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The Noisy Renaissance THE NOISY RENAISSANCE Niall Atkinson [ sound, architecture, and florentine urban life ] THE NOISY RENAISSANCE THE NOISY The Pennsylvania State University Press University Park, Pennsylvania Niall Atkinson RENAISSANCE Sound, Architecture, And Florentine urbAn liFe Portions of this book were previously Library of Congress Copyright © 2016 published as “The Republic of Sound: Cataloging- in- Publication Data The Pennsylvania State University Listening to Florence at the Threshold Names: Atkinson, Niall, 1967– , author. All rights reserved of the Renaissance,” I Tatti Studies in the Title: The noisy Renaissance : sound, Printed in the Czech Republic Renaissance 16, nos. 1/2, 2013), and “Sonic architecture, and Florentine urban life / Published by Armatures: Constructing an Acoustic Regime Niall Atkinson. The Pennsylvania State University Press, in Renaissance Florence,” Senses and Society 7, Description: University Park, Pennsylvania : University Park, PA 16802-1003 no. 1 (2012). The Pennsylvania State University Press, [2016] | Includes bibliographical references The Pennsylvania State University Press is This book is made possible by a and index. a member of the Association of American collaboraTive granT from The Summary: “Analyzes how the premodern University Presses. andrew w. mellon foundaTion. city, through the example of Renaissance Florence, can be understood as an acoustic It is the policy of The Pennsylvania State phenomenon. Explores how city sounds, University Press to use acid- free paper. such as the ringing of church bells, can be Publications on uncoated stock satisfy the foundational elements in the creation and minimum requirements of American National maintenance of urban communities and Standard for Information Sciences— the spaces they inhabit”—Provided by Permanence of Paper for Printed Library publisher. Material, ansi z39.48–1992. Identifiers: lccn 2015050853 | isbn 9780271071190 (cloth : alk. paper) Subjects: lcsh: Architecture, Renaissance— Italy— Florence. | Renaissance— Italy— Florence. | City sounds— Italy— Florence— History. | Bells— Italy— Florence— History. | Architectural acoustics— History. Classification: lcc na1121.f7 a85 2016 | ddc 724 / .120945511—dc23 lc record available at http:// lccn .loc .gov /2015050853 Contents vii List of Illustrations xiii Acknowledgments 1 Introduction: Journey into the Noisy Renaissance 17 Chapter 1: The Acoustic Art of City- Building 69 Chapter 2: Florentine Soundscapes 121 Chapter 3: Sound, Space, and Meaning in Renaissance Florence 152 Chapter 4: Suoni, Voci, Rumori: Listening to the City 182 Chapter 5: Sonic Discord, Urban Disorder 201 Epilogue: Ephemerality, Durability, and Architectural History 215 Notes 245 Bibliography 255 Index IllustratIons fig. 1 Sites of acoustic architecture, principal vertical nodes of its premodern demolitions and representing the Arts Quadrangle, Cornell University | 2 soundscape | 15 fifteenth- century street layout | 27 fig. 2 I. M. Pei & Partners, Herbert F. fig. 11 Fresco of the Virgin of Mercy, fig. 18 Mercato Vecchio, c. 1880, before Johnson Museum of Art, Cornell Uni- Madonna della Misericordia, Bigallo, the demolitions | 29 versity, 1968–73; the hollow pier with the Florence, c. 1342 | 18 fig. 19 Workshop of Giorgio Vasari, acoustical properties is highlighted | 3 fig. 12 The city of Florence enveloped view of the Mercato Vecchio in the six- fig. 3 William Henry Miller, McGraw in the protective embrace of its citizens, teenth century | 29 Tower, Cornell University, 1891 | 3 Madonna della Misericordia, Bigallo, fig. 20 The ourf anchoring churches Florence, c. 1342 (detail) | 19 fig. 4 Graduate student Josi Ward of the Mercato Vecchio: San Tommaso, throwing stones on the terrace of Olin fig. 13 Corner of the cathedral bell Sant’Andrea, San Pier Buonconsiglio, Library, Cornell University, 2010 | 3 tower, highlighting the red lily (com- and Santa Maria in Campidoglio | 34 mune) and red cross (popolo) of Florence fig. 5 The ixteenth-s century maps in fig. 21 Guido Carocci, reconstruction set within the sculptural relief cycles of the Guardaroba of the Palazzo Vecchio, survey of the Mercato Vecchio | 35 Genesis and the mechanical arts | 20 Florence | 5 fig. 22 Piazza del Mercato Vecchio, fig. 14 Gate of San Miniato, highlight- fig. 6 Author’s reconstruction of c. 1890 | 36 ing the symbols of the commune and the Brunelleschi’s second perspective panel popolo, Florence | 21 fig. 23 Arch of the Piazza della depicting the Piazza della Signoria | 6 Repubblica | 37 fig. 15 Papal keys (top), the royal arms fig. 7 View of Brunelleschi’s dome and of Robert of Anjou (lower center), and fig. 24 Daily life in the Mercato Cen- the bell tower of Florence’s cathedral | 7 Florentine communal arms (lower outside trale, Florence | 37 fig. 8 Two views of the Piazza Santis- left and right) over the south entrance to fig. 25 View of the Loggia dei Lanzi sima Annunziata: (left) clean sightlines, the Bargello, the former Palace of the across the Piazza della Signoria | 39 Hilde Lotz- Bauer, Piazza SS. Annun- Podestà, Florence | 21 ziata, 1943; ( ) market day in the right fig. 16 Giambattista Tiepolo, fig. 26 View across the Piazza della piazza | 13 Signoria from the via dei Calzaiuoli The Power of Eloquence, 1724/25 toward the Palazzo Vecchio, the former fig. 9 The alazzoP Vecchio seen from (detail) | 23 Palace of the Priors | 40 the cupola of the Florentine cathedral | 14 fig. 17 Detail of a reconstruction fig. 27 The ocationl of the monastery fig. 10 The kylines of Florence from survey of the area around the Mercato of San Marco in relation to the city’s the Belvedere fortress, showing the Vecchio during the nineteenth- century main institutions | 41 fig. 28 The reaa around the monastery fig. 42 A detail of the Bigallo fresco f ig. 55 Benvenuto Cellini, forty-s oldi and piazza of San Marco, the scene of highlighting the city’s principal bell coin with profile of Alessandro dei attack on Savonarola’s followers | 41 towers | 52 Medici (recto) | 66 fig. 29 La Piagnona | 41 fig. 43 The exagonalh campanile of fig. 56 View of the bell tower of the the Badia seen from the cupola of the Palazzo Vecchio from the Oltrarno | 67 fig. 30 View of the bell towers of the cathedral | 53 Badia and the Bargello from Piazza fig. 57 The erticalv profile of the city of San Firenze | 42 fig. 44 The adia’sB bell is visible in the Lucca around 1400; illustration from the lower left of this close- up of the Badia’s Chroniche of Giovanni Sercambi (chronicle fig. 31 New hexagonal bell tower of belfry | 54 of the city of Lucca), c. 1400 | 70 the Badia rising from its old foundations, reconstructed after 1330 | 43 fig. 45 View of via dei Cimatori, which fig. 58 View of the Palace of the Pode- ends abruptly at the walls of the Badia, stà (Bargello) from the cupola of the fig. 32 View of the Mercato Vecchio, whose tower can be seen above, with the cathedral | 72 showing the varying heights of individual bell tower of the Bargello (the former buildings | 44 fig. 59 View of the bell tower of the Podestà) just behind and to the right | 55 Palace of the Priors (Palazzo Vecchio) fig. 33 Map highlighting the areas of the fig. 46 Silhouette of the three towers from via Calimala looking down via Adimari and Alighieri households | 44 that began the Florentine day: the Podestà Vacchereccia | 73 fig. 34 The ldo district of (Bargello, l eft), the Palace of the Priors fig. 60 View of the four principal San Piero | 45 (Palazzo Vecchio, c enter), and the Badia towers, the central acoustic transmitters (right) | 56 fig. 35 Andrea Pisano, Tubalcain (the of the Florentine soundscape, from the first blacksmith), from the Genesis pan- fig. 47 Plan of the Palace of the Priors Fortezza del Belvedere | 74 els, west façade, campanile of the cathe- (Palazzo Vecchio), the Palace of the fig. 61 View from the Bargello | 75 dral, c. 1330s | 45 Podestà (Bargello), and the Benedictine monastery | 56 fig. 62 Close-u ps of the four “speaking” fig. 36 Giambologna, equestrian towers of Florence | 76 statue of Cosimo I, 1594, Piazza della fig. 48 A fourteenth- century image of Signoria | 46 Dante from the Magdalene chapel of the fig. 63 The ampanilec and its cathedral Bargello (right) confronts the fourteenth- seen from the gallery of the Palazzo fig. 37 A visualization of the Floren- century relief from the campanile of the Vecchio | 77 tine morning ringing sequence | 47 cathedral depicting Tubalcain, the first fig. 64 The ldo tower of Santa Repa- fig. 38 The robablep circuit of Dante’s forger of metal in Genesis 4:22 | 57 rata (left) and Giotto’s new tower (cen- acoustic archaeology, tracing the walls of fig. 49 The ostl square of San ter), from the earliest illustrated copy of Matilde, the cerchia antica of 1078 | 48 Martino | 58 Giovanni Boccaccio’s Decameron | 78 fig. 39 Map of the eleventh- century fig. 50 Sandro Botticelli, Adoration of fig. 65 Old Testament prophets on walls, showing the location of the city’s the Magi, detail showing a self- portrait the south façade of the cathedral bell old gates | 49 of the artist | 60 tower | 79 fig. 40 Roman grid within twelfth- fig. 51 Giorgio Vasari, Self- Portrait, fig. 66 Communal arms on the north- and fourteenth- century wall circuits, 1566–68 | 61 east corner of the cathedral bell tower showing the placement of the gates of (campanile) | 80 Florence after its fourteenth- century fig. 52 Savonarola preaching in the expansion | 50 Florentine cathedral. Illustration from fig. 67 Andrea Pisano, relief cycle of the Compendio di revelatione, 1496, the origins of the human arts that fol- fig. 41 The hurchc of San Martino in by Girolamo Savonarola | 64 lowed the Genesis stories, lower register the sixteenth century after it was reori- of the south façade of the campanile, ented, and its proximity to the Alighieri fig. 53 The Observant Franciscan c.
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