From the construction of the Milan’s cathedral, the facade’s design has occurred many times. The rise, the crown and windows outlines, the doors order and number, the bell tower position, are some of the topic which enhance an architectural discussion lasted for centuries. In the nineteen century new matters enter the discussion, such as the suitability to introduce a modern style on an existing building rather than respect its original feature with analogous shapes. It follows a careful survey of its typical style but also some assessments on its symbolical meaning both religious and civic. In the second half of the century, since Milan became part of the Italian kingdom, the symbolical meaning of the building and the development of a town plan if not prevalent seem complementary to the architectural discussion. The article is focused on this question, deepened inside the international competition of the year 1886. The events related to the concourse are remembered through some correspondences; the letters sent to Carlo Ermes Visconti (1834-1911), which are mostly unpublished, not only offer opportunities for important evidences but also some clarifications.

Per la facciata del Duomo di Milano: contributo alle fonti

Michela Marisa Grisoni
2018

Abstract

From the construction of the Milan’s cathedral, the facade’s design has occurred many times. The rise, the crown and windows outlines, the doors order and number, the bell tower position, are some of the topic which enhance an architectural discussion lasted for centuries. In the nineteen century new matters enter the discussion, such as the suitability to introduce a modern style on an existing building rather than respect its original feature with analogous shapes. It follows a careful survey of its typical style but also some assessments on its symbolical meaning both religious and civic. In the second half of the century, since Milan became part of the Italian kingdom, the symbolical meaning of the building and the development of a town plan if not prevalent seem complementary to the architectural discussion. The article is focused on this question, deepened inside the international competition of the year 1886. The events related to the concourse are remembered through some correspondences; the letters sent to Carlo Ermes Visconti (1834-1911), which are mostly unpublished, not only offer opportunities for important evidences but also some clarifications.
Camillo Boito Moderno
978-88-57542-94-2
Milan, Cathedral, Restoration, Visconti, De Dartein
Restauro, Completamento
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/11311/1150807
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