Investigating and Writing Architectural History: Subjects, Methodologies and Frontiers

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. Fortified Palaces in Early Modern Europe, 1400–1700, 33 English editing Layout Pieter Martens, Konrad Ottenheym, Nuno Senos Adrian Forty Elisa Bussi 1.1.1 Fortified Palaces inE arly Modern Sicily: Models, Image Strategy 35 Josephine Kane Functions, Emanuela Garofalo, Fulvia Scaduto Susan Klaiber Copyright 1.1.2 The Castrum Sanctae Crucis in Cremona: From FortifiedC astle 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 FortifiedV illas in the County of Gorizia, 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 Baroque Architecture Studies Fifty Years On, 92 Susan Klaiber 1.2.1 The Exchange of Architectural Models between Rome and Turin 94 before Guarini’s Arrival, Marisa Tabarrini 1.2.2 Guarino Guarini: 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 1.3. On the Way to Early Modern: Issues of Memory, Identity and 130 2.3. Layers of Meanings: Narratives and Imageries of Architecture, 259 Practice, Open Session, Valérie Nègre Open Session, Cânâ Bilsel 1.3.1 Quadrature and Drawing in Early Modern Architecture, Lydia M. Soo 131 2.3.1 The Plan as Eidos: Bramante’s Half-Drawing and Durand’s marche, 260 1.3.2 Some Observations on Andrea Palladio, Silvio Belli and the Theory 132 Alejandra Celedon Forster of Proportion, Maria Cristina Loi 2.3.2 ‘What do Pictures Really Want’? Photography, Blight and Renewal 271 1.3.3 Moralizing Money through Space in Early Modernity, Lauren Jacobi 144 in Chicago, Wesley Aelbrecht 1.3.4 Staging War in Maghreb: Architecture as a Weapon by the 1500s, 152 2.3.3 Content, Form and Class Nature of Architecture in the 1950s-China, 272 Jorge Correia Ying Wang, Kai Wang

1.4. Architects, Craftsmen and Interior Ornament, 1400–1800, 153 2.4. Architecture, Art, and Design in Italian Modernism: Strategies of 283 Christine Casey, Conor Lucey Synthesis 1925-60, Daniel Sherer 1.4.1 Architecture Before the Architects: Building S. Theodore’s 154 2.4.1 ‘Fantasia degli Italiani’ as Participatory Utopia: Costantino Nivola’s 285 Chapel of S. Mark’s Basilica in Venice, 1486-93, Maria Bergamo Way to the Synthesis of the Arts, Giuliana Altea 1.4.2 Decoration in Religious Architecture of the Eighteenth Century 163 2.4.2 Carlo Mollino’s Enchanted Rooms: Face-to-Face with Art in a 296 in the South Eastern Part of Central Europe, Dubravka Botica Company Town, 1930-60, Michela Comba 1.4.3 Architects of the Islamic Work and Phrasing Concepts in Geometry, 174 2.4.3 The Logics of arredamento: Art and Civilization 1928-36, 307 Mohammad Gharipour, Hooman Koliji Ignacio González Galán 1.4.4 Architects, Craftsmen and Marble Decoration in Eighteenth-Century 183 2.4.4 The Synthesis of the Arts as a Critical Instrument for Modern 308 Piedmont, Roberto Caterino, Elena di Majo Architecture. The Role of Ernesto Nathan Rogers: 1944-49, Luca Molinari 2.4.5 Gio Ponti’s Stile, Cecilia Rostagni 316

2. Representation and Communication 2.5. The Medium is the Message: The Role of Exhibitions and 326 Periodicals in Critically Shaping Postmodern Architecture, 2.1. Public Opinion, Censorship and Architecture in the Eighteenth 195 Veronique Patteeuw, Léa Catherine Szacka Century, Carlo Mambriani, Susanna Pasquali 2.5.1 Charles Moore’s Perspecta: Essays and Postmodern Eclecticism, 328 2.1.1 Public Opinion in Amsterdam: Building the Society Felix Meritis, 197 Patricia A. Morton Freek Schmidt 2.5.2 Between Language and Form: Exhibitions by Reima Pietilä, 1961-74, 329 2.1.2 An Architect’s Reputation: Libel and Public Opinion in Britain, 208 Eeva-Liisa Pelkonen Timothy Hyde 2.5.3 Bau Magazine and the Architecture of Media, Eva Branscome 330 2.1.3 Theater Acoustics in the Late Eighteenth-Century Press, Joseph Clarke 218 2.5.4 Entertaining the Masses: IAUS’s Economy of Cultural Production, 331 Kim Förster 2.2. The Published Building in Word and Image, 229 Anne Hultzsch, 2.5.5 Image, Medium, Artifact: Heinrich Klotz and Postmodernism, 332 Catalina Mejia Moreno Daniela Fabricius 2.2.1 Catalogues and Cablegrams, Mari Lending 231 2.2.2 Illustrated Picturesquely and Architecturally in Photography – 232 William Stillman and the Acropolis in Word and Image, Dervla MacManus, 3. Questions of Methodology Hugh Campbell 2.2.3 Lost for Words: How the Architectural Image Became a Public 233 3.1. Producing Non-Simultaneity: Construction Sites as Places of 335 Spectacle on Its Own, Patrick Leitner Progressiveness and Continuity, Eike-Christian Heine, Christian Rauhut 2.2.4 In Wort und Bild: Sigfried Giedion, Walter Gropius and the Fagus 242 3.1.1 Mixing Time: Ancient-Modern Intersections along the Western 336 Factory, Jasmine Benyamin Anatolian Railways, Elvan Cobb 2.2.5 Juxtapositions and Semantic Collisions of Text and Image in 247 3.1.2 Steel as Medium. Constructing WGC, a Tallish Building in Postwar 347 Architectural Magazines of the 1920s and 1930s, Hélène Jannière Sweden, Frida Rosenberg

4 5 3.1.3 Between Technological Effectiveness and Artisanal Inventiveness: 355 3.5.3 Architecture’s Red Tape: Governmental Building in Sweden 539 Concreting Torres Blancas (1964–69), Marisol Vidal 1964-72, Erik Sigge 3.1.4 The Glocal Construction Site and the Labour of Complex Geometry, 366 3.5.4 Provisional Permanence: the NATO Headquarters in Brussels, 549 Roy Kozlovsky Sven Sterken 3.5.5 The Jewish Agency for Israel - the Constructions of a Civic Frontier 559 3.2. The Historiography of the Present, Andrew Leach 376 in Tel Aviv (1955-66), Martin Hershenzon 3.2.1 Proclaiming the End of Postmodernism in Architecture, 378 Valéry Didelon 3.6. Revolutionizing Familiar Terrain: The Cutting Edge of Research 573 3.2.2 Architectural Discourse and the Rise of Cultural Studies, Antony Moulis 387 in Classical Architecture and Town-planning, Round Table, Daniel Millette, 3.2.3 After Nature: Architectural History and Environmental Culture, 395 Samantha Martin-McAuliffe Daniel Barber 3.6.1 Residency Patterns and Urban Stability: A Theory for Republican 574 3.2.4 Looking Back, Looking Now: Architecture’s Construction of History, 406 Rome, Lisa Marie Mignone Inbal Ben-Asher Gittler, Naomi Meiri-Dann 3.6.2 The Pompeii Quadriporticus Project 2013: New Technologies and 581 3.2.5 Radical Histories and Future Realities – NOW, Lara Schrijver 416 New Implications, Eric Poehler 3.6.3 Reconstructing Rhythm: Digital Modelling and Light at the Parthenon, 587 3.3. On Foot: Architecture and Movement, David Karmon, Christie Anderson 424 Paul Christesen, Aurora Mc Clain 3.3.1 Porticoes and Privation: Walking to Meet the Virgin, Paul Davies 426 3.6.4 The Urban Development of Late Hellenistic Delos, Mantha Zarmakoupi 593 3.3.2 Defining theB oundaries of London: Perambulation and the City in 437 3.6.5 Classical Architecture, Town Planning and Digital Mapping of Cities: 599 the Long Eighteenth Century, Elizabeth McKellar Rome AD 320, Lynda Mulvin 3.3.3 Walking through the Pain: Healing and Ambulation at Pergamon 448 3.6.6 Digital Modelling in the Sanctuary of the Great Gods on Samothrace 607 Asklepieion, Ece Okay Bonna D. Wescoat 3.3.4 Raymond Unwin Tramping the Taskscape, Brian Ward 460

4. Theoretical and Critical Issues 3.4. ‘Bread & Butter and Architecture’: Accommodating the Everyday, 477 Ricardo Agarez, Nelson Mota 4.1. Histories of Environmental Consciousness, Panayiota Pyla 617 3.4.1 Humdrum Tasks of the Salaried-Men: Edwin Williams, a LCC 479 4.1.1 Environmental Counter Narratives in India c. 1960, Ateya Khorakiwala 619 Architect at War, Nick Beech 4.1.2 We Want to Change Ourselves to Make Things Different, 629 3.4.2 Third Text: Albert Kahn and the Architecture of Bureaucracy, 492 Caroline Maniaque Benton Claire Zimmerman 4.1.3 Zoo Landscapes and the Construction of Nature, Christina 640 3.4.3 The Architect, the Planner and the Bishop: the Shapers of ‘Ordinary’ 493 Katharina May Dublin, 1940-70, Ellen Rowley 4.1.4 Experiments on Thermal Comfort and Modern Architecture: 651 3.4.4 Layers of Invisibility: Portuguese State Furniture Design 1940-74, 501 The Contributions of André Missenard and Le Corbusier, Ignacio Requena Ruiz, João Paulo Martins, Sofia Diniz Daniel Siret 3.4.5 Bureaucratic Avant-Garde: Norm-Making as Architectural Production, 514 4.1.5 The United Nations Headquarters and the Global Environment, 663 Anna-Maria Meister Alexandra Quantrill

3.5. The Architecture of State Bureaucracy: Reassessing the Built 515 4.2. Architecture and conflict, c. 300 – c. 1600, Lex Bosman 664 Production of (Colonial) Governments, Rika Devos, Johan Lagae 4.2.1 The Palace Hall of Chrysotriklinos as an Example of Emulation and 666 3.5.1 SOM, 1939-46: From ‘Engineered Dwelling’ to the Manhattan 517 Contestation in the Early Byzantine Period, Nigel Westbrook Project, Hyun-Tae Jung 4.2.2 Building Identity and Community in the Post-Crusade Greece: 683 3.5.2 Unmonumental Buildings, Monumental Scale: Santiago Civic District, 527 The Architecture of Interaction in the Thirteenth-Century Peloponnesos, Daniel Opazo Heather E. Grossman

6 7 4.2.3 Sienese Fortifications in the Age of the Guelph Commune, 684 5. Twentieth Century Max Grossman 4.2.4 ‘Faciendo sette et sedicion’: Architecture and Conflict in 697 5.1. In-Between Avant-Garde Discourse and Daily Building Practices: 795 Sixteenth-century Verona, Wouter Wagemakers The Development of the Shopping Centre in Post-War Europe, 4.2.5 Political Power through Architectural Wonder. Parma, Teatro 706 Tom Avermaete, Janina Gosseye Farnese, Susanna Pisciella 5.1.1 Shopping à l’américaine in the French New Towns, Kenny Cupers 797 5.1.2 From Million Program to Mall: Consumerism in the Swedish Town 798 4.3. How It All Begun: Primitivism and the Legitimacy of Architecture 715 Centre, 1968-84, Jennifer Mack in the Eighteenth and Nineteenth Centuries, Maarten Delbeke, Linda 5.1.3 Reinventing the Department Store in Rotterdam: Breuer’s Bijenkorf 799 Bleijenberg, Sigrid de Jong; Respondent: Caroline van Eck 1953-57, Evangelia Tsilika 4.3.1 On the Colonial Origins of Architecture: Building the ‘Maison Rustique’ 717 5.1.4 Chilean Commercial Snail Buildings: Typology, Shopping and the City, 812 in Cayenne, French Guiana, Erika Naginski, Eldra D. Walker Mario Marchant 4.3.2 Out of the Earth: Primitive Monuments between Prehistoric and Gothic 718 5.1.5 Building European Taste in Broader Communities: The Role of the 824 Ambitions, Jennifer Ferng David Jones Stores in the Promotion of Design and Architecture in Australia, 4.3.3 Viel de Saint-Maux and the Symbolism of Primitive Architecture, 727

Cosmin C. Ungureanu Silvia Micheli 4.3.4 Primitivism’s Return: Theories of Ornament and Their Debt to 728 5.2. Ideological Equality: Women Architects in Socialist Europe, 833 Eighteenth-century Antiquarianism, Ralph Ghoche 4.3.5 Cultural Transformations and Their Analysis in Art and Science: 729 Mary Pepchinski, Mariann Simon Anthropological and Curatorial Concepts Stimulated by the Great Exhibition 5.2.1 GDR Women Architects between Emancipation and Professional 835 of 1851, Claudio Leoni Obstinacy, Harald Engler 5.2.2 Women in Hungarian Industrial Architecture between 1945 and 846 4.4. Socialist Postmodernism: Architecture and Society under Late 730 1970, Péter Haba Socialism, Vladimir Kulić 5.2.3 Famous or Forgotten: Women Architects in Communist Poland, 855 4.4.1 A Dialectic of Negation: Modernism and Postmodernism in the 732 Piotr Marcinak USSR, Richard Anderson 5.2.4 Emancipated, but Still Accompanied, Henrieta Moravˇcíková 867 4.4.2 When Tomorrow Was Cancelled: Critique of Modernism in the 733 5.2.5 Female Students of Jože Pleˇcnik between Tradition and Modernism, 876 1970s, Daria Bocharnikova, Andres Kurg Tina Potoˇcnik 4.4.3 The Friedrichstadt Palace, Florian Urban 734 4.4.4 Neither Style, nor Subversion: Postmodern Architecture in Poland, 735 5.3. Missing Histories: Artistic Dislocations of Architecture in Socialist 885 Lidia Klein, Alicja Gzowska Regimes, Srdjan Jovanovic Weiss, Carmen Popescu 4.4.5 Sources of Postmodern Architecture in Late Socialist Belgrade, 736 5.3.1 Scene(s) for New Heritage?, Dubravka Sekulić 887 Ljiljana Blagojević 5.3.2 Radical Space for Radical Time: The Intersections of Architecture 888 and Performance Art in Estonia, 1986–91, Ingrid Ruudi 4.5. Histories and Theories of Anarchist Urbanism, Nader Vossoughian 747 5.3.3 Appropriation, Commemoration, and Resistance: A Shifting Discourse 898 4.5.1 The Legacy of the Anti-urban Ideology in Bruno Taut’s Architectural 748 on Political Space in Socialist China, Yan Geng Practice in Ankara (1936-8), Giorgio Gasco, Meltem Gürel 4.5.2 Henri Lefebvre’s Vers une architecture de la jouissance (1973): 760 5.3.4 ‘Our House’: The Socialist Block of Flats as Artistic Subject-Matter, 908 Architectural Imagination after May 1968, Łukasz Stanek Juliana Maxim 4.5.3 City of Individual Sovereigns: Josiah Warren’s Geometric Utopia, 761 Irene Cheng 5.4. The Third Life of Cities: Rediscovering the Post-Industrial City 910 4.5.4 Architectural Aporia of the Revolutionary City, Peter Minosh 771 Centre, Round Table, Davide Cutolo, Sergio Pace 4.5.5 ‘Housing Before Street’: Geddes’ 1925 Anarchist Plan For Tel Aviv, 780 5.4.1 When Turin Lost Its Myths, Cristina Accornero 912 Yael Allweil 5.4.2 The Case of Paris, Joseph Heathcott 916

8 9 5.4.3 Prague – Buildings, Spaces and People in its Re-discovered Centre, 920 6.2.3 Foundations of Renaissance Architecture and Treatises in Quentin 1072 Petr Kratochvíl Massys’ S. Anne Altarpiece (1509), Jochen Ketels, Maximiliaan Martens, 5.4.4 Turin to Naples, Stopping in Milan: Urban Transformations between 925 6.2.4 An Invented Order: Francesco di Giorgio’s Architectural Treatise 1084 Heritage and Theme Parks, Guido Montanari and Quattrocento Practice, Ageliki Pollali 5.4.5 Rediscovering a Port-City: Genoa’s New Waterfront, Luca Orlandi 932 6.2.5 Donami tempo che ti do vita – Francesco Laparelli (1521-70). 1085 5.4.6 A Return to Growth, Ted Sandstra 940 Envisioning the New ‘City of the Order’, Valletta, Conrad Thake

5.5. Strategies and Politics of Architecture and Urbanism after WWII, 941 6.3 European Architecture and the Tropics, Jiat-Hwee Chang 1095 Open Session, Adrian J. Forty 6.3.1 The Afro-Brazilian Portuguese Style in Lagos, Ola Uduku 1097 5.5.1 From Visual Planning to Outrage: Townscape and the Art of 942 6.3.2 Tectonics of Paranoia: The Matshed System within the First 1098 Environment, Mathew Aitchison Fabrication of Hong Kong, Christopher Cowell 5.5.2 Germany’s ‘Grey Architecture’ and its Forgotten Protagonists, 953 6.3.3 Architecture of Sun and Soil. European Architecture in Tropical 1119 Benedikt Boucsein Australia, Deborah van der Plaat 5.5.3 Process Above All: Shadrach Woods’ NonSchool of Villefranche, 964 6.3.4 Health, Hygiene and Sanitation in Colonial India, Iain Jackson 1131 Federica Doglio 6.3.5 Climate, Disaster, Shelter: Architecture, Humanitarianism and the 1141 5.5.4 Sacred Buildings in Italy after World War II: The Case of Turin, 976 Problem of the Tropics, Anooradha Iyer Siddiqi Carla Zito 5.5.5 Architecture Resisting Political Regime: The Case of Novi Zagreb, 986 Dubravka Vranic 6.4 Lost (and Found) in Translation: The Many Faces of Brutalism, 1142 Réjean Legault 6.4.1 When Communism Meets Brutalism: The AUA’s Critique of 1144 6. Circulation of Architectural Culture and Practices Production, Vanessa Grossman 6.4.2 Gravitas and Optimism: The Paradox of Brutalism in Skopje, 1145 6.1. Afterlife of Byzantine Architecture in the Nineteenth and 1007 Mirjana Lozanovska Twentieth Century, Aleksandar Ignjatovic 6.4.3 Bringing it All Home: Australia’s Embrace of ‘Brutalism’ 1955-75, 1146 6.1.1 Suburban Byzantine: Tradition and Modernity in the British Catholic 1009 Philip Goad Church, Robert Proctor 6.4.4 African Ethic, Brutalist Aesthetic: Vieira da Costa in Huambo, 1158 6.1.2 To Find the Right Style: Byzantine Revival Synagogues in America, 1010 Ana Tostões, Margarida Quintã Michael B. Rabens 6.4.5 Hard Cases: Bricks and Bruts from North to South, 1159 6.1.3 France-Byzantium: The Authority of the Sacré-Cœur, 1019 Jessica Basciano Ruth Verde Zein 6.1.4 Architectural Explorations of Byzantine Revival in 1920s Greece, 1031 Kalliopi Amygdalou 6.5 Southern Crossings: Iberia and Latin America in Architectural 1160 Translation, Marta Caldeira, Maria Gonzaléz Pendás 6.2. Building by the Book? Theory as Practice in Renaissance 1042 6.5.1 Southern Readings: Lucio Costa on Modern Architecture, 1162 Architecture, Francesco Benelli, Sara Galletti Carlo Eduardo Comas 6.2.1 ‘Restauramenti e Restitutioni di Case’. Book VII on Architecture by 1044 6.5.2 Avant-Garde Crossings between Italy, Argentina and Spain: From 1174 Serlio and the Dissemination of Classical Order in the Language of Gropius and Argan to Nueva Visión and Arte Normativo, Paula Barreiro López Monumental Architecture and Basic Building in Ferrara, Alessandro Ippoliti, 6.5.3 Shells Across Continents, Juan Ignacio del Cueto Ruiz-Funes 1175 Veronica Balboni 6.2.2 ‘Libri tre nei quali si scuopre in quanti modi si può edificare vn 1058 6.5.4 Emili Blanch Roig and Modern Architecture: Catalonia and Mexico, 1180 Monast. sÿ la Chiesa’: Architectural Treatise of Capuchin Friar Antonio da Gemma Domènech Casadevall Pordenone, Tanja Martelanc 6.5.5 Re-entry: Antonio Bonet’s Return to Spain, Ana Maria León 1186

10 11 7.1 Architectural History in Italian Doctoral Programs: Issues of Theory and Criticism, PhD Round Table, Mary McLeod, Maristella Casciato 7.1.1 Meyer and Paulsson on Monumentality: The Beginning of a Debate, 1198 1911-40, Giacomo Leone Beccaria 7.1.2 A relational issue: towards an international debate on habitat from 1200 the 9th Congrès International d’Architecture Moderne, Giovanni Comoglio 7.1.3 The Urban Landscape as Cultural Heritage. The Contemporary 1203 Debate in France and Italy, Elena Greco 7.1.4 ‘A Home’: Östberg’s search for the total artwork, Chiara Monterumisi 1205 7.1.5 Order and Proportion: Dom Hans van der Laan and the 1207 Expressiveness of the Architectonic Space, Tiziana Proietti 7.1.6 The Use of the Convenzioni Urbanistiche in the Historic Centre 1209 Investigating and Writing Architectural History: of Milan: Negotiation and Planning Instruments in the Second Post-War Subjects, Methodologies and Frontiers Period, Nicole De Togni

7.2 Architectural History in Italian Doctoral Programs: Histories of Buildings, Architects and Practices, PhD Round Table, Mari Hvattum 7.2.1 Ahmedabad. Workshop of Modern Architecture: The National 1213 Institute of Design, Elisa Alessandrini 7.2.2 Transformations of Public Space in Paris. From Infrastructure to 1215 Forme urbaine, Daniele Campobenedetto 7.2.3 Layers of Narration: The Architecture of Piero Bottoni in Ferrara, 1217 Matteo Cassani Simonetti 7.2.4 Architecture that Teaches. Swiss School Buildings During the 1950s 1219 and 1960s, Marco Di Nallo 7.2.5 Star-Shaped Rib Vaulting in the Church of San Domenico, Cagliari, 1221 Federico M. Giammusso 7.2.6 The Evolution of Domestic Space in Southern Italy and Sicily, 1223 Serena Guidone 7.2.7 From the South. Ernesto Basile’s Routes and Destinations, 1225 Eleonora Marrone 7.2.8 The Wilhelm Lehmbruck Museum, Paradigm of Modern Architecture 1227 in Postwar Germany, Benedetta Stoppioni 7.2.9 Magnificentia. Devotion and Civic Piety in the Renaissance 1229 Venetian Republic, Emanuela Vai

12 1. early modern (Princeton, Translations withAdditions] ( Abul-Wafaplied Geometry Al-Buzjani[Farsi and 2 al- 1992). 1 are viewedasinseparablecompanionsonedifices. within Mirza, thenineteenthcentur mode. was embellished by ornaments and scripted notes through the geometric ence, andaspiritualaspectwhichexpressedphilosophicalconcepts apragmatic dimensionthatalsoabidedbytherulesofengineeringandsci- stages ofdesign. Inscriptions becameanintegralpar union ofbothaspects. roush Publications, 5 Ibn haghi). the in IslamicArchitecture( 4 Princeton (Princeton, an IntroductiontoHistory 3 from Farsiby G The 182 etty Gu O Ibn Khaldun et al., leg H Topkapi and Ornament Scroll: Geometry lru A B umanities, lireza C A uzjani, G the space of inscriptions. With no scalar distinction, script andspace the space of inscriptions. With enter forthe N rabi, T rabar, TheMediationofOrnament ecipoglu andMohammad he totalityofthespaceis,then,definedassubtleandseamless U NJ niversity Press,1969). J Al Futuhat,quotedin H azbi, : Princeton A ooman Koliji. bu al-W 1995), 177 (from al- Persian Geometry: Ap- Persian Geometry:

T 2005). his iswelldemonstratedthrough H S The Muqaddimah, istor anta Monica, afa Muhammad, U niversity Press, y of T ehran: T ranslation y qjararchitect. A A r l- S t and A amer sad, B S CA NJ or ay : : t oftheconceptionspaceatfirst - - from and life. ciated omran (lit.scienceofthesociety)andasso - Khaldun (1332-1406)mentionedofilmal- ing bringinglifeandwatertoaplace.Ibn shares asemanticrootwithomranmean- ments for people of arid lands. bounds, an act of conceiving built environ- magical workwithgeographicalandsocietal however, contextualizedthearchitect’s Mystical Ideas( modern Islam:AnArchitecturalReadingof A bring alonglifeto aplace. jective, conveysapersonwhoendeavors to life, ortolivealonglife.Me’mar, 6 N kkach, ew T he prevalentuseof Y the root a.m.rindicating prolonging ork Press,2005),69. omran withunderstandinghumanity T Cosmology andArchitectureinPre B he space(asplan)isdrawn oth ofthesetermsarederived A the drawingsof lbany: A rabic term S tate U niversity of Me’mar, Me’mar A an ad- kbar - Independent scholar aesthetic with otherdecorators(paintersorplasterers)ableto reproduce thesame to anarchitecturalconceptionofspaceandform,sometimes collaborating between therepresentational E Independent scholar, Italy R 1.4.4 Marble, decoration, architects, stonemasons, altars,Piedmont Marble, decoration, architects, K the on the collaboration between the by scholars,willbeconsideredthroughindividualcase studies withafocus polychromy, ried trons communicatedtheirdesignideas.While by the paper: didarchitectsand‘marmorari’influenceeach other? related toexperiences,territoriesandlocalhistories, isthefocusofthis models, andchoosingfurnishingthemarblestobeused. workshop ofstonemasons(marmorari)bypresentingtopatronstheirown the designandpreciseinstructions,orwasindependentlyexecutedbya tion was either realized under the direction of an architectwho provided interiors, intheformoffloors,balustradesandaltars. T in royalresidences(suchasthe quality asapreciousmaterial.FollowingtheexampleofFilippo decoration thankstoitschromaticandornamentalvaluesasmuch role in interior Piedmont, marble played an important In eighteenth-century A Piedmont Eighteenth-Century between thesetwoworksystems,thatgaverisetover patrons bothappreciatedanddemanded chitects exploredandexploitedthesepotentialitiesininteriordesign,while urin), marbledecorationachieveditshighestexpressioninecclesiastical lena oberto bstract eywords S on the workshop tradition, focusing on the decorative effect of marble on the workshop tradition, focusing on the decorative effect avoy cour Di Studio regioofarchitecturerevealshowworkmen,designersandpa - Majo A C qualities of marble at a lower cost. rchitects, CraftsmenandMarble rchitects, ater J uvarrian schoolarchitectstriedtoexploitthisqualityaccording t active in eighteenth-century Piedmont. t activeineighteenth-century i no , Italy techniques used by G L ombard alleria these materials. Widely employed these materials.Widely B eaumont by craftsmen and the architects of T his L ombard stonemasonscar topic, relatively neglected L ombard craftsmenand D T y different products y different B his kindofdecora ecoration in enedetto A comparison T J he meeting uvarra, ar A lfieri in 183 - - -

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this role,evendown t buildingsitesunder of

H the istorically

G architects iudices, the L ombardy B , crafts- ut this y, is , - - - fect andindicatethemarblestobeworked. sheet, combiningthepresentation drawingwiththeworking drawing. maximum amountofinformation traditional practiceofcolouringaltarprojectstostudy theornamentalef emphasis onformandshadow, atechnique high altarfortheparishchurchat no, a quadraturista. Pellagatta presentedadrawingpreparedbyhisfriendandcollaborator man. ordraughts- made upfortheirlackofdrawingskillswiththehelpanartist E ofacontractwithpatron. except whentheywerepart problem ofattribution,becausestonemasonsdidnotsigntheirownprojects execution oftheworkforwhichtheywereproduced.Moreover, thereisa architects: their‘function’wasoftenregardedasbeingexhaustedafterthe list ofmarbles‘marchaticonnumero.’ about theproject,includingdesignofbalustrade,scale,and so containinginasymmetricalimageonsinglepagealltheinformation (1770) combinestherighthalfofelevationwithleftplan, tion: forexample,thedesignmainaltarofQuarantiinMonferrato no standardgraphicconventionresultingindif mately, thequalityofmaterialstobeused. of thealtarelevation,usingwatercolourtoconnote,moreorlessapproxi- to create an effect stronglyfocusedontheornamentalproper to createaneffect fact, manyarchitectspreferred tocolourtheentireelevationofaltar marble. T tion ofeachelement. of simulate themarbles,andhalfshadedingreywashto suggestthevolume strictly geometricalscale,inplanandelevation,thealtar ishalfcolouredto explain andverifythecomplexworkofbuildingmarble altars:drawnina sequence ofsketches,adoptsaprecisenormativestandard topresent, sign forthehighaltarof of buildingcontrolandsiterationalizationto par graphic techniquesinordertocontroltheexecutionofaproject. U while stillreflectingthepracticesofworkshop. the stonemasons ighteenth centur his techniquewasadopted by nlike stonemasons who made the work they designed, architects refined the structure, to indicate the sequence of plans, and to note the posi - ticularly true of Filippo U rsulines at A t leastonecaseisdocumented:in1734,forthebalustradeof B ernardo G iacomo PellagattaandFrancesco V arallo (1766) may have been prepared by a different hand arallo (1766)mayhavebeenpreparedbyadifferent y V L 3 ittone, forexample, inhisdrawingsforthe chapelof ombard With this in mind, the exceptional design signed by With the 5

J uvarra combined orthographic projectionwithits uvarra combinedorthographic S J uperga (1729-30),tracedthroughanelaborate uvarra, stonemasons’ drawingsoftenpresentonlyhalf J regarding form and materials onasingle uvarra’s pupils,albeitnot exclusively. In T who introduced new practical methods icineto, thestonemason 2 Itisalsopossiblethatstonemasons H T ferent varietiesofrepresenta- is purposewastoprovidethe urin. Inthisway, thefinalde perfected in perfected U nlike architects,therewas C 4 olombara forthealtarof R ome, withthe C arlo ties ofthe T his was C 185 6 esare S ilvi S . - - -

1. early modern 1. early modern diglio, greyofFrabosa,andthewhitemarblePontForesto. at seravezza plied preciseinstructions. [una] mandorlaconlacornice attornogiallodi while theoculusinmiddle oftheurnunder A church wastobe‘didiaspro di marbletiles. that takestheformofdifferent ‘qualità de’marmidelPaesedaimpiegarsinellacostruzione’inalegend architect plannedtocovertheentirestructureinmarbleandsumsupeach design of1786by in architects’ metrical patterns,asillustrated by acollaboratorof panels T of thepilastersandframesforinteriordecoration ofthe itation of T esco Martinez’s drawingforthealtarof 1738, shows ornamental purposes:thebardiglioof ofnewvarieties stonewereimmediatelypromotedfor thediscovery tury to Piedmontandadaptedlocalstonetypes. the legends. toexplanatory ofmarblewithouthavingtoresort tal properties with watercolourtechniquesallowedarchitectstoreproducetheornamen- ment far superior to those produced by stonemasons. U A church in identification ofdif same. the compositionwasneoclassical, the graphicpresentationremained of thenewchurchat 1792, whenFilippo criminately. G oftheornamentalvocabular marble thathadbecomepart architects arerecorded:alabasterof the 186 he carethatsome architects devoted tothe proper executionoftheirwork he degreeofaccuracyinthesearchitect’s drawingsisnotlimitedtotheim- usefulhistoricalsourceforidentifyingmarblesisprovidedinanambitious nthony ofPaduaintheFranciscanchurch aressio, nder theinfluenceof S R trambino (nearIvrea)wasto beputinplace‘conlamacchiaobbliqua’, S oman studioofthearchitect . 9 V ; thatis,book-matchedmarbleslabscreatingsym- a macchiaaperta alerico altarinthe colours and grains, but is so precise as to suggest thelayingof of T seravezza urin. H L owever drawings reached levels of verisimilitude and aesthetic refine- imone forthebaseofside altarsofthenewparishchurch up on project sheets identified by a cerulean hue, as in Franc- 13

S ferent varietieswasbasedonasetofnormscodifiedin G imilar effects wereingreatdemand and architectssup- imilar effects of C iuseppe , the astelli presentedtheprojectforoneofsidealtars L J ivorno Ferraris(near L uvarra, therepresentationofpolychromemarbles imone (clearanddark), J C uvarrian arlo C V onsolata (1764) iana forthenewcivictowerat S A icilia segatoedispostoinmaniera cheformi ndrea C arlo Fontana,which model remained the most influential: in V B aldieri, forinstance,extractedafter R usca, greenof ana, forexample,orderedthatthe 11 S V uperga cr 8

ercelli), althoughthestyleof A usedbothtechniquesindis- V T erona’. ll themainvarietiesoflocal urin (about1750) D seravezza ofMoiola,bar- uring theeighteenthcen R osario altarinthesame J 15 uvarra intheshafts A ypt (about1774). S J

usa, uvarra introduced greater familiarity y ofPiedmontese T persichinoof urin: herethe SS 12 7 andfor . T rinità T he 14 10 -

the new parish church. S during thedesignphase. painted infauxmarbles:thismadeitpossibletoanticipatethefinishedresult same patronsmayalsohaveorderedtheexecutionofwoodenscalemodels, tual purpose, as attested at the time of certifying thework. tual purpose,asattestedatthetimeofcertifying marble decorationmotivatedpatronstotakeprecautions,requiringcrafts provided full size profiles to show how each part should be arranged. provided full size profiles to show how each part men tofollowthedetailedinstructionswrittenbyarchitects,whointurn patron. tantly, thetracesofdialoguethatexistedbetweenarchitect,craftsmanand reveal thenatureofconstructionprocessbutalso,andmoreimpor tassello, ciòrestaassaidif che secondol’illustrazionenonvolendosiammetterealcun benchéminimo for tenderssixmarblemantelpieces in thePalaceof of aframe,ortheveneercolumn.In1753,forinstance, whenacall technical detailsofallbuildingprojects:theshapeadecoration, theprofile with thearchitect forsomeadaptations. theless, in1781,thestonemason seem toleaveanyliber extremely detailedinstructions forthe in discussionandmodifyan architect’s originaldesign.Forexample, formal aspectsofadesign commission: alternativesolutionscouldemerge D it waseasiertocarve. the marblesspecified(thepersichinoand ‘ A T nounced, thestonemasonsraisedtechnicalconcerns; asanof was equivalent marbles forthechapel’ arrangement of of finisheddesigns,notinginthemarginsparticular by thearchitectin1781. marbleizing thechapel’s pedestalsandpilastersincludesinstructionsmade are recordedonthedrawings:apieceofpaperpinnedtodesignfor queried thearchitectfromtimetotime.Frequently, thesolutionsagreed of the lous designer, attentivetodetail:inthis,hewasaccordwiththetreasurer A trambino, forinstance,investeda rchitects andcraftsmennecessarilydiscussedthematerial aspectsand he ue totheirprofessionalexperience,craftsmenwereoften involvedinthe zienda FabbricheeFor

relationship R O osario association,whofolloweditsconstruction nce signedbyallthreepar to that of a demanding patron.

between 21 s altar(Figure1). 16 ty forthecraftsmancharged withmakingit;never tificazioni’ recorded,theyqueriedtheuseoftwo 20

R 18

ana, who prepared the plan, submittedavariety ficile’, andsuggestedinstead

hese drawings, rich in notesandreminders, architects ties, drawingsassumedaclearcontrac- S imone R tune inbuildingamarblechapelfor 17 osario chapelin T

echnical andpractical considera-

R and C ana wasundoubtedlyascrupu- atella cametoanagreement B

T usca alabaster),‘amotivo craftsmen he R osario V S aldieri marbleas V trambino donot assiduously and enaria wasan- T

association of he expenseof ficial ofthe R 187 19 ana’

T he s - - -

1. early modern 1. early modern sa dell’imno,esummoscapodidettelezenesarebbeforzosa di troppo’. ‘per laragionaddottadalpiccapietrechesarebberotropposvelte,egus- A T B ters forthecathedralat A B sions waslost. business suf In fact,despiteagrowingdemandfor to update their decorative language. pear to have embraced the opportunity in When thePellagattaswereobligedtofollowanarchitect’s guidelines,as to appearoutmoded,eveninthoseareastraditionallylinked to in the preciated at the middle of the century on thelanguageofarchitecturalorders. contour. byvegetalmotifs,andgeometricaldecorationswith amixtilinear articulated orate tablets,leavesandindentedsmallfestoons,softvolutes,longsteps T V across Piedmontand by the of marbledecorationinoutlyingareas(liketheMonferrato)wasdominated success. ence betweencraftsmenandarchitectswasoftencrucialforcommercial revealhowtherelationshipandmutualinflu in themid-eighteenthcentury T di marmo,secondochegiudicheràMonsù of‘qualchecosaodibronzo, tions inducedhimtoproposetheinsertion promote a formal repertoire loyaltotheiratelier’ promote aformalrepertoire or (Figure 2),inMoncalvounderthedirectionof style promotedbycour acterized byatastefordecorativeef lated thedecorativelanguage ofthearchitectstheyworkedfor( leaders inmarbledecoration simplybecausetheyunderstoodandassimi- little rosesinbronze. they weretoothinandfragilemightbreak–intheendselected the marblestarsdesignedbyarchitectforchapelfloorbecause 188 he architect he Pellagattasproducedtheirprojectsautonomously he professionallivesofsomestonemasonfamiliesintheeastPiedmont iggiù and lfieri, waswillingtomodifythedesignaccording lfieri, enedetto y wayofcontrast,another D in esana (1764)orin S t L L U uigi ombard atelierofthePellagattas,whoestablishedfiveworkshops O baldo U n theotherhand,forarchitects,designofanaltarwasbased A V ntil theearlydecadesofeighteenthcentur B ercelli). lfieri, consideredthemtoonarrowcomparedwiththecolumns. fered, and a family fortune accumulated overyearsofcommis- fered, andafamilyfortune arberis, L 25 uigi in A lessandria B 23 arberis, whosuper L G In1758,thestonecutterwhocreatednewpilas- ombardy (inMilano, t architects,thedesignsofstonemasons,widelyap- iovanni C alliano (1765)afteradesignby V ercelli followingthedesignofroyalarchitect L with B ombard atelier, the attista Ferroggio), andsosatisfiedthetaste G fects: curledandsaggingcorbels,elab- iuseppe T vised theconstructiononbehalfof urinese models,theycontinuedto C C E ompared withthearchitectural R asale Monferrato, astern C ana’, aselli O ttavio Magnocavalli(1758), s tradition. to thecraftsman’s opinion: 22 B Piedmont region, began replacingthepointsof (1760), they do not ap- . ottinellis, emergedas T heir altarsarechar B y, theproduction ernardo A s aresult,the A L lessandria, ombardy B enedetto V ittone 24 . - - elevation, about1774. R chivio parrocchiale. materials liketheredofFrance ortheyellowof and sold. joyed acommercialmonopoly onthenewmarblevarietiesbeingextracted such asthe in Piedmont,the Figure 1. Figure design suppliedbythe marmi’. plausibile sogliono usarsinellacittàdi style wasintroduced,architectsandpatronspreferred ‘queimarmiche extracted T replicate thevarietyavailablein new designtonalitythatstimulatedthesearchforlocal stonesthatcould quality ofmaterials. in marbledecorationhadevolved. man like hese osario altarin exchanges between architects and craftsmen also concerned the 28 D C

e di gusto’ and better in terms of ‘ forma’ and ‘distribuzione dei T arlo from their own region. In e his preference for C B S onti, shows,attheendofcentur A trambino, plan,frontandside ottinellis, whoadaptedtothe newstylesandmaterials,en ndrea L ombard varietiesgenerally lost theirappeal. Source: R L ombard stonecutterstraditionallypromotedmarbles ana, B ottinellis tothatofthePelagattas,findingit‘assai Project for the S trambino, T orino.’ B ottinelli’s design,expressed by aneducated R ome. Inthe1770s,whennew 29 A

T r A - urin, however s a consequence, except for certain s aconsequence,exceptfor certain of theirpatrons.Francesco from at construction siteofthecathedral laboration probablybeganonthe eri’s studiosince1758. tinelli learnedthe C priest from the designfor C altar inMonferrato,1790: A modern sale Monferrato(1791). the their projectforthehighaltarof the tastes oftheirpatrons–between pending onthecircumstances and new style,movingcleverly–de- tinellis proved able to absorb the Working witharchitects,the go asale Monferratoandin anon goodexampleofthisrelatesto S V L C an ercelli beforecontinuingat ombard V onfraternity of B erona, whichhavenoequal D arberis, adesignerin Martino (1772), and the Martino T e y, howmodelsandtaste urinese style,suchasin , C onti, mediatorforthe C J uvarra asale, preferredthe tradition, as in C uccaro church T urinese style J introduced a esus at C 27 raftsmen T T his col urin. 189 T B B B urin A C or ot ot lfi a 26 ------

1. early modern 1. early modern stonemason, afteradesignby chapel dedicatedtothe‘ the professionalismoftheirownprojects’executors: T graphic techniques. tects; others,learningfromarchitects,assimilatedtheir models,eventheir ing) totransformtheirworkingmethodsthroughcollaborations witharchi- A 2. Figure as analternativetoaclassicalmodel. architects: professionalattitudesintherelationshipbetweencraftsmenand different in afullycollaborativeprocess. men mustnotbeconsidered asmereexecutors,butfully-fledgedactors chitects playedanincreasing roleinthedesignofmarbledecoration,crafts- influenced thechoiceofmarbles chosenbyarchitects. ther research – to determine, for example, how the stonemasons’ expertise (like especially whencollaborationsgaverisetolong-termworking relationships 190 his wasnotaone-wayexchangeandarchitectsthemselves learnedfrom s such examples demonstrate, the study of marble decoration highlights V ittone H igh altaroftheparishchurchat some stonemasons proved to be unable (or maybe just not will- and the G iudices, A B ddolorata’ proposeda ernardo or the V ittone. B C 30 alliano (detail),1765. ottinellis

T he termsofthismutualexchange, Source: and E lena L ombard stylebalustrade B D arberis), requires V i Majo,2010. ittone’ A C lthough cour arving byPellagatta, arving s designfora t ar fur - - tesi: primaedopol’arrivodi Paolo 3 chivio parrocchiale, nell’economia dalQuattrocentoadoggi( Torino nellacultura, nellastoria,nell’arte, la cittàTorino ( Filippo JuvarraaTorino. Nuoviprogettiper 6 BNT 5 on thisaltar. n. 554.W 4 T ( un patrimonioculturale,exhibitioncatalogue T C 2 gano: G Sant’Anna traLuganoeTorino ( L’archivio eiluoghidellaCompagniadi Universitas. Luganensium Artistarum dreina Mollisi and zzo Madama,inv. 4845/ds. 7 (Milan: Fabbri,1995),256-67. capitali, 1714-1736, exhibition catalogue ias (eds.),FilippoJuvarraarchitettodelle A Filippo 228; Id., 1 A rabucchi, Memoriale ra BelboeBormida.Luoghiitineraridi f. ndreina

iampiero sti: Provinciadi T S V T ‘marked withnumbers’.Fontanile, urin, Museo T ee arallo, Pinacotecacivica,Fondo S E icineto, urin, ), lena ee E R S G J G dizioni itzia, whoarepreparinganar is. 59.2,no.15. uvarra,” in iuseppe riseri and “ V G R B era riseri and D agusa and L e wishtothank iblioteca C A isegno ecoloreneglialtaridi aura Facchin(eds.), asagrande, rchivio parrocchiale,Ippolito T icino Management,2011). C C D T ivico di omoli Mandracci(ed.), urin: A ardanello, “ G V sti, 2003),325. iovanni era S B , c.101. an N eatriz A azionale (hereafter CR ngelo C A G omoli Mandracci, r T iovanni, car 1992); te , 1989),153- R J B uvarra,” in omano (eds.), G A A lasco T iuseppe and ltari piemon ntica -Pala orre (eds.), Svizzeri a L G G ugano: E squiv iorgio ilardi, t. 5. ticle A A L n u r ------

dei marminelPiemontedel 1780. erali della nuova chiesa di Strambino, about l’altare dimarmoelettoperlecappelle lat- 14 13 2005), 119-30. colorati piemontesinelladecorazione,” ben intesabizzarria»( e Piemonte delSettecento.«Didifferente gegneri e architetti in Torino, e rassegna tecnica della società degli in- nisello simboli per (eds.), l’architettura dello totipi funzionaliefabbrichesimbolicheper 11 egni, Palazzi forward in ration seeMaurizio 12 163-5, fig.8.11. in theconstruction’. 10 2,fasc.33. egni estampe,cart. 9 C A 1999), 15-25; G no. 4332/F. S C 8 uperga, ostruzione, Foglisciolti: or rchivio parrocchiale(hencefor iuseppe T T G

urin, urin, te, BNT O AST ‘quality of country marbletobeused ‘quality ofcountry iuseppe ‘with thegrainsslanted’. n Piedmontesemarblesusedindeco Guarini, JuvarraeAntonelli.Segni B A , , ASCT alsamo: rchivi privati, A R A C R D rchivio rchivio is. 59.2,no.3. or egi ardanello and Torino, exhibition catalogue ( D R te, ), ardanello (ed.), C eali ealtreFabbriche S C f. epolcri, no.19. E C lena ar S storico della città (hence- di ar R ilvana te sciolte,no.815. S G ober S te topograficheedis- tato edellacittà,”in omez T tato ASCT D urin: C i Majo,“ astelli- to E R ditoriale, 2008), (hereafter , S osa Instruzione per E C erito, “Imarmi ditris duemila, C L aterino, “Pro Sculturenel B III-1 ar S ward erroni, T S ettecento,” L te sciolte, amborrino ’‘industria’ trambino, ( J 191 anuar R A AST egie, P D Atti S C is ), ), i y - - - -

1. early modern 1. early modern 16 1774. e Lavatojo per la Capp[ell]a del Rosario, per laformaz[ion]edell’Altare,Balaustrata, V to makeanalmondandframedbyyellowof 15 1964 (Ivrea: Strambino nelsecondocentenario1764- also thewhole). and colourstobeemployedinthataltar, but qualities not onlythemarblesofdifferent displayed, theshapeandappearance, whatinthedrawingcannotbe (to observe più ilcomplessodelmedesimotuttounito’ colori adimpiegarsiindettoaltare,madi non sololimarmidellediversequalità,e comparire, lafigura,edaspettochedanno (Ivrea: Fratelli 324-69. catalogue ( Fossano, SaluzzoeSavigliano,exhibition (eds.), in danello, “ the seventeenthcentur Piedmont formarblealtarssincetheendof O dinati 1756-1798,c.24(May29,1763). C ‘osser 20 Guarini, JuvarraeAntonelli,107-11. le istruzioni,”in egni eparolepercomunicareincantiere: 19 fig. 68. 18 Carlo AndreaRanaarchitettoinPiemonte duced byFerdinando chiale diStrambino,about1774. SS.ma delRosarionellaChiesanovaparo- dell’altare dellaCappellaMadonna 17 192 erona’. onfraternita di n thepracticeofmodels,documentedin G

S ‘of V A S T iovanni ee iglieno hese modelsweremadeinorderto P ee vare ciòchedaldisegnononpuò Una gloriosa sfida. Opere d’arte a Unagloriosasfida.Opered’arte S S icilian jaspercutandplacedinorder E , E lena A A C lisa P ltari nelPiemontemeridionale,” ar R S C C T omano and tella , ossalino, D uneo: Marcovaldo,2004), E R ipografia nrico editori,1969),fig.54. i MajoandMichela C D ossi S ar ardanello and A an D tella sti, isegni: G R ribaudi, CarloAndreaRana, occo, y, see E A V D . rchivio diocesano, iglieno G G isegni: elsomina Pianta edalzata iglio Libro degliOr G La Chiesadi iuseppe T T amborrino, os, 1964). C Instruzioni G ossalino, oi, “ S R pione epro D D ar is - - - -

201, todo’. difficult very that doesnotadmitanydowel,itremains 32, cat.72. rin: F Vittone architetto,exhibitioncatalogue( boneri and 30 1764. 3, T 29 Schizzo dilettereperaf Fondo Monferrato, shape and 28 n. 25(2013),5-22. nel bile edigusto’. 23 Mr 22 a SuaMaestà,registerno.5,1753,255. 21 27 26 Ibidem. 6 (2012),119-51. 25 co, C ters wouldbetooforced’. of thelowerandupperscapethesepilas- that theywouldbetooslim,andthecavetto 24 salino, CarloAndreaRana,fig.63-4. C in StoriadelleAr Specializzazione edelDottoratodiRicerca Monferrato,” di chiesa, scatola farsi perlaCapp[ell]a, data colS.rCatellariguardoleopereda urin’. apitolare, Memoriedellafabbrica f. thedrawingspublishedby V

Manutenzione ‘for thereasongivenbystonemason XV R E J ASCT ‘ E ‘something madeinbronzeormarble, iggiù. Famigliediscalpellinilombardiin A ‘because accordingtotheillustration, ‘those marblestheyusetoemployin V lena une 18,1758. lena ana willjudge’. P ery plausibleandrefined,intermsof ery .lli Pozzo- N III secolo,” S D D ovember 28,1790. , esana, , e D C D S i Majo,“IPellagattae ostruzione: C i imeom, V selection ofmarbles’. onti, faldone27,fasc.204, Majo, “ ittorio Polittico. StudidellaScuoladi A S rchivio storicocomunale, X A alvati- A ti dell’UniversitàdiPisa,n. III: Monferrato Arte eStoria, Monferrato Arte ltari lapideiinMonferrato rchivio parrocchiale,vol. chiesa antica, May14, L D U V AST etter toabbot 1700. n iale (eds.), G Variaz[io]ne concor ros Monti,1967), altare ‘assai plausi- A , ugust 29,1781. fari domestici,n. G V uerra, ercelli, C V f. iglieno N Bernardo Relazioni B ino A L ottinelli C angos rchivio asale C C os T ar u- - - - - andCo 2. Rep r ese mm ntat un i ic on a t i on

2. representation and communication