DOCSLIB.ORG

Restoration in Architecture: First Dialogue Camillo Boito, Cesare Birignani

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Restoration in Architecture: First Dialogue Camillo Boito, Cesare Birignani Restoration in Architecture: First Dialogue Camillo Boito, Cesare Birignani Future Anterior, Volume 6, Number 1, Summer 2009, pp. 68-83 (Article) Published by University of Minnesota Press DOI: https://doi.org/10.1353/fta.0.0026 For additional information about this article https://muse.jhu.edu/article/364598 [ This content has been declared free to read by the pubisher during the COVID-19 pandemic. ] 1. Camillo Boito (1836– 1914) photographed in 1880. Photograph by Studio Artico, Monza. Document Camillo Boito Restoration in Architecture First Dialogue Camillo Boito (1836– 1914) was one of the founding figures of modern Italian conservation, yet his writings on conservation were never translated into English and he is little known outside his native country. In this key text, originally titled “I restauri in architettura,” published in Questioni pratiche di belle arti, restauri, concorsi, legislazione, professione, inseg - namento (1893),1 Boito lays out a theory of conservation that rejects the dualism between the stylistic restoration school of Viollet - Le - Duc and the pure conservation school of John Ruskin and the Society for the Protection of Ancient Buildings. The text is organized as a Socratic dialogue between preser - vationists, which exposes the absurdity of rigid adherence to either perspective. From the dialectic, Boito’s own approach emerges as a synthesis of elements from both schools. He summarizes his theory in seven points at the conclusion, advocating a critical philological approach that distinguishes between layers of intervention in order to present the historical structuring of buildings in their material authenticity. Boito’s theory recognized that any intervention is necessarily based on value judgments. To that end he asked that preservation- ists question their own prejudices when handling the material remains of the past. Boito taught architecture at both the Accademia di Belle Arti di Brera and the Politecnica di Milano (both in Milan) from the mid - 1860s until shortly before his death. Also a figure of some literary renown, Boito was one of the principal authors of the Carta Italiana del Restauro (1883), which absorbed his principles into official Italian preservation practice. His influence can also be felt in two major preserva- tion documents of the twentieth century, the Athens Charter (1931) and the Venice Charter (1964). —We could append, as an epigraph to our dialogue, a Chinese saying: It is a shame to deceive our contemporaries; it is an even bigger shame to deceive posterity. —Really? It seems to me, instead, that the greatest skill in restoring an old monument consists indeed in arranging it so that the new seems ancient, so that ancient and new are indis- tinguishable. I remember the definition of Viollet - le - Duc... —Let’s leave the French aside. Future Anterior Volume VI, Number 1 —And who would you rather quote, if not the great French Summer 2009 historian and legislator of architecture, praised as such even 69 in other countries and above all in Italy? To restore a building is to reestablish it to a complete state, which may never have existed at any particular moment.2 He followed this maxim in his restorations of the walls of Carcassonne, of the castle of Pierrefonds, and of other famous monuments, and he was much praised. —Let’s leave the French aside, I repeat. In the past ten or twelve years the theory of restoration has changed a lot. —Is there anything nowadays that enjoys the praise of everybody and does not change a lot? The point is to have so much critical insight and such vast knowledge so as to do as Viollet - le - Duc did when he dealt with a monument: put oneself in the shoes of the old architect and imagine what the gentle- man would do if he came back today on our mortal earth and was asked to solve the new problem of completion or restora- tion of his building. To suppose what he would do, if he came back to the world . ..3 —To evoke the spirit of Bramante, of Arnolfo, of the Coma - cine masters, of the monks of the Middle Ages, of a hundred other craftsmen, does this seem little to you? To relive in their time, in their soul, in their genius! To adopt their virtues, and even their defects! The defects—not really, it seems, since Viollet - le - Duc tended to correct them. You may remember the great architectural battle for the climbing arches, or flying buttresses, as someone calls them, of the cathedral of Evreux. There were two series of arches, superimposed: only one in each crossing was built, changing the form of the buttresses, of the pinnacles, of the spires; and the official report of your revered legislator said: It would be puerile to reproduce an arrangement so eminently vicious.4 It’s natural. In forcedly thrusting the spirit of the ancient architect into the head of the modern architect, the former adapts to the circumlocutions of the new mind, and the resulting work is neither ancient nor modern. Do you want me to say it openly? When the restorations are carried out with the theory of Mr. Viollet - le - Duc, which can be called the romantic theory of restoration, a theory that until the day before yesterday was universal and nevertheless is followed by many, indeed even by most in Italy, I prefer badly made restorations to well - made ones. Whereas those, by virtue of their beneficial ignorance, let me distinguish clearly the ancient from the modern part, these, with admirable science and cunning, by making the new appear ancient, put me in such a fierce perplexity of judgment that the pleasure of contemplating the monument disappears and studying it becomes a most fastidious labor. —Oh, that’s a good one! Better, thus, an ass of a restorer than a learned restorer! 70 —Listen. Months ago I stopped in a little city where I had never been before to see a church of the thirteenth century, one of those churches with small orders of columns super- imposed on the façade, with capitals full of monsters and friezes full of intricacies. I had with me notebook and pencil. The first impression, at a certain distance, was good; but then, as I examined the church, a thousand doubts and suspects began to grow in me. The building had been restored so sub- limely that one could not distinguish the old from the new; the same materials, the same sculpture, the same color revered over the centuries. I see a very bizarre corbel and begin to sketch it; my soul was worried; I have someone give me a ladder, and I climb to the top, I touch, hit, scratch, scrape: it was modern stuff. This is the problem I had to confront at each and every moment: do I see a thing of the thirteenth century or one of recent years? There were no old drawings, there were no old photographs. The sacristans, young, hadn’t seen anything; the priest, decrepit, didn’t remember anything. I put back notebook and pencil, and went straight to the station to take the train that would take me away, cursing his excellence the restorer, and calling him a liar, a cheat, a forger, a... —Calm yourself, please, and let me too say a few words. It is thus the men of the seventeenth century, the baroques, that, as restorers, must be to your liking. When they set out to restore, for example, a Christian basilica, they would make, around the columns of cipolin and eastern granite, by means of mortar and gypsum, the pilasters [pilastracci] clumsy, and would smear the delicate Roman capitals by superimposing on them some flowered patterns similar to their wigs, and under the architraves they would build, always in lime mortar and gypsum, squiggle arches, and under the roof made of beautiful supports [cavalletti] they would build with timber centering an elliptical vault with lunettes and ribs; then they would cover everything with an indigestible jumble of volutes, curls, cartouches, and contrivances pompous like the frills of their dresses, and with a multitude of statues so boisterous and heavy that one trembles in passing next to them: all things in cement and stucco; and of the old basilica not even a scrap of a cornice is visible. —But the day in which a sculpture or some piece of an arch or of a vault falls to the ground, the day in which, for love of thy neighbor [per amore alla vita del prossimo], one removes gypsum, stucco, and timber, that day the pure Christian temple reappears intact under the mantle that, by concealing for a long time the temple’s architectural members, did not damage them. You don’t need me to give examples of similar revela- tions. Even recently, in Milan, one of the oldest churches of 71 the city, that of San Babila, of which a few years ago Mongeri, in his book Arte in Milano, said how it showed only a few signs of its beauty and how it had been redone, indeed falsified by architects of such stature that they managed, all by them- selves, to condemn themselves to oblivion: 5 the church of San Babila, stripped of its grotesque Baroque mantle [paluda- mento], has become again alive and almost genuine. This is what matters: almost genuine. And in Palermo, you should have seen how graciously did reappear the body of the church of Santa Maria della Catena, a mixture of northern ogival and Italian Renaissance architecture; and, in order to return the church back to human admiration and to history [per ridonarla all’ammirazione e alla storia], it was enough, I’d almost say, to take with two fingers the sixteenth - century mantle, shouting, like the Greek lawyer [avvocato]: Look here.
Load more

Recommended publications
  • Language and Monstrosity in the Literary Fantastic
    ‘Impossible Tales’: Language and Monstrosity in the Literary Fantastic Irene Bulla Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 Irene Bulla All rights reserved ABSTRACT ‘Impossible Tales’: Language and Monstrosity in the Literary Fantastic Irene Bulla This dissertation analyzes the ways in which monstrosity is articulated in fantastic literature, a genre or mode that is inherently devoted to the challenge of representing the unrepresentable. Through the readings of a number of nineteenth-century texts and the analysis of the fiction of two twentieth-century writers (H. P. Lovecraft and Tommaso Landolfi), I show how the intersection of the monstrous theme with the fantastic literary mode forces us to consider how a third term, that of language, intervenes in many guises in the negotiation of the relationship between humanity and monstrosity. I argue that fantastic texts engage with monstrosity as a linguistic problem, using it to explore the limits of discourse and constructing through it a specific language for the indescribable. The monster is framed as a bizarre, uninterpretable sign, whose disruptive presence in the text hints towards a critique of overconfident rational constructions of ‘reality’ and the self. The dissertation is divided into three main sections. The first reconstructs the critical debate surrounding fantastic literature – a decades-long effort of definition modeling the same tension staged by the literary fantastic; the second offers a focused reading of three short stories from the second half of the nineteenth century (“What Was It?,” 1859, by Fitz-James O’Brien, the second version of “Le Horla,” 1887, by Guy de Maupassant, and “The Damned Thing,” 1893, by Ambrose Bierce) in light of the organizing principle of apophasis; the last section investigates the notion of monstrous language in the fiction of H.
    [Show full text]
  • Addressing the Climate in Modern Age's Construction History
    Carlo Manfredi Editor Addressing the Climate in Modern Age’s Construction History Between Architecture and Building Services Engineering Addressing the Climate in Modern Age’s Construction History [email protected] Carlo Manfredi Editor Addressing the Climate in Modern Age’s Construction History Between Architecture and Building Services Engineering 123 [email protected] Editor Carlo Manfredi Politecnico di Milano Milan, Italy ISBN 978-3-030-04464-0 ISBN 978-3-030-04465-7 (eBook) https://doi.org/10.1007/978-3-030-04465-7 Library of Congress Control Number: 2018965442 © Springer Nature Switzerland AG 2019 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made.
    [Show full text]
  • Il Primo Mefistofele in Più Rispetto Alla Scena
    Gentile professore, portiamo alla sua attenzione alcuni sospesi. Le saremo grati se vorrà darci indicazioni a riguardo. - alcune indicazioni di scena sono centrate (atto primo), altre no (atto secondo). Abbiamo mantenuto la differenza, va bene? - tutte le battute (tranne l’ultima) dell’Intermezzo sinfonico (p. 127) sono virgolettate, a differenza di quanto accade nel resto dell’opera. Va bene? Arrigo Boito - Controllare i rientri dell’atto terzo. Di solito scena e nomi dei personaggi sono allo stesso livello (es. p. 73), mentre nel pdf di riscontro le battute e i personaggi del terzo atto hanno un rientro Il primo Mefistofele in più rispetto alla scena. Noi l’abbiamo eliminato, per uniformità con il resto del dramma, dobbiamo ripristinarlo? a cura di Emanuele d’Angelo - Non ci è chiaro l’allineamento delle epigrafi: talvolta le fonti sono allineate a destra e altre volte sono centrate sotto al blocchetto. Si prega di controllare - Abbiamo compilato noi l’indice. Può controllarlo? Marsilio MEFISTOFELE.indd 2-3 18/03/13 13.35 INDICE 7 Rivolta pazza Il volume è stato realizzato con i contributi di Emanuele d’Angelo 51 Nota al testo il primo mefistofele 58 Personaggi 59 Prologo in teatro 65 Prologo in cielo 73 Atto primo 87 Atto secondo 103 Atto terzo 109 Atto quarto © 2013 by Marsilio Editori® s.p.a. in Venezia 127 Intermezzo sinfonico Prima edizione: mese 2013 isbn 978-88-317- 131 Atto quinto www.marsilioeditori.it Realizzazione editoriale: Studio Polo 1116, Venezia 135 Note MEFISTOFELE.indd 4-5 18/03/13 13.35 RIVOLTA PAZZA A proposito del libretto del Mefistofele Arnaldo Bonaventura ha osservato che «bisognerebbe, veramente, dire i testi, perché son due: quello del 1868 e quello del 1875» 1, e Paolo Paolini si è chiesto: «Sarà forse il caso di dire [...] che si tratta di testi male paragonabili, frut- to di momenti diversi, da leggere e valutare separatamente come due opere autonome?» 2.
    [Show full text]
  • Structural Problems in Italian School Buildings of the Late Nineteenth Century: the School “Realdo Colombo” in Cremona
    SAHC2014 – 9th International Conference on Structural Analysis of Historical Constructions F. Peña & M. Chávez (eds.) Mexico City, Mexico, 14–17 October 2014 STRUCTURAL PROBLEMS IN ITALIAN SCHOOL BUILDINGS OF THE LATE NINETEENTH CENTURY: THE SCHOOL “REALDO COLOMBO” IN CREMONA Alberto Grimoldi1, Angelo Giuseppe Landi2 1 Politecnico di Milano, Dipartimento di Architettura e Studi Urbani via Camillo Golgi, 39 – 20133 Milano, Italy e-mail: [email protected] 2 Politecnico di Milano, Dipartimento di Architettura e Studi Urbani via Camillo Golgi, 39 – 20133 Milano, Italy e-mail: [email protected] Keywords: School buildings, seismic safety, Cremona, Milano, Camillo Boito. Abstract. Camillo Boito is depicted in the history of the Modernist Movement, primarily as a critic although he designed a small number of buildings and restorations. In fact Boito chose his occasions carefully, and his works were highly successful. Details of the schools - in Pad- ua, the Reggia Carrarese (1877-80) or via Galvani in Milan (1886-1890) - were published in magazines and manuals and were models for hundreds of buildings. They were designed for the large student population generated by the extension of compulsory education, and reflect- ed the new and improved educational standards of the “Coppino” Law (1877). Even the typo- logical-structural conception was replicated. He foresaw three floors, with pavilions for stairs and services providing an interruption or end point with thicker division walls to the long buildings housing the classrooms. These were formed by the perimeter walls and a spine wall, which divided a wide corridor from the classroom, with large windows. The perpendicu- lar walls between classrooms, were also load bearing, and ensured a “box-like” behavior.
    [Show full text]
  • XXIV:5) Luchino Visconti, SENSO (1954, 123 Min.)
    February 14, 2012 (XXIV:5) Luchino Visconti, SENSO (1954, 123 min.) Directed by Luchino Visconti Story by Luchino Visconti and Suso Cecchi D'Amicom based on the novella by Camillo Boito Screenplay by Suso Cecchi D'Amico and Luchino Visconti English language dialog by Tennessee Williams and Paul Bowles Cinematography by G.R. Aldo and Robert Krasker, Giuseppe Rotunno Film Editing by Mario Serandrei Production Design by Ottavio Scotti Set Decoration by Gino Brosio Costume Design by Marcel Escoffier and Piero Tosi Jean Renoir… supervisor: French dubbed version Alida Valli…La contessa Livia Serpieri Farley Granger…Il tenente Franz Mahler the Marshes, 1948 La Terra Trema, 1948 La Chartreuse de Heinz Moog…Il conte Serpieri Parme, 1947 Couleur de Venise. Rina Morelli… Laura, la governante Christian Marquand…Un ufficiale boemo ROBERT KRASKER (August 13, 1913, Perth, Western Australia, Sergio Fantoni... Luca Australia – August 16, 1981, London, England) won a best Tino Bianchi...Il capitano Meucci cinematography Oscar for The Third Man (1949). He has 41 Ernst Nadherny…Il comandante della piazza di Verona cinematographer credits, some of which are 1980 Cry Wolf, 1965 Tonio Selwart…Il colonello Kleist The Heroes of Telemark, 1965 The Collector, 1964 The Fall of Marcella Mariani…Clara, la prostituta the Roman Empire, 1963 The Ballad of the Running Man, 1962 Massimo Girotti…Il marchese Roberto Ussoni Billy Budd, 1961 El Cid, 1961 Romanoff and Juliet, 1960 Concrete Jungle, 1958 The Doctor's Dilemma, 1958 The Quiet LUCHINO VISCONTI (November 2, 1906,
    [Show full text]
  • Tennessee Williams and Luchino Visconti: Various Stages of Outrage – and Censorship
    RSA JOU R N A L 25/2014 ALESSANDRO CLERI C UZIO Tennessee Williams and Luchino Visconti: Various Stages of Outrage – and Censorship Visconti as Cultural Ambassador When Luchino Visconti decided to direct Tennessee Williams’ The Glass Menagerie in Rome in 1946, Italian theaters were slowly recovering – culturally and economically – from the ravages of World War II. Intellectuals were disappointed by the poorness of what Italian playwrights produced and disturbed by what audiences loved most (variety shows), while theatergoers were often offended by the lack of Italian plays in favor of foreign ones, and sometimes outraged by the themes these dramatic works offered to the public. In this atmosphere, Visconti was the cultural ambassador who introduced Tennessee Williams’ theater to Italians. He directed Lo zoo di vetro in December 1946 at the Eliseo Theatre in Rome, where he also put up Un tram che si chiama desiderio in January 1949. In 1951, with some changes in the cast, his Streetcar opened in Milan at the Teatro Nuovo. Newspaper critics thronged to see and judge Italy’s most provocative director staging a new American playwright. Count Luchino’s fame was already quite controversial when he decided to try his hand at this unknown author who had fared well on Broadway, but whose name had no appeal whatsoever for the average Italian theatergoer. Visconti had returned to theater after Cinecittà Film Studios in Rome were turned into refugee shelters during the last months of World War II. Well- trained in the best filmmaking of the previous decade, in Jean Renoir’s entourage, Visconti had only shot one feature film, Ossessione, in 1943.
    [Show full text]
  • Opéra Mefistofele »
    PARCOURS PÉDAGOGIQUE 2017-2018 : « Opéra Mefistofele » PRÉSENTATION DU PROJET : Chaque année, les Chorégies d’Orange proposent un projet de sensibilisation autour d’une œuvre lyrique (opéra). Ce parcours pédagogique permet à des collégiens et lycéens de la Région de s’approprier l’art lyrique en assistant à une répétition générale au théâtre antique d’Orange. Et cette année, c’est à la première représentation publique, le jeudi 05 juillet 2018, que les jeunes sont invités ! AU PROGRAMME : L’œuvre proposée cette année est l’opéra « Mefistofele » (créé à la Scala de Milan le 05 mars 1868) du compositeur italien Arrigo BOITO (1842-1918), opéra en 4 actes (7 tableaux), d’après le mythe de Faust. « Fugace instant sacré, Fige-toi, tu es beau ! A moi l’éternité ! » Résumé : « Mefistofele parie avec Dieu qu’il parviendra à corrompre le vieux savant Faust, donné comme un exemple de vertu et de sagesse, en lui proposant un pacte. Faust lui donnera son âme en échange d’un instant de bonheur d’une intensité unique. Le diable favorise la rencontre du vieux philosophe miraculeusement rajeuni avec la jeune et innocente Marguerite, puis il le fait participer à une nuit de sabbat. Marguerite, abandonnée par son amant, est jetée en prison pour avoir empoisonné sa mère et noyé son enfant. Son âme est sauvée quand elle implore Dieu en reniant son amour pour Faust qui est entraîné par Mefistofele en Grèce où il déclare sa flamme à la belle Hélène. Redevenu vieux, Faust médite avec amertume sur son expérience. Mefistofele, sentant qu’il lui échappe, essaie à nouveau de le tenter ; mais Faust meurt réconcilié avec Dieu, tandis que le démon disparaît en reconnaissant sa défaite.
    [Show full text]
  • Anatomia' and Camillo Boito's 'Un Corpo'
    University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/77579 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Between Medicine and Spiritualism: The Visible and the Invisible in Italian Literature 1865-1901 by Gabriele Scalessa A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Italian University of Warwick, Department of Italian September 2015 Contents List of Illustrations .......................................................................................................................... 3 Acknowledgments ............................................................................................................................ 4 Declaration ..................................................................................................................................... 5 Abstract ........................................................................................................................................... 6 Introduction ..................................................................................................................................... 7 Aims, objectives and some terminological clarification ..............................................
    [Show full text]
  • Camillo Boito (Without Neglecting Viollet- Le-Duc)
    DAAD Summer School “Dialogue on Cultural Heritage in Times of Crisis” HISTORY AND THEORY OF RESTORATION FROM RUSKIN TO CAMILLO BOITO (WITHOUT NEGLECTING VIOLLET- LE-DUC) Director Erwin Emmerling Student Organizing Committee Irene Sartori Dr. Roberta Fonti Dr. Sara Saba Dr. Anna Anguissola History and Theory of Restoration: from Ruskin to Camillo Boito (without neglecting Viollet-le-Duc) ABSTRACT This brief study is aimed at analyzing the history and the development of several theories about restoration and conservation of ancient monuments, especially of historical buildings, focusing overall on a European context. It will be possible to see how the various schools of thought have evolved since the origins of the interest in this matter, during the Renaissance, until such time of their biggest diffusion and change, thanks to some of the major philosophers of restoration: Eugène Viollet-le-Duc, John Ruskin e Camillo Boito. All three strongly promoted and supported their theories, sometimes drawing inspiration from the other ones, sometimes discrediting them, influencing themselves each other and influencing also many European countries and their legislations on the safeguard of national cultural heritage. The results of this investigation can illustrate how this development has conditioned international collaboration in the protection and conservation of ancient monuments, works of art and historic buildings, preserved as memorials of the mankind past, and how it has formed the principal concepts and approach to conservation and restoration in today's multi-cultural society. Keywords: (restoration, conservation, authenticity, memory, cultural heritage) ABOUT THE AUTHOR Irene Sartori is a student of Classical Archaeology at University of Pisa; she graduated scientific high school in 2011 and three years later she got a Bachelor’s degree with honors in Cultural Heritage from the same University of Pisa, presenting a thesis on the diffusion and the trade of white marbles within the Roman Empire.
    [Show full text]
  • Racconti Della Scapigliatura Milanese
    CORE Metadata, citation and similar papers at core.ac.uk Provided by ARMIDA@UniMi Racconti della Scapigliatura milanese a cura di Giovanna Rosa e Giuliano Cenati UNIVERSITÀ DEGLI STUDI DI MILANO Dipartimento di Filologia Moderna Corso avanzato di Letteratura italiana contemporanea 2007 Indice Arrigo Boito 4 L’alfier nero 18 Iberia 39 Il pugno chiuso Luigi Gualdo 57 La canzone di Weber 82 Una scommessa Carlo Dossi 95 La Principessa di Pimpirimpara 106 La Provvidenza 112 Prima e dopo 116 Odio amoroso 129 Una visita al Papa 131 La maestrina d’inglese Igino Ugo Tarchetti 144 I fatali 171 Le leggende del castello nero 183 La lettera U 190 Un osso di morto 196 Storia di una gamba Camillo Boito 236 Un corpo 266 Macchia grigia 284 Santuario 298 Nota bibliografica 311 Nota al testo 2 ARRIGO BOITO Padova, 1842 - Milano, 1918 3 Arrigo Boito L’alfier nero (tratto da Novelle e riviste drammatiche , per cura di G. Brognoligo, Napo- li, Ricciardi, 1920; pubblicato per la prima volta sulla rivista «Il Politecni- co. Repertorio di studi letterarii, scientifici e tecnici», Parte letterario- scientifica, serie 4, vol. III, marzo 1867; e poi, rivisto dall’autore, nella Strenna italiana pel 1868 , Milano, R. Stabilimento Nazionale di Ant. Ri- pamonti-Carpano - Venezia, Carlo Bianchi, 1868) Chi sa giocare a scacchi prenda una scacchiera, la disponga in bell’ordine davanti a sé ed immagini ciò che sto per descrivere. Immagini al posto degli scacchi bianchi un uomo dal volto intelli- gente; due forti gibbosità appaiono sulla sua fronte, un po’ al disopra del- le ciglia, là dove Gall mette la facoltà del calcolo; porta un collare di bar- ba biondissima ed ha i mustacchi rasi com’è costume di molti americani.
    [Show full text]
  • 8 Ingles.Qxd
    LOGGIA Nº17 ENGLISH VERSION or aesthetic merit of the winning projects The Europa Nostra / European Union and works. Their main value resides in the Awards for Cultural Heritage strive, then, to Alfredo Pérez de Armiñán constant encouragement they provide to preserve old works of our culture, and EUROPA NOSTRA / EUROPEAN perform exemplary interventions, which integrate them, while keeping their essential UNION AWARDS FOR CULTURAL will provide guidelines for many others in values intact, in the life of the successive HERITAGE AND THEIR IMPORTANCE a field like cultural heritage, where, generations. This is their main importance, unfortunately, there is more confusion than as an expression of the principles of Since 1978, the Europa Nostra Awards of clarity nowadays regarding the criteria for protecting the cultural legacy of our past, the European Union for works performed in intervention, the methods used and, worse which today constitute a fundamental part of Spain have been an important cultural event. still, the objectives to be achieved. a civilised view of the world, aware of the In the first place, for Hispania Nostra, which In the opinion of Hispania Nostra, there is a possibilities of human beings but also of co-operates in the organisation, but no less great risk all over Europe of trivialising or their limitations and obligations. for all those who strive to conserve, restore, exploiting the real deep historical and refurbish, manage and promote the cultural sometimes artistic meaning of the assets that heritage of Spain. constitute our heritage, above all when Of the Spanish works presented at each dealing with important monuments and Marco Dezzi Bardeschi edition, which are more and more historical buildings.
    [Show full text]
  • Otello Riccardo Muti Conductor
    Program OnE HunDRED TwEn TIETH SEASOn Chicago Symphony orchestra riccardo muti Music Director Pierre Boulez Helen Regenstein Conductor Emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, April 7, 2011, at 7:00 Saturday, April 9, 2011, at 7:00 Tuesday, April 12, 2011, at 7:00 Otello Music by Giuseppe Verdi Libretto by Arrigo Boito, after Shakespeare’s Othello riccardo muti Conductor Otello, a Moor, general of the Venetian forces ........................ aleksandrs antonenko Tenor Iago, his ensign ......................................Nicola alaimo Baritone Cassio, a captain ............................Juan Francisco gatell Tenor Roderigo, a Venetian gentleman ............. michael Spyres Tenor Lodovico, ambassador of the Venetian Republic ........................... Eric owens Bass-baritone Montano, Otello’s predecessor as governor of Cyprus .............................Paolo Battaglia Bass A Herald .................................................. David govertsen Bass Desdemona, wife of Otello ....... Krassimira Stoyanova Soprano Emilia, wife of Iago ................Barbara Di Castri Mezzo-soprano Soldiers and sailors of the Venetian Republic; Venetian ladies and gentle- men; Cypriot men, women, and children; men of the Greek, Dalmatian, and Albanian armies; an innkeeper and his four servers; seamen Chicago Symphony Chorus Duain Wolfe Director Chicago Children’s Choir Josephine Lee Artistic Director (continued) Otello Act 1 Act 2 INtErmISSIoN Act 3 Act 4 Place: A seaport in Cyprus Time: The end of the fifteenth century Musical preparation: Speranza Scappucci Supertitles by Sonya Friedman These are the Chicago Symphony Orchestra’s first subscription concert performances of Verdi’s Otello. Production of Otello is made possible with leadership support from Randy L. and Melvin R. Berlin and the following generous contributors: Julie and Roger Baskes ∙ Rhoda Lea and Henry S.
    [Show full text]