{"id":1397,"date":"2025-11-13T15:43:51","date_gmt":"2025-11-13T15:43:51","guid":{"rendered":"https:\/\/www.consmi.it\/?page_id=1397"},"modified":"2026-02-27T14:21:23","modified_gmt":"2026-02-27T13:21:23","slug":"patrimonio-iconografico","status":"publish","type":"page","link":"https:\/\/www.consmi.it\/en\/patrimonio-iconografico\/","title":{"rendered":"Iconographic heritage"},"content":{"rendered":"<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-mhlwf2r7-cfbd4785d5a1e45fef426a3a56a06fef\">\n.avia-section.av-mhlwf2r7-cfbd4785d5a1e45fef426a3a56a06fef{\nbackground-repeat:no-repeat;\nbackground-image:url(https:\/\/www.consmi.it\/wp-content\/uploads\/2026\/02\/Biblioteca-14.jpg);\nbackground-position:50% 50%;\nbackground-attachment:scroll;\n}\n<\/style>\n<div id='av_section_1'  class='avia-section av-mhlwf2r7-cfbd4785d5a1e45fef426a3a56a06fef main_color avia-section-default avia-no-border-styling  avia-builder-el-0  el_before_av_section  avia-builder-el-first  avia-full-stretch avia-bg-style-scroll av-minimum-height av-minimum-height-50 av-height-50  container_wrap fullsize'  data-section-bg-repeat='stretch' data-av_minimum_height_pc='50' data-av_min_height_opt='50'><div class='container av-section-cont-open' ><main  role=\"main\" itemprop=\"mainContentOfPage\"  class='template-page content  av-content-full alpha units'><div class='post-entry post-entry-type-page post-entry-1397'><div class='entry-content-wrapper clearfix'>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-mhlxu31z-bac3ce266d27a1341175e4a0bd204ab7\">\n#top .av-special-heading.av-mhlxu31z-bac3ce266d27a1341175e4a0bd204ab7{\npadding-bottom:10px;\ncolor:#ffffff;\n}\nbody .av-special-heading.av-mhlxu31z-bac3ce266d27a1341175e4a0bd204ab7 .av-special-heading-tag .heading-char{\nfont-size:25px;\n}\n.av-special-heading.av-mhlxu31z-bac3ce266d27a1341175e4a0bd204ab7 .special-heading-inner-border{\nborder-color:#ffffff;\n}\n.av-special-heading.av-mhlxu31z-bac3ce266d27a1341175e4a0bd204ab7 .av-subheading{\nfont-size:15px;\n}\nbody .av-special-heading.av-mhlxu31z-bac3ce266d27a1341175e4a0bd204ab7 .av-special-heading-tag .heading-wrap:before{\nborder-color:#ffffff;\n}\nbody .av-special-heading.av-mhlxu31z-bac3ce266d27a1341175e4a0bd204ab7 .av-special-heading-tag .heading-wrap:after{\nborder-color:#ffffff;\n}\n\n@media only screen and (min-width: 990px){ \n#top #wrap_all .av-special-heading.av-mhlxu31z-bac3ce266d27a1341175e4a0bd204ab7 .av-special-heading-tag{\nfont-size:60px;\n}\n}\n<\/style>\n<div  class='av-special-heading av-mhlxu31z-bac3ce266d27a1341175e4a0bd204ab7 av-special-heading-h1 custom-color-heading blockquote classic-quote classic-quote-left  avia-builder-el-1  avia-builder-el-no-sibling'><h1 class='av-special-heading-tag'  itemprop=\"headline\"  >Iconographic heritage<\/h1><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div>\n\n<\/div><\/div><\/main><!-- close content main element --><\/div><\/div><div id='av_section_2'  class='avia-section av-fyze4-654eaf1e42f98ce57a68ae9de5d9afb3 main_color avia-section-default avia-no-border-styling  avia-builder-el-2  el_after_av_section  avia-builder-el-last  avia-bg-style-scroll container_wrap fullsize'  ><div class='container av-section-cont-open' ><div class='template-page content  av-content-full alpha units'><div class='post-entry post-entry-type-page post-entry-1397'><div class='entry-content-wrapper clearfix'>\n<div  class='flex_column av-a6vvo-6028006db92b4db1e79815912b44deba av_one_full  avia-builder-el-3  el_before_av_one_full  avia-builder-el-first  first flex_column_div'     ><style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-mi7cxwwx-6923a1028c1e36fd2555657d4fa876fe\">\n#top .av-special-heading.av-mi7cxwwx-6923a1028c1e36fd2555657d4fa876fe{\npadding-bottom:10px;\n}\nbody .av-special-heading.av-mi7cxwwx-6923a1028c1e36fd2555657d4fa876fe .av-special-heading-tag .heading-char{\nfont-size:25px;\n}\n.av-special-heading.av-mi7cxwwx-6923a1028c1e36fd2555657d4fa876fe .av-subheading{\nfont-size:15px;\n}\n\n@media only screen and (min-width: 990px){ \n#top #wrap_all .av-special-heading.av-mi7cxwwx-6923a1028c1e36fd2555657d4fa876fe .av-special-heading-tag{\nfont-size:35px;\n}\n}\n<\/style>\n<div  class='av-special-heading av-mi7cxwwx-6923a1028c1e36fd2555657d4fa876fe av-special-heading-h2 blockquote modern-quote  avia-builder-el-4  avia-builder-el-no-sibling'><h2 class='av-special-heading-tag'  itemprop=\"headline\"  >The Library's iconographic heritage has recently been rediscovered and enhanced. It includes works by important artists who gravitated to Milan in the late 19th and early 20th century.<\/h2><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div><\/div><div  class='flex_column av-282m85-b980db4929d93c45bf4b599cfdb91e1b av_one_full  avia-builder-el-5  el_after_av_one_full  el_before_av_one_full  first flex_column_div  column-top-margin'     ><p>\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-mltetqli-d820b2d576c46bc03cf31ebca494aee7\">\n#top .av-special-heading.av-mltetqli-d820b2d576c46bc03cf31ebca494aee7{\npadding-bottom:10px;\n}\nbody .av-special-heading.av-mltetqli-d820b2d576c46bc03cf31ebca494aee7 .av-special-heading-tag .heading-char{\nfont-size:25px;\n}\n.av-special-heading.av-mltetqli-d820b2d576c46bc03cf31ebca494aee7 .av-subheading{\nfont-size:15px;\n}\n<\/style>\n<div  class='av-special-heading av-mltetqli-d820b2d576c46bc03cf31ebca494aee7 av-special-heading-h3 blockquote modern-quote  avia-builder-el-6  el_before_av_textblock  avia-builder-el-first'><h3 class='av-special-heading-tag'  itemprop=\"headline\"  >LIBRARY ATRIUM<\/h3><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div><br \/>\n<section  class='av_textblock_section av-mlth9qpz-4105f7691e4f73c385525e58270b209c'   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><ol>\n<li><strong>Regio Conservatorio di Musica in Milan, 16 July 1883<\/strong><br \/>\n<strong> Composition Diploma for student Giacomo Puccini<\/strong><br \/>\n<strong> Rating: 163\/200<\/strong>Giacomo Puccini did not collect the Diploma certificate at the end of his composition studies. That is why we can still see it today, included in the collections of our library.<\/li>\n<li><strong>Giuseppe Amisani (1881 - 1941), Portrait of Arrigo Boito, oil on canvas, 1924<\/strong>The painter Giuseppe Amisani trained at the Brera Academy in Milan. After participating in numerous competitions and after numerous trips, he decided to specialise in portraits. The portrait of Arrigo Boito, kept in the Library of the Milan Conservatory, is dated 1924, as we read under the painter's autograph signature, bottom right. The composer is depicted with a serious gaze, sitting three-quarter-length, with his arms folded. The rapid, fleeting brushstrokes with which Amisani renders the subject, seem to emerge from the background, also rendered through quick brushstrokes in different shades of brown, which give us an undefined environment, intended to make the figure of the musician stand out. This is a posthumous portrait, made six years after Boito's death, presumably on the basis of some photographic portraits.<\/li>\n<li><strong>Jean Fran\u00e7ois Bosio, S.AI. Le Prince Eug\u00e9ne Napoleon Archichancelier d'Etat de L'Empire Fran\u00e7ais, Vice-Roy d'Italie et Prince de Venise, Louis Rados engraver, print, 1808<\/strong>The engraving depicts Eugenio de Behuarnais, Viceroy of Italy and founder of the Milan Conservatory, in ceremonial dress. In the background are the park and the Royal Palace of Monza, whose construction was due to Prince Eugene himself.<\/li>\n<li><strong>Portrait of Marco Enrico Bossi, oil on canvas, after 1900<\/strong>The portrait, painted by an anonymous painter probably inspired by a photograph, depicts the composer in the foreground seated at the organ console.<\/li>\n<li><strong>Portrait of Gustavo Adolfo Noseda, engraving, after 1850<\/strong>The engraving depicts Gustavo Adolfo Noseda, a composition student and music collector. His passion for music and collecting is responsible for one of the largest collections in our library.<\/li>\n<li><strong>Vincenzo Gemito, Bust of Giuseppe Verdi, bronze, circa 1870<\/strong>The bronze portrait of Giuseppe Verdi by the Neapolitan sculptor Vincenzo Gemito, is one of the alleged copies that originated from the terracotta moulded by the then young Gemito \u201calways wild and without money\u201d during Verdi's stay in Naples for the performance of Aida. Research has shown that the original terracotta is in Busseto in Verdi's house, but other reproductions have been found, such as the bronze of the same bust in Milan in the Musicians' Rest Home and a terracotta in the Galleria dell'Accademia in Naples. The original wax belonged to the sculptor's wife, Giuseppina Gemito. However, these reproductions were followed by others that were not identical. Its authenticity is confirmed by the signature compared to the original by the Neapolitan sculptor.<\/li>\n<\/ol>\n<\/div><\/section><\/p><\/div><div  class='flex_column av-4qkpw5-014a5f7b557a882b7f4750a2e3cdffd9 av_one_full  avia-builder-el-8  el_after_av_one_full  el_before_av_one_full  first flex_column_div  column-top-margin'     ><p>\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-mltha65a-f27bc3869decc5cf230075fd36dbc494\">\n#top .av-special-heading.av-mltha65a-f27bc3869decc5cf230075fd36dbc494{\npadding-bottom:10px;\n}\nbody .av-special-heading.av-mltha65a-f27bc3869decc5cf230075fd36dbc494 .av-special-heading-tag .heading-char{\nfont-size:25px;\n}\n.av-special-heading.av-mltha65a-f27bc3869decc5cf230075fd36dbc494 .av-subheading{\nfont-size:15px;\n}\n<\/style>\n<div  class='av-special-heading av-mltha65a-f27bc3869decc5cf230075fd36dbc494 av-special-heading-h3 blockquote modern-quote  avia-builder-el-9  el_before_av_textblock  avia-builder-el-first'><h3 class='av-special-heading-tag'  itemprop=\"headline\"  >CONSULTATION ROOM<\/h3><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div><br \/>\n<section  class='av_textblock_section av-mlthelp7-46b2dfdfd88f4b591c2f6dbc3633d79c'   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><ol>\n<li><strong>Bartolomeo Giuliano (1825 - 1909), Portrait of Gaetano Donizetti, oil on canvas, before 1850<\/strong>Bartolomeo Giuliano trained at the Accademia Albertina in Turin and participated in numerous exhibitions and shows in the following years. Contact with the milieu of the Lombard scapigliatura greatly influenced his painting style. The portrait of Gaetano Donizetti, certainly painted in his youth, shows us the figure of the composer standing beside a table with his hand resting on a sheet of music. His gaze and torso are turned to the observer's right. The neutral background allows the figure to emerge in the centre of the painting.<\/li>\n<li><strong>Carlo Gerosa (1805 - 1878), Portrait of Gioachino Rossini, copied from the famous portrait by Francesco Hayez, oil on canvas, after 1870<\/strong>Carlo Gerosa trained at the Brera Academy of Fine Arts and specialised as a portrait painter, working mainly for high-ranking Milanese patrons.<br \/>\nThe painting displayed in the library is a copy of the famous portrait of the composer that Francesco Hayez painted in 1870 based on a photograph. The composer, in a dark suit, is portrayed facing the viewer with his face turned to the left. In his right hand he is clutching a score entitled \u201cMusic of the Future\u201d, and in his left hand he is holding his baton. The figure emerges from a neutral background that takes up many shades of grey, a typical feature of Hayez's portraits of the same period.<\/li>\n<li><strong>Giuseppe Barbaglia (1841 - 1910), Portrait of Giuseppe Verdi, oil on canvas, 1887<\/strong>Giuseppe Barbaglia attended the Brera Academy of Fine Arts, later devoting himself to portraiture and interior decoration. The portrait of Giuseppe Verdi fits fully into the Scapigliatura current. Indeed, the sense of jaggedness and indeterminacy of the colour is typical, laid out without a clear contour line, which is created rather through contrast and blurring of tones. The dependency on photography, which creates that sense of blurring of the contours, is evident.<br \/>\nThe refined pose of the great musician turns slightly to the observer's left: Giuseppe Verdi is 74 years old, at the height of his artistic career. His face is framed in a well-trimmed beard typical of the most famous portraits, iridescent with nuances of green that the painter reproposes in the thick hair. Glimpses of light illuminate it here and there at the base, almost confusing it and unifying it with the collar of the shirt. The dark jacket lends even more majesty to his figure and evident, despite the no longer bright colours, is the butterfly tie that protrudes like a divide between the collar of the lapel and the faint glow of the shirt underneath. Nothing should disturb the painting's economy: the second floor of the background is fairly evenly realised, also shaded like the male figure. The light, which illuminates the oval of the face here and there, comes from an external source and is placed to the right of the observer, creating a perfect combination of shading.<br \/>\nAlthough we do not know the year it was made, we can fortunately deduce it from a sentence on two lines that Barbaglia left in red at the bottom left of the painting and which reads: \u201ctaken from the real \/ the year Otello was given at La Scala \/ the first time\u201d.<br \/>\nWe also know the donor of the work, as his name appears on a plaque on the front of the frame: it is Napoleone Brianzi, a well-known and wealthy Milanese antiquarian.<\/li>\n<li><strong>Camillo Rapetti (1859 - 1929), Portrait of Vincenzo Bellini, oil on canvas, after 1850<\/strong>Camillo Rapetti studied at the Brera Academy in Milan. After graduating he made several trips to Rome, Paris and London to perfect his art. He later opened his own studio in Milan, devoting himself to portraiture and room decoration. The portrait of Vincenzo Bellini presents us with the composer dressed according to the fashion of the time, leaning with his left arm against a keyboard instrument and with his gaze absorbed, pointing to the right of the observer. Once again, the neutral background allows the figure of the composer to stand out in the centre of the painting.<\/li>\n<\/ol>\n<\/div><\/section><\/p><\/div><div  class='flex_column av-2eno6d-9dcf413ef75f4769fd4aee2c7ccc341d av_one_full  avia-builder-el-11  el_after_av_one_full  avia-builder-el-last  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-mlthftza-5aa844d75afcb726f979c9c5e8ef7ae3'   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p style=\"text-align: right;\">Texts edited by <strong>Marta Cattoglio<\/strong>, <strong>Gianni Gallinaro<\/strong> e <strong>Simona Raspatelli<\/strong><\/p>\n<\/div><\/section><\/div>","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-1397","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - 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