Marco Introini (Milan 1968), a documentary photographer of Luigi Spinelli (Milan 1958) teaches architectural design at the Marco Introini Luigi Spinelli LM Marco Introini Luigi Spinelli AFrrochmit tehcetu Prea lianz zMoa Dntuucaale uigi Spinelliarco Introin AFrrochmit tehcetu Prea lianz zMoa Dntuucaale laEIantnnc gdlutishndceeea edprS eiincn gah n toohdofe l a thcroceafh t PaitAloeolrcgictteuhuceirten eo,i cctfteo uta rhdceeih , M eItUsial arlaibnaraocnnh. PitePacvlatiluniornaniln apgth otahtnoedg 2ra0Cp0ihv6yil StPUhAcrebhU aPoIno od ll iSotoetcfuc tAodnririecacoshte, i dt heci ecMo tuuailrlrasseneo, o Uso. Arufb p tamhenere v PmiDslbaeenesp nra tiohnrtfegm t hmaeenna dtts e toCaefcir v’hAsili rnEdcgehn gibgteroinecaeetrue dcrr eoion fug atr hnsoeedf to the Burgo Paper Mill i to the Burgo Paper Mill Venice Biennial of Architecture, he is recognized as one of in architectural design and history of the School of Architecture, the twenty leading architectural photographers of the last ten Urban Planning and Civil Engineering at the Mantua campus of years and was one of the figures interviewed for the book La the Politecnico di Milano. An editor of the magazine Domus from FA rorc Misura dello Spazio (Rome 2010). Involved in the project of the 1986 to 2013, he has been a member of the scientific editorial mh Lombardy Region and the Ministry of Cultural Heritage for the board of the magazine Territorio since 2010. thitec documentation of architecture in Lombardy from the post-war Major publications include Sede dell’A.M.I.LA. a Tremezzo e Ptur period to the present in 2015, he also took part in The Third (Sagep, Genoa 1994), José Antonio Coderch. La cellula e la ae Island, a photographic survey of Calabria, by invitation of the luce (Testo & Immagine, Turin 2003), Paolo Soleri. Paesaggi lazz in M OIGO (Osservatorio Internazionale sulle Grandi Opere). His tridimensionali (Marsilio, Venice 2006), I luoghi di Franco Albini. o ongoing project Milano Illuminista was selected by the Fondo Itinerari di architettura (Triennale Electa, Milan 2006), Brasilia. The result of a research project developed by the Mantua campus Dan Malerba per la Fotografia in 2015. 2016 saw a solo show at the A utopia come true. 1960–2010 (Triennale Electa, Milan 2010) ut of the Politecnico di Milano, the book presents an image of the cu Museo MAGA (Ritratti di Monumenti) as well as the exhibition and Gli spazi in sequenza di Luigi Moretti (LetteraVentidue, aa city through its architecture on the basis of a photographic survey le Warm Modernity. Indian Architecture. Building Democracy Syracuse 2012). covering all of the urbanized area. Documented by the photographs of to at the 21st Milan Triennial (accompanied by the book of the t same name edited by Maddalena d’Alfonso, Silvana Editoriale), Marco Introini and the descriptions of Luigi Spinelli, the one hundred h e which won the 2016 RedDot Award. The author of various buildings selected range from medieval works still present in the city’s B u publications, he has held a number of exhibitions of landscape fabric to the Burgo paper mill, designed and built by Pier Luigi Nervi, rg and architectural photography. o one of Italy’s most interesting examples of modern architecture. P a p e r M ill € 2 5 ,0 0 9 788836 639823 The maps on the inside flaps show the locations of the architectural works www.silvanaeditoriale.it on the basis of aerial photographs. Graphic elaboration by Veronica Ferrari. Marco Introini Luigi Spinelli Architecture in Mantua From the Palazzo Ducale to the Burgo Paper Mill Contents The authors would like to thank Roberto Dulio, 5 Mantova Imago Urbis Francesca Ferrari, Carlo Peraboni, Carlo Togliani; the Municipality of Mantua; and: Suor Annamaria of the Federico Bucci Daughters of Saint Paul; Peter Assmann, Renata Casarin, Antonio Mazzeri, Niccolò Tasselli, Michela Zurla, Palazzo Ducale; Gabriele Barucca, Superintendence of 7 Images of a City Archeology, Fine Arts and Landscape; Stefano Benetti, Marco Introini Mantua City Museum; Giovanni Cattabiani, Province of Mantua; Paolo Corbellani, Amici di Palazzo Te e dei Musei Mantovani; Fabrizio Cristofori, TEA SpA; Davide Dalai, Società Canottieri Mincio; Beatrice Linardi, Casa Museo Palazzo Valenti Gonzaga; Mons. Giancarlo 11 Architectural Works Manzoli, Diocese of Mantua; Massimo Narduzzo, Studio Architettura Ruscica; Irma Pagliari and Chiara Pisani, Municipality of Mantua, Library and Archive Department; Annamaria Petrobelli, Fondo Ambiente Italiano; Luisa 214 General Bibliography Onesta Tamassia, Mantua State Archives; Silvia Tosetti, Fondazione D’Arco; Marco Zanini, Daniela Mariotti, Mantua Chamber of Commerce. This book was made pssible thanks to the financial support of the Fondazione Comunità Mantovana within the framework of the Genio Collettivo project. The authors would like to thank President Carlo Zanetti and Carlo Alberto Corneliani. Mantua Imago Urbis A guide to the paintings, sculptures and works of architecture to be seen in Mantua and its surroundings was published by the local painter and architect Giovanni Cadioli in 1763 (Descrizione delle Pitture, Sculture ed Architetture, che si osservano nella Città di Mantova, e ne’ suoi Contorni). The author, founder of the Mantua Academy of Fine Arts and an active figure in the Habsburg policy of cultural modernization, wrote as follows in the note to readers: “A true desire to do the greatest good possible for my beloved homeland, the entreaties of dear friends and fellow citizens, and still more the authority of eminent figures have finally induced me, dear Reader, to offer you the present description of all the finest works of painting, sculpture and architecture of the city of Mantua and its surroundings, something that has never existed before to the best of our knowledge.” The literature on Mantua’s art and architecture expanded in the next century with the guides written by Francesco Antoldi and Gaetano Susani, published respectively in 1816 and 1818, which gave rise to amusing outcry over their shortcomings, Mantova numerizzata (1839) by Vincenzo Paolo Bottoni, and finally Delle arti e degli artefici di Mantova (1857) by Carlo D’Arco, a source acknowledged also by the scholars of the 20th century. Written and illustrated by Luigi Spinelli and Marco Introini of the Mantua campus of the Politecnico di Milano, the following pages bear precious witness today to the combina- tion of scholarly research and social commitment that has given birth over the centuries to studies, descriptions and representations of Mantua’s finest works of architecture, from the earliest traces to the point where history gives way to current events. This book is a further exploration of the beauties of the past, a firm foundation for plan- ning the future, and a work epitomizing the educational mission pursued in Mantua by the Politecnico di Milano, one of the world’s leading technical and scientific universities. Federico Bucci Vice-rector of the Mantua campus of the Politecnico di Milano Images of a City The earliest surviving photograph of Mantua is a salt-paper print from a calotype neg- ative dated approximately 1850 showing the house of Giulio Romano. The anonymous photographer and pioneer of this new technique, invented in France just twenty years before, captured the façade on Via Poma from the right with marked perspective fore- shortening to emphasize its rhythm on a winter afternoon. The shadow covering part of the bottom storey shows by its uneven profile that the buildings opposite were unequal in height and not parallel to the subject, thus obliging the photographer to position his tripod at that point so as to obtain greater distance from his subject and attenuate the vanishing-point perspective of the façade as much as possible. Probably the work of an itinerant photographer like Luigi Sacchi, which would explain why it was taken in such critical conditions of light, the photograph shows not only what we see inside its rectangle but also the environment surrounding the building, what Paolo Monti called the fourth dimension, thus capturing the character and complexity of the urban landscape. The first images of Mantua prior to this are two series of prints of key landmarks, one of 1829 comprising 32 views of Mantua drawn by Luigi Filippo Montini and en- graved by Lanfranco Puzzi, and one of 12 prints by Marco Moro published in 1850. Both include Via Poma with the Giulio Romano house but differ markedly in approach while remaining within the confines of the urban view that was to characterize the representation of Mantua and the multiplication of its image for many years. Montini drew Via Poma with his back to the apse of the church of San Barnaba, looking towards Via Acerbi and adopting a higher than natural viewpoint. The space is thus distorted and expanded with respect to the real perception so that the façade of the Giulio Romano house appears much longer and the street much wider, almost turning Via Poma into a piazza. The buildings are also highly stylized. Marco Moro instead adopted the opposite viewpoint looking towards Via Chiassi, showing the façade of the Giulio Romano house on the right and extending on the left to include the apse of San Barnaba. While richer in architectural detail than Montini’s, his representation is also distorted so as to make the buildings appear taller, an effect accentuated by the inclusion of human figures out of scale, a device also featured in The action of strolling through the city like Baudelaire’s flâneur, an approach devel- the Montini series and used in this case to create spatial expansion. oped by fin de siècle photographers, epitomized by Eugène Atget’s photographic sur- The inclusion of human figures − respectable citizens in these two series of engravings, vey of Paris and subsequently taken up by urban planners, is a way not only of taking in keeping with their nature as tourist guides − to accentuate the size of the buildings perceptual cognizance of the buildings to be documented in words and images but and perspective depth was a device subsequently used in photographic views. Many also of understanding their everyday urban reality. This prompted modification of the of these also featured genre scenes reflecting the social nature of the neighbourhood, corpus of buildings originally selected to include others that are not so well document- thus introducing the literary approach of realism into photography. This period in the ed due to their lesser degree of historical importance or historicization. It has thus been second half of the 19th century saw the opening of various photographic studios, possible to represent the city in discrete terms not as a continuous flow but as made which multiplied the views of the city’s major landmarks and monuments for the pro- up of individual elements capable of conveying the complexity of the urban landscape. duction of postcards and albums for travellers stopping in Mantua. Interest attaches The complexity and richness of Mantua’s architectural heritage, which made it neces- in this connection to a late 19th-century photograph of the Giulio Romano house in sary from the very outset not only to select but also to arrange, led to the decision to the Fratelli Alinari Archives, where the unknown photographer practically repeats the abandon perfect chronological order and begin the book with the Palazzo Ducale, the Marco Moro print, from a viewpoint at natural height, with “walk-ons” in three points surprising result of the combination, overlapping and intersecting of different historical to accentuate the perspective depth, care being taken not to obstruct the view of the periods and styles that constitutes a paradigm of the city as a whole. façade, the principal subject. Nearly abandoning the genre of the view, this marked the It was further decided to adopt the documentary approach as the most neutral and introduction of a photographic approach later perfected in Italy by the Fratelli Alinari, natural possible, and to organize the book in a form taking up the tradition of the ear- whereby the building is detached from its context so as to become an architectural liest photographic albums of architecture, works whose fundamental importance for portrait. In the case of the Giulio Romano house, this can be seen for the first time in a historical studies has been fully recognized by James Fergusson. photograph probably taken in the 1940s (Gabinetto Fotografico Nazionale; published in the 1966 edition of Nikolaus Pevsner’s Outline of European Architecture), followed Marco Introini by shots taken in 1957 by the Fratelli Alinari firm, in 1965 and probably the 1970s by the Studio Calzolari, whose archives (Mantua, Biblioteca Mediateca Gino Baratta) constitute the richest collection of photographs of Mantua’s major monuments taken between 1882 and 1996, and in 1971 by Eros Vecchi. The Giulio Romano house is an emblematic case in the history of the representa- tion of the city’s key landmarks and buildings, a crucial heritage drawn upon for the purposes of this study together with the vast and varied literature of monographs, articles, catalogues and guides on an initial architectural corpus then modified by walking through the city. 8 Architectural Works 1. Palazzo Ducale: The earliest part of the old palace or Corte and the ceilings of the rooms, including the Palazzo del Capitano Vecchia, built by the Bonacolsi family in the former palace chapel above the large vaulted 13th century, corresponds to the rooms entrance to the building. The large Armoury and the Pisanello Room looking out at the rear onto the present- on the top floor, measuring 65 × 15 metres, day Piazza Lega Lombarda. Luigi Gonzaga housed the Diet of Mantua convened by Pope 13th−14th century; 1440; 17th century installed his three sons Guido, Feltrino and Pius II in 1459. unknown; Antonio Maria Viani; Filippino there in 1328 to rule in his name. A staircase in the first room of the Guastalla Antonio Pisano, known as Pisanello Connected to the Magna Domus, the palace Apartment leads down to the Pisanello Room, was altered and enlarged to the length of 65 originally part of an adjacent medieval building, Piazza Sordello, Piazza Lega Lombarda metres with the addition of the front portico where restorations in the period 1969−1972 and the Armoury Room on the top floor. Six brought to light the preparatory drawings for a large double lancet windows with trefoil series of courtly frescoes painted in 1440 by arches were built into the long battlemented Antonio Pisano, known as Pisanello, active at façade together with a monumental arch with the court between 1422 and 1447. heraldic decorations in the centre. The Staircase of the Duchesses, designed by Antonio Maria Viani in 1626−1627, leads up to the first floor, where the rise to power of the Corradi di Gonzaga family on 16 August 1328 is commemorated by The Expulsion of the Bonacolsi (1494), a work of the Veronese painter Domenico Morone, in the Room of Seven Steps, also known as the Morone Room after the artist. This room opens the Guastalla Apartment, named after Anna Isabella di Guastalla, wife of the last duke Ferdinando Carlo, who lived there in the late 17th and early 18th century. The six rooms have been joined since the beginning of the 20th century with the Galleria del Passerino that runs the entire length of the section overlooking Piazza Sordello. In the early 17th century, after numerous alterations for the worse, Marani, Perina 1961, p. 7; L’Occaso 2009, pp. 26–30; Antonio Maria Viani renovated the decorations pp. 94–98; Girondi 2013, pp. 16–45. 12 2. Palazzo Ducale: Magna The Magna Domus was built by the Bonacolsi Courtyard of Eight Faces, designed by Domus and Main Courtyard family between the 13th and 15th centuries by Bernardino Facciotto. The Room of the Mirror, joining a tower and a palace. Initially separated the ducal music chamber, is located at the rear by a narrow lane and diverging in alignment, of the Loggia of Fauns above the courtyard. 13th−15th century; 1574−1581; 1771−1780 it came to share a portico with the Palazzo The wedding banquet of Guglielmo Gonzaga Giovanni Battista Bertani; del Capitano on Piazza San Pietro in the 14th was held in the Main Courtyard, originally the Pompeo Pedemonte; Bernardino Facciotto; century. Traces of the small Gothic church of Courtyard of Four Plane Trees or Garden of Paolo Pozzo; Giuseppe Piermarini Santa Croce still survive in the inner courtyard. Box Trees, in 1561. Connected to the Room The earliest section on the first floor was of Popes and looking onto the south side of Piazza Sordello 39–40, Cortile d’Onore, Giardino Pensile converted into the Empress’s Apartment for the Main Courtyard, the New Gallery, running Beatrice d’Este by Paolo Pozzo in 1778. The between the Ducal Apartment and the Domus Apartment of Guglielmo or Green Apartment Nova, was renovated by Giuseppe Piermarini in the east wing was created for the duke by in 1771. It has housed altarpieces from Giovanni Battista Bertani (1516−1576). The suppressed religious buildings since the Tapestry Rooms − of the Eagle, the Lion and 19th century. the Emperors − were renovated by Pozzo in the Neoclassical style in 1780 to house nine tapestries of the Acts of the Apostles woven to cartoons by Raphael. The Zodiac Room in the northern section presents a wonderful ceiling painted by Lorenzo Costa the Younger. The Room of Rivers, designed in the Rococo style by Gaetano Crevola with painted decoration by Giorgio Anselmi, opens onto the Roof Garden. Designed by Pompeo Pedemonte in 1579, 14 metres above the ground on top of two levels of barrel-vaulted galleries, the garden is enclosed by porticoes with twin columns on the other three sides. The Room of Falcons and the Cabinet of Moors constitute the studiolo or study of Duke Guglielmo. The Corridor of Moors leads to the small Loggia of Santa Barbara (1574−1581), from which it is possible to reach the L’Occaso 2009, pp. 26–35; pp. 82–91; pp. 112–119. 14 3. Palazzo Ducale: The castle was built between 1390 and Gonzaga commissioned Giulio Romano to Castle of San Giorgio 1406 by Bartolino Ploti from Novara for build a small house, known as the Palazzina Francesco I Gonzaga on the site of the della Paleologa, connected by means of an Romanesque church of Santa Maria Capo overhead passageway to the northeast side of 1390–1406; 1459–1474; 1531 di Bove, demolished by permission of the castle. This building fell into an advanced Bartolino Ploti; Andrea Mantegna; Pope Boniface IX. Square in plan with four state of dilapidation and was demolished Luca Fancelli; Giulio Romano projecting corner towers, it is surrounded by in 1898. During the period of Austrian rule, a deep moat, which was later bridged with archives were installed on the first floor and Piazza Castello, Via San Giorgio, Lungolago Gonzaga a staircase to connect it with the palace. cells, the last prison of the Belfiore martyrs, on Dungeons were located in the cellars. the top. Restoration early in the 20th century Around 1459 it was transformed in a led to demolition of the walls added to the residence for Ludovico II, who moved into the portico and a lowering of the walkways. castle to make way for the participants in the papal diet, by Andrea Mantegna, working as an architect. In 1472, another two sides designed by Mantegna were added to the portico in the courtyard by Luca Fancelli. A spiral ramp leads up to the Room of Coats of Arms and the adjacent Room of Suns and Room of Frescoes on the first floor. In the north tower, the famous Bridal Chamber (Camera degli Sposi or Camera Picta) was frescoed by Mantegna between 1465 and 1474 with life- sized portrayals of Ludovico III with his family and figures of the court. A round opening with a view of the sky above is painted in the middle of the ceiling. Having left Ferrara in 1490 to marry Francesco II Gonzaga, Isabella d’Este took up residence in the small domestic rooms on the east side of the first floor, Marani, Perina 1961, pp. 457–459: Carpeggiani, Tellini including the Studiolo and the Cavern, which Perina 1987, pp. 107–108; Poltronieri 1989, no. 5; were used for the family collections and music. Amedeo Belluzzi, “La palazzina di Margherita Paleologa nel castello di Mantova,” in Giulio Romano 1989, In 1531, the year of his marriage to Margherita pp. 384–387; L’Occaso 2009, pp. 53–65; pp. 99–104; Paleologo del Monferrato, Federico II Adorni 2012, pp. 40–45. 16