearchitectural formationof which perceivedarticulation ( generations.Writing art-historical inthetraditionofgeographyart between the two pre- and post-war clearly demonstrates the differences ‘artistic landscape’( ‘artistic architecture. andthevolumetricappearanceof of groundplans,geometricalproportions in thecaseofguarini,these areembodiedinthetranslucentdomes; traits, theoriginsofwhichhe locatedinthegermanarchitecturaltradition: according toWittkower, this skeletonstructureconsistentlyboregothic Piedmont. great architectsbuildingin seventeenth- andeighteenth-century he essentiallyperceiveda ‘skeleton structure’intheoeuvreofthree thisexplainswhy andrhythm. generated interiorspacethroughproportion –actedprimarilyasiconographicsignsyetdidnotformfactorswhich tury –whichmaintainedtheirrelevanceuntilthelateeighteenthcen articulations the centralizedbuildingsofPiedmontesebaroque.For him,thevitruvian in theAgeofHumanism these interestsderivedfromtheworkonhisbook enigmatically by brinckmann’s rhetoric, yet without making further ideologi enigmatically bybrinckmann’s yetwithoutmakingfurther rhetoric, encountertakingplaceinPiedmontwastransigured beyond theregion. as wella architecture inthisield. european we mightexpect,asFrancehadlongbeeninthevanguardof ern europe.Inthisregard he did not address the designofpalaces,as andthearchitectureofnorth relation betweenthePiedmontesebaroque sawtheinter notableistheway inwhichWittkower What isparticularly architecture. lives andalargelystylisticdiscussion,beforefocusingonindividualworksof outlineofthearchitects’ side, architectsontheother–providedashort city ofturin patronsontheone assettingofhistoricalprotagonists–courtly pose thequestionofPiedmontasaregion.hegaveconcisesketch didnoteven spatial concepts–denoting‘landscape’asanentityWittkower interior spaces. Wittkower disagreedwithearlierformalistinterpretations interior spaces.Wittkower vitruvianthe traditiononthedesignofseventeenthandeighteenth-century in byearlymodernarticulations mental questionastotheroleexerted the forces could unfold and lead to wonderful success’. the forcescouldunfoldandleadtowonderful cal claims:‘ItwasonlyonPiedmontesesoil,initsspecialatmosphere,that case of juvarra, they are manifested in reducing the relevance of walls in case ofjuvarra, theyaremanifestedin reducing therelevanceofwalls in Kunstgeographie european culture–thelatterbecauseofarchitects’origins 18 ) of the 1920s, brinckmann perceivedPiedmontasan ) ofthe1920s,brinckmann Kunstlandschaft (1949) and could be applied particularly suitably to suitablyto (1949)andcouldbeappliedparticularly rather 17 he wasprimarilyinterestedinthetypology , Wittkower isconcernedwiththefunda , Wittkower ), 14 formingsimultaneouslyaregional Architectural Principles Architectural Principles 15 Incontrasttosuch 19 125 in the inthe 16 - - - - -

1. Early ModErn 1. Early ModErn uwe harry rüdenburg uwe harry Figure 1. Figure 126 Filippojuvarra,superga(1716-31),turin. crossingpier. tone’s Domes rudolf Wittkower, 2), bra. dome. tone, s. chiara (1741- 2. Figure Source: bernardovit photograph by , 1972. Source Vit- : - translation: andreasPuth of time. the region.around1960,paradigmofspacehadbeenreplacedbythat butbythearchitectsworkingin mysterious ‘soil’asclaimedbybrinckmann feature. yet theculturalentitythusconstructedwasnotgeneratedby ous traditionbypostulatingthe‘skeletonstructure’asdecisivearchitectural thatWittkower,observe too,inevitablyarrivedattheconstructofacontinu 1) 1600-1850 Wittkower, new edition,”inrudolf “Introduction tothe books, 1958),x-xII. guin the Italiantradition–abreakattributedprimarilytojuvarraandtakenonby univ. Press,1999), xII. 3 josephconnorsandjennifer Montagu: (harmondsworth/baltimore/victoria: Pen (harmondsworth/baltimore/victoria: andArchitectureinItaly1600to1750 Art in theirproperplace’.rudolfWittkower, sicist rococo”,allofwhichwillbeexplained rococo”, and“clas to-romanticism”, “Italian sitional style”, “high” and“latebaroque sitional style”,“high” terminologybysuchtermsas“tran mary” toexpandthe“pri but itbecamenecessary ‘(…) subdivisions of the index even further: termini Manierismo, Barocco,Rococò:concettie as ‘heavenlycrown’ofthe virgin. invenice,in his1963studyof Mariadellasalute s. achurchheinterpreted analysis forthePiedmontesechurcheswhichhehimselfwastoundertake vittone. asmentionedearlier, thekindof‘symbolic’ didnotoffer Wittkower shaping ofthe interpreted such complex vaults and wall reliefs not as a re- Wittkower classicism”, “archaizing“cryp 2 Inthebook’s preface,heextendsthese lincei, 1962),321. favour of piers (s. Maria del carmine, 1732-35; superga, 1716-31) (Figure favour ofpiers(s. Mariadel carmine, 1732-35; superga, 1716-31)(Figure in accademianazionaledeilincei(ed.), 1 rudolf Wittkower, “Il barocco in Italia,” zone of the dome (s. chiara,brà,1741-2)(Figure2). zone ofthedome(s. 20 ; in the case of vittone, they become obvious in the penetration of the ; inthecaseof vittone, theybecomeobviousinthepenetrationof (rome:accademianazionaledei , 3 vols., (new havenct:, 3vols.,(new yale Art andArchitectureinItaly Art vitruvian ar ticulations butratherasaconsciousbreakwith 22 InthecaseofPiedmont,however, wecan - - - - -

9 ‘sie erstistabschluß deritalienischen 9 ‘sie 8 Ibidem,326. barocco inItalia,”325. Id. (ed.), 5 rudolfWittkower, “guarinithe Man,” in the nameup.’Ibidem. thought hewassurelyjokingandhadmade his topicthearchitectureofvittone,blunt proposedas tute in1946andWittkower Insti tolectureatthecourtauld Wittkower this aspect:‘When[anthony]bluntasked tion, connorsandMontagucommenton 4 Intheirprefacetotherevised1999edi a rimanere frammentario.’ Wittkower “Il a rimanereframmentario.’Wittkower tativo dirisponderealPerchÉè destinato questo postulatoessenziale,qualsiasi ten eche,senonsiriconosce dell’opera d’arte si possonosepararesenzaviolarel’unità 7 ‘(…)cheallafineilcoMeedcosanon Piemontese 6 cittàditorino (ed.), don: thamesandhudson,1975),177. StudiesintheItalianBaroque , 3vols.(turin, 1963). 21 Mostra delBarocco 127 (lon - - - - -

1. Early ModErn 1. Early ModErn tion, cesareMariadevecchi dival cismon, 10 theprefacebyministerforeduca neubabelsberg, 1924). romanischen Ländern inden kunst des17.und18.Jahrhunderts erich brinckmann, reicht.’ albert rom nachÖsterreichundsüddeutschland baukunst undbildetdieKette,von 14 Forafundamental discussion ofthe tural fantasies,andurbandesign,’ xIII. tures, theaterandscenedesigns, architec drawings forreligiousandsecular struc mann’s illuminatingdiscussionofjuvarra’s 1982): ‘thevolumealsoincluded brinck varianum, 1(rome:edizionedell’elefante, the Romanperiod1704-1714, a. Millon, found in henry xII. a similarly positive evaluation can be territory,’montese baroquewasuncharted brinckmann’s booksofthe1930’s, Pied note: ‘asidefromthesensitivepagesin edition (asinn.7),connorsandMontagu 13 Ibidem,392.Intheirprefacetothe6th andArchitectureinItaly Art dard work;fullbibliography’seeWittkower 12 the full comment is as follows: ‘stan schichte landsdienst,” in the activitiesofZentralstellefüraus WeisbachWichert, andbrinckmann historiansofWorldart War I:grautoff, War I,seealsoevonnelevy, “thegerman 127; forbrinckmann’s activityduringWorld alismus schichte andenUniversitätimNationalsozi Papenbrock (eds.), (1881-1958),” in jutta held and Martin erichbrinckmann 11 sabinearend,“albert (Milan: Zucchi,1937),22. tronato dis.a.r.IlPrincipePiemonte onoranze aFilippojuvarrasottol’alto Pa brinckmann (Idisegni),comitatoperle (regesto dellavitaedelleopere)anda.e. Juvarra vo ciclodistoria…’cityofturin (ed.), domani fascista,domainimperialinunnuo una incrollabileunitàquellostessod’Italia. the Fascist state:‘Ildomainditorino è in only with the risorgimento but also with links turin (and thus juvarra) implicitly not 128 (göttingen:v&runipress,2003), , contributorsl.rovereandv. viale 74(2011),373-400. Zeitschrift fürKunstge Schwerpunkt: Kunstge , (atheneion:berlin- , 402. Drawings from corpus ju Die Bau Filippo ------sein; ebenso ist sammlerin sie undverb europasnichtnurbodenständig innerhalb patron.’ ‘IngroßenleistungenwirdKunst taneously andsimilarlyaliveinarchitect to creative will which was simul subservient to clusterwhatwasdispersedandmakeit impact er inordertoprovidethenecessary needed apolitical-feudalisticcentreofpow bearafeudalistcharacter,century Italytoo achievements oftheeuropeaneighteenth ful success.Ifallthehighestarchitectural forces couldunfoldandleadtowonder soil andinitsspecialatmospherethatthe the style.yet itwasonlyonPiedmontese have contributedconsiderablytogenerate baroque. Manifoldinfluencesfromabroad baroque. Ithasnotgrownfromanynative the Piedmontese architecture of high the ter oftheunsurpassable.thisappliesto and assumes in turn the individual charac it augmentstheentiretyofheritage ture. Initshighestachievements,however, and disseminatorofgeneraleuropeancul rooted tothesoil;likewise,itiscollector withineuropewillnotmerelybe ments, art 15 thefullquotation:‘Initsgreatachieve london, 2004),68-104. art dacosta Kaufmann, with, theseearlierconcepts;seethomas attemptstoreassess,andre-engage art’ (beiheft), 38-44.therecent‘geographyof in HessenundamMittelrhein geographie undKunstlandschaft,”in 1975), 30f;alsohaussherr, reiner “Kunst Wirklichkeit EinTeilKunst um1400amMittelrhein. der alsKunstlandschaft,”in der Mittelrhein Kunstum1400,I: “die mittelrheinische beckandhorstbredekamp, see herbert term chen anteilam Werden desstils.doch haben beträchtli vielfältig vonaußerhalb heimischen barockentwachsen. einflüsse baukunst deshochbarocks.sie ist keinem flichen. solchenbesitztdiepiemontesische den individuellencharakterdesunübertref das gesamterbeundgewinnt wiederum sie ihren höchstenleistungenaber mehrt reiterin allgemeinereuropäischerKultur. In (university of chicago Press: chicago/ Kunstlandschaft (liebieghaus: Frankfurt/Main, (liebieghaus:Frankfurt/Main, Toward ageographyof (‘artistic landscape’), (‘artistic 9 (1969) Kunst ------probably derivesprimarilyfromhisbook 18 thisinterestincentralizedbuildings (: beck,2008),112-3. 2007-2008); der Kunstgeschichte 1971),” inulrichPfisterer(ed.), (1901- 17 alina Payne, “rudolf Wittkower 1941 alienischen KulturinstitutsPetrarcahaus zehnjährigen Bestehen des Deutsch-It Festschrift derUniversitätKölnzum cennalis. DeutscheItalienforschungen. Quattrocentobaukunst,’ in “rinascità” undeinigestilmerkmaleder ‘Über“rinascere”, 16 hansKauffmann, barocks Architekten despiemontesischenHoch Juvarra, Vittonewieanderenbedeutenden undBautenvonGuarini, Ideen, Entwürfe brinckmann, erich rn, dienstbarzumachen.’albert lebendiginarchitektundbauher gleichartig gleichzeitigund und schöpferischemWillen, antriebe geben,umZerstreuteszubündeln feudalistisches Machtzentrumnotwendige gen, somußteauchfürItalieneinpolitisch- feudalistischen charaktertra jahrhunderts stleistungen deseuropäischenachtzehnten führen. Wenn allearchitektonischenhöch erfolg Kräfte entfaltenundzuwundervollem besonderen atmosphärekonntensichdie nur aufpiemontesischemboden,inseiner (cologne:1941),123-46. (schwann: düsseldorf, 1931),9. (schwann: düsseldorf, Theatrum NovumPedemontii. Von PanofskybisGreenberg , vol.2(München Concordia De Klassiker ------roque salute”, inId.(ed.), 22 rudolfWittkower, “santaMariadella Id. 1975(asinn.5),212-22,here217. 21 rudolfWittkower, “vittone’s domes,”in verlag). aus demWarburg-Haus be published2014intheseries des frühen18.und19.Jahrhunderts imTurintigung. ArchitekturenderÖffnung book see myforthcoming 277. Forthearchitectureofsuperga, placed byaskeletonofhighpillars.’Ibidem, ofthenave hasbeenre wall asaboundary 20 s. Maria del carmine, turin: ‘(…) the tecture inItaly support ofwalls.’Wittkower,support mously highwindowsandvaultswithoutthe towers crownedbypointedpyramids;enor to hangintheair;completelyperforated – hewriteserectedarches’whichseem how theycouldstandatall.gothicbuilders ally weaksothatitshouldseemmiraculous wanted their churches to appear structur at byromanarchitects,gothicbuilders qualities ofstrengthandsolidityaimed 19 ‘hemaintainedthatincontrasttothe naissance. on centrally-planned structures of there manism Architectural PrinciplesintheAgeofHu , 125-52. (1949)whichcontainsachapter , 274. StudiesintheItalianBa (berlin:akademie- Gebaute Entfes Art andArchi Art Studien 129 , to ------

1. Early ModErn