fcif i' v ?1t M bRN fi'K inii^ ■-•«SSj ®a|k i 1) ANTONIO BOGGERI (193 3) 2) XANTI SCHAWINSKI (1936) 3) ERBERTO CARBONI (1935) 4) XANTI SCHAWINSKI (i933) 5) MAX HUBER (1939) 6) MAX HUBER (1940) [Deutsche! TextScite 425] [Teste franSais: page 427] The poets are gradually quitting their ivory towers and leaving them to bats and owlsMallarmé descends from Olympus to compile a fashion review, Proust writes the society columns of figaro, Cocteau designs man nequins for Schiaparelli, Prévert puts his verses into the mouths of Mont- martre chansonniers. And a new figure steps on to the scene of the modern fairy-tale to play the traditional part of the tempter, the new feathered ser pent, who sets the stage for his persuasive publicity pieces and whose name is borrowed, not without reason, from the usage of the theatre: the art director, il regista grafico. He is not, of course, an unknown figure. It was he who organised the banquets, pageants, hunts and masques of olden days, when his name was Leonardo da Vinci, Vignola or Le Notre. He set out gardens, he designed capitals for a memorial or a parchment. He was nearly always an architect, which is why Vitruvius says that an architect must be acquainted with almost all domains of knowledge, understanding astronomy and being able to play the flute. Pure and applied art then had their illustrious patrons. Almost all literature was produced under the aegis of the court, and the works of Mantegna in the Reggia of Mantua and of Zuccari in the Pala^po di Caprarola were dedicated to the greater glory of the Dukes of Este and the Farnese. The great social revolutions and the rise of the middle classes have liberated art from the tyrant's caprice. Architects, painters, poets and typo graphers have lost the occasion for rhetoric and the incentive of princely favour. The bells and trumpets that once announced to the people the birth of an heir to the throne today sound in praise of a toothpaste or a type writer, a lipstick or a lubricant, a cold cure or a frigidaire. And thus Boggeri, who in another age would have moved among the masons and rope-makers who raised the famous obelisk on the Pia^pa San Pietro at Rome, today conducts his negotiations with Pirelli, Olivetti, MontecatiniRoche, Bemherg and Glaxo, for whom he popularises the virtues of such products as Inverno, Lexikon, Rodina or Pantopon, Pekin plissé or Penicillina. Since 1933, when the Boggeri studio was first opened, he has been manager of a select group of Milanese commercial artistsSchawinski and Carboni, I CEPVO ITAttA 423

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