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A Multidisciplinary Conservation Project for the Cavallerizza Courtyard, Palazzo Ducale Di Mantova

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A Multidisciplinary Conservation Project for the Cavallerizza Courtyard, Palazzo Ducale Di Mantova heritage Case Report A Multidisciplinary Conservation Project for the Cavallerizza Courtyard, Palazzo Ducale di Mantova Andrea Adami 1,*, Luigi Fregonese 1, Daniela Lattanzi 2, Antonio Mazzeri 3, Olga Rossignoli 1 and Barbara Scala 4,* 1 Dept. ABC (Architecture, Built Environment and construction engineering), Politecnico di Milano, Via Ponzio 31, 20133 Milano, Italy; [email protected] (L.F.); [email protected] (O.R.) 2 Segretariato Regionale del Ministero per i beni e le attività culturali per la Lombardia, Palazzo Litta-Corso Magenta 24, 20123 Milano, Italy; [email protected] 3 Complesso Museale di Palazzo Ducale di Mantova, Piazza Sordello 40, 46100 Mantova, Italy; [email protected] 4 Dept. DICATAM (Department of Civil, Environmental, Architectural Engineering and Mathematics), Università degli Studi di Brescia, Via Branze 43, 25100 Brescia, Italy * Correspondence: [email protected] (A.A.); [email protected] (B.S.) Received: 1 April 2019; Accepted: 13 May 2019; Published: 16 May 2019 Abstract: The “Palazzo Ducale” museum complex in Mantua has been the object of intermittent interventions, which have not represented, over the last 30 years, a consistent strategy in terms of conservation. In the light of new financial and technological possibilities, a renewed management synergy has been activated: better operative decisions and the application of innovative tools are the core of this attitude. The article illustrates the path of knowledge activated in the museum’s “Cortile della Cavallerizza”: from archival research, geometrical survey and diagnostic analysis, up to the executive design of its conservative project. Keywords: historical analysis; conservation project; survey; BIM 1. Introduction The Palazzo Ducale complex of Mantua has been classified by d.m. 23/12/2014 (a ministerial decree regarding museums) amongst the autonomous national museums, which has been an important opportunity for taking care of the architectural complex. This has favoured a renewed process of management of its functions and of interventions in its built heritage. The interventions executed on the monument over the last 30 years have not followed a consistent conservation strategy. Direct observations of the complex and appraisals by the superintendents have shown how these operations were determined by the urgent needs of a particular time, and therefore were limited to occasional and partial actions. The availability of financial resources has activated a management synergy for new projects, supporting restoration activities research with the application of innovative technologies. This article aims to illustrate the knowledge acquisition process in the courtyard of the Cavallerizza, inside the museum complex, up to the executive design of the conservation project. 2. The Evolution of the Building Palazzo Ducale (Figure1) presents a varied historical and architectural stratification, strongly linked to the city life. The Gonzagas settled in Mantua from 1328 [1]. The Gonzaga [2] family promoted Renaissance culture through the contribution of important architects and painters who expressed their art within the Palazzo. With Ludovico II (1444–1478), Mantua became one of the most relevant centres of the Renaissance, giving hospitality to great artists Heritage 2019, 2, 1441–1459; doi:10.3390/heritage2020091 www.mdpi.com/journal/heritage Heritage 2019, 2 1442 Heritage 2019, 2 FOR PEER REVIEW 2 such as Leon Battista Alberti, Luca Fancelli and Andrea Mantegna. During those years the Castle such as Leon Battista Alberti, Luca Fancelli and Andrea Mantegna. During those years the Castle of of San Giorgio and the surrounding areas became the core of the palace. Refurbishment work took San Giorgio and the surrounding areas became the core of the palace. Refurbishment work took place placein in some some rooms, rooms, to to accommodate accommodate the the Duke’s Duke’s ap apartment,artment, where where Mantegna Mantegna painted painted his famous his famous “Camera“Camera picta”. picta.” FigureFigure 1. 1.Aerial Aerial viewview of the Cavallizza Cavallizza Courtyard. Courtyard. DuringDuring the shortthe short regency regency of of Federico Federico I I (1478–1484), (1478–1484), the the “Domus “Domus Nova” Nova” was was started started by Fancelli. by Fancelli. His successor,His successor, Francesco Francesco II II (1484–1519), (1484–1519), dedicateddedicated himself himself toto some some works works in the in theCastle Castle such suchas as the layout of his apartment and that of his wife Isabella d”Este. The growth in fame of Mantua was the layout of his apartment and that of his wife Isabella d”Este. The growth in fame of Mantua was advanced by Isabella who, as an educated and refined patron, enriched the palace with valuable advanced by Isabella who, as an educated and refined patron, enriched the palace with valuable decorations and collections. decorationsFederico and collections. II (1519–1540), son of Francesco II and Isabella d’Este, was given the title of Duke by FedericoEmperor Charles II (1519–1540), V in 1530, sonand ofbegan Francesco works in II the and Castello Isabella and d’Este, Corte Nuova, was given having the started title in of 1524 Duke by Emperora collaboration Charles V with in 1530, Giulio and Romano, began pupil works of inRaffaello the Castello Sanzio. and Corte Nuova, having started in 1524 a collaborationGiulio withRomano Giulio built Romano, the “Palazzina pupil della of Ra Paleologa”ffaello Sanzio. for Margherita Paleologa, wife of Federico GiulioII, and started Romano the built refurbishment the “Palazzina of one della of the Paleologa” castle’s ravelins for Margherita [3]. Paleologa, wife of Federico II, and startedHis the successor, refurbishment Guglielmo of oneGonzaga of the (1550–1587), castle’s ravelins was responsible [3]. for the regularization of the Hisspaces successor, and the connection Guglielmo between Gonzaga the apartments (1550–1587), of the was Palace responsible [4]. He started for the the regularizationrenovation of the of the spaces and the connection between the apartments of the Palace [4]. He started the renovation of the Heritage 2019, 2 FOR PEER REVIEW 3 Heritage 2019, 2 1443 PalaceHeritage and 2019 in, 2 particularFOR PEER REVIEW the “Mostra” (currently called the “Cavallerizza” garden) [5]. The managers3 of these works were the architects Giovan Battista Bertani and Bernardino Facciotto [6]. PalacePalaceFrom and and in1536 in particular particular the works the the began “Mostra” “Mostra” on the (currently(currently Rustica called(Figure the the 2), “Cavallerizza” “Cavallerizza” the southeastern garden) garden) front [5]. of [5 ]. Thethe The managersCortile managers della ofCavallerizza.of these these works works were were the the architects architects Giovan Giovan BattistaBattista Bertani and and Bernardino Bernardino Facciotto Facciotto [6]. [6 ]. FromDespiteFrom 1536 1536 the the theapparent worksworks began beganhomogeneity on on the the Rustica of Rustica the (Figure courty (Figure 2),ard, 2the), each thesoutheastern southeasternelevation front shows frontof the independence ofCortile the Cortiledella of dellaconstructionCavallerizza. Cavallerizza. in terms of thought, organization, materials and processing techniques. Only when all Despite the apparent homogeneity of the courtyard, each elevation shows independence of sidesDespite are made the isapparent an attempt homogeneity made to unify of the the design, courtyard, achieving each elevationthe current shows result. independence of constructionconstruction in in terms terms of of thought, thought, organization, organization, materialsmaterials and and processing processing techniques. techniques. Only Only when when all all sidessides are are made made is is an an attempt attempt made made to to unifyunify thethe design,design, achieving the the current current result. result. Figure 2. Orthophoto of Rustica (elaboration of He.Su.Tech.). FigureFigure 2. 2.Orthophoto Orthophoto of Rustica (elaboration (elaboration of of He.Su.Tech.). He.Su.Tech.). From the archival documents emerges a strong sharing of ideas between the Duke and Giulio FromFrom the the archival archival documents documents emergesemerges a strong sharing of of ideas ideas between between the the Duke Duke and and Giulio Giulio Romano. The Duke always wanted to be informed about the construction activities despite the trust Romano.Romano. The The Duke Duke always always wanted wanted toto bebe informedinformed ab aboutout the the construction construction activities activities despite despite the the trust trust he placed in the architect. The concerns expressed about structural problems, difficulties in water hehe placed placed in in the the architect. architect. TheThe concernsconcerns expressedexpressed about about structural structural problems, problems, difficulties difficulties in inwater water management, etc., are significant. management,management, etc., etc., are are significant. significant. TheTheThe collaborationcollaboration collaboration between betweenbetween thethe architectarchitect andandand thethe cl clientclientient solves solvessolves problems.problems. problems. In In Inparticular, particular,particular, Giulio GiulioGiulio Romano’sRomano’sRomano’s ‘trick’‘trick’ ‘trick’ isis is brilliantbrilliant brilliant andand and created createdcreated thethe opportunity opportunopportunityity toto to use useuse the thethe water waterwater to toto create createcreate fountains fountainsfountains and andand
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