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An illuminating reassessment of the architect whose innovative drawings of ruins shaped the enduring image of ancient Rome Giuliano da Sangallo (1443–1516) was one of the first architects to draw the ruins and artifacts of ancient Rome in a systematic way. Cammy Brothers shows how Giuliano played a crucial role in the Renaissance recovery of antiquity, and how his work transformed the broken fragments of Rome's past into the image of a city made whole. Drawing new insights from the Codex Barberini and the Taccuino Senese—two exquisite collections of Giuliano's drawings on parchment—Brothers reveals how the Florentine architect devoted enormous energy to the representation of ruins, and how his studies of Rome formed an integral part of his work as a designer. She argues that Giuliano's inventive approach, which has often been mischaracterized as fantastical or naive, infused the architect's craft with the sensibilities of a poet and painter. Brothers demonstrates how his drawings form the basis for a reevaluation of the meaning and method of the Renaissance study of ancient artifacts, and brings to life the transformative moment when artists and architects began to view the fragments of ancient Rome not as broken artifacts of little interest but as objects of aesthetic contemplation. Featuring a wealth of Giuliano's magnificent drawings, this compelling book provides an incomparable lens through which to explore essential questions about the aesthetic value, significance, and the uses of the past for today's architects.
"An illuminating reassessment of the architect whose innovative drawings of ruins shaped the enduring image of ancient Rome"--
As a master of his discipline, the ancient Roman architect Vitruvius has been read widely for centuries. This collection of essays by an international team of experts investigates his influence and reception in ideas, artistic forms, and building practices from antiquity to modern day. The stories of influence told in these pages suggest that it is the unbridgeable gulf between the Vitruvian text and surviving monuments that makes reading the Ten Books so endlessly compelling. The contributors to this volume offer their own, original readings, which are organized into the five sections: transmission; translation; reception; practice; and Vitruvian topics.
The Naturalis historia by Pliny the Elder provided Renaissance scholars, artists and architects with details of ancient architectural practice and long-lost architectural wonders - material that was often unavailable elsewhere in classical literature. Pliny's descriptions frequently included the dimensions of these buildings, as well as details of their unusual construction materials and ornament. This book describes, for the first time, how the passages were interpreted from around 1430 to 1580, that is, from Alberti to Palladio. Chapters are arranged chronologically within three interrelated sections - antiquarianism; architectural writings; drawings and built monuments - thereby making it possible for the reader to follow the changing attitudes to Pliny over the period. The resulting study establishes the Naturalis historia as the single most important literary source after Vitruvius's De architectura.
Citare in Italian means both to cite and to quote. Citazione means both citation and quotation. This volume, with many discussions of annotations or marginal notes (postils), aims to tease out one of the principal threads of the over-arching theme of what might be termed 'Lost and Found in Translation' with regard to Early Modern Architecture. Citation of texts in relation to Early Modern architectural design, treatise writing and theory, has long been studied, but mostly in ways which have never clearly distinguished between three important but different terms: mindset, citation and quotation. This volume charts citation from Filarete and ancient descriptions of Near Eastern Architecture, to difficulties in understanding Vitruvius, and Lost and found in Fra Giocondo's Vitruvius. The investigation then broadens to Tracing Renaissance Italian Architectural Books in colonial Mexico and an examination of reverse ekphrasis and Early Modern Architecture. It then turns to twisted words and borrowed wisdom: misleading citation in Scamozzi's Idea dell'architettura universale (1615), before heading East to discuss formats and functions of large-scale calligraphy in late-Ming and Qing-period China and the reconstruction of architectural spaces. Turning to Quotation, the investigation begins with Pirro Ligorio, the 'Megala' ship and the Cortile del Belvedere, and invention, imitation and reiteration: the case of Bramante's Palazzo Caprini and its progeny. Then follows Quoting from memory: centralized models and basilica systems in early counter-reformation Venice, followed by 'Borrominismo' in eighteenth century Lisbon, and old form with new function: Villa Emo-Amtshaus Wörlitz, and concludes with found and reshaped in translation: architectural models between centre and periphery. An important reading for anybody interested in Early Modern Architecture.
The first comprehensive account of this Italian architect and antiquarian's life and multifaceted career.
An exciting new approach to understand the trade of antiquities in early modern Rome traces the journey of objects from discovery to display. Barbara Furlotti presents a dynamic interpretation of the early modern market for antiquities, relying on the innovative notion of archaeological finds as mobile items. She reconstructs the journey of ancient objects from digging sites to venues where they were sold, such as Roman marketplaces and antiquarians’ storage spaces; to sculptors’ workshops, where they were restored; and to Italian and other European collections, where they arrived after complicated and costly travel over land and sea. She shifts the attention away from collectors to peasants with shovels, dealers and middlemen, and restorers who unearthed, cleaned up, and repaired or remade objects, recuperating the role these actors played in Rome’s socioeconomic structure. Furlotti also examines the changes in economic value, meaning, and appearance that antiquities underwent as they moved trhoughout their journeys and as they reached the locations in which they were displayed. Drawing on vast unpublished archival material, she offers answers to novel questions: How were antiquities excavated? How and where were they traded? How were laws about the ownership of ancient finds made, followed, and evaded?
The Tempietto, the embodiment of the Renaissance mastery of classical architecture and its Christian reinvention, was also the pre-eminent commission of the Catholic kings, Ferdinand of Aragon and Isabel of Castile, in papal Rome. This groundbreaking book situates Bramante's time-honored memorial dedicated to Saint Peter and the origins of the Roman Catholic Church at the center of a coordinated program of the arts exalting Spain's leadership in the quest for Christian hegemony. The innovations in form and iconography that made the Tempietto an authoritative model for Western architecture were fortified in legacy monuments created by the popes in Rome and the kings in Spain from the later Renaissance to the present day. New photographs expressly taken for this study capture comprehensive views and focused details of this exemplar of Renaissance art and statecraft.
Second edition, updated March 2023 Ancient Rome is still with us, more than ever. Every year, with new metro lines, roadworks, digs, restorations and repairs, new discoveries are made and old errors corrected – and new questions raised. This electronic book is intended as both a walking guide to ancient Rome and a resource for the city and the people who left their mark on history. Each of the eight excursions illustrates an aspect of the city from the foundation to the fall, and in passing explains the bits of modern Rome whose roots lie in that distant past. These walks are not meant to be a tourist guide of the "Rome in 3 days" style nor a nutshell guide to the well-documented and overrun sites such as the Colosseum and the Forum. Instead, they lead through the city itself, along paths that have been trod for thousands of years.
This volume explores the various strategies by which appropriate pasts were construed in scholarship, literature, art, and architecture in order to create “national”, regional, or local identities in late medieval and early modern Europe. Because authority was based on lineage, political and territorial claims were underpinned by historical arguments, either true or otherwise. Literature, scholarship, art, and architecture were pivotal media that were used to give evidence of the impressive old lineage of states, regions, or families. These claims were related not only to classical antiquity but also to other periods that were regarded as antiquities, such as the Middle Ages, especially the chivalric age. The authors of this volume analyse these intriguing early modern constructions of “antiquity” and investigate the ways in which they were applied in political, intellectual and artistic contexts in the period of 1400–1700. Contributors include: Barbara Arciszewska, Bianca De Divitiis, Karl Enenkel, Hubertus Günther, Thomas Haye, Harald Hendrix, Stephan Hoppe, Marc Laureys, Frédérique Lemerle, Coen Maas, Anne-Françoise Morel, Kristoffer Neville, Konrad Ottenheym, Yves Pauwels, Christian Peters, Christoph Pieper, David Rijser, Bernd Roling, Nuno Senos, Paul Smith, Pieter Vlaardingerbroek, and Matthew Walker.