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: 11.10.2021
Persistenter Link: http://doi.org/10.5169/seals-389731
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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
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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. The ceiling plates for goldsmiths, the folio sheets of Artis Sculptoriae ground is entirely tooled or pocked with small circular belong in the luxury category of the publisher's
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Plate 5. Fig.4 Carlo Maria Pozzi. Artis Sculptoriae vulgo stuccatoriae paradigmata (Augsburg. 1708),
Pozzi design, with framed repertoire and this would be surprising if simply strongly cartouches at the centre of each side and solid decorated intended them as exemplars for craftsmen.22 angle spandrels. Plates 1-4 The suite consists of eight designs and a dedicatory depict more than half of the respective designs, though have been all differ in size, while Plate 8 plate and no differences in sequence represents an entire ceiling is variation design and almost detected." A puzzling aspect of the suite the fills the folio sheet (figs. 1,5,6). To of this what in the size of the plates as suites of ceiling designs might we attribute this diversity in scale and there is representation? Peter period usually have consistent plate sizes.24 Here Fuhring has suggested that the designs which consistency in just three of the plates (Nos.5-7) may represent specific schemes, and other instances of and variation in scale based represent approximately half of the ceiling designs are on project drawings.25 However dehneavit' no are inscribed 'Carlo Maria Pozzi Invent, et corresponding ceilings by Pozzi have been in terms of identified. three the (fig.4). These are also the most consistent Intriguingly, of designs were used c. 1709 I m
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~r. 7". WS/* .-:¦-. Fig. 6 Carlo Maria Pozzi, Artis Sculptoriae vulgo stuccatoriae stuccatoriae Fig 5 Carlo Maria Poz/i. Artis Sculptoriae vulgo paradigmata (Augsburg, 1708), Plate 8. paradigmata (Augsburg. 1708). Plate 4. Reproduced courtesy of the Irish Architectural Archive.
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Fig.7 Jean Le Moyne, Plusiers desseins de Platsfonds (sie), Paris, circa 1695, Plate III. Reproduced courtesy of Berlin Kunstbibliothek, Ornament Sammlung.
at Herrenhaus Hohen Luckow in Schleswig Holstein in flower baskets and, at the centre of each side, a splayed a scheme that is convincingly attributed to Giovan pedestal is adorned with putti, a portrait roundel and Battista Clerici, a stuccatore who had previously worked crowning flower baskets. Pozzi's plates differ from those with Pozzi.26 This is the only recorded instance of direct of Le Moyne in several ways. Most striking is the spare transcription from the plates. A scale is given on only character of Pozzi's designs in contrast to the rich figuration one of the designs; Number 8, the largest and most and elaborate mouldings in the French plates where idiosyncratic of the suite which depicts a scalloped quatrefoil there is barely a surface that is not the subject of composition with angle roundels and putti groups at the ornament, however controlled. By contrast Pozzi leaves broad cardinal points (fig. 6). The scale ascends in multiples of framing panels to his corner cartouches and trophies, the three, unlike those in Pozzi's surviving drawings (figs. 10, void relieved only by pocked tooling (fig. 1). A second 12) which follow Ticinese practice with multiples of five distinguishing feature of Pozzi's designs is the complexity piedi or feet. Presumably Pozzi was here adopting the of the moulded cornice that marks the junction of the German foot measure of twelve zoll. The inscriptions plastered and painted surfaces. Pozzi follows quadratura on three of the drawings (Plates 1,3,4) differ from the painting in a series of complex curving entablature rest giving the Latin designation 'Carolo' and omitting chunks that surmount and define the elements of the 'delineavit'. Two of these (Plates 1, 4) (figs. 1, 5) are the cove. This essentially Italian illusionism is further seen most accomplished drawings in the suite and Plate 3 is in the threading of leaf and flower garlands through the the only design to include allegorical figures. Clearly orifices in the solid elements of the coving, particularly Pozzi had assistance in formalising his designs and this in the angle roundels in plates 1 and 8 (figs.l, 6). The fact, together with the curious diversity of representation mobile central frame, the pedestals and the angle roundels and scale, hints at an eventful publication history. are all found in contemporary stuccowork by the Guilmard and Jessen considered Pozzi's plates derivative Castelli workshop. of French seventeenth-century models and the Thirdly and perhaps most importantly is the very infrequent analysis to date largely follows their different character or mood in the depiction of figurative assessment.27 In terms of composition they certainly conform elements in Pozzi's designs. In Le Pautre, Coltelle, Le to a typology established by the mid-seventeenth century Moyne, Marot, Decker, et al, the classical figuration in which a regular or chamfered central picture remains heroic and idealised in character. Pozzi employs frame is bordered by emphatic angle spandrels with figuration more sparingly and with entirely different panels or openings between. Perhaps the closest emphasis. In only one of the seven designs do female comparable example to Pozzi is plate III of a suite by Jean allegorical figures appear (Plate 3), in another paired sphinx Le Moyne entitled Plusiers desseins de Plalsfonds (sic) flank trophies of arms at the angles (Plate 8) (fig. 6) but published in Paris c. 1695 (fig.7).2R Here figurative corner for the most part the figures are pairs or groups of light- panels with atlantes supporters are surmounted by hearted, emblem-bearing putti. The informality in the
284 ZAK. Band 70.1 lull 4/2013 -":.- mAAA. character figuration is amplified by the expressive, plastic over-scaled scallop shells, of the detailing in frilly I WAN. * rocaille-like brackets and cartouches and foaming acanthus asymmetrical -pm. (fig. 1). Indeed the branch-sprouting for cartouches in Plate 8 seem positively precocious less crowded and 1708 (fig. 6). Because Pozzi's plates are ^, m •V-i1"..¦r French and German engravings, densely worked than many —~- *V» AttA—-? more y'r the techniques suggested in the designs are aforementioned pocked clearly read. These include the in areas of gilding or tooling, a mottled surface found 'X colour of bronzing (figs. 4, 6) and the distinction through all standard elements discrete parts of the composition, r^ of plasterwork production in Germany. ¦..,-,-. contemporary ot None of these distinctions would earn Pozzi a badge ornament. However his y originality among historians of the of European y- designs reflect a precise moment in history which A interior ornament and speak of the dilemma at confronted Italian-speaking stuccatori in Germany craftsmen the turn of the eighteenth century. These were and schooled in seventeenth-century composition and illusionism but alive to the implications of Régence taste that rocaille ornament and conscious of a changing the Ludwigs- 8 threatened their livelihood. Some, such as Fig. Drawing for ceiling ornament, attributed to Donato Frisoni, embraced Giuseppe Frisoni. Metropolitan Museum of Art, New York. burg stuccatore Donato Giuseppe contemporary Ace. No. 65.654.117. band work and it is instructive to compare a Pozzi's designs drawing attributed to Frisoni with in demand and 2" with threaded foliage with a workshop of apprentices and (figs 8 1 6) Here the roundel is effectively freed from assistants. Protracted deliberations over a proposed piaster- and concave upper entablature with an etherea band work scheme at the pilgrimage church at Schönenberg a solid angle panel and combined rich modelling near Ellwangen in 1710 to Pozzi's work termination. The turn away from the testify reputation. seventeenth century Despite delaying the decoration of the interior, the and idealised figuration of the late is vividly evoked Bishop of Pfalz-Neuburg preferred to pass over the petition to lighter and more abstract ornament of Pozzi's plasterwork of the principal stuccatore at Schloss Ludwisburg, in contemporary descriptions and of a scheme Donato Giuseppe Frisoni, in favour of Carlo Maria in the orangery at Schloss Weilburg court stuccatore Pozzi, whose work he knew at Mainz.-" When Pozzi at Mainz decorated by the Bamberg for the decoration finally came to Schönenberg and made an estimate for Jacob Vogel. In 1706 in preparation was dispatched the work, his price was so high that it was necessary to of the castle at Philippsruhe a delegation At We. I burg employ a German stuccatore, Melchior Paul, who to report on recently executed projects,- beautiful but executed the nave ceiling according to Pozzi's design. At (fig. 3) the stucco was considered 'quite while at Mainz the Schloss Idstein in Hessen, in an agreement of August over filled with figures and foliage work the 1713, Pozzi contracted for three relatively modest horror vacui characteristic of Vogel's appalled the craftsman must ceilings, his price of 440 gulden to be supplemented by a Philippsruhe delegate who felt that Carlo Maria Pozzi s supply of good wine, all materials, his bed and board surely be conscious of his bad taste. this watershed and in and that of his apprentices and helpers.12 A subsequent published designs are reflective of his work exhibits a agreement for the castle chapel included the provision the years following their publication a minimal of a Dienstpferd or loan horse for travel to the Catholic transition fromf ^ vntuoso„irtnntn modellinemouc-mug to more chapel at Camberg on Sundays and holy days. Such and informal style. favourable conditions were not always assured and Pozzi was often obliged to fight his corner with patrons, architects and rival Ticinese stuccatori. At Kassel in 1702, A growing reputation where he was engaged to work on the stucco scheme Sculptoriae is the for the Karlsberg at Wilhelmshöhe, he fell foul of the What is utterly remarkable about Artis in such Roman architect Guernieri and left to seek work ambition of its thirty-year-old author achieving decade after his début as an elsewhere.1' At Wabern near Kassel in 1705, where three a publication less than a the of independent squadre were employed at the independent master. The sources support image palace for craftsman, much Marie-Amalie of Hessen-Kassel, Pozzi's a self-confident, hard-nosed, virtuoso team was out-
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.--»a- ¦*¦ .;. * m m :;! %£& V v* c X r *,*, .-»,ill ¦• ,^^7T>\ Fig. 9 Ceiling of the Kaisergemach, Schloss Idstein, Hessen. Photograph courtesy of Hans Michael Hangleiter. manoeuvred by the machinations of the Castelli elled the interior of the ancestral castle at Idstein and workshop.14 Later, at Mannheim, a stuccatore named 'Pozzi' built a grandiose new palace at Biebrich on the north would employ similar tactics to gain a commission by bank of the Rhine. At Schloss Vollrads in the Rheingau, spreading rumours that a rival stuccatore was ill.15 In the Pozzi scheme adorns two adjoining first-floor rooms 1721, at Schloss Biebrich near Wiesbaden, the office of in a garden building decorated c. 1711 for Johann Erwein Prince Georg August queried Pozzi's bill comparing his von Greiffenclau. Of the three, Vollrads is the earliest demands to the clerk's daily worksheet and offering 603 and entirely indicative of Pozzi's new approach. A signed gulden instead of 728. Pozzi's bristling reply stated that drawing survives showing two alternative schemes to he was not a day or week labourer nor was a stuccatore to frame a central chamfered Deckenspiegel or central ceiling be regarded as such.16 panel (fig. 10).¦" In the more elaborate of the two, Three surviving schemes in southern Hessen at Idstein, groups of fully modelled playing putti are seated on shallow, Biebrich and Vollrads illustrate a distinct development scrolled plinths that fill the long and short sides of in style that was first evident in 1710 with the design for the ceiling with medallion portraits at the corners and the nave at Ellwangen and which was sustained into the festoons 'suspended' from points along the moulded central 1720s (fig. 9). The reduction in relief and in ornament picture frame. In the alternative and more controlled and the predominance of framing mouldings is notable, design the illusionism of festoon and figures is replaced as is the refined character of the work which has none by broad framing bands that define the elements of the of the robust plasticity of Koblenz or Weilburg. While shallow cove, enclosing the portrait medallions in outer Döry applauded Pozzi's abandonment of over-laden late circles and creating a defined ornament field at the centre baroque ornamentation, the triumph of restraint over of each side and in the trapezoidal spaces between centre exuberance provides less evidence of his superb modelling and ends, setting pairs of bas-relief, cloud-borne putti. skills. Two of the three projects were executed for The latter, more spare scheme was chosen and was to be Count Georg August von Nassau-Idstein, who during the proto-type for Pozzi's work at Idstein. The precision the first two decades of the eighteenth century remod¬ of the modelled elements and the sophisticated juxtapo- 286 ZAK. Bund 70, Heft 4/2013 p sition of incident and void produces a work of enduring of elegance and charm. Was the shallow relief Régence idiom band work the impetus to this new, restrained or role? Pozzi's might more prosaic factors have played a forms design makes no concessions to the highly ornate v however • - m of Bérain-esque design and his composition, surprisingly, three- spare, remains resolutely Italian. Not the a quarters of his drawing was given to more expensive illusionistic scheme with its high degree of modelling. and modelling In the increasing taste for shallow relief a pragmatic, cost- m Pozzi may gradually have recognised saving opportunity for his workshop. " decorated by Five surviving rooms at Idstein were the west end .- vX I- s« Pozzi between 1713 and 1720: the chapel at U Countess; the -'/; of the south wing; the private study of the 4ofe8S3 south front; the Kaiser- 'oriel' room in the centre of the -. state bedroom or saal or state ante-room and adjoining north (fig. 9). Kaisergemach at the east end of the range created a frame In the chapel and Kaisersaal Pozzi again Carlo for the illusionistic paintings of the Ticinese artist Fig. 10 Carlo Maria Pozzi, drawing of alternative ceiling designs his for the at Schloss Vollrads, Hessen. Luca Colomba and in the state bedroom ceding garden pavilion Rheingau, David Albrecht. Here frames the grotesques of Valentin The ceiling ol the emphasis on framed fields is dominant. creations patron of von Welsch and Pozzi, Rudolf Franz Erwein the small study is among Pozzi's most engaging cloud-seated putti is von Schönborn wrote of the architect's ability to produce (fig. 11). A spare bas-relief of three canted frame ornamented ornament at a reasonable price.40 set within a deep moulded and is the language of Our knowledge of Pozzi's work in the 1720s and 1730s by scallop shells and cartouches. This refined form. In its is limited. This is partially due to the loss of interiors at Pozzi's plates in a diminutive and work clearly reflects Schloss Johannisberg in the Rheingau, the archiépiscopal simplicity, clarity and charm, this of Pozzi's work. palace at Mainz, the choir of Worms cathedral and the increasing restraint and stylisation work at Biebrich the palace of Hirscholm in Denmark. Mid twentieth- In the fragmentary remains of Pozzi's ambulatory of the century attributions of work at Fulda and Mannheim a first-floor corridor and the upper - combined with have since been challenged or set aside.41 For a stuccatore rotunda strapwork is more in evidence - who was much occupied in the previous decades, the pairs of birds and acanthus-tailed putti. known work is curiously limited and one senses a lacuna in the record. That said, Pozzi's personal circumstances changed in April of 1720 when, at the age of forty-four, Later career he married twenty-nine-year-old Joanna Francesca and an Carli of Lugano.42 Nine months later their first child The reduction in depth, figuration and ornament fields is fundamentally a was born followed by eight more in the ensuing thirteen increasing emphasis on framed and it is years.41 Of the nine, four were boys and might have been more tectonic approach to ceiling design a series of projects expected to join their father's workshop. Giovanni noteworthy that Pozzi collaborated on Welsch, who Battista born in October 1723 well have done so prior with the engineer-architect Maximilian von may in the to his early death at the age of eighteen in 1741. However worked extensively for the Schönborn bishoprics involvement with Domenico Francesco and Carlo Sebastiano born respectively Rhine-Main area. Pozzi's first recorded where the new decorative in 1731 and 1734 were too young to have assisted von Welsch was at Ellwangen Welsch was also architect at their father on his last recorded projects. Pietro Francesco system first appears. Von and at the Fulda Bonaventura, a twin born in 1727, died in June Idstein, Biebrich, Schloss Johannisberg decoration of the 1729.44 The of a large clearly necessitated Residence where Pozzi advised on the support family Welsch a the continuance of Pozzi's practice, closer Kaisersaal in 1727. In the 1720s von produced perhaps to at the Würzburg home in a yet to be discovered location. Two signed and series of designs for the court chapel elevation includes exactly dated drawings for Schloss Berleburg in the Residence and a lost interior Rothaarge- panel and roundels birge north-west of Cologne, made in Lugano in 1735, the type of trapezoidal ornament the least a confirm the sustained activity of the employed by Pozzi, suggesting at very fifty-nine-year-old men.1" In a letter to his uncle, stuccatore (fig.12).45 Though much more band work is in dialogue between the two and evidence, the Lothar Franz von Schönborn, archbishop of Mainz compositional corner spandrels and recti- 287 ZAK, Band 70, Heft 4/2013 7 nfr 2jt^ J' ÜT; \ .A f r* X aJ'/C •j*â r.« I ^s a t 'J V— >^4 ^***^ \*•< * "^JEHHif » Fig. 11 Carlo Maria Pozzi, ceiling of the Retiradezimmer, Schloss Idstein, Hessen. Reproduced courtesy of the Pestalozzi Schule, Idstein. linear bridging elements remain, as do framed panels of laghiA A similar spelling 'Bozy' occurs elsewhere in putti pairs. One of these was drawn by G.F. Carli, German payments to Pozzi and there can be little doubt possibly Carlo Giacomo Filippo Carli, his wife's brother. In that this payment records the sixty-year-old Carlo Maria the event the interiors at Berleburg were not executed by Pozzi working alongside Antonio Bossi and characteristically Pozzi who had more pressing concerns at the new resisting daily or weekly payment.49 archiépiscopal residence at Würzburg. Despite the clause in Bossi's contract, Jahn rejected the possibility of his single-handed authorship of the chapel's figure and bas-relief modelling and suggested The Würzburg Residence the involvement of Gerolamo Francesco Andreoli and Giovanni Battista Pedrozzi. In the absence of the lost The facts of the Würzburg stucco commission are well craftsmens' receipts tantalisingly listed in the building known. In 1734 Antonio Bossi signed a contract for the accounts, authorship of the various parts of the scheme stuccowork in the Residence agreeing to co-ordinate the cannot be fully determined. However, vivid proof of work of the stuccatori and to create with his own hands Carlo Maria Pozzi's part in the upper chapel is provided the figures and bas-reliefs.46 In the initial years work by a signature inscribed on the plaster surface of a spandrel focused on the reception rooms of the central block and in the north gallery wall. The signature of Antonio decoration of the court chapel (fig. 13). In 1736 Bossi Bossi, discovered here several years ago, has been himself received four payments amounting to 467 published and is well known.5" A second, tripartite and florins. One other stuccatore was paid the substantial single equally rough signature inscribed some 30 centimetres sum of 190 florins. His name appears in the records as below it, which has thus far resisted identification, can 'Carl Maria Bozi' and it has hitherto been assumed that be no other than that of Carlo Maria Pozzi.51 That two he was a kinsman of Antonio Bossi.47 However, no other master craftsmen, one nearing sixty and the other in his work by a stuccatore of this name has emerged from the mid thirties should sign their names together in this way extensive biographical documentation of the maestri dei suggests a relationship of mutual affection and respect. 288 ZAK. Bund 70. Heft 4/2013 Fig. 12 Carlo Maria Pozzi, ceiling design for Schloss Berleburg. Rothaargebirge. •: T* be second dent in the altars and vaulting zone of the The intriguing question is why Pozzi should Würzburg and workshop court chapel. That Antonio Bossi managed to the only to the thirty-seven-year-old virtuoso marry the stuccatori delicacy and abstraction of French ornament with the leader. It has been noted that several of with Bossi and virtuoso figuration of late-seventeenth-century Italian at Würzburg had previously worked Pozzi's presence at Wurz- stucco suggests that he was exposed to both traditions in it may be that Carlo Maria Bossi's shadowy his formative years. burg in 1736 has some significance for Wurz: Whatever the relationship of Antonio Bossi and Carlo early career. Intriguingly. an eighteenth-century work at Mainz. A Maria Pozzi, the spectacular stucco achievement of the burg source refers to Bossi's former certainly have met with Würzburg court chapel is a fitting place to end an account proven record at Mainz would would explain Boss, s of Pozzi's work. The stucco decoration of the chapel was the approval of Schönborn and Pozzi and perhaps also completed in 1738, thirty years after the publication of acquaintance with Carlo Maria who Artis Sculptoriae vulgo stuccatoriae paradigmata. That with Nicholas Zuber, another Würzburg stuccatore as 1721. too was a remarkable achievement which speaks of a had worked with Pozzi at Johannisberg as early of to that at specific moment in the history of European plasterwork and At Johannisberg a similar system payment the separate evokes the self-confidence of a young master craftsman Würzburg was employed, namely time or piece-work with the world at his feet. The published plates clearly remuneration of individual stuccatori by the workshop principal. helped to build and maintain Pozzi's reputation during rather than a single payment to Pozzi worked alongside his lifetime and beyond. However, it was his superb At Johannisberg Carlo Maria lesser-paid craftsmen that modelling skills which sustained Pozzi's activity as a younger, lesser-known and named Johann Pedrolh. stuccatore over a period of forty years and ensured his included Zuber and a quadrator of Antonio Bossi s participation in the swan song of the European baroque Among the few details to emerge in 1753 of the son at Würzburg.5'' personal life at Würzburg is his sponsoring Pedroll..54 Could of a stuccatore named Joseph Anton al Mainz in the work ,i be that Bossi began his career to the contrary is shop of Carlo Maria Pozzi? Evidence left to Bossi in 1731 by a large bequest of 1,500 florins Donato Polli, which his elderly cousin, the stuccatore with Polli's Nürnberg certainly points to a period of activity French character ADRESS OF THE AUTHOR workshop.55 However, while the certainly has an affinity to of Bossi's surface ornament Christine Casey, Associate Professor in Architectural History, in the master's Polli's oeuvre, there is nothing Nürnberg Head of Department, Department of History of Art & modelling skills evi¬ Architecture, College Dublin. 1RL-Dublin 2, work to prepare for the spectacular Trinity Ireland 289 ZAK. Bund 70, Heft 4/21113 i AA1 PHNSl ZST' 3* n I :lKlti TOUS.. / ï *» V-t ^-* X ^ Fig. 13 Interior view of the Hofkirche, Würzburg Residence. NOTES Paolo Lafranchini, who worked extensively in Ireland, is + Architektur in der Schweiz 3, 1995, pp.277-278. recorded alongside Pozzi at Schloss Johannisberg im Rheingau Ex info Ursula Stevens, Castel San Pietro. in 1721. Baron Ludwig Döry, Die Tätigkeit italienischer Silvia A.Colombo / Simonetta Coppa, / Carloni dì Scaria, Stuckateure 1650-1750 im Gebiet der Bundesrepublik Deutschland Artisti dei laghi, Itinerari europei, voi.2, Lugano, 1997, p. 127, mit Ausnahme von Altbayern, Schwaben und der Oberpfalz Lucia Pedrini Stanga, / Colomba di Arogno, Artisti dei in Arte e artisti dei laghi Lombardi II, Gli stuccatori dal laghi. Itinerari europei, voi. 1, Lugano, 1994. pp. 153-155. barocco al rococo, ed. by Edoardo Arslan, Como 1964, p. 143. Marco Dubini, l'Pacta ad artem', una fonte per la storia Discussion of Artis Sculptoriae vulgo stuccatoriae paradigmata dell'emigrazione, Col bastone e la bisaccia per le strade d'Europa, is based on copies held at the Bayerische Staatsbibliothek migrazioni stagionali di mestiere dall'arco alpino nei Munich, British Library, Landesbibliothek Fulda. Getty secoli XVI-XVIII, Bellinzona, 1991, pp.73-82. Ex info Research Center Malibu, Metropolitan Museum of Art New Anastasia Guardi, Goitfried Schäeffer / Gregor Peda, Der York (2), Museum für angewandte Kunst Vienna (MAK), Stephansdom zu Passati, Freilassing, 1996, p.42. Salzburg University Library, Swiss Federal Institute of Technology R.E.Kuhn, Der Thronsaal der himmlischen Herrlichkeit: Das Library Zürich (ETH). Victoria & Albert Museum and a Lebenswerk des Stukkator-Architekten Giovanni Pietro Magno partial set of five plates at the Irish Architectural Archive. im Würzburger St. Kiliansdom, Würzburg, 1981, p. 81-93. Baron Ludwig Döry, Die Mainzer Stuckateure der Bandl- Silvia A.Colombo / Simonetta Coppa 1997 (see ref.7), werkzeit, PhD Diss.Goethe Universität Frankfurt, 1953, Die pp. 132-147. Mainzer Stuckateure der Bandlwerkzeit, Mainzer Zeitschrift Laura Damiani-Cabrini, Le migrazioni d'arte, in Storia della 48-49, 1953-54. pp. 109-153, Die Stuckateure der Svizzera Italiana. Dal Cinquecento al Settecento, ed. by Bandlwerkzeit in Nassau und Hessen. Schriften des Historischen Raffaello Ceschi, Bellinzona. 2000, p.290. Museums Frankfurt-am-Main 7, 1954, Gemalte Raumdekorationen Herber Delwing / Reinhard Kallenbach. Kulturdenkmäler in Hessen von 1710 bis 1740, Schriften des in Rheinland-Pfalz, Denkmaltopographie Bundesrepublik, Historischen Museums Frankfurt-am-Main 10,1962. vol. 3/2, Stadt Koblenz, Innenstadt, Worms, 2004, p.9(). for a Ex info Anastasia Guardi. Archivio Diocesano Lugano, Register full image of the ceiling. of Baptisms, 16 Feb. 1676. Kurt Eitelbach. Johann Christophorus Sebastiani, ein kitr- Ursula Stevens, Francesco Pozzi, Mendrisio, 2007, passim, trierischer Hofbaumeister des 17.Jahrhunderts, PhD Diss., Edoardo Augustoni / Ivano Proserpi, Decorazione a Gutenberg University Mainz, 1950. p. 182. n. 18 stucco del Settecento nel Luganese e nel Mendrisiotto, Kunst The work began at Easter (23rd March 1704) and was com- 290 ZAK. Bund 70.1 left 4/2013 three stuccatori, 39 Illustrated in Fritz Arens, Maximilian von Welsch, Munich/ Dieted by November. It was executed by Die Zürich, 1986, p. 61. and a labourer. Baron Ludwig Döry, three quadrato» 40 Schlossraume Barbara Kutscher 1995(ee ref. 20), p. 52. Geschichte der Stiickierung der Philippsruher Hanauische 41 Ingrid Krusch, Andreas Schwarzmann, ein Stukkateur in in den Jahren 1706- 07. Neues Magazin für Fulda (1708-1739), Fuldaer Geschichtsblätter 69,1993, p.16. Geschichte 6, 1954, pp. 129-31. 1660-1800, Ferdinand Weber, Die Kurfürstliche Residenz zu Mannheim, 15 Bredo Grandjean, Stukarbejder 1 Danmark Worms. 2006, p. 186. Copenhagen, 1994, pp. 68-73. degli aitisi, 42 Archivio Diocesano Lugano, Lugano, Register of Marriages « Giuseppe Martinola, Lettere dai paesi transalpini 1963 p. I 2/4/1720, Register of Baptisms 31/7/1692. di Meride e dei villaggi vicini, Bellinzona, « from the Mug- 43 Ibid., Register of Baptisms, Lugano, 13/1/1721, 7/10/1723, " a member of the Agustoni family Auzoni was 10/10/1724. 14/7/1727. 14/9/1729, 30/8/1731, 9/6/1733, Ticino. http://www.tessinerkuenstler-ineuropa. gio Valley in 30/10/1734. ch/deu/mastri-a-deu.html letter from the 44 Archivio Diocesano Lugano, Register of Deaths, Lugano, ls In June 1708 Pozzi delivered to Lugano a on May 27 15/6/1729. Stefano Melchion written in Münster stuccatore 45 LWL-Archivamt für Westfalen, Münster, Fürstliches Archiv Giuseppe Martinola 1963 (see ref. 16). p.86. ' Kunst¬ Bad Karten, Nr. 1-2. » 'sampelnden Uhrmacher zun, Berleburg, Werner Schwarz, Vom 46 Augsburger Wolfgang Jahn, Stukkaturen des Rokoko. Sigmaringen. verleger: Jeremias Wolff und seine Nachfolger,™ bis zur 1990, pp. 357-59. Buchdruck und Verlagswesen von den Anfängen Janota, 47 Verena Friedrich, Rokoko in der Residenz. Würz.hurg, ed. by Helmut Gier / Johannes Gegenwart, Munich, 2004, p. 37, seeks to rationalise the large payment to Wiesbaden, 1997, pp.587-619. DeeterS Baumel77 'Bozy' which is overlooked by most other sources. » Barbara Kutscher, ftw/ 4S Studies, Series xxvi.i, Max Pfister, Repertorium der Tessiner Künstler: der grösste ter' 1711/1716, European University ^f^ vergessene Kulturbeitrag der Schweiz an Europa, Thalwil. Vol.241, Frankfurt, 1995,passim. from he 1994, 2 volumes, vol.2, unpaginated; Ursula Stevens, www. « Andrea Spiriti, £»8 est percipi: stucco sculptors Ireland m Decora ve artisti ticinesi-ineuropa.eh Lombard lakes in eighteenth-century 49 and the early Staatsarchiv Marburg. Rechnungen II Johannisberg 1716- Plasterwork in Ireland and Europe: Ornament Lucey, 1729,21:3, series of payments to 'stocator Bozy'. ed. Casey / Conor modern interior, by Christine 511 Mathias Staschull, Antonio Bossi: Werktechnik an stuck¬ Dublin, 2012, p. 82. the are arenre In plastischen Ausgestaltungen der Residenz. Würzburg das « Instances of direct transcription from plates - the Castelli workshop Beispiel Kaisersaal, in Stuck des 17. und 18.Jahrhunderts the opening decades of the century, at Oran.cnstein and Geschichte-Technik-Erhaltung, ed. by Jürgen Pursche, employed similar compositional devices Pozzi's designs codify practice ICOMOS, Berlin, 2010, p. 112. Neuwied and it is clear that 51 Christine Casey, New light on the court chapel at Wiirzburg in rather than offering novel exemplars. Research Centre Mahbu, the Christine Casey / Conor Lucey 2012 (see ref.21), pp.240-253. * m the bound copy at the Getty 52 Wolfgang Jahn 1990 (see ref.46). p.203,n.451, cites a source 7 and 8 is reversed. order of plates of 1765,'Bossi sei vorher in Mainz Professor Peter Fuhr.ng tor his gener¬ beschäftigt gewesen'. « I most grateful to 53 am Baron Ludwig Döry 1953 (see ref.3), p.37. on Pozzi's suite. - ous commentary 54 Jahn 231. book ceilings, composed ,n thestyk Wolfgang 1990 (see ref.46), p. * George Richardson,^ of 55 17-76 I am g ateful Christoph Niedersteiner, Donato Polli 1663-1738. Uno ofthe Antique Grotesque, London, passim. this example to my attent on. stuccatore ticinese a Norimberga, Muzzano, 1991, p. 30-31. to Conor Lucey for bringing sfi Gut Hohen Acknowledgments: Many thanks to Ursula Stevens, Barbara Barbara Rinn, Stuckdekoration in Lu^kow - Holland, Schloss Hohen Rinn, Anastasia Guardi, Professor Peter Fuhring, Christel und heute, ed. by Karin - gestern Lentz and Hans Michael Hangleiter for their comments, Luckow, 2003, pp. 48-56. Pa, ,S 1 - suggestions and photographs. Thanks also to Christian Algar, « Désiré Gu.lmard, Les maitres ornemanistes. « - Dr Rainald Franz. Pierina Hunziker. Beatrix Koll, Albina simile Amsterdam, 1968,P.330,PETERjESSEN,OcrO,/I«m« Kunsthandwerks sei, den, Mayer-Hungershausen, G.Lobe-Röder, Femke Speelbeig, Geschichte der Vorlagen des stich. Dr Marcus Stumpf and Lois White. Mittelalter, Berlin, 1920, p. 167. Sammlung 4030. » Berlin Kunstbibliothek. Ornament of Prints & Draw- - Metropolitan Museum of Art, Department ings, 65.654.117. réf. IJU. CREDITS 30 Baron Ludwig Döry uj54 (see 14), p. Stuckarbeiten in Ellwan¬ »» Ludwig Mangold, Stuccatore,, und 24-39. Figs. 1, 4, 5, 6: Reproduced courtesy of the Irish Architectural gen, Stuttgart, 1938, pp. Schloss, Idstein, 1994. pp. 85-86. Archive. « Chris, Leni -z. Idsteiner ,,,„,„,„, el E/fe «r4 Fig. 3: Reproduced of Staatliche Schlösser und Gärten « Rinn, //«//cm'-vc/ic »«**«*«« zw»*«! courtesy Barbara Hessen. Ostsee, Kiel, 1999. p. 26. 16), p.20. Fig. 7: Reproduced courtesy of Berlin Kunstbibliothek, Ornament 34 Giuseppe Mari inoi a 1963 (see rei. 33 Sammlung. Ibid, p. 30. ¦ Schloss„ n-Biebrich,u u 130-nn Fig. 8: Metropolitan Museum of Art. New York. Ace. No. * Hessen Staatsarchiv Wiesbaden, 65.654.117. © Photo Scala Florence. 11-4081-278. Hausarchiv Vollrads in Fig. 9: Photograph courtesy of Hans Michael Flangleiter. ¦" Hessen Staatsarchiv Wiesbaden, Fig. 10: Reproduced courtesy of Staatsarchiv Hessen. Wiesbaden. and 11: the « (see ref.32), hgs.27-2, 56-59. Fig. Reproduced courtesy of Pestalozzi Schule, Idstein. Hessen-Rheingau- Courtesy of Frau Christel Lentz. Dagmar Södf.r. Kulturdenkmäler im Fig. 12: of LWL-Archivamt SÄTaunus-Kreis H Altkreis Untertaunus, Denkmaitopographie Reproduced courtesy für Westfalen, 2003. pp.387-391. Münster. Bundesrepublik Deutschland, Stuttgart. correct. Fig. 13: Bildarchiv Monheim. The picture captions in Lentz are 291 ZAK. Bund 70. lieft 4/2013 ZUSAMMENFASSUNG RIASSUNTO Der Tessiner Carlo Maria Pozzi (1676 Lugano - 1747) war der Carlo Maria Pozzi (1676-1747) è stato l'unico stuccatore della einzige stuccatore seiner Generation, der Radierungen als sua generazione a utilizzare incisioni come bozze per l'esecuzione Vorlagen für die Gestaltung von Stuckaturen fertigte. Als Zeitgenosse delle sue stuccature. Contemporaneo di Diego Francesco von Diego Francesco Carloni (1674-1750) und Donato Carloni (1674-1750) e di Donato Giuseppe Frisoni (1683-1735), Giuseppe Frisoni (1683-1735) war er ein viel beachteter Künstler; Pozzi era a suo tempo molto apprezzato. Ciononostante la sua die aktuelle Forschung bringt ihm hingegen nunmehr wenig carriera è stata pressoché ignorata dagli studiosi moderni. Il Aufmerksamkeit entgegen. Der vorliegende Artikel beleuchtet saggio riassume gli aspetti salienti della biografìa dell'artista einige Aspekte der Biografìe Pozzis und trägt wesentlich zu aggiungendovi informazioni importanti ai fini della comprensione unserem Verständnis seiner späten Karriere bei. Aufbauend della sua opera. Partendo dalle ricerche compiute dal auf den Forschungen Baron Ludwig Dörys aus den 1950er Barone Ludwig Döry a metà del XX secolo, il saggio illustra Jahren kommen im Beitrag neues Material aus Primärquellen del materiale supplementare, ripreso da fonti primarie e da una sowie eine Reihe von deutschen und italienischen Forschungsergebnissen serie di ricerche compiute da studiosi tedeschi e italiani. Inoltre zur Sprache. Pozzis Artis sculptoriae vulgo stuccatoriae tratta le Artis sculptoriae vulgo stueeatorie paradigmata di paradigmata (Augsburg. 1708) wird in Zusammenhang Pozzi (Augsburgo, 1708) in relazione ai disegni per la decorazione mit veröffentlichten Entwürfen für Decken-Ornamente und di un soffitto e ai progetti realizzati dallo stesso Pozzi. Un den eigenen ausgeführten Projekten des Künstlers diskutiert. altro aspetto esaminato dal saggio è il rapporto fra il lavoro di Ebenso werden die Bezugspunkte der Arbeit Pozzis mit den Pozzi e quello di Antonio Bossi, e i nuovi aspetti che ne emergono Werken Antonio Bossis herausgearbeitet, was weitere Fragen sulla formazione degli stuccatori do Würzburg. zur Ausbildung der Würzburger Hofstuckateure aufwirft. RESUME SUMMARY Carlo Maria Pozzi (1676-1747) fut le seul stuccatore de sa Carlo Maria Pozzi (1676-1747) was the only stuccatore of his génération à avoir réalisé des gravures servant de modèles à des generation to publish engraved designs for plasterwork decoration. décorations en stuc. Contemporain de Diego Francesco Carloni A contemporary of Diego Francesco Carloni (1674-1750) (1674-1750) et Donato Giuseppe Frisoni (1683-1735), Pozzi and Donato Giuseppe Frisoni (1683-1735), Pozzi was much connut un grand succès de son vivant, mais n'a étonnamment acclaimed in his day but his career has received surprisingly que peu retenu l'attention de la recherche moderne. La présente little attention from modern scholars. This article establishes contribution s'intéresse tout particulièrement à la biographie de the facts of Pozzi's biography and adds significantly to our Pozzi et nous permet de mieux cerner les dernières années de understanding of his late career. Building on the mid twentieth- sa carrière professionnelle. Reposant sur les recherches menées century research of Baron Ludwig Döry, it adds new material par le baron Ludwig Döry au milieu du XXe siècle, elle ajoute from primary sources and from a range of German and Italian une nouvelle documentation provenant de sources primaires et scholarship. Pozzi's Artis sculptoriae vulgo e stuccatore de différentes études réalisées en Allemagne et en Italie. Le paradigmata (Augsburg, 1708) is discussed in relation to published texte de Pozzi Artis sculptoriae, vulgo stuccatoriae paradigmata designs for ceiling ornament and to his own executed schemes. (Ausgsbourg, 1708) est analysé en relation avec les dessins The relationship of Pozzi's work to that of Antonio Bossi is also publiés par le stucateur pour la décoration de plafonds et discussed, raising new questions about the training of the Würzburg les projets qu'il a personnellement réalisés. Le rapport entre Hofstukkateur. l'œuvre de Pozzi et celle d'Antonio Bossi est également étudié, soulevant de nouvelles questions à propos de la formation des stucateurs actifs auprès de la cour de Wurtzbourg. 292 ZAK. Blind 70.1 liait 4/2013