Luigi Manini

照片是darkblue的作品，看了这张照片，专门冲去 Quinta da Regaleira！ 谢谢db！

去葡萄牙时，见识了 Quinta da Regaleira (Sintra)，肃然起敬
Quinta da Regaleira (Sintra) 属于超级大富翁António Augusto Carvalho Monteiro (1848-1920)
这位身价不凡的主，从家里继承了遗产，然后在巴西生意做得很好，成了当时全葡萄牙首屈一指的富人
（http://en.wikipedia.org/wiki/António_Augusto_Carvalho_Monteiro）
他在里斯本的家（宫殿）和sitra的家Quinta da Regaleira (Sintra)，和他的坟墓，都是Luigi Manini设计的
据说，三个地方是一把钥匙
他坟里的装潢：As visitors enter the cemetery grove, they encounter the tomb on the left, with the orientation, size, and shape of a Masonic temple, oriented towards the east. It is covered in various symbols. The door knocker is engraved with a bee carrying a skull. The bee, which is diligent and hard-working, represents the Mason in his organized work. The gradeamento which can be seen in the back of the tomb, is festooned with the symbolic wine and bread, the spirit and the body. There are also decorative owls, symbolizing wisdom, as well as poppies, the symbol of eternal sleep.

好了，说远了，回来说Luigi Manini，他是意大利人
但绝大多数杰作都存在于葡萄牙

Real Teatro de São Carlos (nowadays the Teatro Nacional de São Carlos)
Buçaco Palace
Quinta da Regaleira (Sintra）
Cottage Sassetti
Palácio Biester
sets for the operas Aida, Guarany, Lohengrin, Mephistoles, and Otello
Teatro de Funchal
the Winter Garden at the Teatro de São João

Luigi Manini, Count of Fagagna, (Cremona, March 8, 1848 - Brescia, June 29, 1936) was an architect, painter and scenographer Italian rooted in Lisbon, where he arrived in 1879 and returned to Italy in 1913. Among the works he left in Portugal included the Palace Hotel do Buçaco and Quinta da Regaleira.
Born in Lombardy, attended the school master of Polgati and studied until 1861 under the direction of Professor Cassina in Milan and Brescia. Attended also the Academy of Fine Arts of Brera (Milan) and in 1874 worked with the prominent scenographer Carlo Ferrario at the Teatro la Scala in Milan. It was the scenographic activity that took him to Lisbon in April 1879, to work in the Theatre of San Carlos. He lived in Portugal until 1913, the year in which returned to Italy, died in Brescia in the year 1936.
Also in Italy, worked in his home town, where the churches of decorou Vaiano Cremasco and Zappello. The big picture painted that for the latter date of the first years of the decade of 1870. He made a remarkable job with toughened in the restoration of the frescoes of the church of San Bernardino, and also worked in the decoration of Villa Stramezzi (Moscazzano).
[Edit] Manini in Portugal

With the end of war liberals, the Opera de San Carlos reopened in January 1834, thanks to action mecenática the rich count of Farrobo. Until 1879, the scenographer resident was Giacomo Cinatti (Siena 1808), but with his death was necessary to hire new artist and, thanks to its experience in the Teatro la Scala, Manini was the scenographer chosen. At that time, Portugal lacked the technical staff and artistic, so the work of Luigi Manini not merely the scenery, continuing the activities that have developed in Italy: commemorations, áulica decoration, architecture, etc..
Manini inherited from Cinatti and his collaborator Rambois the market and the architectural taste and become the new master of Portuguese scenery. Quickly won the praise of criticism, coming to be seen as innovative painter. Their telões strongly marked the lyrical drama, developing the approach. In the context of the work of Portuguese scenery Manini was important not only for the Theatre of San Carlos but also for the Theatre Dona Maria II, inaugurated in 1846 by Garret Almeida.
In 1888, counted forty years, when Emídio Navarro invited to design a palace of hunting for the royal family, to be built in the hills of Buçaco. Manini designed a palace-style neomanuelino. With a clear origin romantic, this style was in decline since 1878, the year in which Cinatti working on a portal of the Jerónimos Monastery (Lisbon) when he accidentally ruíu, symbolically announcing the decadence of neomanuelino. At that time, where nationalist sentiment was already asleep and the movement esmorecera romantic, the views on the neomanuelino were contradictory: from those who saw in it the renaissance of Portuguese architecture, to which they wanted the camartelo demolisse all that nonsense. Manini, however, remained outside the emergence of new aesthetic currents. The Palace of Buçaco has work to other artists, such as North Junior and Nicola Bigaglia, east of Venetian origin, who carried out the decorative paintings, and the sculptor J. Machado. This work has special emphasis the contribution of the Free School of Art Design of Coimbra, where the masters came billowing who worked in Buçaco.
In 1894 Manini holds the decoration of the room the Teatro San Luiz, inaugurated this year, in 1895 and decoration works at the Military Museum. In both shows its nationalist ideology with elements of Manueline. In the Palace Foz paint the portion of the staircase and also decorou the Portuguese Pavilion at the Universal Exhibition in Paris in 1900, which paints an allegorical telão of discoveries, which refers to travel by Pedro Alvares Cabral and scenes of Ferdinand Magellan and Corte Real.
In 1880 the celebrations took place in 1898 and concluded camonianas to travel from Vasco da Gama to India. Both events had a major impact in this end of century, as reminding the greatness of Portuguese discoveries, that the Manueline style was the main event plastic. This cultural environment was the ideal ground for the development following the work of Manini: Quinta da Regaleira (Sintra). At the beginning of the twentieth century, after acquiring the property, the millionaire Antonio Augusto Carvalho Monteiro, passionate work by Jackson, would instruct Manini to design the Palace of Regaleira, which will again wide to their fantasies Manueline. Sintra was strange in this aesthetic, as the Palacio Real boasts natural elements in the Manueline and genuine revival of the nineteenth century had left marks in the Palace of Pena, built by Baron Eschwege. Artists who had worked in Buçaco also work in the Palace of Regaleira. Both buildings accounting for the invaluable contribution of Ança of stone, quarry near Coimbra, ideal for stone, the quaise were shipped by rail to Sintra.
In addition to the works already mentioned, Manini designed the enigmatic Regaleira Gardens which shows the influence scenographic and also the palace that now houses the Museum Conde de Castro Guimaraes, in Cascais, the Challet Mayer, the Village Sassetti, and the home of the gardener of the Fifth Biester, now called Town Clock, in Sintra. Among other artworks smaller than Manini done, is to highlight the decoration of the Theatre of Funchal and scenarios in Theatre Garcia de Resende, in Evora, and the Theater Sa de Miranda, in Viana do Castelo. In 1913, Manini returns to Italy, it appears, with fortunes made. Died in Brescia on June 29, 1936, with 88 years of age. He was buried in Cremona in the chapel of family. The library of Cremona guard even many of his drawings.