page_title: Cisternoni of Livorno
section_title: La Gran Conserva
hierarchical_section_title: Cisternoni of Livorno / La Gran Conserva
caption_attribution_description: Italiano: Livorno: il Cisternone (1829-1842), progettato da Pasquale Poccianti e ormai posto ai margini di una piazza utilizzata solo come parcheggio, dietro una selva di semafori e cartelli stradali. A sinistra, non inquadrato nella foto, si erge un palazzo condominiale che con la sua altezza incide negativamente sull'equilibrio architettonico della piazza.
context_page_description: The Cisternoni of Livorno are a series of three large buildings in the neoclassical style at Livorno, in Tuscany, Italy. They were constructed between 1829 and 1848 as part of a complex of purification plants and storage tanks to the Leopoldino aqueduct; a fourth cisternone planned at Castellaccia was never built. The cisternoni, literally "great cisterns", provided Livorno — a city that is still today one of the principal ports of the Mediterranean — with fresh and, more importantly, clean water throughout the 19th and 20th centuries.
  Designed by the architect Pasquale Poccianti, the cisternoni are architecturally important, as they represent the advent of an aesthetically considered approach to the design of utilitarian public work. This movement, whose followers are sometimes known as "Utopians", was pioneered by such architects as Étienne-Louis Boullée and Claude-Nicolas Ledoux at the close of the 18th century. The movement resulted in great palaces and temples of industry and commerce, their palatial and temple-like facades concealing the mundane reality of their true use, which were to dominate many towns and landscapes from the 19th century onwards.
context_section_description: La Gran Conserva, or "Il Cisternone", situated on what were the outskirts of 19th-century Livorno, is the largest and best known of the city's's covered cisterns.  It was constructed between 1829 and 1842 to the design of  Pasquale Poccianti.  While the facade of the Cisternone was completed by 1833 to commemorate the marriage of Tuscany's ruling Grand Duke Leopoldo II to his second wife Maria Antonietta, the water system was not fully operational until 1842.
  It is thought that the architect, Antonio Antolini (better known for his work at the Bonaparte Forum in Milan, a circular piazza of palazzi with the Castello Sforzesco at its centre)
  may have also been involved in the design, as correspondence between him and Poccianti regarding the Cisternone exists.
  The building appears almost surreal in its design, due to its dominant dome which resembles more a "cut-away" illustrative architectural drawing, a section, than a realised project. Inspired by the Pantheon in Rome the "dome" is unique, appearing as a half-dome or "semi-cupola." It is in reality an enormous niche — open to the elements — thus it seems that one views the interior from the exterior. A similar, but less theatrical, construction can be seen crowning the classical temple front of Alberti's Basilica of Sant'Andrea in Mantua, built in 1470.
  At Livorno, the great niche surmounts a massive portico supported by eight columns in the Tuscan order, the order theorists considered most appropriate to military architecture.  Attention is drawn to the niche by its proportions which dwarf the lower floors beneath it.  One explanation for the individuality of the great niche is that large niches and concave recesses ornamenting pediments were a defining feature of Italian Baroque architecture. In Italy the Baroque style was superseded more swiftly by the neoclassical style than elsewhere in Europe; thus there can be found a confusing blend of the two styles in parts of Italy.  However, the Gran Cisterno is very late for this fusion of styles, so the influence of Ledoux seems the most likely reason for this magnificently eccentric feature. There are obvious similarities between the Gran Conserva and Ledoux's drawings for the "House of Supervisors" at his idealistic vision of the city of Chaux, a late 18th-century example of modern town planning and more obviously still in a design by Ledoux for a Parisian mansion for Marie-Madeleine Guimard, which was conceived as early as 1766.  In its turn, the Gran Cisternone was to be the inspiration for the design of half-dome Beaux-Arts bandshells, such as the Naumburg Bandshell in Central Park, New York.
  The interior of the building is divided into two halves. The first and most visible is the principal facade and its flanking wings, which house the apartments for caretakers and staff; behind lies the second half and main body of the building which contains the "T" shaped reservoir itself.  This is subdivided by Tuscan columns supporting the roof above, giving it the air of a cavernous aquatic cathedral.
  The cisterns were not only places for storing the city's water but were also "purgatori" — places for purifying the water. Water entered the reservoir from the Acquedotto Leopoldino through layers of gravel and carbon, a method of filtration which was later replaced by a more modern chlorine treatment system.  The later removal of the gravel filtering system meant that the cistern could be used to its maximum capacity to store 10,000 cubic metres of water.  This reservoir and purification plant is still in use today.
caption: "La Gran Conserva" of Livorno designed in 1829
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