Carlo Maria Pozzi Stuccatore

Carlo Maria Pozzi stuccatore Autor(en): Casey, Christine Objekttyp: Article Zeitschrift: Zeitschrift für schweizerische Archäologie und Kunstgeschichte = Revue suisse d'art et d'archéologie = Rivista svizzera d'arte e d'archeologia = Journal of Swiss archeology and art history Band (Jahr): 70 (2013) Heft 4 PDF erstellt am: 09.10.2021 Persistenter Link: http://doi.org/10.5169/seals-389731 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. 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Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch Carlo Maria Pozzi stuccatore by Christine Casey who Recent research on Ticinese stuccatori active in von Döry, considered his best work comparable that eighteenth-century Britain and Ireland has thrown new light to of acclaimed stuccatori such as Antonio Bossi, Pozzi.1 Johann on the virtuoso Luganese stuccatore Carlo Maria Baptist Zimmermann and Santino Bussi. Active at Pozzi's Pozzi is now known principally for his published designs principally Mainz, mature style was seen to entitled Artis Sculptoriae vulgo stuccatoriaeparadigmata represent a watershed between the high relief modelling is a the late (Augsburg, 1708). This suite of ceiling designs (fig. 1) of baroque tradition and the flat, abstract remarkable document in the history of interior ornament patterning of Régence band work, which was the central and theme of research.3 for its production by an active master craftsman not, Dory's In the half century since, disparate corrections and addenda as was then the norm, by an architect, an engraver or have emerged and the his facts of Pozzi's have a designer of decoration.2 Despite the currency of biography recently been established. plates, Pozzi's work has received little attention since While significant gaps remain in Pozzi's career, it is now the mid-twentieth-century research of Baron Ludwig clear that it culminated in a prestigious commission at %i m m m/r Cum. c~~~t. ^/te tlw. i"t*J ûitata et J>ü-itV. J'ac: Ciaj : JK jf„„iu». ,'„„„„ A-*if. Cervinuj U%ZZZ\ I stuccatoriae 1 Fig. Carlo Maria Pozzi, Artis Sculptoriae vulgo paradigmata (Augsburg, 1708), Plate (follows dedicatory frontispiece). ZAK. Band 70. Hell 4/2013 279 « ^V.i »< KW > ,-Ä. ¦'«- ' **V5 ¦•: i •,. \ .fì ^^* m -r^ • .*.« *> "'.' £ .'..; v f/ï ; i '.¦Tv, j*A ¦ j-^ *.V.*. t L ^Sfy ¦ r i """i f ' **S • •w -^ Vs ». fl .»r ^^ T _».* ¦*•*>¦ >: -: m ...y Vz ^. «i and wall Fig. 3 The Orangerie. Schloss Weilburg. Hessen. Ceiling plasterwork by Carlo Maria Pozzi. 1704. the Würzburg Residence rather than petering out igno- Pietro had produced architects, sculptors and stuccatori. at has focused miniously as hitherto supposed. Pozzi's performance Attention on the stuccatore Francesco Pozzi Würzburg also raises new questions about the training of (1704-1789) and his sons Giuseppe, Carlo Luca and the Würzburg court stuccatore, Antonio Bossi. Domenico.5 Carlo Maria Pozzi was a second cousin of Carlo Maria Pozzi was born in 1676 in Lugano. His Francesco whose son Carlo Luca was christened Carlo father Francesco was a pharmacist and originated from Maria Luca, probably in honour of his elder kinsman.6 Castel San Pietro and his mother was Maria Caterina Carlo Maria Pozzi (1676-1747) was thus a generation Splendore from Canton Grigioni or Graubünden.4 Since older than his cousin Francesco and a contemporary of the sixteenth century the Pozzi family of Castel San Diego Francesco Carloni (1674-1750) and of the painter Fig. 2 Rathaus Koblenz. Rheinland-Pfalz, ceiling in staircase. Carlo Maria Pozzi. 1699-1700. ZAK, Band 70, Heft 4/2013 281 Luca Antonio Colomba (1674-1737), with whom he punctures that serve to increase the relief of the modelled worked on several occasions.7 As is true of many form and to distinguish between figure and ground. stuccatori, nothing is known of Pozzi's apprenticeship, probably This technique, usually confined to specific parts of a begun when he was between twelve and fourteen scheme and often obscured by over-painting, is clearly years old, perhaps at Passau where his maternal uncle represented in Pozzi's engraved designs. Its sheer extent is recorded at the cathedral as a painter.* His work is at Koblenz is remarkable and different levels of precision redolent, in its decorative vocabulary and vigorous plastic are manifest in the tooling which must have consumed modelling techniques, of the Carloni workshop at the energies of several apprentices for the duration of the Passau which dominated stucco production in southern seven-month project.u Germany and Austria in the last decades of the seventeenth The fluid, spirited and richly plastic technique evident century. However, a more likely candidate for at Koblenz is also emphatically present in the Orangerie Pozzi's apprenticeship is the workshop of Giovan Pietro at Schloss Weilburg (fig. 3) in Hessen which Pozzi Magni whose family was intermarried with that of contracted for in February 1704.14 Four years on, the desire Francesco Pozzi and whose work bears resemblance to that to fill every surface was evidently less compelling and of Pozzi.9 here ornament is more concentrated around apertures Like so many of the maestri dei laghi in the early and angle foci. Still, the achievement of acanthus, palm eighteenth century, Pozzi's career was based in Germany. and scallop shell is sumptuous rather than controlled. However, unlike Diego Francesco Carloni, whose wife A year after the Weilburg commission Pozzi journeyed occasionally shared his peripatetic existence, Carlo Maria north to Denmark where he worked at Rosenborg Palace Pozzi's family was firmly rooted in Lugano.10 He thus in Copenhagen.15 His early presence in Denmark conforms to the common practice of seasonal or periodic explains the dedication of the published plates to migration." Also in contrast to Carloni, whose Wilhelm Frederik von Platten (1667-1732), superintendant activity was centred in southern Germany and Austria, of royal buildings from 1705, and Pozzi would return to Pozzi was mainly active in Hessen and central Germany. Denmark on at least one occasion in 1731."' At Rosenborg Among his principal rivals there were Giovan Pietro and he worked alongside a lesser known stuccatore Carlo Antonio Castelli, Giacomo Ghezzi and Donato named Antonio Auzoni17 and the authorship of the various Giuseppe Frisoni. Like them, his work reached maturity parts of the scheme have been disputed. at a pivotal moment in the history of European architectural ornament. His presence at Fulda in 1708 and again in the 1720s, alongside several craftsmen who would Artis Sculptoriae, vulgo stuccatoriae paradigmata migrate to Britain and Ireland, together with a classicising tendency in his work, suggests that his workshop has The ceiling designs published at Augsburg in 1708 may particular significance for these islands. well have been in preparation during Pozzi's sojourn in Denmark though the dedication was signed by him at Fulda in Hessen.18 The drawings were engraved by Early work Johann August Corvinus, at the behest of the principal Augsburg publisher of artistic material, Jeremias Wolff." Pozzi's earliest known commission was for two ceilings At least 170 publications by Wolff are known and these executed in 1699-1700 in the aula and stairhall of the range from hand-coloured pirate editions of French former Jesuit College in Koblenz, now the town hall. The ornament engravings to small-scale designs for silver- aula was swept away in the nineteenth century but the and goldmiths, to sumptuous illustrated folio volumes, of stairhall ceiling survives and reveals the virtuoso which the most acclaimed was Paul Decker's Fürstliche handling of the twenty-four-year-old stuccatore.^- Pozzi's Baumeister of 1716.2(l Decker collaborated with Wolff task was to provide a stucco frame for ceiling paintings: from 1703 when they produced a four-part series on the two roundels and a central oval depicting the reward of newly finished Berlin Schloss. The ceilings in Decker's industry, the triumph of faith and the punishment of the Fürstliche Baumeister are each represented in full and idle. A rich skein of figurative and foliate stucco spreads in a perspectival manner. This was not the norm for from the cove across the ceiling surface and entirely published ceiling designs which efficiently and economically upstages the now heavily over-painted canvases (fig. 2). depicted half or one quarter of the composition. Pozzi's The principal ordering elements are a sequence of acanthus simpler and more conventional designs appeared in the cartouches set into the cove and attached to the central same year as Wolff's German edition of Andrea Pozzo's panels and a series of putti, single and in pairs which Perspectivae Pictorum atque Architectorum and this carry instruments of the faith in the cove and act as may be significant if, as has been suggested, a family link supporters of the picture frames. On the surfaces between existed between the two men.21 In comparison to Wolff's are rich pendants and festoons of flowers.

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