The architect from Trieste Emilio Ambrosini, as previously generously mentioned, was fundamental for the aesthetic urban definition of Fiume. For its artistic and executive qualities his opus represents, in the framework of Fiume architecture, a significant moment of modernity and Central European coherence comparable to that of the creations that appeared in the other metropolises of the Danubian Monarchy. At the dawn of the 1902th century his drawings reveal a certain purification of the aggressive, heavy decoration of the relief models and an architecture that simplifies the façade, as occurs especially in two large buildings free of the ornamental covering elements around the windows and the door, respectively on the house of Antonio Jug in via dello Studente (1902) and that of Zmajić in via della Marina Jugoslava (1905). In XNUMX the author designed the two most beautiful secessionist facades of the Rijeka Corso, namely the artistic-photographic studios of the Schittar house and the Antonio Milcenich-Cerniak residence.

Emilio Ambrosini fully adhered to the new style, he abandoned the entire stereotypical ornamental arsenal, which weighed down the facades of the houses built around 1894, the cast iron grates, the letters on them, everything in him became modern and bold, especially in the vertical succession and in the opening of large windows. In this style he conceived and built four hotels between Rijeka, Opatija and Volosca, built thirty residential houses, nine villas, ten buildings for commercial use and a good part of the Potok district, in Nikola Car Street. The talented architect signed, among other things, the projects of the Clotilde kindergarten in today's Podmurvice district, of Villa Corossacz, today the seat of the Ivan Matetić Ronjgov Music School, of the Fabich house located in Pomerio Street and of the Schittar house.

From archive data we learn that the first drafts of adaptation of two buildings (civic numbers 7 and 9), belonging to the entrepreneur Giovanni Schittar from Fiume, date back to 1903. Both buildings had two floors, with an attic and a ground floor, one of which housed a small wooden shop window. The final project followed in 1904/05, the year in which they were joined, another floor was added and they were given an Art Nouveau façade.

What has since become known as the “Schittar residence” was an example of the pure floral style, with what was once a glass attic intended for a photography studio, a rare example of the application of the so-called “fifth facade” in Croatia. At that time, nature as inspiration in the first phase of Art Nouveau architecture in Rijeka was certainly the most present in its floral form, which, following, primarily, the example of Vienna, manifested itself as figurative motifs and stylised geometric forms. In this context, what made Rijeka architecture special and recognisable and contributed to the ambience, in addition to the open balconies and loggias, was the plasticity of the facades, which manifested itself, and this can be observed perfectly on the Schittar house, in the form of coastal vegetation, such as chestnut leaves, vine shoots, laurel twigs, geraniums and climbing roses for the garden, as well as marine and forest flora and fauna.

Even though some of the Fiume walks are characterized by rows of chestnut trees and the woods around Fiume are rich in horse chestnuts, it is, in fact, a question of overlapping sensibilities, when a decorative element, generally acceptable and fashionable, can at the same time be characteristic of a geographical area. A typical example is the writing that Ambrosini had added for the photographic studio in the attic, made with iris flowers of curved stalks.

The iris is, on the one hand, a symbol of authenticity because it is a spontaneous plant, characteristic of the coastal area, and is the symbol of an early Slavic deity (supreme god, the thunderer Perun). On the other hand, thanks to its specific asymmetrical, thin and wavy shape, as well as a broad symbolic meaning, this plant was a very used, loved and generally accepted Art Nouveau decorative motif. Furthermore, the frieze divided into squares decorated with acanthus leaves, a classic decorative motif that was also popular in the Secessionist period, in the upper part of the façade, is an example of choosing a plastic decoration according to the offer of mass production. In fact, the architect foresaw in the original project slabs decorated with garden flowers, but in the end he chose the finished product.

Ornella Sciuca
Source: The Voice of the People – 24/04/2022