By Rudolf Wittkower
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Extra info for Gothic vs. Classic Architectural Projects in Seventeenth-Century Italy
Ricchino himself was converted to this solution in two strange projects which may date from 1610 (figs. 50, 51). Both projects show campanili connected with the facade— square towers projecting from the straight wall: the idea quite distinctly goes back to Seregni's proposals of over seventy years before ( fig. 32 ) Both projects accept the by-now axiomatic Pellegrini front with an aligned row of freestanding columns, and both pick up a great many older details. The one project (fig. 51), for instance, follows fairly closely Pellegrini's practically 1608 (fig.
Let me recall that the decision to build Pellegrini's facade was only taken in 1609; thus in 1606 one could still be daring and play of Pellegrini as well as about with quite different solutions. Ricchino's project of that year 49) had grown more massive and more solid; the columns of the main story have been reduced in height and the second tier has (fig. gained in importance. deployment The principal point of this plan, however, one bay is from the next, the wall is in motion, and there is a notable emphasis on the center bay.
These new elements introduced by Ricchino were definitely influenced by impressions he had received much earlier during a stay Rome of some duration in the first years of the seventeenth century. 12 He then saw Maderno's S. Susanna practically finished and was in apparently very impressed ending in large scrolls, (fig. 42). Such features as the buttresses the continuous balustrade on top and the balustrades in front of the windows, as well as the unbroken segmental pediment over the central door and the unbroken triangular pediment over the paired columns of the central bay, are derived from Maderno.