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DOI Artikel:Scarrocchia, Sandro: Dvořák and the trend in monument care
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of the discipline, but also to háve a taste of its
actuality.
4. "Borromini as a Restorer" and on the
Relationship between Mannerism and Modem
(and Post-Modern)
It is important to note that Max Dvořák's monu-
ment care manifesto is not but "Fran-
cesco Borrimini als Restaurator". A brief essay, but
by no means a lesser work, it appeared in the
of the Central Commission of 1907. The work is
unusual insofar as very litde attention had been given
by art historians to the matter of restoration until
that time and for a long time after and it is even more
important because it contains a marked theoretical
prohled" In the essay, Dvorak afhrms, on a historical
and critical level, the applicability of characteristics
of spatial composition and the innovative relation-
ship with the antique which he will later single out
as spécifie of Mannerism, to the architecture of
which the work of Borromini, after Michelangelo,
is the maximum expression. He recognises in this
architecture, and in particular in the rebuilding of
the Basilica of San Giovanni in Laterano, requested
by Pope Innocent X for the Jubilee Year of 1650,
the start of a modem concept of the monument
and a new relationship with traces of monuments.
Mannerism is not, therefore, only the keystone for art
criticism, but equally the foundation of the modem
culture of monument care. For Dvorak in his stud-
ies on the development of painting from Tintoretto
and El Greco to Kokoschka, Mannerism indicates a
ToGr/ktG horizon of artistic and linguistic research,
hrmly based on Mannerism here expressed
a Contemporary harmony with the XTG of the sec-
ond decade of the hfteenth Century. Mannerism is
a bridge between two crises: the hfteenth-century
one and that of post-impressionist that invaded the
Viennese cultural and artistic scene. Consequently,
*' DVOŘÁK, M.: Borromini als Restaurator (1907). In:
DVOŘÁK 2011 (see in note 8), I. Teil, Geschichte der Denk-
malpflege 1. See now the very circumstantiated RENZULLI,
E.: Borromini restaurátore: S. Giovanni in Oleo e S. Salvátore
a Ponte Rotto. In: A 10 — 11, 1998 - 1999,
pp. 203-220. On see SCARROCCHIA 2011 (see
in note 11), chap. 4; and BRÜCKLER, T: TAoTyh^rFhzwy
FřTpfTMMňi "Ar
V /P02 — 7P77, KA'%. PA A/
Dvořák is recognised unanimously as a pioneer of a
(re)evaluation of this era, or more precisely, of both
the eras of erisisď
With the essay on Borromini as a restorer, the at-
tempt to ňnd an interprétative category suitable for
including the artistic erisis, the answer to this erisis
and the attempt to break away from it, is extended
to conservation. The erisis of the classical language
at the height of the Renaissance, expressed by the
Mannerist attitude, also represents the search for a
G (=BDA, Studien
zu Denkmalschutz und Denkmalpflege, 20). Wien — Köln
-Weimar 2009; BLOWER,Max Dvořák, Franz Ferdinand
and the Kathechismus der Denkmalpflege. In: EGA/AD 58,
2010, Nos. 5-6, pp. 433-444.
As in the précisé reconstruction by WEISE, G: Storia del
termine "Manierismo". In: AÍGřnGc, fEnvrc, IGnG.' fčwrřňž
51
actuality.
4. "Borromini as a Restorer" and on the
Relationship between Mannerism and Modem
(and Post-Modern)
It is important to note that Max Dvořák's monu-
ment care manifesto is not but "Fran-
cesco Borrimini als Restaurator". A brief essay, but
by no means a lesser work, it appeared in the
of the Central Commission of 1907. The work is
unusual insofar as very litde attention had been given
by art historians to the matter of restoration until
that time and for a long time after and it is even more
important because it contains a marked theoretical
prohled" In the essay, Dvorak afhrms, on a historical
and critical level, the applicability of characteristics
of spatial composition and the innovative relation-
ship with the antique which he will later single out
as spécifie of Mannerism, to the architecture of
which the work of Borromini, after Michelangelo,
is the maximum expression. He recognises in this
architecture, and in particular in the rebuilding of
the Basilica of San Giovanni in Laterano, requested
by Pope Innocent X for the Jubilee Year of 1650,
the start of a modem concept of the monument
and a new relationship with traces of monuments.
Mannerism is not, therefore, only the keystone for art
criticism, but equally the foundation of the modem
culture of monument care. For Dvorak in his stud-
ies on the development of painting from Tintoretto
and El Greco to Kokoschka, Mannerism indicates a
ToGr/ktG horizon of artistic and linguistic research,
hrmly based on Mannerism here expressed
a Contemporary harmony with the XTG of the sec-
ond decade of the hfteenth Century. Mannerism is
a bridge between two crises: the hfteenth-century
one and that of post-impressionist that invaded the
Viennese cultural and artistic scene. Consequently,
*' DVOŘÁK, M.: Borromini als Restaurator (1907). In:
DVOŘÁK 2011 (see in note 8), I. Teil, Geschichte der Denk-
malpflege 1. See now the very circumstantiated RENZULLI,
E.: Borromini restaurátore: S. Giovanni in Oleo e S. Salvátore
a Ponte Rotto. In: A 10 — 11, 1998 - 1999,
pp. 203-220. On see SCARROCCHIA 2011 (see
in note 11), chap. 4; and BRÜCKLER, T: TAoTyh^rFhzwy
FřTpfTMMňi "Ar
V /P02 — 7P77, KA'%. PA A/
Dvořák is recognised unanimously as a pioneer of a
(re)evaluation of this era, or more precisely, of both
the eras of erisisď
With the essay on Borromini as a restorer, the at-
tempt to ňnd an interprétative category suitable for
including the artistic erisis, the answer to this erisis
and the attempt to break away from it, is extended
to conservation. The erisis of the classical language
at the height of the Renaissance, expressed by the
Mannerist attitude, also represents the search for a
G (=BDA, Studien
zu Denkmalschutz und Denkmalpflege, 20). Wien — Köln
-Weimar 2009; BLOWER,Max Dvořák, Franz Ferdinand
and the Kathechismus der Denkmalpflege. In: EGA/AD 58,
2010, Nos. 5-6, pp. 433-444.
As in the précisé reconstruction by WEISE, G: Storia del
termine "Manierismo". In: AÍGřnGc, fEnvrc, IGnG.' fčwrřňž
51