Nueva York, 1783-1811: el nacimiento de una metrópolis

This essay reviews and connects different events, urban constructions and historical cartographies concerning New York in the chronological framework defined by 1783, the year of the signing of the Treaty of Paris – ending the American Revolutionary War –, and 1811, when the Commissioners’ Plan established the urban planning model to make the city a metropolis on a par with the great European capitals. During this brief but intense period – not as studied as it is sometimes thought – the material and immaterial (the physical and identity) foundations of the current New York were laid. This work focuses on the active and important contribution that two disciplines, architecture and cartography, made to the mentioned process.

Grand Hotels Around the Kvarner Bay: Seaside Hospitality Between Austria and Hungary

The hotel architecture around the Kvarner bay represents a specific Austro-Hungarian response to the Riviera phenomenon, made possible by the railway connections to the continental capitals of the Empire with the port of Rijeka. Through a detailed comparison between different investments and realisations, the article explores the ways of dealing with the hotellerie in the coastal area administratively divided between Austria, Hungary and Croatia in the last decades of the 19th century and the years leading to WWI.

La Real Academia de San Fernandoy la devolución de los bienes eclesiásticos tras la Guerra de Independencia

With this article we intend to show the policy adopted by the king Fernando VII regarding to the restitution of the artistic patrimony confiscated to the religious communities during the Independence War’s conflicting years, as well as the part played in this process by the Real Academia de San Fernando. When the project of founding the Museo Fernandino failed, the Academy, receiver of many of the paintings dispersed during the French Government, tried to increase his pictorial collection to the detriment of their legitimate proprietors, although laws promulgated from 1814 favoured the works of art were recovered by the religious establishments. In the case of the Hospital de la Caridad of Seville, the Academy kept paintings until the 20th century, based on the agreement of the clergymen with the French.

Naturaleza y artificio en los paisajes de Flaubert

This paper focuses on the evolution of the sentiment of landscape in Gustave Flaubert’s work, both in his travel stories (in Brittany and, especially, in Near East, with the famous Voyage en Orient) and in his major literary works (Salammbô, Madame Bovary, L’éducation sentimentale, Bouvard et Pécuchet). It is part of a more general and collective research in the School of Architecture of Granada about the image of architecture, town and landscape in literature and painting.

Anastilosi. Un dibattito fondativo per il restauro dei monumenti antichi nella Grecia di fine Ottocento

The debate on the anastylosis, which is still alive nowadays, met fundamental points within the Athens Charter of Restoration of 1931 and the Venice Charter of Restoration of 1964. However, the earlier use of this term in connection to restoration is to be found in the late Nineteenth century. In this study the origin of the concept and the practice of anastylosis is contextualized within the discussions that arose on the restoration of the Parthenon of Athens between 1890 and 1905. The conflicts on the works to carry out on the ancient temple are connected to the conceptual ambiguities, the misinterpretations and the inconsistent uses of ‘restoration’, ‘reconstruction’ and ‘anastylosis’ within the international debate. The earlier equivocal understanding of these terms is explained in relation to their different understanding by scholars with diverse background and provenance in Europe.

Camillo Boito consulente di Giorgio Franchetti. Una lettera inedita sul restauro del porticato d’approdo della Ca’ d’Oro di Venezia

The article analyzes the history of restoration and decoration, at the end of the nineteenth century, of the entrance porch and ground-floor mosaic of the Ca’ d’Oro Palace on the Grand Canal in Venice. A letter written in 1897 by Camillo Boito to Giorgio Franchetti, recently found, confirms the involvement of Boito, so far only mentioned in literature, on the restoration of the building.

Le lettere di Francesco Paolo Como a Ettore Ferrari. Un contributo documentario alla vicenda del Monumento ai caduti di Taranto

In 1923 the sculptor Francesco Paolo Como (Taranto, 1888-Rome, 1973) wins the contest for the Monumento ai caduti in Taranto. As known, the realization of this work suffers many delays because of tension between the author and the various committees. Only in 1953, the last group, the Aquilifero, can be set up. The article analyses the sequence of events related to the monument through a series of missives between Como and his mentor Ettore Ferrari (Rome, 1845-1929). Through this correspondence is possible to write a clearer history of the monument and his author, explaining the reasons of Como’s anxiety, his relationship with Ferrari and his social role into the ‘fascistissima’ Taranto.

Un ignoto incisore di gemme: lo scultore e ceroplasta Francesco Pozzi

This study resolves the rebus of identifying the unknown engraver not mentioned in any text of glyptic, nor testified by casts of gems and glass pastes, which signs POZZI three intaglios and two cameos, almost all unpublished, and which demonstrate great skill. This is the renowned Tuscan Francesco Pozzi (1790-1844), sculptor in Florence and Rome, and wax modeler. Its varied activity is reconstructed, then both the numerous and prestigious commissions and the five high quality gems are analyzed. An intaglio reproduces the famous painting by Jacques-Louis David, with Napoleon Bonaparte at the Passo del Gran S. Bernardo, two cameos portray the dukes of Modena and Reggio, Francesco IV and his wife Maria Beatrice Vittoria, an intaglio depicts Leopold I king of the Belgians and another an unidentified male bust.

La lacuna di Notre-Dame come paradigma della complessità Imparare dai restauri ottocenteschi per l'intervento sul contemporaneo

The architectural preservation project regarding Notre-Dame cathedral in Paris in the mid-19th century by Lassus and Viollet-le-Duc constitutes a case-study of great interest not only for the analysis of the constructional choices that led to the final result but, above all, for the design managing and attitude that the two architects have maintained throughout the course of the intervention on the building. Analysing these restorations, and in particular the design methodology on the building, it could be of high interest due to the future restorations that the building will undergo, following the fire of April 2019. The main purpose of this article is therefore to make a careful critique of the design approach of restorations that are only apparently stylistic, in order to understand how the transformation of an asset is an architectural intervention that requires clear methodological rules in order to achieve the objectives related not only to the transformation or completion of the asset but also to its enhancement.