PALLADIANISM in the 17TH + 18TH CENTURIES ANDREA PALLADIO the FOUR BOOKS of ARCHITECTURE 1570 “I Shall Deal Rst with Private Houses, and Then with Public Buildings.”

Total Page:16

File Type:pdf, Size:1020Kb

PALLADIANISM in the 17TH + 18TH CENTURIES ANDREA PALLADIO the FOUR BOOKS of ARCHITECTURE 1570 “I Shall Deal Rst with Private Houses, and Then with Public Buildings.” PALLADIANISM IN THE 17TH + 18TH CENTURIES ANDREA PALLADIO THE FOUR BOOKS OF ARCHITECTURE 1570 “I shall deal rst with private houses, and then with public buildings.” ANDREA PALLADIO THE FOUR BOOKS OF ARCHITECTURE 1570 PALLADIO makes an analogy between COMMODITY (function) and the HUMAN ORGANISM. FUNCTIONAL and AESTHETIC con- siderations complement each other. “But it is oen necessary for the architect to comply with the wishes of those responsible for the expense, rather than with that which ought to be observed.” ANDREA PALLADIO THE FOUR BOOKS OF ARCHITECTURE 1570 PALLADIO was interested in both RULES and STATES OF EXCEPTION. If ALBERTI was interested in CONCEPTUAL BEAUTY, PALLADIO was interested in PERCEPTUAL BEAUTY. PALLADIO values COMMODITY and SITE in his villas. Venetian Art GIOVANNI BELLINI PIETA 1500 SANDRO BOTTICELLI PIETA 1500 GIOVANNI BELLINI ST. FRANCIS IN THE WILDERNESS 1480 GIORGIONE THE TEMPEST 1510 GIORGIONE THREE PHILOSOPHERS 1509 NATURE vs. CULTURE NATURE vs. CULTURE LANDSCAPE as both CONTENT and TOPIC NATURE vs. CULTURE LANDSCAPE as both CONTENT and TOPIC NATURE as direct source PALLADIO’S VILLAS RUDOLF WITTKOWER ARCHITECTURAL PRICIPLES IN THE AGE OF HUMANISM 1962 ANDREA PALLADIO VILLA TRISSINO | VICENZA, ITALY 1538 ANDREA PALLADIO VILLA TRISSINO | VICENZA, ITALY 1538 ANDREA PALLADIO VILLA TRISSINO | VICENZA, ITALY 1538 ANDREA PALLADIO VILLA EMO | VENETO, ITALY 1559 ANDREA PALLADIO VILLA EMO | VENETO, ITALY 1559 ANDREA PALLADIO VILLA EMO | VENETO, ITALY 1559 ANDREA PALLADIO VILLA EMO | VENETO, ITALY 1559 ANDREA PALLADIO VILLA ROTONDA | VICENZA, ITALY 1566 ANDREA PALLADIO VILLA ROTONDA | VICENZA, ITALY 1566 ANDREA PALLADIO VILLA ROTONDA | VICENZA, ITALY 1566 ANDREA PALLADIO VILLA ROTONDA | VICENZA, ITALY 1566 ANDREA PALLADIO VILLA ROTONDA | VICENZA, ITALY 1566 ANDREA PALLADIO VILLA ROTONDA | VICENZA, ITALY 1566 ANDREA PALLADIO VILLA ROTONDA | VICENZA, ITALY 1566 ANDREA PALLADIO VILLA ROTONDA | VICENZA, ITALY 1566 ANDREA PALLADIO VILLA MALCONTENTA | VENICE, ITALY 1560 ANDREA PALLADIO VILLA MALCONTENTA | VENICE, ITALY 1560 ANDREA PALLADIO VILLA MALCONTENTA | VENICE, ITALY 1560 ANDREA PALLADIO VILLA MALCONTENTA | VENICE, ITALY 1560 British Renaissance INIGO JONES QUEENS HOUSE | LONDON, ENGLAND 1635 INIGO JONES QUEENS HOUSE | LONDON, ENGLAND 1635 INIGO JONES QUEENS HOUSE | LONDON, ENGLAND 1635 INIGO JONES QUEENS HOUSE | LONDON, ENGLAND 1635 QUEENS HOUSE, 1635 (JONES) PALAZZO CHIERICATTI, 1550 (PALLADIO) INIGO JONES ST. PAUL’S CHURCH AT COVENT GARDEN | LONDON, ENGLAND 1630 INIGO JONES ST. PAUL’S CHURCH AT COVENT GARDEN | LONDON, ENGLAND 1630 INIGO JONES ST. PAUL’S CHURCH AT COVENT GARDEN | LONDON, ENGLAND 1630 INIGO JONES ST. PAUL’S CHURCH AT COVENT GARDEN | LONDON, ENGLAND 1630 GREAT FIRE OF LONDON 1666 GREAT FIRE OF LONDON 1666 SIR CHRISTOPHER WREN NEW PLAN FOR LONDON 1666 WREN’S PLAN FOR LONDON, 1666 VERSAILLES ROBERT HOOKE PLAN FOR REBUILDING LONDON 1667 SIR CHRISTOPHER WREN ST. PAUL’S CATHEDRAL | LONDON, ENGLAND 1708 SIR CHRISTOPHER WREN ST. PAUL’S CATHEDRAL | LONDON, ENGLAND 1708 SIR CHRISTOPHER WREN ST. PAUL’S CATHEDRAL | LONDON, ENGLAND 1708 SIR CHRISTOPHER WREN ST. PAUL’S CATHEDRAL | LONDON, ENGLAND 1708 SIR CHRISTOPHER WREN ST. PAUL’S CATHEDRAL | LONDON, ENGLAND 1708 SIR CHRISTOPHER WREN ST. PAUL’S CATHEDRAL | LONDON, ENGLAND 1708 SIR CHRISTOPHER WREN ST. PAUL’S CATHEDRAL | LONDON, ENGLAND 1708 ST. PAUL’S CATHEDRAL, 1708 (WREN) TEMPIETO, 1502 (BRAMANTE) ST. PAUL’S CATHEDRAL, 1708 (WREN) THE LOUVRE, 1680 (PERRAULT) SIR CHRISTOPHER WREN TRINITY COLLEGE LIBRARY | CAMBRIDGE, ENGLAND 1676 SIR CHRISTOPHER WREN TRINITY COLLEGE LIBRARY | CAMBRIDGE, ENGLAND 1676 SIR CHRISTOPHER WREN TRINITY COLLEGE LIBRARY | CAMBRIDGE, ENGLAND 1676 LORD BURLINGTON CHISWICK HOUSE | LONDON, ENGLAND 1729 LORD BURLINGTON CHISWICK HOUSE | LONDON, ENGLAND 1729 WILLIAM KENT HOLKHAM HALL | NORFOLK, ENGLAND 1734 WILLIAM KENT HOLKHAM HALL | NORFOLK, ENGLAND 1734 WILLIAM KENT HOLKHAM HALL | NORFOLK, ENGLAND 1734 JAMES GIBBS RADCLIFFE CAMERA | OXFORD, ENGLAND 1749 JAMES GIBBS RADCLIFFE CAMERA | OXFORD, ENGLAND 1749 ROBERT MORRIS PLATE FROM SELECT ARCHITECTURE 1755.
Recommended publications
  • Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
    Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support.
    [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]
  • Wider. Bigger. Greater
    WIDER. BIGGER. GREATER. Neo-Palladian Country Houses as Representations of Power Struggle, Globalization and “Britishness” in the United Kingdom of the 1750s Stefanie Leitner s1782088 - [email protected] Supervisor: Dr. J.G. Roding Second reader: Dr. E. den Hartog MA Arts and Culture 2016/2017 Specialization: Architecture TABLE OF CONTENT 1. Introduction ................................................................................................. 1 1.1. Theoretical Framework ......................................................................... 2 1.2. Literature Review ................................................................................. 4 2. Node I – Architecture .................................................................................. 8 2.1. General developments compared to the 1720s .................................... 8 2.2. Introduction of the Case Studies .......................................................... 9 2.2.1. Holkham Hall (1734-1764) ........................................................... 11 2.2.2. Hagley Hall (1754-1760)............................................................... 20 2.2.3. Kedleston Hall (1759) ................................................................... 28 3. Node II – Globalization ............................................................................. 38 3.1. Colonization and the British Empire ................................................. 38 3.2. Connection with continental Europe .................................................. 39 3.3.
    [Show full text]
  • The Lookout Our New Visitor Facility on the Holkham National Nature Reserve First Words
    Holkham Gazette Issue 28 Autumn 2018 The Lookout Our new visitor facility on the Holkham National Nature Reserve First words Caring for the Holkham collection Maria de Peverelli is executive chairman of Stonehage Fleming Art Management, serving a client base that includes The Lookout, the new facility on Lady individuals, family offices, foundations, Anne’s Drive on the Holkham trusts and estates. She has recently taken up National Nature Reserve, is well the role of consultant on the collection at worth a visit. The interesting, very Holkham where she will oversee the informative and interactive conservation and preservation, and educational boards and media screens supervise the loan, of items from Holkham’s reward those who take time to study world-famous collection to other art them, offering new insights as to how galleries and museums around the world. the reserve’s precious and precarious Maria is also a Trustee of the Yorkshire landscape is managed and what Sculpture Park and of the Estorick visitors can do to help. Its exciting Collection and serves as a member of the design seems destined for board of Advisers of the Fondazione Palazzo commendation by architects from Strozzi, Florence. She established OmniArt in 2005 and prior to that, Maria was around the country and the ‘green’ gallery director of the Villa Favorita in Lugano (Thyssen-Bornemisza message is very thoughtfully and collection). She has organised exhibitions for the Museum of Applied Arts in effectively conveyed. All that and Frankfurt and taught museum management at the University of Genoa. lavatories too – go and see! Sara Phillips, Editor Contents First words ........................................................
    [Show full text]
  • Job Description
    Job Description Title PA to The Countess of Leicester – maternity cover Location: Holkham Hall, Wells-next-the-Sea, Norfolk Reporting to The Countess of Leicester Lateral relationships PA to The Earl of Leicester, Hall team, PA to the Managing Director The Holkham Estate The Holkham Estate extends over 25,000 acres and has an annual turnover of over £19m. The land and property-based enterprises include residential lettings, commercial lettings, property maintenance and development, farming, forestry, country sports, an inn, a holiday park, beach and car parks. The operations centred on Holkham Hall include day visitors, catering, filming, corporate indoor and outdoor events and concerts. See www.holkham.co.uk for more information. Estate Policy Our vision is to see Holkham as the UK’s leading rural estate against which others will measure their own success. Our purpose is to manage Holkham as a progressive commercial operation set within a thriving local community where rural values are upheld. The aim is to ensure the long-term prosperity of the Estate and of those who live and work on it. Overall Job Purpose The role of the Personal Assistant to Lady Leicester is to enable Lord and Lady Leicester and their family to maintain a happy and balanced family life within the context of a home that is open to visitors, in the middle of a thriving collection of rural businesses. The purpose of this role is to provide flexible, timely and focused support to Lady Leicester so that she can effectively balance the varied and intense demands of her involvement in various local charities and family life while maintaining her preferred level of control and privacy.
    [Show full text]
  • Benedetto Luti
    BENEDETTO LUTI (Florence 1666 - Rome 1724) Portrait of a Young Girl oil on canvas 41 x 31.8 cm (16¼ x 12½ in) HIS DELIGHTFUL PORTRAIT SHOWS A YOUNG GIRL gazing outside the picture plane to her right. Her porcelain skin is creamy and radiant and her cheeks shimmer with a hint of pink. She wears a simple blue and ochre gown, accessorised with a delicate gold chain necklace and a single drop earring, while Ther hair is loosely tied in a chignon. There is a great sense of simplicity and charm in Benedetto Luti’s Portrait of a Young Girl. The artist has evidently taken great enjoyment in capturing the innocence and youth of this pretty young girl whose attentions are directed elsewhere. Luti was a master of suave portraiture. He was one of the greatest colourists in eighteenth-century Rome and his chalk and pastel studies of single heads, bust-length apostles, saints, angels and children are charming in their polished freshness and elegance. An excellent example of Luti’s refined portraiture is held in theH ermitage (fig. 1).A Boy with a Flute shows a young boy in almost exactly the same pose as the girl in the present work. In his hand he holds a flute though he appears Benedetto to have been distracted by something unknown to the viewer. As in the Luti, present portrait, Luti has applied skilful colouring and flowing brushwork Head of a Girl, to achieve a subtle luminosity that is particularly lustrous in the boy’s curled Holkham Hall, hair and rosy cheeks.
    [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]
  • Winter/Spring 2005 ● Issue No.9
    Winter/Spring 2005 ● Issue No.9 HOLKHAM NEWSLETTER HERE might be a perception that all the changes we have seen at Holkham have taken place only in the last five or six years.This process might have been more rapid in that time, but that only Treflects the speed of change in the world in general. Change has always been with us. Mick Thompson, recently retired from the Hall, recalls how he helped to modernise four milking parlours on the Estate.Well, how many have we now? None: this is change brought on by economic circumstances. I started farming at Burnham Norton, 36 years ago, with 11 men. By the time the Holkham Farming Company took over, that was down to only three, again a reflection of changed economic circumstances, and a necessary adaptation to new farming practices. Now, seven men look after 5,000 acres. A good example of adaptation is the transformation of the 18th century Triumphal Arch into a chic annexe of The Victoria Hotel, thus turning a long-standing liability to economic advantage, and moreover, making use of a perfectly sound building. I never see the point of new build if existing buildings can be satisfactorily adapted without compromising their character. But with change, it is important to retain and value the best of the past. Nicholas Hills writes about the restoration of the family monuments at Tittleshall Church, to which the Estate contributed a large part of the £70,000 costs.We could have saved our money, but then part of the history of this great Estate would have been lost.
    [Show full text]
  • The 5Th Earl of Leicester
    Looking back at the Leicesters he Earls of Leicester have lived in SO MANY LEICESTERS! Holkham Hall since the middle of he earldom of Leicester was first Tcreated in 1107, but whenever an the 18th century. Thomas Coke, earl dies without a son to inherit the T title it lapses and can then be granted who built the hall and created the park, is to an entirely unrelated family. Over the starting point for this exhibition, which the centuries this happened three times before Thomas was created earl in illustrates succeeding generations as far as the 1744. Previous Earls of Leicester had 7th and present Earl of Leicester. included Simon de Montfort, champion of the barons against the crown in the Their story would not exist, however, without the 13th century, and Queen Elizabeth I’s century of family ambition that paved the way for favourite, Robert Dudley. Thomas Coke’s achievements. The Coke family has no connection with any of these earlier Earls of Leicester. fortune made in the law. Sir Edward Coke, Attorney homas Coke’s only son died before AGeneral and Chief Justice under Queen Elizabeth Thim so the peerage once again fell and James I, used his wealth to endow all his sons with into abeyance when he died in 1759. The hall and estate passed to his great-nephew, property. He bought one of three manors at Holkham in 1609 a commoner, who was always known as in order to bequeath it to his fourth son, John. ‘Coke of Norfolk’. In 1837, when he was 83, the title was re-created for him.
    [Show full text]
  • Weddings YOUR PERFECT WEDDING
    Weddings YOUR PERFECT WEDDING Holkham Hall on the north Norfolk coast, home to the Earls of Leicester, is one of the grandest and most beautiful wedding venues in the country. This fine Palladian house, surrounded by a romantic deer park with a lake, temple and woodland, could be yours for the day. Our friendly and experienced team will help you plan your special day, offering flexibility, support and guidance. We know the best suppliers to help you find stunning marquees, delicious food, perfect flowers and memorable photography. You are free to design your day as you wish, safe in the knowledge that we will be there to provide the support you need. TO HAVE Four of the state rooms in the hall are perfect for civil ceremonies and partnerships. With its breathtaking ceiling, inspired by the Pantheon in Rome, the Marble Hall rises to a height of over fifty feet. One of the grandest entrance halls in Europe, it can comfortably seat 142 people on the ground floor and 170 people if the side balconies are used. The opulent Saloon can accommodate up to 80 seated guests for a wedding ceremony. The North State Dining Room offers a classical and beautiful space for a wedding ceremony with up to 50 guests. The Statue Gallery contains perhaps the most complete collection of classical statuary in a private home in Britain and can seat up to 100 people. TO HOLD In the park you can have a civil ceremony at the Temple or a traditional service at St Withburga’s church. The Temple is tucked away in the woods within Holkham park, giving it a very special intimacy.
    [Show full text]
  • Paper Palaces: the Topham Collection As a Source for British Neo-Classicism
    Paper Palaces: the Topham Collection as a source for British Neo-Classicism Adriano Aymonino with Lucy Gwynn and Mirco Modolo Front cover image: Francesco Bartoli, Drawing of decorative mosaics in the vaulting of S. Costanza, c. 1720-25 (see cat. no. 25) Inside cover image: Francesco Bartoli, Drawing of an ancient ceiling from the Palatine, 1721 (see cat. no. 15) Paper Palaces: the Topham Collection as a source for British Neo-Classicism The Verey Gallery, Eton College May - November 2013 Curated by Lucy Gwynn & Adriano Aymonino Accompanied by the Conference: A Window on Antiquity: the Topham Collection at Eton College, 17th May 2013 Catalogue written by Adriano Aymonino with Lucy Gwynn and Mirco Modolo This catalogue is dedicated to the memory of Louisa M. Connor Bulman Contents Many people have given their support to the production of both the exhibition Foreword 4 Section 2 16 and this catalogue, and we would like in particular to thank: Lord Waldegrave of North Hill Robert Adam and his antiquarian sources The Tavolozza Foundation The Humanities Research Institute, the University of Buckingham Introduction 5 Section 3 22 the rationale for the exhibition Robert Adam, the Topham Collection and Country Life Magazine Francesco Bartoli Sir Francis Dashwood Richard Topham & Eton 6 by Lucy Gwynn The National Trust Section 4 40 The Topham Collection’s broader influence: Savills (UK) Limited Catalogue Charles Cameron and other Neo-Classical architects and decorators The authors would also like to thank Frances Sands for the fruitful discussion on the different hands in the Adam drawings; Jeremy Howard and Eleanor Davey for their Cataloguing Notes 8 help and support; Charlotte Villiers and Dennis Wallis for their patience and exquisite Notes 47 contribution in photography and design, Charlotte Villiers for the coordination of the exhibition, Pat McNeaney for his inexhaustible enthusiasm and skill, the Eton College Section 1 10 Buildings Department and Vario Press.
    [Show full text]
  • The Narrowing of Giorgione's Masterpiece (To the Problem of The
    International Journal of Art and Art History December 2017, Vol. 5, No. 2, pp. 13-18 ISSN: 2374-2321 (Print), 2374-233X (Online) Copyright © The Author(s).All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/ijaah.v5n2p2 URL: https://doi.org/10.15640/ijaah.v5n2p2 The Narrowing of Giorgione’s Masterpiece (To the Problem of the Hermitage Judith’s Original Measurements) Ivan Sablin1 The Judith in the museum of Hermitage is one of the few universally acknowledged works by Giorgionei, perhaps the last of them to achieve this standing, for the first time in the 18th century and then definitely, more than a hundred years ago. Such works are rare. Giorgione‟s authorship of even the Castelfranco Madonna has been (recently) contestedii, not to mention a much more complex case of Dresden Venusiii. The most rigorous approach to the size of Giorgione‟s œuvre leaves the artist with only the Three Philosophers in Vienna and the Tempest in Venice, along with the Judith (in spite of some earlier opinions, which have been rejected long ago). None of these attributions is based upon a documentary evidence, be that a verified signature or any archival source, for the only work documented in artist‟s lifetime is the one executed for Fondaco dei tedeschiiv, a fresco cycle long lost to a salty air of Serenissima, its pitiful remains (on show at Franchetti gallery) offering no chance to draw stylistic conclusions for the identification of the other works in question. Yet it is precisely the stylistic analysis that all accepted attributions to Giorgione rely upon, adding to the scarce historic testimonies of not always a trustworthy nature.
    [Show full text]