Palais Piosasque de Non

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The Palais Piosasque de Non before 1897
Layout

The Palais Piosasque de Non was a rococo palace in the center of Munich on Theatinerstraße that was destroyed in air raids during World War II.

The builder

In 1726, François de Cuvilliés the Elder received his first private assignment at Theatinerstrasse 16 in Munich . The builder was Joseph Count Piosasque de Non , offspring of Piossasco di None southwest of Turin , which had nine blackbirds under the count's crown in the silver coat of arms. He received the property from the sovereign as a gift. The captain of the mounted bodyguard waited with victory signs in relief on both sides of the triumphal arch-like portal. Born in Piedmont, he developed from a young page to an officer in the Bavarian army, "went through all military levels" and finally rose to become elector chamberlain, sergeant general and Hartschier captain.

architecture

The three-wing complex of the aristocratic residence is based on the nearby Palais of Max Ferdinand von Preysing , who also served in the elector's entourage. The facade, interior design and furniture were to be understood in connection with the building that was started earlier, directly opposite the residence. The architects Cuvilliés and Effner competed. Both designed entrances decorated with pillars with splendidly carved doors, forged skylight grilles and balconies. The nine-axis facade of the palace, divided into three storeys, is richly decorated with pilasters , consoles , garlands and masks and rocailles over the windows. The central axis with the portal is marked on the upper floor by a blown temple gable that extends up into the attic. The owner's double coat of arms is embedded in the gable.

The floor plan reflects the ceremonial transition from public space to representative and ultimately private areas. The proper entrance was followed by an uplifting step up: “The first vestibule with its elegant, Ionic order of pilasters, an adjoining circular room opening towards the courtyard with two columns form the passage. You turn to the right into another vestibule of a square basic shape, with truncated concave corners, to reach the stately, one-armed staircase that fills the right wing of the courtyard. At the front of the main floor there is an alignment of four rooms, to which an anteroom with cleverly arranged side stairs is connected above the second vestibule, then the round dining room and the larger festive rooms in the left courtyard wing. "

The complex was reminiscent of "the spatial composition of Italian baroque masters ..." A stone arched portal, flanked by pairs of Ionic columns and reliefs, survived the war. “The façades of the Palais Piosasque de Non, the Mielich House and other architectural treasures, which had remained standing but were in danger of collapsing, had already been cleared of rubble; To right about this from today's perspective would be unreasonable. "

Reception in art history

"Here we see the new style without transition, as the Régence in Paris meant, growing out of the soil of a full Baroque, often too coarse and ostentatious in detail, but genuinely German in its fullness of imagination and healthy sensuality."

Cornelius Gurlitt considered the monument to be "probably one of the most graceful creations of Munich architecture." He enthused: "You can clearly see the influence of the Theatinerkirche in the façade , which is almost decisive for the episode."

literature

  • Winfried Nerdinger : construction time, planning and building. Munich 1945–1950, Munich undated
  • Konstantin Köppelmann (author), Dietlind Pedarnig (author): Münchner Palais. 2016, p. 220, ISBN 978-3-86906-820-6 .

Individual evidence

  1. ↑ Bernardo Antonio Vittone, Istruzioni elementari per indirizzo de 'giovani allo studio dell'architettura civile, vol. 2, Lugano 1760, panel XCIX, fig. 3.
  2. ↑ Bavarian Architects and Engineers Association (ed.), Munich and its buildings, Munich 1912, p. 157.
  3. ↑ Churbaierisches Intellektivenblatt, Munich 1776, p. 190.
  4. ↑ Semrau 1905. p. 381.
  5. ^ Franz Paul Zauner , Munich in Art and History, Munich 1914, p. 69.
  6. ↑ 125 years of Bayerische Hypotheken- und Wechselbank, Munich 1960, p. 77.
  7. ↑ Winfried Nerdinger: Construction time, planning and building , Munich 1945–1950, Munich undated, p. 38.
  8. ↑ Max Semrau : The Art of the Baroque Period and the Rococo, Stuttgart 1905, p. 381.
  9. ↑ Cornelius Gurlitt, History of Modern Architecture, Vol. 5, Stuttgart 1889, p. 452.

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