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INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)” . If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again-beginning below the first row and continuing on until complete. 4. For illustrations that cannot be satisfactorily reproduced by xerographic means, photographic prints can be purchased at additional cost and inserted into your xerographic copy. These prints are available upon request from the Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases the best available copy has been filmed. Universi^ MicixSilms International Fricelli, Donald John M ichael THE ARCHITECTURE OF GIORGIO VASARI’S UFFIZI, FLORENCE The Ohio State University Ph.D. 198- University Microfilms I nternstion&l 300 N. Zeeb Road, Ann Arbor, Ml 48106 Copyright 1984 by Fricelli, Donald John Michael All Rights Reserved in all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a clieck mark V Glossy photographs or pag_____ es Colored illustrations, paper or print _ Photographs with dark background _ lliustrations are poor copy Pages with black marks, not original copy______ Print shows through as there is text on both sides of page_ indistinct, broken or small print on several p Print exceeds margin requirements_____ Tightly bound copy with print lost in____ spine Computer printout pages with indistinct print _ Page(s) ___ _ lacking when material received, and not available from school or author. 12. Page(s) seem to be missing in numbering only as text follows. 13. Two pages num bered___________ . Text follows. Curling and wrinkled p ag______ es Other ______________________________________________________________ University Microfilms International THE ARCHITECTURE OF GIORGIO VASARI'S UFFIZI, FLORENCE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Donald John Fricelli, B.A., M.A. The Ohio State University 1984 Reading Committee Approved By Dr. Anthony Melnikas Dr. Francis Richardson Dr. Mark Fullerton /Adviser Dr. Alfred S. Golding Department of History of Art © 1984 DONALD JOHN MICHAEL FRICELLI All Rights Reserved Evelyn Elizabeth Curzio Fricelli my beloved mother, who ever encouraged, fostered and furthered my admiration for the printed page, my love of learning and my passion for the history of the noble art of architecture, this work is affectionately and gratefully dedicated. ACKNOWLEDGEMENTS I wish to acknowledge the continuous incentive pro­ vided me by my dear friend, Thomas Ryan of Boston University, and the prayerful assistance given me by Sister Jeanette Cerney of The Ohio State University who helpd me through crucial stages in the development of this study. I wish to acknowledge the kind encouragement given me by my family and friends. Further, I wish to express a special debt of gratitude to the librarians and staff of the Avery Library at Columbia University, without whose help the research for this study would have been less than thorough, if that it be. Finally, I wish to acknowledge the personal and professional assistance given me by the staff of the Depart­ ment of History of Art at The Ohio State University and the members of my committee. I wish most especially to thank Dr. Anthony Melnikas, Ph.D. for the kindness, interest, solicitude and advice that he so generously extended to me throughout the long process of preparing this study, which was completed only with his liberal and unstinting support. TABLE OF CONTENTS Page DEDICATION...............................................ii ACKNOWLEDGEMENTS....................................... iii VITA..................................................... vi LIST OF F I G U R E S ....................................... vii INTRODUCTION.......................................... 1 CHAPTER I. Premise of the Work........................... 9 II. Cosimo I de 'Medici, Duke of Florence and the Commission of The U f f i z i . .................................. 21 III. Giorgio Vasari of Arezzo, Architect of The Uffizi..........................35 IV. History of the P r o j e c t ......................... 45 V. The Piazza-Forum of The Via dei Magistrati, Piazza degli U f f i z i ...........................................61 VI. The Dual Palaces of The Uffizi, An Investigation as to S o u r c e s ..................................... 120 VII. The Lower Logge of The Uffizi.................. 154 VIII. The Piano Nobile of The Uffizi, A Discussion ......................... 188 IX. The Altane of The U f f i z i ...................... 213 X. The Serliana of The U f f i z i .................... 232 P a g e XI. Mannerism in Architecture/ Mannerism and The Uffizi.......................... 263 XII. Conclusions/ The Architecture of The Uffizi and The Uffizi as Architecture................................. 297 FOOTNOTES TO THE CHAPTERS............................. 3 1 2 BIBLIOGRAPHY .................................... 375 ILLUSTRATIONS- • ? * : I ^13 October 12, 1935. Born - The Bronx, New York City 1960............. B.A., Brooklyn College 1973-1975 . Teaching Assistant, Depart­ ment of Art History, University of Kentucky, Lexington, Kentucky M.A., University of Kentucky 1975-1977 Teaching Assistant, Depart­ ment of History of Art, The Ohio State University, Columbus, Ohio PUBLICATIONS "Italian Architecture 1923-1945; The Fasces in Italian Fascist Architecture," Thesis, University of Kentucky, Lexington, Kentucky, August, 1975. FIELDS OF STUDY Major Field: History of Italian Renaissance Architecture and the Arts of the Italian Renaissance, Dr. Anthony Melnikas, The Ohio State University Studies in Italian Baroque Art, Dr. Francis Richardson, The Ohio State University Studies in the Art and Architecture of Ancient Rome, Dr. Shirley Schwartz, The Ohio State University Studies in European and American Architecture, Dr. James Pierce, The University of Kentucky LIST OF FIGURES Fig. 1. Florence: Piazza degli Uffizi, looking from the Serliana to the Palazzo Vecchio and the Duomo, after a print by Giuseppe Zocchi; from E. Bacon, Design of Cities, New York, 1 9 6 7, p. 9 9 . Photo: Author. Fig, 2. Foundation Medal, struck for the inauguration of the Uffizi project in 156I by Domenico and Michelino Poggini; Florence, Uffizi, nn 44?, Medagliere Mediceo. Fig. 3. Florence: view of the area between the Uffizi and the Duomo; after the Bonsignori Plan of Florence; from F. Borsi, Firenze del Cingue- cento. Rome, 1974. Photo: Author. Fig. 4. Florence; view of the area between the church of Santa Maria Novella and the Fortezza da Basso; after the Bonsignori Plan of Florence; from F. Eorsi, Firenze del Cinguecento. Rome, 1 9 7 4. Photo: Author. Fig. 5» Florence: diagram of a section of the city showing the interconnection of the Piazza degli Uffizi, the Piazza della Signoria, the Piazza del Duomo and the Piazza SS. Annunziata. Fig. 6. Palladio, plan of a "Roman" or "Italie" Forum, after Vitruvius; Book V, Cap. I. (Munich: Staatsbibliothek). Fig. 7. Rome: Plan and Elevation of the Forum Trans- itorium and the Temple of Minerva; from H. Kahler, Rome and Her Empire. London, 19651 p. 1 1 3, fig. 21. Photo: Author. Fig. 8 . Spalato: The Palace of Diocletian, Great Ceremonial'Atrimm and Presence Festigium; Frofi- E. Brown, Roman Architecture. New York, 1 9 7 1f pi. 93» Photo: Author. Fig. 9 . Three "Ideal City" Panels from Urbino, Baltimore and Berlin: Upper» The Urbino Panel, Palazzo Ducale, Urbino. Middle» The Baltimore Panel, The Walters Art Gallery, Baltimore. Lower» The Berlin Panel, Staatsmuseum, Berlin. Attributed to Luciano da Laurana, ca. 150O; from P. Zucker, Town and Square. New York, 1 9 5 9. pi. 2 9 . Photo» Author. Fig. 10, Vigevano» Plan of the 'Piazza Ducale; from A. Bruschi, Bramante. London, 1977, p. 64, fig. 6 5. Fig. 11. Vigevano» Piazza Ducale looking towards the tower of the Gastello Visconti; from P. Lavedan, Histoire de 1 'Urbanism. Renaissance et Temps Modern. Paris, 1959» pl. 1. Photo» Author. Fig. 12. Rome» Plan of the Piazza Navona showing the forecourt (right) of the unbuilt Medici Palace attributed to Giuliano da San Gallo; from P. Favole, Piazze d'Italia, Milan, 1972, fig. 19. Fig. 1 3. Rome» Plan of the Campidoglio, Michelangelo, after an engraving by E. Duperac, ca. "5#; from VJ. Lotz, Studies in Italian Renaissance Architecture. Cambridge, Mass., 1977, p. Ill, pl. 6 2. Fig. 14. Remei Plan of the .Gortile del..BelvederSv BramanAe; from P. LetSrouilly, Vatican II. London, 1953, pl 112. Fig. 1 5. Castro: Plan of the ducal additions to the town, Antonio da San Gallo, ca. 1^4-7; from Collezione Architetturale, Florence, Uffizi. Pig./.l6. Padua: Plan and Elevation of the Odeon and the Loggia Conaro, Giovanni Maria Falconetto, ca.
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  • Taking Shape Before Our Eyes - WSJ

    Taking Shape Before Our Eyes - WSJ

    6/16/2019 Taking Shape Before Our Eyes - WSJ BREAKING NEWS Gary Woodland wins the U.S. Open, capturing his irst major title after holding o a charge by two-time defending champion Brooks Koep This copy is for your personal, non­commercial use only. To order presentation­ready copies for distribution to your colleagues, clients or customers visit https://www.djreprints.com. https://www.wsj.com/articles/taking­shape­before­our­eyes­11560528609 MASTERPIECE Taking Shape Before Our Eyes With its energetic lines, full figures and thrilling sense of tactility, Raphael’s cartoon for his fresco ‘School of Athens’ is a breathtaking artwork in its own right. ‘School of Athens’ (1510), by Raphael PHOTO: VENERANDA BIBLIOTECA AMBROSIANA, MONDADORI PORTFOLIO By Cammy Brothers June 14, 2019 1210 p.m. ET The fame of Raphael’s “School of Athens,” painted between 1508 and 1510 for the Stanza della Segnatura in the Vatican, makes it almost impossible to actually see. One must endure the lines, the crush of humanity in the room itself and rushing by to get to the Sistine Chapel. Beyond this, like any work of art known through countless reproductions, it is difficult to approach with fresh eyes. What an extraordinary satisfaction, then, in the galleries of the Biblioteca Ambrosiana in Milan, to see it in peace, albeit in another form. Since March, Raphael’s preliminary drawing, or cartoon, measuring over 25 feet across, has been on display in a newly designed room after a four-year restoration. Unlike the other large-scale surviving cartoons by Raphael at the Victoria and Albert Museum in London, it can be seen up close, at eye level and behind nonreflective glass.