Architecture of Italy – Neoclassicism
It is widely recognized, that the neoclassical style, which reacted against the exuberance of the late Baroque with a return to the basic principles of classical art, began in Rome in the mid-18th century. Before, however, at the beginning of the century, Several Venetian architects were decisively against the baroque excesses, especially Giovanni Scalfarotto (1690-1764), in which church of San Simone Piccolo you can find undeniable references to the Pantheon.
In the work of popularizing the neoclassical method in Rome, Giovanni Battista Piranesi was the most deserving (1720-78). His atmospheric grand prints of city ruins are among the masterpieces of graphic art and a huge number of prints have been sold. In his theoretical writings, he proclaimed the superiority of ancient Roman architecture over ancient Greek and called for a re-interpretation of its forms as the basis of a new style. As an architect, Piranesi is known only as the creator of the Church of Santa Maria dei Priorato, the highly symbolic Church of the Knights of the Order of Malta on a pentagonal plan.
Luigi Vanvitelli achieved a remarkable synthesis of late baroque with neoclassicism (1700-73) in the enormous royal palace of Casarta. whose ornate apartments with long enfilades contain all the splendor of the bygone style, while the body is distinguished by the dignity and restraint of the new style. His apprentice. Guiseppe Piermarini (1734-1808) became the leading neoclassical architect in Milan, where he designed a series of palaces with long, facades without ornaments, as well as La Scala, currently the most prestigious opera house in Italy.
Another famous theater. La Fenice in Venice, is the most famous building designed by the most staunch supporter of neoclassicism in the city. Giannantonio Selve (1751-1819). A certain French influence is evident in Giuseppe Valadiara's designs (1762-1839), entrusted with rebuilding the interiors of the Spoletto and Urbino cathedrals before he turned thirty. He later settled in Rome, where he was commissioned to build a triumphal arch at Ponte Milvio and to design Piazza del Popolo.
Just like fine arts, Italian architecture experienced a stagnation for most of the 19th century. Due to the dominance of the classical tradition, we are not dealing here with a conscious modern reinterpretation of other styles, which was characteristic of Northern European construction during this period. The only exception is Luigi Japelli (1783-1852). His masterpiece, Caffe Pedrocchi in Padua, it is indeed a thoroughly neoclassical building, but the annex is neo-gothic, while the Teatro Verdi in the same city is based on the Rococo style, and Japelli's villas refer to the work of Palladio.
The nineteenth century also left behind many impressive planning achievements. One of them is Trieste, where the seaside district was rebuilt. In Turin, the work of the previous century was continued with the founding of Piazza Vittorio Veneto and Piazza Carlo Felice at two opposite ends of the city. Alexander Antonelli (1798-1888) he later decorated the city with a huge tower of iron construction. Mole Antonelliana. which was originally intended to be a synagogue, but eventually a museum was set up there.
The most original planning project was carried out in Milan, whose status as the main commercial center of the newly created city-state is symbolized by Giuseppe Mengoni's Galleria Vittorio Emanuele II (1829-77) - the first major iron and glass structure in Italy, which launched the pan-European vogue for indoor shopping complexes.
In Rome, with the achievement of the unification of Wioch w 1870 year there was a need to create new streets and buildings worthy of a great modern capital; Of course, a monumental classic style was chosen, which, however, did not quite work out. The most striking - even if not visually pleasing - addition to the city's neoclassical heritage is the enormous marble statue of Vittorio Emanuele II by Giuseppe Sacconi (1853-1905).