DOCSLIB.ORG

ARCH 2315 Exam I: Study Review Part I: Identification of Buildings and Sites

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ARCH 2315 Exam I: Study Review Part I: Identification of Buildings and Sites ARCH 2315 Exam I: Study Review Part I: Identification of buildings and sites. The Identifications on this review are correct; some identification on your daily study guide for lectures are incorrect. Follow THIS review, not the study guide for dates, locations, architects. Part II: Context Images: these images form the cultural context we have talked about (think SPEAR). Part III: Study questions for both the ID and Essay questions on the Exam. Exam Review: Monday, February 7, 5-6 pm, AG 214. Format of the Exam: Part I: 20 to 25 Identifications (ID), 1/2 point for each piece of information. Some Identification will be listing or giving information. Most Identification will be of buildings and sites. In dating these buildings and sites, you may round up or down to a year ending in “0” or in “5”. For example, Palazzo Medici dates to 1444. You may date it to 1440 or 1445, as long as the date you give is within five years of the true date. NOTE: Some identification will be identification of motifs, definitions of words/terms, etc. Part II: 3 Short Essays, 10 points each. Images for these questions will be taken from the IDs in Part I and from the Context Images. Part III: 2 Short Essays, 15 points each. Images for these questions will be taken from the IDs in Part I and from the Context Images. (note: point distribution may differ slightly on the final version of the exam) EXAM REVIEW: Monday, February 7, 5 p.m. AG 214 (our regular classroom) I will lead this review, but you must study before you come. I will not answer actual factual questions. We will discuss and clarify issues from the study questions on this review. Dome, Florence Cathedral (Duomo) Palazzo Ruccelai Florence, Italy Florence, Italy 1420 1446 Brunelleschi Leon Battista Alberti Palazzo Medici St. Peter’s, plan Florence, Italy Rome, Italy 1444 1547 Bartolomeo Michelangelo St. Peter’s, plan Rome, Italy 1506 Bramante San Andrea, Mantua Mantua, Italy 1471 Leon Battista Alberti Pazzi Chapel Florence, Italy 1441 Brunelleschi Tempietto Rome, Italy 1502 Bramante House of Raphael, also known as Palazzo Caprini Rome, Italy 1512 Bramante Belvedere at the Vatican Rome, Italy 1505 Bramante Campidoglio Laurentian Library, vestibule Rome, Italy Florence, Italy 1537 1524 Michelangelo Michelangelo How is this Mannerist? St. Paul’s Covent Garden London, England 1631 Inigo Jones Queen’s House, Greenwich, England (directly across river from London) 1616 Inigo Jones Place Royale, Place des Vosges Paris, France 1605 Unknown Chambord Loire Valley, France 1519 Unknown Above: Chateau Blois, Staircase by Francis Ist Blois, France 1515 Unknown FYI: Right: the San Giorgio Maggiore American version of the Staircase. Venice, Italy Note it’s a mirror image. 1565 Biltmore Estates, Andrea Palladio designed by Richard Morris Hunt for G.W. Vanderbilt in 1892 Villa Barbaro Maser, Italy in the Veneto 1557 Andrea Palladio Villa Capra (Villa Rotunda) Vicenza, Italy, in the Veneto 1566 Andrea Palladio Palazzo Porto-Breganza 1540 Vicenza, Italy Andrea Palladio Examples of Mannerism from: Palazzo del Te Mantua, Italy 1524 Giulio Romano The Five Roman Orders. Be able to name and draw each of these. Context Images San Giamano, Italy, hill town in the region of Tuscany. Note: This is not a castle fortress; each tower is the residence of a single, wealthy family. The town is surrounded by a defensive wall, and within the walls there is a combination of Dome, Florence Cathedral, single story and two-story residences and shops, along with section cut showing pointed these towers, each the residence of a single, wealthy family. arches and double shell construction. House of Raphael (Palazzo Caprini) Diagram of proportions that regulate the composition of the elevation. Tempietto, plan Villa Saraceno, section and plan Villa Rotunda, section and plan View of a villa in the Veneto. How is this image related to the idea of ‘sacred agriculture’ in our readings? An example of trade during the Renaissance. This one shows the trade of the city of Venice Why are these two images important to the understanding of how the Renaissance occurred? Centers of Learning during the Middle Ages St. Paul’s Covent Garden, showing larger urban plan that was originally intended. Vitruvian Man Place des Vosges, Paris Study Questions: In all of these questions, apply ‘spear’ where appropriate. In addition, compare the images in this review and contemplate of the ways that architectural ideas evolved during the Renaissance. 1. Can you explain the political and economic conditions that allowed the Renaissance to occur? 2. What role did Medieval centers of learning play in the Renaissance? 3. Who was Vitruvius, when did he live, and what is his significance? 4. What is the significance of Da Vinci’s “Vitruvian Man”? 5. Why did the Renaissance happen in Italy? 6. Using the images in this review, can you trace and explain the development of the Renaissance Palazzo in Italy? 7. What is the structural and symbolic significance of the Florence Cathedral? 8. Can you name and describe the five ancient building types? 9. What is a precedent? Can you identify precedents for the buildings we studied? 10. Can you ACCURATELY DRAW the five orders and identify the elements that constitute each order? 11. Can you write a formal analysis of the buildings shown in this review? 12. What is the Veneto? What part did it play in the development of the Palladian Villa? 13. What is the significance of the Palladian villa in relation to the ancient villa as described by Pliny? 14. Who was Pliny? 15. What is the symbolic significance of the Villa Capra (Villa Rotunda)? 16. What is the significance of St. Paul’s Covent Garden? 17. What is the significance of the Tempietto? 18. Can you compare Bramante’s plan for St. Peter’s to that of Michelangelo’s? 19. As Renaissance architectural ideas spread to Northern Europe, in what way were they adapted to regional traditions? 20. Brunelleschi, Alberti, Bramante, Micahelangelo -- what is the significance of the order of these names in relation to the Renaissance works that we studied? 21. Can you name, identify, and DRAW the several MOTIFS of classical architecture that we have studied thus far? 22. What is mercantile capitalism? Why was it important to what we have studied thus far? 23. What is Mannerism? Can you define it and give examples? 24. What is “formal analysis”? 25. Regarding the reading on the Renaissance villa, what is the idea of “sacred agriculture” 26. What is the architectural and symbolic significance of Inigo Jones’ St. Paul’s Covent Garden? These are only some of the questions that you should consider as you study. Read your textbook carefully, as well as your class notes, in anticipation of other questions..
Load more

Recommended publications
  • On the Structure of the Roman Pantheon 25
    College Art Association http://www.jstor.org/stable/3050861 . Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at . http://www.jstor.org/action/showPublisher?publisherCode=caa. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. College Art Association is collaborating with JSTOR to digitize, preserve and extend access to The Art Bulletin. http://www.jstor.org On the Structureof the Roman Pantheon Robert Mark and Paul Hutchinson Since the time of its construction, the bold, brilliantly simple schema of Hadrian's Pantheon has inspired much emulation, commendation, and even fear. Modern commentators tend to view the building as a high point in an "architectural rev- olution" brought about mainly through the Roman development of a superior poz- zolana concrete that lent itself to the forming of unitary, three-dimensional struc- tures.
    [Show full text]
  • The Architecture of the Italian Renaissance
    •••••••• ••• •• • .. • ••••---• • • - • • ••••••• •• ••••••••• • •• ••• ••• •• • •••• .... ••• .. .. • .. •• • • .. ••••••••••••••• .. eo__,_.. _ ••,., .... • • •••••• ..... •••••• .. ••••• •-.• . PETER MlJRRAY . 0 • •-•• • • • •• • • • • • •• 0 ., • • • ...... ... • • , .,.._, • • , - _,._•- •• • •OH • • • u • o H ·o ,o ,.,,,. • . , ........,__ I- .,- --, - Bo&ton Public ~ BoeMft; MA 02111 The Architecture of the Italian Renaissance ... ... .. \ .- "' ~ - .· .., , #!ft . l . ,."- , .• ~ I' .; ... ..__ \ ... : ,. , ' l '~,, , . \ f I • ' L , , I ,, ~ ', • • L • '. • , I - I 11 •. -... \' I • ' j I • , • t l ' ·n I ' ' . • • \• \\i• _I >-. ' • - - . -, - •• ·- .J .. '- - ... ¥4 "- '"' I Pcrc1·'· , . The co11I 1~, bv, Glacou10 t l t.:• lla l'on.1 ,111d 1 ll01nc\ S t 1, XX \)O l)on1c111c. o Ponrnna. • The Architecture of the Italian Renaissance New Revised Edition Peter Murray 202 illustrations Schocken Books · New York • For M.D. H~ Teacher and Prie11d For the seamd edillo11 .I ltrwe f(!U,riucu cerurir, passtJgts-,wwbly thOS<' on St Ptter's awl 011 Pnlladfo~ clmrdses---mul I lr,rvl' takeu rhe t>pportrmil)' to itJcorporate m'1U)1 corrt·ctfons suggeSLed to nu.• byfriet1ds mu! re11iewers. T'he publishers lwvc allowed mr to ddd several nt•w illusrra,fons, and I slumld like 10 rltank .1\ Ir A,firlwd I Vlu,.e/trJOr h,'s /Jelp wft/J rhe~e. 711f 1,pporrrm,ty /t,,s 11/so bee,r ft1ke,; Jo rrv,se rhe Biblfogmpl,y. Fc>r t/Jis third edUfor, many r,l(lre s1m1II cluu~J!eS lwvi: been m"de a,,_d the Biblio,~raphy has (IJICt more hN!tl extet1si11ely revised dtul brought up to date berause there has l,een mt e,wrmc>uJ incretlJl' ;,, i111eres1 in lt.1lim, ,1rrhi1ea1JrP sittr<• 1963,. wlte-,r 11,is book was firs, publi$hed. It sh<>uld be 110/NI that I haw consistc11tl)' used t/1cj<>rm, 1./251JO and 1./25-30 to 111e,w,.firs1, 'at some poiHI betwt.·en 1-125 nnd 1430', .md, .stamd, 'begi,miug ilJ 1425 and rnding in 14.10'.
    [Show full text]
  • What the Renaissance Knew II
    Art of the Rinascimento Piero Scaruffi Copyright 2018 http://www.scaruffi.com/know 1 What the Rinascimento knew • Prodromes of the Rinascimento (Firenze) – Giotto: Naturalism + Classicism – Santa Maria Novella 1278-1360 – Santa Croce 1295-1442 (Arnolfo di Cambio) – Palazzo Vecchio 1299-1314 (Arnolfo di Cambio) – Duomo, except dome 1296-1366 (Arnolfo di Cambio) – Campanile 1334 (Giotto) – Doors of the Baptistery of Firenze (Lorenzo Ghiberti) – Donatello 2 What the Rinascimento knew • Art of the Rinascimento – Medieval mindset • The human race fell from grace and is living in hell, waiting for the end of the world that is coming soon • Contemplative life – The new mindset in Italian city-states • The world is full of opportunities, and paradise is here if you can make it happen • Active life 3 What the Rinascimento knew • Art of the Rinascimento – Medieval aesthetic • Originality is not a value • Imitation is prescribed, almost mandatory • Plagiarism is the way to broadcast ideas • Cooperation among "artists", not competition • The artist is just one of many craftsmen cooperating on building the city • The artist is a servant • Little imagination and little realism • Most paintings are for church walls or wooden panels 4 What the Rinascimento knew • Art of the Rinascimento – The new aesthetic in Italian city-states • Originality • The artist is a creator • Lots of imagination and lots of realism • Rediscovery of Greek and Roman art • Easel painting become more common 5 What the Rinascimento knew • Art of the Rinascimento – Patronage of the
    [Show full text]
  • California State University, Northridge
    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE The Palazzo del Te: Art, Power, and Giulio Romano’s Gigantic, yet Subtle, Game in the Age of Charles V and Federico Gonzaga A thesis submitted in partial fulfillment of the requirements For the degree of Master of Arts in Interdisciplinary Studies with emphases in Art History and Political Science By Diana L. Michiulis December 2016 The thesis of Diana L. Michiulis is approved: ___________________________________ _____________________ Dr. Jean-Luc Bordeaux Date ___________________________________ _____________________ Dr. David Leitch Date ___________________________________ _____________________ Dr. Margaret Shiffrar, Chair Date California State University, Northridge ii ACKNOWLEDGEMENTS I would like to convey my deepest, sincere gratitude to my Thesis Committee Chair, Dr. Margaret Shiffrar, for all of her guidance, insights, patience, and encourage- ments. A massive "merci beaucoup" to Dr. Jean-Luc Bordeaux, without whom completion of my Master’s degree thesis would never have been fulfilled. It was through Dr. Bordeaux’s leadership, patience, as well as his tremendous knowledge of Renaissance art, Mannerist art, and museum art collections that I was able to achieve this ultimate goal in spite of numerous obstacles. My most heart-felt, gigantic appreciation to Dr. David Leitch, for his leadership, patience, innovative ideas, vast knowledge of political-theory, as well as political science at the intersection of aesthetic theory. Thank you also to Dr. Owen Doonan, for his amazing assistance with aesthetic theory and classical mythology. I am very grateful as well to Dr. Mario Ontiveros, for his advice, passion, and incredible knowledge of political art and art theory. And many thanks to Dr. Peri Klemm, for her counsel and spectacular help with the role of "spectacle" in art history.
    [Show full text]
  • A Study of the Pantheon Through Time Caitlin Williams
    Union College Union | Digital Works Honors Theses Student Work 6-2018 A Study of the Pantheon Through Time Caitlin Williams Follow this and additional works at: https://digitalworks.union.edu/theses Part of the Ancient History, Greek and Roman through Late Antiquity Commons, and the Classical Archaeology and Art History Commons Recommended Citation Williams, Caitlin, "A Study of the Pantheon Through Time" (2018). Honors Theses. 1689. https://digitalworks.union.edu/theses/1689 This Open Access is brought to you for free and open access by the Student Work at Union | Digital Works. It has been accepted for inclusion in Honors Theses by an authorized administrator of Union | Digital Works. For more information, please contact [email protected]. A Study of the Pantheon Through Time By Caitlin Williams * * * * * * * Submitted in partial fulfillment of the requirements for Honors in the Department of Classics UNION COLLEGE June, 2018 ABSTRACT WILLIAMS, CAITLIN A Study of the Pantheon Through Time. Department of Classics, June, 2018. ADVISOR: Hans-Friedrich Mueller. I analyze the Pantheon, one of the most well-preserVed buildings from antiquity, through time. I start with Agrippa's Pantheon, the original Pantheon that is no longer standing, which was built in 27 or 25 BC. What did it look like originally under Augustus? Why was it built? We then shift to the Pantheon that stands today, Hadrian-Trajan's Pantheon, which was completed around AD 125-128, and represents an example of an architectural reVolution. Was it eVen a temple? We also look at the Pantheon's conversion to a church, which helps explain why it is so well preserVed.
    [Show full text]
  • The Book of the Rotunda Hospital
    .'<••'',- '.' '': ,( I' /' 'v%. THE 8G»K ':my\- iOSPITAL KlRtPATRICK JELLETT THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES THE BOOK OF THE ROTUNDA HOSPITAL BARTHOLOMEW MOSSE (fROM THE PORTRAIT IN THE BOARD ROOM OF THE HOSPITAL). THE BOOK OP THE ROTUNDA HOSPITAL AN ILLUSTRATED HISTORY OF THE DUBLIN LYING-IN HOSPITAL FROM ITS FOUNDATION IN 1745 TO THE PRESENT TIME T. PERCY C. [KIRKPATRICK, M.D., M.R.LA. FELLOW AND REGIS TEAE OP THE EOYAL COLLEGE OP PHYSICIANS OF IRELAND EDITED BY HENRY JELLETT, M.D., F.R.C.P.L MASTER OF THE HOSPITAL XonDon ADLARD & SON, BARTHOLOMEW PRESS BARTHOLOMEW" CLOSE, E.G. 1913 PRINTED BY ADLAKD AND SON LONDON AND DOEKINO tl/st:.T)iV. 1^/5 MISERIS • SOLAMEN • INSTITUIT M • DCC • L • VII Great hearted Founder, to whose prescient care we owe a debt that never can be paid, Accept the duteous thanks that love inspires, accept the tribute of a nation's praise. You worked to save the sick, to soothe the pain of those who heavy laden called for help, But, e'er the work was finished, passed away, leaving the future in Another's hands. Your statue stands within our ancient halls, your portrait looks upon our daily work. Poor dead and useless things, where every stone brings back again your living memory. What need have we of bronze or sculptor's skill to call back those who leave such work as you Whose sacrifice lives on—an endless spring of healing water on a thirsty earth ? J. PEEFACE rilHB Dublin Lying-in Hospital stands pre-eminent among similar "*- institutions of Great Britain and Ireland, whether one regards it from the point of view of its age, or the mag-nitude of the work it has done and is still doing.
    [Show full text]
  • Rotunda ROM Magazine Subject Index V. 1 (1968) – V. 42 (2009)
    Rotunda ROM Magazine Subject Index v. 1 (1968) – v. 42 (2009) 2009.12.02 Adam (Biblical figure)--In art: Hickl-Szabo, H. "Adam and Eve." Rotunda 2:4 (1969): 4-13. Aesthetic movement (Art): Kaellgren, P. "ROM answers." Rotunda 31:1 (1998): 46-47. Afghanistan--Antiquities: Golombek, L. "Memories of Afghanistan: as a student, our writer realized her dream of visiting the exotic lands she had known only through books and slides: thirty-five years later, she recalls the archaeoloigical treasures she explored in a land not yet ruined by tragedy." Rotunda 34:3 (2002): 24-31. Akhenaton, King of Egypt: Redford, D.B. "Heretic Pharoah: the Akhenaten Temple Project." Rotunda 17:3 (1984): 8-15. Kelley, A.L. "Pharoah's temple to the sun: archaeologists unearth the remains of the cult that failed." Rotunda 9:4 (1976): 32-39. Alabaster sculpture: Hickl-Szabo, H. "St. Catherine of Alexandria: memorial to Gerard Brett." Rotunda 3:3 (1970): 36-37. Keeble, K.C. "Medieval English alabasters." Rotunda 38:2 (2005): 14-21. Alahan Manastiri (Turkey): Gough, M. "They carved the stone: the monastery of Alahan." Rotunda 11:2 (1978): 4-13. Albertosaurus: Carr, T.D. "Baby face: ROM Albertosaurus reveals new findings on dinosaur development." Rotunda 34:3 (2002): 5. Alexander, the Great, 356-323 B.C.: Keeble, K.C. "The sincerest form of flattery: 17th-century French etchings of the battles of Alexander the Great." Rotunda 16:1 (1983): 30-35. Easson, A.H. "Macedonian coinage and its Hellenistic successors." Rotunda 15:4 (1982): 29-31. Leipen, N. "The search for Alexander: from the ROM collections." Rotunda 15:4 (1982): 23-28.
    [Show full text]
  • 7 X 11 Long.P65
    Cambridge University Press 978-1-107-00119-0 - Classical Myths in Italian Renaissance Painting Luba Freedman Index More information t INDEX Achilles, shield by Hephaistos, 61, 223n23 two versions, Italian and Latin, 223n15 Achilles Tatius on verisimilitude, 94, 98 on grouping of paintings, 172, 242n53 De re aedificatoria on painting depicting the myth of Philomela, on fabulae, 38 188. See also Europa on historiae, 38 translated by Dolce, 172 on paintings in villas, 38 Acrisius, legendary King of Argos, 151 humanistic painting program of, 38, 59 ad fontes, 101 Aldrovandi, Ulisse, Adhemar,´ Jean, 19, 227n90 All the Ancient Statues ...,12 Adonis on antique statues of Adonis and Venus, 114 Death of Adonis by Piombo, 215n4. See also description of Danae,¨ 127, 128 Venus and Adonis description of Europa, 91 Adriani, Giovanni Battista, 152–153, 169, 170, description of Marsyas, 135–136 174 description of Proserpina, 106 Adrian VI (pope from 9 January 1522 to 14 description of statues compared with Lucius’s, September 1523), 44 114 dispenses with antiquities from Rome, 44 on gardens, 153 tutor of Charles V, 246n6 identification of mythological subjects by, 12 Aesop, 197, 200 Alexander the Great, 42 Agostini, Niccolodegli,` 65 armor of, 138 Alamanni, Luigi, Favola di Narcisso and Favola di and Roxana. See Sodoma (Giovanni Antonio Fetonte, 211, 248n48 Bazzi) Alberti, Leon Battista alla franceze. See Warburg, Aby De pictura, 4 all’antica on art practices, 56 accumulated interest in antiquity required for, on brevitas, 190 2, 131 on historia, 58–59
    [Show full text]
  • The Chronological History of the Rotunda Hospital
    HISTORY OF THE HOSPITAL In 1745 Bartholomew Mosse, surgeon and man-midwife, founded the original Dublin Lying-In Hospital as a maternity training hospital, the first of its kind. In 1757 the institution moved to a different location where it became “The New Lying-In Hospital”. This is the hospital complex that is referred to today as simply “The Rotunda”. The Rotunda Hospital is therefore unique as an institution in that it has continued to provide an unbroken record of service to women and babies since its foundation in 1745 and has occupied its present premises since 1757. Should you wish to learn more about The Rotunda Hospital’s history, the book Masters, Midwives, and Ladies- in-Waiting (edited by Alan Browne, a former Master of the Rotunda, published by A&A Farmar, Dublin, 1995) gives a detailed account of developments in the Rotunda over the period 1945-95, which was the fifty-year period of greatest change in the history of obstetrical care. BARTHOLOMEW MOSSE 1712 Bartholomew Mosse was born the fifth child of Rev Thomas Mosse, Rector of Maryborough, now Portlaoise, and his wife Martha. 1728 Mosse, who had been privately educated by a tutor at home, was sent to serve as apprentice to a Barber Surgeon, Mr John Stone, in Dublin. 1733 Mosse was examined and qualified to practice as a surgeon by Mr John Nichols, joint Surgeon-General to the army in Ireland. Mosse obtained glowing testimonials from his master and his examiner. It is probable that he was surgical assistant to these men (themselves surgeons to Mercer’s and Dr Steevens’s Hospitals respectively) within a short time of his qualification.
    [Show full text]
  • Czech Republic Today
    Rich in History 1 2 Magic Crossroads Whenever European nations were set in motion, they met in a rather small area called the Czech Republic today. Since the early Middle Ages, this area was crossed by long trade routes from the severe North to the sunny South; at the beginning of the first millennium, Christianity emerged from the West, and at its end communism arrived from the East. For six hundred years, the country was an independent Czech kingdom, for three hundred years, it belonged among Austro-Hungarian Empire lands, and since 1918 it has been a republic. In the 14th century, under the Bohemian and German King and Roman Emperor Charles IV, as well as in the 16th century under the Emperor Rudolf II, the country enjoyed a favourable position in European history and also played a great role internationally in the arts and in social affairs. In 1989, the whole world admired the Czechoslovak “velvet revolution” lead by charismatic dramatist Václav Havel, which put an end to socialist experimentation. Numerous famous architects, who built Romanesque churches in Germany but were no longer commissioned to build in their home countries due to the coming Gothic period, succeeded there; at the same time, the French type of Gothic architecture took root in Bohemia. A number of Italian Renaissance or Baroque architects, painters and sculptors, who crossed the Alps to find new opportunity for creating master works and look for well-paid jobs, were hired by members of Czech nobility and clergy; astonished by the mastery of Czech builders and craftsmen with whom they cooperated, they created wonderful castles and breathtaking Catholic churches.
    [Show full text]
  • Chapter 3 Who Built the Pantheon? Agrippa, Apollodorus, Hadrian And
    Despite so much that is known about Roman buildings, Chapter 3 there is relatively little to say about the individuals involved in the ferment of their creation. We can reconstruct Who Built the Pantheon? confidently the original appearance of many a monument, but not much about their designers. This is not for want of Agrippa, Apollodorus, information; it is just not quite of the right kind. All around the Mediterranean survive ample ruins, including some Hadrian and Trajan strikingly well-preserved buildings, of which the Pantheon is the prime example. This physical evidence is illuminated by literary sources, inscriptions and brickstamps, and on Mark Wilson Jones occasion by maps and drawings inscribed in stone. Notwithstanding some long-running disputes, we can often be sure of the identity and date of individual monuments in major cities. We also possess quite a populous roster of architects’ names, thanks to numbers of their tombstones, along with the occasional textual mention of a few of the men at the top of their profession. Some buildings bear discreet architects’ inscriptions, yet these are nothing like as numerous and prominent as those of their patrons; it is they who take the credit. In short, it is normally impossible to join up specific surviving buildings with specific architects about whom we know any more than the name. In this the Roman period fares worse than the Greek, when architects were frequently tied to particular projects by specifications, contracts and accounts recorded on stone, while the names of famous protagonists can be found in the treatises of Roman writers, most notably Vitruvius and Pliny.1 By such means we know of no fewer than three individuals who had responsibility for the design of the Parthenon in one role or other, Ictinus, Kallikrates and Karpion, while a fourth, Phidias, the creator of Athena Parthenos, may also have had some architectural input.
    [Show full text]
  • MONTEPULCIANO's PALAZZO COMUNALE, 1440 – C.1465: RETHINKING CASTELLATED CIVIC PALACES in FLORENTINE ARCHITECTURAL and POLITI
    MONTEPULCIANO’S PALAZZO COMUNALE, 1440 – c.1465: RETHINKING CASTELLATED CIVIC PALACES IN FLORENTINE ARCHITECTURAL AND POLITICAL CONTEXTS Two Volumes Volume I Koching Chao Ph.D. University of York History of Art September 2019 ABSTRACT This thesis argues for the significance of castellated civic palaces in shaping and consolidating Florence’s territorial hegemony during the fifteenth century. Although fortress-like civic palaces were a predominant architectural type in Tuscan communes from the twelfth century onwards, it is an understudied field. In the literature of Italian Renaissance civic and military architecture, the castellated motifs of civic palaces have either been marginalised as an outdated and anti-classical form opposing Quattrocento all’antica taste, or have been oversimplified as a redundant object lacking defensive functionality. By analysing Michelozzo’s Palazzo Comunale in Montepulciano, a fifteenth-century castellated palace resembling Florence’s thirteenth-century Palazzo dei Priori, this thesis seeks to address the ways in which castellated forms substantially legitimised Florence’s political, military and cultural supremacy. Chapter One examines textual and pictorial representations of Florence’s castellation civic palaces and fortifications in order to capture Florentine perceptions of castellation. This investigation offers a conceptual framework, interpreting the profile of castellated civic palaces as an effective architectural affirmation of the contemporary idea of a powerful city-republic rather than being a symbol of despotism as it has been previously understood. Chapters Two and Three examine Montepulciano’s renovation project for the Palazzo Comunale within local and central administrative, socio-political, and military contexts during the first half of the fifteenth century, highlighting the Florentine features of Montepulciano’s town hall despite the town’s peripheral location within the Florentine dominion.
    [Show full text]