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EXOTICISM, NEOCLASSICISM, and SICILY** Pamela M. Bryan*

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EXOTICISM, NEOCLASSICISM, and SICILY** Pamela M. Bryan* 35 EXOTICISM, NEOCLASSICISM, AND SICILY** Pamela M. Bryan* «Les differéntes Colonies Greques, qui successivement abondé- such as Hanno-Walter Kruft stated that «the extensive rent dans la Sicilie, donnérent leurs moeurs, leurs langues & travel literature on Sicily in the eighteenth century leurs usages aux autres nations plus anciennement… Les scien- yields little as far as Greek antiquities are concerned»3. ces & la philosophie ne surent pas seules cultivées en Sicilie, & Yet, these lavishly illustrated folio albums of Abbé nous ne pouvons douter que les arts ne l’aient été également par Saint Non, narrated by Dominique-Vivant Denon and ses anciens habitants, puisque’ indépendament de la beauté des illustrated by Jean-Honoré Fragonard, Jean-Louis médailles siciliennes, qui sont en très-grand nombre & toutes Després, Claude-Louis Châtelet and Jean-Augustin du meilleur style, ce qui existe encore de ses temples & de ses Renard, and the folio albums written and illustrated edifices, suffit pour pouver que l’architecture, entre autres, y sut entirely by Hoüel, were published by the hundreds to portée à un grand degree de perfection: il paroît même que s’il critical acclaim for the cultural elites of Europe4. Each y sut dans la Grèce proprement dite, des monuments plus folio set new standards for topographical travel jour- riches & d’une plus grands elegante, il n’y en sut jamais que l’on nals. They combine a celebration of the culturally and ait pu comparer, pour la grandeur & les proportions colossales, geographically remote area of Sicily with a nostalgic à ceux qui ont été construits dans différentes villes de la Sicilie, curiosity of historical particulars5. Specifically, the celles qu’à Selinunte, Segeste & Agrigente»1. Enlightenment attempt to revive an understanding of the simplicity of nature and the antique by returning With this declaration of reverence to Greek antiquity, to original sources of primitivism spawned the explo- Dominique Vivant-Denon prefaced Abbé Jean-Claude ration for greek ruins6. As a heroic archetypal figure, Richard de Saint Non’s five volume Voyage Pittoresque the primitive man encompassed the myth of the ou description des Royaumes de Naples et de Sicilie, publi- “uncontaminated”7. Vitruvius described the origins of shed between 1781-1786. During approximately the architecture in the guise of the rustic hut, but it would same period, from 1782-1787, Jean Pierre Louis be Abbé Marc-Antoine Laugier who proposed that the Laurent Hoüel embarked to Sicily, to travel, narrate primitive hut be taken as the model of excellance in and illustrate his four volume, Voyage Pittoresque des architecture in his Essai sur l’architecture published isles de Sicile, de Malte et de Lipari. These folio volumes anonymously in 17538. The greeks temples found in were published in Paris, overflowing with illustra- Sicily at Selinunte, Segesta and Agrigento put into tions and repleat with narratives of the archaelogical and classical architectural “wonders” in the distant island of Sicily. [fig. 1] Within these monumental volu- mes, Hoüel’s folios measure approximately 494x 326mm (19 x 12in) and St. Non’s folios measure appro- ximately 520x340mm (20x13in) the ideas of exoticism and classicism co-existed. Few historians have analy- zed the impact of exoticism on archaeological veduti- smo which reshaped the classical tradition of architec- tural treatise writing and graphic illustration-broadly alluding to it as “romantic classicism”2. To what degree the greek temples in Sicily described in the voyage pittoresque folios influenced architecture in 18th Fig. 1. “Carte de la Sicile” (da J. Hoüel, Voyage Pittoresque century Europe is debatable. Formerly, art historians des..., cit., I, Paris 1782-1787, plate II). Lexicon - n. 8/2009 36 practice the theory of the natural virtues of post and traditions of three literary genres: the treatise on archi- lintel construction -natural because of its origin in the tecture, the travel journal and the archaeological primitive wooden hut in which the columns that carry recording9. Hoüel and St. Non’s folios introduced a straight entablatures support everything. The primiti- new genre of architectural, archaeological and typo- ve hut looks forward to the temples of Selinunte, graphical illustrations which are complementary to a Segesta and Agrigento where in the 5th century B.C. narrative and descriptive text in their travels through balance and uniformity were maintained. Subtle Naples and Sicily. Inspired by works such as Giovanni variations in detail and delicate adjustments of pro- Battista Piranesi’s engravings in Della Magnificenza ed portion evolve specifically with the introduction of the Architettura de’ Romani (1761) and J.J. Winckelmann’s doric column. As a subject, Sicily is the clear marker of archaelogical discourse on Greek architecture in the convergences of classicism and exoticism prom- Gedanken über die Nachahmung der griechischen Wercke pting new archaeological and architectural discourse in der Mahlerey und Bildhauer-Kunst (1755), St. Non and in Europe. Some intrepid travelers ventured into Hoüel’s works contributed to the raging debates in Greece, but the ruins there were still largely inaccessi- intellectual circles of the superiority of Greek art and ble. Sicily, Pompeii, and Paestum were the places with architecture over Roman art and architecture10. Julian significant classical greek architecture open to David Le Roy’s Les Ruines des plus beaux monuments de Europeans. Perhaps, because of its remoteness and its la Grèce (1758) published in France and James Stuart greek classical ruins, Sicily was both familiar and and Nicholas Revett’s The Antiquities of Athens (1762) strange. If exoticism acts as a representation of one published in England had outraged Piranesi. Yet, culture specifically for the consumption by another Stuart and Revett’s accounts of monuments and tra- culture, then it is possible for classicism and exoticism vels in Greece prompted enthusiastic accolades that to co-exist. Throughout history, such linkages occur- would influence both Hoüel and St. Non. The massive red when the British exploited the exotic appeal of folios of Hoüel and St. Non reveal and exaggerate the India, or Modigliani and Picasso combined the primi- grandeur of specific monuments in roman and greek tive African face with the classical nude body, or when architecture, the natural wonders of mount Etna and the greeks assimilated the egyptian and the phoeni- the social customs in Sicily that intrigued the french cian element in their sculpture and architecture. authors. The tough, rugged, masculine, qualities of the Exoticism represents a primitive, strangeness and doric columns at Paestum, Agrigento, Selinunte and remoteness that regions such as Greece, Egypt, China Segesta embodied the philosophy that architecture, and Sicily held for the germans, scandinavians, british like mankind, was superior in its pure and original and french during the time of the Grand Tour in the stage of primitive simplicity11. More than antiquarian eighteenth century. Rich in a history of classical ruins, travel books, Hoüel’s and St. Non’s works move diverse in customs and manners, sublime in natural toward an appreciation of the sublime in both the wonders, Sicily was part of the resurgence to claim the natural and archaeological realms of Sicily. They are cultural patrimony of classicism. Dilettantes, archi- indicative of a broader interest in the scientific nature tects and artists began to study original antique buil- of geometries, clearly expressed and obtained through dings anew in areas such as Pompeii, Paestum and experience and observation by the frenchmen, to draw Agrigento while continuing to derive their inspiration a synthesis of primitive and antique themes in a from Renaissance and Baroque exemplars such as foreign environment12. Alberti, Serlio, Vignola, Palladio, Pozzo, and the Was there a relationship between the re-emergence of Bibiena. the doric order in neo-classical architecture and the During this time, changes in the purpose and orienta- voyage pittoresque folios of Hoüel and St. Non? The tion of publication types as well as the development of influence of the voyage pittoresque on architecture a new hybrid publication led to a new artistic order- during the last half of the eighteenth century has been neoclassicism. Fundamentally, the ongoing interest in debated by art historians questioning a direct link bet- antiquity among architects, historians and philoso- ween the Greek ruins in Sicily and the architecture in phers was and is to assign meaning. During the France, England and Italy. The work of french scholar Enlightenment, this innovative hybrid publication and enthusiast of the doric, Léon Dufourny (1754- type affixed new meaning to architecture via the long 1818), who was a pupil of Leroy and M. J. Peyre, 37 represented a powerful example. Dufourny was an rative elements as well as decorative motifs were mul- architect whose design of the doric order demonstra- tiples or submultiples of a module. The module was ted a convergence of the architectural treatise and the constructed from collections of classical antiquity and archaeological recording into vedute. Dufourny reflec- renaissance models, and from the repertory of botani- ted the fresh and vital impact of the greek revival on cal and scientific classification he studied while in current design immediately following the publication Sicily. Burzotta states, «each element possesses a for- of Hoüel and St. Non’s voyage pittoresque books. An mal autonomy justified at times by the sense of histo- analysis of the inception of the doric order as part of ry, at others by the value of science…( Dufourny) the greek temples observed and described by Jean resolved to retrieve the formal elements that had retai- Hoüel, Dominique Vivant Denon and Léon Dufourny ned their original purity, and at the same time, to veri- can yield valuable information that provide a direct fy all the others that had gradually been corrupted, linkage between the temples of Segesta, Agrigento taking the models of greek architecture as a term of and Selinunte and buildings such as Dufourny’s Orto comparison»15.
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