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Bottaro Alain - One of the best experts on this subject based on the ideXlab platform.
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Le patrimoine monumental du comté de Nice entre France et Piémont, d’une histoire nationale à l’autre 1830-1930
In Situ, 2019Co-Authors: Bottaro AlainAbstract:Le territoire français connaît ses derniers accroissements notables dans la seconde moitié du xixe siècle, lorsqu’à l’issue de l’engagement de Napoléon III dans la guerre du Piémont contre l’Autriche, la France annexe la Savoie et le comté de Nice. Le patrimoine monumental de ces nouvelles provinces participait donc de l’histoire d’une nation étrangère avant 1860, celle du Piémont-Sardaigne et de sa dynastie régnante, la Maison de Savoie. Le transfert de souveraineté en 1860 entraîne ce que l’on pourrait appeler un processus de francisation des Monuments historiques. Le présent article s’intéresse au patrimoine du comté de Nice en décrivant les principales facettes de ce processus aux implications administratives sur le temps court, mais aussi scientifiques et politiques sur le temps long, depuis la décennie 1830 jusqu’aux dernières conséquences durant les années 1930, quand l’irrédentisme fasciste remit en question l’appartenance de Nice à l’ensemble français. L’installation à Nice du service français des Monuments historiques ne correspond en aucun cas à l’origine de la fonction régalienne de la protection du patrimoine. Depuis 1832, l’État piémontais a suscité la création d’une « Giunta di antichità e Belle arti » et la nomination de Carlo Promis comme premier « ispettore dei monumenti d’antichità dei reali Stati » dans les années même où la monarchie de Juillet instituait la commission des Monuments historiques et la fonction d’inspecteur. Comme la commission française à ses débuts, le dispositif du Piémont entend s’adjoindre le concours des sociétés savantes locales. Le premier recensement des Monuments aboutit à une première liste de classement. Le service français prend donc le relais des premières protections. Le chantier de restauration du trophée des Alpes, à La Turbie, revêt un caractère emblématique : le parti adopté par les ingénieurs du Génie civil sarde est celui d’une stricte consolidation tandis que Viollet-le-Duc et ses disciples s’engagent dans la voie de la restitution. Le changement complet de doctrine de restauration se double du changement de point de vue historique : en effet, les Monuments et les sites archéologiques niçois s’intègrent avant 1860 dans la geste de la dynastie de Savoie, qui entreprend à partir de 1848 la construction de l’Italie unitaire. La question des styles revêt une dimension hautement politique en Italie du Nord, où les architectes cherchent à forger dans l’Historicisme une architecture nationale pour la nouvelle Italie. L’annexion à la France fait entrer ce patrimoine dans une nouvelle histoire nationale, l’histoire de France. Un fragment antique est symboliquement donné à Napoléon III pour les collections du tout nouveau musée des Antiquités celtiques et gallo-romaines de Saint-Germain-en-Laye.France witnessed its last significant territorial acquisitions during the second half of the nineteenth century, when, in 1860, at the end of the Austro-French Piedmontese War, Napoleon III’s Empire annexed Savoy and the County of Nice. Up until that date, the heritage of these annexed provinces belonged to another nation, the Kingdom of Sardinia and its reigning dynasty, the House of Savoy. The change in sovereignty brought about what could be called a process of ‘Frenchification’ of the territory’s Historic Monuments. This article focuses on the built heritage of the County of Nice, describing the main features of this process, covering short-term administrative questions as well as longer-term scientific and political aspects between 1830 and 1930. At this last date, fascist-inspired irredentism began to question the idea that Nice should be considered a part of France. The establishment in Nice of an office of the French Historic Monuments administration was by no means the beginning of governmental policies to protect the region’s monumental heritage. As early as 1832, the Piedmontese State had created a council of antiquities and fine arts (Giunta di antichità e Belle arti) and appointed Carlo Promis as its first inspector (Ispettore dei monumenti d’antichità dei reali Stati). This was in the same year that the government of France’s July Monarchy established a Historic Monuments commission, together with a post of inspector. As in France, from the outset, the Piedmontese Monuments administration relied considerably on the help of local scholarly societies. The first inventory of Historic buildings led to an initial list of ‘classified’ Monuments enjoying statutory protection, which the French administration took over after 1860. The restoration project on the Roman Tropaeum Alpium, the Trophy of the Alps at La Turbie, may be seen as characteristic of this continuity, but whereas Sardinian civil engineers had advocated a simple consolidation of the structure, Viollet-le-Duc and his followers preferred their perspective of restitution of the monument. This new concept in restoration also entailed some revisions in the interpretation of history. The Historic Monuments and archaeological sites in Nice prior to 1860 were all heritage recognised as such under the regime of the House of Savoy. A new dynamic began to affect Historic Monuments after 1848 when the House of Savoy became involved in the process of Italian unification. The question of style became a highly political issue in Northern Italy, where architects of Historicist inspiration sought to forge a national architectural style suitable for the new nation. With the French annexation of the County of Nice, the heritage acquired another national history, that of France. A fragment of a monument of antiquity was symbolically given to Napoleon III for the collections of the Museum of National Antiquities at Saint-Germain-en-Laye
Vottero Michaël - One of the best experts on this subject based on the ideXlab platform.
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Peintures et sculptures du xixe siècle en Bourgogne, découverte et protection d’un patrimoine méconnu
'OpenEdition', 2021Co-Authors: Vottero MichaëlAbstract:Comme de nombreuses régions françaises, la Bourgogne a pu bénéficier d’un renouveau artistique au cours du xixe siècle, marqué notamment par les commandes de décors pour les églises et les nombreux envois d’œuvres d’art achetées par l’État et déposées dans les lieux de culte et les administrations. Depuis les années 1980, plusieurs de ces tableaux et sculptures ont été protégés au titre des Monuments historiques et certains d’entre eux restaurés. Une récente campagne de repérage, d’étude et de protection des œuvres du xixe siècle, conduite par la conservation régionale des Monuments historiques et les conservations départementales des antiquités et objets d’art de Saône-et-Loire et de l’Yonne, a également permis de relancer cette thématique autour des collections des cathédrales, des artistes natifs de la région, des envois de l’État et des décorations d’administrations.Like many French regions, Burgundy benefited from an artistic renewal over the course of the 20th century, marked in particular by the commissions of decorations for the churches and the many dispatches of artworks purchased by French State and placed inside the places of worship or the administrations. Since the 1980’s, several of these paintings and sculptures have been classified and protected as ‘Monuments historiques’ and some of them restored. A recent campaign for the location, study and protection of the artworks of the 20th century, launched by the “conservation régionale des Monuments historiques”, the Regional Commission for Historic Monuments and the “conservations départementales des antiquités et objets d’art”, the Local Commissions of Antiquities and Objets d’art of Saône-et-Loire and of Yonne, also helped to promote this theme based on the cathedrals collections, the artists natives of the region, the dispatches from the State and the administrations decorations
Cultrone Giuseppe - One of the best experts on this subject based on the ideXlab platform.
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Influence of Surface Finishes and a Calcium Phosphate-Based Consolidant on the Decay of Sedimentary Building Stones Due to Acid Attack
'Frontiers Media SA', 2020Co-Authors: Molina Everardo, Arizzi Anna, Cultrone GiuseppeAbstract:Natural stone has long been used as a building material because of its physical-mechanical resistance and its esthetic appeal. However, over the last century increasing industrial activity has produced more acidic environments, such as polluted urban areas, that can cause serious damage to many buildings and Historic Monuments, and in particular those made with carbonate rocks, which are most prone to decay. In order to mitigate the physicochemical processes that degrade these buildings, a number of phosphate-based consolidants have been developed, which are highly compatible with the carbonated substrate. Research about the role of the surface and its different possible finishes in the transmission of the agents that damage or protect the stone would therefore be very useful, both when choosing the most suitable stone for new constructions and when restoring Historic buildings. The main objective of this research was to determine whether the roughness of three types of surface finish (sawcut, honed and bush-hammered) influences the durability of four types of natural stone (two calcarenites, one travertine and one sandstone) widely used in Andalusia (Spain). The efficacy of a calcium phosphate-based consolidant as a mitigator of deterioration in polluted urban environments was also studied and to this end the physical properties of untreated and treated samples were measured and compared. The samples were exposed to artificial atmospheres with SO2 pollution in order to assess the damage caused to each surface finish. The results indicate that all the surface finishes were vulnerable to the decay caused by acidic atmospheres, although the saw-cut finish was less affected, perhaps because it did not require additional industrial processing. The mineral composition and texture of the rocks were critical factors in terms of the amount and type of decay they suffered, and the travertine and sandstone were more resistant to deterioration than the calcarenites. Similarly, the pore system of each rock was decisive in the penetration of the consolidant. Application of the consolidant improved the behavior of the treated samples by making them more resistant to acid attack without significantly altering the water vapor permeability, the color or the roughness of the surface.Junta de Andalucia RNM179MAT2016-75889-
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Influence of Surface Finishes and a Calcium Phosphate-Based Consolidant on the Decay of Sedimentary Building Stones Due to Acid Attack
'Frontiers Media SA', 2020Co-Authors: Molina Eduardo, Arizzi Anna, Benavente David, Cultrone GiuseppeAbstract:Natural stone has long been used as a building material because of its physical-mechanical resistance and its esthetic appeal. However, over the last century increasing industrial activity has produced more acidic environments, such as polluted urban areas, that can cause serious damage to many buildings and Historic Monuments, and in particular those made with carbonate rocks, which are most prone to decay. In order to mitigate the physicochemical processes that degrade these buildings, a number of phosphate-based consolidants have been developed, which are highly compatible with the carbonated substrate. Research about the role of the surface and its different possible finishes in the transmission of the agents that damage or protect the stone would therefore be very useful, both when choosing the most suitable stone for new constructions and when restoring Historic buildings. The main objective of this research was to determine whether the roughness of three types of surface finish (saw-cut, honed and bush-hammered) influences the durability of four types of natural stone (two calcarenites, one travertine and one sandstone) widely used in Andalusia (Spain). The efficacy of a calcium phosphate-based consolidant as a mitigator of deterioration in polluted urban environments was also studied and to this end the physical properties of untreated and treated samples were measured and compared. The samples were exposed to artificial atmospheres with SO2 pollution in order to assess the damage caused to each surface finish. The results indicate that all the surface finishes were vulnerable to the decay caused by acidic atmospheres, although the saw-cut finish was less affected, perhaps because it did not require additional industrial processing. The mineral composition and texture of the rocks were critical factors in terms of the amount and type of decay they suffered, and the travertine and sandstone were more resistant to deterioration than the calcarenites. Similarly, the pore system of each rock was decisive in the penetration of the consolidant. Application of the consolidant improved the behavior of the treated samples by making them more resistant to acid attack without significantly altering the water vapor permeability, the color or the roughness of the surface.Financial support for this work was provided by Research Group RNM179 of the Junta de Andalucía and Research Project MAT2016-75889-R
Alain Bottaro - One of the best experts on this subject based on the ideXlab platform.
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Le patrimoine monumental du comté de Nice entre France et Piémont, d’une histoire nationale à l’autre 1830-1930
Ministère de la Culture et de la Communication, 2019Co-Authors: Alain BottaroAbstract:France witnessed its last significant territorial acquisitions during the second half of the nineteenth century, when, in 1860, at the end of the Austro-French Piedmontese War, Napoleon III’s Empire annexed Savoy and the County of Nice. Up until that date, the heritage of these annexed provinces belonged to another nation, the Kingdom of Sardinia and its reigning dynasty, the House of Savoy. The change in sovereignty brought about what could be called a process of ‘Frenchification’ of the territory’s Historic Monuments. This article focuses on the built heritage of the County of Nice, describing the main features of this process, covering short-term administrative questions as well as longer-term scientific and political aspects between 1830 and 1930. At this last date, fascist-inspired irredentism began to question the idea that Nice should be considered a part of France. The establishment in Nice of an office of the French Historic Monuments administration was by no means the beginning of governmental policies to protect the region’s monumental heritage. As early as 1832, the Piedmontese State had created a council of antiquities and fine arts (Giunta di antichità e Belle arti) and appointed Carlo Promis as its first inspector (Ispettore dei monumenti d’antichità dei reali Stati). This was in the same year that the government of France’s July Monarchy established a Historic Monuments commission, together with a post of inspector. As in France, from the outset, the Piedmontese Monuments administration relied considerably on the help of local scholarly societies. The first inventory of Historic buildings led to an initial list of ‘classified’ Monuments enjoying statutory protection, which the French administration took over after 1860. The restoration project on the Roman Tropaeum Alpium, the Trophy of the Alps at La Turbie, may be seen as characteristic of this continuity, but whereas Sardinian civil engineers had advocated a simple consolidation of the structure, Viollet-le-Duc and his followers preferred their perspective of restitution of the monument. This new concept in restoration also entailed some revisions in the interpretation of history. The Historic Monuments and archaeological sites in Nice prior to 1860 were all heritage recognised as such under the regime of the House of Savoy. A new dynamic began to affect Historic Monuments after 1848 when the House of Savoy became involved in the process of Italian unification. The question of style became a highly political issue in Northern Italy, where architects of Historicist inspiration sought to forge a national architectural style suitable for the new nation. With the French annexation of the County of Nice, the heritage acquired another national history, that of France. A fragment of a monument of antiquity was symbolically given to Napoleon III for the collections of the Museum of National Antiquities at Saint-Germain-en-Laye
Michaël Vottero - One of the best experts on this subject based on the ideXlab platform.
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Peintures et sculptures du xixe siècle en Bourgogne, découverte et protection d’un patrimoine méconnu
'OpenEdition', 2021Co-Authors: Michaël VotteroAbstract:Like many French regions, Burgundy benefited from an artistic renewal over the course of the 20th century, marked in particular by the commissions of decorations for the churches and the many dispatches of artworks purchased by French State and placed inside the places of worship or the administrations. Since the 1980’s, several of these paintings and sculptures have been classified and protected as ‘Monuments historiques’ and some of them restored. A recent campaign for the location, study and protection of the artworks of the 20th century, launched by the “conservation régionale des Monuments historiques”, the Regional Commission for Historic Monuments and the “conservations départementales des antiquités et objets d’art”, the Local Commissions of Antiquities and Objets d’art of Saône-et-Loire and of Yonne, also helped to promote this theme based on the cathedrals collections, the artists natives of the region, the dispatches from the State and the administrations decorations