The decorative frames of Palazzo Magio Grasselli in Cremona
28
PATRICIANS, NOTABLES, CONSTRUCTION OF THE CITY Building and Preservation of Palazzo Magio Grasselli in Cremona EDITED BY ANGELO LANDI UMBERTO ALLEMANDI & C. testi Magio inglese 2-10-2012 16:36 Pagina 2
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Transcript of The decorative frames of Palazzo Magio Grasselli in Cremona
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,
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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”
refer
s to
a not
e, th
e num
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n ita
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ndic
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igur
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enic
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GES
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ppe A
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lo, c
onte
123,
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mig
lia 1
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NE,
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ro P
aolo
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NI,
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o 19
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iglia
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ranc
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IAN
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aria
34,
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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
LIA
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, Fra
nces
co 5
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lia 1
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n L
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36,
37,
37, 4
0, 1
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colò
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32n
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RA
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195
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mig
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lo, m
arch
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36
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AU
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22C
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gosti
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CA
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amig
lia 5
7n, 1
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194
nC
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NA
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60n
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FIG
LIE
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34FI
RPO
, Mas
simo
18
testi Magio inglese 2-10-2012 16:36 Pagina 238
240
241
LU
DO
VIC
OIL
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(Lud
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Mar
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to) 57
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io, T
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, 36,
38, 4
1, 4
3, 4
5, 5
5,56
n-58
n, 6
0n, 6
1n, 6
4, 6
5, 7
3, 75
, 78-
80, 8
3, 8
4n, 8
5n, 9
2-95
, 103
, 117
n, 1
18, 1
32, 1
57, 1
60, 1
64, 1
68, 1
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
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I, Eu
geni
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nSA
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fam
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64, 9
0, 9
2, 9
4, 1
01, 1
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106
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18, 1
40, 1
41,
185
SAIN
I, G
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nton
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, 91,
92,
105
n, 1
07n,
106
n,13
8, 1
43n
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I, T
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fam
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ni, f
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186
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136,
136
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TO
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44,
45,
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25
S AV
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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
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SCH
INC
HIN
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I, M
argh
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67
S CH
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173,
181
, 186
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HU
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TI,
fam
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AM
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CO
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don
60n
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Paol
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, 28,
30,
32n
SER
LIO
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astia
no 2
0n, 1
22, 1
64SE
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A, S
andr
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RA
TI,
fam
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185
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Gio
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TÀ
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LU
MIN
AZ
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GA
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CR
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185n
SOC
IET
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LO
SOFI
CA
ITA
LIA
NA
22SO
LA
RI,
Gio
ele 2
2, 2
3S O
MM
I, A
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to 5
8nSO
MM
I, fa
mig
lia 3
9, 8
4n, 9
9, 1
37S O
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I, G
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73, 8
4nSO
MM
I, L
uchi
no 5
7nSO
MM
I, M
auro
58n
S OM
O, J
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57n
SPA
DO
LIN
I, G
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nni 2
9SP
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22, 2
3ST
AN
GA
, fam
iglia
43
STA
NG
A, I
ldelf
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143
nS T
AN
GA
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quin
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RA
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do 8
2nST
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DIV
AR
I, A
nton
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0n
STR
AD
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RI,
Pietr
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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
ele de
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
i 106
nT
OR
CH
IAN
A, M
assim
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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
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alia
108
n
VA
CC
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LI,
Giu
liano
143
nV
AIR
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I, Pi
etro
Mar
ia 5
8nV
AL
AR
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AG
GI,
Serg
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el fu
Silv
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06n
VA
LER
IAN
O, d
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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