Neoclassical architecture

La produzione architettonica del primo Neoclassicismo “funzionalista”, introdotta negli Stati romani dal genio del Vanvitelli, con le sue opere giovanili nelle Marche aveva definito un nuovo linguaggio compositivo ed un particolare gusto semplificato del decoro architettonico giocato sull’uso del laterizio arricchito da essenziali sottolineature lapidee, che influenzerà la produzione edilizia delle Marche fi n oltre il XVIII secolo. L’invasione napoleonica (1797) scuoterà le arretratezze dello Stato papalino introducendo nuovi moderni criteri di gestione del territorio e dell’urbanistica, nuovi strumenti cartografi ci e catastali, nuove tipologie architettoniche legate ai servizi, nuovi ruoli assegnati agli ingegneri ed architetti pubblici. Linearità, proporzione e buon gusto furono i suoi presupposti teorici; correttezza costruttiva e rispondenza razionale tra funzioni e planimetrie il metro di giudizio; una serena semplificazione delle forme costantemente collegata al programma economico si sposava col recupero dei modelli classici e vitruviani riletti attraverso la mediazione trattatistica del Vignola e soprattutto del Palladio. Tutte novità in buona parte recepite dopo la Restaurazione dello Stato Pontificio, dove la figura professionale di Antonio Mollari, dopo il suo exploit della Borsa a Trieste, si inserisce nel filone del Purismo architettonico. Si trattava di “un superamento più che una elusione dell’esperienza neoclassica”, della declinazione finale del più ampio movimento culturale europeo neoclassico, oramai esausto, collocato in pochi decenni, sino al papato di Pio IX, e prima del successivo eclettico florilegio sperimentalistico dei revival storici.

Simon Gottlieb Zug (1733–1807), who hailed from Saxony, was probably the only architect
active in Warsaw of the classicism era, who – despite his exceptional architectural
talent on the European scale, drawing aptitude and a huge specialist knowledge – did not
obtain a post on King Stanisław August court. He was born on 20 February 1733 at the
Merseburg Castle to the family of a valet at the court of Prince Heinrich Sachsen-Merseburg-
Spemberg. He studied architecture in Dresden, in the atelier of Johann Christoph
Knöffel (1686–1752), and then was employed in the Saxon State Ministry of Building in
Dresden as building conductor. From 1756 to his death he lived in Warsaw, holding in turn
the posts of: theatrical constructor of the Saxon court (1760), the intendant of the palaces
belonging to the Wettins (1763), and the court building constructor (1770). At the same
time he realised projects for members of the Saxon court in Warsaw, especially for Minister
Heinrich von Brühl and his son Aloise. Commissioned by the first one, he designed, among
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other things, an Evangelical-Augsburg church at Veľká in Szepes (Zips) (1760). After King
Augustus III’s death, unable to acquire the post at King Stanisław August court, Zug for several
years worked for two king’s brothers: Kazimierz and Michał, which made it possible for
him to accept commissions from Izabela Czartoryska (Powązki Garden, after 1771), Izabela
Lubomirska (a garden in Mokotow, ca. 1776–1784), Primate Michał Poniatowski (a garden
at Jabłonna), Piotr Tepper Jr. (Falenty, 1782–1784) or Helena Radziwiłł née Przeździecka
(Arkadia near Nieborow, from ca. 1783 to 1798). Apart from gardens, he specialised in residential
architecture, as he designed, among others, palaces for the families of Branicki,
Sanguszko or Potocki. A large part of his works were commissioned by the most affluent
Warsaw burghers, for whom he designed the tenement houses, with the most outstanding
of Rösler and Hurtig; hotels and palaces, as for merchant Bernaux and Tepper Jr., or
the whole residential and commercial complexes, as Tłomackie for Schultz. Among Zug’s
achievements we find also designs of several churches, for example a church at Bielsk Podlaski
and Kock; and his most outstanding achievement in the form of Evangelical Augsburg
church in Warsaw. Some other public utility buildings of his design include the town hall
at Leszno, a post house at Raszyn and cemeteries of two Protestant confessions in Warsaw.
The first Zug’s design of a sacral building was the design of an Evangelical Augsburg
church to unknown town in Szepes (Zips). The author of the present text was able to attribute
Zug’s authorship to the modest, simple wooden church at Veľká, constructed under
the privilege issued by the Starost of Szepes Heinrich von Brühl in 1760 according to the
approved designs. The next similar commission came only in 1777, when Protestants from
Warsaw were granted the royal privilege to build their churches. From among three versions
of design the king selected one, the design of a rotunda with dome; later on, Zug
prepared two other variants of this design, with small differences in details. The construction
works started on 24 April 1777, and when in the summer next year the dome was being
made, the architect suggested topping it with a lantern.
The drawings of this version were given to King Stanisław August as a gift, when he
visited the building site. In 1780 the church was covered with copper, and Zug designed
its furnishing and interior decoration, realised the following year. At the same time, in
the street leading to the church, a house for a pastor was build according to Zug’s design;
the house was finished ten days before the ceremonial consecration of the church on 30
December 1781. It was then that the church commission made a decision to build a school
wing, for which a design was prepared by Zug probably already in 1779. Unfortunately, the
limited financial means of the community, much strained by the building of the church and
the parish house, delayed the venture until 25 August 1790, when the cornerstone of the
school building was laid in Królewska Street.
Quite different in character and much more modest was the church of Reformed Evangelicals
build to Simon Gottlieb Zug’s under the privilege issued by King Stanisław August
on 17 March 1777. Already in 1775 the community bought a plot in Leszno Street, in
the neighbourhood of a Protestant cemetery. In the following year the existing residential
house was adapted to the requirement of a sacral public building, and extended with a rectangular
nave, with the facades decorated with an arcaded niche and a triangle tympanum.
In consequence, the new church was consecrated only six days after the privilege was issued.
A few years later the community asked Zug to design a parish house, which was built
in the same plot as soon as 1784. It was a two-storey building with a central avant-corps
accentuated with pilasters and a triangle frontage.
When on 18 February 1792 the Police Commission of Both Nations forbade burials
in churchyard cemeteries, and recommended the establishment of cemeteries outside the
city’s walls, both Evangelical communities, so far sharing the necropolis in Mylna Street,
had to look for a new place for their burials. On 2 May 1792 Karol Schulz sold his two
squares in Młynarska Street: the small one to Reformed Evangelicals, and the larger one
to Evangelical Augsburg community. The Lutherans again asked Zug to design their new
Kilka słów o projektach i realizacjach Simona Gottlieba Zuga
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cemetery; he divided the rectangular plot of land with fourteen avenues to make fourteen
regular sections for burials. He also designed a building of the cemetery office and a small
outbuilding. An analogous design of a smaller Calvinistic cemetery allow us to attribute it
to the same architect, who – according to Eugeniusz Szulc – was also the author of the designs
of a gate and drawbridge over the ramparts and a moat on the way to both cemeteries.
* * *
The Holy Trinity Evangelical Church of the Augsburg Confession in Warsaw was undoubtedly
the most outstanding architectural achievement of Zug, that strengthened his position
in the circle of Warsaw architects and made his name famous in foreign countries. Although
it was Zug’s original idea, his contemporaries saw in it some influences to St Hedwig’s Roman
Catholic Church in Berlin finished in 1773. Modern researchers, on the other hand,
pay attention to analogies with the designs of Marie-Joseph Peyre, the Hugenote church in
Potsdam, or much more distant associations with a New Lutheran Church in Amsterdam.
But considering the dimensions of the Warsaw church, and carved finishes of the facades
without horizontal divisions, and the lack of a lantern in his early designs, the similarities
with the Berlin church indicated by 18th-century travellers seem to be justified. Even more
so, that Zug must have known the Berlin church, as testified by drawings of the roof trusses
of its dome preserved in the collection of the Print Room of the Warsaw University Library
being the copies of studies from the archives of the Warsaw church or Zug’s private archive.
The Berlin dome was an innovative concept of Johann Adam Büring, against which Zug
measured his strength, when he designed his own structure of the dome for the Warsaw
temple. What was more, during the actual construction he proved the superiority of own,
topping the dome with a lantern, which was rejected in Berlin for fears that the structure
was not strong enough.

Nella seconda metà del XVIII secolo questa bella cittadina romagnola divenne uno dei più importanti centri del Neoclassicismo italiano e lo stesso Antonio Paolucci, direttore dei musei vaticani ed importante critico d'arte, indica il periodo compreso fra il 1780 ed il 1815 come il momento più alto della storia artistica faentina, sottolineando che, in quegli anni, “la città romagnola dialogava con il mondo”.
Erano infatti vivi ed attivi i collegamenti con la cultura neoclassica romana e con la Parigi rivoluzionaria e napoleonica e le ricche famiglie faentine facevano a gara nell'erigere i palazzi più belli che, sempre a giudizio del prof Paolucci, “sono quanto di più squisito la civiltà neoclassica abbia prodotto in Europa”.

Whole of texts and historical testymonies by and on Giannantonio Selva, venician architect, professor at Accademia di Belle Arti, artist author of the Gran Teatro La Fenice in Venice. The book collects also texts by Selva on Michele Sammicheli and of Antonio Canova, Antonio Diedo, Ippolito Pindemonte and others on the works of Selva himself and on his life.
Emiliano Balistreri describes all the venetian plans and projects by Selva and sketchs his biography and his partnership and relationship from the second half of XVIII century to the year 1819.

Between 1750 and 1830, Europe and especially France, saw a series of political transformations that renovated its centenary social, political and legal system: the fall of the Ancien Regime, the French Revolution and the creation of liberal states. In architecture, this sequence of events found its parallel in a series of conceptual changes that redefined its very core: the rejection of the Classical system of the orders and the development of the concepts of functionalism and construction-centred architecture.
In this essay, I will analyse Henri Labrouste’s Bibliothèque Sainte-Geneviève and its cultural and architectural context. To begin with, I will study the Vitruvius-inspired values it rejects through the analysis of the Ancien Regime’s neoclassical architecture. After this, I will explore Labrouste’s theoretical precedents in revolutionary architecture, namely the École Polytechnique and its most representative professor Jean-Nicolas-Louis Durand. From these revolutionary theories, I will develop an in-depth analysis of the library’s iconic design as the final product of the architecture revolution and a strong precedent for the development of the field leading to the 20th century.

This paper was written for the UC Davis Art History graduate seminar "Cosmopolitanism and the Avant-Garde."

Outside of archaeologist Heinrich Schliemann's excavations at Troy and Mycenae, little attention has been paid to his role in the shaping of 19th-century Athens into the capital of the new Greek nation-state. As one of many German elites who immigrated to Athens in the wake of the Greek War of Independence, Schliemann actively sought a cityscape of myth, one which matched his antiquarian fantasies but ignored the 19th-century Greek vernacular and its medieval and modern history. Nothing is more evident of this self-appointed quest than Iliou Melathron ("The Palace of Troy"), Schliemann's opulent family home in the political center of Athens. This essay analyzes the mansion's eccentric architecture as an expression of Schliemann's personal myth-making. Further, it explores the nationalistic attitudes of Schliemann and his fellow Germans as they manifested their own Greek imagined community: one informed entirely by myth yet enacted on the streets of "New Athens."

In the heart of Bergamo Alta, on the street called Via Porta Dipinta, stands the massive church of Sant'Andrea Apostolo. Although this church has a rich history and many works of art, the 19th-century facade is still waiting to be completed. Even today, the building appears unfinished and rough-looking to passers-by; this has led the church to be unjustly neglected not only by tourists but also by many Bergamo citizens. The sad incompleteness prompted me to study its history and to reconstruct, even if only digitally, the absent facade. This study made me not only aware of the designer's intentions but also determined to virtually restore the integrity of the monument, with the imposing pronaos of the original project. The three-dimensional model also made it possible to provide the church museum with 3D printed physical models for the tactile visit of blind and visually impaired people.

Στις 25 Ιουνίου 2014 εγκαινιάστηκε το «Μουσείο των Μαριανών Αδελφών και του Λεοντείου Λυκείου» (Musée des Frères Maristes & du Lycée Léonin) στο κτήριο του Λεοντείου Λυκείου Πατησίων .
Βασική πτυχή των στόχων του μουσείου, όπως αυτοί τέθηκαν από την υπεύθυνη μουσειολόγο, ήταν η σύνδεση των εκθεμάτων και των εγκαταστάσεων, αφενός με τον ίδιο τον μικρόκοσμο του σχολείου και αφετέρου με την ιστορία και την εξέλιξη της αστικής -και όχι μόνο- Αθήνας .
Στο πλαίσιο της κατασκευής του μουσείου προτάθηκε από τον γράφοντα η προσθήκη στο οπτικό υλικό, τριών βίντεο με αναπαραστάσεις των εγκαταστάσεων των τριών κτηριακών συγκροτημάτων που στέγασαν και στεγάζουν το Λεόντειο Λύκειο. Αυτό κρίθηκε απαραίτητο, καθώς η ιστορία ενός σχολείου συνδέεται άρρηκτα με τις εγκαταστάσεις και τα βιώματα των μαθητών μέσα σε αυτά.
Σε αυτό εδώ το κείμενο θα ασχοληθούμε με ένα από τα τρία βίντεο, το σχετικό με την αναπαράσταση του Λεοντείου Λυκείου «Άγιος Διονύσιος» της οδού Σίνα, το οποίο, σε αντίθεση με τα άλλα δύο συγκροτήματα, δεν υφίσταται πλέον, καθώς κατεδαφίστηκε τη δεκαετία του 1970.
Στις επόμενες παραγράφους θα αναλυθούν οι τρόποι και η μεθοδολογία που ακολουθήθηκε για την πραγματοποίηση μιας ψηφιακής αναπαράστασης ενός κτηρίου που δεν έχει αφήσει κανένα φυσικό κατάλοιπο ή ίχνος, με τη χρήση αρχειακού υλικού.
Επιπροσθέτως, με την ευκαιρία δημοσίευσης αυτού του έργου, θα γίνει μία παράθεση νέων ιστορικών στοιχείων για το σχολικό αυτό συγκρότημα, τα οποία ήρθαν στο φως κατά τη διάρκεια της έρευνας για τη δημιουργία της αναπαράστασης.
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In June 25th 2014 the “Museum of the Marist Brothers and the Lycée Léonin” (Musée des Frères Maristes & du Lycée Léonin) was inaugurated in the school complex of the Leonteio Lykeio Patision in Athens.
The key aspect of the Museum's objectives -as these were set by the responsible museologist- was the connection of the exhibits and the school facilities, both with the microcosm of the school itself, but also with the history and development of bourgeois (and not only) Athens.
Within the framework of the Museum’s preparation, the author proposed an addition to the visual material, consisting of videos with representations of the three school complexes which housed and house the Lycée Léonin. This was considered necessary, as the history of a school is inextricably linked with the facilities and the students’ experiences within them.
Here in this text, we will deal with one of the three videos, the one concerning the school complex of “Lycée Léonin St. Denis” of Sina street, which, unlike the other two complexes, no longer exists as it was demolished the 1970s. We will analyze the ways and the methodology used to carry out a digital represen-tation of a building which has left no physical remains, by the use of archival material.
In addition, the publication of this work will present new historical facts about this school complex, which came to light during the research for this recostruction.

El uso del alabastro fue habitual en la arquitectura religiosa aragonesa de la época de la Ilustración. Ello se debió a varios factores, siendo los dos más importantes la facilidad de acceso al material gracias a las canteras de la zona media del valle del Ebro (Escatrón, Gelsa…) y sus propias cualidades estéticas (translucidez, brillo céreo, aspecto opalescente, talla precisa…), muy apreciadas tanto por artistas como por comitentes. En este estudio se repasan algunos de los principales usos que se dieron al alabastro en la mencionada arquitectura religiosa aragonesa ilustrada tomando como referencia el caso de la Iglesia parroquial de la Natividad de Nuestra Señora de La Puebla de Híjar (Teruel), construida entre 1763 y 1772 bajo la dirección del maestro de obras de Alcañiz Joaquín Cólera (que la abandonó en junio de 1770) y la supervisión general del destacado arquitecto ilustrado zaragozano Agustín Sanz (1724-1801) desde principios de 1765 y hasta la inauguración del templo en la segunda mitad de enero de 1772, supervisión que supuso la introducción de numerosas modificaciones en el diseño inicial que permitieron su modernización en un sentido barroco clasicista.

The use of alabaster was common in Aragonese religious architecture of the Enlightenment era. This was due to several factors, the two most important being the ease of access to the material thanks to the quarries in the middle of the Ebro valley (Escatrón, Gelsa ...) and their own aesthetic qualities (translucency, waxy luster, opalescent appearance, precise size ...), highly appreciated by artists and clients alike. In this study I review some of the main uses given to alabaster in the aforementioned illustrated Aragonese religious architecture, taking as a reference the case of the Parish Church of the Nativity of Our Lady of La Puebla de Híjar (Teruel), built between 1763 and 1772 under the direction of the Alcañiz master builder Joaquín Cólera (who abandoned it in June 1770) and the general supervision of the prominent Zaragoza illustrated architect Agustín Sanz (1724-1801) from the beginning of 1765 and until the inauguration of the temple in the second half January 1772, supervision that involved the introduction of numerous modifications to the initial design that allowed its modernization in a classicist Baroque sense.

Il rinnovamento della sala teatrale costituisce una delle iniziative più rilevanti dell'età napoleonica a Brescia anche per le sue valenze di pubblico "decoro".  Ai due progetti presentati da Leopoldo Pollack (progettista negli stessi anni del notevole scalone elicoidale nel palazzo di  Broletto, sede della Prefettura)  e da Vincenzo Berenzi  si aggiunse quello del noto architetto, operante a Milano, Luigi Canonica (1806) in seguito realizzato. La sala  era dotata di  127 palchi  disposti  su cinque ordini e da una platea di ampiezza allora equivalente a quella del Regio di Torino e inferiore solo al San Carlo di Napoli e alla Scala milanese. La complessa decorazione interna fu eseguita dall'artista bresciano Giuseppe Teosa: Esemplare manifestazione del gusto neoclassico,: al centro della volta era raffigurato Marte pacificatore quale esplicita personificazione  di Napoleone, dal quale deriva probabilmente la denominazione ancora attuale dello stesso teatro.  Gli spettacoli inaugurali (1810) richiesero un impegno anche finanziario adeguato all'importanza dell'evento. Il melodramma  fu commissionato al prestigioso compositore  Simone Mayr , il  ballo ebbe come protagonista il  celeberrimo coreografo Salvatore Viganò; mentre le scene furono dipinte da Paolo Landriani  e da Giovanni Perego, due noti esponenti della scuola scaligera. Il nuovo teatro suscitò il giudizio ammirato dei viaggiatori francesi e inglesi per la sua magnificenza e il suo buon gusto, tra questi anche Stendhal  che lo giudicò  "charmant" e "plus joli".

This paper examines the design of educational institutions in Athens and its vicinity during the first decade following Greek Independence. The revival of ancient architectural forms played a key role in this development. Still, the selection of ancient models and their fusion with nineteenth-century design paradigms have not yet been studied sufficiently. The present article aims to fill this lacuna by focusing on the educational institutions designed by two major architects of the 1830s: Christian Hansen and Stamatios Kleanthis. These buildings are used as case studies to understand each architect’s choice and modern interpretation of ancient models. This helps to gain a better sense of the variety of architectural idioms that marked the reception of classical architectural canons in nineteenth-century Greece.

Ana Šverko’s paper expands the study of Adam’s reading of place, focusing on the context of the monuments and the phenomenon of direct experience of place. The objective of her discussion is an examination of the phenomenon of immediate experience, which was at the heart of the Grand Tour. Adam’s experiential approach to architectural tourism produced a new familiarity with both the monument and its surroundings. By focusing on descriptions and depictions of the physical context of the Palace – not just of the isolated ancient monument – Adam’s book represents the Palace as one stratum of a complex urban historical landscape. Through a careful study of Adam’s methodological approach, her aim is to draw attention to the importance of the environment of the monument as an important transmitter of the spirit of place. In order to adduce the significance of context in architecture and urbanism – within the neoclassical period in particular, and within both disciplines more generally – this paper begins with an exploration of the importance of immediate personal perception in Adam’s notion of the truthful experience of a space. Behind Adam’s journey was his desire to study antique architectural models directly ; he wanted to know and experience these buildings fully, and in order to be able to employ them as models in his work. Šverko's reading of Adam is rooted in the architectural philosophy of the period, in which the interpretation of the language of Antiquity occupied a key position. Yet Adam was not a rigid disciple of ancient and Renaissance models (among whom Vitruvius and Palladio were the dominant exponents). For this reason he was able to document Diocletian’s Palace (which did not fit perfectly into the Vitruvian scheme) so well, and later to develop a specific architectural idiom which drew on Antiquity, which became known as the Adam Style. The structure of Adam’s book is revealing in this connection: although it is called the Ruins of the Palace Diocletian…, the ruins themselves occupy only a part. The complexity of the Spalatro’ depiction of Diocletian’s Palace indicates Adam’s intention to develop a theoretical reconstruction of the original appearance of the ancient monument, but also to record its condition and environment at the time of his visit. In the closing sections of this discussion Šverko concentrate on the significance that Adam ascribed to the real-time context of the Palace as he found it, for – as the Spalatro suggest – it is only through experience of space in a concrete context that we can know it as a whole.

«Lequeu était déstiné à introduire dans l’architecture l’émotion et le fantastique, plus encore que ses deux aînés.  Ses obsessions, ses rêves traduisent parfaitement
le développement des conceptions artistiques de son époque, même s’ils n’apportent aucune réponse sur le plan pratique»  Emil Kaufmann, Trois architectes révolutionnaires, 1978.

The essay is included in the book L’architettura della memoria in Italia 1750-1939. Cimiteri, monumenti e città, edited by Ornella Selvafolta with Maria Giuffre, Fabio Mangone, Sergio Pace. From the Enlightenment onwards, the themes of memory and celebration of virtues give birth to particularly rich and meaningful architectural expressions. Substantially uniform in its assumptions, this line of research developing in the period between the late eighteenth and the early twentieth century, becomes differently structured for ideological reasons, iconological models, aesthetic and architectural types. The book has deepened the phenomenon, beyond the fragmentary investigations and interpretations emerging from the studies available so far, extending the research chronologically and to the main areas interested by the "project of memory", through a selection of emblematic themes and examples in the national territory. The essay “Oltre la superstizione” addresses the Lombardo Veneto context, where, after the fall of Napoleon in 1814, several new projects for civic cemeteries are being launched as significant part of urban planning schemes according to the laws, but also responding to the aesthetic aims of neoclassical style. The style turns out to be particularly suitable to solve the problems of this new urban architecture in functional, organizational and symbolic terms. The paper identifies and critically examines examples of neoclassical cemeteries, like Brescia, Verona, Cremona, Como, that aspire to a new monumentality. It also outlines the starting decline of neo-classical style in the middle of the XIXth century, in significant coincidence with the Risorgimento, when it was no longer considered representative of the artistic and cultural values of Italy.

Il saggio fa parte del volume L’architettura della memoria in Italia 1750-1939. Cimiteri, monumenti e città, curato da O. Selvafolta con M. Giuffrè, F. Mangone, S. Pace. Partendo dalla riflessione illuministica, i temi della memoria e della celebrazione delle virtù si concretizzano in un filone architettonico particolarmente ricco e denso di significati. Sostanzialmente unitario nei presupposti, questo filone di ricerca, nel suo divenire tra secondo ‘700 e primo ‘900, si articola diversamente per motivazioni ideologiche, modelli iconologici, ricerche formali, tipologie architettoniche. Il volume ha approfondito il fenomeno, al di là della frammentarietà delle indagini e interpretazioni che emerge dagli studi finora disponibili, estendendo cronologicamente l’indagine e approfondendo gli ambiti principali in cui si esprime il “progetto della memoria”, tramite una selezione di temi e esempi emblematici nel territorio nazionale. Il saggio Oltre la superstizione di Ornella Selvafolta affronta il contesto del Lombardo Veneto, dove, dopo la caduta di Napoleone nel 1814, diverse città varano progetti di nuovi cimiteri civici come parti significativa dei programmi urbanistici, in base alle disposizioni legislative, ma anche alle caratterizzazioni stilistiche del neoclassicismo. Lo stile si rivela infatti particolarmente adatto a risolvere i problemi di tipo funzionale, organizzativo e simbolico di queste nuove architetture urbane. Il saggio individua ed esamina criticamente esempi significativi di cimiteri neoclassici (tra cui Brescia, Verona, Cremona, Como) che ambiscono a una nuova monumentalità della memoria. Delinea inoltre il declino del linguaggio neoclassico che si manifesta verso la metà del secolo, in non casuale coincidenza con i moti risorgimentali, quando questo stile non è più considerato rappresentativo dei valori artistici e culturali della nuova Italia.

This book presents 35 chapters on essential aspects of ancient Greek architecture, written by an international team of authors. Included are essays on temples, domestic and military architecture, color, architectural sculpture, interiors and interior decoration (mosaics and painting), and reception of Greek architecture in subsequent periods.

El Coso de la Misericordia de Zaragoza es una de las primeras plazas taurinas estables de España y, derribados sus modelos de la Corte, una de las más antiguas del mundo. Su arquitecto, el zaragozano Julián Yarza Ceballos (1718-1772), miembro de una estirpe de profesionales que llega hasta nuestros días, la diseñó en 1764, siendo construida entre 1764 y 1765 con una loable eficacia y economía de medios sin menoscabo de su solidez y utilidad. En este extenso estudio se abordan aspectos como los antecedentes del edificio, el proceso de gestación y construcción del mismo, o las reformas que sufrió a lo largo del siglo XIX.

The Coso de la Misericordia of Zaragoza is one of the first stable bullrings in Spain and, having demolished its Court models, one of the oldest in the world. Its architect, the Zaragoza native Julián Yarza Ceballos (1718-1772), a member of a lineage of professionals that has survived to this day, designed it in 1764, and it was built between 1764 and 1765 with commendable efficiency and economy of means without compromising its solidity and utility. In this extensive study aspects such as the precedents of the building, the process of gestation and construction thereof, or the reforms that it underwent throughout the 19th century are addressed.

(English)
There are many ways by man to strive to serve God by living according to his teachings, trying to live well by doing good things but there are also some of humans choose by devoting and surrendering their whole to God, such as by choosing life to be a friar or a nun. It is one of the many ways in which human efforts to improve their spiritual life by dedicating their lives to God as the creator of the universe, and trying to get out of all the busyness and daily routine of the life.

One of the ways to serve God with fully become a Nuns from the Order of Discalced Carmelites of the Order of the Blessed Virgin Mary of Mount Carmel (Order of Discalced Carmelites or O.C.D.) with contemplative style. They have sought to present the light of Christ in their life and ministry in the spiritual realm, as a prayer for protection and petition for mercy with prayers to God for mankind. The Nuns of Saint Therese Convent has become a place for answers to the calls of catholic daughters and people who thirsting for the spiritual needs that have been established since 1949 at Kakaskasen District, Tomohon. In view of the existing developments as well as some other aspects and considerations, the area of this monastery requires restoration or redesigning with the theme "Implementation of the Catholic Tradition with the Approach of Mediterranean Architecture".

It is desirable that the results of this restoration and redesign can improve the monastic life quality of the residents and perhaps in the future encourage more catholic daughters to answer the call and also the people to draw closer to God. The addition of facilities such as the new Church/chapel, Stations of the Cross, Grotto of Our Lady of Lourdes are expected to increase faith and spirituality especially people in Diocese of Manado and its surroundings.

(Bahasa Indonesia)
Berbagai cara dari manusia untuk berupaya mengabdi kepada Tuhan dengan hidup sesuai ajaran kepercayaannya, berusaha hidup baik dengan berbuat kebajikan namun ada juga sebagian manusia memilih dengan mengabdikan dan menyerahkan diri dengan sepenuh dan seutuhnya kepada Tuhan, seperti dengan memilih hidup menjadi Biarawan atau Biarawati. Hal ini salah satu jalan dalam upaya manusia untuk meningkatkan kehidupan rohani mereka dengan mendedikasikan hidup mereka kepada Tuhan sebagai pencipta alam semesta, dan berusaha keluar dari semua kesibukan dan rutinitas kehidupan normal.

Salah satu jalan untuk melayani Tuhan seutuhnya adalah dengan menjadi Biarawan-Biarawati dari Ordo Karmel Tak Berkasut dari Ordo Santa Perawan Maria dari Gunung Karmel (Ordo Carmelitarum Discalceatorum atau O.C.D.) dengan kehidupan kontemplatif. Mereka telah berupaya menghadirkan Cahaya Kristus dalam kehidupan dan pelayanan di bidang rohani, sebagai pendoa untuk perlindungan dan permohonan akan belas kasihan dengan doa-doa kepada Allah untuk umat manusia. Biara Suster Karmel Santa Theresia ini telah menjadi tempat untuk jawaban akan panggilan Puteri-puteri Katolik dan umat yang haus akan kebutuhan spiritualitas dan rohani yang telah berdiri sejak tahun 1949 di Kakaskasen, Tomohon. Melihat akan perkembangan yang ada serta beberapa aspek dan pertimbangan lainnya, maka kawasan biara ini membutuhkan Redesain atau Perancangan Kembali dengan mengambil tema “Implementasi Tradisi Katolik dengan Pendekatan Arsitektur Mediterania”.

Sangat diharapkan hasil pemugaran dan redesain ini dapat meningkatkan kualitas hidup membiara bagi penghuni biara dan serta kedepan dapat mendorong lebih banyak puteri-puteri katolik untuk menjawab panggilan dan juga umat untuk mendekatkan diri kepada Tuhan. Penambahan fasilitas-fasilitas seperti Gereja/kapel yang memadai, Jalan Salib, Gua St. Maria dari Lourdes, diharapkan dapat meningkatkan iman dan spiritualitas khususnya umat di Keuskupan Manado dan sekitarnya.

José da Costa Silva (1747-1819) formou-se em Engenharia em Lisboa com o mestre Filipe Rodrigues. Aprendeu desenho figurativo com o milanês Carlos Maria Ponzoni. Com 22 anos de idade partiu para Bologna em companhia de Angelo Brunelli para complementar seus estudos sobre pintura e perspectiva. Neste período, destacou-se como pintor de cenas históricas e também como arquiteto; por mérito, foi incluído entre os membros de honra da Universidade de Bologna (1775). Partiu para Roma, Nápoles, Florença, Vicenza, Veneza, Pisa e Verona, recolhendo em sua bagagem neoclássica uma série de modelos que lhe serviriam de estudo e inspiração para os futuros trabalhos. Retornou a Portugal em 1780, quando tornou-se o responsável pelo ensino da Arquitetura Civil na Aula de Desenho criada por D. Maria. Dirigiu obras importantes como o Erário Régio e o Teatro Nacional de São Carlos, para os quais buscou inspiração sobretudo nas obras italianas e na tratadística que ele conhecia e que, certamente faziam parte do seu rico acervo. Costa e Silva veio ao Brasil em 1812, tendo sido chamado à Corte no Rio de Janeiro, mas veio a falecer em 1819.  Com 71 anos de idade, um ano antes de sua morte decidiu vender à Biblioteca Real sua enorme e valiosa coleção formada por obras de arte, livros, manuscritos, gravuras, desenhos, esboços de mestres italianos e também de desenhos seus.  Nesta coleção, que hoje faz parte do acervo da Biblioteca Nacional do Rio de Janeiro, podem ser encontrados livros de grandiosos formatos com modelos arquitetônicos que guardam uma relação direta com a trajetória do artista, sua produção arquitetônica e metodologia de trabalho.

Articolo rivisto e notevolmente ampliato rispetto a quello pubblicato su "Il Pentagono" n. 5 del maggio 2008.
L'articolo offre una panoramica sull'opera di Poccianti e si concentra poi su quella che è spesso considerata una sua opera minore: i Bagnetti della Puzzolente, a Livorno. Viene poi evidenziato, con teorie finora mai adeguatamente prese in considerazione dalla critica, il legame tra questo edificio e l'opera dell'acquedotto leopoldino.

Hellenomania, the second volume in the MANIA series, presents a wideranging, multidisciplinary exploration of the modern reception of ancient Greek material culture in cultural practices ranging from literature to architecture, stage and costume design, painting, sculpture, cinema, and the performing arts. It examines both canonical and less familiar responses to both real and imagined Greek antiquities from the seventeenth century to the present, across various national contexts. Encompassing examples from Inigo Jones to the contemporary art exhibition, documenta 14, and from Thessaloniki and Delphi to Nashville, the contributions examine att empted reconstructions of an 'authentic' ancient Greece alongside imaginative and utopian eff orts to revive the Greek spirit using modern technologies, new media, and experimental practices of the body. Also explored are the political resonances of Hellenomaniac fascinations, and tensions within them between the ideal and the real, the past, present and future. Part I examines the sources and derivations of Hellenomania from the Baroque and pre-Romantic periods, to the early twentieth century. While covering more canonical material than the following sections, it also casts spotlights on less familiar fi gures and sets the scene for the illustrations of successive waves of Hellenomania explored in subsequent chapters. Part II focuses on responses, uses, and appropriations of ancient Greek material culture in the built environment-mostly architecture-but also extends to painting and even gymnastics; it examines in particular how a certain idealisation of ancient Greek architecture aff ected its modern applications. Part III explores challenges to the idealisation of ancient Greece, through the transformative power of colour, movement, and of reliving the past in the present human body, especially female. Part IV looks at how the fascination with the material culture of ancient Greece can move beyond the obsession with Greece and Greekness.

Este artículo pretende paliar el desconocimiento existente del Palacio escurialense en el Siglo de las Luces, centrándonos principalmente en su configuración en el último cuarto del siglo XVIII. El análisis detallado de sus elementos nos permite reconstruir los Cuartos regios de Carlos IV y Mª Luisa de Parma, reflejo de la etiqueta borgoñona y el protocolo cortesano, y al mismo tiempo, dar a conocer las principales intervenciones arquitectónicas que se sucedieron durante el último reinado del siglo XVIII.

PALATIAL HOUSING IN LATE 18TH-CENTURY RIJEKA: SPATIAL AND TYPOLOGICAL FEATURES
The paper provides insight into the upscale residential architecture of Rijeka at the end of the 18th and the very beginning of the 19th century. Most of the buildings have perished, or have been rebuilt in the later period, and only a few survive until today. In addition to several well-known examples, new houses have here been identifed for the frst time, including their owners and the time of construction. The occurrence of palaces in Rijeka was related to the expansion of the city and the demolition of the medieval city walls, which enabled the construction of new blocks and higher standard housing. The “New Town” became the central city district and its thoroughfare, Korzo, was lined with palaces belonging to wealthy merchants, shipowners and government ofcials. The spatial organization of these palaces can be studied mostly on the basis of archival documentation from the period when it was still extant or at least identifable. It shows typical floor plans formed by grouping or sequencing of the rooms. The origins can be traced to early modern Trieste, where the omnipresent plan model with 3x2 rooms on each floor is recognized as a “typical merchant’s house.” Façades also show considerable uniformity, but also differences in details such as portals and balconies, as well as giant roof gables that gave palaces their visual identity and grand appearance.