This article examines a not yet investigated aspect of the activity of the Commissione d’Ornato in Milan in the first half of the nineteenth century. It investigates the influence of exponents of the perspective culture, such as Paolo Landriani and Francesco Durelli, in a commission established to supervise the city construction. Their tendency to enlarge the expressive references from the Vitruvian norms to the freer proportions of Bramante’s language and their sensitivity to the complexity of the urban space emerge from the archive documentation. These attitudes carry out an erosive action towards the cultural models on which the commission supervises, bringing the sensitivity of Milanese architectural culture from the neoclassicism of the beginning of the Century to the most varied panorama of the pre-unification years.
Keywords: Commissione d’Ornato; perspective culture; buildings of Milan