Abstract
In the XIX century, photography gave an interesting integration – optically and camera based- to the drawing descriptive procedure, supporting with inhedited accuracy, speed of execution and shareable results the representation of monuments for the researchers of that age. The Academies of Fine Arts – the Schools dedicated to Architecture, Scenography and Painting studies- are amongst the institutions where these innovations have been acknowledged and discussed since their beginnings. Camillo Boito (1836–1914), former student of Selvatico who moved to Brera as a young lecturer, would inherit an interest in this method and its legitimation in didactic use; he became an active and conscious promoter of the acquisition of these images, with the precise aim of constructing an atlas of historical-stylistic models, coming to form the Funds of the photographic archives of the Academy. This fund expresses a strong critical purpose: not only in its intention to compile and catalogue, but also as an operation aimed at forming a visual archive that would be useful in the construction of a single body of stylistic references and elements. The purpose of Boito Collection clearly seems to be the demonstration of monumental foundaments for the development of the “national style”: this was the commitment to which Boito dedicated all his intellectual and academic itinerary, a divulgative and critical activity that started in the Brera Academy and would become a topic of the national style debate.
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Brunetti, F.A. (2018). The Camillo Boito Historical Heritage Photo Collection as an Iconographical Fund for the “National Stile”. In: Amoruso, G. (eds) Putting Tradition into Practice: Heritage, Place and Design. INTBAU 2017. Lecture Notes in Civil Engineering , vol 3. Springer, Cham. https://doi.org/10.1007/978-3-319-57937-5_22
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