DOCSLIB.ORG

Lecture 07 Andrea Palladio

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Lecture 07 Andrea Palladio ARCH 242: BUILDING HISTORY II HISTORY OF THE PROFESSION: RENAISSANCE & BAROQUE ARCHITECTURE 01 AGENDA FOR TODAY... ANDREA PALLADIO (1508-1580) - The Commercial Architect - I Quattro Libri dell’Architettura - Palladio’s Thematics - Palazzo della Ragione - Villa Barbaro - Villa Rotunda - San Giorgio Maggiore - Il Redentore 02 ANDREA PALLADIO Andrea Palladio 1508-1580 - born in Padua, Italy near Venice - projects in & near Vicenza as well as Venice 03 LOCATIONS IN ITALY Vicenza Padua Venice Map of Italy 04 SACK OF ROME, 1527 The Sack of Rome in 1527 by Johannes Lingelbach 05 ANDREA PALLADIO Andrea Palladio 1508-1580 - born in Padua, Italy near Venice - projects in & near Vicenza as well as Venice - originally trained as a stonemason - studied latin literature, music, mathematics, and the treatise of Vitruvius 06 PALLADIO IN ROME Rome in 1551 07 I QUATTRO LIBRI DELL’ ARCHITETTURA Andrea Palladio’s Four Books of Architecture - published in 1570 - inspired by Vitruvius and Alberti - Palladio believed there was a “correct” way to design - This document issued standards for that way 08 PALLADIO’S THEMATICS Prevedari Etching, Bramante Pantheon Drawing, Palladio 09 PALLADIO’S THEMATICS Palladio’s thematics are rooted in proportion - Palladio is one of the most copied architects in history - did not look at the part to whole relationship like Bramante - Palladio looked at architecture as a “whole” that was independent of its parts 10 ANDREA PALLADIO Andrea Palladio 1508-1580 - born in Padua, Italy near Venice - projects in & near Vicenza as well as Venice - originally trained as a stonemason - studied latin literature, music, mathematics, and the treatise of Vitruvius - The Commercial Architect 11 VICENZA, ITALY 01 Palazzo della Ragione 02 02 Villa Barbaro 03 Villa Rotunda 01 03 12 PALAZZO DELLA RAGIONE, begun 1548 13 PALAZZO DELLA RAGIONE, begun 1548 14 VILLAS & PALAZZOS The Palladian Villa - the transition from High Renaissance to Mannerism initiated with the villa - Palladio’s villa & palazzo designs derive from four (4) sources 1 - High Renaissance villas built before 1527, like Raphael’s Villa Madama (1516) 15 VILLAS & PALAZZOS The Palladian Villa - the transition from High Renaissance to Mannerism initiated with the villa - Palladio’s villa & palazzo designs derive from four (4) sources 1 - High Renaissance villas built before 1527, like Raphael’s Villa Madama (1516) 2- Regional work completed in Verona & Venice, like Sansovino’s Biblioteca Nazionale (1536) 16 VILLAS & PALAZZOS The Palladian Villa - the transition from High Renaissance to Mannerism initiated with the villa - Palladio’s villa & palazzo designs derive from four (4) sources 1 - High Renaissance villas built before 1527, like Raphael’s Villa Madama (1516) 2- Regional work completed in Verona & Venice, like Sansovino’s Biblioteca Nazionale (1536) 3 - Mannerist villas, like Giulio Romano’s Palazo Te (1527) 17 VILLAS & PALAZZOS The Palladian Villa - the transition from High Renaissance to Mannerism initiated with the villa - Palladio’s villa & palazzo designs derive from four (4) sources 1 - High Renaissance villas built before 1527, like Raphael’s Villa Madama (1516) 2- Regional work completed in Verona & Venice, like Sansovino’s Biblioteca Nazionale (1536) 3 - Mannerist villas, like Giulio Romano’s Palazo Te (1527) 4 - Ancient architecture, like the Pantheon 18 PALLADIAN VILLA The Palladian Villa - Three (3) main ideas emerge 1 - The sacred idea behind a Greek Temple front is implemented, like in the Villa Rotunda 19 PALLADIAN VILLA The Palladian Villa - Three (3) main ideas emerge 1 - The sacred idea behind a Greek Temple front is implemented 2- The villas are arranged by a cellular floor plan, like in the Villa Rotunda 20 PALLADIAN VILLA The Palladian Villa - Three (3) main ideas emerge 1 - The sacred idea behind a Greek Temple front is implemented 2- The villas are arranged by a cellular floor plan 3- The villas break down the traditional notion of a villa, like the break down of Sangallo’s Villa Medici 21 ROMAN SPACE VERSUS GREEK SPACE Pantheon in Rome Parthenon in Greece 22 GREEK SPACE Parthenon in Greece , 400 BC 23 ROMAN SPACE Pantheon in Rome, 1st century AD 24 ROMAN SPACE Maison Carree in Nimes, France, 16 BC 25 PALLADIAN VILLA 26 VILLA BARBARO, 1550’s-1560’s 27 VILLA BARBARO, 1550’s-1560’s 28 VILLA ROTUNDA, 1550’s 29 VILLA ROTUNDA, 1550’s 30 VILLA ROTUNDA, 1550’s 31 VENICE, ITALY 01 San Giorgio Maggiore 02 Il Redentore 01 02 32 SAN GIORGIO MAGGIORE, 1566 33 SAN GIORGIO MAGGIORE, 1566 34 SAN GIORGIO MAGGIORE, 1566 35 SAN GIORGIO MAGGIORE, 1566 36 SAN GIORGIO MAGGIORE, 1566 37 IL REDENTORE, 1575-1577 38 IL REDENTORE, 1575-1577 39 IL REDENTORE & SAN GIORGIO MAGGIORE 40 IL REDENTORE, 1575-1577 41 IL REDENTORE & VILLA ROTUNDA 42 ANDREA PALLADIO Andrea Palladio 1508-1580 - Questions? 43.
Load more

Recommended publications
  • Canal Grande (The Grand Canal)
    Canal Grande (The Grand Canal) Night shot of the Canal Grande or Grand Canal of Venice, Italy The Canal Grande and the Canale della Giudecca are the two most important waterways in Venice. They undoubtedly fall into the category of one of the premier tourist attractions in Venice. The Canal Grande separates Venice into two distinct parts, which were once popularly referred to as 'de citra' and 'de ultra' from the point of view of Saint Mark's Basilica, and these two parts of Venice are linked by the Rialto bridge. The Rialto Bridge is the most ancient bridge in Venice.; it is completely made of stone and its construction dates back to the 16th century. The Canal Grande or the Grand Canal forms one of the major water-traffic corridors in the beautiful city of Venice. The most popular mode of public transportation is traveling by the water bus and by private water taxis. This canal crisscrosses the entire city of Venice, and it begins its journey from the lagoon near the train station and resembles a large S-shape through the central districts of the "sestiere" in Venice, and then comes to an end at the Basilica di Santa Maria della Salute near the Piazza San Marco. The major portion of the traffic of the city of Venice goes along the Canal Grande, and thus to avoid congestion of traffic there are already three bridges – the Ponte dei Scalzi, the Ponte dell'Accademia, and the Rialto Bridge, while another bridge is being constructed. The new bridge is designed by Santiago Calatrava, and it will link the train station to the Piazzale Roma.
    [Show full text]
  • 1. World Heritage Property Data
    Periodic Report - Second Cycle Section II-City of Vicenza and the Palladian Villas of the Veneto 1. World Heritage Property Data Villa Forni Cerato, 45.653 / 11.561 2.23 0 2.23 1996 Montecchio Precalcino , 1.1 - Name of World Heritage Property Province of Vicenza , Veneto City of Vicenza and the Palladian Villas of the Veneto Region , Italy Comment Villa Godi 45.746 / 11.529 4.66 0 4.66 1996 Committee Decision 20COM VIIC: The name of the property Malinverni, Lonedo di Lugo was changed to “The City of Vicenza and the Palladian Villas Vicentino , of the Veneto” . (Note: "The") Province of Vicenza , Veneto Region , Italy 1.2 - World Heritage Property Details Villa Pisani Ferri, 45.359 / 11.369 1.6 0 1.6 1996 State(s) Party(ies) Bagnolo di Lonigo , Province Italy of Vicenza , Veneto Region , Type of Property Italy cultural Villa Pojana, 45.282 / 11.501 6.14 0 6.14 1996 Identification Number Poiana Maggiore , 712bis Province of Vicenza , Veneto Year of inscription on the World Heritage List Region , Italy 1994, 1996 Villa Saraceno, 45.311 / 11.587 0.59 0 0.59 1996 Agugliaro , Province of 1.3 - Geographic Information Table Vicenza , Veneto Name Coordinates Property Buffer Total Inscription Region , Italy (latitude/longitude) (ha) zone (ha) year Villa Thiene, 45.573 / 11.63 0.38 0 0.38 1996 (ha) Quinto Vicentino , 0 / 0 ? ? ? Province of Vicenza , Veneto 0 / 0 ? ? ? Region , Italy City of Vicenza 45.549 / 11.549 218 0 218 1994 Villa Trissino, 45.428 / 11.414 3.78 0 3.78 1996 (including 23 Sarego , Province buildings of Vicenza , constructed
    [Show full text]
  • Palladio's Influence in America
    Palladio’s Influence In America Calder Loth, Senior Architectural Historian, Virginia Department of Historic Resources 2008 marks the 500th anniversary of Palladio’s birth. We might ask why Americans should consider this to be a cause for celebration. Why should we be concerned about an Italian architect who lived so long ago and far away? As we shall see, however, this architect, whom the average American has never heard of, has had a profound impact on the architectural image of our country, even the city of Baltimore. But before we investigate his influence we should briefly explain what Palladio’s career involved. Palladio, of course, designed many outstanding buildings, but until the twentieth century few Americans ever saw any of Palladio’s works firsthand. From our standpoint, Palladio’s most important achievement was writing about architecture. His seminal publication, I Quattro Libri dell’ Architettura or The Four Books on Architecture, was perhaps the most influential treatise on architecture ever written. Much of the material in that work was the result of Palladio’s extensive study of the ruins of ancient Roman buildings. This effort was part of the Italian Renaissance movement: the rediscovery of the civilization of ancient Rome—its arts, literature, science, and architecture. Palladio was by no means the only architect of his time to undertake such a study and produce a publication about it. Nevertheless, Palladio’s drawings and text were far more engaging, comprehendible, informative, and useful than similar efforts by contemporaries. As with most Renaissance-period architectural treatises, Palladio illustrated and described how to delineate and construct the five orders—the five principal types of ancient columns and their entablatures.
    [Show full text]
  • Villa Pisani Bonetti Bagnolo Di Lonigo
    5 9 4 8 VILLA PISANI BONETTI VILLA PISANI BONETTI BAGNOLO DI LONIGO (Vicenza) BAGNOLO DI LONIGO (Vicenza) 10 3 7 Architect Andrea Palladio Architect Andrea Palladio (16 th Century) (16 th Century) 11 2 6 AVAILABILITY OF THE VILLA 12 12 The Villa can be visited throughout the year by booking 1 in advance. For information contact the secretary’s office in Villa Pisani, BRIEF HISTORICAL OUTLINE CAPTIONS 1 Via Risaie, I-36045 Bagnolo di Lonigo, Vicenza. Telephone +39.0444.831104, Fax +39.0444.835517 illa Pisani Bonetti was planned by Andrea Palladio in 1) Entrance 17) Map Room Email: [email protected] V1541, the date of his return from his first journey to Rome, and was built between 1544 and 1545. It is perhaps 2) Atrium 18) Music Room the most representative example of his early period and it 3) Cross-shaped Room 19) North Tower marked the beginning of his marvellous collaboration with the Serene Republic of Venice. Palladio was so proud of this 4) Loggia 10) Dining Room work and so conscious of the power of his patrons, the Pisani 5) Principle Façade 11) Large Kitchen family, that he used it to open the section devoted to “Case HOW TO REACH US di Villa”, Villa Homes, in his famous treatise “I Quattro 6) Magistrate’s Drawing-room 12) Cellars Libri dell’Architettura”, The Four Books of Architecture, published in Venice in 1570. The Bagnolo Villa was inspired AUTOSTRADA A4 by the ancient buildings of Rome, in particular the baths; it MI VERONA VICENZA VE reflected their monumentality and, by doing so, was highly Uscire al casello di MONTEBELLO adapted to represent the installation of the new “fiefdoms” and the power of Venice on the mainland.
    [Show full text]
  • V. MOSCHINI Spetto Del Quadro, Quando La Pulitura, Iniziata Con Piccole Prove Che Trovarono Ampia Conferma Nelle Radiografie, I) V
    ©Ministero dei beni e delle attività culturali e del turismo -Bollettino d'Arte FIG. I - VENEZIA, GALLERIE DELL' ACCADEMIA - LA PRIMA SALA NUOVI ALLESTIMENTI E RESTAURI di Venezia poter contare su di un artista come Carlo Scarpa, dotato di una sensibilità più che rara, anche se ALLE GALLERIE DI VENEZIA egli talvolta trovò delle limitazioni, specialmente dovute all'edificio già esistente. Le rettifiche durante i lavori A QUANDO NEL 1948 davo notizia in questo Bollettino furono appena quelle inevitabili in simili operazioni, nè vi D della nuova sistemazione in corso delle Gallerie del­ furono esperimenti magari audaci ma con il rischio di l'Accademia, I) non poco si è fatto per presentare in modo dover rifare tutto daccapo. Vi potranno essere dei ritocchi, organico e omogeneo il nucleo essenziale di quella ecce­ ma l'insieme sembra destinato a restare almeno per la zionale raccolta, anche se siamo stati costretti a lasciar durata normale di tali allestimenti, e questo è già qualcosa. da parte i progetti di ampliamento. Nel frattempo alcuni Dopo i primi lavori, tra i quali fu specialmente dimostra­ lavori vennero fatti conoscere,2) ma sia pure a costo di tiva la sistemazione della sala di S. Orsola, si passò a uti­ ripetizioni non sarà forse inutile qualche cenno ulteriore. lizzare il vasto e disorganico ambiente costituito dalla parte I criteri indicati in quel mio articolo ormai stagionato superiore della Chiesa della Carità, reso anzitutto assai più vennero seguiti successivamente con quella fedeltà che era luminoso per l'apertura di nuovi lucernai. S'introdusse solo possibile restando le persone che continuavano ad at­ qui in pieno l'uso di pannelli anche di grandI dimensioni, tuarli.
    [Show full text]
  • Lionel March Palladio's Villa Emo: the Golden Proportion Hypothesis Rebutted
    Lionel Palladio’s Villa Emo: The Golden Proportion March Hypothesis Rebutted In a most thoughtful and persuasive paper Rachel Fletcher comes close to convincing that Palladio may well have made use of the ‘golden section’, or extreme and mean ratio, in the design of the Villa Emo at Fanzolo. What is surprising is that a visually gratifying result is so very wrong when tested by the numbers. Lionel March provides an arithmetic analysis of the dimensions provided by Palladio in the Quattro libri to reach new conclusions about Palladio’s design process. Not all that tempts your wand’ring eyes And heedless hearts, is lawful prize; Nor all that glisters, gold (Thomas Gray, Ode on the Death of a Favourite Cat) Historical grounding In a most thoughtful and persuasive paper [Fletcher 2000], Rachel Fletcher comes close to convincing that Palladio may well have made use of the ‘golden section’, or extreme and mean ratio, in the design of the Villa Emo at Fanzolo which was probably conceived and built during the decade 1555-1565. It is early in this period, 1556, that I dieci libri dell’archittetura di M. Vitruvio Pollionis traduitti et commentati ... by Daniele Barbaro was published by Francesco Marcolini in Venice and the collaboration of Palladio acknowledged. In the later Latin edition [Barbaro 1567], there are geometrical diagrams of the equilateral triangle, square and hexagon which evoke ratios involving 2 and 3, but there are no drawings of pentagons, or decagons, which might explicitly alert the perceptive reader to the extreme and mean proportion, 1 : I :: I : I2.
    [Show full text]
  • Branko Mitrović Andrea Palladio's Villa Cornaro in Piombino Dese
    Branko Mitroviü Andrea Palladio’s Villa Cornaro in Piombino Dese As for many of Palladio’s buildings, modern surveys of the Villa Cornaro in Piombino Dese do not exist, are incomplete, omit information about important aspects such as the use of the classical orders, or have been published without dimensions indicated in the plans. The analysis presented here is based on a June 2003 survey of the villa made by Steve Wassell, Tim Ross, Melanie Burke, and author Branko Mitroviü. In his treatise, Palladio listed his preferred room types: circular, square or rectangular with length-to-width ratios 2/1, 3/2, 4/3, 5/3 or 2/1. Half a century ago, this kind of speculative search for the comprehensive interpretation of Palladio’s proportional system received great impetus from Rudolf Wittkower’s Architectural Principles in the Age of Humanism. It is, however, important to differentiate between the derivation of certain proportional rules and their explanation. Wittkower asserted that the use of ornamentation—and especially the orders—did not matter in Palladio’s design process. Refuting this theory, Mitroviü argues that Palladio, in the early 1550, formulated a very different approach to the use of the orders, combining the principle of preferred room proportions and the use of a columnar system to determine the placement of walls. The proportions of the main sala and porticos are derived on the basis of the proportional rules for the order used; the proportions of the side rooms on the basis of preferred ratios. Ultimately, the result is that the mathematics of the orders became decisive for Palladio’s design principles and the use of proportions from the early 1550s.
    [Show full text]
  • Palladio, a Model for the Architecture of Classical Europe
    Architectural Styles Palladio, a model for the architecture of classical Europe Jean POTEL ABSTRACT Beginning in the sixteenth century, European architecture—in the same manner as painting, sculpture, and more broadly all forms of artistic expression—fell into tune with an Italian art that had already been renewing itself for nearly a century on ancient models. While the Rome of Julius II (pontiff from 1503 to 1513) and his successors drew the attention of the majority of nations, such as the Holy Roman Empire and Spain, others such as England, the United Provinces, and more discreetly France were enthusiastic about the work of the Vicentine Andrea Palladio (1508-1580). While the productions of this contemporary of the painter Veronese were mostly limited to the secondary artistic centers of the continental territories of the Republic of Venice (modern-day Veneto), they were behind an architectural movement unique to the Old World, one that took its creator’s name and thereby attesting to the incredible success of his manner: Palladianism. Jacob van Campen (1595-1657), home of count Jean-Maurice de Nassau-Siegen, known as Mauritshuis, The Hague (the Netherlands), 1633-1644. Source : Wikimedia Commons. The Origins of Palladianism Born in Padua and long active in Vicenza, two cities dominated by Venice, Pietro della Gondola (1508-1580) had an exceptional career. A mason by formation, he befriended the humanists Giorgio Trissino (1478-1550), who renamed him Palladio, and Daniele Barbaro (1514-70), whom he assisted in the latter’s commented translation of Vitruvius’s treatise on Latin architecture (1556), two encounters that were behind the extraordinary esthetic and conceptual revolution of his art.
    [Show full text]
  • Venice & the Veneto
    Plan Your Trip 1 ©Lonely Planet Publications Pty Ltd Venice & the Veneto “All you’ve got to do is decide to go and the hardest part is over. So go!” TONY WHEELER, COFOUNDER – LONELY PLANET THIS EDITION WRITTEN AND RESEARCHED BY Cristian Bonetto, Paula Hardy Contents PlanPlan Your Your Trip Trip page 1 4 Welcome to Venice & the If You Like... ������������������� 18 Eating ���������������������������27 Veneto ������������������������������ 4 Month by Month ������������20 Drinking & Nightlife ���33 Venice’s Top 10 ���������������� 6 For Free ��������������������������22 Entertainment �������������37 What’s New �������������������� 13 With Kids ������������������������23 Shopping ����������������������41 Need to Know �����������������14 Tours �������������������������������25 Top Itineraries ����������������16 Explore Venice & the Veneto 44 Neighbourhoods at a San Polo & Murano, Burano & the Glance ����������������������������46 Santa Croce �������������������84 Northern Islands ����������147 San Marco ����������������������48 Cannaregio ������������������ 105 Day Trips from Dorsoduro �����������������������71 Castello �������������������������117 Venice �������������������������160 Giudecca, Lido & the Sleeping ���������������������186 Southern Islands ��������� 136 Understand Venice & the Veneto 199 Venice Today �������������� 200 Architecture ����������������� 215 The Fragile Lagoon �����237 History ��������������������������202 The Arts������������������������225 Survival Guide 239 Transport �������������������� 240 Language ���������������������252
    [Show full text]
  • Parametric Variations of Palladio's Villa Rotonda
    Parametric Variations of Palladio’s Villa Rotonda Hyoung-June Park international journal of architectural computing issue 02, volume 06 145 Parametric Variations of Palladio’s Villa Rotonda Hyoung-June Park A computational tool for the study of proportional balance is introduced as an apparatus for investigating Andrea Palladio’s design of Villa Almerico, more familiarly known as Villa Rotonda, in the second book of his Quattro Libri dell’Architettura. The objective of this investigation of Villa Rotonda is to find a novel outcome from the morphological transformations of the villa, where the transformations are generated from parametric variations of the villa while maximizing its proportional balance. The outcome confirms Palladio’s mastery of proportional treatments of his design of Villa Rotonda and shows various morphological descendants evolved from the original design. It suggests a new way of employing a parametric geometry in the formal study of a classical building and its stylistic evolution. 146 1. INTRODUCTION The concept of morphological transformation with proportional relationships has been developed in art, biology, and architecture throughout the ages (Conway, 1889;Thomson, 1961; Steadman, 1983). D’Arcy Thompson’s application of morphological transformations in the process of biological evolution became the impetus for the development of evolutionary modeling in computer science and architecture (Koza, 1992; Bentley, 1999; Broughton and Coates, 1997;Testa et al,2001). Evolutionary modeling is based upon generation and evaluation.Various design problems have been investigated with the possibility of discovering feasible design solutions.According to given criteria including structure, function, and cost, meaningful and satisfactory design solutions have been produced using a random generative process directed by the probabilistic selection method (Shea and Cagan, 1997; Jagielski et al, 1998; Michalek, 2001).
    [Show full text]
  • The Thin White Line: Palladio, White Cities and the Adriatic Imagination
    Chapter � The Thin White Line: Palladio, White Cities and the Adriatic Imagination Alina Payne Over the course of centuries, artists and architects have employed a variety of means to capture resonant archaeological sites in images, and those images have operated in various ways. Whether recording views, monuments, inscrip- tions, or measurements so as to pore over them when they came home and to share them with others, these draftsmen filled loose sheets, albums, sketch- books, and heavily illustrated treatises and disseminated visual information far and wide, from Europe to the margins of the known world, as far as Mexico and Goa. Not all the images they produced were factual and aimed at design and construction. Rather, they ranged from reportage (recording what there is) through nostalgic and even fantastic representations to analytical records that sought to look through the fragmentary appearance of ruined vestiges to the “essence” of the remains and reconstruct a plausible original form. Although this is a long and varied tradition and has not lacked attention at the hands of generations of scholars,1 it raises an issue fundamental for the larger questions that are posed in this essay: Were we to look at these images as images rather than architectural or topographical information, might they emerge as more than representations of buildings, details and sites, measured and dissected on the page? Might they also record something else, something more ineffable, such as the physical encounters with and aesthetic experience of these places, elliptical yet powerful for being less overt than the bits of carved stone painstakingly delineated? Furthermore, might in some cases the very material support of these images participate in translating this aesthetic 1 For Italian material the list is long.
    [Show full text]
  • 00 Prelims 1630
    02 Howard 1630 13/11/08 11:01 Page 29 ITALIAN LECTURE Architectural Politics in Renaissance Venice DEBORAH HOWARD St John’s College, Cambridge WHATISTHE ROLE OF ARCHITECTURE in the self-definition of a political regime? To what extent are the ideologies of state communicated in public space? Can public confidence be sustained by extravagant building initiatives—or be sapped by their failures? These issues are, of course,as relevant today as they were in the Renaissance.Venice,in particular,seems closer to our own times than most other Early Modern states because of its relatively ‘democratic’ constitution, at least within the ranks of the rul- ing oligarchy. It was a democracy only for noblemen, since voting rights and eligibility for important committees and councils were limited to members (men only, numbering about 2,000) of a closed, hereditary caste. Nevertheless,many of the problems over decision-making ring true to modern ears.Indeed, it could be argued that the continual revision of public building projects during their execution is an essential characteristic of the democratic process. It has been claimed by architectural historians over the past few decades that ambitious programmes of building patronage in Renaissance Venice helped to communicate political ideals to the public.1 Read at the Academy 10 May 2007. 1 See,for example,Manfredo Tafuri, Jacopo Sansovino (Padua, 1969; 2nd edn., 1972); Deborah Howard, Jacopo Sansovino: Architecture and Patronage in Renaissance Venice (New Haven & London, 1975; rev.edn., 1987); Manfredo Tafuri, ‘“Renovatio urbis Venetiarum”: il problema storiografico’, in M. Tafuri (ed.), ‘Renovatio urbis’: Venezia nell’età di Andrea Gritti (1523–1538) (Rome,1984), pp.9–55; Manfredo Tafuri, Venezia e il Rinascimento (Turin, 1985; English edn., trans.Jessica Levine,Cambridge,MA and London, 1989).
    [Show full text]