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Article

Claude Laroche

(b Paris, Nov 9, 1812; d Chatou, Aug 2, 1884).

French architect and restorer. He was the son of a Neo-classical architect of the same name (1783–1868), who was a pupil of Charles Percier and architect to the département of Charente. The younger Paul Abadie began studying architecture in 1832 by joining the atelier of Achille Leclère and then entered the Ecole des Beaux-Arts in 1835. While he was following this classical training, he participated in the rediscovery of the Middle Ages by going on archaeological trips and then, from 1844, in his capacity as attaché to the Commission des Monuments Historiques. He undertook his first restoration work at Notre-Dame de Paris, under the direction of Jean-Baptiste-Antoine Lassus and Viollet-le-Duc. Abadie was appointed deputy inspector at Notre-Dame in 1845, and in 1848, when the department responsible for diocesan buildings was created, he was appointed architect to the dioceses of Périgueux, Angoulême and Cahors. He subsequently completed about 40 restoration projects, mainly on Romanesque churches in Charente, in the Dordogne and the Gironde, and as a diocesan architect he was put in charge of two large cathedrals in his district: St Pierre d’Angoulême and St Front de Périgueux. In the former he undertook a huge programme of ‘completion’, returning to a stylistic unity that was in line with current episcopal policy (...

Article

Jens Peter Munk

(b Copenhagen, Sept 11, 1743; d Frederiksdal, Copenhagen, June 4, 1809).

Danish painter, designer and architect. His paintings reveal both Neo-classical and Romantic interests and include history paintings as well as literary and mythological works. The variety of his subject-matter reflects his wide learning, a feature further evidenced by the broad range of his creative output. In addition to painting, he produced decorative work, sculpture and furniture designs, as well as being engaged as an architect. Successfully combining both intellectual and imaginative powers, he came to be fully appreciated only in the 1980s.

He studied at the Kongelige Danske Kunstakademi in Copenhagen (1764–72), and in 1767 he assisted Johan Edvard Mandelberg (1730–86) in painting the domed hall of the Fredensborg Slot with scenes from the Homeric epic the Iliad. In 1772 he was granted a five-year travelling scholarship from the Kunstakademi to study in Rome. During his Roman sojourn he extensively copied works of art from the period of antiquity up to that of the Carracci family. His friendships with the Danish painter Jens Juel, the Swedish sculptor Johan Tobias Sergel and the Swiss painter Johann Heinrich Fuseli placed him among artists who were in the mainstream of a widespread upheaval in European art. In these years Abildgaard developed both Neo-classical and Romantic tastes; his masterpiece of the period is ...

Article

Andrzej Rottermund

(b Puławy, June 1756; d Florence, Feb 8, 1841).

Polish architect and writer, also active in Italy. He probably studied in Rome in the late 1770s and returned to Italy in 1785–6 under the aegis of Stanisław Kostka Potocki, a collector and amateur architect with whom he collaborated throughout his life. In 1786 Aigner and Potocki refronted the church of St Anna, Warsaw, using a giant composite order on high pedestals. The political turmoil of the 1790s disrupted Aigner’s career, but during his second phase of creativity (1797–1816) he won fame through his work on the great estate of the Czartoryski family at Puławy, on the Vistula west of Lublin, the most important centre of cultural life in Poland during the Enlightenment. Aigner had already erected the Marynka Palace there in 1790, a variation on the Petit Trianon at Versailles, France, and from 1798 he began to add ornamental buildings to go with the new Picturesque layout of the Puławy gardens: a Chinese pavilion, a Gothick house and a peripheral Temple of the Sibyl with a shallow dome. In ...

Article

José Fernandes Pereira

(b Braga, 1748; d Oporto, 1815).

Portuguese architect and military engineer. He was the most distinguished of the late 18th-century architects of northern Portugal, where he introduced the new spirit of Neo-classicism. He was the son of a musician at the episcopal court at Braga, whose protection and influence were valuable to him. Working in Braga during a period of transition, Amarante ended the architectural tradition inherited from André Ribeiro Soares da Silva, and, although he lacked Soares’s creativity, he made an important contribution to the city. Amarante’s later work in Oporto was in a more developed Neo-classical style and was an integral part of the new face of that city.

Though he trained as a military engineer, his first activity was designing rocaille ornament. His source for the new aesthetic forms may have been Jacques-François Blondel’s Cours d’architecture (Paris, 1773), lent to him by the royal archbishop, Dom Gaspar de Braganza (1716–89). His first contract, won in competition with João Bernardes de Silva, was for a design, submitted in ...

Article

Gianni Mezzanotte

(b Monza, Aug 22, 1776; d Milan, May 23, 1852).

Italian architect and writer. He studied architecture at the Accademia di Brera, Milan, under Giuseppe Zanoia (1752–1817), the Accademia’s secretary, and later taught there himself. At the beginning of his career he was involved in the hurried completion (1806–13) of the façade of Milan Cathedral, which was carried out under the direction and with the collaboration of Zanoia. Napoleon’s order that the façade should be completed economically determined the execution of the work, which was carried out in a simple Gothic style derived from the cathedral’s aisles, and it was later judged to be deficient on a number of counts, including its workmanship. The church of S Carlo al Corso (1838–47) in Milan was Amati’s most significant building. Here he grafted 16th-century motifs on to a centralized Roman plan in such a way as to recall both the Pantheon in Rome and the circular Milanese church of S Sebastiano, as well as Bramantesque models and the buildings frequently seen in the backgrounds of Renaissance paintings. The design for the church was part of a proposal (largely unexecuted) to reorder the entire centre of the city. Amati proposed that a vast arcaded square be opened up around the cathedral and that the Corsia dei Servi (now Corso Vittorio Emanuele) should be straightened to lead up to S Carlo, where another piazza, relating architecturally to the church, was proposed. At the time when eclecticism was spreading in Italy and overturning accepted criteria of artistic quality, Amati advocated a return to Vitruvian principles. To this end he produced a series of publications devoted to Vignola, Vitruvius, Roman antiquities in Milan, and on archaeology. The completion of the church of S Carlo and Amati’s death, however, marked the end of the Neo-classical movement in Italy....

Article

Rosanna Cioffi

(b Santa Giusta degli Abruzzi, Sept 22, 1760; d Naples, June 22, 1853).

Italian draughtsman and painter. He trained in Rome under Marco Caprinozzi and was a pupil of Domenico Corvi at the Accademia di San Luca. The greatest influence on his work, however, was the style of Jacques-Louis David. Angelini soon distinguished himself as a skilled draughtsman and collaborated with the engravers Giovanni Volpato and Raphael Morghen on Principi del disegno tratti delle più eccellenti statue antiche (Rome, 1786), a work that was of fundamental importance in disseminating the Neo-classical style, particularly through the teaching of the academies. About 1790 Angelini travelled to Naples at the request of William Hamilton (i), the British Consul, in order to draw the antique vases in his collection (published Naples, 1791–5). His work was admired by several other collectors in Naples and in 1799 he was commissioned to draw the antique vases of the Marchese Vivenzio (published c. 1900).

With the introduction of French Neo-classicism in Naples, Angelini became the artist best able to respond to the demands of the new taste. In ...

Article

Lucio Franchini

(b Castel Bolognese, Ravenna, 1756; d Bologna, March 11, 1841).

Italian architect, engineer and theorist. He graduated from the University of Bologna in engineering and architecture. From 1775 to 1796 he was in Rome, where his design for the new sacristy of St Peter’s (1775) was admired by Pius VI, although the commission was awarded to Carlo Marchionni. Antolini took part in the scheme to drain the Pontine Marshes (1776–7), but caught malaria and resigned his appointment. Devoting himself to the study and practice of architecture, he became involved in the artistic controversies of the day, including the debate on the use of the Doric order (see Piranesi, Giovanni Battista) and the changing attitudes towards the restoration of ancient monuments, his own position becoming progressively more conservative. He published his first important archaeological work on the Temple of Hercules at Cori in 1785 and began his studies on the Temple of Minerva at Assisi. During this period he also produced schemes for palaces, chapels and other buildings for noble foreign clients, including a design for the façade of the palace and court chapel of the Duke of Courland at Mitau (now Jelgava, Latvia). During the French intervention in Italy (...

Article

Richard J. Goy

(b Ghemme, Novara, July 14, 1798; d Maggiora, Novara, Aug 18, 1888).

Italian architect and urban planner. He was the most prominent Neo-classical 19th-century architect in Piedmont, with a long and prolific career that included designs for houses, churches and major urban planning schemes. He trained at the Accademia di Brera, Milan, and the Politecnico, Turin, qualifying in 1824. Shortly afterwards he won a scholarship to Rome, where he remained until 1831. This long period of Classical studies profoundly influenced his career. One of his first commissions on his return to Piedmont was the completion of the church of S Agapito, Maggiora. Begun in 1817 by Giuseppe Zanoia (1752–1817), the church was completed in 1838; Antonelli’s work included the portico and the complex Neo-classical interior, with richly coffered, decorated vaults and a dome on pendentives. His next work was the Santuario del Crocefisso at Boca, near Maggiora. Begun in 1830, the design underwent many revisions and was not completed until ...

Article

Pavel Zatloukal

(b Lobositz [now Lovosice], May 27, 1793; d Kremsier [now Kroměříž], Nov 7, 1851).

Bohemian architect, active in Moravia. He studied at the Royal Professional Polytechnical Institute in Prague under Georg Fischer (1768–1828), in whose office he subsequently worked. During the 1820s he worked on two Bohemian estates of the Chotek family, becoming involved in the final stages of building their country house at Kačina (1802–22), by Christian Friedrich Schuricht (1753–1832) and building some of the many follies in the park at Veltrusy. From 1832 until his death Arche worked in the office of works of the archdiocese of Olmütz (now Olomouc) at Kremsier, in Moravia, becoming director (1833) and later counsellor (1838). Arche worked in two styles, the Neo-classical, for which he derived his ideas from contemporary engravings and particularly the Leipzig Ideenmagazin, and the Gothic Revival, which he used in some of his remodellings. Soon after his arrival at Kremsier, he remodelled (...

Article

Andreas Kreul

(b Hamburg, Oct 2, 1757; d Pisa, Aug 18, 1806).

German architect, draughtsman, landscape designer and painter. He studied from 1778 to 1783 at the University of Göttingen and the Royal Danish Academy in Copenhagen, where he was awarded four prizes. His early designs included drawings for the hothouse of the botanic gardens in Copenhagen and a lecture room at Schloss Charlottenburg, Berlin. While visiting Paris in 1784–5 he devoted himself to the study of Revolutionary architecture, and in England and Italy (1786) he studied landscape design and ancient sites. In Rome in 1787 he met Johann Wolfgang von Goethe, who later summoned him to Weimar to rebuild the prince’s Schloss. In addition to a number of designs for the palace at Weimar he produced drawings for various summer-houses. In 1790 he moved to Hamburg, his plans for the Schloss at Weimar still largely unexecuted. By the end of his life he had designed numerous public buildings and private houses in Hamburg, including the house for Bürgermeister ...

Article

Mario Bencivenni

(b Florence, June 6, 1792; d Florence, July 12, 1867).

Italian architect . He studied under Giuseppe Cacialli at the school of architecture of the Accademia di Belle Arti in Florence, which was directed by Gasparo Maria Paoletti, the leader of the Neo-classical architectural movement in Tuscany. In 1812 Baccani was awarded first prize for architecture in the Accademia’s prestigious triennial competition with a design for a prison, a project that already demonstrated the principal characteristic of Baccani’s work, his alternation between a Neo-classical vocabulary and a medieval, Romantic one. Indeed, his earliest executed works in Florence were the Gothic Revival tower (1817–21) in the garden of the Marchesi Torrigiani in the Via dei Serragli, and the Neo-classical Palazzo Borghese (1821) in the Via Ghibellina. In 1824 he succeeded Cacialli as architect to Florence Cathedral, and in 1826, when the cathedral square was extended to the south, he designed the adaptation and new façade of the Canonica di S Maria del Fiore. He also directed the remodelling of numerous houses in Florence, including the Palazzo Brignole-Durazzo (...

Article

(b Gochenée, May 15, 1818; d Ixelles, Brussels, Sept 16, 1895).

Belgian architect . He studied in Namur and at the Académie Royale des Beaux-Arts in Brussels, where he won a medal (1838) for architectural composition. After further studies in Paris in 1840 he settled in Namur, where he taught for six years. In 1852 he became architect to the Duke of Brabant (later Leopold II, King of Belgium), an important future patron. Balat’s work in the Neo-classical style appealed to the Walloon nobility, who commissioned him to modernize or redecorate many châteaux in the current taste, including Seilles (1850), Mirwart (c. 1855), Dave (1858) and Presles (1885). Balat undertook a wide range of commissions, mostly in Brussels, ranging from simple buildings to grand town houses, for example the hôtel (1856–8) for the Marquis d’Assche in Place Frère-Orban (see Belgium, Kingdom of, §II, 4). The numerous commissions for interior decoration or remodelling included the covered market of La Madeleine (...

Article

(b Genoa, Feb 11, 1768; d Genoa, Sept 3, 1835).

Italian architect . He was a major architect in Genoa during the Napoleonic and post-Napoleonic eras. He first studied in Genoa, from 1785, at the Accademia Ligustica and then in Rome, from 1788, under Giuseppe Barberi (1746–1809); he received prizes in the competitions of the Accademia di S Luca (1789) and the Accademia Parmense (1792). His drawings (Genoa, Pal. Rosso) show that he was strongly influenced on the one hand by Giovanni Battista Piranesi and the architecture of antiquity, and on the other by the architecture parlante of the French Enlightenment and in particular the more decorative tendencies of Charles de Wailly. Barabino was able to use these disparate influences in the period of renewed civic confidence in Genoa after the departure of the French in 1815 and the subsequent cession of the city to the House of Savoy.

Although Barabino returned to Genoa in ...

Article

Ettore Spalletti

(b Savignano, nr Prato, Jan 7, 1777; d Florence, Jan 20, 1850).

Italian sculptor and draughtsman. He was one of the most independent-minded sculptors in Italy in the generation after Antonio Canova. His early work is in the Neo-classical style predominant throughout Europe around the turn of the century. While in the Paris studio of Jacques-Louis David he became interested in the art of the Quattrocento, an interest confirmed when he settled in Florence after 1815. His later works combine Neo-classical and neo-Renaissance elements with, particularly in his portraits, a strong taste for naturalism. In 1812 he held a series of classes at the Florentine Accademia di Belle Arti, astonishing his colleagues by instructing his model to take up a series of instantaneous and casual poses, instead of the customary carefully contrived stance taken from a famous work of art. In 1839 he was made a professor at the Accademia, and again overturned traditional academic notions, this time by presenting the pupils in the life class with a hunchbacked model. (For a detailed discussion of Bartolini’s unusual views on the imitation of nature see ...

Article

Marc Jordan

(b London, April 1, 1794; d Ely, Oct 16, 1845).

English architect. He was born into a wealthy and cultured family related to the Disraelis and the Ricardos, and he trained in John Soane’s office (1810–16), receiving what was then probably the best architectural education available in England, as in his watercolour of the staircase of Gower House, London (1813; London, Soane Mus.; see Chambers, william, fig.). In 1816 he began a tour of Italy and Greece, which was recorded in letters to his family (untraced; typescript London, Soane Mus.) and in drawings and sketches (London, Soane Mus.; see Jordan). After travelling via Paris to Turin, Florence, Rome, Venice and Vicenza, a meeting with C. R. Cockerell in Rome (1817) persuaded him to visit Greece; during 1818 he went via Naples to Thessaly, Constantinople and Athens, returning to Rome via Sicily.

In June 1819 Basevi was back in London at a moment when building activity was expanding after the depressed years immediately following the end of the Napoleonic Wars. His earliest commissions were minor alteration works for family friends or business acquaintances. In ...

Article

Ye. A. Beletskaya

(Ivanovich)

(b Dol’skoye, Kaluzhskaya Province, March 12, 1737; d St Petersburg, Aug 13, 1799).

Russian architect. From his earliest childhood he lived in Moscow, where his father was a minor cleric in one of the Kremlin churches. He studied painting in Moscow under the important architect Dmitry Ukhtomsky, who accepted him into his school of architecture in 1751 and had him enrolled for classes in fine arts and languages at Moscow University in 1754. As one of the most gifted students he was transferred in 1758 to the St Petersburg Academy of Arts. As its curriculum was not then complete, he studied for two years with Savva Ivanovich Chevakinsky (1713–74/80) during the latter’s construction of the naval church of St Nicholas, and with the Academy’s president, Aleksandr Filippovich Kokorinov (1726–72).

In 1760 Bazhenov was sent on a travelling scholarship to study under Charles de Wailly in Paris, where he became acquainted with a wide circle involved in the theoretical disciplines and the study of architecture. He created his own version of a plan for the Hôtel des Invalides and a model of the Louvre, grasping the distinctive character of the nascent French Neo-classicism. As a foreigner he was not entitled to the Prix de Rome upon graduation from the Académie Royale d’Architecture in ...

Article

Philippe Durey

(b Le Havre, June 21, 1750; d Paris, April 15, 1818).

French sculptor, draughtsman and engraver. He arrived in Paris in 1765 to become a pupil of Augustin Pajou. Although he never won the Prix de Rome, he appears to have travelled to Rome in the early 1770s. About 1780 or 1781 he was involved in the decoration of Claude-Nicolas Ledoux’s Hôtel Thélusson, Paris. From 1784 to 1785 he carried out work at the château of Compiègne, including the decoration of the Salle des Gardes, where his bas-reliefs illustrating the Battles of Alexander (in situ) pleasantly combine a Neo-classical clarity of composition with a virtuosity and animation that are still Rococo in spirit.

Beauvallet was approved (agréé) by the Académie Royale in 1789. During the French Revolution he was a passionate republican and presented plaster busts of Marat and of Chalier (1793–4; both destr.) to the Convention. He was briefly imprisoned after the fall of Robespierre in ...

Article

Susan B. Taylor

(b Paris, April 12, 1744; d Paris, May 1, 1818).

French architect and landscape designer. He had a distinguished career as a royal architect at the courts of Louis XV and Louis XVI. Although his fame rests on his accomplishments as a landscape architect, his mercurial talents are perhaps best characterized in his drawings for interior decoration and court festivals. After studying physics under the Abbé Nollet at the Collège de Navarre, Bélanger attended the Académie Royale d’Architecture in Paris between 1764 and 1766 where he worked under Julien-David Le Roy and Pierre Contant d’Ivry. He was not a successful student and left without achieving the illustrious Prix de Rome. Nevertheless, under Le Roy’s influence he was involved with the circle of Neo-classical artists, including Charles-Louis Clérisseau, who had recently returned from Italy. In 1767 Bélanger became a Dessinateur du Roi at the Hôtel des Menus Plaisirs under Charles Michel-Ange Challe. Since the Menus Plaisirs were responsible for the temporary decorations and stage scenery for court festivities, Bélanger was involved with preparations for the marriage celebrations in ...

Article

Christine Challingsworth

(b Rome, Dec 3, 1752; d Rome, Oct 31, 1833).

Italian architect. He initially studied painting and drawing, but soon turned to architecture and in 1775 won second place in the first class of architecture at the Accademia di S Luca in Rome with an elaborate design for a villa. Belli’s teacher of architecture was Pietro Camporese I. He assisted Camporese on his last commissions, including the erection of an arch in honour of Pope Pius VI (completed 1789) at Subiaco and in the remodelling of the Palazzo di S Appolinare in Rome; he also taught Camporese’s sons and grandson. Belli was also an assistant to Giovanni Antinori (1734–92). Together they erected the colossal statues and obelisk (1783–6) in the Piazza del Quirinale and raised the obelisks (1789) at the Piazza Trinità dei Monti and Piazza Montecitorio (1789–92), all in Rome.

In 1821 Belli was chosen by Pope Pius VII to advise on the design of a ...

Article

Jack Quinan

(b Hartland, CT, June 15, 1773; d Springfield, MA, July 26, 1845).

American architect and writer. Benjamin was one of the most influential architect–writers of the first half of the 19th century in the USA and was trained as a housewright in rural Connecticut between 1787 and 1794. Two of his earliest commissions, the carving of Ionic capitals (1794) for the Oliver Phelps House in Suffield, CT, and the construction of an elliptical staircase (1795) in Charles Bulfinch’s Connecticut State Capitol at Hartford, reveal an exceptional ability with architectural geometry that was to help to determine the direction of his career. Benjamin worked as a housewright in a succession of towns along the Connecticut River during the 1790s. In 1797, dissatisfied with the publications of William Pain, an English popularizer of the Neo-classical style of Robert Adam, Benjamin wrote The Country Builder’s Assistant, a modest handbook for carpenters that was the first such work by an American writer. In ...