By Rudolf Wittkower
Booklet via Wittkower, Rudolf
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Additional resources for Gothic vs. Classic Architectural Projects in Seventeenth-Century Italy
Sample text
Buzzi had propagated his case most effectively, as two further developments go to show. Early in 1653 ne came our with a project that was more radical (fig. 60): it contained significant emendations principles. see - (47) GOTHIC CLASSIC VS. of the earlier project, although the overall conception remained the When he felt he had to continue the windows in the Roman manner. The two windows of the third tier giving light to the vault of the aisles as well as the windows above the main portal were his.
47) strikes one as the mature statement of a man conscious of carrying the responsibility of office and who must have felt that his privileged position would help gain acceptance of a grand balanced design that summed up the essence of Pellegrini's work and surpassed it. Despite the variety of Ricchino's facade designs, we have to admit that he was the seventeenth-century standard-bearer of Pellegrini's Roman solution. There are more Ricchino drawings for the facade in Milan, but they would scarcely add to what we have learned.
Will see— he had not fully anticipated the consequences of his action. First it must be said that under Pellegrini the building progressed side and the new main altar, the and the crypt, the pulpits and the floor of the cathedral, stained glass windows, and many other things were accomplished during his regime and from his designs: all classical. But the problem that must have interested him most, the fagade, was scarcely advanced while he held office. He concentrated much of his energy on its planning and, although he did not see his project carried out during his lifetime, we shall find that it had an ineradicable influence on the later history of the facade.