Post on 25-Jan-2023
PAT
RIC
IAN
S, N
OTA
BLES
,C
ON
STRU
CT
ION
OF
TH
E C
ITY
Build
ing
and
Pres
erva
tion
ofPa
lazz
o M
agio
Gra
sselli
in C
rem
ona
EDIT
EDBY
AN
GEL
O L
AN
DI
UM
BER
TO
AL
LEM
AN
DI &
C.
testi Magio inglese 2-10-2012 16:36 Pagina 2
PAT
RIC
IAN
S, N
OT
ABL
ES, C
ON
STR
UC
TIO
NO
FT
HE
CIT
YBu
ildin
g an
d Pr
eser
vatio
n of
Pal
azzo
Mag
ioG
rasse
lli in
Cre
mon
a
Coll
ection
C
ostru
zion
e, us
o, st
oria
deg
li ed
ifici
Dire
cted b
y A
lber
to G
rimol
di
Photo
grap
hic an
d ico
nogr
aphic
equip
ment
T
he p
hoto
grap
hs ar
e by G
iulia
no R
egis
and
Pietr
oD
iotti
. For
all o
ther
imag
es, d
iagr
ams a
nd te
xtpr
oces
sing
is by
the a
utho
r, un
less o
ther
wise
stat
ed
Surv
eys
The
dig
ital a
rchi
tectu
ral s
urve
y of P
alaz
zo M
agio
Gra
sselli
was
carri
ed o
ut b
y R.T
.C. s
nc o
f Cre
mon
a, in
the p
erso
ns o
f Dan
iele C
oltu
rato
and
Mor
eno
Pedr
ini
Diag
nosti
c Ana
lysis
The
initi
al d
iagn
ostic
surv
eys a
re b
y the
“L
abor
ator
io d
ian
alisi
e di
agno
stica
del
costr
uito
” (D
ipar
timen
to d
iA
rchi
tettu
ra e
Pian
ifica
zion
e, Po
litec
nico
di M
ilano
)pr
imar
ily in
the p
erso
n of
Luc
a Val
isi an
d “L
abor
ator
iodi
chim
ica p
er le
tecn
olog
ie” (“
Dip
artim
ento
di
inge
gner
ia m
ecca
nica
e in
dustr
iale”
, Uni
versi
tà d
iBr
esci
a), p
rimar
ily in
the p
erso
n of
Dar
io B
ened
etti
Tra
nslat
ion of
text
s by
Isa F
erra
ri (r
evisi
on an
d co
rrect
ion
of th
e tra
nsla
tion
ofge
nera
l sec
tions
, app
endi
x an
d es
says
of R
. Car
letti,
A.
Grim
oldi
, A. L
andi
)C
inzi
a Fos
sati
(A. L
andi
, “A
rchi
tectu
ral
Tra
nsfo
rmat
ions
in an
Aris
tocr
atic
Hou
se in
Cre
mon
a.Pa
lazz
o M
agio
Gra
sselli
betw
een
Civi
tasan
d U
rbs”
excl
udin
g th
e not
es, G
. Jea
n, “
Plas
ter o
f Cre
mon
a: a
Res
earc
h th
roug
h A
rchi
ve M
ater
ials”
)C
hrist
ine J
ones
(R. C
arlet
ti, “
Publ
ic H
erita
ge an
dId
entit
y of t
he C
ity”;
S. B
aron
i and
P. T
rava
glio
, “T
heD
ecor
ativ
e Fra
mes
of P
alaz
zo M
agio
Gra
sselli
inC
rem
ona”
, A. L
andi
, “T
he D
evelo
pmen
t of t
heU
rban
Netw
ork
and
Build
ing
Refo
rms:
Cha
nnell
ing
of R
ainw
ater
and
the U
se o
f “M
oder
n G
utter
s” in
Cre
mon
a dur
ing
the N
inete
enth
Cen
tury
”, D
. Del
Cur
to, “
Mat
eria
ls an
d T
echn
ique
s of t
he P
re-I
ndus
trial
Build
ing
Sites
of C
rem
ona:
an E
xerc
ise in
Arc
hitec
tura
l Arc
haeo
logy
on
the F
açad
e of P
alaz
zoM
agio
Gra
sselli
”)G
erar
do P
apal
ia (E
. Sig
nori,
“G
iulio
Gra
sselli
:Ph
iloso
phy,
Pol
itics
and
Civ
il En
gage
men
t”)
Perm
ission
sT
he p
ublic
atio
n of
the a
rchi
ve d
ocum
ents
has b
een
auth
oriz
ed b
y the
Arc
hivi
o di
Sta
to in
Cre
mon
a(p
roto
col n
o. 5
66/2
8.28
.01
of M
arch
23,
201
2 an
dpr
otoc
ol n
o. 8
90/2
8.28
.01
of 4
May
201
2), t
he A
rchi
vio
di S
tato
in M
ilan
(pro
toco
l no.
140
2/28
.13.
11 o
f 9M
arch
201
2) an
d th
e Civ
ica R
acco
lta d
elle S
tam
peA
chill
e Ber
tare
lli, C
astel
lo S
forz
esco
in M
ilan
(pro
toco
lno
. 201
2.43
of 9
Feb
ruar
y 201
2)
The
edito
r and
auth
ors w
ish to
rene
w th
eir h
eartf
eltth
anks
to
Eman
uela
Car
pani
, Sup
erin
tende
nt o
f Ben
iA
rchi
tetto
nici
e Pa
esag
gisti
ci fo
r the
pro
vinc
es o
f Sien
aan
d G
rosse
to, w
ho as
rese
arch
er at
the P
olite
cnic
o di
Mila
no o
versa
w th
e dev
elopm
ent o
f thi
s res
earc
hpr
ogra
mm
e “C
onse
rvin
g th
e ext
erna
l sur
face
s of
Cre
mon
ese h
istor
ical
bui
ldin
g: tr
aini
ng an
ddi
ssem
inat
ion
of in
nova
tive t
echn
ique
s and
pro
cesse
s”sp
onso
red
by th
e Fon
dazi
one C
arip
lo;
Silv
ia G
aglia
rdi a
nd D
aniel
e Gig
ni (U
ffici
o Pr
ogett
iSt
rateg
ici,
Com
une d
i Cre
mon
a) an
d G
iuse
ppin
aN
olli
(Sett
ore L
avor
i Pub
blic
i, C
omun
e di C
rem
ona)
who
hav
e fol
low
ed th
e man
agem
ent o
f the
rese
arch
prog
ram
me w
ith ca
re an
d at
tentio
n;
the A
rchi
vio
di S
tato
in C
rem
ona,
its D
irect
or, A
ngela
Bella
rdi a
nd h
er co
llabo
rato
rs, S
tefan
o C
ampa
gnol
o,D
irect
or o
f the
Bib
liotec
a Sta
tale
e Lib
reria
Civ
ica i
nC
rem
ona a
nd th
e em
ploy
ees o
f the
refer
ence
room
, for
the s
uppo
rt pr
ovid
ed to
this
rese
arch
;
the S
oprin
tende
nza p
er i
Beni
Arc
hitet
toni
ci e
Paes
aggi
stici
for t
he p
rovi
nces
of B
resc
ia, C
rem
ona a
ndM
antu
a in
the p
erso
ns o
f the
Sup
erin
tende
nt, A
ndre
aA
lber
ti, an
d th
e arc
hitec
t with
resp
onsib
ility
for t
he ci
tyof
Cre
mon
a, D
iego
Mor
ato;
the S
oprin
tende
nza a
i Ben
i Sto
rico
Arti
stici
eD
emoa
ntro
polo
gici
for t
he p
rovi
nces
of B
resc
ia,
Cre
mon
a and
Man
tua i
n th
e per
sons
of t
heSu
perin
tende
nt pr
o tem
pore,
Fab
io M
agan
i and
the a
rthi
storia
n w
ith re
spon
sibili
ty fo
r the
city
of C
rem
ona,
Gio
vann
i Rod
ella;
Parti
cipa
nts i
n th
e stu
dy d
ay “
Con
serv
are l
e sup
erfic
iar
chite
ttoni
che e
stern
e dell
’edili
zia s
toric
a Cre
mon
ese”
(“C
onse
rvin
g th
e ext
erna
l sur
face
s of C
rem
ones
ehi
storic
al b
uild
ing”
) tha
t too
k pl
ace i
n Pa
lazz
oA
ffaita
ti-M
agio
(Cre
mon
a) o
n 8
Oct
ober
201
0;
Giu
liano
Reg
is w
ho g
raci
ously
mad
e ava
ilabl
e his
uniq
ue ex
perti
se an
d se
nsiti
vity
in p
lann
ing,
coor
dina
ting
and
unde
rtaki
ng th
e pho
togr
aphy
;
Mar
ia L
uisa
Cor
si, fo
rmer
Dire
ctor
of t
he C
rem
ona
Stat
e Arc
hive
, for
her
inva
luab
le ad
vice
in p
artic
ular
with
rega
rds t
o th
e essa
y “A
rchi
tectu
ral
Tra
nsfo
rmat
ions
in an
Aris
tocr
atic
Hou
se in
Cre
mon
a.
Pala
zzo
Mag
io G
rasse
lli b
etwee
n C
ivitas
and
Urb
s”;
Cris
tian
Prat
i, In
spec
tor o
f the
Sop
rinten
denz
a ai B
eni
Arc
hitet
toni
ci e
Paes
aggi
stici
for t
he p
rovi
nces
of P
arm
aan
d Pi
acen
za, f
or h
is su
gges
tions
rega
rdin
g m
ethod
s of
cata
logi
ng ar
chite
ctur
al h
erita
ge;
Isa F
erra
ri fo
r the
pro
fessio
nalis
m an
d av
aila
bilit
y in
the
edito
rial r
eview
of t
he E
nglis
h la
ngua
ge te
xts.
The
rese
arch
on
Pala
zzo
Mag
io G
rasse
lli in
this
volu
me
has b
een
spon
sore
d by
Car
iplo
and
was
par
t of t
hepr
ogra
mm
e “C
onse
rvar
e le s
uper
fici a
rchi
tetto
nich
ees
terne
dell
’edili
zia s
toric
a cre
mon
ese:
tecni
che e
pro
cessi
inno
vativ
i in
un p
erco
rso fo
rmat
ivo
e div
ulga
tivo”
(“C
onse
rvin
g th
e ext
erna
l sur
face
s of C
rem
ones
ehi
storic
al b
uild
ing:
trai
ning
and
disse
min
atio
n of
inno
vativ
e tec
hniq
ues a
nd p
roce
sses”
).
testi Magio inglese 2-10-2012 16:36 Pagina 4
The
Com
une o
f Cre
mon
a is
heir
to a
vas
t and
ver
y pa
rticu
lar b
uild
ing
herit
age,
the c
ondi
tion
of th
ese
build
ings
var
ies w
idely
due
to th
e spe
cific
con
struc
tion
and
mai
nten
ance
pro
gram
mes
that
they
hav
ebe
en su
bjec
t to.
The
size
and
qua
lity
of th
is pa
trim
ony
requ
ires c
onsta
nt a
naly
sis a
nd u
nder
stand
ing
in o
rder
to g
uara
ntee
suita
ble m
aint
enan
ce p
rogr
amm
es a
nd to
hav
e a c
onsta
nt g
rasp
of t
he m
echa
nism
s tha
t lea
d to
dec
ay, s
o as
,w
here
nec
essa
ry, t
o ta
ke th
e nec
essa
ry st
eps t
o pr
even
t dam
age.
The
rese
arch
expe
rienc
e, of
whi
ch th
is pu
blic
atio
n is
an il
lustr
atio
n, is
the f
ruit
of sk
illed
tech
nica
l and
scien
tific
wor
k un
derta
ken
by th
e exp
ertis
e of t
he P
olite
cnic
o di
Mila
no; t
his w
as p
ossib
le th
anks
to th
e sup
port
of th
eFo
ndaz
ione
Car
iplo
whi
ch, w
ith it
s pub
lic co
mpe
titio
n fo
r the
pro
ject “
Arte
e C
ultu
ra 2
008”
, is h
elpin
g to
diffu
se th
e use
of i
nnov
ativ
e tec
hnol
ogy f
or th
e mai
nten
ance
of o
ur h
istor
ic ar
chite
ctur
al p
atrim
ony.
With
the e
xper
ience
gai
ned,
cent
red
in p
artic
ular
on
the c
ase s
tudy
of P
alaz
zo M
agio
Gra
sselli
, cho
sen
due
to it
s em
blem
atic
con
struc
tion
char
acter
istic
s an
d its
com
plex
mai
nten
ance
nee
ds, t
he a
im h
as b
een
toco
ncen
trate
on th
e meth
odol
ogy
to a
cqui
re h
istor
ical
kno
wled
ge, s
cien
tific
ana
lysis
and
the m
onito
ring
ofde
cay,
in o
rder
to b
e abl
e to
supp
ort p
ublic
and
priv
ate e
ntiti
es w
orki
ng in
the f
ield
of p
rese
rvat
ion
of o
urcu
ltura
l her
itage
.
OR
EST
EPE
RR
I
May
or o
f Cre
mon
a
testi Magio inglese 2-10-2012 16:36 Pagina 6
Con
tents
11Pu
blic
Her
itage
and
Iden
tity o
f the
City
R
UG
GER
OC
AR
LET
TI
15Fr
om K
now
ledge
to th
e Pro
tectio
n of
the B
uilt:
Kno
wled
ge, T
ools,
Pub
licA
LBE
RT
OG
RIM
OL
DI
21G
iulio
Gra
sselli
: Phi
loso
phy,
Pol
itics
and
Civ
il En
gage
men
tEL
ISA
SIG
NO
RI
33A
rchi
tectu
ral T
rans
form
atio
ns in
an A
risto
crat
ic H
ouse
in C
rem
ona.
Pa
lazz
o M
agio
Gra
sselli
betw
een
Civi
tasan
d U
rbs
AN
GEL
OL
AN
DI
117
The
Dec
orat
ive F
ram
es o
f Pal
azzo
Mag
io G
rasse
lli in
Cre
mon
aSA
ND
RO
BAR
ON
Ie P
AO
LA
TR
AV
AG
LIO
153
Mat
eria
ls an
d T
echn
ique
s of t
he P
re-I
ndus
trial
Bui
ldin
g Si
tes o
f Cre
mon
a:
an E
xerc
ise in
Arc
hitec
tura
l Arc
haeo
logy
on
the F
açad
e of P
alaz
zo M
agio
Gra
sselli
DA
VID
ED
ELC
UR
TO
173
The
Dev
elopm
ent o
f the
Urb
an N
etwor
k an
d Bu
ildin
g R
eform
s: C
hann
ellin
g of
Rai
nwat
er
and
the U
se o
f “M
oder
n G
utter
s” in
Cre
mon
a dur
ing
the N
inete
enth
Cen
tury
AN
GEL
OL
AN
DI
188
Plas
ter o
f Cre
mon
a: a
Res
earc
h th
roug
h A
rchi
ve M
ater
ials
GIA
CIN
TA
JEA
N
App
endi
x19
8“I
nven
tario
o si
a defi
nitio
ne d
elli b
eni m
obili
, im
mob
ili, c
redi
ti, re
ggio
ni et
attio
ni ri
trova
tine
ll’er
edità
del
fu S
igno
r Mar
ches
e Gio
. Clem
ente
Mag
gio”
, 15
Janu
ary 1
703
206
“Rela
zion
e di s
tima d
ella C
asa p
osta
in C
rem
ona,
in co
ntra
da S
. Gal
lo al
l’ana
graf
ico
nº 2
6 ed
in m
appa
dell
a sop
pres
sa P
arro
cchi
a di S
. Gal
lo ai
n.i
9 e 8
”, c.
186
421
2T
he F
amily
tree
of t
he M
agio
of C
rem
ona
226
List
of b
ooks
cited
237
Inde
x of
nam
e
testi Magio inglese 2-10-2012 16:36 Pagina 8
The
Dec
orat
ive F
ram
es
ofPa
lazz
o M
agio
Gra
sselli
in C
rem
ona
SAN
DR
OBA
RO
NIan
dPA
OL
AT
RA
VA
GL
IO
Gov
erno
r Gia
nluc
a Pal
lavi
cini
resid
ed. C
fr. F
OR
NI19
97, p
p. 9
0-91
.65
AN
DC
R, n
otai
o Silv
io M
elati,
alleg
ato a
l n. r
ep. 8
6/51
8, 13
July
1879
.A
nnib
ale’s
her
edita
ry es
tate
was
valu
ed at
over
thre
e mill
ion
lire.
Som
eof
the a
bove
men
tione
d es
tates
in th
e cou
ntry
had
com
e to
Ann
ibal
efro
m th
e Bol
zesi
who
, in
their
turn
, too
k po
ssessi
on o
f the
m fo
llow
ing
the d
issol
utio
n of
the r
eligi
ous o
rder
s.66
Equa
l to
“metr
i 553
2,29
[...]
dell
a dett
a sup
erfic
ie so
no o
ccup
ati d
alfa
bbric
ato
mq.
1.6
92,9
3 e m
q. 3
.839
,36
dal g
iard
ino
e cor
tile.
[...].
Inqu
esto
fabb
ricat
o occ
orro
no le
segu
enti
oper
e di i
stant
anea
ripa
razi
one:
cam
eron
e di p
ozzo
occ
orre
di e
ssere
pav
imen
tato
com
e pur
e la s
ala d
apr
anzo
ed an
che i
l por
tico;
rico
struz
ione
dell
a sca
la d
i acc
esso
al fe
nile;
ricos
truzi
one d
i mur
o ne
ll’an
golo
nor
d-ov
est d
ella r
imes
sa d
i pon
ente
e ric
ostru
zion
e di p
arte
del m
uro
divi
dent
e le d
ue ri
mes
se; n
ella c
anti-
na v
erso
il C
orso
Por
ta R
oman
a occ
orre
rico
struz
ione
di u
na tr
atta
di
mur
o, ed
in q
uella
sotto
il p
ortic
o; n
el ca
mer
one t
erre
no d
el ca
sino
oc-
corre
il ca
mbi
o di
due
trav
i; ne
l tett
o fa
biso
gno
il ca
mbi
o de
i seg
uent
ileg
nam
i = u
n pa
rado
sso, t
re p
iane
ed u
n co
lmar
ecci
o; tu
tte q
ueste
oper
esi
sono
calc
olat
e e va
luta
te £
2.13
9. N
el re
sto il
pal
azzo
trov
asi i
n bu
one
cond
izio
ni d
i sol
idità
, ed
i suo
i loc
ali s
ono
disp
osti
in d
ue p
iani
, uno
terre
no e
l’altr
o su
perio
re se
para
ti da
mez
zani
ni ab
itabi
li. In
gen
eral
e ilo
cali
del p
iano
supe
riore
prin
cipa
lmen
te so
n bu
oni e
ben
dist
ribui
tial
cuni
anc
he b
en d
ecor
ati.
La
facc
iata
è in
later
izi e
non
ha
alcu
n or
-di
ne ar
chite
ttoni
co, s
i può
cons
ider
arla
rusti
ca. I
l pal
azzo
gode
abbo
n-da
nte l
uce e
ven
tilaz
ione
sana
, per
ò ha
l’in
conv
enien
te di
esse
re co
nfi-
nato
da u
na p
arte
da u
n op
ifici
o per
la tr
attu
ra d
ella s
eta ch
e mol
te vo
lteè c
ausa
di d
isgus
tosis
simi o
dori,
e da
l lat
o op
posto
è co
nfin
ato
da u
nosta
bilim
ento
a C
olleg
gio
Mas
chile
d’ed
ucaz
ione
che
in b
uona
par
tede
lla gi
orna
ta gl
i alu
nni c
ol lo
ro sc
hiam
azzo
nell
e ore
di r
icre
azio
ne re
-ca
no d
istur
bo g
rave
. I te
tti so
no fo
rmat
i di l
egna
mi s
ani e
robu
sti, e
leca
ntin
e han
no m
uri e
vol
te so
lidiss
ime u
na d
elle c
antin
e non
è co
perta
da v
olta
ma
da so
ffitto
il q
uale
è for
mat
o da
robu
sti c
antie
ri e t
ravi
di
rove
re”.
ASC
R, A
GR
, b. 1
0, 8
Sep
tembe
r 187
9.67
ASC
R, A
GR
, b. 1
2, m
iscell
aneo
us d
ocum
ents.
68In
188
8 a
flat o
verlo
okin
g th
e stre
et on
the f
irst f
loor
was
rent
ed to
Elvi
ra M
affei
s, L
ongh
i’s w
idow
, at 4
50 £
a y
ear;
the f
ollo
win
g ye
ar,
the s
ame f
lat w
as re
nted
to A
gosti
no V
iti w
ho li
ved
ther
e for
ove
r ten
year
s. A
SCR
, AG
R, b
. 12,
25
Janu
ary 1
888,
20
Febr
uary
188
9.69
Giu
lio G
rasse
lli w
rote
abou
t his
elder
ly gr
and-
mot
her,
prob
ably
An-
na L
onga
ri Po
nzon
e, th
at sh
e had
refu
sed
any
techn
olog
ical
inno
va-
tion
in h
er ap
artm
ent:
ever
ythi
ng h
ad re
mai
ned
the s
ame a
s in
her y
outh
(“ne
l vec
chio
appa
rtam
ento
s’er
a rifi
utat
a di f
are q
ualsi
asi i
nnov
azio
ne.
Non
solo
non
ave
va v
olut
o l’i
llum
inaz
ione
elet
trica
, ma
nem
men
oqu
ella
a ga
s. M
obili
, arr
edam
enti,
abi
tudi
ni er
ano
rimas
ti qu
elli d
igi
oven
tù”)
. GR
ASS
ELL
I19
32a,
p. 2
8.70
In th
e Lom
bard
wor
ld it
was
impo
ssibl
e to
cont
extu
alise
the d
iffer
-en
t way
s of l
ivin
g of s
ociet
y in
build
ings
, as P
aolo
Mac
rì tri
ed to
do f
orni
netee
nth
cent
ury
Nap
les (M
AC
RY
1988
, pp.
109
-118
). It
wou
ld b
ene
cessa
ry to
writ
e ano
ther
essa
y in
orde
r to
exam
ine G
iulio
Gra
sselli
’slif
esty
le in
the c
ontex
t of t
he C
rem
ones
e soc
iety:
on
this
subj
ect,
man
ypu
blic
atio
ns ar
e ava
ilabl
e for
furth
er in
vesti
gatio
n.71
PRO
UST
1954
, pp.
82-
83.
72A
pla
n of
the “
pian
o no
bile”
defi
nes t
he u
se o
f eve
ry ro
om an
d al
soth
e nam
es o
f the
per
sons
to w
hom
each
room
was
assi
gned
. CA
RIN
I,C
OR
BAR
Iet.
al.,
1990
-199
1, v
ol. I
I, pp
. 63-
65.
73G
iulio
Gra
sselli
’s w
ill is
in A
ND
CR
, Silv
io M
elati,
16
Aug
ust 1
893
and
in A
SCR
, Uffi
cio
del R
egist
ro, a
tti d
i suc
cessi
one,
b. 1
98, 1
6 A
u-gu
st 18
93. T
he d
eeds
rela
ting
to G
iulio
’s es
tate
are i
n A
ND
CR
, Silv
ioM
elati,
alle
gati
al n
. rep
. 352
/677
, 7 N
ovem
ber 1
893,
Inve
ntar
io de
llaso
stanz
a abb
ando
nata
dal f
u Illu
striss
imo S
ignor
Dott
or G
iulio
Gra
sselli
and
inA
SCR
, AG
R, b
. 11,
3 M
ay 1
894,
Periz
ia di
stima
della
sosta
nza l
ascia
-ta
da fu
dotto
r Giul
io G
rasse
lli.
74T
he ti
tle of
nob
lewom
an w
as d
ue to
her
by r
ight
. In
fact
, at t
he en
d of
the 1
9th
cent
ury,
Giu
lio G
rasse
lli (w
hose
hea
lth h
ad b
een
very
poo
r for
som
e tim
e) re
ques
ted th
e titl
e of C
ount
from
Kin
g Um
berto
di S
avoi
a;a
right
acq
uire
d th
roug
h hi
s rela
tion
by m
arria
ge to
var
ious
fam
ilies
,su
ch as
the C
rivell
i, th
e Fun
ck, t
he D
anes
e, th
e Leg
nani
. Onl
y in
1895
Ann
a Lon
gari
Ponz
one o
btai
ned
a sim
ple t
itle o
f ran
k fo
r her
sons
and
daug
hter
s Enr
iche
tta, M
aria
Elen
a, T
eres
a, Ip
polit
o, A
milc
are A
nni-
bale,
Teo
dora
and
Ant
onio
. ASC
R, A
GR
, b. 1
, 6 M
ay 1
903.
75G
rasse
lli’s
villa
at T
aver
nole,
on
lake
Iseo
, was
des
troye
d by
a la
nd-
slide
in 1
906.
76A
SCR
, AG
R, b
. 11,
1 J
une 1
911.
The
estim
ator
of t
he jo
ined
ow
n-er
ship
had
val
ued
the p
alac
e with
a vi
ew to
rent
ing
two
flats;
Gra
ssel-
li w
ould
live
in a
flat
“ve
ram
ente
signo
rile”
on th
e “pi
ano
nobi
le” in
the i
nter
nal w
ing.
77“[
...] r
inov
are l
e tin
te de
lle su
e cas
e, pa
rti d
i bas
amen
to, p
osti
in v
iaX
X S
ettem
bre”
. ASC
R, C
CR
, Fab
bric
he e
ripar
azio
ni (1
868-
1946
),b.
118
5, 2
3 O
ctob
er 1
907.
78A
SCR
, AG
R, b
. 12,
11
May
193
1.79
The
repo
rt m
ade b
y th
e “So
prin
tende
nza
ai B
eni A
rchi
tetto
nici
di
Bres
cia”
rela
tes th
at th
e gal
lery
was
lit b
y “d
a ci
nque
fine
stron
i che
furo
no re
si ci
echi
in d
ue te
mpi
div
ersi
per r
icav
are d
all’a
rioso
van
o a
botte
alc
uni l
ocal
i di a
bita
zion
e”. T
his r
emar
k is
to b
e fo
und
in a
resto
ratio
n pr
ojec
t of t
he 1
9th
cent
ury c
eilin
gs an
d va
ults
to b
e car
ried
out a
fter t
he d
emol
ition
of th
e fal
se ce
iling
s. H
owev
er th
ese w
orks
wer
ene
ver c
arrie
d ou
t. A
SCR
, AG
R, b
. 12,
s.d.
80T
he w
allp
aper
, pas
ted on
to a
laye
r of h
emp
mes
h an
d ne
wsp
aper
, al-
low
us t
o fix
a da
te fo
r the
room
s (3.
10-3
.13)
: the
new
spap
ers,
thou
ghin
pla
ces d
amag
ed, b
ear t
he d
ate:
Oct
ober
192
9 (r
oom
3.1
2)].
81H
ere t
he w
allp
aper
is al
so p
asted
onto
a la
yer o
f hem
p m
esh
and
new
s-pa
per:
the l
atter
are d
ated
Mar
ch 19
28 (r
oom
1.39
) in
cont
rast
to th
e dat
eof
Oct
ober
1929
whi
ch w
as re
ferre
d to
in th
e log
gia r
oom
s (ro
om 3.
12).
82A
SCR
, CC
R, F
abbr
iche
e rip
araz
ioni
(186
8-19
46),
b. 11
82, 1
5 May
1942
. Ipp
olito
had
alre
ady m
ade a
requ
est f
or th
ese b
uild
ing
wor
ks in
1935
, but
we d
o no
t kno
w w
hy, h
e nev
er st
arted
them
. ASC
R, C
CR
,Fa
bbric
he e
ripar
azio
ni (1
868-
1946
), b.
117
5, 1
June
193
5.83
The
stre
et pl
an p
rese
rved
in th
e Gra
sselli
’s A
rchi
ve, i
s und
ated
. AS-
CR
, AG
R, s
.d.
84A
SCR
, CC
R, F
abbr
iche
e rip
araz
ioni
, b. 1
170,
18
Apr
il 19
31. A
n-ot
her s
treet
plan
to co
nnec
t Via
Bon
omell
i to
Cor
so X
X S
ettem
bre i
ncl
ose p
roxi
mity
to C
orso
Vac
chell
i was
nev
er ca
rried
out
: in
this
case
the w
ide g
arde
n in
side t
he b
lock
wou
ld h
ave b
ecom
e sui
tabl
e for
bui
ld-
ing.
Don
o V
aian
i, b.
29,
s.d.
85A
ccor
ding
to ar
ticle
n. 21
of th
e law
1089
/193
9. A
SCR
, AG
R, b
. 12,
14 F
ebru
ary 1
958.
86“[
...]g
iard
ino
dai c
ospi
cui c
arat
teri d
i bell
ezza
nat
ural
e per
le b
elle
pian
te di
spos
te ar
mon
icam
ente
e per
il m
ovim
ento
del
terre
no[..
.]”.
Ibid
.87
The
Lan
franc
hi fa
mily
, ow
ners
of t
he fo
rmer
ly P
alaz
zo A
imi-
Gol
done
, wer
e rela
ted to
the G
rasse
lli: i
n fa
ct R
emo
Lan
franc
hi, a
nen
gine
er, a
nd h
is sis
ter P
alm
ira h
ad re
spec
tively
mar
ried
Ter
esa
and
Ippo
lito
Gra
sselli
. As t
o th
e bin
ding
regu
latio
ns o
n th
e Pal
azzo
Lan
-fra
nchi
see A
SCR
, AG
R, b
. 12,
11
Nov
embe
r 195
8.88
The
Gra
ssell
i bro
ther
s stro
ngly
defe
nded
their
pal
ace f
rom
neig
h-bo
urin
g ill
egal
bui
ldin
g pe
rform
ed w
ithou
t pla
nnin
g pe
rmiss
ion;
this
also
on
beha
lf of
the i
nstit
utio
ns to
whi
ch th
e pal
ace w
ould
be d
onat
-ed
: th
e “A
ccad
emia
dei
Lin
cei”
, th
e “M
inist
ero
della
Pub
blic
aIs
truzi
one”
, the
“U
nive
rsità
di M
ilano
”, th
e “U
nive
rsità
di P
avia
”,th
e C
omun
e of
Cre
mon
a an
d th
e as
soci
atio
n Ita
lia N
ostra
. ASC
R,
AG
R, b
. 12,
24
July
196
3.89
“[...
] the
two
mai
n ap
artm
ents
on th
e firs
t flo
or w
holly
pre
serv
e the
eight
eent
h ce
ntur
y and
neo
clas
sical
dec
orat
ions
, eve
n if
partl
y dam
aged
.A
lso th
e lar
ge ro
om w
ith th
e well
and
the g
rand
stai
rcas
e are
in a
fair-
ly g
ood
state
of p
rese
rvat
ion,
thou
gh w
ith so
me r
emak
ings
and
non
orig
inal
dec
orat
ions
. On
the w
hole
Pala
zzo
Gra
sselli
may
be c
onsid
-er
ed o
ne o
f the
few
bui
ldin
gs in
the c
ity to
pre
serv
e a g
ood
part
of th
ety
pica
l fea
ture
s of a
refin
ed re
siden
ce of
pas
t tim
es”,
in A
SCR
, AG
R, b
.12
, 3 N
ovem
ber 1
959.
Aga
in in
1963
, Gra
sselli
aske
d th
e “So
prin
ten-
denz
a ai B
eni A
rchi
tetto
nici
di B
resc
ia” t
o im
pose
bin
ding
restr
ictio
nson
the p
arce
ls of
land
tow
ards
Via
Bon
omell
i, w
here
seve
ral r
oof r
ais-
ings
wer
e for
esee
n, in
ASC
R, A
GR
, b. 1
2, 2
9 Ju
ne19
63.
90Be
twee
n 19
70 an
d 19
73 G
azzo
la an
d th
e Gra
sselli
sign
ed a
pre-
con-
tract
to as
sign
som
e roo
ms a
s deta
ched
offic
es of
the S
oprin
tende
nza o
nth
e gro
und
floor
of P
alaz
zo M
agio
. ASC
R, A
GR
, b. 1
2, s.
d.91
On
the “
ispett
ori-d
elato
ri”(“
insp
ecto
rs-in
form
ers”
), as
Luc
a Rin
al-
di d
efine
s the
m, s
ee R
INA
LD
I200
9 and
CO
FAN
I, FR
IGN
AN
Iand
LA
N-
DI20
09.
92Fu
rther
to G
iulio
Gra
sselli
’s re
signa
tion
from
the b
oard
of th
e asso
ci-
atio
n Ita
lia N
ostra
in C
rem
ona (
whe
re h
e was
chai
rman
), th
e sup
erin
-ten
dent
Pier
o Gaz
zola
, wen
t well
bey
ond
form
al p
olite
ness
to re
cogn
ize
“l’o
pera
svol
ta c
on se
nsib
ilità
ed en
ergi
a, d
ettat
e da
un g
rand
e am
ore
verso
la te
rra cr
emon
ese”
. ASC
R, I
talia
Nos
tra, b
. 2, 3
0 M
ay 1
972.
108
testi Magio inglese 2-10-2012 16:36 Pagina 108
pain
ted4
desti
ned
to fu
rther
por
traits
, fin
ds a
com
paris
on in
the e
ight
eent
hce
ntur
y us
e of p
rovi
ding
pai
nter
sw
ith th
e stru
ctur
es a
nd c
anva
s nec
essa
ry fo
r the
com
miss
ion
gran
ted5
and
reve
als i
n th
at se
nse a
pro
ject i
npr
ogres
s.H
owev
er, t
he re
nova
tion
of th
e bui
ldin
g pro
mot
ed b
y Cam
illo M
agio
dur
ing t
he se
cond
hal
f of t
he se
vent
eent
hce
ntur
y coi
ncid
ed w
ith a
desir
e to
enric
h th
e rec
eptio
n ro
oms w
ith p
erm
anen
t wal
l dec
orat
ions
. T
he gr
and
stairc
ase (
1.26
), w
hich
was
dist
ingu
ished
by i
ts sto
ne b
anist
ers a
nd el
egan
t des
ign,
was
dom
inat
edin
the v
ault
with
the r
epre
sent
atio
n of
Goo
d Fam
e dep
icted
with
trad
ition
al sy
mbo
ls6m
ainl
y rep
aint
ed to
day
and
redu
ced
in si
ze c
ompa
red
to th
e orig
inal
. The
pai
ntin
g sh
ould
hav
e bee
n se
t in
a bi
gger
fram
e who
seou
tline
orn
amen
tal f
eatu
res c
an b
e per
ceiv
ed u
nder
the n
inete
enth
cent
ury d
ecor
atio
n7(p
l. X
).A
t the
cent
re o
f the
vau
lt of
wha
t use
d to
be t
he ch
apel
(1.1
6-1.
17),
an el
abor
ate d
isten
sion
of p
laste
r cov
ered
by n
umer
ous l
ayer
s of “
scia
lbo”
cor
resp
onds
with
a m
edal
lion
with
fram
es o
f com
posit
e out
lines
, may
bere
pres
entin
g Triu
mph
or G
lory
, whi
ch w
as co
mpl
eted
in ju
st th
ree c
onse
cutiv
e “gi
orna
te”. T
he st
ratig
raph
icsa
mpl
es a
nd re
lief o
f the
pla
ster t
estif
y to
the a
lmos
t com
plete
pre
serv
atio
n of
the p
aint
wor
k de
mon
strat
ing
trace
s of p
repa
rato
ry in
cisio
ns fo
und
in th
e fra
me a
nd va
rious
pig
men
ts in
the c
entra
l con
figur
atio
n, la
id m
ost
likely
or,
at le
ast p
artly
, as f
resc
o pa
intin
g, o
n a
prog
ress
ive
and
adja
cent
layi
ng o
f “in
tona
chin
o”. O
f are
mar
kabl
y sm
aller
size
and
unfo
rtuna
tely u
nder
“sc
ialb
o”, p
ositi
oned
at th
e sum
mit
of th
e vau
lt of
the r
oom
to th
e left
of t
he g
rand
stai
rcas
e (1.
27),
a pai
nted
rose
tte o
r sim
ilar d
ecor
ativ
e mot
if or
the M
agio
coat
of a
rms
appe
ars w
ith it
s pre
para
tory
inci
sions
whi
ch ca
n sti
ll be
dete
cted
on
the p
laste
r.
Asso
ciat
ed w
ith th
e und
erta
king
of re
nova
ting t
he P
alaz
zo as
des
ired
by M
arqu
is M
agio
, the
nam
e of G
iuse
ppe
Nat
ali o
f Cas
alm
aggi
ore (
1652
-172
2) tr
aditi
onal
ly co
mes
to m
ind.
8Ev
en w
ith re
serv
atio
n on
a po
sthum
ous
publ
icat
ion
appe
ared
seve
ral d
ecad
es a
fter t
he ev
ents
ther
ein d
escr
ibed
, Gio
van
Batti
sta Z
aist,
cer
tain
ly w
elldo
cum
ented
on th
e act
iviti
es of
his
own
mas
ter, g
ave n
otic
e tha
t Nat
ali w
as su
mm
oned
by t
he M
arqu
is M
agio
[...]
a dip
inge
rgli
alcu
ne S
tanz
e nel
suo
Pala
zzo,
situ
ato
nella
Con
trada
gra
nde d
i S. G
allo
, in
Cre
mon
a, e
sta-
bilit
o con
lui l
’acc
ordo
del
prez
zo, c
oll’a
ggiu
nta p
er so
prap
più
di p
agar
gli a
lqua
nti m
esi d
i doz
zina
in q
uel p
aese
,ch
e gli
fosse
di s
uo m
aggi
ore a
ggra
dim
ento
, fu
da es
so G
iova
ne p
untu
alm
ente
serv
ito n
ella d
ipin
tura
dell
e pre
fate
Stan
ze, c
he v
edes
i anc
or d
i pre
sent
e, ed
è il
suo
prim
o fa
tto la
voro
nell
a nos
tra C
ittà.
9
Nat
ali’s
wor
k in
Pal
azzo
Mag
io h
as b
een
unde
resti
mat
ed b
y cr
itics
up
until
now
, par
tly d
ue to
the h
ard
acce
ssibi
lity o
f his
pain
tings
and
beca
use t
he in
itial
wor
k pr
ogra
mm
e was
conf
used
with
the l
ast p
hase
of t
hear
tist’s
care
er.10
Tha
nks t
o th
e wor
k he
com
plete
d in
the e
arly
167
0s, t
he yo
ung
and
prom
ising
“qu
adra
turis
ta”
rece
ived
the
econ
omic
pat
rona
ge fr
om th
e mar
quis
for h
is pe
riods
of t
rain
ing
in R
ome a
nd la
ter B
olog
ne.11
If tra
ces o
f thi
sde
cora
tive w
ork
still
surv
ive,
they
can
be f
ound
on
the g
roun
d flo
or in
som
e of t
he ro
oms t
o th
e left
of t
heen
tranc
e (1.
29, 1
.31,
1.3
2, 1
.33)
whi
ch w
ere t
hen
just
one r
oom
(pl.
XX
II).
Her
e, a
ceili
ng d
ecor
ated
with
com
plex
, mar
bled
vol
utes
and
a liv
ely d
ecor
ativ
e und
erbe
am b
and
of m
onoc
hrom
e car
touc
hes h
as su
rviv
edbu
t it l
acks
the d
ispla
y of p
ersp
ectiv
e and
pra
isew
orth
y col
our v
ariet
y of t
he m
atur
e Nat
ali.
A n
atur
al d
exter
ityis
also
reve
aled
, how
ever
, in
well
shad
ed fr
inge
s of m
onot
one c
arto
uche
s in
mat
chin
g ton
es of
indi
go an
d gr
ey,
still
with
uns
ophi
stica
ted p
artit
ions
and
mar
blin
g.
Lat
er, b
etwee
n or
after
his
train
ing
perio
ds in
Rom
e and
Bol
ogna
, Giu
sepp
e wor
ked
on th
e pia
no n
obile
of
the P
alaz
zo in
the “
first
lobb
y” of
the a
partm
ent t
o the
righ
t of t
he la
rge h
all o
verlo
okin
g the
stre
et (3
.15,
3.16
,3.
17).
A h
igh
friez
e und
erbe
am h
ad to
co-e
xist
here
with
a w
oode
n ce
iling
dec
orat
ed w
ith “p
assa
sotto
” mot
ifsan
d su
bstit
uted
afte
r 176
0 w
ith a
bric
kwor
k va
ult.
The
ban
d w
ith v
olut
e and
car
touc
hes o
pene
d up
on
the
mos
t im
porta
nt si
des t
o sim
ulat
ed, f
low
ered
bal
ustra
des s
how
ing
spac
ious
arc
hes a
nd th
e illu
sion
of a
cut
-aw
ay sp
ace w
ith p
lum
es m
ount
ed o
n a
dom
e. T
he d
ecor
atio
n de
scen
ded
to fr
ame t
he a
cces
s doo
rs w
ithar
chite
ctur
al c
orni
ces i
n a
cent
ral p
ersp
ectiv
e, of
whi
ch a
n am
ple f
ragm
ent r
emai
ns a
nd is
still
visi
ble i
n th
ero
om to
day (
3.16
). R
emai
ning
wal
l sur
face
s, m
oreo
ver,
bere
ft of
wai
nsco
ting w
ere p
roba
bly w
here
thos
e “di
eci
pezz
i di t
appe
zzer
ia d
i Fia
ndra
con
cacc
e e b
osca
regg
i et a
ltro”
wer
e hun
g, h
ere d
escr
ibed
in th
e inv
ento
ry o
f17
03 (p
l. X
X, f
ig. 8
4).
Thi
s dec
orat
ion
appe
ars v
ery d
iffer
ent f
rom
the p
revi
ous o
ne. Z
aist,
in th
is re
spec
t, se
ems t
o men
tion
a pro
foun
d
119
Tran
sitio
n fro
m G
iuse
ppe N
atali
’s D
ecor
ativ
e Bar
oque
Pr
ogra
mm
e to t
he D
ebut
ofG
iova
nni M
anfre
dini
Few ex
ampl
es o
f civ
il co
nstru
ctio
n su
rviv
e in
Cre
mon
a w
hich
, lik
e Pal
azzo
Mag
io G
rasse
lli, c
onta
in a
full
mem
ory
of a
n in
tense
, cul
tura
l blen
d w
hich
resu
lted
in th
e pro
gres
sive d
eclin
e of t
he B
aroq
ue st
yle
in th
e city
, in
favo
ur o
f Neo
clas
sicism
char
acter
ized
by s
trong
er fe
atur
es.
Nea
rly ev
ery a
ctor
in th
is co
mpl
ex tr
ansit
ion
- loc
al in
its e
nviro
nmen
t and
epoc
h-m
akin
g in
styl
e and
taste
s- p
laye
d va
rious
roles
from
a w
alk
- on
to b
eing
the p
rota
goni
st bu
t all
tread
ing
the b
oard
s of t
his t
heat
re o
fur
ban
cultu
re. B
oth
hosts
and
parti
cipa
nts o
f suc
h pe
rform
ance
, the
Mag
io, a
mon
g the
mos
t im
porta
nt h
ouse
sof
the l
ocal
arist
ocra
cy af
ter h
avin
g ac
quire
d th
e titl
e of m
arqu
is in
164
7 w
itnes
sed
man
y of i
ts m
embe
rs ca
rryou
t pro
min
ent r
oles
in C
rem
ona’
s civ
ic a
nd c
ultu
ral e
vent
s fro
m th
e en
d of
the
sixtee
nth
cent
ury
to th
ebe
ginn
ing
of th
e nin
eteen
th ce
ntur
y.In
this
laps
e of t
ime,
on th
e bas
is of
a fin
ally
acqu
ired
prop
erty
resu
lting
from
the r
euni
on o
f anc
iently
rela
tedfa
mili
es, o
nly
few g
ener
atio
ns -
desp
ite li
fe’s a
nd m
anki
nd’s
unce
rtain
ups
and
dow
ns, a
nd a
ccor
ding
to a
proj
ect n
ouris
hed
over
the t
ime a
nd p
rogr
essiv
ely m
odifi
ed -
shap
ed th
eir ow
n dw
ellin
g in
an al
mos
t ide
ntic
alfo
rm as
thro
ugh
the S
aini
and
later
the G
rasse
lli th
us b
ecom
ing
part
of th
e mun
icip
al h
erita
ge w
ith v
ery l
ittle
chan
ge. T
he fi
nish
ing t
ouch
es an
d de
cora
tions
of th
e roo
ms a
re an
esse
ntia
l par
t of a
n ar
chite
ctur
al p
lan
whi
chca
n be
har
dly d
etach
ed fr
om th
e bui
ldin
g whi
ch su
ppor
ts th
em as
well
as th
e urb
an, c
ultu
ral e
vent
s in
whi
chth
ey ar
e set.
Com
miss
ione
rs, co
unse
llors,
pla
nner
s, ex
ecut
ors,
chro
nicl
ers a
nd cl
ients
are t
he ac
tors
who
, in
diffe
ring r
oles
,an
imat
ed th
is pe
rform
ance
whi
ch is
still
iden
tifia
ble i
n its
pro
gres
sive a
cts:
the t
hree
dist
inct
dec
orat
ive w
orks
by G
iuse
ppe N
atal
i and
the s
ame n
umbe
r of w
orks
by
Gio
vann
i Man
fredi
ni. A
long
side t
he g
reat
episo
des
and
prot
agon
ists,
the s
on o
f the
sam
e Man
fredi
ni a
ppea
r in
lesse
r rol
es w
ith o
ther
dec
orat
ors w
ho a
re st
illun
know
n.
With
the a
im o
f ful
l int
erpr
etatio
n, st
ylist
ic a
naly
sis a
nd c
ompa
rison
with
oth
er c
onstr
uctio
n w
orks
are
,ho
wev
er, n
ot su
ffici
ent.
The
inve
stiga
tion
carr
ied o
ut in
the a
rchi
ves a
long
side t
he c
ompa
rison
s with
the
build
ing
itself
cons
titut
e an
esse
ntia
l and
inev
itabl
e par
t of t
his r
esea
rch.
In
ord
er to
rend
er th
e und
ersta
ndin
g of
the s
tratig
raph
y mor
e im
med
iate,
the t
rans
form
atio
n co
nsid
ered
to b
em
ost s
igni
fican
t in
som
e roo
ms o
f the
Pal
azzo
will
be i
mm
edia
tely r
ende
red
fluen
t via
virt
ual r
econ
struc
tion1
resto
ring t
he ap
pear
ance
of th
e roo
ms w
ith su
ffici
ent a
ppro
xim
atio
n bo
th to
the o
rigin
al d
ecor
ativ
e lay
out a
ndth
e seq
uenc
e of a
ltera
tions
carri
ed o
ut p
rogr
essiv
ely u
ntil
its p
rese
nt st
ate.
Litt
le or
not
hing
surv
ives
of t
he d
ecor
atio
ns o
f the
med
ieval
bui
ldin
gs to
day.
2So
me t
erra
cotta
frag
men
ts an
dan
epig
raph
on
the w
all t
o th
e rig
ht o
f the
entra
nce t
o th
e gra
nd st
airc
ase a
nd a
real
well
in c
ompa
ct, w
hite
limes
tone
in th
e lar
ge h
all o
n th
e gro
und
floor
(1.3
8) m
ight
hav
e belo
nged
to p
re-e
xisti
ng h
ouse
s and
, the
refo
re,
be th
e res
ult o
f reu
se. H
owev
er, t
here
is n
o cer
tain
ty re
gard
ing t
he p
ertin
ence
of th
ese “
findi
ngs”
to th
eir lo
catio
n.T
he p
rogr
essiv
e red
efini
ng o
f the
Pal
azzo
up
to to
day’
s lay
out r
esul
ted in
the d
isapp
eara
nce o
f pre
cedi
ngde
cora
tive i
tems a
nd d
eline
ated
a un
iform
ity th
at co
inci
ded
with
an u
p-to
-dat
e mod
el th
at th
e com
miss
ione
rsth
emse
lves
des
ired
to b
ring
to li
ght w
ithin
the n
eces
sary
corre
latio
n be
twee
n an
incr
easin
gly i
mpo
rtant
role
inur
ban
soci
ety an
d th
e nee
ds o
f a m
ore n
obili
umdw
ellin
g.T
he p
aint
ings
and
tape
stries
, not
pre
sent
toda
y, p
laye
d a r
ole i
n th
e dec
orat
ion.
In 1
703,
the i
nven
tory
3of
the
good
s of M
arqu
is G
iova
n C
lemen
te de
scrib
es a
dwell
ing
that
was
still
auste
re w
ith th
e wal
ls of
som
e roo
ms
cove
red
with
tape
stries
of F
land
ers d
epic
ting h
untin
g and
woo
dlan
d sc
enes
or fi
gure
s and
num
erou
s pai
ntin
gs,
som
e ser
ving
as o
verd
oors.
In th
e lar
ge h
all t
owar
ds th
e stre
et (3
.14)
, alth
ough
an
inve
stiga
tion
carri
ed o
utab
ove t
he p
rese
nt v
ault
show
ed th
e pre
senc
e of f
ragm
ents
of p
olyc
hrom
e dec
orat
ion
from
the w
all (
may
be an
unde
rbea
m b
and)
, gre
at em
phas
is w
as gi
ven
to th
e col
lectio
n of
fam
ily p
ortra
its th
at co
vere
d am
ple s
pace
s on
the w
alls.
The
refer
ence
in th
e acc
ount
to th
ree f
ram
es w
ith st
ruct
ures
and
can
vase
s stil
l to
be a
ttach
ed a
nd
118
testi Magio inglese 2-10-2012 16:36 Pagina 118
It is
real
ly G
iova
n Ba
ttista
Zai
st (C
rem
ona,
170
0-17
57),
mor
e ofte
n ci
ted a
s a h
istor
iogr
aphe
r18ra
ther
than
subj
ect o
f a st
udy,
19ap
pren
tice t
o G
iuse
ppe N
atal
i and
one
of t
he m
ost c
hara
cter
istic
disc
iples
of t
he lo
cal l
ate
Baro
que,
who
is th
e miss
ing l
ink
betw
een
Baro
que c
ultu
re an
d ne
w cu
ltura
l and
repr
esen
tatio
nal s
tanc
es. H
ispr
ofes
siona
l com
peten
ce ex
tende
d to
the m
ultip
le as
pect
s of p
lann
ing
and
the a
rt of
des
ign
- he w
as c
ited
asan
arch
itect
as w
ell as
a pa
inter
- ar
e rec
ogni
zed
as su
ch in
Cre
mon
a20(“
[...]
non
face
ndos
i lav
orec
cio a
lcun
odi
con
to n
ella
nostr
a C
ittà,
senz
a pr
ima
atten
ersi,
o a
l di l
ui fa
tto d
isegn
o, o
d al
di l
ui sa
vio,
con
sulta
topa
rere
”).21
Zai
st, as
a yo
ung a
ppre
ntic
e,22
may
hav
e par
ticip
ated
in N
atal
i’s la
st w
orks
in P
alaz
zo M
agio
; he w
as th
e firs
tm
aster
of G
iova
nni M
anfre
dini
(Cre
mon
a, 1
730-
1790
), th
e pro
tago
nist
of th
e fol
low
ing
deco
rativ
e pro
-gr
amm
es.
Due
to m
ere c
hron
olog
ical
sequ
ence
, whi
le ec
cles
iasti
c pat
rona
ge re
linqu
ished
its a
utho
rity t
o the
secu
lar a
ndth
e weig
ht o
f the
Chu
rch
over
the S
tate
and
civi
l soc
iety
decl
ined
rapi
dly,
Gio
vann
i Man
fredi
ni w
ould
al-
way
s hav
e to
chal
lenge
him
self
and
to a
certa
in ex
tent s
ubsti
tute
the c
umbe
rsom
e, bu
t pur
ely ec
lectic
, fig
ure
of h
is m
aster
, Zai
st. Z
aist
was
Giu
sepp
e Nat
ali’s
“stu
dent
of m
erit”
,23he
ir to
his
proc
edur
es a
nd c
omm
is-sio
ns, a
nd sp
ecia
list i
n th
at “
quad
ratu
rism
” w
hich
mad
e up
a la
rge p
art o
f the
pro
duct
ion
of h
is fo
llow
er,
Man
fredi
ni.
Thi
s tra
nsiti
on fr
om th
e inh
erita
nce o
f lat
e Bar
oque
“qu
adra
turis
m”
to N
eocl
assic
ism to
ok p
lace
for M
anfre
-di
ni in
stric
t asso
ciat
ion
with
the e
vent
s of t
he L
omba
rd E
nlig
hten
men
t tha
nks t
o hi
s rela
tions
hip
with
one
of it
s mos
t orig
inal
expo
nent
s, C
ount
Gia
mba
ttista
Biff
i.24Fo
llow
ing
the f
il ro
ugeo
f the
ir re
latio
nshi
p, o
neca
n ca
ptur
e the
sens
e of p
rinci
ples
and
stylis
tic o
rient
atio
n th
at th
e pai
nter
dev
elope
d bo
th in
Pal
azzo
Mag
iosta
rting
with
the l
arge
hal
l fin
ished
in 1
772,
and
in o
ther
Cre
mon
ese e
piso
des u
p to
his
deat
h in
179
0.In
his
Mem
orie
per s
ervire
alla
storia
degli
artis
ti crem
onesi
25Bi
ffi d
efine
s Man
fredi
ni as
a “f
iglio
di s
e med
esim
o nel-
l’arte
sua26
[... c
he] a
pres
e ecc
ellen
temen
te la
pro
spett
iva c
he im
perfe
ttam
ente
le an
dava
inse
gnan
do u
n vo
len-
teros
o m
a nien
te ad
otrin
ato
instr
utto
re”27
signi
fican
tly n
ot m
entio
ning
the n
ame o
f his
mas
ter.
Biffi
’s an
d th
e neo
clas
sical
hist
orio
grap
hers’
criti
cism
s of Z
aist28
trans
lated
a de
sire f
or re
new
al in
to th
e reje
ctio
nof
pre
viou
s fig
urat
ive c
onve
ntio
ns: “
Ave
va g
uada
gnat
o in
que
st’ul
timi t
empi
tutt’
Italia
un
pessi
mo
gusto
d’ar
chite
ttare
, e d
’orn
are,
che e
ra v
enut
o d’
oltre
mon
te, e
però
apre
zzat
o ch
e fac
eva c
onsis
tere i
l non
più
in là
del b
ello n
ello s
trava
gant
e, ne
l mer
o cap
ricci
oso,
nel
posit
ivo c
him
eric
o. G
li ar
tisti
enco
mia
vano
tali
scio
cche
riepe
rché
di f
acile
esec
uzio
ne, t
enta
vano
scre
dita
re il
bell
o de
i buo
n tem
pi”.
29
On
the
train
ing
of th
e yo
ung
Man
fredi
ni, s
till u
ncer
tain
in it
s pro
files
, the
affi
rmat
ion
of c
ontem
pora
ryhi
storio
grap
hers
shou
ld, t
here
fore
, be r
ead
with
caut
ion,
taki
ng in
to ac
coun
t the
spec
ific a
cade
mic
stan
ce th
eyha
ve ad
opted
.C
arlo
Car
asi,
from
Pia
cenz
a, in
Le p
ubbli
che p
ittur
e di P
iacen
za, c
ites t
he ch
apel
of S
an B
iagi
o in
San
ta M
aria
in G
ariv
erto
, pai
nted
and
ado
rned
by
Gio
vann
i Man
fredi
ni o
f Cre
mon
a to
who
m h
e ded
icat
es a
foot
note:
“Egl
i app
rese
le re
gole
della
pro
spett
iva d
a Gio
. Bat
tista
Zai
st: av
endo
poi
atten
tam
ente
osse
rvat
i li d
ipin
ti di
Giu
sepp
e Nat
ali s
i stu
diò
di d
iven
irne i
mita
tore
. Ebb
e cam
po in
Mila
no d
i tra
rre a
nche
mol
to p
rofit
to d
alve
dere
spec
ialm
ente
le op
ere d
ell’A
ggra
ti, e
lo fe
ce p
ure i
n Br
esci
a. M
a il s
uo ri
usci
men
to p
er al
tro eg
li de
ve a
se st
esso
, ed
a’ su
oi st
udj a
ccur
ati”
.30
Car
asi l
ets u
s kno
w th
at h
e also
trai
ned
outsi
de h
is na
tive c
ity, i
n M
ilan,
Bre
scia
and
Piac
enza
with
pat
rons
of a
relev
ant p
rofil
e. H
e was
initi
ally
orie
nted
tow
ards
late
Baro
que “
quad
ratu
ra”;
nev
erth
eless,
Man
fredi
ni,
at a
later
stag
e, “s
costa
tosi
dalla
man
iera d
i dip
inge
re or
nati
vedu
ta in
altri
, ten
tò fa
r riso
rger
e l’im
itazi
one d
el-l’a
ntic
o, e
ques
to gu
sto h
a fat
to sp
ecia
lmen
te rif
iorir
e nell
a sua
pat
ria”.
31H
is re
turn
to C
rem
ona w
itnes
sed
his
adhe
sion
to n
ew n
eocl
assic
al st
ance
s whi
ch w
ould
bec
ome c
ompl
etely
diff
used
in th
e city
dur
ing
the l
ast t
wo
deca
des o
f the
cent
ury.
121
evol
utio
n of
Nat
ali’s
styl
e w
ho a
fter t
his f
irst c
omm
issio
n “a
ccum
ulat
a qu
alch
e so
mm
a di
con
tant
e, ed
assic
urat
o dell
a doz
zina
, pro
mes
sagl
i dal
Cav
alier
e Mec
enat
e, si
risol
vette
, di p
orta
rsi a
Rom
a, d
ove r
itrov
avas
ial
lora
di p
erm
anen
te so
ggio
rno i
l nos
tro C
rem
ones
e Sig
. D. A
lfons
o Fer
rari”
and
after
war
ds “[
...] s
e ne p
assò
a Bol
ogna
per
ved
er l’
Ope
re d
i què
rino
mat
i Mae
stri,
dove
, nel
tempo
, ch’
ivi s
i tra
ttenn
e con
suo
non
picc
iol
prof
itto,
si ac
quist
ò, as
sai m
iglio
rata
da q
uella
di p
rima,
una
man
iera t
utta
sua,
con
un ce
rto im
pasto
, e d
iver
sità
di c
olor
e, m
aneg
giat
i con
tal m
orbi
dezz
a, c
he è
diffi
cile
ad es
prim
ersi,
laon
de, c
hi h
a ve
duto
, e v
ede l
’ope
resu
e, no
n pu
ò re
star d
’am
mira
rle”.
12
Zai
st’s a
ccou
nt se
ems l
ikely
and
is co
mpa
tible
with
the e
vide
nt d
ispar
ity of
the w
ork
carri
ed ou
t: th
e Mar
quis
Mag
io, p
erce
ivin
g the
qua
lity o
f a yo
ung t
alen
ted m
an, d
ecid
ed to
spon
sor h
is ed
ucat
ion
in th
e mos
t im
porta
ntar
tistic
cent
res o
f tha
t tim
e to
enjo
y the
ben
efits
of su
ch a
gene
rous
inve
stmen
t in
mor
e upd
ated
achi
evem
ents
and
for t
hat v
ast p
rojec
t for
the r
enov
atio
n of
the f
amily
pal
ace w
hich
requ
ired
time a
nd fo
resig
ht an
d th
at b
yth
e tim
e of h
is so
n, G
iova
n C
lemen
te’s d
eath
in 1
702
had
cont
inue
d bu
t not
yet b
een
com
plete
d.D
urin
g th
e pha
se o
f his
com
plete
mat
urity
, Nat
ali’s
wor
k w
as st
ill re
ques
ted b
y the
Mag
io C
omm
issio
n. In
1991
, in
the t
wo r
oom
s on
the s
treet
to th
e left
of th
e lar
ge h
all,
trace
s of t
he ei
ghtee
nth
cent
ury d
ecor
ativ
e wor
ksem
erge
d th
at A
lfred
o Pue
rari
did
not h
esita
te in
attri
butin
g to N
atal
i13an
d w
hich
coul
d be
bett
er in
vesti
gated
than
ks to
endo
scop
ic in
strum
enta
tion.
The
apar
tmen
t was
com
plete
d w
ith th
e “lo
ng ro
om”
(3.0
8-3.
09) b
etwee
n th
e tw
o ro
oms a
nd th
e log
gia,
and
final
ised
by G
iova
n C
lemen
te M
agio
as co
nfirm
ed in
the i
nven
tory
of 17
03 in
a w
ay w
here
by d
ocum
ents
and
strat
igra
phic
sam
ples
per
mit
virtu
al re
cons
truct
ion
(pl.
XX
III).
The
floo
ring
was
of l
arge
hol
low
terr
acot
ta b
lock
s whi
ch a
re st
ill p
artly
visi
ble.
Con
nect
ed to
the w
alls,
accu
ratel
y “f
ixed
”, th
at is
fini
shed
with
mor
e tha
n on
e coa
t of w
hite
lime,
ther
e was
som
e wai
nsco
ting
the
colo
ur o
f gro
und
terra
cot
ta w
ith a
sim
ple,
dark
thre
ad o
f a m
ore i
nten
se c
olou
r. It
is di
fficu
lt to
say
toda
y if
the c
eilin
g al
read
y ha
d so
me p
aint
ed fi
nish
es b
ut it
is v
ery
likely
. The
bra
ckets
and
bea
ms s
eem
to b
e muc
hol
der,
may
be d
atin
g fro
m th
e fift
eent
h an
d six
teent
h ce
ntur
ies w
hile
noth
ing c
an b
e sai
d of
the j
oists
or p
lank
s.A
sim
ple c
oat o
f a li
ght-c
olou
red
pain
t wou
ld se
rve t
o hi
de o
r har
mon
ize t
he p
ossib
le, p
revi
ous c
olou
ring
ofth
e var
ious
, rec
ycled
elem
ents
with
the n
ew o
nes.
By 1
728,
whe
n th
e fam
ily o
f Giu
sepp
e Ant
onio
Mag
io w
as in
resid
ence
(the
gua
rdia
n of
his
gran
d-ne
phew
,M
arqu
is N
icol
ò A
lessio
, who
had
retu
rned
to th
e Pal
azzo
in 1
715)
the “
long
room
” ha
d be
en d
ivid
ed in
totw
o by
a p
artit
ion.
An
ampl
e dec
orat
ive u
nder
beam
ban
d w
as p
lace
d14in
the r
oom
tow
ards
the l
arge
hal
l(3
.09)
(fig
. 85)
. On
a sim
ple c
orni
ce u
nder
whi
ch a
tape
stry c
ould
hav
e fin
ished
, the
re is
a ki
nd of
bal
ustra
dew
ith co
ntra
sting
vol
utes
nea
rby a
nd v
ases
brim
min
g w
ith fl
ower
s in
the m
iddl
e of t
he w
alls.
Bey
ond
thes
e, a
big
illus
ory s
pace
appe
ars,
alm
ost a
bal
cony
beh
ind
whi
ch o
ne ca
n ca
tch
a glim
pse o
f the
trab
eatio
n of
a ha
ll.T
his
viol
et co
rnic
e co
ntin
ues
on th
e w
oode
n ce
iling
but
it is
now
dam
aged
by
deca
y. O
rigin
ally
, the
effec
tiven
ess o
f thi
s sett
ing
was
acce
ntua
ted w
ith th
e brig
ht g
litter
ing
of g
old
with
par
ticul
arly
fine
thre
adin
gan
d a t
hree
-dim
ensio
nal a
nd d
efini
tely e
voca
tive e
ffect
.15
Sim
ilar d
ecor
atio
n is
repe
ated
in th
e tw
o ro
oms o
verlo
okin
g th
e stre
et (3
.06-
3.07
) whe
re n
owad
ays p
aint
edce
iling
s and
dec
orat
ive b
ands
are o
nly v
isibl
e fro
m th
eat
tic in
the c
aviti
es o
f the
nin
eteen
th c
entu
ry v
aults
intre
llis w
ork.
In th
e hal
l tow
ards
the l
oggi
a (3.
09),
in th
eco
rner
s of t
he d
ecor
ativ
e ban
d, cl
ear b
lue,
enam
el ca
r-to
uche
s are
inse
rted
whi
le in
the s
ame p
ositi
on in
the
room
s ove
rlook
ing t
he st
reet
are f
ram
ed m
edal
lions
de-
pict
ing
smal
l lan
dsca
pes16
typi
cal o
f the
mor
e mat
ure
Nat
ali.
The
se ar
e rec
alled
by Z
aist
and
later
hist
orio
g-ra
pher
s (pl
. XX
I). If
we a
ccep
t the
pro
babl
e attr
ibut
ion
to N
atal
i, re
sum
ed b
y Lid
ia A
zzol
ini,17
the t
hree
room
sw
ould
dat
e bac
k to
the l
ast y
ears
of th
e pai
nter
who
died
in 1
722.
Thi
s cou
ld ex
plai
n th
e evi
dent
disp
arity
be-
twee
n th
e thr
ee p
icto
rial c
ycles
with
the f
irst t
wo
bein
glin
ked
to la
te se
vent
eent
h ce
ntur
y tas
te an
d th
e las
t clea
r-ly
belo
ngin
g to
that
of t
he fo
llow
ing
cent
ury.
120
84. F
ragm
ents
of m
ural
dec
orat
ion
rela
ting
to th
e sec
ond
deco
rativ
e cam
paig
n of
Giu
sepp
e Nat
ali i
n th
e lob
by o
f an
apar
tmen
t on
the “
pian
o no
bile”
.
85. D
etail
of th
e und
erbe
am b
and
exec
uted
by N
atal
i on
the o
ccas
ion
of th
e thi
rd d
ecor
ativ
e wor
k ca
mpa
ign.
testi Magio inglese 2-10-2012 16:36 Pagina 120
Ano
ther
Man
tuan
, Cou
nt G
iova
n Ba
ttista
Ghe
rard
o d’
Arc
o,48
supp
orted
this
stanc
e. H
e was
Firm
ian’
sco
usin
and
hea
d of
the M
antu
an a
dmin
istra
tion
unde
r Jos
ef II
and
his
wor
ks w
ere p
rinted
by
Man
ini i
nC
rem
ona.
In a
dditi
on to
the “
publ
ic”
and
effec
tive d
efend
ers o
f the
Ren
aissa
nce,
ther
e was
also
Giu
sepp
ePi
cena
rdi,
Adm
inist
rato
r of t
he F
ound
atio
n of
Reli
gion
in C
rem
ona,
and
Giu
sepp
e Cau
zzi,
Cre
mon
ese
patri
cian
clos
e to
Ver
ri an
d H
ead
of P
olic
e of t
he C
ham
ber o
f Jus
tice i
n M
antu
a. T
hus,
Biffi
led
Man
fredi
nito
war
ds m
ore a
dvan
ced
conc
eptio
ns in
the r
ulin
g cl
ass.
It w
ould
app
ear t
hat t
he a
cqua
inta
nce b
etwee
n th
e tw
o w
as a
n ol
d on
e, str
engt
hene
d by
tim
e but
pro
babl
ysta
rted
in M
ilan
whe
re M
anfre
dini
mad
e his
debu
t at t
he en
d of
the F
ifties
. Biff
i ann
ounc
ed “
le pr
ospe
ttive
[...]
in M
ilano
nell
a ca
sa d
el C
onte
Borri
, in
una
delle
qua
li ra
pres
entò
egre
giam
ente
il pa
lazz
o d’
Arm
ida,
ed o
tto b
ei qu
adri
di ar
chite
tture
dip
inse
a og
lio n
ei so
prap
orte
della
Gal
leria
”49w
here
the a
rtist
wor
ked
side
by si
de w
ith G
iaco
mo
Gue
rrini
(Cre
mon
a, 1
721-
1793
)50w
ho “
trava
gliò
mol
to in
cas
a Bo
rri u
nita
men
te a
Gio
vann
i Man
fredi
ni va
lente
nostr
o Cre
mon
ese a
rchi
tetto
”.51
Man
fredi
ni al
so d
epic
ted “u
na gr
an p
rosp
ettiv
ane
l Car
min
e dell
a stes
sa ca
pita
le”52
and
obta
ined
the p
atro
nage
of th
e Jes
uits
for “
la vo
lta d
ella c
ongr
egaz
ione
detta
mag
gior
e del
Col
legio
di B
rera
”, “l
’orn
ato d
ell’a
ncon
a mag
[gio
]re e
dei
due a
ltari
later
ali”
of S
an Ja
copo
of P
orta
Nuo
va a
nd “
il co
ntor
no d
ella
porta
del
colle
gio
dei n
obili
”.53
Perh
aps a
mon
g th
ese
patro
ns, a
cons
ider
able
role
was
pla
yed
by F
eder
ico
Mar
ia P
alla
vici
no fr
om C
rem
ona,
who
after
teac
hing
theo
logy
inhi
s nat
ive
city
was
app
oint
ed P
rovo
st at
the
Cas
a Pr
ofes
sa o
f Mila
n an
d su
cces
sively
rect
or o
f Col
legio
Med
iola
nens
e fro
m 4
Mar
ch, 1
762 t
o 11 D
ecem
ber,
1765
.54T
he B
iffi f
amily
bro
ught
him
in w
hen
disc
ussin
gth
e dec
ision
to ta
ke re
gard
ing t
he re
ligio
us vo
catio
n in
the y
oung
Gia
mba
ttista
who
rece
ived
his
first
educ
atio
n(1
746-
1756
) at t
he C
olleg
e of t
he N
obles
in M
ilan
and
after
a pe
riod
in P
arm
a and
Pav
ia fo
r the
com
pleti
onof
his
law
stud
ies, r
eturn
ed to
Mila
n at
the e
nd o
f 176
0, st
ayin
g th
ere u
ntil
the s
umm
er o
f 176
2 as
an
activ
em
embe
r of t
he “
Caf
fè” ci
rcle.
Betw
een
rigor
ous s
tudy
of p
ersp
ectiv
e55as
an
artis
t and
the
parti
cipa
tion
in e
nlig
hten
men
t deb
ate
as a
nin
tellec
tual
, Man
fredi
ni w
ould
dev
elop
his o
wn
orig
inal
man
ner w
hich
wou
ld m
atur
e and
giv
e fru
it ar
ound
1765
after
a sta
y in
Bres
cia56
and
his r
eturn
to C
rem
ona.
In h
is ho
mela
nd fr
om th
e beg
inni
ng o
f the
176
0s, B
iffi w
ould
hol
d bo
th a
dmin
istra
tive a
nd m
ore p
leasa
ntcu
ltura
l fun
ctio
ns o
f inc
reas
ing
impo
rtanc
e, an
d th
e act
ivity
of G
iova
nni M
anfre
dini
was
certa
inly
susta
ined
by h
is es
teem
.57
The
Cou
nt, t
hen
Prefe
ct of
the C
athe
dral
wor
ksho
p (1
792-
1796
)58w
as n
ot u
nrela
ted to
pro
curin
g pat
rona
gefo
r Man
fredi
ni an
d to
his
nom
inat
ion
for a
rchi
tect o
f the
wor
ksho
p. A
s Pre
siden
t of S
tudi
es in
all t
he p
rovi
nce
of C
rem
ona f
rom
1775
59an
d, in
par
ticul
ar, a
s Sup
erin
tende
nt of
the R
eal G
inna
sio, B
iffi s
aw th
e cor
onat
ion
of h
is ow
n pe
rson
al d
ream
of c
ultu
ral r
enew
al, a
ppoi
ntin
g M
anfre
dini
as
Cha
irman
of A
rchi
tectu
ral
Dec
orat
ion
at th
e Sch
ool o
f Des
ign
whi
ch h
e reta
ined
from
the m
id-S
even
ties u
ntil
his d
eath
in 1
790
whe
nhe
was
subs
titut
ed b
y the
arch
itect
Fau
stino
Rod
i. T
he cu
rricu
lum
of t
he S
choo
l can
be s
een
in an
inau
gura
llec
ture
, Pref
azion
e per
la Sc
uola
del d
isegn
o, pr
eser
ved
in a
draf
t man
uscr
ipt a
mon
g Biff
i’s p
aper
s.60T
he d
ocum
ent
is ex
trem
ely si
gnifi
cant
with
rega
rd to
und
ersta
ndin
g bo
th th
e app
licat
ion
lines
of t
he re
new
al o
f arts
and
the
prin
cipl
es to
whi
ch th
e edu
catio
n of
an ar
chite
ct-d
ecor
ator
are l
ed b
ack
to.
Tha
nkin
g M
aria
Ter
esa f
or h
er ro
le in
pro
mot
ing
and
enco
urag
ing
the r
esur
genc
e of t
he fi
ne ar
ts, 61
Biffi
, the
“refo
rmer
”, d
oes n
ot h
ide h
is ow
n en
thus
iasm
rem
embe
ring
that
“do
po d
ue se
coli
e mez
zo si
ved
e un’
altra
volta
in C
rem
ona g
iove
ntù
unita
a stu
diar
e il d
isseg
no, p
rofes
sori
desti
nati
a ins
egna
rlo”.
62
Ana
lizan
do le
cose
bell
e, e c
he p
rodu
ceva
no co
ncor
danz
a, co
eren
za, p
ropr
ietà n
e inf
eriro
no al
cuni
risc
hiar
ati o
s-se
rvat
ori l
e reg
ole,
le qu
ali c
onfer
mat
e dal
tem
po, d
al u
so, e
dai
ripe
tuti
espe
rimen
ti pr
eser
o co
nsist
enza
, e d
iven
-ne
ro u
nive
rsali.
Le q
ueste
rego
le pr
escr
itte s
ono
gene
ralm
ente
per t
utte
quan
te le
faco
ltà, e
d os
serv
are s
i deb
bano
da q
ue c
he in
esse
eser
cita
re si
vog
liono
, nell
’arc
hitet
tura
poi
, neg
li or
nati
d’og
ni so
rta, n
ei m
obili
, e in
tutto
ciò
che e
segu
ire si
pos
sa d
agli
artis
ti so
no in
disp
ensa
bili
per s
ingo
lare
man
iera.
63
Afte
r hav
ing
deno
unce
d th
e diso
rder
in w
hich
fell
thos
e who
did
not
kno
w th
e rul
es, t
he “
illus
ioni
stic
and
whi
msic
al”64
of cu
rrent
tim
es, B
iffi r
emem
bers
that
“no
n co
sì i M
agni
Nos
tri ed
ifica
rono
, orn
aron
o, im
agi-
naro
no, m
a ben
sì s’a
ttene
ro al
le leg
gi p
resc
ritte
ed u
sate
dagl
i ant
ichi
, dep
osita
te in
libr
i ch’
ebbe
ro l’
auten
tica
loro
dal
l’apr
ovaz
ione
che l
e dier
ono
le na
zion
i tut
te, ed
i m
olti
seco
li”.65
123
In h
is M
emor
ieBi
ffi d
emon
strat
ed a
prof
ound
adm
iratio
n fo
r the
qua
lity a
nd ge
nius
of M
anfre
dini
32an
d w
rote
on th
e tra
inin
g in
his
yout
h:
In fi
ne la
scia
ta o
gni a
ltra c
osa s
i died
e con
l’as
sens
o de
l Pad
re al
la p
ittur
a, e
prin
cipi
ò da
lle fi
gure
, nel
qual
stud
iosi
traten
ne p
er q
ualc
he te
mpo
[...]
.33N
on sò
per
qua
le ac
cide
nte d
’un
suo
com
pagn
o eg
li pa
ssò d
alla
poe
sia (d
allir
ico)
alla
geom
etria
(al g
eom
etric
o) d
ella p
ittur
a: ta
le cr
edo s
i pos
si ch
iam
are p
ropr
iam
ente
il fig
ureg
giar
e (fa
r di
figur
a) e
l’arc
hitet
tare
. [...
] apr
ese e
ccell
entem
ente
la p
rosp
ettiv
a [..
.] a
batte
re la
car
iera
di N
icol
ino,
del
Frat
ta,
di S
olec
ito d
a Lod
i, e d
el ca
valie
r Mal
ossi
anda
va b
racc
ando
per
tutta
la ci
ttà o
gni m
iglio
r cos
a, e
del c
olor
ire in
tal g
ener
e riv
eriv
a mae
stro
il N
atal
i nos
tro.34
Man
fredi
ni’s
debu
t wou
ld b
e lin
ked
to th
e pai
ntin
g of
figu
res35
whi
ch w
ould
later
be a
dded
to “
quad
ratu
ra”
and
“the
pla
nnin
g of
bui
ldin
gs”,
the m
anifo
ld, u
sefu
l ins
trum
ents
of se
t des
ign,
to th
e dec
orat
ion
of in
terio
rs,fro
m d
raw
ings
for t
he ap
plied
arts36
to th
e gro
win
g co
mpl
exity
of d
ecor
ativ
e pro
duct
ion.
37
Still
a m
aster
, eve
n if
on a
diff
eren
t lev
el, o
f the
“ar
t of d
esig
n”, i
n th
e act
ivity
of h
is w
orks
hop
Man
fredi
nire
flect
ed th
e pr
ogre
ssiv
e, irr
ever
sible
sepa
ratio
n. R
esea
rch
has n
ot a
lway
s cap
ture
d th
e re
levan
ce th
at th
eor
gani
zatio
n of
wor
k ha
s on
deco
rativ
e pro
gram
mes
, nor
the v
ario
us ro
les of
his
thre
e son
s: Pa
olo (
Cre
mon
a,17
54-1
805)
, Giu
sepp
e (M
ilan,
post
1754
- Br
esci
a, 1
815)
and
Sera
fino
(? - p
ost1
827)
who
wor
ked
with
their
fath
er a
nd a
uton
omou
sly c
arry
ing
the f
amily
bus
ines
s int
o th
e sec
ond
deca
de o
f the
nin
eteen
th c
entu
ry a
nd,
in th
e cas
e of G
iuse
ppe,
activ
ely ex
porti
ng th
e tra
ditio
n. O
nly w
hen
the e
ntire
bod
y of t
he d
ecor
atio
n ge
nera
llyat
tribu
ted to
the M
anfre
dini
fam
ily is
anal
ysed
, ver
ifyin
g its
chro
nolo
gy, t
he p
erso
nalit
ies w
ho co
nceiv
ed th
epr
ogra
mm
es a
nd th
ose w
ho im
plem
ented
them
, the
evol
utio
n of
one
of t
he w
orks
hops
whi
ch su
bsta
ntia
llyco
ntrib
uted
to th
e affi
rmat
ion
of N
eocl
assic
ism in
loca
l dec
orat
ive p
rodu
ctio
n an
d ea
stern
Lom
bard
y will
be
clar
ified
.38
Biffi
indi
cated
boo
ks an
d co
llect
ions
of e
ngra
ving
s whi
ch se
rved
as re
feren
ces o
r mod
els fo
r Man
fredi
ni:
Ava
ro d
el tem
po, s
ollec
ito, i
ndefe
sso, l
e ore
di s
oglie
vo p
er lu
i son
o le
ore c
he sp
ende
sui l
ibri
di m
oral
e, e d
i sto
-ria
d’o
gni f
atta
, per
mod
o ch
e oltr
e esse
re u
n va
lente
pitto
re si
può
chia
mar
e un
uom
o co
lto. M
a tra
i lib
ri tu
tti su
qual
i ha s
tudi
ato
queg
li ch
e ha l
etti,
apre
si, m
edita
ti, d
e qua
li ha
fatto
teso
ro su
o, e
che s
i è in
vasa
to n
ella m
ente,
e che
io in
sua c
asa v
idi r
acol
ti so
no u
n V
itruv
io, u
n Pa
lladi
o, u
n Sc
amoz
zi, u
n Se
rlio,
i be
i Ram
i dell
e Log
gie
Vat
ican
e, le
Rui
ne d
i Pal
mira
,39i f
rant
umi d
el Pi
rane
si, e
le no
bili
idee
del
Pòtre
40ad
orna
no il
suo
gabi
netto
, efec
onda
no la
sua m
ente”
.41
The
find
ings
cite
d w
ould
be
utili
zed
punc
tual
ly in
the
vast
prod
uctio
n of
his
wor
ksho
p, in
clud
ing
the
pain
tings
of P
alaz
zo M
agio
.42
Acc
ordi
ng to
Biff
i, M
anfre
dini
visi
ted a
nd st
udied
the m
aster
piec
es o
f the
mos
t im
porta
nt a
rchi
tects
of th
esix
teent
h ce
ntur
y: “V
ide l
a nos
tra L
omba
rdia
, e co
me a
ltri f
anno
nel
ricer
care
il d
iver
timen
to n
e tea
tri, e
nell
eas
sem
blee
, gus
tava
egli
nel r
itiro
e in
acut
iva
la m
ente
sulle
ope
re a
mira
te da
lui d
ei Sc
amoz
zi, d
i Leo
n Ba
t-tis
ta A
lber
ti, d
i Bra
man
te, d
i Giu
lio R
oman
o, e
del B
erta
no”.
43T
hese
refer
ence
s app
ear t
o be
com
plete
lytra
ceab
le ba
ck to
the “
Neo
cinq
uece
ntism
o”, d
ear t
o man
y Lom
bard
refo
rmer
s and
to th
e cus
tom
ers a
nd ar
tists
conn
ected
to th
em.
Fran
co V
entu
ri44id
entif
ied th
e roo
ts of
this
orien
tatio
n in
the E
ntus
iasmo
of th
e Man
tuan
Sav
erio
Bett
inell
i,45
publ
ished
in 17
69 an
d de
dica
ted to
Cou
nt F
irmia
n. In
1774
, in
his D
elle l
ettere
e dell
e arti
man
tovan
e he d
efend
ed“t
he R
oman
orde
r” w
hich
he s
aw su
rviv
ing i
n th
e med
ieval
, urb
an st
ruct
ure o
f citi
es su
ch as
Ver
ona,
Cre
mon
aan
d M
antu
a, a
nd th
e six
teent
h ce
ntur
y, “
il se
colo
dell
’Ital
ia, i
l sec
olo
sacr
o a
tutta
la p
oster
ità, i
l mae
stro
ditu
tta l’
Euro
pa, i
l cre
ator
e dell
a Glo
ria e
della
felic
ità d
egli
inge
gni,
finch
é il m
ondo
non
torn
i selv
aggi
o”,46
inw
hich
the c
itize
n w
as n
ot o
nly “
ragi
onev
ole e
dot
to, m
a crit
ico
ed el
egan
te”.47
Betti
nelli
’s M
antu
a wou
ld b
eon
e of t
he p
rinci
pal c
entre
s of t
he “N
eoci
nque
cent
ismo”
bot
h be
caus
e of i
ts cu
ltura
l tra
ditio
ns an
d th
e sur
viva
lof
man
y mas
terpi
eces
dea
r to M
anfre
dini
. The
advo
cacy
of th
e six
teent
h ce
ntur
y, m
odel
for a
pos
sible
bala
nce
betw
een
reas
on an
d im
agin
atio
n to
sear
ch, a
bove
all,
in th
e gre
at ar
tistic
pas
t of I
talia
n ci
ties,
a the
me d
ear t
oso
me o
f the
first
refo
rmer
s, w
as as
soci
ated
with
a ci
vic p
atrio
tism
whi
ch sa
w, i
n th
e pas
t glo
ries o
f the
citie
s, a
basis
for t
he re
awak
enin
g of
the s
cien
ces,
letter
s and
arts
also
in th
e pro
vinc
ial c
apita
ls an
d fin
ally
conf
irmed
the l
ine w
hich
saw
, in
subt
le po
lemic
s with
Win
ckelm
ann,
that
the h
omela
nd of
des
ign
was
Ital
y, n
ot G
reec
e.
122
testi Magio inglese 2-10-2012 16:36 Pagina 122
mor
e tha
n ill
usio
n (d
edic
atin
g lon
g pas
sage
s to t
he ca
mer
a ob-
scur
a w
ith w
hich
“ar
rivia
mo
a sc
erne
re c
he a
ltrim
enti
non
fare
mm
o”)73
and
conf
irms,
also
for d
raw
ing
and
pain
ting,
the
cohe
renc
e of
rep
rese
ntat
ion
(it is
har
mfu
l for
wor
ks o
f art
“tog
liere
loro
una
cer
ta a
ria d
i ver
ità”;
“il
pitto
re, p
er m
eglio
appu
nto
otten
ere i
l fin
e dell
’arte
sua,
che è
lo in
gann
o, d
ee te
n-er
si lo
ntan
o da
l mes
cola
re il
mod
erno
con
l’an
tico,
il n
ostra
leco
l for
estie
ro”)
.74A
mon
g the
mod
els co
nven
ient t
o the
pai
nter
,gr
eat i
mpo
rtanc
e is g
iven
to th
e dra
win
gs o
f the
gre
at m
aster
s,sta
tues
, anc
ient b
as-re
lief a
nd p
rint c
ollec
tions
, but
mor
e im
-po
rtant
than
thes
e rem
ains
the u
tility
of a
frien
d w
ho ca
n ad
vise
us.75
For M
anfre
dini
, thi
s “fri
end”
wou
ld b
e firs
tly B
iffi,
and
alon
g w
ith h
im, f
rom
the 1
780s
, Abb
ot Is
idor
o Bi
anch
i.M
anfre
dini
’s ac
tivity
as an
engr
aver
dat
es b
ack
to h
is fir
st ye
ars
of te
achi
ng at
the s
choo
l, m
aybe
with
the i
nten
tion
of p
opul
ar-
izin
g hi
s ow
n de
signs
. For
the e
ditio
n of
Alg
arot
ti’s O
pere
(177
8), t
he C
rem
ones
e arti
st su
pplie
d th
e des
ign
for t
he fr
ontis
piec
e whi
ch w
as en
grav
ed b
y Giu
sepp
e Pat
rini o
f Par
ma.
The
“po
rtrai
t” o
f Alg
arot
ti w
as en
-tru
sted
to th
e mos
t cla
ssica
l rep
rese
ntat
ion
“in
a med
allio
n”, w
ith in
scrip
tions
in G
reek
char
acter
s (fig
. 86)
,w
hile
the f
ront
ispiec
e rev
eals
a mor
e com
posit
e com
mitm
ent a
nd, o
nce m
ore,
a dep
ende
nce o
n six
teent
h ce
n-tu
ry ic
onog
raph
ic m
odels
. Bot
h in
the g
ener
al la
yout
and
the n
umer
ous d
etails
, Man
fredi
ni se
ems,
in fa
ct, t
obe
insp
ired
by an
engr
avin
g ex
ecut
ed b
y Ene
a Vic
o pr
inted
in L
e ima
ginid
elle D
onne
Aug
uste.
76
Sim
ilar u
nder
taki
ngs c
anno
t hav
e bee
n un
usua
l for
him
. A se
ries o
f fou
r inc
ision
s of c
apric
ci is
dat
ed 1
776,
agai
n of
Pira
nesia
n ta
ste, t
o whi
ch an
othe
r eng
ravi
ng co
uld
have
bee
n ad
ded
datin
g 177
7 with
the s
ame s
ubjec
tbu
t in
a sli
ghtly
big
ger f
orm
at. O
f an
unce
rtain
dat
e but
sim
ilar t
o th
e pre
viou
s one
s, an
othe
r etc
hing
isaw
arde
d, st
ill re
pres
entin
g arc
haeo
logi
cal r
uins
and
fragm
ents
in a
diffe
rent
form
at.77
An
elega
nt vi
sitin
g car
d“I
l Can
onic
o Ba
rbò”
(177
7), t
he n
ame o
n w
hich
is fr
amed
in a
mar
bled
, sto
ne p
laqu
e in
the f
ram
ewor
k of
the r
uins
78tes
tifies
to M
anfre
dini
’s ve
rsatil
ity as
an en
grav
er (f
ig. 8
7).
Of a
sim
ilar s
ubjec
t but
with
a d
iffer
ent c
ultu
ral r
efere
nce,
are
the
num
erou
s “In
vent
ed V
iews”
whi
chM
anfre
dini
often
set w
ithin
the d
ecor
atio
ns as
larg
e pai
ntin
gs or
smal
ler ov
erdo
ors.
Biffi
des
crib
es ei
ght b
eaut
iful
arch
itect
ural
pai
ntin
gs79
pain
ted in
oil
on th
e ove
rdoo
rs of
the g
aller
y of C
asa B
orri
in M
ilan
and
men
tions
“i
tant
i suo
i qua
dri a
ogl
io d
i Arc
hitet
ture
di s
pirit
ose r
ovin
e, di
bei
avan
zi, d
i ant
ichi
delu
bri,
sarc
ofag
hi,
colu
mba
ri, te
mpi
j, co
sì gi
udiz
iosa
men
te im
agin
ati,
con
tinte
tant
o bell
e e va
ghe,
ove i
l par
tito d
el lu
me è
pre
sono
n si
può
meg
lio, l
onta
no se
mpr
e dai
tritu
mi e
dai
trab
icol
i, so
no ta
nte s
ue lo
di, e
lo sa
rann
o se
mpr
e”.80
Som
e of t
hese
wor
ks o
f art
are p
rese
rved
in th
eir o
rigin
al lo
catio
ns, l
ike t
he tw
o ca
nvas
es in
Pal
azzo
Affa
itati
and
a ser
ies o
f ove
rdoo
rs in
Pal
azzo
Cro
tti-C
alci
ati.
In P
alaz
zo M
agio
, one
of t
he m
ost c
onsp
icuo
us g
roup
ssu
rviv
e, se
ven
in th
e lar
ge h
all o
verlo
okin
g th
e stre
et an
d fo
ur o
verd
oors
in th
e roo
m w
hich
later
bec
ame t
hedi
ning
room
(pls.
XX
IV-X
XV
II).
Man
y im
agin
ary l
ands
cape
s tak
e us b
ack
to th
e etc
hing
s by P
irane
si, “
fragm
ents”
of w
hich
Man
fredi
ni w
asin
pos
sessi
on of
, oth
ers a
re cl
oser
to th
e com
posit
ion
of A
nton
io V
isent
ini a
nd F
ranc
esco
Bat
tagl
ioli.
81T
akin
ghi
s “In
vent
ed V
iews”
as a
who
le an
d hi
s act
ivity
as an
engr
aver
, Man
fredi
ni se
ems t
o ap
proa
ch a
genr
e tha
tfro
m th
e fou
rth d
ecad
e of t
he ei
ghtee
nth
cent
ury
enjo
yed
grow
ing
diffu
sion
and
was
cha
rged
with
a n
ewsig
nific
ance
. “Er
a un
viag
gio
possi
ble o
fferto
all’u
omo
mod
erno
”, w
here
l’Illu
min
ismo
avev
a ai
utat
o a
inse
rire [
...] l
a m
etafo
ra d
ell’in
finito
, e p
er re
nder
la p
iù a
ccos
tant
e e a
cces
sibile
atu
tti q
uant
i l’a
veva
inne
stata
con
mol
ti ele
men
ti de
lla N
atur
a, al
terna
ndo
bran
i di v
ita, c
on l’
albe
ro e
gli i
ntre
cci
fiorit
i, m
a anc
he co
n la
rovi
na, p
er in
dica
re la
Nat
ura p
erco
rsa in
ogn
i sen
tiero
, al d
i là n
on so
lo d
ei pr
ofili
viv
i,m
a and
ando
oltr
e, pe
r sco
prire
ved
ute o
ssessi
ve, d
ecise
dal
tem
po.82
Man
fredi
ni of
ten u
ses t
hese
view
s in
com
plex
pro
jects
alm
ost a
s if t
o fol
low
the c
lassi
cal u
se of
the “
embl
emat
a”m
ore c
lose
ly o
r may
be, m
ore s
impl
y, se
ekin
g to
max
imiz
e opa
city
in o
rder
to o
btai
n, v
ia a
deli
cate
gam
e of
dece
ptio
n, th
e illu
sory
effec
t tha
t con
ceal
s the
diff
eren
ce b
etwee
n m
ural
s and
pai
ntin
gs.
125
The
re ar
e thr
ee p
hase
s in
the t
each
ing
curri
culu
m:
Prim
ieram
ente
[...]
un co
mpe
ndio
di g
eom
etric
he o
pera
zion
e da e
segu
irsi c
olla
sola
riga
, e co
mpa
sso [.
..] a
for-
mar
e ope
re d
i mos
aico
, arc
ate,
riqua
dri p
er p
orte,
fine
stre,
e ser
ram
enti,
alle
qual
i reg
ole s
i agg
iung
erà i
l mod
o di
costr
uire
vas
i sul
le an
tiche
form
e, ba
laus
tri, e
d al
tro co
nsid
erat
o ne
’ sol
i con
torn
i;66
[...]
mod
o di f
are l
e sac
ome d
elle m
embr
atur
e qua
li gi
udic
iosa
men
te co
lloca
te si
fann
o ser
vire
a fo
rmar
e li m
odan
iin
terio
ri, q
uind
i le c
orni
ci p
iù o
men
o di
licat
e qua
li ric
hieg
lons
i per
div
ersif
icar
e, e c
arat
teriz
zare
i ci
nque
ord
ini
d’A
rchi
tettu
ra co
lla d
ebita
pro
priet
à. L
e stes
se m
embr
atur
e si e
spor
rann
o po
i ves
tite d
i que
var
iati,
e ap
paris
cen-
ti or
nam
enti
che t
anto
arric
hisc
ono
le co
rnic
i stes
se d
egli
ordi
ni se
para
tam
ente;
67
[...]
dovr
emo d
isseg
nare
tutte
le co
lonn
e de c
inqu
e ord
ini s
ucce
nati
co’ r
ispett
ivi c
apite
lli, c
orni
ci, b
asi,
pied
esta
l-li,
apar
tenen
do tu
tto ci
ò mol
tissim
o ai t
anto
varia
ti or
nam
enti
di p
orte,
fine
stre,
cam
ini,
alta
ri, e
così
via d
iscor
en-
do. A
que
ste si
agi
unge
rann
o le
pian
te lo
ro g
eom
etric
he c
iò c
he è
esen
zial
issim
o da
inten
dersi
impe
rcio
ché n
ons’h
a qu
asi c
osa
fatta
per
esse
re d
isseg
nata
che
per
mez
zo d
ell’el
evaz
ione
geo
metr
ica
non
si sp
ieghi
, ne s
pieg
ar si
potre
bbe s
enza
il so
ccor
so d
ell’Ic
nogr
afia
[...]
, agi
unge
ndo
a que
sta lo
spac
ato
da p
iù d
’un
lato
per
così
form
are
idea
giu
sta d
i que
l tut
to ch
e si d
esid
era r
appr
esen
tare
.68
The
educ
atio
nal p
ath
incl
udes
a co
mpa
rison
with
“es
empl
ari d
i por
te an
tiche
, e d
i fin
estre
trat
ti da
più
ecce
l-len
ti, e
accr
edita
ti ar
chite
tti”
cons
ider
ed
nell’
ester
no d
egli
edifi
cij,
e nell
’inter
no, s
otto
à po
rtici
, nell
e sal
e, e n
elle c
amer
e min
ori [
...];
que d
isseg
ni ch
e ap-
parte
ngon
o ai
legn
amar
i, pe
r chi
uder
e le a
pertu
re a
nzid
ette.
Que
’ diss
egni
di c
amin
i da
costr
uirsi
col
lo st
ucco
,co
n le
pietr
e, o
i mar
mi [
...];
disse
gni d
a fa
rsi p
er a
ltari,
urn
e, an
cone
, mau
solei
, dep
ositi
, qua
li es
ser d
ebba
noqu
egli
da sc
ielier
si, e
qual
i que
che s
ono m
eno p
ropr
i ad
eseg
uirsi
, qua
li i p
iù ad
atti
al lu
ogo,
alle
circ
osta
nze [
...],
per m
etter
e in
chia
ro c
iò c
he ra
gion
evol
e esse
r pos
sa n
elle o
pere
da
eseg
uirsi
, le q
uali
ad es
sere
apr
ovat
e dev
ono
aver
e pro
porz
ione
, eleg
anza
, sol
idità
, e m
ostra
r rag
ione
in o
gni p
arte,
e ne
l tut
to in
siem
e.69
In or
der t
o fur
ther
clar
ify th
e pro
gram
mat
ic li
nes f
or th
e “re
birth
of ar
ts” w
hich
wou
ld se
e Man
fredi
ni en
gage
dbo
th o
n a t
heor
etica
l (in
the s
choo
l) an
d a p
ract
ical
fron
t, w
e cou
ld ta
ke in
to co
nsid
erat
ion
the p
ublic
atio
n of
Sagg
io so
pra l
’arch
itettu
raan
d Sa
ggio
sopr
a la p
ittur
ain
the e
ditio
n of
Ope
re by
Fra
nces
co A
lgar
otti
relea
sed
bypu
blish
er L
oren
zo M
anin
i in
ten vo
lum
es b
etwee
n 17
78 an
d 17
84. B
iffi w
as in
volv
ed in
the e
nter
prise
whi
chw
as sp
onso
red
by F
irmia
n: h
e wro
te th
e Man
ifesto
70an
d to
ok ca
re of
the E
nglis
h an
d Fr
ench
text
s, M
anfre
dini
and
Gue
rrini
wer
e the
auth
ors r
espe
ctiv
ely of
the f
ront
ispiec
e and
the p
ortra
it of
Alg
arot
ti, X
imen
es co
rrect
edth
e Lat
in an
d G
reek
text
s and
Fer
dina
ndo
Gia
ndon
ati t
ook
care
of t
he It
alia
n tex
ts.71
Dev
elopi
ng th
e the
ories
of L
odol
i, or
rath
er d
ivul
ging
them
in a
mod
erat
e ver
sion,
Alg
arot
ti su
stain
s the
cohe
renc
e of d
ecor
atio
ns w
ith co
nstru
ctio
n, p
rom
ptly
take
n up
agai
n by
Biff
i
La b
uona
man
iera d
el fa
bbric
are [
...] h
a da f
orm
are,
orna
re e
mos
trare
[...]
. Nien
te ha
da v
eder
si in
una
fabb
ri-ca
, che
non
abb
ia il
pro
prio
suo
uffiz
io, e
non
sia
parte
integ
rant
e dell
a fa
bbric
a ste
ssa; c
he d
al n
eces
sario
ha
daris
ulta
re l’
orna
to; e
non
altro
che a
ffetta
zion
e e fa
lsità
sarà
tutto
que
llo ch
e int
rodu
rrann
o ne
lleop
ere l
oro g
li ar
chite
tti al
di l
à dal
fine
[...]
. Il f
are,
tra le
altre
, la f
acci
ata d
i un
tempi
o, ch
ede
ntro
sia d
i un
ordi
ne so
lo, c
ompa
rtita
in d
ue or
dini
; men
tre la
corn
ice d
ell’o
rdin
e di
sotto
mos
tra ed
accu
sa u
n co
mpa
rtim
ento
, che
den
tro re
alm
ente
si tro
vasse
, e v
iene
con
ciò
ad ac
cusa
re sé
med
esim
a di f
alsit
à.72
Biffi
and
Man
fredi
ni ca
n al
so b
e rec
ogni
zed
in so
me o
f the
pas
sage
s of S
aggio
sopr
a la p
ittur
a.A
bove
all i
n th
e piec
e ded
icat
ed to
the p
aint
er’s
educ
atio
n in
whi
ch h
e ins
ists o
n th
e pra
ctic
e of d
raw
ing
and
copy
ing
wor
ks o
f the
gre
atm
aster
s and
from
Rom
an m
edal
lions
, Alg
arot
ti de
fines
per
spec
tive a
s muc
h
124
86. G
iaco
mo
Gue
rrini
or G
iova
nni M
anfre
dini
, Por
trait o
n Med
al of
Fran
cesco
Alga
rotti
, fro
m th
eEd
ition
of O
pere
by F
ranc
esco
Alg
arot
ti (C
rem
ona 1
778)
.
87. G
iova
nni M
anfre
dini
, Visi
ting
Car
d Il
Can
onico
Bar
bò, 1
777
(Mila
n, C
ivic
a Rac
colta
delle
Sta
mpe
Ach
ille B
erta
relli
).
testi Magio inglese 2-10-2012 16:36 Pagina 124
A.A
.3.1
3), p
ublis
hed
in B
IFFI
2011
. 25
Cre
mon
a, S
tate
Lib
rary
, ms.
A.A
.3.7
(BIF
FI19
89).
26BI
FFI,
Mem
orie,
ms.
A.A
.3.7
, f. 2
79r,
line 2
. 27
Ibid
., f.
279v
, lin
es 6
-8 (“
[…] s
on o
f his
own
art [
... w
ho] l
earn
edpe
rspec
tive e
xcell
ently
but
whi
ch w
as ta
ught
to h
im im
perfe
ctly
by
aw
illin
g bu
t by n
o m
eans
lear
ned
instr
ucto
r”).
28PI
CEN
AR
DI18
20, p
p. 8
6, 1
35.
29BI
FFI,
Mem
orie,
ms.
A.A
.3.7
, f. 2
79v,
line
s 14-
21 (“
Italy
had
ac-
quire
d a v
ery p
oor a
rchi
tectu
ral a
nd d
ecor
ativ
e tas
te in
thes
e yea
rs th
atha
d co
me f
rom
bey
ond
the m
ount
ains
, alb
eit la
rgely
appr
ecia
ted, d
is-re
gard
ing b
eaut
y in
favo
ur of
extra
vaga
nce a
nd m
ere c
apric
ious
ness
inill
usio
ns. T
he ar
tists
com
men
ded
such
silli
ness
beca
use o
f its
easy
exe-
cutio
n an
d at
tempt
ed to
disc
redi
t the
bea
uty o
f the
goo
d ol
d da
ys”
).30
CA
RA
SI17
80, p
. 105
(“H
e lea
rned
the r
ules
of p
ersp
ectiv
e fro
m G
io-
van
Batti
sta Z
aist
and
after
car
efully
obs
ervi
ng t
he p
aint
ings
by
Giu
sepp
e Nat
ali t
here
, he s
tudi
ed to
imita
te hi
m. H
e pro
fited
gre
atly
from
obs
ervi
ng th
e mas
terpi
eces
of A
grat
i in
Mila
n in
par
ticul
ar: h
edi
d th
e sam
e in
Bres
cia.
Yet,
his
succ
ess i
s due
to h
is ow
n m
erit
and
ac-
cura
te stu
dies
”). N
otw
ithsta
ndin
g the
fact
that
the d
ecor
atio
ns b
y Man
-fre
dini
in th
e chu
rch
of P
iace
nza a
re n
o lon
ger v
isibl
e, m
aybe
des
troye
dor
sim
ply c
over
ed ov
er b
y oth
er w
all p
aint
ings
, the
testi
mon
y of C
aras
ise
ems t
o be t
rustw
orth
y sin
ce, a
s coa
djut
or an
d th
en p
arish
prie
st of
San
-ta
Mar
ia in
Gar
iver
to, h
e pro
babl
y kn
ew a
nd h
ad d
irect
ly o
bser
ved
Man
fredi
ni’s
wor
k, ev
en if
he w
as n
ot im
plic
ated
as a
patro
n. A
lso co
n-ce
rnin
g th
e act
iviti
es o
f the
pai
nter
in h
is yo
uth
in M
ilan
and
Bres
cia,
conf
irmed
by B
iffi,
it is
nece
ssary
to re
mem
ber t
hat t
his t
ook
in th
e as-
sem
bly c
alled
“Mag
gior
e”of
the C
olleg
e of B
rera
, of w
hich
Car
asi w
asa m
embe
r fro
m 17
56 to
1767
, and
unt
il th
is la
ter d
ate,
it w
as in
Bre
scia
that
he t
augh
t lite
ratu
re. I
n ad
ditio
n, C
aras
i cer
tain
ly h
ad a
way
of fr
e-qu
entin
g the
hou
se of
Cou
nt B
orri
in M
ilan,
des
crib
ing p
aint
ings
ther
ean
d w
here
Man
fredi
ni, a
ccor
ding
to th
e com
men
ts of
Biff
i, ca
rried
out
“pro
spett
ive [
...],
in u
na d
elle q
uali
rapr
esen
tò eg
regi
amen
te il
pala
zzo
d’A
rmid
a, ed
otto
bei
quad
ri di
arch
itettu
re d
ipin
se a
oglio
nei
sopr
a-po
rte d
ella
Gal
leria
”(B
IFFI
, Mem
orie,
ms.
A.A
.3.7
, f. 2
80v,
line
s 14-
19).
31C
AR
ASI
1780
, p. 1
05 (“
[…] d
istan
cing
him
self
from
the w
ay in
whi
ch o
ther
s dec
orat
ed, h
e trie
d to
revi
ve th
e im
itatio
n of
anc
ient a
rtan
d th
is sty
le ha
s flo
urish
ed es
peci
ally
in h
is ho
mela
nd”)
.32
BIFF
I, M
emor
ie, m
s. A
.A.3
.7, f
. 279
r, lin
es 2
-6.
33Ib
id.,
f. 27
9r, l
ines
20-
23.
34Ib
id.,
f. 27
9r, l
ine 2
7; f.
279v
, lin
es 1-
3, 6-
12 (“
Fina
lly le
avin
g eve
ry-
thin
g els
e, he
gav
e him
self
up to
pai
ntin
g w
ith th
e con
sent
of h
is fa
ther
and
he b
egan
pai
ntin
g fig
ures
who
se st
udy k
ept h
im oc
cupi
ed fo
r som
etim
e [...
]. I d
o no
t kno
w w
hat h
appe
ned
to ca
use h
is pa
ssing
from
po-
etry (
lyric
al co
mpo
sitio
n) to
geo
metr
y (ge
ometr
ics)
of p
aint
ing:
such
Ibe
lieve
can
app
ropr
iatel
y be
cal
led “
to p
aint
figu
res”
and
“to
pla
n a
build
ing”
. [...
] lea
rnt p
ersp
ectiv
e with
exce
llenc
e [...
] to
outd
o th
e ca-
reer
of N
icol
ino,
Fra
tta, S
ollec
ito fr
om L
odi a
nd M
alos
so, p
ursu
ing
ever
y bett
er th
ing a
ll ov
er th
e city
, but
with
rega
rds t
o col
ourin
g, h
e held
in d
eep
resp
ect o
ur m
aster
Nat
ali”
).35
Pain
tings
of s
acre
d su
bjec
ts ar
e wor
thy o
f som
e atte
ntio
n. M
anfre
di-
ni oc
casio
nally
pai
nted
thes
e for
chur
ches
and
eccl
esia
stica
l ins
titut
ions
in th
e cou
ntry
. Am
ong t
hese
are i
nclu
ded:
the a
lterp
iece o
f San
Pas
quale
Bayl
on in
ador
ation
of th
eEuc
hares
t in
the b
asili
ca of
Gan
dino
(Ber
gam
o),
alre
ady c
onsid
ered
a Sa
nt’A
nton
io o
f Pad
ua (P
INET
TI1
931,
pp.
273
-27
4), t
he or
igin
al sk
etch
is ke
pt at
the A
cade
my o
f Car
rara
, and
a Su
p-pe
r at E
mmau
s in
the c
hurc
h of
San
Siro
in S
ores
ina (
CA
BRIN
I19
86).
To
thes
e wor
ks ca
n be
adde
d th
e Beth
sheb
a at t
he B
ath in
the P
inac
ote-
ca o
f Cre
mon
a (P
UER
AR
I19
51).
The
diff
eren
t pat
rona
ge c
ould
ex-
plai
n th
e mor
e lin
gerin
g Ba
roqu
e.36
The
activ
ity in
this
sect
ion
is w
ell d
ocum
ented
: the
dra
win
g fo
r the
mai
n al
tar o
f San
ta M
argh
erita
and
Pela
gia i
s dat
ed 17
68 an
d w
as ca
r-rie
d ou
t by t
he sc
ulpt
or, G
iuse
ppe G
iudi
ci (I
tinera
ri d’a
rte 19
75; M
AN
-D
ER20
07),
in 17
71 th
e alta
r of t
he ch
apel
of th
e Ros
ary i
n Sa
n D
omen
i-co
(ibi
d.),
desc
ribed
in A
GL
IO17
94, p
. 48,
and
in P
ICEN
AR
DI
1820
,p.
101
, with
out m
entio
ning
Man
fredi
ni. T
he d
esig
n of
the b
ase o
f the
cros
s of t
he ca
thed
ral o
f Cre
mon
a, ca
rried
out b
y the
Cre
mon
ese g
old-
smith
, Giu
sepp
e Ber
selli
(177
4-17
75) a
nd o
f whi
ch a
woo
den
mod
elis
pres
erve
d is
men
tione
d in
GR
ASS
ELL
I182
7, p
. 48 (
MA
SSA
1991
, pp.
538-
539
). T
he ra
iling
s in
cast
iron
of th
e sta
ircas
e of t
he P
ublic
Li-
brar
y in
the J
esui
t Col
lege i
n C
rem
ona i
s dat
ed 17
77, a
s des
ired
by B
if-
fi (B
IFFI
1976
, pp.
7-8
). A
fter 1
777
(GR
ASS
ELL
I18
27, p
. 212
) the
four
th al
tar o
f the
Cat
hedr
al w
as p
ositi
oned
, “de
dica
to al
la V
isita
zion
edi
Mar
ia V
ergi
ne […
]. Il
dise
gno
è del
nostr
o pi
ttore
orn
atist
a G
io.
Man
fredi
ni”
(PIC
ENA
RD
I18
20, p
p. 5
1-52
; GR
AN
DI
1856
-185
8, p
.22
1). H
owev
er, t
he p
rojec
t for
the C
hape
l of t
he S
acre
d T
horn
and
Reli
cs a
nd re
spec
tive a
ltar d
ated
to th
e firs
t yea
rs of
the E
ight
ies, e
xe-
cuted
by
Giu
dici
betw
een
1783
and
179
0 (P
ICEN
AR
DI
1820
, p. 6
6;G
RA
ND
I18
56-1
858,
p. 2
25),
the q
uadr
atur
es o
f San
Fac
io (A
GL
IO
1794
, p. 1
26; P
ICEN
AR
DI1
820,
p. 1
99; G
RA
SSEL
LI1
827,
p. 1
63; D
E’B O
NI1
840,
p. 6
03; G
RA
ND
I185
6-18
58, p
. 327
; BEL
LIN
GER
I199
5, p
.16
; BA
ND
ERA
GR
EGO
RI2
000;
BIA
NC
HI2
009b
, p. 3
35) a
nd p
rinci
pal
alta
r and
the a
ltar o
f the
Mad
onna
of th
e Ros
ary o
f the
Col
lege o
f Mon
-tic
elli d
’Ong
ina,
exec
uted
by G
iudi
ci in
1782
(CA
BRIN
I198
6, p
p. 77
-80
; MA
ND
ER20
07).
37BO
SSA
GL
IA19
91, p
. 20.
38A
syste
mat
ic in
vesti
gatio
n of
the M
anfre
dini
fam
ily is
miss
ing,
whi
chco
uld
hera
ld u
sefu
l fin
ding
s suc
h as
, for
exam
ple,
the d
ocum
ent d
is-co
vere
d by
Ang
elo L
andi
at t
he S
tate
Arc
hive
s of C
rem
ona
(AN
,L
uigi
Bus
seti,
f.za
807
5, 1
3 O
ctob
er 1
791)
, rela
ting
to th
e div
ision
of
the p
atrim
ony b
etwee
n G
iova
nni’s
sons
follo
win
g Giu
sepp
e’s tr
ansfe
rto
Bre
scia
. 39
WO
OD
1753
b; ID
. 175
3a40
Jean
Le P
autre
(161
8-16
82),
Fren
ch d
esig
ner a
nd en
grav
er.
41BI
FFI,
Mem
orie,
ms.
A.A
.3.7
, f. 2
80r,
lines
26-
28; f
. 280
v, li
nes 1
-9(“
Ava
ricio
us o
f tim
e, w
illin
g, u
nfla
ggin
g, th
e hou
rs of
repo
se fo
r him
are t
he h
ours
he sp
ends
on
his b
ooks
on
mor
als a
nd th
e hist
ory o
f eve
ryfa
ct b
ecau
se, a
part
from
bein
g a s
kilfu
l pai
nter
, one
can
call
him
a cu
l-tu
red
man
. But
amon
g all
the b
ooks
whi
ch h
e has
stud
ied an
d th
ose h
eha
s rea
d, u
nder
stood
, con
templ
ated
, of w
hich
he h
as m
ade h
is tre
as-
ure,
and
whi
ch h
ave p
osse
ssed
his m
ind,
and
in h
is ho
use,
I saw
that
his c
ollec
tions
are a
Vitr
uviu
s, Pa
lladi
o, S
cam
ozzi
and
Serli
o, th
e bea
u-tif
ul co
pper
s of t
he L
ogge
Vat
ican
e, th
e Rui
ns o
f Pal
myr
a, fr
agm
ents
of P
irane
si an
d th
e nob
le id
eas o
f Le P
òtre
ador
n hi
s stu
dy an
d nu
rture
his m
ind”
).42
It is
possi
ble t
hat G
iova
nni M
anfre
dini
had
com
e acr
oss s
ome o
f the
sefin
ding
s whe
n he
was
an ap
pren
tice t
o Gia
mba
ttista
Zai
st, w
ho, a
s one
of h
is ot
her p
upils
, Ant
on M
aria
Pan
ni, r
emem
bere
d “m
olti
dise
gni
parti
cola
ri, e
qual
ifica
te sta
mpe
[…],
aven
done
fatta
[…] u
na co
mpe
-ten
te e b
uona
serie
, e fo
rmat
one u
n in
signe
Mus
eo”
for t
he u
se o
f his
pupi
ls (Z
AIS
T, 1
774,
vol
. II,
p. 1
59).
43BI
FFI,
Mem
orie,
ms.
A.A
.3.7
, f. 2
80v,
line
s 9-1
4 (“H
e saw
our L
om-
bard
y and
like
othe
rs lo
ok fo
r fun
in th
e the
atre
s and
asse
mbl
ies, h
e en-
joye
d th
e retr
eat a
nd sh
arpe
ned
his m
ind
on th
e wor
ks h
e adm
ired:
thos
eof
Sca
moz
zi, L
eon
Batti
sta A
lber
ti, B
ram
ante,
Giu
lio R
oman
o an
dBe
rtano
”).
44V
ENT
UR
I19
84.
45BE
TT
INEL
LI17
69.
46ID
. 177
4, p
. 49
(“[…
] the
cen
tury
of I
taly
, the
cen
tury
sacr
ed to
all
histo
ry, t
he m
aster
of a
ll Eu
rope
, the
crea
tor o
f glo
ry an
d of
the h
appi
-ne
ss of
the i
ntell
ect u
ntil
the w
orld
goe
s wild
agai
n”).
47Ib
id.,
p. 5
1 (“
[…] r
easo
nabl
e and
scho
larly
, but
also
disc
erni
ng a
sw
ell as
eleg
ant”
). 48
AR
CO
1785
.49
BIFF
I, M
emor
ie,m
s. A
.A.3
.7, f
. 280
v, li
nes 1
5-18
(“[…
] he p
aint
edth
e per
spec
tives
[...]
of M
ilan
in th
e hou
se o
f Cou
nt B
orri,
in o
ne o
fw
hich
he d
epic
ted th
e Pal
azzo
of A
rmid
a in
a re
mar
kabl
e way
, and
eight
exce
llent
oil p
aint
ings
of ed
ifice
s on
the o
verd
oors
of th
e gal
lery”
).D
urin
g the
18th
cent
ury,
the B
orri
fam
ily h
ad n
umer
ous,
land
ed p
rop-
ertie
s in
the t
errit
ory o
f Cre
mon
a (A
nton
io B
orri
di C
arlo
owne
d la
nds
for b
ean
poles
in “
San
Gio
vann
i in
Cro
ce 2
.100
, Bre
da G
uazz
ona
1.72
0, V
oltid
o 28
5, C
a’ d
e’ So
resin
i 185
, Rec
orfa
no 1
17, S
olar
olo
Rai
nerio
2, i
n al
l 4,4
09”,
J AC
OPE
TT
Ian
d M
AN
FRED
INI20
02, p
. 363
,an
d re
sided
in th
e par
ish of
San
Don
ato a
t no.
24 w
ith h
is ag
ent (
ibid
.,p.
411
).50
Aro
und
1740
, Gue
rrini
pai
nted
The
Beh
eadin
g of S
t Joh
n the
Bap
tist
on ca
nvas
for S
an G
irola
mo i
n C
rem
ona.
He m
oved
to M
ilan,
may
befo
llow
ing
the d
eath
of h
is w
ife (1
758)
, whe
re h
e wor
ked
in C
asa B
or-
ri al
ongs
ide M
anfre
dini
, in
cont
act w
ith th
ose c
ircles
of E
nlig
hten
men
tin
tellec
tual
s also
freq
uent
ed b
y Biff
i, w
ho w
ould
later
bec
ome h
is pa
-tro
n (P
ICC
IAU
2003
). O
n G
uerr
ini,
in p
artic
ular
PU
ERA
RI
1948
;B O
NA
CA
STEL
LO
TT
I19
86; G
REG
OR
I19
90, f
iles p
p. 3
04-3
05 b
y L
.
126
127
1T
he re
cons
truct
ion
has b
een
proc
esse
d by
usin
g an
d ex
tendi
ng th
ech
rom
atic
surfa
ces e
mer
ging
from
the s
tratig
raph
y and
was
carri
ed ou
tby
the a
rchi
tect,
Luc
a V
alisi
(Pol
itecn
ico
di M
ilano
, Dep
artm
ent o
far
chite
ctur
e and
pla
nnin
g, L
AD
C- L
ab fo
r the
surv
ey a
nd d
iagn
osis
of b
uild
ings
).2A
pol
ychr
ome w
oode
n ce
iling
in vi
vaci
ous c
olou
rs, re
pres
entin
g car
-to
uche
s and
side
-face
s pre
sent
in th
e loc
atio
n to
day,
2.0
4, o
nce u
nited
in a
doub
le he
ight
com
pare
d to
the l
ower
par
t 1.3
4-1.
35, i
s am
ong
the
few su
rviv
ing
of c
erta
in p
ertin
ence
of t
he m
ore a
ncien
t dec
orat
ions
of
the P
alaz
zo.
3A
SCR
, AN
, Bar
tolo
meo
Far
ina,
f.za
560
3, d
oc. 2
Aug
ust 1
703,
cfr.
App
endi
x.4
The
circ
umsta
nces
are a
lread
y fou
nd in
JEA
N20
00, p
. 129
and
note
61.
5T
his p
roce
dure
was
alre
ady
testif
ied to
from
the m
iddl
e of t
he 1
7th
cent
ury a
nd is
still
find
ing
conf
irmat
ion
in D
iction
naire
porta
tif de
Pein
-tu
re, S
culp
ture
et G
ravu
re of
175
7 by
Ant
oine
-Jos
eph
Pern
ety (A
LBE
R-
TIN
IO
TT
OL
ENG
HI19
91, p
p. 4
8-53
). So
me a
rchi
ve d
ocum
ents
noted
rece
ntly
, coi
ncid
ing
amon
g ot
her t
hing
s with
the y
ear o
f our
inve
nto-
ry, r
ecor
d th
e sup
ply t
o the
pai
nter
, Petr
ini o
f can
vas,
smal
l nai
ls as
well
as p
igm
ents
and
wal
nut o
il fo
r the
real
izat
ion
of a
pain
ting (
B EN
SI19
95,
pp. 8
9-92
. On
the s
ubjec
t in
gene
ral T
OR
RIO
LI19
90, p
. 89)
.6
RIP
A15
93, p
. 74.
7N
otw
ithsta
ndin
g the
poo
r sta
te of
its p
rese
rvat
ion,
whi
ch m
akes
a fu
llre
adin
g im
possi
ble,
Lid
ia A
zzol
ini p
ropo
ses a
n im
prob
able
attri
bu-
tion
of th
e wor
k to
Giu
sepp
e Nat
ali (
AZ
ZO
LIN
I19
98, p
. 25)
.8O
n G
iuse
ppe N
atal
i, in
par
ticul
ar, Z
AIS
T17
74, v
ol. I
I, pp
. 117
-123
;C
ÒC
CIO
LI
MA
STR
OV
ITI
1986
; AZ
ZO
LIN
I19
94c;
ID. 2
004;
FO
RN
I
2003
.9Z
AIS
T17
74, v
ol. I
I, p.
118
(“[..
.] to
pai
nt so
me r
oom
s for
him
in h
isPa
lazz
o sit
uated
in th
e lar
ge C
ontra
da o
f San
Gal
lo in
Cre
mon
a and
mad
e an
agre
emen
t with
him
for t
he fe
e and
, wha
t is m
ore,
to p
ay h
imfo
r boa
rd a
nd lo
dgin
g in
that
tow
n ju
st as
he s
o de
sired
, the
Mar
quis
was
serv
ed a
ccur
ately
by
the y
oung
arti
st w
ho st
arted
the w
ork
in th
ero
oms,
whi
ch ca
n sti
ll be
seen
toda
y and
this
was
the f
irst w
ork
he d
idin
our
City
”).
10T
he o
ppos
ite o
f wha
t hap
pene
d in
Pal
azzo
Bot
ta A
dorn
o of
Pav
ia,
whe
re th
e re
cent
doc
umen
tary
ana
lysis
com
parin
g th
e co
nstru
ctiv
eph
ases
of t
he P
alaz
zo h
as re
sulte
d in
brin
ging
forw
ard
that
vas
t dec
o-ra
tive e
nter
prise
of N
atal
i with
an os
cilla
tion,
from
unc
erta
in to
certa
inof
alm
ost f
iftee
n ye
ars (
F OR
NI20
03).
11N
atal
i’s st
ay in
Rom
e too
k pl
ace b
efore
1676
, dat
e of t
he d
eath
of A
l-fo
nso
Ferra
ri, th
e pai
nter
’s pa
tron
in R
ome,
acco
rdin
g to
ZA
IST
1774
,vo
l. II
, p. 1
18. F
ollo
win
g, N
atal
i had
to re
turn
to C
rem
ona a
nd, “
fat-
ti nu
ovi a
ccor
di c
ol s
uo S
ig. M
arch
ese
Prot
eggi
tore
”he
mov
ed to
Bolo
gna,
pre
sum
ably
betw
een
1676
and
168
1, y
ear o
f the
dea
th o
fC
amill
o M
agio
.12
Ibid
., vo
l. II
, pp.
118-
119(
“[…
] acc
rued
a su
m in
cash
, and
assu
red
of th
e boa
rd an
d lo
dgin
g pr
omise
d hi
m b
y his
patro
n, d
ecid
ed to
go
toR
ome w
here
Cre
mon
ese A
lfons
o Fe
rrari
had
then
settl
ed p
erm
anen
t-ly
”an
d af
terw
ards
“w
ent t
o Bo
logn
a to
see t
he m
aster
piec
es o
f tho
sere
now
ned
mas
ters w
here
, dur
ing h
is sta
y he a
cqui
red
a sty
le of
his
own
muc
h be
tter t
han
the p
revi
ous o
ne, w
ith a
pec
ulia
r mix
and
div
ersit
yof
colo
urs,
wor
ked
with
such
tend
erne
ss th
at an
yone
who
has
seen
his
wor
k fin
ds it
diff
icul
t to
expr
ess o
nese
lf an
d th
us c
anno
t help
but
ad-
mire
it”)
.13
Proc
edur
e pre
serv
ed at
the T
echn
ical
Offi
ce o
f the
Com
une o
f Cre
-m
ona.
14T
he ex
ecut
ion
of th
ese m
ural
pai
ntin
gs ca
me a
bout
taki
ng ad
vant
age
of n
ew an
d ap
prop
riate
diste
nsio
ns of
“int
onac
hino
”. F
rom
the s
urve
il-la
nce c
arrie
d ou
t, it
is po
ssibl
e to g
rasp
the a
mpl
e util
izat
ion
of en
grav
-in
g de
stine
d to
the a
ppliq
ué o
f boa
rds a
nd th
e con
sequ
ent p
relim
inar
ydr
awin
gs w
hich
seem
to b
e tra
ced
on p
laste
r dur
ing
the d
ryin
g ph
ase.
It is
reas
onab
le to
pre
sum
e tha
t pig
men
ts di
ssolv
ed in
wat
er or
lim
ewa-
ter w
ere u
tiliz
ed b
ut d
estin
ed to
prin
cipa
lly ta
ke ad
vant
age o
f car
bon-
atat
ion
of th
e stil
l hum
id p
laste
r. T
he a
bsen
ce o
f “gi
orna
te”is
unde
r-sta
ndab
le du
e to
the f
act t
hat t
hese
pro
babl
y coi
ncid
e with
each
of t
hede
cora
tive b
ands
. Obv
ious
ly, m
ost o
f the
fini
shin
gs an
d so
me p
igm
ents
wer
e the
n ap
plied
with
a dr
y tec
hniq
ue.
15T
he g
olde
n th
read
ing
fixed
in th
e squ
arin
g, a
nd h
ere p
artic
ular
lysk
ilful
ly u
tiliz
ed to
visi
bly
redu
ce th
e stif
fnes
s of t
he w
arpa
ge o
f the
woo
den
ceili
ng a
re re
lativ
ely u
sual
in th
e Bol
ogne
se tr
aditi
on w
hich
was
cer
tain
ly le
arnt
by
Nat
ali.
The
sour
ces o
f the
per
iod
attri
bute
toG
irola
mo
Cur
ti (D
ento
ne) t
he in
vent
ion
of th
e tra
inin
g sp
ecifi
cally
desti
ned
to th
is ap
plic
atio
n, b
ased
on co
oked
flax
oil,
turp
entin
e of t
heV
eneto
and
bees
wax
.16
Lan
zi re
cord
s Giu
sepp
e Nat
ali a
gain
, refe
rring
in p
art t
o Zai
st: “N
e’gr
ottes
chi s
i atti
ene m
olto
all’
antic
o, sc
hiva
ndo
l’inu
tile s
fogg
io d
e’fo
glia
mi m
oder
ni e
varia
ndo
a lu
ogo
a lu
ogo
il di
pint
o co
n pa
esin
i, i
qual
i col
orì a
nco
bene
in q
uadr
etti a
d ol
io […
]”(L
AN
ZI1
823
[179
2-18
09],
vol.
IV, p
. 170
). 17
AZ
ZO
LIN
I19
98, p
. 25.
18
ZA
IST
1774
. 19
PUER
AR
I196
8; G
REG
OR
I199
0, b
iogr
aphi
cal f
ile p
. 302
by L
. Ban
-de
ra; C
ÒC
CIO
LIM
AST
RO
VIT
I19
92; M
AC
CA
BEL
LI20
04.
20G
iova
n Ba
ttista
Zai
st w
as a
favo
urite
of th
e Bish
op, A
lessa
ndro
Lit-
ta. I
n hi
s cap
acity
as a
pain
ter o
f qua
drat
ura,
acco
rdin
g to
wha
t Pan
nisa
id, i
n C
rem
ona h
e pai
nted
arch
itect
ural
dec
orat
ions
for t
he “C
hies
a,e C
onse
rvat
orio
, a c
omod
o rit
iro d
elle D
onne
Pen
itent
i”(1
736)
, the
dom
e and
aisle
s of S
S. E
gidi
o an
d O
mob
ono,
the d
ecor
atio
ns o
f San
Gio
rgio
, som
e cha
pels
in S
an F
ranc
esco
; in
Bres
cia,
he p
aint
ed p
er-
spec
tives
in P
alaz
zo M
artin
engo
, the
vaul
t of a
hal
l bot
h in
Vill
a Mar
-tin
engo
of C
olle
Beat
o an
d Pa
lazz
o G
amba
ra, a
larg
e per
sepe
ctiv
e in
Pala
zzo
Zol
a, t
he c
hape
l of
the
Mad
onna
of
the
Ros
ary
in S
anC
lemen
te; i
n C
asal
mag
gior
e, th
e C
appe
lla M
aggi
ore
of S
anFr
ance
sco.
In th
e sec
tor o
f unf
ixed
pai
ntin
gs, i
n pa
rticu
lar “
dipi
nse a
s-sa
i pro
pria
men
te a
olio
, Mar
ine [
…]”
(ZA
IST
1774
, vol
. II,
p. 1
58).
As a
n ar
chite
ct, h
e des
igne
d th
e Tea
tro d
ella C
onco
rdia
of C
rem
ona,
the “
Fabb
rica
della
nuo
va C
hies
a, e
Con
serv
ator
io, a
com
odo
ritiro
delle
Don
ne P
enite
nti”
, an
d th
e pr
esby
tery
of S
an F
ranc
esco
at
Cas
alm
aggi
ore.
He d
esig
ned
num
erou
s alta
rs fo
r im
porta
nt C
rem
ones
epa
trons
(the
alta
r of S
an F
ranc
esco
in th
e chu
rch
of th
e sam
e nam
e, th
em
ost i
mpo
rtant
alta
r of t
he c
athe
dral
, the
alta
r of t
he M
adon
na d
ella
Cin
tura
in S
an A
gosti
no, t
he m
ost i
mpo
rtant
alta
r of S
S. M
arce
llino
and
Pietr
o, th
e mos
t im
porta
nt a
ltar o
f San
t’Abb
ondi
o) a
nd h
e rea
l-iz
ed v
ario
us sa
cred
, eph
emer
al it
ems (
on th
e occ
asio
n of
the d
eath
of
Gio
vann
a C
ristin
a of
Assi
a-R
hein
sfeld
, con
sort
of th
e kin
g of
Sar
-di
nia,
Car
lo E
man
uele
III,
in 1
735,
and
for t
he H
oly R
oman
Em
per-
or, C
harle
s VI i
n 17
40).
As a
set d
esig
ner,
he co
llabo
rated
with
Pan
-ni
on
the s
cene
s Dem
ofoon
te in
175
2 an
d Se
mira
mide
rico
nosci
uta i
n 17
53at
the t
heat
re o
f Cre
mon
a. H
e was
occ
upied
with
mac
hine
s and
hy-
drau
lic en
gine
erin
g. H
e rea
lized
num
erou
s int
erve
ntio
ns o
f mod
ern-
izat
ion
and
resto
ratio
n, b
oth
arch
itect
ural
and
of m
ural
pai
ntin
g, th
ere
hash
ing
of th
e cro
wni
ng o
f the
Tor
razz
o, th
e dec
orat
ions
of t
he ce
n-tra
l nav
e and
pro
jects
for t
he ap
se of
the c
athe
dral
, the
adap
tatio
n of
the
Pres
byter
y of
San
ta M
argh
erita
and
Pela
gia
by th
e Cam
pis.
He a
lsode
velo
ped
a lit
erar
y an
d th
eore
tical
act
ivity
. As w
ell a
s the
Noti
zie i
s-tor
iche,
publ
ished
pos
thum
ously
by
Pann
i, he
raca
lls th
at “
fra i
suoi
Man
oscr
itti,
si so
n rit
rova
ti, u
n lib
ro, c
he i D
isegn
i con
tiene
dei
cinq
ueO
rdin
i dell
’Arc
hitet
tura
, col
le di
chia
razi
oni,
e risp
ettiv
e sue
pia
nte,
unal
tro d
i Fig
ure G
eom
etric
he, p
er n
eces
sario
pre
limin
are a
ll’A
rchi
tet-
tura
, ed
alla
Pro
spett
iva,
ed il
terz
o, c
he a
ddita
, e su
gger
isce i
l mod
ofa
cile,
per
eseg
uirle
”(ib
id.,
vol.
II, p
. 159
). 21
Ibid
., p.
152 (
“[…
] no w
ork
of an
y acc
ount
is d
one i
n ou
r city
with
-ou
t firs
t com
plyi
ng ei
ther
with
his
final
des
ign
or w
ise a
nd es
teem
edop
inio
n”).
22Ib
id., p
. 150
.23
LA
NZ
I18
23 [1
792-
1809
], vo
l. IV
, p. 1
71.
24C
rem
ona,
1736
-180
7. O
n Bi
ffi D
OSS
ENA
1968
, BIF
FI19
76, P
AN
IZ-
ZA
2009
. On
his a
rtisti
c int
eres
ts PU
ERA
RI
1968
; TA
SSIN
I19
88. B
iffi
did
not p
ublis
h, b
ut n
umer
ous,
auto
grap
hed
man
uscr
ipts
are p
rese
rved
at th
e St
ate
Lib
rary
of C
rem
ona.
Am
ong
thes
e th
e m
s. A
.A.3
.7(A
rtisti
Crem
onesi
), w
ith th
e bio
grap
hies
of a
bout
two
hund
red
and
eight
y ar
tists,
am
ong
whi
ch, G
iaco
mo
Gue
rrin
i’s, p
rese
rved
in m
s.B.
B.1.
4/42
, Misc
ellan
ea G
rasse
lli, p
ublis
hed
in B
IFFI
1989
; the
ms.
A.A
.3.1
2 (A
rte N
uova
della
pittu
ra a
forma
ggio
1775
, Lett
ere d’
Ant
iquar
iae P
ittor
iche 1
779-
1780
), un
publ
ished
; the
ms.
Civ
. 36
(Nov
elle,
Disc
or-
si, F
ramm
enti,
Lett
ere e
Prod
uzion
i di v
ario
gene
re), a
lso u
npub
lishe
d; th
em
s. C
iv. 3
.57
(Cos
e nota
bili a
ccadu
te a C
remon
a dal
1 otto
bre 1
777 a
l 24 o
t-tob
re 17
81),
publ
ished
in B
IFFI
1976
; the
Lett
ere iti
nera
rie(fr
om V
enic
e,17
73, m
s. A
.A.1
.4; f
rom
Gen
oa, 1
774,
ms.
A.A
.1.2
; fro
m P
iedm
ont
and
from
Fra
nce,
1776
, m
s. A
.A.1
.3;
from
Fer
rara
, 17
77,
ms.
testi Magio inglese 2-10-2012 16:36 Pagina 126
Gio
vann
i Man
fredi
ni’s
Dec
orat
ive P
rogr
amm
es
and
othe
r Nin
etee
nth-
Cen
tury
Inte
rven
tions
in
Pal
azzo
Mag
io G
rasse
lli
In Pa
lazz
o Mag
io, t
he d
ebut
of G
iova
nni M
anfre
dini
cam
e abo
ut in
the l
arge
hal
l ove
rlook
ing t
he co
urty
ard1
(3.2
7) (f
ig. 8
8). I
n th
e frie
ze o
n th
e sou
ther
n w
all,
a scr
oll r
evea
ls a d
raw
ing
of th
e pla
n, th
e per
spec
tive o
fa t
rium
phal
arch
(mor
e pro
babl
y rem
ovab
le se
tting
),2as
well
as th
e ini
tials
IM (I
ohan
nes M
anfre
dinus
)and
the
date
1772
3(fi
g. 8
9). W
ith th
e lar
ge h
all o
f Pal
azzo
Affa
itati-
Mag
io (p
ost1
774)
,4M
anfre
dini
’s ac
tivity
ispr
ecoc
ious
ly d
ocum
ented
as d
ecor
ator
of p
rivat
e pal
azzo
s in
Cre
mon
a. H
is re
spec
tive c
lient
s, th
e bro
ther
sC
amill
o an
d C
esar
e Clem
ente
Mag
io li
ke th
eir g
reat
-gra
ndfa
ther
, Cam
illo,
app
eare
d to
be p
atro
ns o
f apr
omisi
ng lo
cal a
rtist,
5op
en to
nov
elty.
The
qua
drat
ura
simul
ates
in th
e vau
lts a
serli
an lo
ggia
with
ioni
c,bi
nate
colu
mns
and
a bal
ustra
de su
rmou
nted
with
a hi
gh p
olyg
onal
dom
e. T
he w
alls,
line
d w
ith fa
ux, b
inat
epi
laste
rs co
rrela
ted w
ith th
e col
umns
abo
ve, o
pen
up in
the c
entre
ont
o ill
usor
y ex
edra
s in
whi
ch u
rns o
f agr
eat s
ize a
re lo
cated
. The
Dor
ic fr
ieze,
inter
rupt
ed o
nly b
y the
wid
e cen
tral a
rche
s, de
mon
strat
es a
sequ
ence
of si
mul
ated
trig
lyph
s and
meto
pes r
epre
sent
ing
troph
ies a
nd em
blem
s. T
he ea
stern
wal
l cele
brat
es m
ilita
rygl
ory a
nd b
oasts
trop
hies
of a
rms i
nter
cala
ted w
ith cr
owns
of l
aure
l and
helm
ets re
min
iscen
t of a
ncien
t one
s.O
n th
e oth
er w
alls,
how
ever
, the
rebi
rth of
art,
letter
s, co
mm
erce
and
scien
ces a
re d
epic
ted.6
Thi
s ico
nogr
aphi
cpr
ojec
t con
nect
s the
glor
ies of
war
of th
e lin
eage
with
the c
ivil
them
es of
the E
nlig
hten
men
t. Pa
inted
arch
itect
ure
is as
soci
ated
with
set d
esig
n an
d th
e lat
e Bar
oque
qua
drat
ura f
rom
Poz
zo to
the B
ibien
as b
ut th
e arc
hitec
tura
lor
ders
are o
rthod
ox an
d th
e lar
ge, e
labo
rate,
pre
ciou
s urn
s tak
e one
bac
k to
the e
xper
ience
s of P
etito
t in
Parm
aan
d hi
s atta
chm
ent t
o th
e Cla
ssici
sm o
f the
cent
ury o
f Lou
is X
IV, w
ith th
e “id
eas”
of L
e Pau
tre7
whi
ch ar
eal
so d
ear t
o the
grea
t neo
clas
sical
arch
itect
s, Si
mon
e and
Gae
tano
Can
toni
, with
conn
ectio
ns to
Fre
nch
cultu
re.
The
conc
eptio
n of
the w
hole
can
be at
tribu
ted to
the s
ame M
anfre
dini
. T
he la
rge h
all a
lso d
emon
strat
es gr
eat s
obrie
ty fr
om a
techn
ical
poi
nt of
view
. The
com
plete
abse
nce o
f “gi
or-
nate”
indi
cated
in th
e dist
ensio
n of
the p
laste
r dem
onstr
ates
that
the d
ecor
atio
n to
ok p
lace
on
a pre
viou
s dry
plas
ter w
hich
from
171
3 to
177
2, th
anks
to th
e dat
es ca
rved
and
high
light
ed b
y a su
rvey
util
izin
g lig
ht sc
an-
129
Band
era;
BO
SSA
GL
IAan
d T
ERR
AR
OL
I19
91, f
ile p
p. 2
03-2
05 b
y L
.Ba
nder
a; C
OL
AC
E19
92; I
D. 1
997;
GR
EGO
RI1
999;
TA
NZ
I199
9, fi
lesnn
. 26-
30 b
y L. D
onze
lli.
51C
rem
ona,
Sta
te L
ibra
ry, m
s. B.
B.1.
4/42
,BIF
FI19
89, p
. 336
(“[…
]w
orke
d a
lot i
n C
asa
Borri
toge
ther
with
Gio
vann
i Man
fredi
ni, o
ursk
ilful
arc
hitec
t of C
rem
ona”
). G
iova
nni M
anfre
dini
and
Gia
com
oG
uerri
ni w
ere t
he o
nly
livin
g ar
tists
to w
hom
BIF
FIde
dica
ted a
bio
g-ra
phy.
52BI
FFI,
Mem
orie,
ms.
A.A
.3.7
, f. 2
80v,
line
s 22-
23.
53Ib
id.,
f. 28
0v, l
ines
18-
22.
54T
OL
OM
EO19
91, p
. 26.
55T
he Je
suit
envi
ronm
ent o
f Mila
n du
ring t
hese
year
s cul
tivat
ed ri
gor-
ous s
tudi
es in
per
spec
tive.
In 16
65, F
athe
r And
rea P
ozzo
(Tre
nto 1
642
- Vien
na 1
709)
join
ed th
e Com
pany
in S
an F
edele
, Mila
n, au
thor
of
the f
amou
s Pers
pecti
va pi
ctoru
m et
arch
itecto
rum
(Rom
e 169
3-16
98; o
n th
esu
cces
sive
editi
on B
OR
DIN
I19
91,
p. 1
09-1
13).
In M
ilan,
Poz
zopl
anne
d re
mov
able
deco
rativ
e sett
ings
for r
eligi
ous f
estiv
als a
nd p
aint
-ed
, lat
er so
ld an
d pe
rfect
ed th
e art
of p
ersp
ectiv
e. T
his i
nter
est i
n th
e en-
viro
nmen
t of t
he C
olleg
e is
conf
irmed
in tw
o m
anus
crip
ts in
the
Brai
dens
e Lib
rary
: ms.
AE
IX 18
, Que
lques
défin
ition
s et p
rincip
es de
per-
spect
ive pa
r un
religi
eux
de la
Com
pagn
ie de
Jesu
s, 16
th c
entu
ry; m
s. A
DX
II 10
, Par
tis op
ticae
seu p
erspe
ctive
prac
tica b
revis
expl
icatio
, 17t
h ce
ntur
y.
56A
ccor
ding
to B
iffi,
in B
resc
ia, M
anfre
dini
dec
orat
ed “u
na gr
an sa
la,
la vo
lta d
ella s
cala
, una
stan
za, e
d un
a cap
ella i
n C
asa U
gger
i. A
l Nob
.Sr
. Ant
onio
Mor
i à S
. Afra
dip
inse
una
sala
la q
uale
per e
ssere
fuor
idi
qua
drat
ura
dific
ilissi
ma
cosa
era
il to
rne a
l och
io d
e rig
uard
anti
ildi
fetto
. À M
onsig
nor F
e’ di
pins
e par
imen
ti un
a Gal
leria
”(B I
FFI,
Mem
-or
ie, m
s. A
.A.3
.7, f
. 280
v, li
nes 2
4-30
). R
egar
ding
BIF
FI19
89, p
. 332
,no
te 8:
“C
asa
Ugg
eri o
ra F
enar
oli,
via
Pace
17.
Son
o an
cora
visi
bili
le qu
adra
ture
che o
rnan
o il v
ano d
ello s
calo
ne, l
a sal
a al s
econ
do p
iano
del l
ato
nord
e il
salo
ne d
’ono
re [.
..]. C
asa
Mor
i, or
a de
lla C
ompa
g-ni
a di S
. Ang
elo, v
ia M
artin
engo
da B
arco
, 4/6
. La c
asa d
i orig
ine s
e-ce
ntes
ca h
a un
solo
salo
ne, l
a cui
dec
oraz
ione
a pr
ospe
ttiva
risa
le al
l’e-
poca
di A
nton
io M
oro
nato
nel
1725
[...]
. Pal
azzo
Fè d
’Osti
ano
ora
Mat
eros
si, c
orso
Mat
teotti
, 54.
Al M
anfre
dini
sono
attr
ibui
bili
due
gran
di p
aesa
ggi a
ffres
cati
sulle
par
eti d
i una
stan
za d
ell’a
la n
ord
del c
or-
tile”
.57
Alre
ady h
ighl
ight
ed b
y BEL
LIN
GER
I19
95, p
. 15.
58
TA
SSIN
I19
88.
59D
OSS
ENA
1968
. 60
Cre
mon
a, S
tate
Lib
rary
, ms.
Civ
. 36,
ff. 4
3r-4
6v, m
aybe
the p
refa
ceof
an u
ncom
plete
d w
ork
whi
ch B
iffi i
nten
ded
havi
ng p
rinted
. 61
Ibid
., f.
43r,
lines
4-5
. 62
Ibid
., f.
43r,
lines
5-7
(“[…
] afte
r tw
o an
d a
half
cent
uries
one
can
see i
n C
rem
ona
youn
g pe
ople
once
mor
e uni
ted st
udyi
ng th
e des
ign
and
prof
esso
rs de
stine
d to
teac
h it”
). 63
Ibid
., f.
43r,
lines
9-1
6 (“
Ana
lysin
g al
l bea
utifu
l thi
ngs w
hich
pro
-du
ced
agre
emen
t, co
here
nce a
nd p
ropr
iety,
som
e enl
ight
ened
obse
rver
sin
ferre
d th
e rul
es w
hich
wer
e con
firm
ed ov
er ti
me w
ith u
se an
d re
peat
-ed
expe
rimen
t, be
com
ing
cons
isten
t and
uni
versa
l. T
hese
pre
scrib
edru
les ar
e gen
eral
ly fo
r all
facu
lties
and
they
mus
t be o
bser
ved
by al
l tho
sew
ho w
ish to
pra
ctise
them
in ar
chite
ctur
e, in
ever
y kin
d of
dec
orat
ion
and
furn
ishin
g be
caus
e the
se ru
les ar
e all
indi
spen
sabl
e for
artis
ts”).
64Ib
id.,
f. 43
r, lin
es 2
0-21
, 23.
65
Ibid
., f.
44r,
lines
32-
34; f
. 44v
, lin
es 1
-2 (“
[…] t
his i
s not
how
our
Grea
t Mas
tersb
uilt,
dec
orat
ed, i
mag
ined
: the
y rat
her f
ollo
wed
the p
re-
scrib
ed an
d in
herit
ed la
ws o
f the
anci
ent p
rese
rved
in b
ooks
whi
ch ga
veth
em th
e aut
hent
ic ap
prov
al o
f all
natio
ns an
d m
any c
entu
ries”
).66
Ibid
., f.
45v,
line
s 21-
23, 2
7-31
(“Fi
rstly
[...]
a sy
nthe
sis o
f alla
the
geom
etric
ope
ratio
ns to
carry
out
with
onl
y a ru
ler, a
nd a
pair
of co
m-
passe
s [...
] tha
t will
serv
e to m
ake m
osai
c, ar
ches
, pan
els fo
r doo
rs, w
in-
dow
s, an
d jo
iner
y, to
whi
ch th
e way
of c
onstr
uctin
g va
ses i
n th
e an-
cien
t way
, bal
ustra
des a
nd an
y oth
er d
ecor
ativ
e item
is to
be a
dded
”).
67Ib
id.,
f. 46
r, lin
es 1
-7 (“
[...]
the w
ay o
f mak
ing
the m
ould
s of t
hefra
mew
ork
whi
ch ar
e jud
icio
usly
loca
ted an
d se
rve t
o for
m th
e mou
ld-
ed in
terio
rs, th
us th
e mor
e or l
ess d
elica
te co
rnic
es to
div
ersif
y and
char
-ac
teriz
e the
five
ord
ers o
f arc
hitec
ture
with
due
cor
rect
ness.
The
sam
epa
rts w
ill b
e sho
wn,
ador
ned
with
strik
ing
deco
ratio
n th
at g
reat
ly en
-ric
hes t
he sa
me c
orni
ces o
f the
ord
ers s
epar
ately
”).
68Ib
id.,
f. 46
r, lin
es 8-
19 (“
[...]
we s
houl
d de
sign
all t
he co
lum
ns of
the
five o
rder
s with
resp
ectiv
e cap
itals,
cor
nice
s, ba
ses,
pede
stals,
all
thes
ebe
long
ing
to m
any
vario
us o
rnam
ents
of d
oors,
win
dow
s, fir
epla
ces,
alta
rs an
d so
on.
To
thes
e will
be a
dded
their
geo
metr
ic p
lans
whi
char
e rea
lly es
sent
ial b
ecau
se th
ere i
s alm
ost n
othi
ng th
at c
an b
e dra
wn
whi
ch b
y m
eans
of g
eom
etric
elev
atio
n ca
nnot
or c
ould
not
be
ex-
plai
ned
with
out t
he ai
d of
ichn
ogra
phy [
...],
addi
ng to
this
the s
plit
ofm
ore t
han
one s
ide s
o as
to fo
rm th
e rig
ht id
ea o
f all
that
one
wish
es to
repr
esen
t”).
69Ib
id.,
f. 46
r, lin
es 2
0-24
; f. 4
6v, l
ines
1-2
, 3-1
0 (“
[…] e
xam
ples
of
anci
ent d
oors
and
win
dow
s des
igne
d by
the m
ost e
xcell
ent a
nd h
igh-
ly es
teem
ed ar
chite
cts”
cons
ider
ed “
on th
e out
side o
f the
bui
ldin
g an
dth
e int
erio
r, un
der t
he p
orch
es, i
n th
e hal
ls, in
the s
mal
ler ro
oms [
...];
thos
e des
igns
belo
ngin
g to w
oodw
orke
rs to
clos
e the
abov
e-m
entio
ned
aper
ture
s. T
hose
des
igns
of c
him
neys
to b
uild
with
stuc
co, w
ith st
one
or m
arbl
e [..
.]; d
raw
ings
for a
ltars
, urn
s, al
tarp
ieces
, mau
soleu
ms,
war
ehou
ses,
whi
ch a
re to
be c
hose
n, a
nd th
ose t
hat a
re le
ss pr
oper
toex
ecut
e and
whi
ch ar
e mor
e sui
tabl
e to t
he lo
catio
n an
d ci
rcum
stanc
es[..
.], to
put
clea
rly th
at w
hich
is re
ason
able
to b
e in
the w
ork
to b
e ex-
ecut
ed, w
hich
to b
e app
rove
d m
ust h
ave p
ropo
rtion
, eleg
ance
, sol
idi-
ty an
d de
mon
strat
e rea
son
in ea
ch p
art,
and
in it
s who
le”).
70O
f the
man
ifesto
, pub
lishe
d by
Lor
enzo
Man
ini i
n N
otizi
e dive
rse of
21 S
eptem
ber 1
782,
the a
utog
raph
is p
rese
rved
in th
e ms.
Civ
. 36,
ff.
40r-4
1r, M
anife
sto pe
r la r
istam
pa de
lle O
pere
del A
lgaro
tti 17
78.
71BI
FFI,
Diar
io, 24
Janu
ary 1
778 (
BIFF
I197
6, p
p. 14
-15)
. Rea
lly, w
hile
in th
e Diar
io, B
iffi a
ttrib
uted
the f
ront
ispiec
e to
Gio
vann
i Man
fredi
nian
d th
e por
trait
of A
lgar
otti
to G
iaco
mo G
uerri
ni, i
n th
e Man
ifesto
bot
hof
the j
obs w
ere e
ntru
sted
to M
anfre
dini
(ms.
Civ
. 36,
ff. 4
0v-4
1r).
72A
LG
AR
OT
TI1
791a
, pp.
11-1
2 (“T
he go
od m
anne
r of b
uild
ing [
...]
is to
shap
e, de
cora
te an
d sh
ow. [
...] N
othi
ng ca
n be
seen
in a
build
ing
whi
ch d
oes n
ot h
ave i
ts ow
n us
efuln
ess a
s an
integ
ral p
art o
f the
sam
ebu
ildin
g. D
ecor
atio
n ne
eds t
o de
rive f
rom
wha
t is n
eces
sary
oth
erw
iseno
thin
g bu
t affe
ctat
ion
and
falsi
ty w
ill b
e int
rodu
ced
into
the a
rchi
-tec
ts’ w
orks
[...]
. The
exec
utio
n, am
ong
othe
r thi
ngs,
of th
e faç
ade o
fa t
empl
e whi
ch is
of o
nly o
ne o
rder
insid
e but
div
ided
into
two
orde
rson
the f
açad
e; th
e cor
nice
of t
he o
rder
belo
w re
veal
s a c
ompa
rtmen
tw
hich
is re
ally
on
the i
nsid
e, th
us n
ot a
ppea
ring
as it
real
ly is
and
as
such
false
”), t
o be c
ompa
red
to B
IFFI
, Pref
azion
e per
la Sc
uola
del d
isegn
o,m
s. C
iv. 3
6: “
[f. 4
3v, l
ines
1-8
] [...
] in
tutte
le p
arti
dell’
Arc
hitet
tura
è nec
essa
rio ch
e ogn
i cos
a ser
va a
qual
che c
osa s
icch
é l’a
grad
evol
e risu
l-ti
dal u
tile,
e dal
sodo
[...]
. [f.
43v,
line
s 20-
25] L
e fac
ciat
e poi
dell
eC
hies
e il f
arle
di d
ue, o
più
ord
ini p
osti
l’un
sopr
a l’a
ltro,
la c
orni
cede
ll’or
dine
da b
asso
non
rapr
esen
ta el
la es
terio
rmen
te il
palc
o, ch
e di-
vide
den
tro il
pia
no d
a ba
sso d
a qu
el di
sopr
a? I
due o
rdin
i dell
a fa
c-ci
ata d
el tem
pio l
o fan
no cr
eder
e div
iso in
due
pia
ni, e
d en
trato
che u
novi
sia d
entro
lo tr
ova i
n eff
etti d
i un
pian
o so
lo”.
73
AL
GA
RO
TT
I17
91b,
p. 1
23.
74Ib
id.,
pp. 1
38, 1
40.
75Ib
id.,
p. 1
99.
76V
ICO
1557
. 77
The
six
engr
avin
gs ar
e par
t of t
he C
ivic
Col
lectio
n of
Eng
ravi
ngs i
nV
illa R
eale
in M
onza
. 78
The
engr
avin
g is
kept
in th
e Civ
ica R
acco
lta d
elle S
tam
pe A
chill
eBe
rtare
lli in
Mila
n (L
omba
rdia
, RT
1-7
3).
79BI
FFI,
Mem
orie,
ms.
A.A
.3.7
, f. 2
80v,
line
s 17-
18.
80Ib
id.,
f. 28
1r, l
ines
10-1
5 (“[
…] h
is m
any o
il pa
intin
gs d
epic
ting t
hear
chite
ctur
e of i
mag
inar
y rui
ns, b
eaut
iful v
estig
es, a
ncien
t shr
ines
, sar
-co
phag
i, do
veco
tes, t
empl
es, j
udic
ious
ly im
agin
ed th
ings
with
man
ybe
autif
ul a
nd v
ague
hue
s, w
here
the d
iffus
ion
of li
ght c
anno
t be i
m-
prov
ed u
pon,
alw
ays f
ar fr
om tr
ivia
lities
: its
prai
ses a
re m
any
and
al-
way
s will
be”
).81
BIA
NC
HI20
09b,
p. 3
35.
82G
RIS
ERI
1995
, p. 1
3 (“
It w
as a
pos
sible
jour
ney
offer
ed to
mod
ern
man
”, w
here
“th
e En
light
enm
ent
had
help
ed t
o in
sert
[...]
the
meta
phor
of th
e inf
inite
, and
to re
nder
it cl
oser
and
mor
e acc
essib
le ha
vegr
afted
it in
to m
any
elem
ents
from
Nat
ure,
alter
natin
g pa
ssage
s of l
ifew
ith tr
ees a
nd fl
ower
ed in
terw
eavi
ng, b
ut al
so w
ith th
e rui
ns re
pres
ent-
ing
Nat
ure t
hat h
as b
een
cros
sed
by ev
ery p
ath,
goi
ng b
eyon
d no
t on-
ly li
ving
pro
files
, but
also
yond
er to
disc
over
unf
orge
ttabl
e view
s cre
at-
ed b
y tim
e”).
128
88. G
iova
nni M
anfre
dini
, dec
orat
ion
of th
e hal
l ont
o th
eco
urty
ard,
172
2.89
. Gio
vann
i Man
fredi
ni, d
ecor
atio
n of
the h
all o
nto
the
cour
tyar
d, 1
722.
Deta
il of
the f
rieze
with
title
blo
ck b
earin
gsig
natu
re an
d da
te.
testi Magio inglese 2-10-2012 16:36 Pagina 128
131
ning
, we k
now
was
free
of d
ecor
atio
n (fi
g. 9
0).
The
sim
ple t
echn
ique
of p
aint
ing
with
lim
e was
uti-
lized
for t
his e
xecu
tion,
one
of t
he le
ast n
oted
but
mor
edi
ffuse
d tec
hniq
ues o
f mur
al p
aint
ing
whi
ch w
as c
er-
tain
ly al
read
y in
use a
t the
beg
inni
ng of
the c
lassi
cal e
rain
wor
ks o
f a d
ecor
ativ
e and
con
dens
ed n
atur
e. T
his
cons
isted
of a
bund
antly
and
repe
ated
ly w
ettin
g lim
epl
aster
and
sand
, pre
viou
sly d
ried
and
the d
isten
sion
ofa
coat
of l
ime (
or “
scia
lbo”
) and
then
pai
ntin
g ov
er it
with
grou
nd p
igm
ent i
n lim
ewat
er. A
larg
e par
t of m
e-di
eval
and
rena
issan
ce m
ural
pai
ntin
g w
as ca
rried
out
with
var
iant
s of t
his c
onso
lidat
ed p
icto
rial t
echn
ique
whi
ch w
ould
hav
e a p
ract
ical
ly u
nint
erru
pted
life
upto
the b
egin
ning
of t
he tw
entie
th ce
ntur
y. A
gre
at h
is-to
rian
of ar
tistic
tech
niqu
es, S
ir C
harle
s Loc
k Ea
stlak
e,th
e firs
t dire
ctor
of t
he N
atio
nal G
aller
y in
Lon
don,
was
still
abl
e to
obs
erve
this
in I
taly
and
bey
ond
the
Alp
s in
the m
iddl
e of t
he n
inete
enth
cent
ury.
8Pa
intin
gw
ith li
me,
quite
sim
ilar t
o fre
sco
in it
s fin
al re
sults
,w
ould
alw
ays r
emai
n in
the s
hado
w o
f the
mor
e de-
man
ding
tech
niqu
e with
whi
ch it
is so
meti
mes
con
-fu
sed
and
whi
ch is
fast,
pra
ctic
al, e
asily
susc
eptib
le to
corre
ctio
n an
d al
so w
idely
use
d in
vas
t, co
mpl
ex, d
ec-
orat
ive u
nder
taki
ngs.
Gio
vann
i Man
fredi
ni’s
wor
ksho
p w
as w
illin
g, d
espi
teth
e pro
foun
d ta
mpe
ring,
to d
ecor
ate t
he su
cces
sive r
oom
(3.2
8) (p
l. X
XX
I). T
he st
ucco
corn
ice o
n th
e vau
ltw
as le
ngth
ened
with
a fr
ieze o
f aca
nthu
s lea
ves,
half
of w
hich
is h
idde
n to
day
by re
pain
ting
and
a se
cond
corn
ice.
Vol
utes
whi
ch su
ppor
t a fu
rther
corn
ice a
re p
lace
d on
it w
hich
dem
arca
te th
e fla
t par
t of t
he ca
nopy
on w
hich
, in
a sq
uash
ed el
liptic
al ey
e, is
a fa
ux ri
bbed
dom
e. T
he th
eme o
f the
thre
e-di
men
siona
l, stu
cco
volu
tes is
com
mon
in th
e dec
orat
ion
of th
e can
opy v
aults
in le
af an
d ha
bitu
ally
und
erlin
es th
e thi
ckne
ss of
the
arch
es w
hich
cha
ract
eriz
es th
e con
struc
tion
as se
en o
n th
e gro
und
floor
at t
he to
p of
the p
orch
in P
alaz
zoA
ffaita
ti-M
agio
.M
anfre
dini
star
ted w
ork
agai
n, o
n a
redu
ced
scal
e, on
bot
h th
e illu
sory
dom
e of t
he v
ault
and
also
on
the
colo
urs o
f the
dec
orat
ions
visu
aliz
ed in
the s
tucc
o of
the l
arge
hal
l. Ev
iden
t reto
uchi
ng te
stifie
s to
an a
mpl
ein
terve
ntio
n of
resto
ratio
n ca
rried
out i
n tem
pera
whi
ch p
rofo
undl
y alte
red
the o
rigin
al co
lour
sche
mes
agre
edup
on in
gre
en (f
ig. 9
1): t
he fr
ieze o
f arm
s und
erne
ath
the s
tucc
o co
rnic
e, in
par
ticul
ar, s
uffer
ed th
e clu
msie
st
130
90. P
hoto
grap
h w
ith si
de li
ghtin
g of
a ca
rved
dat
e on
the
plas
ter o
f the
hal
l ont
o th
e cou
rtyar
d, 1
713.
91. G
iova
nni M
anfre
dini
, deta
il of
the d
ecor
atio
n on
the
vaul
t of t
he h
all a
djac
ent t
o th
e gre
at h
all o
f 172
2. T
he al
mos
tco
mpl
ete re
pain
ting
of a
gree
n ba
ckgr
ound
is v
isibl
e.
92. G
iova
nni M
anfre
dini
, dec
orat
ion
on th
e vau
lt in
the
bedr
oom
.93
. Gio
vann
i Man
fredi
ni, d
etail
of th
e dec
orat
ion
on th
e vau
ltin
the b
edro
om.
94-9
6. G
iova
nni M
anfre
dini
, deta
ils o
f the
dec
orat
ion
of th
e vau
lt in
the b
edro
om. C
ompo
sitio
n of
the p
anels
mad
e usin
g an
engr
avin
g of
the A
ldobr
andin
i Nup
tials.
97. G
iova
nni M
anfre
dini
, deta
il of
the d
ecor
atio
n on
th
e vau
lt in
the b
edro
om co
mpa
red
with
the e
ngra
ving
deriv
ed fr
om V
estigi
a dell
e Term
e di T
itoby
Lud
ovic
oM
irri (
1776
).
testi Magio inglese 2-10-2012 16:36 Pagina 130
133
repa
intin
g. O
rigin
ally
, thi
s pre
sent
ed a
back
grou
nd of
gree
n ea
rth on
whi
ch tr
ophi
es of
arm
s and
bod
y arm
our
are d
epic
ted an
d w
hich
appe
ar to
hav
e bee
n pa
rtly i
nspi
red
by P
irane
si’s e
ngra
ving
s rela
ting
to th
e Tra
jan’
sco
lum
n9 . The
wal
ls un
dern
eath
wer
e may
be in
pol
ychr
ome p
anels
with
a w
ains
cot i
n sh
ades
of gr
ey of
whi
chtra
ces r
emai
n, a
nd w
hich
are
repe
ated
with
var
iatio
ns in
the r
oom
that
follo
ws t
o th
e eas
t whi
ch w
as th
en a
bedr
oom
, red
uced
to a
pas
sage
way
in th
e tw
entie
th c
entu
ry. T
here
may
hav
e be
en ta
pestr
y he
re a
s well
,m
ount
ed o
n an
orig
inal
, gre
y wai
nsco
t. T
his w
ould
be s
uper
impo
sed
by am
ple w
ains
cotin
g w
ith a
corn
ice
of gr
ey/li
ght b
lue w
hich
wou
ld th
en b
e cov
ered
over
dur
ing t
he co
urse
of th
e tw
entie
th ce
ntur
y with
two c
oats
of b
eige p
aint
.T
he M
arqu
is C
amill
o di
ed in
177
2. H
is w
idow
, Ter
esa C
rivell
i who
was
gua
rdia
n of
their
und
er-a
ge so
ns,
Giu
sepp
e, L
uigi
and
Ign
azio
car
ried
on o
rgan
izin
g an
d ta
king
gre
at c
are
of th
e fu
rnish
ing
of th
e ne
wap
artm
ent.
Onl
y afte
r 177
8, w
hen
she l
eft th
e pal
azzo
as a
resu
lt of
disa
gree
men
ts w
ith h
er el
dest
son
who
was
by th
en o
f age
, the
bui
ldin
g pl
an b
oth
in th
e pal
azzo
in C
ontra
da S
an G
allo
and
the v
illa a
t Vho
of P
iade
naw
ould
be s
tarte
d ag
ain.
His
mar
riage
with
Ippo
lita A
rald
i on
2 Mar
ch, 1
780,
was
the m
otiv
atio
n fo
r dec
orat
ing
the a
partm
ent o
f the
inter
nal w
ing.
In fa
ct, o
n th
e shi
eld h
eld u
p by
one
of t
he c
heru
bs o
f the
friez
e on
the
wes
tern
wal
l in
the s
econ
d lo
bby (
3.30
) app
ear,
in fa
ct, t
he co
ats o
f arm
s of t
he h
ouse
s of M
agio
and
Ara
ldi
plac
ed cl
ose t
ogeth
er. T
he ic
onog
raph
y of t
his a
nd th
e suc
cessi
ve b
edro
om, p
resu
mab
ly cr
eated
by M
anfre
dini
and
exec
uted
by t
he w
orks
hop,
conf
irms t
he fu
ture
use
of t
he ro
oms a
s a n
uptia
l apa
rtmen
t. T
he v
ault
of th
e roo
m (3
.31)
(fig
. 92)
is b
roke
n do
wn
into
a fri
eze p
aint
ed o
n th
e cur
ves o
f the
cano
py an
d a
coffe
red
ceili
ng w
hich
corre
spon
ds to
the c
entra
l, al
mos
t fla
t, fie
ld w
hich
was
real
ly a
pain
ted m
onoc
hrom
eof
rose
ttes,
the m
odels
of w
hich
can
be fo
und
in th
e “R
uins
of P
alm
yra”
that
Biff
i rec
ords
in th
e Man
fredi
niL
ibra
ry.10
In th
e frie
ze, p
ower
ful t
elam
ons a
nd c
arya
tids (
fig. 9
3), w
ound
with
festo
ons,
supp
ort t
he u
pper
corn
ice a
nd, a
t the
cent
re of
each
side
, pan
els ap
pear
with
scen
es ta
ken
from
anci
ent R
oman
mur
als.
Thr
ee of
thes
e re-
prop
ose t
he A
ldobr
andin
i Nup
tials
whi
ch ar
e now
kep
t in
the V
atic
an L
ibra
ry, t
he o
rigin
al se
quen
ceha
ving
bee
n di
vide
d in
to se
ctio
ns an
d a p
ortio
n ev
en re
verse
d (fi
gs. 9
4-96
). H
owev
er, t
he fo
urth
pan
el on
the
north
ern
wal
l rep
rodu
ces t
he ep
isode
of t
he C
hildh
ood o
f Dion
ysius
whi
ch a
ppea
rs on
the v
ault
of o
ne o
f the
room
s of t
he D
omus
Aur
ea. T
he g
od, s
till a
child
, is i
n th
e cen
tre as
tride
a go
at b
etwee
n a p
laye
r of a
dru
man
d a
shep
herd
(fig
. 97)
. The
mod
els u
tiliz
ed fo
r thi
s com
posit
ion
wer
e wid
ely d
iffus
ed in
the e
ight
eent
hce
ntur
y but
her
e the
mos
t im
porta
nt an
alog
ies ca
n be
foun
d in
the e
ngra
ving
s of L
udov
ico M
irri (
Vest
igia d
elle
Term
e di T
ito e
loro i
ntern
e pitt
ure,
1776
)whi
ch re
prod
uce b
oth
the p
aint
ings
of t
he D
omus
Aur
ea an
d th
e so-
calle
d A
ldobr
andin
i Nup
tials.
11
The
dec
orat
ions
of t
he p
rece
ding
lobb
y ar
e mor
e com
plic
ated
and
also
com
para
ble w
ith th
e nup
tial t
hem
e(3
.30)
(pl.
XX
XII
). H
ere t
he fl
at fi
eld of
the c
anop
y is p
aint
ed w
ith li
me w
ith p
hyto
mor
phic
mot
ifs ar
ound
anela
bora
te ro
sette
whi
ch re
calls
the e
xter
nal v
egeta
l frie
zes o
f the
Ara
Pac
is, fe
igni
ng a
fram
ed co
ffere
d ce
iling
with
a la
rge,
illus
ory
corn
ice a
t the
cen
tre o
f whi
ch st
and
out g
ilded
, woo
den
relie
fs - a
recu
rrent
them
e in
Cre
mon
a dur
ing t
he si
xtee
nth
cent
ury.
In th
e hig
h fri
eze w
ith a
gold
en ye
llow
bac
kgro
und
a fig
urat
ive t
hem
eis
deve
lope
d, or
igin
atin
g par
tly fr
om th
e “R
affa
elesq
ue” t
radi
tion.
On
the e
aster
n w
all f
rom
left
to ri
ght,
a rac
eof
erot
i on
horse
back
is d
epic
ted, t
aken
from
pla
te 10
9 in
the G
alleri
aGius
tinian
a12fo
llow
ed b
y a re
prod
uctio
n,w
ith m
inim
um a
dapt
atio
ns o
f the
fam
ous e
ngra
ving
by
Mas
ter o
f the
Die
depi
ctin
g T
riump
h of L
ove13
(fig.
98).
In c
ontin
uity
, on
the s
outh
ern
wal
l, fro
m a
noth
er en
grav
ing
of th
e sam
e arti
st, th
ere i
s a p
roce
ssion
of
cher
ub m
usic
ians
who
in th
e dev
elopm
ent o
f the
dec
orat
ion
prec
edes
the t
rium
phal
carri
age14
(fig.
99)
.O
n th
e wes
tern
wal
l, in
the c
entre
, betw
een
two
unid
entif
ied se
ctio
ns, s
cene
s of a
gym
nasiu
m a
nd c
heru
bsw
ho ar
e hol
ding
up
palm
leav
es, a
gain
from
the G
alleri
a(pl
. 124
) (fig
. 100
). O
n th
e nor
ther
n w
all,
the t
extu
alre
sum
ptio
n of
the C
hildr
en’s
Bacch
anale
from
an en
grav
ing
by G
erol
amo
Scar
sello
of a
dra
win
g by
Gio
vann
iA
ndre
a Sira
ni, a
ppre
ntic
e to
Gui
do R
eni,15
is in
serte
d in
the c
entre
of t
he su
bjec
t of p
late
128
of th
e Gall
eria
(Che
rubs
and C
upids
at P
lay) (
fig. 1
01).
The
wal
l dec
orat
ions
of th
is ro
om w
ere a
ltere
d pr
ofou
ndly
over
tim
e (pl
. XX
XV
). Fr
om th
e stra
tigra
phic
essa
ys,
it w
ould
appe
ar th
at th
ey w
ere h
arm
oniz
ed or
igin
ally
, also
from
a ch
rom
atic
poi
nt of
view
, to t
he p
ropo
rtion
san
d tin
t of t
he va
ult.
The
dim
ensio
n an
d m
ould
ing o
f the
larg
e, fa
ux co
rnic
es of
the u
pper
ban
d w
ere r
epea
tedin
the l
ower
par
t of t
he w
all,
of eq
ual p
ropo
rtion
s and
mou
ldin
g of
the w
ains
cotin
g. T
he o
chre
tint
of t
hegi
lded
relie
fs of
the v
ault
mat
ched
the t
int o
f the
faux
mar
ble o
f the
wai
nsco
ting.
The
wal
l was
fille
d, im
itatin
gth
e ord
inar
y whi
te m
arbl
e of C
arra
ra an
d as
such
mat
chin
g th
e fai
nt an
d sh
aded
visi
on o
f the
inter
wea
ving
132
98. G
iova
nni M
anfre
dini
,de
cora
tion
on th
e vau
lt of
the
seco
nd lo
bby o
f the
nup
tial
apar
tmen
t. Fr
ieze o
n th
e eas
tern
wal
l: ic
onog
raph
ic co
mpo
sitio
nob
tain
ed fr
om p
late
109
of th
eG
alleri
a Gius
tinian
a (17
57) a
nd th
een
grav
ing
of T
riump
h of L
oveb
yM
aster
of t
he D
ie.
99. G
iova
nni
Man
fredi
ni,
deco
ratio
n on
the
vaul
t in
the s
econ
dlo
bby o
f the
nup
tial
apar
tmen
t. Fr
ieze o
nth
e sou
ther
n w
all:
icon
ogra
phic
com
posit
ion
refer
ring
to th
een
grav
ing
Proc
ession
of C
heru
b Mus
ician
sby
Mas
ter o
f the
Die.
101.
Gio
vann
i Man
fredi
ni,
deco
ratio
n of
the v
ault
in th
ese
cond
lobb
y of t
he n
uptia
lap
artm
ent.
Friez
e on
the n
orth
ern
wal
l: ic
onog
raph
ic co
mpo
sitio
nre
ferrin
g to
pla
te 12
8 of
the
Gall
eria G
iustin
ianaa
nd th
een
grav
ing
Chil
dren
’s Ba
cchan
aleby
Ger
olam
o Sc
arse
llo.
100.
Gio
vann
iM
anfre
dini
,de
cora
tion
on th
eva
ult o
f the
seco
ndlo
bby i
n th
e nup
tial
apar
tmen
t. Fr
ieze
on th
e wes
tern
wal
l:ic
onog
raph
icco
mpo
sitio
npa
rtial
ly re
ferrin
g to
pla
te 12
4 of
the
Gall
eria G
iustin
iana.
testi Magio inglese 2-10-2012 16:36 Pagina 132
look
ing t
he co
urty
ard
give
s way
to a
lively
pol
y-ch
rom
atic
juxt
apos
ition
in th
e lar
ge h
all o
ver-
look
ing t
he st
reet.
The
exec
utiv
e tec
hniq
ue al
soad
apts
to th
e use
of ve
ry ri
ch ch
rom
atic
pig
men
tsw
hich
are
, how
ever
, not
ofte
n ab
le to
resis
t the
caus
ticity
of th
e lim
e. A
good
par
t of t
he ex
ecu-
tion
was
, the
refo
re, e
ntru
sted
to d
ry fi
nish
ing u
s-in
g tem
pera
s of d
eep,
velv
et hu
es.
The
wal
ls an
d va
ults,
dom
inat
ed b
y a
type
of
horro
r va
cui,
are
artic
ulat
ed i
n m
inut
e co
lour
fram
es in
shad
es w
hich
evok
e pre
ciou
s mat
eri-
als.
The
doo
rjam
bs ar
e in
the l
imes
tone
bre
ccia
of A
rzo,
the r
eddi
sh b
recc
ia tr
aditi
onal
ly p
op-
ular
in th
e Mila
nese
surro
undi
ngs,
alre
ady
wid
ely u
tiliz
ed in
som
e of t
he c
hape
ls of
the D
uom
o (c
athe
dral
)of
Cre
mon
a by t
he b
uild
ers,
Cam
illo
I and
Gio
vann
i Pao
lo M
agio
. The
doo
rs in
wal
nut s
eem
to b
e bas
edon
a d
esig
n by
Man
fredi
ni h
imse
lf. In
the c
entre
of t
he m
ain
wal
ls, tw
o la
rge p
aint
ings
on
canv
as re
pres
ent
ruin
s with
an o
paqu
e sur
face
, dem
onstr
atin
g th
e rea
lly il
luso
ry ro
le no
t onl
y in
rela
tions
hip
with
the p
aint
ed,
faux
cor
nice
but
also
in th
e gam
e of c
once
alin
g th
e rea
l mat
eria
l com
pone
nts i
mita
ting
the a
djac
ent,
mur
alde
cora
tion.
Oth
er fi
ve ca
nvas
es o
f a sm
aller
size
func
tion
as o
verd
oors
whi
le th
e wai
nsco
ting,
pai
nted
imita
t-
135
of p
hyto
mor
phic
mot
ifs o
n th
e vau
lt. T
he su
btle,
sky-
blue
ban
d di
scov
ered
at t
he b
ase o
f the
wai
nsco
ting,
how
ever
, mat
ched
the t
rimm
ings
, cer
tain
ly in
tem
pera
, arra
nged
in th
e upp
er d
ecor
atio
n an
d w
hich
now
, due
to it
s deg
rada
tion,
only
show
s fai
nt tr
aces
. The
mor
e con
sisten
t sur
viva
ls of
this
light
blu
e are
still
visib
le ar
ound
the c
entre
rose
tte o
n th
e vau
lt. T
owar
ds th
e mid
dle o
f the
nin
eteen
th ce
ntur
y, th
e tap
estry
in d
amas
k re
d w
ithflo
wer
mot
ifs co
vere
d th
e wal
ls (p
l. X
XX
IV).16
The
wai
nsco
ting
acqu
ired
a sim
ilar a
ppea
ranc
e to
the c
urre
nton
e with
a un
iform
dist
ensio
n of
dar
k, as
h gr
ey p
aint
. The
low
er m
ould
ing
was
canc
elled
and
subs
titut
ed b
ygi
lded
, car
ved
listel
s des
tined
to h
ide t
he m
arks
of t
he n
ails
of th
e silk
s. C
redi
bly,
dur
ing
the f
irst d
ecad
es o
fth
e tw
entie
th ce
ntur
y, th
e tap
estry
was
alm
ost t
otal
ly re
mov
ed, w
ith th
e exc
eptio
n of
a pa
rt w
hich
is st
ill vi
sible
betw
een
the w
indo
ws,
and
subs
titut
ed w
ith u
nifo
rm, a
quam
arin
e pai
nt. T
he w
ains
cotin
g, d
espi
te re
pain
ting,
mai
ntai
ns it
s orig
inal
col
our.
In th
e com
paris
on b
etwee
n th
e var
ious
room
s evi
dent
disp
ariti
es o
ccur
, not
simpl
y attr
ibut
able
to th
e evo
lutio
n of
tech
niqu
es an
d so
me r
eper
torie
s of t
he w
orks
hop
but,
rath
er, t
o a ch
ange
in ta
stes a
nd th
e int
erve
ntio
n of
diff
eren
t wor
k fo
rces
.In
the w
ing
over
look
ing
the c
ourty
ard
the d
ecor
atio
n is
alm
ost n
ever
invo
lved
on
the w
alls
whi
ch h
ave h
igh
wai
nsco
ting
and
the s
obrie
ty o
f sim
ple c
hrom
atic
field
s. T
he d
ecor
atio
n is
limite
d to
the v
aults
and
gene
rally
featu
res a
n al
mos
t mon
ochr
ome p
aint
layi
ng an
d re
stric
ted, c
hrom
atic
mat
ches
. The
larg
e hal
l of 1
772
seem
sto
antic
ipat
e at l
east
the c
olou
r var
iety.
The
larg
e hal
l ove
rlook
ing t
he st
reet
dem
onstr
ates
an ev
en m
ore i
mpo
rtant
icon
ogra
phic
com
plex
ity (f
ig. 1
02):
the i
nscr
iptio
n th
at d
ates
it to
178
5 an
d th
e visi
bilit
y tha
t Man
fredi
ni g
ives
to h
is sig
natu
re, c
learly
seen
on
apa
inted
pla
que,
infer
s tha
t he w
anted
to b
e rec
ogni
zed
as b
eing
resp
onsib
le fo
r bot
h th
e con
cept
ion
and
deter
min
ing r
ole i
n th
e exe
cutio
n17(fi
g. 10
3). S
uch
an ar
ticul
ated
pro
ject c
ould
also
justi
fy co
llabo
ratio
n w
itha s
chol
ar: t
he m
ost a
ccre
dited
wou
ld b
e Abb
ot Is
idor
o Bia
nchi
who
, hav
ing r
eturn
ed to
his
nativ
e Cre
mon
ain
177
8, ta
ught
mor
al p
hilo
soph
y in
the s
ame g
ymna
sium
in w
hich
Man
fredi
ni h
eld th
e Cha
ir of
Des
ign.
Biffi
was
not
a st
rang
er to
this
nom
inat
ion,
hav
ing
rece
ived
in M
ilan
the e
ntre
aties
of P
ietro
Ver
ri an
d th
epl
enip
oten
tiary
Firm
ian.
18Bi
anch
i pub
lishe
d th
e fam
ous p
amph
let, A
ntich
i Mon
umen
ti de
lla G
ente
Mag
ia fo
rG
iuse
ppe M
agio
whi
ch in
spire
d th
e ico
nogr
aphi
c pro
gram
me o
f the
larg
e hal
l of t
he vi
lla at
Vho
of P
iade
na,
trans
form
ed b
y Fau
stino
Rod
i afte
r 178
5.19
Also
from
a tec
hnic
al p
oint
of v
iew, t
he tu
rnin
g po
int o
ccur
red
betw
een
the t
wo
oppo
site m
agne
ts in
whi
chpa
intin
g an
d m
ural
dec
orat
ion
are a
lway
s to
be c
onsid
ered
as e
xtre
mes
in th
e osc
illat
ion
of ta
ste: o
n th
e one
hand
, the
uni
form
ity o
f sur
face
s, po
lishe
d or
opa
que,
and
on th
e oth
er a
den
se d
ialo
gue o
f cou
nter
poin
t be-
twee
n ele
men
ts of
vario
us b
right
ness,
also
com
ing f
rom
pol
ymat
eric
dist
ensio
ns. I
n th
e sam
e way
, in
the c
olou
rsc
hem
es, t
he te
nden
cy to
war
ds a
subs
tant
ially
har
mon
ious
mon
ochr
ome c
olou
r sch
eme i
n th
e roo
ms o
ver-
134
102-
103.
Gio
vann
iM
anfre
dini
, dec
orat
ion
inth
e gre
at h
all o
verlo
okin
gth
e stre
et an
d de
tail
of th
ehe
adsto
ne p
aint
ed o
n th
eso
uthe
rn w
all w
ithsig
natu
re an
d da
te, 1
785.
104.
Gio
vann
i Man
fredi
ni, d
ecor
atio
n of
the g
reat
hal
l ove
rlook
ing
the s
treet,
178
5. W
ester
n w
all:
busts
from
engr
avin
gs in
the G
alleri
aG
iustin
iana.
1. P
ortra
it of
Titu
s (pl
ate 1
5 G
.G.);
2.
Por
trait
of S
affo
(pla
te 52
G.G
.);
3. P
ortra
it of
Cleo
patra
(pla
te 52
G.G
.);
4. P
ortra
it of
Alex
ande
r Sev
erus
(pla
te 29
G.G
.).
105.
Gio
vann
i Man
fredi
ni, d
ecor
atio
n of
the g
reat
hal
lov
erlo
okin
g th
e stre
et, 1
785.
Eas
tern
wal
l: bu
sts fr
omen
grav
ings
in th
e Gall
eria G
iustin
iana.
1. P
ortra
it of
Pom
pey (
plat
e 7 G
.G.);
2.
Por
trait
of F
austi
na (p
late
56 G
.G.);
3.
Por
trait
of yo
ung
Faus
tina (
plat
e 56
G.G
.);
4. P
ortra
it of
Ves
pasia
n (p
late
15 G
.G.).
106.
Gio
vann
i Man
fredi
ni, d
ecor
atio
n of
the g
reat
hal
l ove
rlook
ing
the s
treet,
178
5. S
outh
ern
wal
l: fem
inin
e sta
tues
from
pla
tes 1
49 an
d29
in th
e Gall
eria G
iustin
iana.
testi Magio inglese 2-10-2012 16:36 Pagina 134
reco
nstru
ctio
n of
the “
Tem
ple o
f Sol
omon
” in
the c
hara
cter
istic
conf
igur
atio
n of
a “L
odge
”. P
roba
bly t
hese
veile
d hi
nts t
estif
y to,
as in
man
y oth
er ca
ses,
the s
impl
e sac
ralis
atio
n of
Mas
onry
, the
root
s of w
hich
wer
e sou
ght
in an
cien
t tim
es in
the e
xper
ience
s and
kno
wled
ge of
a re
mot
e pas
t, w
hen
in re
ality
Mas
onry
still
did
not
exist
,bu
t an
entir
e uni
verse
of e
xper
ience
cou
ld b
e fou
nd in
the d
ocum
ented
mem
ories
and
root
s of p
ast e
poch
s.T
he v
ario
us c
itatio
ns a
re u
tiliz
ed in
a p
arat
actic
way
, tha
t is n
ot to
bui
ld a
com
plex
netw
ork
of in
crea
sing
cros
s refe
renc
es b
ut ra
ther
to co
mm
emor
ate a
n an
cien
t tra
ditio
n.In
178
5, t
he l
arge
hal
l re
pres
ented
one
of
first
and
mos
t co
mpl
ete a
ffirm
atio
ns o
f a
reha
bilit
atio
n of
“Rap
haele
sque
” ta
ste in
Cre
mon
a in
whi
ch th
e ca
ll of
the
Ren
aiss
ance
and
anc
ient R
ome
reac
hed
aco
nvin
cing
synt
hesis
, mar
king
the f
ull m
atur
ity o
f the
neo
clas
sical
epoc
h. G
iova
nni w
as n
ot, t
here
fore
, onl
ya
figur
e of t
rans
ition
but
shou
ld b
e con
sider
ed a
t lea
st th
e cre
ator
and
con
scio
us p
rom
oter
of a
retu
rn to
the
exam
ples
of c
ultu
re w
hich
repr
esen
ted th
e six
teent
h ce
ntur
y. M
any
of th
e ico
nogr
aphi
c m
otifs
and
form
also
lutio
ns ad
opted
by h
im w
ere d
evelo
ped,
or si
mpl
y rea
dapt
ed b
y his
sons
, ini
tially
in co
llabo
ratio
n w
ith th
eirfa
ther
then
aut
onom
ously
brin
ging
abo
ut, w
here
it a
ppea
red
timely
to th
em, a
per
sona
l con
tribu
tion.
For
exam
ple,
the f
rieze
with
cher
ubs a
nd cu
pids
of P
alaz
zo M
agio
, exe
cuted
by 1
780,
is re
peat
ed in
the “
Roo
mof
the v
eils”
in P
alaz
zo F
erra
roni
-Pue
rari-
Porro
in C
rem
ona
whe
re G
iuse
ppe M
anfre
dini
and
Fra
nces
coFe
rrari
wou
ld w
ork.
24A
fter t
he d
eath
of t
heir
fath
er, P
aolo
and
Ser
afin
o co
ntin
ued
to w
ork
prin
cipa
lly in
Cre
mon
a, w
hile
Giu
sepp
e left
his
brot
hers
and
mak
ing o
ver t
he p
ater
nal a
ssets
he es
tabl
ished
him
self
in B
resc
iade
spite
a br
ief re
turn
to C
rem
ona.
25
Man
fredi
ni w
as a
lso re
spon
sible
for t
he d
ecor
atio
n of
whi
ch sh
reds
surv
ive i
n th
e apa
rtmen
t on
the g
roun
dflo
or to
the e
ast.
The
ceili
ngs o
f the
thre
e roo
ms w
ere c
over
ed w
ith ca
nvas
: the
one i
n th
e hal
l to t
he w
est i
s pre
-se
rved
, fra
gmen
tary
and
whi
tewas
hed,
as w
ell as
in th
e roo
m to
the e
ast w
hich
is in
tact
and
depi
cts t
he ep
isode
of th
e Toil
ette o
f Ven
usin
the c
entra
l ova
l, m
aybe
carri
ed o
ut in
colla
bora
tion
with
Gia
com
o G
uerri
ni (1
.22)
(pl.
xxx)
. The
ampl
y rep
aint
ed m
ural
dec
orat
ion
repe
ats t
he m
ould
ing
and
the d
evic
es p
rese
nt in
the a
part-
men
t on
the p
iano
nob
ile. T
he ro
om, l
ater
div
ided
, whe
re to
day p
arts
of th
e dec
orat
ion
carri
ed o
ut b
y Nat
ali
have
com
e to
light
as w
ell a
s the
pai
nted
ceil
ings
, was
cha
ract
eriz
ed b
y fo
ur In
vent
ed V
iewsw
ithin
woo
den
fram
es u
sed
as o
verd
oors.
Whe
n, b
y 189
3, th
e Gra
sselli
fam
ily cr
eated
the r
ented
apar
tmen
t stil
l exi
sting
to-
day,
the v
iews w
ere t
rans
ferre
d to
the v
aulte
d ha
llto
war
ds th
e Som
mi p
rope
rty a
lread
y se
ttled
be-
twee
n 17
68 an
d 17
72 (3
.37)
. The
wal
ls w
ere l
eftun
iform
ly p
aint
ed w
ith li
me i
n a t
int o
f blan
c cas
séof
the h
igh
ash
grey
wai
nsco
t. A
bove
the e
igh-
teent
h-ce
ntur
y stu
cco
corn
ice,
a frie
ze o
f sty
lized
smal
l pa
lms
and
acan
thus
lea
ves
was
add
edw
hose
cor
ners
wer
e de
alt w
ith in
a s
lap-
dash
way
, far
from
the
refin
emen
t of t
he e
ight
eent
hce
ntur
y. In
the c
entre
, a ro
sette
repe
ats t
he sa
me
deco
ratio
ns o
f the
friez
e. M
aybe
on
the s
ame o
c-ca
sion,
the
vaul
t whi
ch c
over
ed th
e ad
jace
nt“y
ellow
room
” (3
.38)
was
dem
olish
ed a
nd th
esa
me f
rieze
with
smal
l pal
ms,
enric
hed
with
afre
t, w
as su
perim
pose
d w
ith “m
arm
orin
o” p
las-
ter p
aint
ed in
faux
bro
catel
le of
Spa
in, y
ellow
with
viol
et re
d ve
ins,
on a
wai
nsco
t of f
aux,
grey
“bar
digl
io”
not d
ated
later
than
the 1
830s
.
On
the d
eath
of G
iuse
ppe M
agio
in 1
824,
26hi
sda
ught
er, F
ulvi
a, in
herit
ed th
e Pal
azzo
, whi
lehi
s wid
ow, I
ppol
ita A
rald
i rem
aine
d us
ufru
c-tu
ary.
27A
fter
her
unfo
rtuna
te m
arria
ge w
ithM
uzio
Pal
lavi
cino
-Cla
vello
, Ful
via a
ppar
ently
resid
ed w
ith h
er m
othe
r in
the p
ater
nal h
ome a
l-
137
ing
the g
reen
mar
ble o
f the
Alp
s, w
as d
one a
gain
in st
ucco
and
repa
inted
in th
e nin
eteen
th ce
ntur
y.T
he ic
onog
raph
ic re
perto
ry d
eriv
es al
mos
t tot
ally
from
the e
ngra
ving
s by G
iova
nni V
olpa
to, r
epre
sent
ing t
hepi
llars
of th
e Vat
ican
Lod
ges,
even
if th
e cla
ssica
l sta
tues
and
busts
orig
inat
e onc
e mor
e fro
m th
e eng
ravi
ngs
of th
e Gall
eria G
iustin
iana.
On
the e
aster
n an
d w
ester
n w
alls,
her
ms o
f illu
strio
us m
en an
d w
omen
of a
ncien
tR
ome f
ace e
ach
othe
r on
groo
ved
faux
pila
sters
(figs
. 104
-105
), w
hile
on th
e sou
ther
n w
all,
Man
fredi
ni in
serte
dtw
o fu
ll-siz
e, fem
ale s
tatu
es in
nic
hes,
one o
f whi
ch p
rese
nts C
eres
(fig
. 106
).T
he c
itatio
n of
the L
ogge
Vat
ican
e pro
ceed
s on
the v
ault.
Onl
y tw
o of
the p
olyg
onal
pan
els w
ith a
bla
ckba
ckgr
ound
loca
ted a
roun
d th
e cen
tral r
osett
e and
repr
esen
ting
a ch
ario
t and
a q
uadr
iga
deriv
e, ho
wev
er,
from
engr
avin
gs ta
ken
from
cam
eos a
nd an
cien
t, en
grav
ed g
ems b
y Piet
ro S
anti
Barto
li20(fi
gs. 1
07-1
08).
Aga
in, G
iam
batti
sta B
iffi p
laye
d a d
eterm
inin
g rol
e in
the a
ffirm
atio
n in
Cre
mon
a of t
he ta
ste fo
r cam
eos a
ndsp
hrag
istic
s as h
is w
ritin
gs d
ated
betw
een
1775
and
1780
on th
e sub
ject c
onfir
m.21
One
of th
e Lett
ere pi
ttoric
hee a
ntiqu
arie
rega
rdin
g en
grav
ed st
ones
is a
ddre
ssed
to th
e old
est s
on o
f Gio
vann
i Man
fredi
ni, t
he d
ecor
ativ
epa
inter
, Pao
lo: “
Io n
e so
men
o di
que
l che
cred
ete C
ariss
imo
Man
fredi
ni, d
irei q
uasi
nien
te, e
pur v
olete
che
vi sc
riva s
ulle
Pietr
e inc
ise d
alli
antic
hi, c
amei,
corn
iole
e che
vi d
ia q
ualc
he lu
me p
[er]
dist
ingu
erle
in cl
assi,
che v
i par
li de
lli sc
ulto
ri pi
ù ac
cred
itati
di q
ueste
, inf
ine c
he v
’istru
isca [
…]”
.22
Born
in 1
754,
Pao
lo M
anfre
dini
at th
at d
ate w
as o
nly a
littl
e ove
r 30y
ears
of ag
e and
it is
like
ly th
at h
e car
ried
out a
n ac
tive r
ole i
n hi
s fat
her’s
wor
ksho
p by
then
. Sim
ilarly
, also
Giu
sepp
e, w
hose
dat
e of b
irth
is un
know
nan
d w
ho, h
owev
er, w
as c
erta
inly
bor
n in
Mila
n be
fore
the e
nd o
f the
Fift
ies, p
roba
bly
parti
cipa
ted in
the
deco
ratio
n of
the l
arge
hal
l.23
The
subj
ects
are m
any
and
varie
d bu
t do
not s
eem
to ex
pres
s a c
oher
ent,
icon
ogra
phic
pro
gram
me.
Som
ese
ries o
f cro
ss re
feren
ces (
the s
igns
of t
he z
odia
c, c
ut o
ut d
raw
ings
of a
car
toon
of a
sund
ial;
the c
aduc
eus o
fH
erm
es; t
he se
t squ
are a
nd th
e com
passe
s; th
e plu
mb
line a
nd th
e lev
el; th
e mal
let a
nd sc
alpe
l; th
e squ
ared
stone
; the
sun
and
the m
oon)
lead
us b
ack
to M
ason
ic sy
mbo
lism
with
out,
how
ever
, pun
ctua
lly im
itatin
g the
136
107-
108.
Gio
vann
i Man
fredi
ni, d
ecor
atio
n of
the g
reat
hal
l ove
rlook
ing
the s
treet,
178
5.V
ault
with
icon
ogra
phic
mot
ives
from
engr
avin
gs o
f pila
sters
of th
e Vat
ican
Lod
ges
by G
iova
nni V
olpa
to (1
772-
1776
) and
from
Rac
colta
di ca
mei e
gemm
e ant
icheb
y Piet
ro S
anti
Barto
li (1
727)
.
109.
Virt
ual r
econ
struc
tion
of th
e dec
orat
ive p
hase
s of t
he ro
omov
erlo
okin
g th
e stre
et to
war
ds th
e gre
at h
all:
a. 1
703;
b. 1
715-
1722
,N
atal
i’s th
ird d
ecor
ativ
e cam
paig
n; c.
182
0s; d
. 185
0s; e
. 20t
hce
ntur
y; f.
pre
sent
cond
ition
(by L
uca V
alisi
).
testi Magio inglese 2-10-2012 16:36 Pagina 136
139
read
y in
182
9. It
was
like
ly th
at a
t tha
t tim
e bui
ldin
gw
ork
was
carri
ed ou
t bot
h in
the i
nter
nal w
ing a
nd th
ebo
dy o
f the
bui
ldin
g al
ong
the s
treet.
Prev
ious
ly, t
he ro
oms b
etwee
n th
e stre
et an
d th
e log
gia
(3.0
6-3.
07, 3
.09)
pre
sent
ed w
ide
unde
rbea
m b
ands
and
ceili
ngs d
ecor
ated
with
“pa
ssa so
tto”
mot
ifs ex
e-cu
ted b
y Nat
ali b
etwee
n 17
15 an
d 17
22.
New
conc
eptio
ns o
n w
ays o
f liv
ing
and
the s
earc
h fo
rm
ore i
sola
tion
resu
lted
in th
e con
struc
tion
in th
e tw
oro
oms o
verlo
okin
g th
e stre
et (3
.06-
3.07
) and
the o
neov
erlo
okin
g th
e stre
et in
Cas
a Ram
onda
of a
low
ered
vaul
t, bu
t dec
orat
ions
wer
e onl
y re
aliz
ed in
the f
irst
two.
In
the
room
tow
ards
the
larg
e ha
ll (3
.07)
(fig
.10
9), t
he v
ault
was
pai
nted
with
dec
orat
ed c
orni
ces
and
ivor
y-hu
ed fr
ames
with
in w
hich
, on
a gen
eral
dis-
tensio
n in
ligh
t gre
en e
arth
, the
dec
orat
ions
unf
old.
The
hal
f-way
fram
ed c
orni
ces t
o th
e sid
es in
clud
edsm
all r
ural
view
s whi
le in
the c
entre
of t
he v
ault
ther
ew
as a
soph
istic
ated
rose
tte w
ith an
illu
sory
effec
t, pa
rt-ly
in st
ucco
and
par
tly p
aint
ed (
pl. X
XX
IXan
d fig
.11
0). E
venl
y pai
nted
fram
es, r
ealiz
ed in
the s
ame g
reen
whi
ch c
hara
cter
ized
the v
ault,
was
car
ried
out o
n th
ew
alls
betw
een
two
deco
rativ
e ban
ds w
ith a
rich
phy
-to
mor
phic
mot
if, a
gain
in sh
ades
of g
reen
and
whi
te.A
t the
bot
tom
, the
wai
nsco
ting p
roba
bly r
emai
ned
inth
e orig
inal
shad
e of g
rey
or m
aybe
was
cov
ered
ove
rw
ith an
adeq
uate
vela
rium
.T
he v
ault
of th
e adj
acen
t roo
m (3
.06)
(pl.
XL
) was
,ho
wev
er, d
ecor
ated
with
a m
ore a
mpl
e sep
arat
ion
ofde
cora
tive m
otifs
, ent
rusti
ng th
e dec
orat
or w
ith m
ore
com
plex
rose
tte or
nam
enta
tion
in th
e vas
t cen
tral s
pec-
chia
tura
whi
le a f
asci
a on
the v
ault
encl
osed
ten
med
al-
lions
repr
esen
ting
pairs
of a
nim
als a
nd b
ouqu
ets o
fflo
wer
s alte
rnat
ed w
ith co
rnuc
opia
s and
phy
tom
orph
icm
otifs
. Her
e aga
in, s
epar
ated
by a
good
imita
tion
of th
ebr
ecci
a cal
led “m
acch
ia ve
cchi
a”, a
fasc
ia w
ith ea
rs of
whe
at an
d vo
lutes
unf
oldi
ng al
ong
the w
alls
in a
light
unifo
rm ti
nt to
sepa
rate
the w
ains
cotin
g fro
m th
e vau
lt(fi
gs. 1
11-1
12).
In b
oth
room
s, ce
rtain
ly th
e wor
k of
the s
ame w
ork
forc
e, go
od co
mpo
sitio
nal a
nd p
lann
ing a
bilit
y whi
chca
n be
seen
in th
e car
efully
cons
ider
ed re
latio
nshi
ps b
e-tw
een
the v
ario
us el
emen
ts of
the d
ecor
atio
n an
d co
lour
sche
me,
toge
ther
with
a co
nfid
ent a
nd p
rove
n ex
ec-
utiv
e abi
lity i
s app
reci
able.
Thi
s rep
erto
ry of
the l
ate n
eocl
assic
al p
erio
d is
prob
ably
com
para
ble w
ith th
e wor
kfo
rce c
onne
cted
to th
e las
t act
ivity
of M
anfre
dini
’s w
orks
hop,
des
pite
its p
rese
rved
stat
e, th
e lac
k of
spec
ific
docu
men
tatio
n m
akes
an at
tribu
tion
impo
ssibl
e.28
The
sam
e tas
te is
amen
able
to th
e dec
orat
ion
of th
e las
t sm
all r
oom
over
look
ing t
he ga
rden
on th
e gro
und
floor
(1.4
8), a
nnex
ed to
the b
athr
oom
, stil
l asc
ribab
le to
the p
atro
nage
of F
ulvi
a Mag
io an
d Ip
polit
a Ara
ldi a
ndco
nnec
ted to
the o
ther
func
tiona
l im
prov
emen
ts. In
the r
oom
, on
a ba
ckgr
ound
of g
reen
earth
lim
e with
finish
ing t
ouch
es in
tem
pera
, the
dec
orat
ion
on th
e ceil
ing p
roce
eds w
ith ca
rtoon
s and
mot
ifs of
the M
anfre
dini
repe
rtory
, in
parti
cula
r in
the r
ealiz
atio
n of
mon
ochr
ome f
igur
es (f
igs.
113-
114)
.
138
110.
Vau
lt in
the r
oom
ove
rlook
ing
the s
treet
tow
ards
the
grea
t hal
l. D
etail.
111-
112.
Vau
lt in
the s
econ
d ro
om o
verlo
okin
g th
e stre
et.D
etails
.
113.
Dec
orat
ion
on th
e ceil
ing
of th
e las
t sm
all h
all
on th
e gro
und
floor
.
114.
Dec
orat
ion
on th
e ceil
ing
of th
e las
t sm
all h
all
on th
e gro
und
floor
. Deta
il.
115.
Virt
ual r
econ
struc
tion
of th
ede
cora
tive p
hase
s of t
he “
faux
gaze
bo”:
a.
first
dec
ades
of t
he 1
9th
cent
ury;
b-c.
diff
eren
t the
ories
rela
ting
to th
efir
st de
cora
tion,
183
0s;
d. 1
850s
; e.
pres
ent c
ondi
tion
(by L
uca V
alisi
).
testi Magio inglese 2-10-2012 16:36 Pagina 138
for t
he ro
om ad
jace
nt to
the l
arge
hal
l (3.
07) a
nd th
e wai
nsco
ting w
as re
pain
ted w
ith a
techn
ique
in fa
ux w
ood
with
oleo
resin
pai
nt. I
n th
e suc
cess
ive b
edro
om (3
.06)
whe
re, i
n th
e mea
ntim
e, a
coat
of g
reen
earth
was
appl
ied, c
anva
s was
pre
ferre
d, o
f whi
ch o
nly
rem
ain
the l
istels
of w
ood
that
faste
ned
it an
d th
e wai
nsco
ting
was
low
ered
and
repa
inted
in p
urpl
e-br
own.
In th
e tw
entie
th ce
ntur
y, th
e tw
o roo
ms w
ere a
ltere
d ag
ain.
Moi
réw
allp
aper
of a
gre
enish
col
our w
as a
pplie
d in
the f
irst r
oom
and
a d
amas
k pa
per i
n th
e sec
ond,
and
the
wai
nsco
tings
wer
e rep
aint
ed.
The
Sai
nis’
bour
geoi
s tas
tes ce
rtain
ly le
d to
the v
alor
isatio
n of
som
e sm
all r
oom
s with
rom
antic
dec
orat
ions
.Ev
en th
ough
in it
s lim
ited
prop
ortio
ns, t
he “
faux
gaz
ebo”
(3.3
2) (p
l. X
XX
VI)
is on
e of t
he m
ost c
urio
us el
e-m
ents
of th
e Pal
azzo
and
partl
y tak
es ad
vant
age n
ot o
nly o
f the
pla
ster b
ut al
so th
e col
ours
of th
e pre
-exi
sting
real
izat
ion
in fa
ux m
arbl
e (fig
. 115
). A
sobe
r wai
nsco
ting,
imita
ting
the t
onal
ity o
f Ver
ones
e mar
ble (
am-
mon
itic y
ellow
and
pink
), w
as d
emar
cated
by a
gre
y cor
nice
, with
sim
ple t
hrea
ding
then
repe
ated
at th
e bas
eof
the v
ault
in eq
ual p
ropo
rtion
. The
wal
ls de
velo
ped
a lig
ht to
nalit
y of
ord
inar
y C
arra
ra w
hite,
whi
le it
ism
ore d
iffic
ult t
o da
te th
e spl
ays d
ecor
ated
with
subt
le th
read
s and
gild
ed, p
hyto
mor
phic
mot
ifs30
(fig.
116
).T
hese
div
ided
the v
ault,
fram
ing
a ser
ies o
f bro
oche
s with
cam
eos o
r ena
mels
repr
esen
ting
scen
es o
f cla
ssica
l
141
In th
is tir
ed, d
evita
lisat
ion
of ex
ampl
es w
hich
was
cont
inua
lly d
istan
cing
itse
lf fro
m d
ry li
me d
ecor
atio
ns an
dve
erin
g to
war
ds h
ollo
w, t
echn
ical
effec
ts of
bin
ding
, add
itive
pro
cesse
s, w
e can
capt
ure t
he la
st sil
ent y
ears
ofa g
ener
atio
n w
hose
seas
on w
as d
estin
ed to
end.
In 1
847,
afte
r the
dea
ths o
f Ful
via
Mag
io a
nd Ip
polit
a A
rald
i, Pa
lazz
o M
agio
was
bou
ght b
y th
e law
yer,
Giu
sepp
e Ant
onio
Sai
ni, w
ho ch
ose t
he ap
artm
ent i
n th
e int
erna
l win
g as
his
resid
ence
, ren
ting
the b
ody o
fth
e bui
ldin
g ov
erlo
okin
g th
e stre
et. F
our y
ears
after
his
deat
h in
185
8, h
is w
ife C
arol
ina
Tar
sis m
oved
into
the a
partm
ent o
verlo
okin
g th
e stre
et29w
hich
dur
ing
thos
e yea
rs w
ent t
roug
h su
bsta
ntia
l ren
ovat
ions
. In
the
two
room
s dec
orat
ed tw
o or
thre
e dec
ades
befo
re, t
he w
allp
aper
was
appl
ied, a
dar
k re
d pa
per b
eing
chos
en
140
116.
Dec
orat
ion
of th
e “fa
ux g
azeb
o”. D
etail
of th
e spl
ay o
f the
win
dow
.
117-
120.
Dec
orat
ion
of th
e “fa
ux g
azeb
o”. D
etails
on
the w
alls.
121.
Dec
orat
ion
of th
e“f
aux
gaze
bo”.
View
of t
hew
hole
of th
e vau
lt.
122.
Dec
orat
ion
of th
e“f
aux
gaze
bo”.
Deta
ils o
nth
e vau
lt.
testi Magio inglese 2-10-2012 16:36 Pagina 140
143
antiq
uity
, sur
roun
ded
with
lace
by n
ow al
mos
t inv
isibl
e (pl
s. X
XX
VII
-XX
XV
III).
May
be th
e mon
ochr
omes
inoc
tago
nal f
ram
es ab
ove t
he d
oors
also
belo
ng to
this
phas
e.O
n th
is de
cora
tion,
certa
inly
befo
re 1
864,
31th
e Sai
ni fa
mily
follo
win
g a d
iffus
ed fa
shio
n in
Cre
mon
a32ha
da
skele
ton,
may
be m
etalli
c, o
f a g
azeb
o pa
inted
and
supp
orted
on
a ba
lustr
ade e
ither
of s
tone
or l
acqu
ered
woo
d, a
dapt
ing
it to
the p
re-e
xisti
ng p
artit
ion.
Thi
s ope
ns o
nto
the g
arde
n, th
e bot
anic
al es
senc
es o
f whi
char
e ra
re a
nd d
ecor
ativ
e, in
blo
om a
nd s
ometi
mes
pro
jectin
g fro
m t
he p
arap
et, d
otted
with
mas
terfu
lre
pres
enta
tions
of b
utter
flies
(fig
s. 11
7-12
0). P
arro
ts w
ere i
nser
ted in
the u
pper
par
t of t
he g
azeb
o pe
rche
d on
rings
tied
to th
e fra
mew
ork
with
fine
ribb
ons.
The
succ
essio
n of
ring
s and
orn
amen
ts of
faux
lace
that
gat
her
bouq
uets
of fl
ower
s is m
aybe
pre
-exi
stent
and
appe
ars a
ltere
d to
conc
eal t
he in
cons
isten
cy b
etwee
n ve
ry d
istan
tic
onog
raph
ic sc
hem
es (p
ls. X
XX
VII
-XX
XV
IIIan
d fig
s. 12
1-12
2).
The
exec
utor
, in
front
of t
he p
re-e
xiste
nce o
f mar
mor
ino
plas
ter an
d of
a pi
ctor
ial r
ealiz
atio
n ca
rried
out
with
a tec
hniq
ue u
tiliz
ing s
oap,
adap
ted th
e lev
el of
his
own
com
posit
ion
to th
e heig
ht of
the b
ackd
rop
and
prob
ably
had
no c
hoic
e bu
t to
utili
ze m
atrix
mas
hes o
f dry
ing
oils,
whi
ch se
ems t
o be
con
firm
ed b
y th
e an
tique
desc
riptio
ns of
the e
nviro
nmen
t and
also
only
supe
rfici
al el
emen
ts su
ch as
the p
astin
ess o
f the
bru
sh st
roke
, the
“cra
cklin
g”, t
he so
phist
icat
ion
of th
e deta
ils a
nd th
e poi
nt o
f fus
ion
of th
e mas
h, c
learly
abo
ve a
hun
dred
degr
ees.33
A si
mila
r dec
orat
ion,
even
if of
an in
ferio
r qua
lity,
was
dev
elope
d in
the a
lcov
e for
med
at th
e end
of th
e gal
lery34
(5.0
4). B
y now
lost
in th
e low
er p
art,
it is
still
visib
le fro
m th
e roo
m b
etwee
n th
e pre
sent
ceili
ng of
the t
wen
tieth
cent
ury a
nd th
e eig
htee
nth
cent
ury v
ault.
Dea
ling s
till w
ith a
faux
gaze
bo fl
anke
d by
and,
in p
art,
inter
twin
edw
ith fr
onds
and
gree
nery
, ope
n to
the l
ight
blu
e sky
of t
he v
ault
strea
ked
with
the f
light
of s
tyliz
ed b
irds.
The
real
izat
ion
was
car
ried
out d
ry, w
ith p
igm
ents
diste
mpe
red
with
lim
e an
d tem
pera
, pre
arra
ngin
g th
eba
ckgr
ound
with
a pi
nk h
ue, o
r in
othe
r wor
ds a
base
coat
of l
ime a
nd o
chre
(fig
. 123
). In
186
5, th
e heir
ess,
Ant
onia
Sai
ni st
ipul
ated
with
Ann
ibal
e Cris
tini a
cont
ract
for t
he re
nt o
f the
apar
tmen
tov
erlo
okin
g the
stre
et.35
In th
e suc
cessi
ve ex
tensio
n, a
clau
se st
ipul
ated
that
the t
enan
t was
resp
onsib
le fo
r som
eof
the w
ork
in th
e pal
azzo
, am
ong
whi
ch “
the p
aint
ing
of th
e gal
lery”
in 1
871.
36M
odes
t, fa
ux ta
pestr
ies w
ere
then
exec
uted
whi
ch w
ere a
lso p
artia
lly v
isibl
e in
the r
oom
betw
een
the c
eilin
g an
d va
ult a
nd re
flect
the
cont
empo
rary
dec
orat
ion
of th
e gra
nd st
airc
ase (
pl. X
V).
142
1T
he d
ecor
ativ
e pro
gram
me c
erta
inly
follo
ws t
he a
rrang
emen
t of t
hein
terna
l win
g an
d of
the b
ody
of th
e kitc
hen,
whi
ch to
ok p
lace
from
1768
and
whi
ch w
as d
esire
d by
Cam
illo
Mag
io (s
ee, i
n th
is sa
me v
ol-
ume,
Ang
elo L
andi
, Arch
itectu
ral T
rans
forma
tions
in an
Aris
tocra
tic H
ouse
in C
remon
a. Pa
lazzo
Mag
io G
rasse
lli be
tween
Civ
itas a
ndU
rbs)
. 2If
one c
onsid
ers t
he m
etric
scal
e of t
he sc
roll
in th
e loc
al m
easu
rem
ent
unit
of th
e tim
e cal
led “
Cre
mon
ese b
racc
ia”,
the o
bjec
t whi
ch am
ong
othe
r thi
ngs d
oes n
ot fi
nd fu
ll co
rresp
onde
nce b
etwee
n th
e pla
n an
d th
eele
vatio
n, c
ould
be r
elativ
ely sm
all,
a lit
tle le
ss th
an th
ree m
etres
hig
han
d w
ith a
base
of ap
prox
imat
ely fi
ve an
d a h
alf m
etres
by o
ne h
undr
edan
d eig
hty.
It co
uld
be a
cata
falq
ue fo
r the
fune
ral o
f Mar
quis
Cam
il-lo
Mag
io. M
anfre
dini
, retu
rnin
g to
the a
ctiv
ity o
f his
mas
ter, Z
aist,
coul
d in
fact
hav
e bee
n oc
cupi
ed w
ith si
mila
r ach
ievem
ents.
3T
he aw
ard
for M
anfre
dini
had
alre
ady b
een
prop
osed
by A
ZZ
OL
INI
1998
, p. 3
5. In
MO
RA
ND
I200
2, p
. 35,
the d
ecor
ativ
e wor
ks w
ere c
on-
sider
ed to
be l
ater
than
177
4.
4G
OI19
84, p
. 39;
MO
RA
ND
I20
02; B
IAN
CH
I20
09b,
p. 3
35.
5A
s well
as th
e wor
k in
Pal
azzo
Affa
itati-
Mag
io, L
idia
Azz
olin
i at-
tribu
ted th
e wor
k on
the d
ecor
atio
ns o
f the
hal
ls on
the p
iano
nob
ile o
fPa
lazz
o C
rotti
-Cal
ciat
i to
Man
fredi
ni (A
ZZ
OL
INI
1999
, pp.
68-
70);
Euge
nia
Bian
chi a
dded
the h
all o
n th
e pia
no n
obile
of P
alaz
zo P
ice-
nard
i-Bon
fio-S
omm
i and
the h
all o
n th
e pia
no n
obile
of P
alaz
zo L
o-di
-Mor
a (B I
AN
CH
I200
9b, p
. 335
). O
n th
e dec
orat
ion
of th
e thr
ee w
est-
ern
halls
of P
alaz
zo S
tang
a, th
en re
arra
nged
by F
austi
no R
odi,
sour
ces
and
scho
lars
do n
ot ag
ree a
nd o
scill
ate b
etwee
n G
iova
nni M
anfre
dini
and
his s
on, G
iuse
ppe.
In th
e lar
ge h
all,
two
dates
, 178
9 an
d 17
91 ap
-pe
ar, a
nd th
e ini
tials
“I.M
.P.F
.” a
nd “
I.M.”
, refe
rabl
e to
both
. Biff
i,in
his
biog
raph
y of G
iova
nni,
notes
that
he h
ad “d
ipin
to [.
..] u
na G
al-
leria
in C
asa
Stan
ga”
(BIF
FI, M
emor
ie,m
s. A
.A.3
.7, f
. 281
r, lin
es 5
-6)
, whi
le G
rasse
lli at
tribu
ted th
e dec
orat
ions
to G
iuse
ppe (
GR
ASS
EL-
LI
1827
, p. 1
63).
Mar
co T
anzi
and
, mor
e re
cent
ly, L
ia B
ellin
geri
hypo
thes
ized
that
the c
omm
issio
n w
as in
itial
ly en
truste
d to
Gio
vann
ibu
t his
son
was
reco
gniz
ed as
the p
aint
er of
all m
ural
pai
ntin
gs (T
AN
ZI
1985
, p. 9
3, n
ote 2
3; B
ELL
ING
ERI
1995
, p. 2
0); L
uisa
Ban
dera
Gre
-go
ri at
tribu
ted th
e dec
orat
ion
of th
e gal
lery t
o G
iova
nni a
nd th
e dec
o-ra
tion
of th
e Yell
ow a
nd R
ed R
oom
s, w
hich
had
bee
n pr
ojec
ted b
yG
iova
nni,
to h
is so
n (B
IFFI
1989
, p. 3
32, n
ote 1
3). T
he n
ews r
epor
tedby
Ilde
fons
o St
anga
in w
hich
he c
ites a
Man
fredi
ni, w
ho w
as al
read
yde
ad b
y 17
93 (B
ELL
ING
ERI
1995
, p. 3
2, n
ote 1
2; S
TA
NG
A18
95, p
l.X
LV
III)
is co
nsid
ered
to b
e am
bigu
ous b
y T
anzi
, bec
ause
the a
utho
r“d
icen
doli
del M
anfre
dini
, rile
va la
som
iglia
nza
degl
i affr
esch
i con
quell
i di P
alaz
zo M
anna
, che
sono
di G
iuse
ppe [
...].
Evid
entem
ente
la co
nfus
ione
è do
vuta
al fa
tto ch
e gli
storic
i cre
mon
esi n
on co
nosc
ono
per n
iente
la fi
gura
di G
iuse
ppe M
anfre
dini
, per
non
aver
lasc
iato
che
poch
issim
i sa
ggi
in p
atria
, m
entre
que
lla d
el pa
dre,
pur
non
cono
sciu
tissim
a, è
nella
mem
oria
deg
li stu
dios
i loc
ali”
(TA
NZ
I19
85,
p. 93
, not
e 23)
. Man
fredi
ni p
aint
ed a
“sev
erely
sobe
r”ha
ll fo
r Mar
quis
Vai
ni (B
IFFI
,Mem
orie,
ms.
A.A
.3.7
, f. 2
81r,
line 7
); w
orks
in C
asa
Ger
enza
ni ar
e cite
d in
GR
ASS
ELL
I18
27, p
. 163
.6
Easte
rn w
all,
from
left
to ri
ght:
troph
y of a
rms,
crow
n of
laur
els, h
el-m
et, tr
ophy
of ar
ms,
helm
et, cr
own
of la
urels
, tro
phy o
f arm
s; so
uthe
rnw
all:
kettl
e dru
m, t
roph
y of a
rms,
thre
e flo
wer
s, m
azzu
olo
mal
let an
dch
isel (
Scul
ptur
e), s
crol
l with
map
and
per
spec
tive o
f the
triu
mph
al
arch
(Arc
hitec
ture
), in
cens
e/pe
rfum
e vas
e; w
ester
n w
all:
palle
tte a
ndpa
intb
rush
es (P
aint
ing)
, set-
squa
re a
nd c
ompa
sses (
Des
ign)
, cor
nu-
copi
a, tr
ophy
of ar
ms,
troph
y of a
rms,
horn
, vio
lin (M
usic
), ur
n; n
orth
-er
n w
all:
unid
entif
ied, s
iring
e, zi
ther
(Mus
ic),
cadu
ceus
(Com
mer
ce),
pape
r and
com
passe
s (G
eom
etry)
, tro
phy o
f arm
s.7
BIFF
I, M
emor
ie,m
s. A
.A.3
.7, f
. 280
v, li
ne 8
. 8
EAST
LA
KE
1960
(184
7), v
ol. I
, p. 1
42.
9PI
RA
NES
I17
74-1
775.
10
BIFF
I, M
emor
ie, m
s. A
.A.3
.7, f
. 280
v, li
ne 7
; WO
OD
1753
a-b.
11T
he V
estigi
a dell
e Term
e di T
ito e l
oro i
ntern
e pitt
ure i
s a co
llect
ion
of si
x-ty
larg
e pan
els en
grav
ed in
1776
by L
udov
ico M
irri a
nd ac
com
pani
edby
the c
omm
ents
of th
e sch
olar
ly, R
oman
abb
ot, G
iuse
ppe C
arlet
ti.A
firs
t and
mor
e diff
used
editi
on is
sim
ply
mad
e up
of m
ezzo
tints,
whi
le a p
artic
ular
ly ac
cura
te an
d lim
ited
num
ber o
f cop
ies le
d to
a se
c-on
d ed
ition
colo
ured
with
wat
erco
lour
s of w
hich
ther
e are
onl
y a fe
wex
ampl
es to
day (
Win
dsor
Cas
tle, R
oyal
Col
lectio
n; W
ashi
ngto
n, al
-re
ady t
he L
ethbr
idge
Col
lectio
n; M
useu
m of
War
saw
, Dep
artm
ent o
fG
raph
ic A
rt; H
erm
itage
Mus
eum
, Dep
artm
ent o
f Gra
phic
Art;
Rom
e, H
ertz
iana
Lib
rary
; The
Lou
vre,
Cab
inet
des A
rts gr
aphi
ques
).A
repr
oduc
tion
of th
e sam
ple o
f the
pan
els in
the L
ouvr
e in
P IN
OT
DE
VIL
LEC
HEN
ON
1998
.12
Perfo
rmed
betw
een
1631
and
163
7 by
a g
roup
of m
ore t
han
thirt
yIta
lian
and
fore
ign
artis
ts, th
e eng
ravi
ngs t
hat c
onsti
tute
the G
alleri
aG
iustin
iana w
ere c
omm
issio
ned
by V
ince
nzo
Giu
stini
ani w
ith an
end
to il
lustr
atin
g hi
s con
sider
able
colle
ctio
n of
antiq
uitie
s. T
he fi
rst se
ries
was
prin
ted b
y Giu
sepp
e De R
ossi
arou
nd 1
635,
whi
le in
175
7 C
ar-
lo L
osi t
ook
care
of a
repr
int w
hich
cam
e to
light
in G
enoa
: thi
s doe
sno
t see
m to
hav
e bee
n fo
llow
ed b
y oth
er ed
ition
s. T
he o
rigin
al co
pper
prin
ting
plat
es ar
e kep
t at t
he A
ccad
emia
Lig
ustic
a.13
BOO
RSC
H19
82, p
. 193
. 14
Ibid
., p.
193
. 15
SPIK
E19
81, p
. 255
.16
The
tape
stry i
n da
mas
k re
d ap
pear
s in
the i
nven
tory
of t
he g
oods
of
Car
olin
a Tar
sis, w
idow
of G
iuse
ppe A
nton
io S
aini
in 1
864
(in A
p-pe
ndix
). T
he ro
om is
also
calle
d th
e “re
d da
mas
k ro
om”
in th
e ren
tal
cont
ract
of t
he a
partm
ent i
n th
e int
erna
l win
g sti
pula
ted b
y A
nton
iaSa
ini a
nd G
iova
nni V
illan
i in
1871
(ASC
R, A
rchi
vio
Gra
sselli
, b.
12, d
oc. 1
4 D
ecem
ber 1
871)
. 17
A.R
.S./M
DC
CL
XX
XV
/IOA
NN
ES/M
AN
FRED
INU
S /R.I.
P./P
INX
IT.
18T
he re
latio
nshi
p be
twee
n G
iam
batti
sta B
iffi,
the M
anfre
dini
fam
ilyan
d Is
idor
o Bia
nchi
cann
ot b
e und
ersto
od w
ithou
t tak
ing i
nto c
onsid
-er
atio
n th
e rol
e pla
yed
by th
e Cre
mon
ese L
odge
“San
Pao
lo la
Cele
ste”
(then
“L
’Aur
ore d
e la
Lom
bard
ie”) i
n th
e int
erpr
etatio
n an
d ap
pli-
catio
n of
a de
nse n
etwor
k of
mas
onic
rela
tions
hips
and
idea
ls. B
iffi w
asth
e Gra
nd M
aster
of t
he L
odge
with
the n
ame o
f “A
b ar
ce an
tiqua
”.Bi
anch
i, th
e not
ary,
Giu
liano
Vac
chell
i, an
d th
e astr
onom
er, G
iuse
ppe
Piaz
zi (t
o w
hom
Biff
i’s w
ritin
gs in
the m
s. A
.A.3
.12
of th
e Sta
te L
i-br
ary o
f Cre
mon
a are
addr
esse
d), t
he ar
chite
ct, F
austi
no R
odi,
alon
gw
ith p
rom
inen
t exp
onen
ts of
the l
ocal
nob
ility
, Giu
sepp
e and
Lui
giO
ttavi
o Pi
cena
rdi,
the
Mar
quis
Ant
onio
Cat
tane
o an
d G
ian
Fran
cesc
o A
la-P
onzo
ne w
ere c
erta
inly
mem
bers
of th
e bro
ther
hood
.A
noth
er k
ey fi
gure
was
certa
inly
Lor
enzo
Man
ini w
ho h
eld th
e pos
i-tio
n of
Gra
nd M
aster
and
was
the p
rinci
pal p
ublis
her a
nd p
rinter
of
123.
Fra
gmen
ts of
the d
ecor
atio
n in
the a
lcov
e to
the f
ar en
d of
the g
aller
y, v
isibl
e betw
een
the p
rese
nt ce
iling
and
the
18th
-cen
tury
vau
lt.
With
thes
e int
erve
ntio
ns, b
y th
en a
long
way
from
the i
nten
sity
of p
revi
ous e
piso
des,
the c
urta
in fe
ll on
the
stage
of P
alaz
zo M
agio
Gra
sselli
. How
ever
, for
thos
e who
so w
ish, t
here
rem
ains
mor
e spa
ce fo
r rea
ding
, in-
terpr
etatio
n an
d hi
storic
al ev
alua
tion.
The
plo
t of c
orre
latio
n w
hich
incr
ease
s in
the d
irect
ion
of th
e city
, dra
w-
ing
a co
mpl
ex n
etwor
k of
refle
ctio
ns o
n ur
ban
struc
ture
can
still
be t
rave
lled
and
is re
cept
ive t
o un
expl
ored
episo
des f
or th
ose t
ackl
ing
the c
orre
latio
n be
twee
n th
e hun
dred
s of t
hrea
ds to
be f
ound
in th
e ric
h ar
chiv
es o
fC
rem
ona a
nd th
e lik
ewise
, num
erou
s dec
orat
ive e
piso
des o
f the
pal
azzo
s in
the c
ity an
d th
e cou
ntry
side.
It is
an in
vesti
gatio
n w
hich
is n
ot ci
rcum
scrib
able
with
in th
e ver
y res
trict
ed li
mits
of “h
istor
y of a
rt” or
“hist
ory o
far
chite
ctur
e”, b
ut ra
ther
an in
vita
tion
to o
bser
ve fr
om d
iffer
ent p
ersp
ectiv
es, t
o be
nefit
from
oth
er k
now
ledge
and
instr
umen
ts of
ana
lysis
, to
capt
ure b
etter
the r
appo
rt be
twee
n kn
owled
ge a
nd p
rese
rvat
ion,
betw
een
the
past
and
the f
utur
e and
to m
aint
ain
an aw
aren
ess o
f tha
t hist
ory w
hich
indi
vidu
ates
our
pre
sent
.
testi Magio inglese 2-10-2012 16:36 Pagina 142
Mat
eria
ls an
d Te
chni
ques
oft
he
Pre-
Indu
stria
l Bui
ldin
g Si
tes o
fCre
mon
a:
an E
xerc
ise in
Arc
hitec
tura
l Arc
haeo
logy
on
the F
açad
e ofP
alaz
zo M
agio
Gra
sselli
DA
VID
ED
ELC
UR
TO
Thi
s tex
t1pr
esen
ts th
e res
ults
of th
e res
earc
h ca
rried
out
on
the f
açad
e of P
alaz
zo M
agio
Gra
sselli
usin
gm
ethod
s of f
açad
e stra
tigra
phy,
an ef
fectiv
e ins
trum
ent o
f arc
haeo
logi
cal d
eriv
atio
n w
hich
was
also
use
din
the a
naly
sis o
f hist
oric
al ar
chite
ctur
e to
study
bui
ldin
g tec
hniq
ues2
since
the 1
970s
.T
he in
vesti
gatio
n w
as ca
rried
out
util
ising
repe
ated
obs
erva
tion
dire
ctly
from
the g
roun
d up
to th
e top
of t
hebu
ildin
g, th
anks
to th
e pre
senc
e of s
caffo
ldin
g in
stalle
d fo
r mai
nten
ance
wor
k on
the r
oof.
The
obs
erva
tions
wer
e the
n co
mpa
red
with
wha
t gra
dual
ly em
erge
d fro
m th
e exa
min
atio
ns o
n th
e int
erio
r sur
face
s and
spat
ial
layo
ut, t
he d
etect
ion
of st
ratig
raph
ic u
nits
and
the r
ecog
nitio
n of
rela
tive c
hron
olog
y.T
he st
ratig
raph
ic ex
amin
atio
n w
as c
arrie
d ou
t par
allel
with
, and
to su
ppor
t, th
e mor
e gen
eral
stud
y of
the
build
ing w
ith a
pain
staki
ng p
iecin
g tog
ether
of th
e hist
ory o
f the
bui
ldin
g and
it is
use
svia
doc
umen
ted re
sear
chco
mpa
ring i
t with
the c
ontem
pora
ry b
uild
ing,
3im
med
iatel
y ver
ified
than
ks to
the e
xam
inat
ion
of th
e fin
ishes
and
inter
ior o
rnam
enta
tion.
4T
he st
ratig
raph
ic in
vesti
gatio
n of
the f
açad
e rep
rese
nts a
furth
er v
erifi
catio
n of
the h
ypot
hesis
that
mat
ured
with
rega
rd to
the c
onstr
uctio
n hi
story
of t
he c
ompl
ex, i
n pa
rticu
lar w
ith th
efo
rmat
ion
of th
e bui
ldin
g pa
ralle
l to
the r
oad
and
on th
e wor
k pl
an u
nder
take
n by
Cam
illo
Mag
io fo
r the
unifi
catio
n of
the l
ots a
nd th
e for
mat
ion
of th
e Pal
azzo
and
cont
inue
d by
Gio
van
Clem
ente
Mag
io u
p un
til17
03. F
or th
is re
ason
, the
resu
lts ar
e pre
sent
ed d
iach
roni
cally
, as i
llustr
ated
by t
he st
ratig
raph
ic ev
iden
ce re
lativ
eto
each
one
of t
he c
onstr
uctio
n nu
clei
whi
ch w
ere u
nited
pro
gres
sively
dur
ing
the s
econ
d ha
lf of
the 1
600s
.T
he re
lativ
e ch
rono
logy
refer
s to
the
phas
es su
gges
ted b
y hi
storic
al a
nd a
rchi
ve re
cord
s and
the
spat
ial
exam
inat
ions
of t
he st
ruct
ure.
As w
ell as
the “
auto
psy”
carri
ed ou
t on
the e
xter
ior,
instr
umen
ts w
ere u
sed
to sc
rutin
ise su
rface
s whe
re si
mpl
eob
serv
atio
n w
as n
ot le
adin
g to s
uffic
iently
conv
inci
ng h
ypot
hese
s or w
as n
ot ve
rified
by t
he h
ypot
hese
s alre
ady
form
ulat
ed. I
n pa
rticu
lar,
I.R. t
herm
ogra
phy w
as u
sed
activ
ely an
d pa
ssive
ly fo
r the
non
-des
truct
ive s
urve
ying
of th
e pl
aster
on
the
inter
ior w
alls,
allo
win
g fo
r loc
alise
d di
scon
tinui
ty o
f wea
ved
bric
kwor
k w
hich
is
153
the c
ity: m
any o
f the
cited
per
sona
ges p
ublis
hed
in h
is m
agaz
ines
and
he p
rinted
var
ious
wor
ks an
d pa
mph
lets o
f the
m.
19C
rem
ona,
179
3. S
o th
e wor
k w
as re
view
ed in
the G
iorna
le de
lla le
t-ter
atura
italia
na, c
ompi
led an
d pu
blish
ed b
y Leo
pold
o C
amill
o V
olta
:“N
on è
ques
ta u
na S
toria
dell
’ant
ica i
llustr
e Fam
iglia
di t
al n
ome;
ma
una d
ilige
nte r
acco
lta d
i tut
te qu
elle a
ntic
he Is
criz
ioni
, nell
e qua
li si
fam
enzi
one d
ella G
ente
Mag
ia, v
ale a
dire
di t
utti
colo
ro, c
he in
vari
tem-
pj, e
in lu
oghi
div
ersi
si ch
iam
aron
o Mag
j. Il
dotto
A. è
anda
to ce
rcan
-do
neg
li St
oric
i Rom
ani a
nche
le m
emor
ie di
alcu
ni d
i essi
, e le
ha q
uire
gistr
ate m
olto
a pr
opos
ito p
rima d
i rife
rire d
i sud
dette
Iscr
izio
ni, c
heso
no in
num
ero
99, e
d al
tre n
e ha a
ggiu
nto
in fi
ne [.
..]. H
a dat
o oc
ca-
sione
a qu
est’O
pusc
olo l
’idea
del
sig. M
arch
ese G
iuse
ppe M
aggi
, egr
e-gi
o C
aval
ier C
rem
ones
e, di
form
are n
ella s
ua v
illa d
el W
hò u
na G
al-
leria
, dov
e, ol
tre i f
atti
de’ M
agj R
oman
i, ve
nisse
ro es
pres
se le
Iscr
izio
niqu
à e là
scol
pite
sulle
antic
he L
apid
i atti
nent
i ai m
edes
imi [
...]”
(Gior
-na
le de
lla le
ttera
tura
italia
na, I
, Man
tova
179
3, p
p. 1
14-1
15).
For I
sidor
oBi
anch
i’s b
iogr
aphy
cfr.
VEN
TU
RI19
68.
20R
acco
lta di
came
i172
7.21
In m
anus
crip
t A.A
.3.1
2 of t
he S
tate
Lib
rary
of C
rem
ona a
long
“let-
ter o
f ant
iqua
ry”
is pr
eser
ved
(ff. 1
0r-2
7r) i
n w
hich
Biff
i dec
lare
s his
own
inter
est i
n ca
meo
s and
engr
aved
ston
es (f
. 11r
, lin
es 1
2-16
: “da
qual
che t
empo
ho p
osto
la m
ente
e l’a
nim
o a ra
ccog
liere
cam
ei, e
pietr
ein
cise
d’o
gni f
atta
; e m
i son
o app
asio
nato
a qu
est’o
getto
”), d
ivid
ing h
isde
alin
gs b
y sub
ject (
f. 12
r-v: “
1. Q
uali
siano
le b
elle 2
. Qua
li sia
no le
antic
he ed
a c
he in
dizi
si d
istin
guan
o 3.
Con
qua
li m
ezzi
si p
ossa
nosp
iegar
e ed
inter
preta
re 4.
Se c
onve
nga d
ivid
erle
in cl
assi
per c
onos
cer-
le m
eglio
, e co
me 5
. Qua
le us
o fa
ceva
no g
li an
tichi
deg
li an
elli,
qual
i,e d
i che
meta
lli, e
qua
li le
gem
me c
he in
cide
vano
e qu
ali o
rdin
i di p
er-
sone
si d
istin
guev
ano
dalle
altre
p[e
r] g
li an
elli 6
. I N
omi d
egli
artis
tipi
ù ce
lebri
dell’
antic
hità
7. L
a list
a dei
Fam
osi i
nciso
ri m
oder
ni, e
spe-
cial
men
te de
l dec
imo q
uint
o sec
olo”
) and
pro
posin
g a cl
assif
icat
ion
(ff.
19r-2
6v).
Biffi
men
tione
d so
me i
mpo
rtant
sour
ces:
the c
onno
isseu
r “[f.
18r,
lines
12-
18]
deve
ave
re fa
mig
liari
la D
attig
liotec
a K
ristia
na, i
lM
useo
del
Gor
lai,
il G
ori,
il Pa
sseri,
lo [.
..], i
l Kirk
nian
, il M
ontfa
u-co
n, e
quan
t’altr
i scr
isser
o in
que
ste M
ater
ie ne
l ped
antes
co se
icen
to,
nell’
erud
ito c
inqu
ecen
to, e
nel
seco
lo n
ostro
”. A
lette
r fol
low
s the
m“A
l Sig
. Pao
lo M
anfre
dini
Pitt
ore s
ulle
pietr
e inc
ise”(
f. 28
r-v),
a sum
-m
ary o
f the
abov
e-m
entio
ned
clas
sific
atio
ns (S
umma
rium
Clas
ses, ff
. 29r
-32
r), a
list
of th
e nam
es o
f sto
nes a
nd g
ems i
n al
phab
etica
l ord
er (G
li-tog
raph
icae H
istor
iae, f
f. 33
r-34v
).22
BIFF
I, m
s. A
.A.3
.12,
f. 28
r, lin
es 4-
9 (“I
kno
w le
ss th
an yo
u be
lieve
,m
y dea
rest
Man
fredi
ni: I
wou
ld sa
y alm
ost n
othi
ng, e
ven
thou
gh yo
uw
ant m
e to
writ
e to
you
abou
t sto
nes e
ngra
ved
by th
e anc
ients,
cam
eos
and
conr
nelia
ns a
nd to
enlig
hten
you
on
how
to p
ut th
em in
to c
ate-
gorie
s and
to sp
eak
to y
ou o
f scu
lpto
rs m
ore a
ccre
dita
ted in
this
field
and
final
ly yo
u w
ant m
e int
ruct
you
[…]”
). T
he re
latio
nshi
p be
twee
nG
iam
batti
sta B
iffi a
nd P
aolo
Man
fredi
ni is
conf
irmed
by t
he co
mm
is-sio
n fo
r the
refa
cing
of t
he al
tar o
f San
Roc
co in
the c
athe
dral
of C
re-
mon
a in
179
9 w
hen
Biffi
was
pre
fect o
f the
bui
ldin
g (T
ASS
INI
1988
,p.
150
).23
In fa
ct, w
ith th
e lar
ge h
all a
nd o
ther
wor
ks o
f a si
mila
r chr
onol
ogy,
the i
ntric
ate v
entu
re of
the p
artic
ipat
ion
of h
is so
ns in
the p
ater
nal b
usi-
ness
and
the r
econ
struc
tion
of th
e wor
king
per
sona
lity
of th
e man
fre-
dini
an w
orks
hop
begi
ns. A
long
with
his
sons
, the
re w
ere c
erta
inly
amon
g Gio
vann
i’s p
upils
, num
erou
s arti
stic p
erso
nalit
ies of
the s
uces
-siv
e gen
erat
ion
as w
ell a
s the
pai
nter
and
set d
esig
ner,
Fran
cesc
o Fe
r-ra
ri (D
E’ B
ON
I18
40, p
. 103
2; A
ZZ
OL
INI20
01, p
. 12)
.24
Ibid
., pp
. 82-
87; B
IAN
CH
I20
09b,
p. 3
35.
25W
ithou
t con
duct
ing
arch
ival
rese
arch
and
cro
ss-re
feren
cing
all
the
data
incl
udin
g sty
listic
dat
a, it
bec
omes
very
har
d to
dist
ingu
ish th
e en-
terpr
ises a
nd a
ttrib
ute t
hem
to a
par
ticul
ar m
embe
r of t
he fa
mily
. For
the a
ctiv
ities
of G
iuse
ppe M
anfre
dini
we r
efer,
in p
artic
ular
to T
AN
ZI
1985
; BEL
LIN
GER
I19
95; F
OL
CA
NI
2006
; BIA
NC
HI
2009
b; M
AN
DER
2007
.
26A
com
mem
orat
ive
pam
phlet
was
pub
lishe
d fo
r th
e fu
nera
l of
Giu
sepp
e Mag
io: N
e’ so
lenni
fune
rali
1824
.27
ASC
R, A
rchi
vio
del T
ribun
ale d
i Cre
mon
a, b
. 182
, doc
. 3 M
ay18
24, s
ee in
this
volu
me,
Lan
di, A
rchite
ctura
l Tra
nsfor
matio
ns...
28A
fter P
aolo
’s (1
805)
and
Giu
sepp
e’s (1
815)
dea
th, b
etwee
n 18
24an
d 18
29 th
e onl
y son
of G
iova
nni M
anfre
dini
still
livi
ng is
Ser
afin
o,sti
ll ac
tive a
t lea
st un
til 1
827
acco
rdin
g to
Gra
sselli
who
testi
fies t
o hi
sac
tivity
as a
resto
rer o
f pai
ntin
gs: “
Suo s
tudi
o par
ticol
are è
que
llo d
i rip
-ul
ire, s
enza
aggi
unge
rvi c
osa a
lcun
a di s
uo, i
qua
dri d
i que
’ più
ecce
l-len
ti m
aestr
i, ch
e il t
empo
dist
rutto
re, o
la tr
ascu
ratez
za d
e’ no
stri m
ag-
gior
i non
han
no sa
puto
cons
erva
re. F
ra q
uesti
dip
inti
nel 1
823,
cont
ansi
quell
i nell
a cap
pella
dell
a B.V
. del
popo
lo, n
el 18
25, q
uelli
nell
a cap
-pe
lla d
el S.
S. S
acra
men
to, e
nel
1826
, la p
ala d
ell’a
ltare
dell
’Ann
un-
ziat
a del
Mal
osso
, tut
ti es
isten
ti ne
lla ca
ttedr
ale”
(GR
ASS
ELL
I182
7, p
p.16
3-16
4; B
ELL
ING
ERI19
95, p
. 31)
. 29
See i
n th
is vo
lum
e, L
andi
, Arch
itectu
ral T
rans
forma
tions
...30
On
this
pict
oria
l dec
orat
ion
- giv
en it
s fra
gilit
y an
d th
e com
plex
ityof
the a
naly
sis -
sam
ples
wer
e not
take
n. T
he in
terla
cing
betw
een
the
two
phas
es ri
sks r
ende
ring
inva
sive a
pro
gram
me o
f wor
ks to
dist
in-
guish
them
.31
In th
e inv
ento
ry o
f the
goo
ds o
f Car
olin
a Tar
sis, c
ompi
led in
186
4,th
e roo
m is
des
crib
ed as
a “g
abin
etto”
with
wal
ls pa
inted
in o
ils, s
ee in
this
volu
me L
andi
, Arch
itectu
ral T
rans
forma
tions
...32
As w
as b
roug
ht to
our a
ttent
ion
by A
ngelo
Lan
di, t
he d
ecor
atio
n of
the f
ront
room
on th
e top
floo
r of t
he w
ester
n w
ing o
f Pal
azzo
Ala
-Pon
-zo
ne se
ems t
o lea
d ba
ck to
the s
ame e
xecu
tor.
The
soph
istic
ated
taste
and
the d
etails
of fl
ower
s and
anim
als w
ould
find
in th
ese y
ears
in C
re-
mon
a a sk
ilful
repr
esen
tativ
e in
Car
lo P
ozzi
, des
crib
ed b
y Hist
orio
g-ra
phy a
s dili
gent
calig
raph
er an
d de
signe
r (G
RA
SSEL
LI1
827,
p. 2
14),
expe
rt in
min
iatin
g na
tura
l flo
wer
s, fru
it an
d to
pogr
aphi
c m
aps.
Agr
oup
of w
ater
colo
ured
dra
win
gs ar
e kep
t in
the A
la-P
onzo
ne C
ivic
Mus
eum
. Tw
o exa
mpl
es of
this
type
with
rega
rd to
mur
al p
aint
ing a
ndits
cont
inua
tion
durin
g th
e sec
ond
half
of th
e 19t
h ce
ntur
y are
the d
ec-
orat
ions
of t
he v
ault
in th
e din
ing
room
of P
alaz
zo B
arbò
-Mai
nard
i in
Cre
mon
a (A
ZZ
OL
INI
2001
, pp.
130
-131
) and
thos
e rea
lized
in 1
889
by L
odov
ico
Pogl
iagh
i in
Vill
a Pal
lavi
cino
in C
icog
nolo
(ibi
d., p
p.74
-77)
.33
A si
mila
r exa
mpl
e can
be f
ound
in P
alaz
zo A
la-P
onzo
ne in
Cre
-m
ona w
here
Gal
lo G
allin
a int
erve
ned
on m
arm
orin
o stu
cco
in a
situ-
atio
n sim
ilar t
o th
at d
escr
ibed
her
e for
Pal
azzo
Mag
io G
rasse
lli. R
e-ga
rdin
g th
ese d
ecor
atio
ns w
e do
not k
now
on
whi
ch an
alyt
ical
bas
is it
was
indi
cated
“A
Cre
mon
a, G
allo
Gal
lina
finiv
a co
n un
’enca
ustiz
-za
zion
e un
ambi
ente
al p
iano
terra
di p
alaz
zo A
la-P
onzo
ne, d
ecor
ato
con
figur
e di M
use s
u fo
ndo m
arm
orin
o e co
n un
’alta
zocc
olat
ura a
fin-
to m
arm
o. In
que
sto ca
so la
par
ete er
a sta
ta p
repa
rata
a ge
sso e
polv
ere
di m
arm
o e c
ompl
etata
a m
arm
orin
o lu
cida
to, e
dop
o un
legg
ero
dis-
egno
a gr
afite
e a m
atita
azzu
rra, e
rano
stat
e dip
inte
le fig
ure d
elle M
use
con
una p
rima s
tesur
a di t
empe
ra g
rassa
e un
a sec
onda
di t
empe
ra p
iùol
eosa
, inf
ine l
e sup
erfic
i ave
vano
rice
vuto
una
fini
tura
gen
eral
e a ce
rao
a sap
one”
(GH
ERO
LD
I199
5, p
. 46)
. An
anal
ytic
al te
st w
ould
be i
n-ter
estin
g fo
r bot
h th
ese t
ypes
of s
uper
impo
sitio
n in
ord
er to
cla
rify
the
tende
ncies
of t
he p
atro
ns a
nd o
pera
tors
and
the s
olut
ions
ado
pted
by
them
to re
solv
e a n
otab
le tec
hnic
al p
robl
em w
hich
gav
e poo
r por
osity
and
diffi
culti
es o
f adh
esio
n on
a po
lishe
d su
rface
such
as m
arbl
e.34
Rela
zion
e di s
tima d
ella C
asa p
osta
in C
remon
a, in
Con
trada
di S
.o G
allo
all’an
agra
fico n
º 26 e
d in m
appa
della
sopp
ressa
Par
rocch
ia di
S. G
allo a
i n.i 9 e
8 in
ASC
R, A
rchi
vio
Gra
sselli
, b. 1
2, d
oc. a
bout
186
4, se
e in
this
vol-
ume,
Lan
di, A
rchite
ctura
l Tra
nsfor
matio
ns...
35A
SCR
, Arc
hivi
o G
rasse
lli, b
. 12,
doc
. 15
Aug
ust 1
865,
see i
n th
isvo
lum
e, L
andi
, Arch
itectu
ral T
rans
forma
tions
...36
ASC
R, A
rchi
vio
Gra
sselli
, b. 1
2, d
oc. a
bout
187
1, se
e in
this
vol-
ume,
Lan
di, A
rchite
ctura
l Tra
nsfor
matio
ns...
144
124.
At l
east
five t
ypol
ogies
of b
rickw
ork
mak
e up
the f
açad
e of P
alaz
zo M
agio
Gra
sselli
, bot
h co
ncea
led an
d em
erge
nt, u
nder
the 1
9thc
entu
ry fa
ux b
rick
finish
ing.
testi Magio inglese 2-10-2012 16:36 Pagina 144
226
227
List
ofb
ooks
cited
ABB
IAT
I19
94A
. Abb
iati,
“Lo s
pazi
o urb
ano,
la so
cietà
e il
lavo
ro: u
n’ip
ote-
si di
rice
rca
sulla
Cre
mon
a di
fine
Cin
quec
ento
”, in
Boll
et-tin
o Stor
ico C
remon
ese, n
o. 1
, 199
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grap
hy, b
ut n
ot ex
plic
itly m
entio
ned
in th
e tex
t; th
is al
so ap
plies
to
Cre
mon
ese n
otar
ies m
entio
ned
in ar
chiv
al re
feren
ces.
The
lette
r “n”
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e, th
e num
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igur
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IGA
TA
STEF
AN
ON
I32
n
testi Magio inglese 2-10-2012 16:36 Pagina 236
238
239
FOA
, Vitt
orio
24
FOG
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simo
18
testi Magio inglese 2-10-2012 16:36 Pagina 238
240
241
LU
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75, 1
81M
AG
IOT
REC
CH
I, O
rsola
57n
, 60n
, 85n
, 196
nM
AG
IO, A
lessa
ndro
, con
te 34
, 85n
MA
GIO
, Alfo
nso
39, 5
8nM
AG
IO, A
ngela
61n
MA
GIO
, Assa
ndrin
o 57
nM
AG
IO, B
arto
lom
eo (d
i Gio
vann
i) 39
, 57n
MA
GIO
, Bar
tolo
meo
(di P
ietro
) 35-
37, 5
7nM
AG
IO, B
eatri
ce 3
7M
AG
IO, C
amill
a 63,
83n
MA
GIO
, Cam
illo
I (di
Nic
olò)
44,
135
MA
GIO
, Cam
illo
II (d
i Giu
sepp
e Ant
onio
) 17,
35,
65, 7
1,73
, 72,
75,
76, 7
7, 8
9, 1
32, 1
43n
MA
GIO
, Cam
illo,
mar
ches
e 17,
38-
40, 4
7, 49
, 54,
55,
56n
,58
n-61
n, 6
7, 8
2n, 7
2, 7
6, 76
, 82n
, 94,
118
-120
, 126
n, 1
29,
145,
154
, 156
, 163
, 164
MA
GIO
, Car
lo 3
9, 5
8n, 6
0nM
AG
IO, C
esar
e (di
Cam
illo
I) 6
2, 6
3, 7
2, 7
3, 8
3n, 8
4nM
AG
IO, C
esar
e (di
Tom
mas
o) 5
5, 5
8n, 5
9n, 6
1nM
AG
IO, C
esar
e Lui
gi (L
uigi
), m
arch
ese 7
4, 7
6, 8
0, 8
4n,
85n,
86,
88,
105
n, 1
32M
AG
IO, C
hiar
a 57n
MA
GIO
, Cla
udio
39
MA
GIO
, Clem
ente
Mar
ia (C
esar
e Clem
ente,
Ces
are
Clem
ente
Mar
ia) 3
5, 4
7, 5
7n, 7
2, 7
3, 7
5, 7
9, 8
0, 8
3n-8
5n,
129
MA
GIO
, Ene
a 56n
MA
GIO
, Feli
ce 3
9, 4
3, 5
5, 5
9n, 6
0n, 6
7M
AG
IO, F
erra
nte 4
4, 5
6n, 6
1n, 1
57, 1
60-1
64, 1
60, 1
61, 1
68,
170,
171
MA
GIO
, Fili
ppo
57n
MA
GIO
, Fra
nces
co 3
8, 5
8nM
AG
IO, F
ranc
esco
(del
fu T
omas
o) 5
8nM
AG
IO, F
ranc
esco
, dett
oRos
sino
60n
MA
GIO
, Ful
vio
38
MA
GIO
, Gal
eazz
o 37
, 58n
, 60n
, 61n
MA
GIO
, Ger
olam
o 60
nM
AG
IO, G
iaco
mo
37, 3
8, 5
8n, 6
0n, 6
1n, 6
7M
AG
IO, G
iova
n C
lemen
te, m
arch
ese 3
9-42
, 44,
45,
49, 5
4,55
, 60n
, 61n
, 62,
63,
66-
69, 7
2, 8
2n, 8
3n, 1
18, 1
20, 1
45M
AG
IO, G
iova
nni 3
7, 3
9, 5
7n, 5
8n, 6
1nM
AG
IO, G
iova
nni B
attis
ta 5
6nM
AG
IO, G
iova
nni G
iaco
mo
39M
AG
IO, G
iova
nni P
aolo
(Gio
van
Paol
o) 38
, 41,
44,
46,
48,
53, 5
8n, 6
0n, 6
7, 7
0, 7
2, 1
35
MA
GIO
, Giu
lio 3
8, 3
9, 5
8n, 6
1nM
AG
IO, G
iuse
ppe 1
7, 3
5, 3
9, 64
, 74,
76,
76, 7
7, 7
9, 8
0, 8
4n,
85n,
86,
87,
89,
105
n, 1
32, 1
34, 1
37, 1
43n,
144
nM
AG
IO, G
iuse
ppe A
nton
io 5
5, 6
2, 7
2, 8
3n, 8
8, 1
20M
AG
IO, G
neo
34, 3
5M
AG
IO, I
gnaz
io 7
6, 1
32M
AG
IO, I
sabe
lla 5
8nM
AG
IO, L
oren
zo 3
9M
AG
IO, L
ucre
zia 5
8nM
AG
IO, L
udov
ico
39, 5
7n, 5
9n, 6
0n, 8
3nM
AG
IO, M
adda
lena,
vedi
Scot
ti, M
adda
lena
MA
GIO
, Mar
co 3
8M
AG
IO, M
arta
(del
fu S
igism
ondo
) 60n
MA
GIO
, Mas
simili
ano
37, 3
9, 5
7n, 5
8n, 1
96n
MA
GIO
, Nic
olò
(sen
iore
) 61n
MA
GIO
, Nic
olò
38, 3
8, 3
9, 4
2-45
, 55,
57n
-61n
, 65,
73,
82n
,83
n, 1
54, 1
59M
AG
IO, N
icol
ò A
lessio
, mar
ches
e 55,
60n
, 63,
64, 7
2, 7
3,83
n, 8
4n, 1
20M
AG
IO, N
icol
ò, ca
noni
co 6
2, 6
3M
AG
IO, P
aolo
38,
56n
, 58n
MA
GIO
, Piet
ro (d
el fu
Cam
illo)
38,
55,
61n
, 62,
63,
66,
73,
82n,
83n
MA
GIO
, Piet
ro (d
el fu
Fra
nces
chin
o) 3
6, 6
3M
AG
IO, P
ietro
(del
fu G
iova
nni)
37, 5
6n, 5
8n, 6
1nM
AG
IO, R
ober
to 6
0nM
AG
IO, S
igism
ondo
57n
, 58n
, 60n
MA
GIO
, Tom
aso
(di T
omm
aso)
38,
56n
-59n
MA
GIO
, Tom
mas
o (d
i Gio
vann
i) 39
, 58n
MA
GIO
, Vin
cenz
o 58
nM
AG
IO-P
AL
LA
VIC
INO
, Ful
via,
mar
ches
a 39,
76, 8
5, 8
5n, 8
6,86
, 87,
89,
91,
102
, 105
n, 1
06n,
137
, 138
, 181
MA
IMO
N, S
alom
on 2
3M
AL
AG
OD
I, O
lindo
29,
30,
32n
MA
LO
MBR
A, M
argh
erita
44,
60n
MA
LO
SSO
(Tro
tti, G
iova
nni B
attis
ta, d
etto)
144
nM
AN
CIN
I, G
iova
nni B
attis
ta 8
3nM
AN
FRED
INI,
fam
iglia
79,
127
n, 1
43n
MA
NFR
EDIN
I, G
iova
nni 1
7, 4
3, 7
3, 7
5, 75
, 77-
79, 8
3n, 8
4n,
100,
101
, 106
n, 1
18, 1
21-1
25, 1
24, 1
25, 1
27n,
128
n, 1
29,
130,
129-
131,
132
, 133
, 134
-136
, 134
-136
, 137
, 143
n, 1
44n
MA
NFR
EDIN
I, G
iuse
ppa 8
4nM
AN
FRED
INI,
Giu
sepp
e 84n
, 122
, 127
n, 1
36, 1
37, 1
43n,
144n
MA
NFR
EDIN
I, Pa
olo
84n,
122
, 137
, 144
nM
AN
FRED
INI,
Sera
fino
84n,
122
, 137
, 144
nM
AN
INI,
Lor
enzo
122
, 124
, 128
n, 1
43n
MA
RA
NI,
Erco
lano
104
M
AR
CH
ETT
I, V
ince
nzo
95, 9
9, 1
01, 1
07n,
165
-168
, 170
,17
2n, 1
81, 1
87n,
192
M
AR
ESC
A, M
aria
no 2
3M
AR
IAT
ERES
AD
’ASB
UR
GO
, im
pera
trice
del
Sacr
o R
oman
oIm
pero
80,
85n
, 123
MA
RIN
I, fra
telli
60n
MA
RT
INEN
GO
DA
BAR
CO
, Lau
ra 8
4n, 8
5nM
AR
TIN
ENG
OD
IBR
ESC
IA, f
amig
lia 4
3M
AR
TIN
ENG
O, P
aola
39,
58n
MA
RT
INET
TI,
Pier
o 21
-24,
32n
MA
SON
E, M
auro
27n
MA
SSA
RO
TT
I, A
ngelo
85n
, 195
nM
AT
ILD
ED
IC
AN
OSS
A, m
arch
esa 3
0M
AT
TEO
TT
I, G
ian
Car
lo 3
0
MEL
I, C
orne
lio 5
8nM
ELI,
fam
iglia
36
MEL
I, G
ianf
ranc
esco
59n
MER
CO
RIL
EON
CIN
I, G
iulio
Ces
are 1
05n,
106
nM
ERIG
GI,
Mar
co 1
86n
MES
EA, B
ened
etto
43M
ILA
, Mas
simo
24M
INA
, Am
brog
io 1
85n,
189
MIN
IST
ERO
DEL
LA
PUBB
LIC
AIS
TR
UZ
ION
E24
, 108
nM
IRR
I, L
udov
ico
131,
132
, 143
nM
OC
AR
ELL
I, L
uca 1
87n
MO
LD
OL
FO, R
odol
fo 2
3M
ON
TEV
ERD
I, M
ario
182
MO
NT
I, A
ugus
to 2
4M
OR
AN
DI,
Mar
iella
84n
MO
RSE
LL
I, Em
ilio
22M
OT
TA
, Gio
vann
i 79
MU
SSO
LIN
I, Be
nito
25
NA
TA
LI,
Gio
vann
i Bat
tista
191
NA
TA
LI,
Giu
sepp
e 54,
61n
, 66,
75,
77,
93,
95,
118
-122
, 120
,12
6n, 1
37, 1
37, 1
72n
NEG
RET
TI,
fratel
li 19
3nN
OG
AR
INA
, Eug
enio
180
, 186
n, 1
87n
NO
VA
TI,
Fran
cesc
o 18
6n
OD
OR
ICI,
Fede
rico
106n
OFF
RED
I, Ev
ange
lista
58n
OFF
RED
I-AM
BRO
SIN
I, G
iova
n Pa
olo
Fran
cesc
o 73
OL
DO
INI,
fratel
li 57
nO
LIV
ELL
I, T
eres
io 2
8O
ZZ
OL
A, L
eand
ro 1
04
PAD
ERN
I, L
ucia
84n
PAG
LIA
RI,
Gio
vann
i Bat
tista
58n
PAG
LIA
RI,
Mic
hele
195n
P AL
LA
DIO
, And
rea 2
0n, 8
5n, 1
22, 1
94n
PAL
LA
VIC
INI,
Gia
nluc
a 107
nPA
LL
AV
ICIN
OD
’AD
DA
-SA
LV
AT
ERR
A, I
ppol
ita 5
7n, 1
05n
PAL
LA
VIC
INO
, fam
iglia
, ved
iPal
lavi
cino
-Cla
vello
, fam
iglia
PAL
LA
VIC
INO
, Fed
eric
o M
aria
123
PAL
LA
VIC
INO
-CL
AV
ELL
O, f
amig
lia 5
6n, 5
7n, 8
4n, 8
5n,
106n
, 107
n, 1
93P A
LL
AV
ICIN
O-C
LA
VEL
LO
, Fra
nces
ca de
ttaFa
nny 8
9, 1
05n
PAL
LA
VIC
INO
-CL
AV
ELL
O, I
ppol
ita 8
9PA
LL
AV
ICIN
O-C
LA
VEL
LO
, Muz
io M
aria
(Muz
io),
mar
ches
e 57n
, 85n
, 86,
89,
105
n, 1
37PA
LL
AV
ICIN
O-C
LA
VEL
LO
, Ube
rto M
aria
35,
57n
, 85n
, 89,
105n
, 107
nPA
LL
ON
E, A
lessa
ndro
195
nPA
NN
I, A
nton
Mar
ia 1
26n,
127
nP A
NN
UN
ZIO
, Mar
io 2
9, 3
0PA
SOL
INI
DA
LL
’ON
DA
, Des
ider
ia 3
1PA
SQU
AL
I, C
alist
o 17
5, 1
86n
PASQ
UA
LIN
I, Fr
ance
sco
107n
, 187
nPA
TR
INI,
Giu
sepp
e 125
PEG
OR
ETT
I, G
iova
nni 1
86n,
194
nPE
RI,
Ang
elo 5
9n, 8
3n, 1
87n,
190
, 191
PER
SIC
HEL
LI,
Erco
le 72
PESC
AR
OL
I, C
esar
e 61n
PESC
AR
OL
I, Fr
ance
sco
(Fra
ncisc
i) 17
, 44,
45,
45, 4
7, 49
, 50,
52, 5
9n, 6
0n, 6
1n, 6
7, 7
1, 76
, 95,
157
, 164
, 182
, 182
, 194
n
P ESC
AR
OL
O, F
ranc
esco
, ved
iPes
caro
li, F
ranc
esco
PET
ITO
T, E
nnem
ond
Alex
andr
e 129
PET
RA
CC
O, F
loria
na 5
4, 1
85n
PIA
CEN
TIN
I, Fr
ance
sco
27PI
AZ
ZI,
Giu
sepp
e 143
nPI
CEN
AR
DI,
fam
iglia
87
PIC
ENA
RD
I, G
iuse
ppe,
mar
ches
e 17,
19,
78,
85n
, 122
, 143
n,18
5nP I
CEN
AR
DI,
Lau
ra 5
9nPI
CEN
AR
DI,
Lui
gi O
ttavi
o 85
n, 1
43n
PIR
AN
ESI,
Gio
vann
i Bat
tista
122
, 125
, 132
POG
LIA
GH
I, L
odov
ico
144n
POM
PEO
MA
GN
O, G
neo
34, 1
35PO
NZ
ON
E, G
alea
zzo
58n
POZ
ZI,
Car
lo 1
44n
POZ
ZO
, And
rea 1
27n,
129
PRA
DA
, Stef
ano
194n
PUER
AR
I, A
lfred
o 55
, 104
, 120
PUER
AR
I, fa
mig
lia 2
7PU
ERA
RI,
Fran
cesc
o 59
nPU
ERA
RI,
Giu
sepp
e 99,
100
QU
AIN
I, A
ldo
32n
QU
AIN
I, fa
mig
lia 2
7Q
UA
INI,
Fern
ando
32n
QU
AIN
I, G
iova
nni 1
80, 1
80
RA
IJM
UN
DU
S,d.
Seba
stian
jis de
60n
RA
IMO
ND
I, El
ena 6
1nR
ASI
NI,
prin
cipe
195
nR
AT
TI,
Giu
sepp
e 180
, 187
nR
AV
À, A
dolfo
23
RA
VIC
II, f
amig
lia de
36R
AV
IZZ
A, A
pollo
nio
57n
RED
ON
ASC
O, F
ranc
esco
44
REG
AT
IIS,
Joan
nes P
aulu
s de 6
0n, 6
1nR
EGA
ZZ
I, fa
mig
lia 3
6, 3
8-40
, 53,
70,
84n
, 159
REG
AZ
ZI,
Fran
cesc
o, m
arch
ese 5
7nR
EGA
ZZ
I, G
iam
batti
sta, m
arch
ese 5
9nR
EGA
ZZ
I, L
azar
o, m
arch
ese 5
8nR
EGA
ZZ
IS,J
o. Ba
ptist
a fra
tres d
e 60n
REG
AZ
ZIS
,Jo.
Paul
us de
, ved
i Reg
atiis,
Joan
nes P
aulu
s de
REG
IIS,
Arte
misi
a de5
8nR
EGII
S, G
alea
zzo
de 58
nR
EGIS
, fam
iglia
de 43
REM
IGIO
, Gio
vann
i Bat
ta 5
7nR
EMU
SCH
I, G
iuse
ppe 5
8nR
ENI,
Gui
do 1
32R
ENSI
, Giu
sepp
e 23
REP
ELL
INI,
Spiri
to 1
82, 1
87n
RES
TA
, Gio
vann
i, co
nte 1
05n
RES
TA
-PA
LL
AV
ICIN
O, f
amig
lia 3
5, 5
7nR
EST
ELL
INI,
Mic
hele
187n
RIE
GL
, Alo
is 15
, 16,
20
RIG
HET
TI,
fratel
li 18
9R
INA
LD
I, L
uca 1
08n
RIP
A, G
iova
nni F
ranc
esco
57n
RIZ
ZO
, Mar
io 5
6nR
OBB
IAN
I, fa
mig
lia 2
7R
OBB
IAN
I, N
ella 2
7R
OBB
INS,
Lio
nel 2
8R
OD
A, O
ttavi
o 60
n
testi Magio inglese 2-10-2012 16:36 Pagina 240
RO
DES
CH
INI,
Gio
vann
i Bat
tista
63,
83n
RO
DES
CH
INI,
Mic
hele
63, 8
3nR
OD
I, A
chill
e 178
RO
DI,
Faus
tino
12, 7
9, 8
0, 8
6, 8
7, 1
23, 1
34, 1
43n,
172
n, 1
79,
185n
, 186
nR
OD
I, G
iuse
ppe 1
43n,
186
nR
OD
IAN
I, Ba
rtolo
meo
82n
RO
DO
LFO
II D
’ASB
UR
GO
, im
pera
tore
del
Sacr
o R
oman
oIm
pero
57n
, 59n
RO
MA
NI,
Ant
onia
84n
RO
MA
NO
, Giu
lio (G
iulio
Pip
pi, d
etto)
122
RO
NC
AD
ELL
I, A
lessa
ndro
58n
RO
NC
AD
ELL
I, A
lfons
o 58
nR
ON
CA
DEL
LI,
And
rea 5
8nR
ON
CA
DEL
LI,
Gio
vann
i Bat
tista
58n
RO
NC
AD
ELL
I, M
argh
erita
44,
60n
RO
ND
ELET
, Jea
n-Ba
ptist
e 188
, 193
, 194
nR
ÖPK
E, W
ilhelm
28
RO
SSI,
Dom
enic
o 57
nR
UFF
INI,
Fran
cesc
o 24
, 32n
RU
FFIN
I, N
ina 2
9, 3
0, 3
2nR
UG
ERI,
Mar
chin
o 57
nR
UG
GER
I, A
nton
io 8
2nR
USS
ELL
, Ber
trand
27
SAIN
I, A
nna 1
06n
SAIN
I, A
nton
ia 9
2, 9
4, 1
06n,
107
n, 1
42, 1
43n
SAIN
I, A
nton
io 8
9, 1
05n,
106
n SA
INI,
Car
lo 1
06n
SAIN
I, Eu
geni
o 92
, 106
nSA
INI,
fam
iglia
64, 9
0, 9
2, 9
4, 1
01, 1
05n,
106
n, 1
18, 1
40, 1
41,
185
SAIN
I, G
iuse
ppe A
nton
io 8
9-91
, 91,
92,
105
n, 1
07n,
106
n,13
8, 1
43n
SAIN
I, T
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a 106
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JNI,
fam
iglia
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ni, f
amig
liaS A
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179,
186
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NT
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I, Pi
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136,
136
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TO
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, Elia
44,
45,
60n
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bara
de60
nSA
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, Gen
naro
25
S AV
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A, G
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122
SCA
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erol
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132,
133
SCH
INC
HIN
ELL
I, A
lessa
ndro
84n
SCH
INC
HIN
ELL
I, G
iova
nni,
mar
ches
e 82n
SCH
INC
HIN
ELL
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argh
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67
S CH
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173,
181
, 186
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TI,
fam
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AM
ENT
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CO
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don
60n
SER
INI,
Paol
o 27
, 28,
30,
32n
SER
LIO
, Seb
astia
no 2
0n, 1
22, 1
64SE
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A, S
andr
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SFO
ND
RA
TI,
fam
iglia
185
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Gio
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LU
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GA
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185n
SOC
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SOFI
CA
ITA
LIA
NA
22SO
LA
RI,
Gio
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2, 2
3S O
MM
I, A
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to 5
8nSO
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mig
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9, 8
4n, 9
9, 1
37S O
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73, 8
4nSO
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I, L
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no 5
7nSO
MM
I, M
auro
58n
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57n
SPA
DO
LIN
I, G
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9SP
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22, 2
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AN
GA
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iglia
43
STA
NG
A, I
ldelf
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143
nS T
AN
GA
, Pas
quin
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RA
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do 8
2nST
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I, A
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0n
STR
AD
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RI,
Pietr
o 10
5nST
RIN
A, L
uigi
91, 9
2, 1
05n,
106
nST
RIN
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S, A
ndre
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7nSU
PER
TI,
fam
iglia
44
SUPE
RT
I, G
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n Ba
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60n
SUPE
RT
IS,R
apha
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61n
TA
JNO
, Fra
nces
co 1
86n
TA
RO
ZZ
I, G
iova
nni B
attis
ta 17
5, 1
86n
TA
RO
ZZ
I, G
iuse
ppe 2
2T
AR
SIS,
Car
lo, c
onte
106n
T
AR
SIS,
Car
olin
a, co
ntes
sa 64
, 92,
92, 1
06n,
138
, 143
n, 1
44n
TA
RSK
I, A
lfred
27
TA
VER
NA
, Fra
nces
co 3
9T
EST
I, A
nton
ia 9
2T
EST
I, Ja
copo
106
nT
ETIU
S, H
ieron
imus
61n
TO
NIN
ELL
I, G
iann
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nT
OR
CH
IAN
A, M
assim
ilian
o 17
6, 17
6T
OR
CH
IAN
A, P
ompe
o 18
6nT
OT
TI,
Pom
pilio
61n
TR
AV
AG
LIO
, Pao
la 5
4, 7
8, 8
4n, 8
5n, 1
71n
TR
ECC
HI,
Ales
sand
ro, m
arch
ese 6
0n, 1
92, 1
96n
TR
ECC
HI,
fam
iglia
43,
107
nT
REC
CH
I, G
aspa
re 1
96n
TR
ECC
HI,
Man
fredo
VII
Igna
zio,
mar
ches
e 60n
TR
ECC
HI,
Mas
simili
ano
196n
TU
RC
HET
TI,
Gae
tano
186
n, 1
87n
UG
OL
AN
I, fa
mig
lia 4
3, 1
75U
MBE
RT
OI D
ISA
VO
IA, r
e d’It
alia
108
n
VA
CC
HEL
LI,
Giu
liano
143
nV
AIR
OL
I, Pi
etro
Mar
ia 5
8nV
AL
AR
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AG
GI,
Serg
io (d
el fu
Silv
io) 1
06n
VA
LER
IAN
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on 6
0nV
AL
VA
SSO
RI,
fratel
li 58
nV
AR
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O, B
erna
rdin
o 32
nV
ECC
HI,
Ang
elo d
e 85n
VER
DA
, Dom
enic
o 19
4nV
ERD
ELL
I, En
ea 1
86n
VER
GA
NI,
Cam
illo
184,
185
, 187
n
VER
NA
ZZ
I, fa
mig
lia 3
6V
ERN
AZ
ZI,
Gas
pare
58n
VER
NA
ZZ
I, N
icol
ò 58
n V
ERR
I, fa
mig
lia 2
8, 8
0, 1
22V
ERR
I, Pi
etro
134
VIC
O, E
nea 1
25V
IDA
RI,
Gio
vann
i 22
VID
ON
I, ca
rdin
ale 8
5nV
IDO
NI,
Car
lotta
, prin
cipe
ssa 1
06n
VIL
LA
NI,
Gio
vann
i 17,
94,
95,
106
n, 1
07n,
143
nV
ISC
ON
TI,
Bian
ca M
aria
, duc
hessa
di M
ilano
11
VIS
ENT
INI,
Ant
onio
125
VIS
IOL
I, C
arlo
Dom
enic
o (C
arlo
) 107
n, 1
72n,
182
, 186
n,18
7n, 1
90, 1
91, 1
93, 1
94n,
195
nV
ISIO
LO
, Gas
pare
57n
VIT
I, A
gosti
no 1
07n
VIT
RU
VIO
POL
LIO
NE,
Mar
co 2
0n, 1
22, 1
94n
VO
GH
ERA
, Dom
enic
o 17
2nV
OG
HER
A, G
iova
nni 1
86n
VO
GH
ERA
, Lui
gi 1
2, 8
6, 8
8, 1
87n,
192
, 196
nV
OL
PAT
O, G
iova
nni 1
35, 1
36V
OL
TA
, Leo
pold
o C
amill
o 14
3n
WA
ISM
AN
N, F
riedr
ich
27W
ILZ
ECK
, Joh
ann
Jose
ph v
on 8
4nW
INC
KEL
MA
NN
, Joh
ann
Joac
him
122
XIM
ENES
, Rai
mon
do 1
24
ZA
CC
AR
IA, E
urop
a (de
l fu
Zan
etto)
72,
83n
ZA
IST
, Gio
van
Batti
sta 5
4, 6
1n, 1
19-1
21, 1
26n,
127
n, 1
43n
ZA
NET
TI,
Pietr
o 19
4nZ
AN
OT
TIBI
AN
CO
, Um
berto
31
242
243
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