Jessica Gritti
Politecnico di Milano, Department of Architecture and Urban Studies DAStU, Tenure Track Assistant Professor
Jessica Gritti graduated in Lettere (Modern field) at the Università Cattolica del Sacro Cuore of Milan in 2001 (Old Italian Degree = BA+MA). After studying for a three years post lauream MA in the History of Art (Scuola di Specializzazione - 2005), she completed her PhD in the History of Architecture and Urbanism at IUAV in Venice (2008 - summa cum laude/dignità di stampa).
Since 2003 she has been Teaching assistant at the Catholic University and at the IUAV in Venice, but since 2008 she has been working as TA above all at the Politecnico di Milano, where she has been involved in several research projects at the Department of Architecture and Urban Studies (scientific supervisor prof. Francesco Repishti). Since 2014-2015 she has been also Adjunct Professor in the field of History of architecture, currently, she teaches History of architecture 1 at the School of Architecture Urbanism and Building Engineering (BSc in Architectural design, Piacenza) of the Politecnico di Milano and History of modern architecture at the Università Cattolica in Milan (Faculty of Lettere e Filosofia, MA in History of Art).
As a research fellow or collaborator she has been involved in many research projects:
2006 | Università Cattolica, Milan: The Antique in Mediaeval and Renaissance Art
2007-2008 | Università Cattolica, Milan: The Tradition of Antiquity in Lombard Artistic and Architectural Culture in the Middle Ages and Renaissance
2013-2014 | Università Cà Foscari, Venice | Personal research project: More antiquo: the Sforzas and the florentine architectural culture in Milan (advisor Elisabetta Molteni)
2011-2016 | Politecnico di Milano: Corpus of architectural drawings of the Cathedral of Milan (advisor Francesco Repishti)
2016-2017 | Giovanni Nencioni Post-Doc Fellow at the Istituto Nazionale di Studi sul Rinascimento in Florence | Personal research project: The Drawings of the Filarete's treatise in the Codex Palatinus at the Biblioteca Nazionale Centrale in Florence (advisor Massimo Ferretti)
2017-2019 | Politecnico di Milano: Architects and engineers in Milan between 15th and 18th centuries. Biographical dictionary (advisor Francesco Repishti)
2019-2021 | Politecnico di Milano: The Duke's city. Policy of images in the Sforza's Milan (advisor Francesco Repishti)
2021-2022 | Winner of the Luigi and Sandro Angelini prize for History of architecture, Ateneo di Scienze Lettere e Arti, Bergamo
On April 2017 she obtained the National Academic Qualification as Associate Professor (Abilitazione Scientifca Nazionale per il ruolo di Professore universitario di seconda fascia - Settore concorsuale 08/E2 - Restauro e Storia dell'architettura, Settore scientifico Disciplinare ICAR/18 - Storia dell'architettura).
Jessica Gritti was the recipient of several research grants and in 2020 her research project "A Renaissance Vulgate" was shortlisted for the final discussion by the European Research Council in the call ERC-Consolidator Grant.
Since September 2022 she has been a Tenure Track Assistant Professor at the Department of Architecture and Urban Studies of the Politecnico di Milano.
Since 2003 she has been Teaching assistant at the Catholic University and at the IUAV in Venice, but since 2008 she has been working as TA above all at the Politecnico di Milano, where she has been involved in several research projects at the Department of Architecture and Urban Studies (scientific supervisor prof. Francesco Repishti). Since 2014-2015 she has been also Adjunct Professor in the field of History of architecture, currently, she teaches History of architecture 1 at the School of Architecture Urbanism and Building Engineering (BSc in Architectural design, Piacenza) of the Politecnico di Milano and History of modern architecture at the Università Cattolica in Milan (Faculty of Lettere e Filosofia, MA in History of Art).
As a research fellow or collaborator she has been involved in many research projects:
2006 | Università Cattolica, Milan: The Antique in Mediaeval and Renaissance Art
2007-2008 | Università Cattolica, Milan: The Tradition of Antiquity in Lombard Artistic and Architectural Culture in the Middle Ages and Renaissance
2013-2014 | Università Cà Foscari, Venice | Personal research project: More antiquo: the Sforzas and the florentine architectural culture in Milan (advisor Elisabetta Molteni)
2011-2016 | Politecnico di Milano: Corpus of architectural drawings of the Cathedral of Milan (advisor Francesco Repishti)
2016-2017 | Giovanni Nencioni Post-Doc Fellow at the Istituto Nazionale di Studi sul Rinascimento in Florence | Personal research project: The Drawings of the Filarete's treatise in the Codex Palatinus at the Biblioteca Nazionale Centrale in Florence (advisor Massimo Ferretti)
2017-2019 | Politecnico di Milano: Architects and engineers in Milan between 15th and 18th centuries. Biographical dictionary (advisor Francesco Repishti)
2019-2021 | Politecnico di Milano: The Duke's city. Policy of images in the Sforza's Milan (advisor Francesco Repishti)
2021-2022 | Winner of the Luigi and Sandro Angelini prize for History of architecture, Ateneo di Scienze Lettere e Arti, Bergamo
On April 2017 she obtained the National Academic Qualification as Associate Professor (Abilitazione Scientifca Nazionale per il ruolo di Professore universitario di seconda fascia - Settore concorsuale 08/E2 - Restauro e Storia dell'architettura, Settore scientifico Disciplinare ICAR/18 - Storia dell'architettura).
Jessica Gritti was the recipient of several research grants and in 2020 her research project "A Renaissance Vulgate" was shortlisted for the final discussion by the European Research Council in the call ERC-Consolidator Grant.
Since September 2022 she has been a Tenure Track Assistant Professor at the Department of Architecture and Urban Studies of the Politecnico di Milano.
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Books by Jessica Gritti
Papers by Jessica Gritti
- Capitello, pp. 86-87
- Capitello, p. 87
- Capitello, pp. 87-88
- Capitello, p. 88
- Capitello; Capitello, pp. 88-90
- Capitello; Capitello, pp. 90-91
- Capitello, p. 92
- Capitello; Capitello, pp. 92-93
- Capitello, pp. 93-94
- Capitello di semicolonna, p. 95
- Capitello di semicolonna, pp. 95-96
- Capitello di semicolonna; Capitello di semicolonna, pp. 96-97
- Frammento di capitello angolare; Frammento di capitello angolare; Frammento di capitello angolare; Frammento di capitello angolare, pp. 97-98
- Frammento superiore di capitello, p. 98
- Peduccio (?), pp. 98-99
- Frammento di cornice (?), pp. 104-105
- Frammento di cornice; Frammento di cornice; Frammento di cornice; Frammento di cornice, pp. 118-121
- Peduccio; Peduccio, pp. 140-141
- Portale del palazzo Bentivoglio, pp. 162-166
- Capitello, pp. 188-190
- Capitello; Capitello; Capitello, pp. 235-236
- Capitello, pp. 256-257
- Capitello con foglie lisce, pp. 304-305
- Capitello, pp. 312-313
- Capitello, pp. 314-315
- Archivolto e due capitelli, pp. 320-322
- Capitello, pp. 325-326
- Peduccio, p. 386-387
- Capitello di lesena, pp. 396-397
- 591. Frammento di colonna tortile, pp. 190-191
- 594. Base di colonna, p. 192
- 595. Base di colonna, pp. 192-193
- 596. Base di semicolonna, pp. 193-194
- 597. Peduccio con stemma visconteo, p. 194
- 608. Capitello con scudo, pp. 203-204
- 620. Capitello a foglie d’acanto, p. 219
- 622. Base di colonna; 623. Base di colonna, p. 220
- 624. Base di colonna; 625. Base di colonna, pp. 220-221
- 626. Base di colonna, p. 221
- 653. Base di colonna, p. 239
- 669. Chiave di volta con l’impresa del “buratto”, p. 274
- 685. Capitello di lesena (?), pp. 295-296
- 686. Parte superiore di piccolo pilastro angolare; 687. Parte inferiore di piccolo pilastro angolare, pp. 296-297
- 689. Frammento con motivo decorativo a girali; 690. Frammento con motivo decorativo a girali, pp. 298-299
Lastra pavimentale con stemma visconteo, pp. 139-141
Stemma visconteo, pp. 142-143
Lacerto con girali vegetali, p. 135
Lacerto di capitello, pp. 134-135
Chiave di volta con mezzobusto di santo benedicente, pp. 141-142
Putto su tralcio di vite, pp. 152-153
Lacerto di tabernacolo con angeli adoranti, pp. 133-134
Battagio, Giovanni, pp. 43-44
Lodi Giovanni da, pp. 80-81
De Lera, Lazzaro, pp. 66-67
De Lera, Giacomo Bocoli, p. 66
The majority of the models and architectural drawings produced for the Cathedral of Milan has today been lost or is scattered in dozens of museums or foundations all over the world. Only a small number has been preserved, about two hundred and fifty drawings and four wooden models. Historians, the various owners of the surviving sheets, and architectural scholars have for many years regretted the lack of a systematic corpus which collects all the architectural drawings of the Cathedral of Milan, specially the elders, produced from XIV to XVIII centuries. The establishment of a complete data-base about architectural drawings of the Cathedral, made in collaboration with the owners, which could be consulted on the internet, therefore could gather together drawings scattered in collections throughout the world – unthinkable up till a few years ago – has now become a reality thanks to new technology. To carefully collect all the architectural drawings of the Cathedral of Milan would mean being able, for the first time, to use an indispensable instrument both for the study of single graphic objects, dispersed in various collections around the world, but also to study of the monuments and works which the drawings refer to and the architectural and artistic culture which produced them. The completion of the corpus - a first, important outcome of the research - will also allow for the first time an analysis of a homogeneous corpus, of the problems concerning drawings relative to the instruments used and the methods of production, transmission, diffusion of projects, their use in the building site and their formal and technical connections with other graphic productions.
The point in Milan
Milan is noticeably bereft of analytical studies of architectural drawings produced especially in the XIV, XV and XVIth centuries (studies related to the Cinquecento and the Seicento are, however, more extensive). There are however some inventories of the major Milanese collections, and in particular that of the Raccolta Bianconi, of which much of the material has been made known and partly catalogued by Paolo Mezzanotte – and that relative to the group of drawings F. 251 inf. of the Biblioteca Ambrosiana, catalogued at the University of Nôtre-Dame (Indiana USA). Other contributions can be recorded in respect to Lombard drawings preserved at the Victoria and Albert Museum and the British Museum in London, but these contributions are still in the form of inventories. Also the architectural drawings of the Cathedral have never been collected and subjected to particular analysis, apart from those involved in the later story of the façade, studied by Francesco Repishti and Richard Schofield. Some of the sheets produced in Lombardy, notwithstanding bibliographical lacunae, are pretty well known to historians of architecture, particularly those traditionally assigned to the Bramante circle, which have therefore been discussed in the Bramante literature, or the rich tradition of studies on Leonardo’s codices, in which we can find also the well known projects for the dome of the tiburio of the milanese Cathedral. From the point of view of design-technique, the analysis of materials, methods of representation and the units of measurement adopted, there is practically no bibliography apart from occasional mentions, and in the same way contributions on these subjects - such as the circulation of paper, the organisation of the workshops of paper-sellers and booksellers and the typographical production of the period connected to the supply of materials with which such drawings were made - are practically non-existent. Besides all this, we may note the actually absence of a catalogue for the analysis of architectural drawings, a reason for thinking that this research could form a useful means of comparison for the discussion of questions of method, along with the other types of catalogue created for single collections. Always bearing in mind the critical nature of the present research project, which is not designed to be simply a catalogue or repertory, but is intended to analyse in detail the materials and the historical context which produced the drawings, it should stimulate debate and create a modern approach to the study of drawings.
The Cathedral of Milan
The most recent studies about the history of the Cathedral of Milan (for example those relative to the debates on the tiburio, or the Compedo Door, or the façade) had shown the necessity of a corpus which can contain all the architectural drawings producted for the Cahtedral from XIV to XVIII century. The idea of a total catalogue of the architectural drawings for the most important milanese building - scattered today in many institutions - will have no doubt a great utility for the studies, however it seems to be a reasearch, which will take a long time and many forces for many years. The project will stimolate a collaboration between different institutions, first of all the universities, consulting historians and scholars whose research are connected with the study, conservation, evaluation of graphic art works, and, second, the owners of the drawings, but, also, all that insitutions which – nevertheless not directly involved – will have great advantages from the researc results, not least for a turistic evaluation of their collections and for a high cultural diffusion. The research will above all permit the knowledge of the graphic materials themselves, often difficult to see or to reach, some of them completely unknown or never reproduced, and also give a great number of new informations in the history of architecture and in the history of art.
Results
The project of the Polytechnic in Milan proposes to arrive at five important results: | 1) The definition of the appropriate scientific and rigorous criteria for the analysis of the materials, which would constitute an agreed-upon method which could be applied to all the material in order to guarantee homogeneous results. The result would be to stimulate critical debate about the methodology to use for the study of architectural drawings and could form a basis for dialogue with the bodies dedicated to the conservation of this patrimony, and particularly with the Istituto centrale per il catalogo and Documentatzione (ICCD) with regards to the specific problem of architectural designs. | 2) The creation of a catalogue of the complete graphic production relative to Cathedral of Milan in the XIV-XVIII centuries. | 3) This corpus, nevertheless dedicated to a single monument, could help to document the evolution of architectural drawing in Lombardy from the XIV to the XVI centuries from the point of view of the technique and the relation of drawings to the process of projection. | 4) The writing up of entries on each drawing, capable of revealing the complexity of the design-process connected with various monuments, also involving the problem of attribution and chronology which represents for many of the drawings the trickiest problem to resolve. | 5) To spread the scientific results and stimulate the interess of a large public for the history of the milanese Cathedral and in particular for drawings less known and often difficult to see. The catalogue would be in fact made totally available on the internet. | | One of the principal aims of this project is that through the definition scientifically rigorous and homogeneous methods for analysing the material and contextualising it on the widest fronts possible, it could, to a certain extent, constitute a model for future studies intended to put together similar collections by cultural area and geographical zones.
In questa sede si intende quindi illustrare le caratteristiche formali e tecniche dei disegni più antichi del Duomo, a partire dai rari disegni di XIV e XV secolo, per concentrarsi soprattutto su quelli della prima metà del XVI secolo. In questo contesto si sceglieranno alcuni casi esemplari, legati a vicende specifiche della costruzione del Duomo tra la fine del XV e i primi decenni del XVI secolo, per consentire una riflessione più attenta rispetto alle modalità progettuali ed esecutive del cantiere di una cattedrale.
POLIMI VIRTUAL TOUR
giovedì 9 aprile ore 18.30
«Bramantus fecit in Mediolano». Gli esordi di Donato Bramante a Milano
Jessica Gritti, docente di Storia dell’architettura
Paris, Institut national du Patrimoine, auditorium Colbert, 2 rue Vivienne, 75002 Paris
Après l’inclusion des savoir-faire de la Fondation de l’Œuvre Notre-Dame de Strasbourg à l’Inventaire national du Patrimoine culturel immatériel en France (2017), la reconnaissance de la démarche de sauvegarde des savoirs, des compétences techniques et des pratiques sociales des ateliers de cathédrales a progressivement fédéré les ateliers de cinq pays européens (Allemagne, Autriche, France, Norvège, Suisse). En mars 2019, ils ont déposé auprès de l’UNESCO, pour le Registre des bonnes pratiques de sauvegarde du patrimoine culturel immatériel, une candidature commune : « Les techniques artisanales et les pratiques coutumières des ateliers de cathédrales, ou Bauhütten, en Europe : savoir-faire, transmission, développement des savoirs, innovation ». Ces dix-huit ateliers se consacrent tous à la préservation de cathédrales et de grands édifices, ainsi qu’à la recherche, à la documentation et à la transmission des savoirs associés. Comme d’autres en Europe, ils forment un réseau transfrontalier et vivant au sein de la plus large association européenne d’architectes et de responsables d’ateliers de cathédrales, le Dombaumeister e.V., fondé en 1988, qui promeut la transmission du travail en atelier et les pratiques qui y sont mises en œuvre. Ces ateliers abritent une communauté de travail, mais aussi une communauté vivante avec ses rituels, ses fêtes et des formes de communication bien établies. Ils conservent les traditions coutumières des ouvriers du bâtiment, ainsi qu’une mine de connaissances intellectuelles et techniques, transmises à la fois oralement, d’artisan à artisan, par l’imitation et l’observation, et par écrit, grâce à de nombreuses archives en particulier.
Series of conferences dedicated to "Palazzo Belgioioso d’Este. Alberico XII e le Arti a Milano tra Sette e Ottocento".
Contributors: Alessia Alberti, Eugenia Bianchi, Andrea Di Lorenzo, Francesco Repishti
Supported by: Archivio Storico Civico e Biblioteca Trivulziana – Civica Raccolta delle Stampe di Milano Achille Bertarelli – Comune di Milano – Fondazione Brivio Sforza
Presentation of the book: The Gordian Knot. Studi offerti a Richard Schofield, Campisano, Roma 2014
Talks by: Stefano Della Torre, Francesco Repishti, Maria Teresa Fiorio
Lectio Magistralis by Richard Schofield on the topic "Leonardo urbanista e il manoscritto B: successi e fallimenti"