Landriani Palace MILANO
The recovery prospects of the Palazzo Landriani
Within the project of recovery and reuse of the complex called Palazzo Landriani, it was possible to retrieve and restore part of the decorative apparatus that embellished the external surfaces of the building, at architectural elements and original backgrounds. Return the decorated surfaces to leave reading and identification of various styles adopted in epochs which have followed from the 15th century to the 19th century, characterized by decorative architectural subjects: frames, frames and figures.
The following survey, policy control and dictated conservation NORMAL recommendations, in particular the stratigraphical survey phase pre-surgery allowed reconstruction and mapping of all areas hidden from decorated hairpieces or less noble origin, allowing the recovery of the original layers of plaster and painted surfaces. Consolidation of operations pictorial film, the stick of the plaster and the subsequent neutral integration deficiencies allowed the correct interpretation of hatchings, hidden from historical found overlaps that occurred over time.
The origin of the building is unknown, but is believed to have been reformed in the early 16th century. A local tradition ascribes the work to Bramante, who was in Rome since 1498. The longest side of the seventeenth-century palazzo, unwinds in via Dark Flowers, while the shorter side on via Borgonuovo is all that remains of the original facade. The entrance hall leads to a porch with archivolts supported by Renaissance scudati capitals, with the insignia of Aliprandi and Landriani (with Eagle). The bottom wall of the portico in front of the entrance had a monochrome fresco (now in Castello Sforzesco), depicting two giants, one of whom held a world map, the other the measured with the compass.
The facade of the lower body, on the extreme left of Borgonuovo, is divided into three compartments by a double order of pilasters, in the lower floor to the Doric capitals, triglyphs, frame ending at unusual length, droplets that occupy the entire belt of the lintel below. The higher order terminates with a frame like capitals. Pilasters, cornices, capitals, walls with fine decorations paintings vanished. The author of architecture is according to Cesare Cesariano Barons because of confrontation between the double row of figurations of the prospectus and that resulting from a drawing of Cesariano in his commentary on Vitruvius. According to the barons, the Giants would be of Cesariano, which attaches the vaulted ceiling of the Sala terrena. The Palace was bought in 1513 by Tomaso Landriani by Bossi and reconstructed by him the first time. Successive owners of the Palace were the Araciel, the Imbonati, which took place in the 17th century. From them came to Melzi and Salazar, who in 1880 the yielded to State property, which you set up the Scientific-literary Academy. From 1959 is home to the Istituto Lombardo.
Bibliography: DBI, voce Cesariano Cesare Ferrari M.L., Zenale, Cesariano e Luini: un arco di classicismo lombardo, in Paragone, n. 211, sett. 1967, p. 26Gatti S., L’attività milanese del Cesariano dal 1512 al 1519 in Arte lombarda, XVI (1971), p. 230 e ss. Mezzanotte-Bascapè, Milano nell’arte e nella storia, 1968, pp. 446-447Ottino Della Chiesa A., La decorazione affrescata di Palazzo Landriani, in L’Istituto Lombardo Accademia di Scienze e Lettere, Milano 1959, pp. 37-38 Suida W., Bramante pittore, nota 205, p. 225
INTONACI PIANO DI FONDO E CORNICI
BOTTOM FLOOR AND PLASTER CORNICES
The pilasters, cornices and the bottom floor had large surface storage, over-painting deficiencies, chromatic alteration zones (especially where there were no reinstatements of surfaces);. Some areas were off from the wall bracket. Some areas were particularly degraded due to infiltration of rainwater. Here the pathologies encountered consisted of salt efflorescence, chromatic alteration and detachment of the pictorial layer and the layer of plaster. The performed cycle was as follows: timely Reconnaissance of all substrates for the detection, by beating by hand, of detachment from the wall support; consolidation in depth by means of injections; removal of existing paint by brush application of appropriate solvent; careful washing of surfaces with the use of water; careful washing of surfaces with the use of water; careful removal of fillings and restorations; perform timely integration of the surface reclaimed with specially formulated mortar similar to existing for composition, grain size and colour and laying of special plaster base support network; pictorial surface pitch of new fillings; writing to Tinteggio brush to sails made from potassium silicate.
STONE AND TERRA COTTA
Roof gutter frame, window sills, plinth – superficial deposits were present, weathering phenomena especially on the hoof, black crusts in some portions of the frame and undercut some fractures. The base also has chromatic alteration due to oxidation of the material and the rainwater bounce. 500 side Cooked (capitals, cornices, decorative elements)-there were superficial deposits, erosion and disintegration especially particularly exposed portions, fractures, faults and black crusts in some portions of the undercut.
The performed operation for restoration of stone and Terra cotta materials were the following: (plinth, frames) surface cleaning with detergent and rinse water; thorough cleaning of the surfaces with the use of water; removal of fillings removed and their replacement with lime mortar, sand and marble powder; including the sealing of these fractures, consolidating application, color balancing, application of water-repellent. (terracotta items) – To such areas will be applied the following processes: shallow decoese zone preconsolidamento; surface cleaning with detergent, clean-finishing with aeromicroabrasione. Rmozione of fillings removed and their replacement with lime mortar, sand and marble powder; including the sealing of these fractures. Application of primer, color balancing, application of waterproof
The frescoes were found under a layer of film formation made with an acrylic resin, and then needed particular attention in removal of sovrastesure, using mixtures of solvents and scalpels. Subsequently, it has been possible to proceed with the reconstruction of the parts previously integrated with mortars, taking into account the nature of the original facing, using sand grain size and features similar to the original mixture present in neighbouring areas and, as a binder slaked lime in appropriate percentages for processing. The surface of the paintings, was cleaned using Japanese paper sheets of suitable weight and paper pulp, applied to the affected area using a brush soaked in demineralised water with low-percentage solution of ammonium carbonate and subsequent and repeated rinsings with demineralised water. The decorations found on side ‘ prospectus 500, are testimony of a scenic and architectural plant consisting of arches, capitals, cornices and relief elements, the style of Renaissance palaces. Were made in buon fresco, and interestingly at close range you can appreciate the transparency and brightness and transparency of ductus, testifying pictorial accuracy and speed in execution, also in painterly pieces you notice signs of engravings of preparatory drawing.
Iron (window grilles, balconies completing elements)-elements were the following pathologies: superficial deposits, oxidation, lacks finish and repainting with synthetic enamels of black colour. lack of decorative metal elements parts of the balcony on via Borgonuovo. Iron (window grilles, balconies complete elements,) then was carried out with surface cleaning by brushing and scartavetratura; passivation of portions that exhibit oxidative phenomena; subsequent painting to resume staining in imitation of existing ferrobattuto.
Comune di Milano
Restorer EROS ZANOTTI
Restorer EROS ZANOTTI
DESIGNER AND DIRECTOR JOBS
Geom. Maurizio Fagnani, Ing. Maurizio Pecile
Soprintendenza per i beni architettonici e paesaggistici-Milan
Dr. Arch. Giovanni Battista Sannazzaro