DOCSLIB.ORG

“Real” City Painted by Tintoretto

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
“Real” City Painted by Tintoretto DISEGNARECON volume 11/ n. 21 - december 2018 ADVANCED TECHNOLOGIES FOR HISTORICAL CITIES VISUALIZATION ISSN 1828-5961 Gianmario Guidarelli Ph.D Architectural History, is adjunct professor in Architectural History at the University of Padua. He has edited four books (2005, 2009, 2013, 2018) and he has published four monographies on the architecture of the Scuola Grande di San Rocco in Venice (2003, 2005), on the cathedral of Venice (2015) and on Tintoretto and architecture (with Marsel Grosso, 2018). Gabriella Liva Ph.D in "Theory and History of Representation" is adjunct professor on representation disciplines at the University IUAV, University of Padua and University of Udine. She has edited two books (2010, 2017). She is registered in Architects Association in Udine and concerned with 3d modeling, rendering, video editing. Isabella Friso Ph.D. in Architectural Composition (specializing in Representation and Survey) and Research fellow in Architectural Representation. She is adjunct professor in Representation at the University of Padua. The “ideal” city and the “real” city painted by Tintoretto This essay aims to investigate the role that the perspective of a selection of nine important representation of urban spaces plays in the paintings, using a method never before adopted paintings of Jacopo Tintoretto and the use of in such an extensive way for Tintoretto’s works. perspective adopted by the painter in their In this essay, in particular, we shall focus on a configuration. [1] The study conducted by the specific type of space, i.e. the urban space, which team made it possible to systematically examine the painter adopts in a few of his paintings, but Tintoretto’s work for the first time, with always in a significant manner, especially particular focus on his use of space, architecture regarding the role it plays in the narrative, and and perspective. This was also made possible by the relationship with the model represented by Keywords: a research campaign aimed at restoring the the architectural theory of Sebastiano Serlio. Perspective restitution; Jacopo Tintoretto; Sebastiano Serlio. http://disegnarecon.univaq.it DISEGNARECON volume 11/ n. 21 - december 2018 ADVANCED TECHNOLOGIES FOR HISTORICAL CITIES VISUALIZATION GUIDARELLI - LIVA - FRISO 6.2 ISSN 1828-5961 The “ideal” city and the “real” city painted by Tintoretto TINTORETTO AND THE URBAN SPACE: STORY early signs of a linguistic revolution continually began to publish his Libri dell’Architettura in 1537. In AND BACKGROUND (G. Guidarelli) awaiting to be carried out throughout the city – can be fact, Tintoretto replicates Serlio’s models in many of read as one of the themes of the two urban views that his early paintings such as the church in the Sebastiano Serlio published in 1545 in the Secondo background of Sant’Agostino risana gli sciancati (1549 Libro dell’Architettura. [3] In fact, the Scena Tragica ca, Vicenza, Museo Civico di Palazzo Chiericati) or the (Tragic Scene) and Scena Comica (Comic Scene) Bramante-style temple in the Trafugamento del corpo seemed to depict a visual metaphor – in the form of an di San Marco (1547 ca, Bruxelles, Musees Royaux des ideal city – of Venice in the early sixteenth century, Beaux-Arts de Belgique) (fig. 2), but they are always where the ideology of a rational order (imposed from architectural fragments pieced together to form urban above) is realised in the fabric of the city only at the environments. This is not the case with the “Cassoni” cost of countless compromises and adaptations. The (marriage chest) paintings depicting the Predizione a result is a mosaic of fragments of antiquity associated David and L’incontro di Salomone con la regina di Saba, with medieval buildings and spaces that Serlio preserved in Vienna (Kunsthistorisches Museum) and proposes as a theatrical backdrop. dated 1542-1543, where Tintoretto establishes This is the political and cultural context faced by the rational spatial relationships between the interior and young Tintoretto. The beginning of his activity can be exterior, painting realistic urban scenes not resulting chronologically placed in a period between the end of from a sum of buildings. This effort at synthesis seems Fig. 1 - Venezia, Piazza San Marco. the fourth and the beginning of the fifth decade of the to have been dictated not only by a greater linguistic sixteenth century. [4] In a recent critical review of the maturity, but also by a more refined conception of Architectural representation is one of the main themes painter’s beginnings and training, in fact, paintings painted space obtained through the use of papier- of Venetian painting between the 15th and 16th such as Prado’s Adorazione dei Magi, Washington’s mâché models. According to Carlo Ridolfi’s late centuries. Giovanni e Jacopo Bellini and Vittore Conversione di San Paolo and, above all, the sixteen testimony, Tintoretto placed wax statuettes to verify Carpaccio, in particular, demonstrate a passionate paintings on the ceiling of Palazzo Pisani were the position of characters and illuminated them with attention to the spatial and ideological possibilities identified as important steps to understanding the candles to simulate the different points of light that he that Venetian architecture – renewed by the genesis of his language and the formation of the client. would adopt in the painting. [6] The use of a typical generation of Mauro Codussi and Pietro Lombardo – In these first trials, Tintoretto immediately showed a stagecraft technique shows how much interest can express in the pictorial narrative. This is especially great interest in architecture which, however, is still Tintoretto had in the theatre, also thanks to his true with Paris Bordon and the oil-on-canvas painting confined to acting as the background of the narrative. friendship and constant acquaintance with Pietro Consegna dell’anello al Doge (Venezia, Gallerie In fact, we had to wait until the second half of the Aretino and Andrea Calmo. [7] dell’Accademia) created for the Brotherhood of San 1540s to see a painter who began to exploit the This expedient also allowed the painter to control the Marco in 1534. Here, the painter inserts the narrative architectural space as an essential part of the narrative painted space in a safer way and to experience the in an urban space conceived as a collage of medieval in paintings such as Disputa di Gesù nel Tempio (1545- perspective deformations that would play a significant Venetian architecture (the bell tower) and Byzantine 1546, Milano, Museo del Duomo) and, above all, Cristo role in his later works, especially in the composition of architecture (the quincunx space where the doge e l’adultera (Roma, Gallerie Nazionali di Arte Antica, very long paintings, where the multiplication of escape governs) alongside very modern ancient buildings. It is Palazzo Barberini) whose dating and patronage are still points requires a dynamic vision by the observer. an effective testimony to the dynamics that in those in doubt but nevertheless fundamental for our Works such as Miracolo dello Schiavo (1548) and the years helped to revolutionise the Venetian imago purposes due to the composition of groups of Trafugamento del corpo di San Marco (1562-1566) (fig. urbis, particularly under the rule of the doge of Gritti. characters distributed between the naves, marked by 3) created for the Scuola Grande di San Marco and The renovatio urbis entrusted to Jacopo Sansovino by rows of iconic columns. On the other hand, today preserved in the Gallerie dell’Accademia in the Doge led to profound transformations in the investigations conducted by scholars such as Sergio Venice can be read only the light of these observations. Marciana piazza, i.e. the political and institutional Marinelli, Erasmus Weddigen, Cecil Gould, Erik In both cases, the narrative takes place in the context centre of Venice, with the construction of the Zecca Forssman e Martina Frank, [5] showed with increasing of piazzas, defined by buildings that constitute just as (Mint), the Loggetta and Marciana Library (fig. 1). [2] certainty how much Tintoretto’s use of architectural many references to minor constructions coming from The appearance of “Roman-style” architectural space is based on a careful knowledge of constructed the treatise or reality: Venetian, in the first case (the fragments in an urban context of medieval origin – as architecture, but, especially in this first phase, on the Loggia of Sansovino), and Paduan in the second (the models (mainly Roman) illustrated by Serlio, who Clocktower and Loggia of Piazza dei Signori). In these http://disegnarecon.univaq.it DISEGNARECON volume 11/ n. 21 - december 2018 ADVANCED TECHNOLOGIES FOR HISTORICAL CITIES VISUALIZATION GUIDARELLI - LIVA - FRISO 6.3 ISSN 1828-5961 The “ideal” city and the “real” city painted by Tintoretto paintings, Tintoretto uses the piazza as the best type of the feet described in the New Testament is in reality completes the superimposition, as suggested by Serlio of space to effectively place the characters only an episode of the narration that ends with the Last in the form of an analogy, of an ideal city with the real (individually or in groups) and to depict their complex Supper, which in turn is divided into several scenes. city, populated by people and immersed in the reciprocal relationships based on his narrative intent, The coexistence of all these narrative planes in a single territory. Venice, which was reduced to being an “old” just like on a theatre stage. representation is underlined by the close-up view that city by the renovation and restoration of the Gritti In Tintoretto’s painting, however, there is a forces the observer to continuously change focus; but Palace, can thus become the scenario of the Gospel progressive transition from an urban space conceived is made possible, above all, by the architectural space narrative, which in turn is renewed in the Sacrament of as the backdrop of the narrative (and designed as a that houses the different links of the narrative chain.
Load more

Recommended publications
  • Mannerism COMMONWEALTH of AUSTRALIA Copyright Regulations 1969
    ABPL 702835 Post-Renaissance Architecture Mannerism COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 Warning This material has been reproduced and communicated to you by or on behalf of the University of Melbourne pursuant to Part VB of the Copyright Act 1968 (the Act). The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. do not remove this notice perfection & reaction Tempietto di S Pietro in Montorio, Rome, by Donato Bramante, 1502-6 Brian Lewis Canonica of S Ambrogio, Milan, by Bramante, from 1492 details of the loggia with the tree trunk column Philip Goad Palazzo Medici, Florence, by Michelozzo di Bartolomeo, 1444-59 Pru Sanderson Palazzo dei Diamanti, Ferrara, by Biagio Rossetti, 1493 Pru Sanderson Porta Nuova, Palermo, 1535 Lewis, Architectura, p 152 Por ta Nuova, Pa lermo, Sic ily, 1535 Miles Lewis Porta Nuova, details Miles Lewis the essence of MiMannerism Mannerist tendencies exaggerating el ement s distorting elements breaking rules of arrangement joking using obscure classical precedents over-refining inventing free compositions abtbstrac ting c lass ica lfl forms suggesting primitiveness suggesting incompleteness suggesting imprisonment suggesting pent-up forces suggesting structural failure ABSTRACTION OF THE ORDERS Palazzo Maccarani, Rome, by Giulio Romano, 1521 Heydenreich & Lotz, Architecture in Italy, pl 239. Paolo Portoghesi Rome of the Renaissance (London 1972), pl 79 antistructuralism
    [Show full text]
  • Palladio and Vitruvius: Composition, Style, and Vocabulary of the Quattro Libri
    LOUIS CELLAURO Palladio and Vitruvius: composition, style, and vocabulary of the Quattro Libri Abstract After a short preamble on the history of the text of Vitruvius during the Renaissance and Palladio’s encounter with it, this paper assesses the Vitruvian legacy in Palladio’s treatise, in focusing more particularly on its composition, style, and vocabulary and leaving other aspects of his Vitruvianism, such as his architectural theory and the five canonical orders, for consideration in subsequent publications. The discussion on composition concerns Palladio’s probable plans to complete ten books, as an explicit reference to Vitruvius’ treatise. As regards style, the article highlights Palladio’s intention to produce an illustrated treatise like those of Francesco di Giorgio Martini, Sebastiano Serlio, and Giacomo Barozzi da Vignola (whereas the treatise of Vitruvius was probably almost unillustrated), and Palladio’s Vitruvian stress on brevity. Palladio is shown to have preferred vernacular technical terminology to the Vitruvian Greco-Latin vocabulary, except in Book IV of the Quattro Libri in connection with ancient Roman temples. The composition, style, and vocabulary of the Quattro Libri are important issues which contribute to an assessment of the extent of Palladio’s adherence to the Vitruvian prototype in an age of imitation of classical literary models. Introduction The De architectura libri X (Ten Books on Architecture) of the 1st-Century BCE Roman architect and military engineer Marcus Vitruvius Pollio was a text used by Andrea Palladio (1508-1580) and many other Renaissance architects both as a guide to ancient architecture and as a source of modern design. Vitruvius is indeed of great significance for Renaissance architecture, as his treatise can be considered as a founding document establishing the ground rules of the discipline for generations after its first reception in the Trecento and early Quattrocento.1 His text offers a comprehensive overview of architectural practice and the education required to pursue it successfully.
    [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]
  • Evidence of Leonardo's Systematic Design Process for Palaces and Canals in Romorantin
    100 Landrus Chapter 7 Evidence of Leonardo’s Systematic Design Process for Palaces and Canals in Romorantin Matthew Landrus Leonardo’s Systematic Design Process for Romorantin University of Oxford, Faculty of History and Wolfson College In early January 1517, Leonardo worked quickly to develop plans for an urban renewal of Romorantin for Francis I of France. For this last major architectural commission, Leonardo had hundreds of architectural and canal studies, as well as the assistance of Francesco Melzi, who measured streets and studied the region. For this project Leonardo could also reference his treatise on sculp- ture, painting, and architecture, although this is now lost.1 Francis I told Benve- nuto Cellini that Leonardo was a “man of some knowledge of Latin and Greek literature,” a qualification Francis likely considered important for the architect of a project that would identify Romorantin with the grandeur of ancient Rome.2 But the last time Leonardo addressed urban planning on such a com- prehensive scale was in Milan during the late 1480s. He had worked as an archi- tect for several patrons thereafter, though there is no evidence after the mid-1490s of a continuation of his initial interest in developing a palace that was part of a two-level city over a network of canals. Having lived in Rome be- tween September 1513 and late 1516, he was influenced by the Colosseum; its three stories of exterior arcades may be recognized as part of the unusual Ro- marantin palace façade design, as illustrated on Windsor RL 12292 v (Fig. 7.1). For Leonardo, the grandeur of both structures was important.3 While in Mi- lan for seventeen years, from 1483 to 1499, he studied at length optimal urban planning and the means by which the Sforza court considered Milan the new 1 Cellini acquired a copy of this treatise on “Sculpture, Painting and Architecture” in 1542 and thereafter lent it to Sebastiano Serlio.
    [Show full text]
  • Springer International Publishing AG 2016 M
    A Architecture “Renaissance Architecture” Versus “Architecture in the Renaissance” Nele De Raedt Department of Architecture and Urban Planning, The idea of the Renaissance as a distinct historical Ghent University, Ghent, Belgium period was formulated during its own time. In the fourteenth and fifteenth centuries, humanist authors such as Petrarch (1304–1374) and Flavio Abstract Biondo (1392–1463) defined the time in which During the Renaissance in Europe, between they lived as separate from the immediate past, the roughly 1300 and 1650, a number of intellec- Middle Ages (or Medium Aevum). In doing so, tual discourses and practices helped shape the these writers confirmed that a new epoch in discipline of architecture. This article is not human history had arrived, one that concerned about canonical buildings or the evolution of all matters of human life: from science to litera- distinctive stylistic characteristics but rather ture, from politics to art (Günther 2009; Clarke six key topics within an overall threefold struc- 2003). For the Italian humanists, this concept of a ture: heritage and rupture with the tradition, new era coincided with the idea of a rebirth of the innovative and original aspects, and impact culture of classical antiquity. In the sixteenth cen- and legacy. The six topics are geometry as the tury, Giorgio Vasari applied these ideas to the scientific foundation of architecture; human- visual arts and referred to this rebirth with the ism, antiquarianism, and the recovery of word “rinascita” (Vasari 1550). ancient architecture; architectural histories The term “Renaissance” itself, however, was and the creation of an all’antica architecture; introduced only in the nineteenth century, and the canonization of the architectural orders; the specifically with reference to art history production of architectural theory; and disegno (Günther 2009).
    [Show full text]
  • The Sack of Rome (1527): the Triumph of Mannerism in Europe
    Migration and artistic identities The Sack of Rome (1527): the Triumph of Mannerism in Europe Anne LEPOITTEVIN ABSTRACT The political accident that was the sack of Rome is a major landmark in the artistic history of Europe. Contemporaries insisted on its Protestant iconoclasm, which notably jeopardized the relics and sacred images of the Holy City, home of the Holy See and destination of pilgrimages. The sack dispersed the successors to Raphael along with the other actors of the first generation of Mannerists, thereby bringing about the immediate diffusion of the first Roman—as well as Florentine—manner, initially towards the main courts of Italy (1527 and 1528) and later to those of France (Fontainebleau) and ultimately Europe. Benvenuto Cellini, Christ supporting Saint Peter above the waves, inscription “Quare dubitasti?” (“Why did you doubt?”), 1530-1532, silver double carlin of Clement VII. The year 1527 is as important a date for early modern Italy as Saint Bartholomew’s Day (1572) is for France. 1527 is also an important date for Europe, as the sack of Rome has been seen for nearly 500 years as an essential break in the continent’s political, religious and artistic history. The sack made the Council of Trent necessary. In art, first Luigi Lanzi and later André Chastel in particular showed how a political event precipitated the diffusion of Mannerism, the first style to rapidly enjoy European success. The facts are well known. France and the Holy Roman Empire were competing for domination over Europe, and especially over Italy. Shortly after the Battle of Pavia (1525), Pope Clement VII Medicis agreed to rally the League of Cognac, which had been gathered by Francis I of France against Charles V.
    [Show full text]
  • Courtly Stables and Their Implications for Seventeenth-Century English Architecture’, the Georgian Group Journal, Vol
    Giles Worsley, ‘Courtly stables and their implications for seventeenth-century English architecture’, The Georgian Group Journal, Vol. XIII, 2003, pp. 114–140 TEXT © THE AUTHORS 2003 COURTLY STABLES AND THEIR IMPLICATIONS FOR SEVENTEENTH-CENTURY ENGLISH ARCHITECTURE GILES WORSLEY ne of the more hotly contested areas of The stables are described in the Office of Works Oarchitectural history is the classical revolution accounts as “two newe double stables of Brickes by in taste that took place under the early Stuarts. Did the highway with a new coatche house saddle house the simple astylar classicism prevalent after the a smiths forge house a shoeinge horse and new Restoration establish itself in the s and s, as grayners adioyninge to the same stable”. These I suggested in Classical Architecture in Britain: details are fleshed out by the Parliamentary survey of The Heroic Age , or was it the product of the the King’s properties, made after the Civil War. Its Commonwealth – a ‘Puritan Minimalism’ – as Tim description confirms the essential accuracy of Mowl has argued? Every example that marks the Smythson’s drawing and demonstrates that the arrival of this classical revolution tends to be seized Theobalds stables were of unparalleled grandeur. upon, but one of the most productive areas to They were probably the most substantial new examine has passed almost unnoticed, the stable. At building commissioned by James I before the least ten important stables built before the Civil War Queen’s House at Greenwich. The survey notes in the new astylar classical manner can be identified. that the building took the form of a great quadrangle That makes them perhaps the single most important ft.
    [Show full text]
  • Facts and Building Artefacts: What Travels in Material Objects?
    Working Papers on The Nature of Evidence: How Well Do ‘Facts’ Travel? No. 39/10 Facts and Building Artefacts: What Travels in Material Objects? Simona Valeriani © Simona Valeriani, LSE August 2010 “The Nature of Evidence: How Well Do ‘Facts’ Travel?” is funded by The Leverhulme Trust and the ESRC at the Department of Economic History, London School of Economics. For further details about this project and additional copies of this, and other papers in the series, go to: http://www.lse.ac.uk/collection/economichistory/ Series Editor: Dr. Jonathan Adams Department of Economic History London School of Economics Houghton Street London, WC2A 2AE Tel: +44 (0) 20 7955 6727 Fax: +44 (0) 20 7955 7730 Facts and Building Artefacts: What Travels in Material Objects? Simona Valeriani∗ 1. Introduction: Travelling Through Cultures, Travelling Through Time Facts are often expressed as statements or verbal descriptions. But in some cases, facts – particularly facts about technology – are better recorded and transmitted via material objects.1 Does the nature of the vehicle that contains and expresses (and sometimes almost constitutes) the facts influence how they travel and are received? This chapter contributes to the question of how material objects carry facts from one culture to another, and through the centuries, by considering some examples from the history of construction, while at the same time keeping in mind the praxes of archaeologists, historians, conservators and museum curators. Therefore, we will be dealing with facts travelling on two different levels: facts travelling in a material object to the observer or user, as well as facts from and about buildings travelling in the realm of architectural history.
    [Show full text]
  • Iii Learning Outcomes 16
    T H E I N S T I T U T E O F C L A SSI C A L A R C H I T E C T U R E & A R T N A T I ONA L C O R E C U R R I C U L U M LITERATURE AND THEORY OF CLASSICAL ARCHITECTURE I DESCRIPTION OF CORE SUBJECT AREA II LEARNING OBJECTIVES III LEARNING OUTCOMES IV RESOURCES 20 West 44th Street, New York, NY 10036 16 (212) 730-9646 telephone (212) 730-9649 facsimile [email protected] email www.classicist.org T H E I N S T I T U T E O F C L A SSI C A L A R C H I T E C T U R E & A R T N A T I ONA L C O R E C U R R I C U L U M LITERATURE AND THEORY OF CLASSICAL ARCHITECTURE I. DESCRIPTION OF CORE SUBJECT AREA The core subject area of the Literature and Theory of Classical Architecture curriculum is a presentation of, and engagement with, the major texts of architectural literature and theory. Theoretical concepts will be examined both through written and illustrated publications and corresponding paradigmatic buildings that are regarded as architectural masterpieces. Architecture, in the Classical tradition, has been perpetuated and propagated largely through the influence of written and illustrated publications; the trajectory of architectural literature and theory is charted through the development of seminal works, both written and built, that provide a living legacy of the Classical tradition.
    [Show full text]
  • Vincenzo Scamozzi Comments on the Architectural Treatise of Sebastiano Serlio
    Originalveröffentlichung in: Annali di architettura : rivista del Centro Internazionale di Studi di Architettura Andrea Palladio 27.2015 (2016), S. 47-60 Hubertus Giinther Vincenzo Scamozzi comments on the architectural treatise of Sebastiano Serlio in Paris where it was offered by Bonnefoi Livres Anciens and thereupon the Ernst von Siemens Foundation has acquired it for the Zentralinsti- tut fiir Kunstgeschichte in Munich 1. It attracts particular interest as Scamozzi has edited the treatise of Serlio. Serlio published his treatise gradually in in- dividual books2. The work had a huge success. It appeared in many editions and various languag- es throughout Europe. First were printed the two crucial books, both by Francesco Marcoli- ni in Venice: in 1537 the doctrine of the orders of columns as the Fourth Book and in 1540 the presentation of ancient buildings in Rome and throughout Italy as Third Book. The columns doctrine remained instrumental until the early 20th century, although it had been modified in details and the principles on which it is based had changed. The book on ancient buildings re- mained unique up to 1682 when Antoine Desgo- detz had published Les e'difices antiques de Rome on behalf of the French Academy. After Serlio had left Venice and entered the service of the king of France, appeared in Paris three smaller books on the geometric basics of architecture, perspective and church design. In 1551 the Venetian pub- lisher Cornelio Nicolini launched the five books hitherto published in a representative collection in folio format - as was the original format. The publisher has changed hardly anything on the books; the old title pages and dedications are maintained; there is not even a special preface or a dedication.
    [Show full text]
  • Studi Di Storia Dell'architettura in Onore Di Howard Burns
    Some degree of happiness Studi di storia dell’architettura in onore di Howard Burns a cura di Maria Beltramini Caroline Elam © 2010 Scuola Normale Superiore Pisa isbn 978-88-7642-372-7 Oxford, Worcester College Library, aprile 2007 Indice Premessa Maria Beltramini xi Introduzione Precision and fantasia: Howard Burns, scholar and teacher Caroline Elam xiii Quantification and the Medieval Mind: An Imperfect Proportional System in the Basilica of Santa Maria del Fiore in Florence Matthew A. Cohen 1 The Medieval Portrait of Architecture. Giotto and the Representation of the Temple of the Minerva in Assisi Francesco Benelli 31 Identificazioni per tre chiese senesi: una veduta di cantiere per Santa Maria in Portico a Fontegiusta e due fogli con disegni per San Giuseppe dei Legnaioli e San Francesco Mauro Mussolin 43 Intorno a Francesco di Giorgio: un codice di macchine civili e militari della collezione Santini Sergio Bettini 69 Esame codicologico e provenienza a cura di Marcella Peruzzi 88 Drawing in the Void: The Space between the Sketchbook and the Treatise Cammy Brothers 93 Giovanni Pontano and His Idea of Patronage Bianca De Divitiis 107 Non finte, ma «verissime»: le prospettive della sala grande nel palazzo dei Pio a Carpi Elena Svalduz 133 Divinità a pezzi: prove di restauro di scultura antica nei disegni di Baldassarre Peruzzi Valeria Cafà 155 Projet et chantier à la Renaissance: l’église Saint-Nicolas de Troyes (1524-1608) Sara Galletti 173 Baccio d’Agnolo and the Madonna di San Biagio, Montepulciano Caroline Elam 193 Marte e Venere
    [Show full text]
  • Fig. 1 Fig. 2 Mark Rakatansky How Serlio Haunts Us Still: Wittkower's
    Mark Rakatansky How Serlio Haunts Us Still: Wittkower’s Paradoxical Parallax In regard to Serlio there will always be more questions than answers. Did Serlio give license to licentious rule-breaking in architecture or did he seek to normalize and contain its codes and coordinates? Did he seek to promote the Extraordinary — as stated in the title of his Extraordinario libro di architettura — or rather restrict and codify it into the now conventional and widespread all too Ordinary as a regularizing ordination? Did his professed intention to ac- commodate French comfort with Italian décor result not in their recombinative mixture but rather in a one variation after another of prescriptive and proscriptive commodified simulations of decorum, in other words, a catalogue of fixed social rankings of “proper” comportment? Is it he, and not Palladio, who is principally responsible for initiating the process by which certain intricate Cinquecento modes and motifs became, in Rudolf Wittkower’s phrase, “legalized and aca- demically petrified?”1 Wittkower used that phrase in his essay “Pseudo-Palladian Elements in English Neo-Classical Architecture,” wherein he tracks the developments of two Cinquecento motifs in later centuries: the “Palladian” window and the combinative tectonic figuration of quoins and voussoirs superimposed on frames of doorways and windows. Why does Wittkower refer to these elements as “Pseudo-Palladian?” First, because Palladio used the former motif only in a very limited number of instances, and the latter motif not at all. Second, because the neo-Palladians analyzed by Wittkower used the former motif in ways contrary to the ways Palladio utilized them.
    [Show full text]