Borromini Colloquium in Einsiedeln

30 June-1 July 2019

Portrait of Francesco Borromini, frontispiece to Opera del Cav. Francesco Boromino, Cavata da Suoi Originali cioè L’Oratorio e Fabrica per l’Abitazione De PP. dell’Oratorio di S. Filippo Neri di Roma, ed. Sebastiano Giannini (Rome, 1725).
Source: Getty Research Institute / Internet Archive

Werner Oechslin (Stiftung Bibliothek Werner Oechslin / ETH Zürich) and Francesco Moschini (Accademia di San Luca, Rome) have organized a two-day colloquium on Francesco Borromini, his sources, and his architectural offspring. The event assembles many established and emerging Borromini scholars and features a special keynote address by Paolo Portoghesi.

I am looking forward to participating with my presentation, “Borromini and Guarini: The French Connection.” My talk examines Guarino Guarini’s adaptation of Borrominian motifs at his ill-fated church of Sainte-Anne-la-Royale in Paris, and the subsequent reception of this design by French architectural writers.

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Program

Sonntag, 30. Juni / Domenica, 30 giugno
1. Arbeitstag. Borromini und seine Architektur im Kontext / Primo giorno: Borromini e la sua architettura nel contesto

09.30 –12.00 Uhr / Ore 09.30–12.00

● Francesco Moschini / Werner Oechslin
Einführung, Hypothesen / Introduzione, Ipotesi

● Paolo Porthoghesi (Rom)
Prolusione inaugurale: L’architettura di Borromini

● Federico Bellini (Rom)
La SS. Sapienza: l’espressione visual e sonora del misterio trinitario

13.30 –18.00 Uhr / Ore 13.30–18.00

● Giuseppe Bonaccorso (Rom)
Borromini e i rapporti con amici, conoscenti e committenti: una chiave di comprensione del suo processo del fare

● Eleonora Gaudieri (Wien)
Alois Riegels „Entstehung der Barockkunst in Rom“

Kaffeepause

● Alina Aggujaro (Rom)
Bramante e Borromini: le due prospettive

● Alexander von Kienlin, Gunnar Schulz-Lehnfeld (Braunschweig)
„Aufgebrochene Schlingen und Ketten“ – zum Michelangiolesken in Borrominis Architektur

Montag, 01. Juli / Lunedì, 01 Luglio
2. Arbeitstag: Borromini und die Folgen: Geometrie, Entwurfsprozesse / Secondo giorno: Borromini e le consequenze: Geometria, procedure del disegno

09.30 –12.30 Uhr / Ore 09.30–12.30

● Susan Klaiber (Winterthur)
Borromini and Guarini: The French Connection

Kaffeepause

● Martin Raspe (Rom)
Il Calvino dell‘ Architettura? Borromini und die Doktrin vom rechten Winkel

● Werner Oechslin (Einsiedeln)
Borromini il Cartesio dell’Architettura und die (nachfolgende) Disziplinierung der Kurve

14.30 –18.00 Uhr/ Ore 14.30–18.00

● Daniel Tischler (Wien)
Synoptische Architekturzeichnungen Borrominis

● Richard Bösel (Tuscania) – Diskutant

● Torsten Tjarks (Bonn) – Diskutant

Kaffeepause

● Stefan Kummer (Würzburg)
Anmerkungen zur vermeintlichen ‚Kurvenfeindlichkeit‘ Balthasar Neumanns am Beispiel der Würzburger Residenz

● Sebastian Schütze – Diskutant

● Schlussdiskussion / conclusione

18.15 Uhr / Ore 18.15: Besichtigung der Klosterkirche Einsiedeln / Visita della abbazia di Einsiedeln

Venue

Stiftung Bibliothek Werner Oechslin
Luegetenstr. 11
8840 Einsiedeln

Attendance is free, but registration requested at info@bibliothek-oechslin.ch.

Download

Download the colloquium program as a PDF.

From my presentation, “Borromini and Guarini: The French Connection”

EAHN 2020, Edinburgh: Call for Papers

David Roberts (1796–1864), Edinburgh from the Castle, 1847, Oil on canvas, Yale Center for British Art, Paul Mellon Collection
Source: Yale Center for British Art / public domain

European Architectural History Network Sixth International Meeting
Edinburgh, Scotland, 10-13 June 2020

The scientific committee for EAHN 2020 in Edinburgh has selected twenty-five sessions and round tables for the conference, and published the call for papers for these panels. I am no longer actively involved in the EAHN, but am delighted to see that the colleagues currently leading the organization have pulled together such a varied and stimulating program. For complete details on the call for papers, see the conference website and the listing of panels. An additional webpage provides a convenient overview of all the panels with their individual details.

EAHN 2020 CALL FOR PAPERS – DEADLINE 20 SEPTEMBER 2019

The call for papers (sessions) and discussion positions (round tables) is now live. The deadline is 20 September 2019, and proposals should be submitted to the Session Chairs, whose details may be found below. All proposals should include the following information:

· A proposal, in English, of no more than 300 words

· The title of the paper, or discussion position

· Your name

· Your professional affiliation

· A short curriculum vitae (maximum of two pages)

· A mailing address, email address and telephone number

Sessions will consist of either five papers or four papers and a respondent, with time for dialogue and questions at the end. Each paper will be limited to a 20-minute presentation. Abstracts for presentations should define the subject and summarize the argument to be presented in the proposed paper. The content of that paper should be the product of well-documented original research that is primarily analytical and interpretative rather than descriptive in nature.

Round tables will consist of five to ten participants and an extended time for dialogue, debate and discussion among chair(s) and public. Each discussant will have 10 minutes to present a position. Abstracts for round table debates should summarize the position to be taken in the discussion.

Please note: papers may not have been previously published, nor presented in public. Only one submission per author will be accepted. All abstracts will be held in confidence during the selection process. In addition to the thematic sessions and round tables listed below, open sessions may be announced in due course – details to be provided on the conference website.

Sessions and Round Tables:

● Urban planning during state socialism: global ambitions, national ideologies and local desires

● Public Health in the Early Modern City: Salutogenesis Through Architecture

● Ephemerality and Monumentality in Modern Europe (c.1750-1900)

● Splitted Cultures/New Dialogues: Research in Architectural History and Theory

● User Comfort, Functionality, and Sustainability as (Early?) Modern Architectural Concerns

● Shifting Identities of the Ottoman Vernacular

● Migration and Domesticity in the Long Nineteenth Century

● Cosmopolitanism’s Others: Transnational Architecture and Planning beyond Europe and North America

● Design as Process in Pre-Modern Architecture

● Rethinking Architecture for Friars: Process and Spatial Solutions in the Medieval and Early Modern Europe, 1200 – 1500

● English as the Academic Lingua Franca?

● The Urban Commons: Collective Actors, Architectural Agency and the City

● Multilateralism since 1945. From the Comecon to the Belt and Road Initiative

● The Role of Women in the Building of Cities in Medieval and Early Modern Europe

● Architects do not make buildings: A last call for disegno

● Drive-In Architecture, Carriage to Motor Age

● Radical Exchanges between Latin America and Europe in the Everlasting Sixties

● Hotels in the Global South and the Architectures of Contact Zones

● Empires of Heritage: World Monuments before UNESCO

● European Welfare Landscapes: Histories and Futures

● Southern Exchanges: Relocating Architectural Knowledge Production

● Territories of incarceration: The project of modern carceral institutions as an act of rural colonisation

● Flexibility and its Discontents: Techniques and Technologies in Twentieth Century Architectural Production

● Genius Loci: The Politics of Pre-Modern Architectural Style

● Cultivating the Child Eye’s View

Fortuna del Barocco in Italia. Le grandi mostre del Novecento

Book Launch: Proceedings of November 2016 Conference

Fortuna del barocco book launch invitation
As the work on the research project Antico / Moderno. Parigi, Roma, Torino 1680-1750 concludes, the second publication arising from the project will be presented at the Salone del Libro in Turin on 10 May at 16:30. Volume 2 in the series Quaderni di Ricerca of the Fondazione 1563 per l’Arte e la Cultura collects the conference proceedings from the November 2016 conference Fortuna del Barocco in Italia. Le grandi mostre del Novecento.

My contribution to the volume consists of a response to the talk by Joseph Connors entitled “Il barocco in Italia visto dall’estero. Le mostre di architettura.” View details of the other essays comprising the book in the table of contents. Looking forward to this volume documenting a very stimulating conference!

Publication

Di Macco, Michela, and Giuseppe Dardanello, editors. Fortuna del Barocco in Italia. Le grandi mostre del Novecento. Fondazione 1563, Quaderni di ricerca 2. Genoa: Sagep Editori, 2019.

Other news from the Fondazione 1563 per l’Arte e per la Cultura

● This is a great chance to note the new Summer School organized by the Fondazione 1563, entitled “Ripensare il Barocco (secoli XVII e XVIII). Nuove prospettive storico-critiche.” The Summer School takes place in Turin from 2-7 September 2019 and the deadline for applications is 31 May 2019. For more information, see the call for applications in Italian or English.

● The Fondazione 1563 per l’Arte e per la Cultura has also recently announced the seventh edition of its annual program of fellowships for postdocs or advanced doctoral candidates in baroque studies, Borse di alti studi sull’Età e la Cultura del Barocco Intitolate a Rosaria Cigliano: VII Bando – Edizione 2019. The five annual fellowships support emerging scholars under the age of 35. The application deadline this year is 27 July 2019. For more information, see the call for applications in Italian or English.

A Panorama of Turin

Torino, Panorama generale

Torino, Panorama generale, ca. 1914
Source: ETH-Bibliothek Zürich, Bildarchiv / Fotograf: Unbekannt / Fel_031762-RE / Public domain mark
CLICK TO ENLARGE

The rich online image collections of the ETH Zürich hold countless treasures, including aerial photographs, historic bookplates, the collection of the Fotostiftung Schweiz, historic scientific instruments, field research photography in geology and botany, and historic photographs of buildings in Zurich. Many images are available with some type of Creative Commons license, or are in the public domain. A great deal of the collection consists of postcards, with some unusual examples such as this five-part accordion-folded panorama of Turin dating to around 1914.

The photographs used in the panorama were apparently taken from the Monte dei Cappuccini, on the east side of the Po River just outside the historic center of the city. The leftmost image looks south-southwest, upstream along the Po, toward the Castello del Valentino. Moving from left to right and facing westward, the images successively pan from southwest to north-northwest, while the final, rightmost image looks northeast toward the basilica of Superga. Near the right edge of the central image, the spire of the Mole Antonelliana punctuates the skyline. Together, the five photographs pan well over 180°. The Po runs along the foreground of the entire panorama, while the Alps form a continuous backdrop, a vivid illustration of Turin as the “città subalpina.”

The ETH image archive also holds similar panoramas of numerous other cities and landscapes. Besides many variations on Alpine panoramas, these include Berlin, Bologna, Budapest, Lugano, Lyon, Palermo, Valletta, and Oahu!

Guarino Guarini Letterato

A Neglected Article by Martino Capucci

“Quel che si sa di Guarino Guarini architetto non è molto: ci sono le sue opere, non la sua figura intera. Manca ancora una monografia che dica non solo dell’artista, ma anche del trattatista d’architettura, del letterato, del matematico e filosofo farraginoso e dottissimo. … riteniamo opportuno ordinare quel che si sa su Guarini scrittore, delinearne gli essenziali aspetti; offrendo così qualche materiale che potra non essere inutile per lo storico dell’arte che voglia tenerne conto.”

From: Martino Capucci, “Guarino Guarini Letterato,” Lettere Italiane 8:1 (Gennaio-Marzo 1956): 75-82 [75].

The article cited above, by the late scholar of Italian literature Martino Capucci (1926-2013), recently surfaced in JSTOR – apparently the journal Lettere Italiane is a new addition to the repository’s invaluable resources. In the 1956 essay, Capucci called for an integrated approach to Guarino Guarini’s life and work, considering all of his activity – in mathematics, astronomy, philosophy, and indeed literature – as inseparable from his architectural work. Capucci, who taught at the University of Bologna, surveyed all the writings of the Theatine architect, but then focused his attention on Guarini’s first publication, the play La pietà trionfante (Messina, 1660). Capucci situates the tragicomedy within the tradition of seventeenth-century Italian theater, succinctly and honestly assessing it from the point of view of italianistica. While Capucci finds the play of low literary quality, he nonetheless recognizes its value in reflecting the culture in which Guarini took part:

“In questo ‘maestro del barocco’ il fascino della cultura è straordinario e spesso soffocante, ma a noi non importano tanto i risultati quanto il desiderio di esperienza che sta alla radice di questa cultura; ed è qui, non in un rapporto esterno o magari deterministico, quel punto di contatto fra i due aspetti della personalità guariniana, che giustifica l’esame della sua attività di erudito, trattatista e scrittore da cui possiamo trarre maggior sicurezza nella valutazione dell’opera per la quale egli vive ancora.” [81-82]

To my knowledge, Capucci’s article has remained entirely unknown within the literature on Guarino Guarini. It is not included in any of the usual authoritative bibliographies on the Modenese Theatine. Yet Capucci’s essay coincided with the flowering of studies on Guarini and Piedmontese baroque architecture in the late 1950s through the 1960s, such as Paolo Portoghesi’s short monograph published the same year. Its omission can only be due to the disciplinary blinders that still plague Guarini research today. Few studies on Guarini make more than passing reference to La pietà trionfante, although a play based on it was produced in Modena in 2005, Le regole del cielo. Capucci’s article thus fills a notable gap in Guarini scholarship, providing important literary expertise to assist in our understanding of a figure who is fully comprehensible only through interdisciplinary efforts.

Consult “Guarino Guarini Letterato” by Martino Capucci at this JSTOR permalink. It deserves to be better known and to take its place within the standard literature on the architect.

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Further reading:

● Martino Capucci’s colleagues at the University of Bologna prepared this booklet as a memorial tribute following his death in 2013. The biographical essay includes an account of the genesis of Capucci’s early essay on Guarini.

● Download Guarini’s La pietà trionfante from the Biblioteca Nazionale Braidense.

EAHN 2020: Call for Sessions and Roundtables

European Architectural History Network Sixth International Meeting
Edinburgh, Scotland, 10-13 June 2020

Although I have stepped back from active involvement in the European Architectural History Network (EAHN), I am happy to note and share information about the preparations for the organization’s next biennial conference in 2020. After earlier international conferences in Guimarães, Brussels, Turin, Dublin, and Tallinn, the sixth edition will take place in Edinburgh. If you have been considering organizing a panel or roundtable on any aspect of architectural history – from antiquity through medieval, early modern, or modern and contemporary – this offers an excellent opportunity!

From the conference website:

Call for Session and Roundtable Proposals

The European Architectural History Network is delighted to announce its next biannual meeting at the University of Edinburgh, UK, 10-13 June 2020. In accordance with EAHN’s mission, the meeting aims to increase the visibility of the discipline of architectural history, to foster transnational, interdisciplinary and multicultural approaches to the study of the built environment, and to facilitate the exchange of research in the field. EAHN is a European organisation, but its intellectual scope is global, and the meeting welcomes proposals on any architectural historical topic. As well as topics on any aspect of the built environment, proposals on landscape and urban history are also very welcome, along with proposals dealing with the theories, methodologies and historiographies of architectural history.

Proposals are sought in two basic formats: (1) a Session, and (2) a Roundtable debate. A Session should consist of 4-5 paper presentations, with a respondent, and time for dialogue and discussion at the end. A Roundtable debate should be an organised as a discussion between panel members, and the format would suit topics of particular urgency, or contemporary relevance. Roundtables should also aim to activate audience discussion as far as possible. Sessions and Roundtables may be chaired by more than one person.

Anyone wishing to chair a Session or a Roundtable debate at EAHN2020 are invited to submit proposals by 31 December 2018. Chairs should make clear whether their proposal is a Session, or a Roundtable.

Please note that EAHN is self-funding, and chairs are expected to provide all their conference expenses, including travel and accommodation.

Deadline: 31 December 2018
Please visit the conference website to submit a session proposal, or for further information.

Cappella della Sindone Reopened

Guarino Guarini’s Chapel of the Holy Shroud, Turin, Restored


The Chapel of the Holy Shroud reopened this weekend after a decades-long restoration campaign. The chapel had first closed in May 1990 when a small piece of marble detached from a cornice and crashed to the floor. Repairs proceeded sporadically over the next several years. In April 1997, the restoration was nearly complete when a devastating fire hit the chapel. The wooden boards on some of the scaffolding caught fire, for reasons never fully determined. The great height of the chapel acted as a chimney to pull the flames upward and fan the fire. Although the marble could not burn, it cracked and changed color because of the intense heat. Splintered fragments of the originally black Frabosa marble fell to the pavement. As later emerged, the structure of the chapel and its dome were largely intact, but the subsequent restoration was fraught with conflicts, setbacks, and a lack of transparency. After multiple missed deadlines, the restoration is complete and the chapel accessible to visitors.

Position of the Cappella della Sindone between the Cathedral of San Giovanni and the Palazzo Reale, Turin

Located between the Cathedral of San Giovanni and the Royal Palace in Turin, access to the chapel was originally provided from both buildings. That meant that members of the Savoy dynasty could enter the chapel directly from the palace, but also that the faithful could enter from the cathedral, as well as view the chapel directly above and behind the high altar of the cathedral. During much of the twentieth century, though, visitors entered from the church side, via the stairways from the two doors flanking the high altar of the cathedral, while the palace doorway was rarely used. With the reopening, the chapel now forms part of the Musei Reali in the Royal Palace, and will be accessed from the palace side, with the cathedral doors closed. The shroud itself is now stored elsewhere.

The portals in the cathedral giving access to the stairways leading to the Shroud Chapel will now remain locked. Source: TripAdvisor

While the successfully completed restoration must be seen as a triumph – reinstating one of the most stupendous spaces in early modern European architecture – the incorporation of the chapel in a museum circuit is symptomatic for our age. Divorced from its relation to the church, devoid of the relic that originally prompted its construction, Guarini’s chapel has become yet another event for cultural tourism.

Beginning Tuesday, 2 October, the chapel may be visited as part of the a general admission ticket to the Musei Reali Torino.

 

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Further reading:

● The Art Newspaper provides a convenient English summary of the restoration campaign.

● John Beldon Scott’s 2003 book Architecture for the Shroud: Relic and Ritual in Turin (Chicago: University of Chicago Press) remains essential reading for the historic background of the Shroud Chapel and the earlier repositories of the relic. See also my review of Scott in Annali di architettura 16 (2004).

● My other posts on the Shroud of Turin.

Still Essential: Tommaso Sandonnini on Guarino Guarini

Fundamental Study Available Open Access

Sandonnini Guarini

Tommaso Sandonnini, Del Padre Guarino Guarini, Chierico Regolare (Modena: Vincenzi e nipoti, 1890).
Source: Internet Culturale

In 1890, the Modenese archivist Tommaso Sandonnini published a lengthy article on Guarino Guarini in the local history journal Atti e memorie delle RR. Deputazioni di storia patria per le provincie modenesi e parmensi. The text, entitled “Il padre Guarino Guarini modenese,” provided the first modern biography of the Theatine architect, an impartial account of his life based on archival sources. The same year, the study was issued as a stand-alone booklet (or offprint) of 54 pages, with a slightly altered title: Del Padre Guarino Guarini, Chierico Regolare (Modena: Vincenzi e nipoti, 1890). The contents of the two versions are identical.

On the basis of the Modena archives, Sandonnini’s investigation traces Guarini’s family origins and youth in Modena up to the point he left for Rome in 1639 for his novitiate in the Theatine order at San Silvestro al Quirinale. Sandonnini resumes his narrative with Guarini’s return to Modena for ordination in 1647, and follows Guarini’s early years as a priest at San Vincenzo, Modena, through the 1650s. Sandonnini notes Guarini’s visit to his dying mother in summer 1662, and presents information regarding his time in Paris via letters from the Vigarani preserved in the Modena archives. The archivist publishes correspondence between Guarini and figures of the d’Este court during the 1670s and 1680s. Other sections of the study give an overview of Guarini’s published books and major architectural projects. Sandonnini fails to recognize Guarini’s role in the design of the Theatine casa of San Vincenzo in Modena, but he posits the Theatine’s involvement in campaigns at the Palazzo Ducale, Modena (a theory since viewed with scepticism). In any case, he avoids a judgmental assessment of the baroque architect, in marked contrast to most 19th-century writing on Guarini’s architectural work.

Tommaso Sandonnini (1849-1926) studied law and worked as a notary before becoming director of the Archivio Storico Comunale in Modena in 1897. In this capacity, he was active in archaeological and preservation efforts in the city, and wrote numerous studies on a range of historical topics, particularly those involving Modena.

An extensive review of Sandonnini’s study by Natale Baldoria appeared the same year in Archivio storico dell’arte 3 (1890): 221-23. Baldoria opens his essay with some historiographic reflections on the study of Baroque art and architecture (“Soltanto da poco tempo incomincia ad essere studiata senza preconcetti, obiettivamente, la Storia dell’arte… Così gli artisti e le opere di quell’epoca [barocco], che tanto contribuirono colle loro invenzioni anche al progresso dell’ arte moderna, sono degni di studio e tali che sarebbe delitto se la storia non li ricordasse o li spregiasse.”) He thus acknowledged the radical break of Sandonnini’s article with previous discussions of Guarini. Nearly seventy years later, in 1958, Wittkower still deemed Sandonnini’s Guarini “An important study.”

Today, another sixty years down the road, Sandonnini’s article remains as fundamental as ever. Along with the works of Alessandro Baudi di Vesme and Augusta Lange who explored the archives in Turin, it furnishes the essentail documentary basis for Guarini’s life and career.

Thanks to Italy’s wonderful Internet Culturale and the Biblioteca civica Ubaldo Mazzini in La Spezia, the booklet version of Sandonnini’s study is now available open access online, and may be downloaded as a PDF for non-commercial use.

Download

Tommaso Sandonnini, Del Padre Guarino Guarini, Chierico Regolare (Modena: Vincenzi e nipoti, 1890). [90 MB]

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On Sandonnini’s life and writings, see Giulio Bertoni, “Tommaso Sandonnini, 1849-1926” and Giovanni Canevazzi, “Bibliografia di Tommaso Sandonnini,” Atti e memorie della R. Deputazione di storia patria per le provincie modenesi, Ser. 7, vol. 5 (1928): 7-28 and 29-42.

A Summer Evening at Racconigi

On hot summer days, one longs for the cooler hours from dusk to dawn. Guarino Guarini had this in mind when planning the country estate of Racconigi (1676ff.), south of Turin, for his patron Emanuele Filiberto, Prince of Carignano.

A few years before Guarini began work at the site, the prince had commissioned the French landscape architect André Le Nôtre to design the extensive gardens on the estate grounds.

Guarini’s main contribution to the complex was his project for remodeling the estate’s medieval castello into a baroque palace, of which only the tract along the garden facade was completed. But the architect also provided other designs for the estate and the adjacent town. One such project was a garden pavilion for the Racconigi grounds, which Guarini used to illustrate a passage about “oblique” architecture in his treatise Architettura civile (published posthumously in 1737). Guarini described the garden pavilion – reproduced above – as:

“…un Casino, o Pinacolo per un Giardino per ritirarli nella State, e massime sulla sera a cena fatto pel Serenissimo Principe di Carignano nel Giardino deliziosissimo, e vastissimo di Racconigi…”

that is:

“…a casino, or gazebo for a garden, to withdraw to in the summer, especially for dinner in the evenings, made for the most serene Prince of Carignano in the delightful and vast garden of Racconigi…”

The text passage refers to the upper image (elevation) on the plate reproduced above, and some of the partial plans on the right of the plate. The lower image (section) is for a different, unidentified design, discussed in the second “Osservazione” of the treatise chapter. The exact position of the Racconigi casino in the park of the castello remains unknown, as do the details of its construction, whether of stone, wood, or brick. Any traces of it must have vanished when the gardens were redesigned in the late eighteenth century and again in the nineteenth century.

The gazebo would have furnished a splendid setting for summer dinner parties in the cool of the evening, with provisions ferried from the kitchens in the main house, or perhaps prepared outdoors. But these delights were reserved for a select few: the prince and his invited guests.

The Racconigi gardens are open to the public today, but only until 7 pm. They feature a bird sanctuary with wetlands for storks and ducks – and some of the storks nest right on top of the castello! Even if you can’t dine in the gardens, it is a refreshing place to spend a summer day.

Links:

Castello di Racconigi (official website)

Castello di Racconigi (page for Racconigi on the Royal Residences of Piedmont website, in English)

Centro Cicogne e Anatidi, Racconigi (bird sanctuary)

● Click on the Google Map below and use Street View to enjoy a virtual stroll through the Racconigi grounds.

The Remains of Sainte-Anne-la-Royale, Paris, in 1900

A Cadastre Plan Now Online


Earlier this year, the Bibliothèque Historique de la Ville de Paris (BHVP) made some image collections pertaining to various historic buildings in Paris available online. The holdings may be searched via the library’s own online catalogue, or through the Gallica portal of the Bibliothèque nationale de France.

The files (recueils iconographiques) consist of prints and drawings relating to each building grouped together and pasted on large sheets of cardboard – a kind of analogue forerunner of Pinterest boards.

The Theatine church of Sainte-Anne-la-Royale, designed by Guarino Guarini, is documented in six images pasted on three boards. Most of these are already known in one form or another, but a cadastre plan dating to 1900 is particularly interesting. It provides additional information about the position of the unfinished church in the block between Quai Voltaire and the Rue de Lille. The church plan, signified with pink-red cross hatching, is superimposed on the plans of the buildings that were built on the site after Sainte-Anne was securlarized and partially demolished in the early nineteenth century.

These nineteenth-century buildings incorporated portions of the church structure, and remain on the site today, with few alterations in respect to the plan of 1900.

To see other plans of the site for comparison – Blondel’s 1752 engraved plan, and a satellite view of the block on Google Maps today – visit Guarini Sites Outside of Turin.

To learn more about Sainte-Anne-la-Royale, see the posts on this website tagged with “Paris“.

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Image (above): Recueil iconographique. Couvent des Théatins (Paris), detail with cadastre plan of 1900
Source: Ville de Paris / BHVP / public domain