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Technical drawing of the ceiling of the Teatro Real in Turin

Technical drawing of the ceiling of the Teatro Real in Turin

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A renowned French artist witnesses the renovation of the roof of Turin's legendary Opera Regio .

  • Technical drawing of the ceiling of the Royal Theater of Turin, by Louis Poyet.
  • A leaf.
  • In French.
  • 38.4 cm x 24.7 cm.
  • Before 1904, in Italy.
  • Good condition, right side a little deteriorated, but without affecting the drawing or notes.
  • Unique piece.

  • Watercolor drawing of a fireworks mechanism, unknown author, probably Louis Poyet.
  • A leaf.
  • 23.4 cm x 19 cm.
  • Supposedly before 1904, Italy.
  • Good condition, with one defective corner and few stains.
  • Unique piece.

Original text

"Assemblage de charpente employée tant sur la salle de peinture que sur le parquet de la scène du Théatre Royal de Turin. Dessinée (?) en Italie par Mr Poyet."|"Salle éclairée pour peindre les scènes du Théatre Royal de Turin." 

Portuguese translation

“Structural assembly used both in the painting room and on the stage floor of the Royal Theater of Turin. Designed (?) in Italy, by Mr. Poyet. "|" Bright room to paint scenes from the Royal Theater of Turin.”

The Royal Theater of Turin is a monument with exceptional architecture and decoration, a building fundamental to the history of opera, an art that was born in Italy in the 16th century. Built and opened 40 years before the Scala Theater, in 1740, the Regio would become, from its beginnings, the largest theater in Europe and an international reference in the segment; with famous opera premieres, the room had the capacity to house 2500 privileged spectators.

Louis Poyet was the great specialist in the illustrated representation of machines between 1873 and 1910 and his workshop will have more than forty artisans, all faithful servants of the ideology conveyed by the popular magazines of the time: that of the optimistic belief in the material progress of science, a vision of the world entirely governed by determinism and the most absolute rationality.

About the two plays, Simone Solinas, archivist at Teatro Regio, says:

“The largest is a vertical section of the scenography room, as it was in the old building (1740-1936). The name Poyet is almost certainly Louis Poyet (1846-1913), and the drawings must be before 1904 anyway, because the theater was consistently renovated at that time and the roof structure was replaced with iron beams instead of the old one. wood. The set design room was placed on the top floor of the building to take advantage of natural light.

I cannot precisely date the small, colorful drawing. It is, without a doubt, a fireworks scene machine, and appears to be from the 18th century, when these types of special effects were often put into play.

Mr. Poyet's most likely objective was to copy a model for the restoration (or for the construction) of a (new) theater. Many engravings of the Teatro Regio were published in the Encyclopédie de Diderot et d'Alembert, and so it was the most sought after theater for many decades, and a destination for great excursionists. Poyet feels the need to specify that the drawing was made in Turin, most likely to ensure fidelity to the original building.” 

Old documents related to major historical monuments are rare and highly sought after by the public, as they are normally preserved by public institutions or by the institution's own archivists. This set also seems interesting to me because it was made by Louis Poyet, a renowned French artist and passionate about engineering and architecture, at a time when the work required great manual precision and talent, as the author did not have the technological resources that we have. at the moment.

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