JAPPELLI, Giuseppe

Piranesi had already done the theoretical groundwork for a pluralistic approach to styles back in the 18th century. Especially theatre sets and pavilion buildings in landscaped English gardens provided great architectural opportunities, thanks to their informal nature. However, since the early 19th century a wider spectrum had also become evident in buildings designed for urban contexts,

he stately Caff� Pedrocchi in Padua was constructed in 1816 by Giuseppe Jappelli, who on his travels had developed a broad familiarity with work elsewhere in Europe. Construction lasted too 1831, during which time sundry additions were made that illustrate the eclectic approach to the design. The main fa�ade with a two-story colonnade of slender Corinthian columns between corner projections follows a standard Palladian pattern for villas and palaces. The novelty is the porches at street level in front of the end projections. These have the squat columns and heavy entablatures of Revolutionary Doric, while the lion figures flanking their steps go back to Egyptian models. Finally, in 1837, Jappelli built an extension at the back (Il Pedrocchino) in the Gothic Revival style. The numerous caf� rooms of the interior on two floors display the same catholicism of styles.

The photo shows the main fa�ade, completed in 1831.

Piranesi had already done the theoretical groundwork for a pluralistic approach to styles back in the 18th century. Especially theatre sets and pavilion buildings in landscaped English gardens provided great architectural opportunities, thanks to their informal nature. However, since the early 19th century a wider spectrum had also become evident in buildings designed for urban contexts,

he stately Caff� Pedrocchi in Padua was constructed in 1816 by Giuseppe Jappelli, who on his travels had developed a broad familiarity with work elsewhere in Europe. Construction lasted too 1831, during which time sundry additions were made that illustrate the eclectic approach to the design. The main fa�ade with a two-story colonnade of slender Corinthian columns between corner projections follows a standard Palladian pattern for villas and palaces. The novelty is the porches at street level in front of the end projections. These have the squat columns and heavy entablatures of Revolutionary Doric, while the lion figures flanking their steps go back to Egyptian models. Finally, in 1837, Jappelli built an extension at the back (Il Pedrocchino) in the Gothic Revival style. The numerous caf� rooms of the interior on two floors display the same eclecticism of styles.

The photo shows the Gothic Revival extension (Il Pedrocchino) added in 1837.

In the first half of the 19th century, the motif of temple front remained reserved not just for important building commissions but spread to virtually all types of architecture.The architectural status of public utilitarian buildings had increased considerably following the Enlightenment focus on public good. This is quite evident from the Macello (slaughterhouse and public meat market) of Padua, constructed by the Venetian architect Giuseppe Jappelli. With its eight sturdy baseless columns standing on a low step supporting a broad pediment, the centre section seems to have been inspired by the Greek temples in Paestum, but at the same time is reminiscent of the use of Doric by Revolutionary architecture, with which Jappelli was familiar through his teacher Giovanni Antonio Selva. The restrained, conventionally articulated wing blocks are clearly distinct from the showy centrepiece.

In the first half of the 19th century, the motif of temple front remained reserved not just for important building commissions but spread to virtually all types of architecture.The architectural status of public utilitarian buildings had increased considerably following the Enlightenment focus on public good. This is quite evident from the Macello (slaughterhouse and public meat market) of Padua, constructed by the Venetian architect Giuseppe Jappelli. With its eight sturdy baseless columns standing on a low step supporting a broad pediment, the centre section seems to have been inspired by the Greek temples in Paestum, but at the same time is reminiscent of the use of Doric by Revolutionary architecture, with which Jappelli was familiar through his teacher Giovanni Antonio Selva. The restrained, conventionally articulated wing blocks are clearly distinct from the showy centrepiece.

The photo shows one of the rooms in the Caff� Pedrocchi.