History of Art and Architecture,
University of Pittsburgh; Fall Term 2011 (academic term 2121)
HAA1306/CRN24125 (graduate listing
HAA2306/CRN24126)
Frick Fine Arts Bldg Rm 203; Mon
& Wed 3:00-4:15 p.m.
Prof. Franklin Toker
SYLLABUS FOR
Architecture of the High Renaissance
SCOPE OF THE
COURSE:
From 1500 to about 1520 the city of Rome attracted
great numbers of painters, sculptors and architects because of its wealth of
ancient monuments and the generosity and ambition of its reigning Popes. Of all
the arts, it was architecture that had the most success in changing the face of
Rome in that quarter-century, and the High Renaissance movement in turn changed
forever the face of architecture.
This course will focus on the works or projects in Rome of four
brilliant designers: Bramante, Raphael, Michelangelo and Leonardo da Vinci. It
will then follow the mutation of High Renaissance ideals into Mannerism and the
dispersion of both styles in Florence and finally to northern Italy,
particularly in town planning and in the villas and churches of Andrea Palladio
around Venice. The course
concludes with a look at Renaissance architecture beyond the Alps, in the New
Worlds (South Africa, India, and China, as well as the Americas), and some
words on the impact of the High Renaissance on architecture today. In short, we
are about to dedicate a term to thinking about some glorious stuff! Plus, a
bonus: Palladio and His Legacy: A
Transatlantic Journey will be showing at the Carnegie Museum of Art from
September through December, so we can actually see some Palladio drawings
firsthand, and some stunning models.
COURSE
INFORMATION
The course text is Wolfgang Lotz, Architecture in Italy, 1500--1600 (Yale
University Press). You should
begin reading it immediately; we will follow all the chapters except 5, 11, and
13, though not necessarily in the order of the text. The reserve desk holds a
score of supplementary texts for the course, and many other relevant books are
easily available from Frick, Hillman, and Carnegie libraries. This syllabus is replicated for your
convenience at www.franktoker.pitt.edu: click on HAA 1306.
Meeting
hours in my office (balcony of Frick
Library reading room), every Tuesday from 9 to 11 a.m.; we can arrange other
times if you telephone me at 412.648.2419 or e-mail me at ftoker@pitt.edu.
Grading is based 30% on each of the two midterms and the
class presentation, and 10% for attendance and participation. This
course follows this Department's statement on academic integrity: "Plagiarizing is an act that violates
the Student Conduct Code, and will not be tolerated in this class. Plagiarized
assignments will result in a failing grade for that assignment"--or in
an F for the term. Note that in
the world of the Internet, plagiarizing has gotten ever more easy: The essays
will be tested in the Turnitin.com software to made certain this is your
original work.
Agreement for use of
Turnitin software: Students agree that by taking this course all required
papers may be subject to submission for textual similarity review to
Turnitin.com for the detection of plagiarism. All submitted papers will be
included as source documents in the Turnitin.com reference database solely for
the purpose of detecting plagiarism of such papers. Use of Turnitin.com page
service is subject to the Usage Policy and Privacy Pledge posted on the
Turnitin.com site.
Composition
of the midterms: Half the midterm
grades will come from the essays that you will pick about a week beforehand and
email to me; and half from Scantron ("fill in the bubbles") tests
that you will take in class. Each Scantron test will carry 27 questions, each worth
2%, on specific facts about the "key works," terms, and larger
concepts like theoretical issues, writings on architecture, or differences
between the various architectural styles. That means that you can flop on two
questions and still get a full 50%, or 54% if you really know your stuff.
The class
presentation. You will note about
thirty of the key works are not merely bolded
but bolded/underlined. Those
are the works available for your class presentation as part of whatever class
to which that building belongs. Other topics would also be acceptable, if
research resources exist for them. You can give this presentation yourself or
with a partner. A third of your term grade is riding on this presentation, so
do not let it go too long (I will impose no "deadlines": it's up to
you). I will accept the first bid I get for any topic. Time limit is 10
minutes. Format is PowerPoint: email me your PowerPoint a day before you are
presenting, or bring your flash drive to my office. Bringing a flash drive to
class, last minute, is unacceptable. No text need be written out, but you will
need to bring to class one page for every student (about 33) that will
summarize the main points about the building and list the main bibliography you
used.
Main
questions to address in your presentation (for simplicity, this assumes you are writing on a single building,
but you can extrapolate for a city, architect, theme etc.)
1) description of the building (architect, city plan,
theme, etc.);
2) history of how it came about;
3) analysis of how it works, what decisions the
architect took, where it fits in its context, etc.;
4) critique of how successful or unsuccessful the
building (city, architect etc.) is.
What is the
"problem" of this building? i.e. what was it about the function,
structure, placement, political importance etc. of this building that makes it
noteworthy? Then recapitulate its
construction history (were there numerous changes in design before or during
construction?), and add a short note of any changes post-construction. Finally, the last third of the
presentation should be an assessment of the accomplishment of this particular
building: where does the building stand in the career of its architect? Or in
the history of that particular building type? Or in the history of whatever city or state it stands in (or
was meant to stand in)? How did it
change the course of High Renaissance architecture, or how might it have
changed it? You need to assess
success or failure in the building, and specify your criteria.
Guidelines for a successful presentation: give it a title that presents a specific point of
view, and make sure the whole presentation embodies a point of view--as any
original piece of scholarship would. Start with a "problem," and keep
referencing the problem throughout. What was it about the function, structure,
placement, political importance etc. of your building (or architect, or city,
or patron, or building type etc.) that makes it noteworthy?
Research To
get these answers, you need to research the building, architect, theme etc. The
Lotz text discusses nearly all the buildings you might choose, but you'll need
background information. Three valuable volumes, all in the Frick Reference Room
(the smaller room behind the Reading Room, with the computers and photocopy
machine in it) are the two-volume International
dictionary of architects and architecture; the four-volume Macmillan encyclopedia of architects,
and the thirty-four volume Dictionary of
Art (also on-line under "Grove Dictionary of Art" on www.library.pitt.edu). Every one of your architects will be
listed there, and a large number of your buildings. Beware, however, of helping
yourself too liberally to their contents, since such plagiarism is easy to
spot.
CLASS
MEETINGS
1. Monday August 29: THEMES
OF THE COURSE: VASARI, HISTORIOGRAPHY, AND THE RENAISSANCE LANGUAGE IN ART AND
ARCHITECTURE
2. Wednesday August 31: ACHIEVEMENT OF THE QUATTROCENTO; THE NEW SPACE CONCEPTION OF LEONARDO
AND BRAMANTE
[Monday September 5: NO CLASS--UNIVERSITY OBSERVES
LABOR DAY]
3. Wed September 8: A
GREAT RENAISSANCE ARCHITECT: GIULIANO DA SANGALLO AND HIS NOTEBOOKS
4. Mon September 12: BRAMANTE
COMES TO ROME: S. MARIA DELLA PACE;
THE TEMPIETTO, CANCELLERIA; PALAZZO CAPRINI
5. Wed September 14: BRAMANTE'S
WORKS FOR POPE JULIUS: THE BELVEDERE
PALACE
6. Mon September 19: BRAMANTE'S
ST PETER'S
7. Wed September 21: ST PETER'S: THE LATER HISTORY, WITH
SPINOFFS AT TODI AND MONTEPULCIANO
8. Mon September 26: RAPHAEL
AS ARCHITECT: THE CHIGI CHAPEL; VILLA MADAMA AND THE DEVELOPMENT OF THE ROMAN
PALACE
9. Wed September 28: BALDASSARE
PERUZZI: THE FARNESINA AND PALAZZO MASSIMO ALLE COLONNE
10. Mon October 3: ANTONIO
SANGALLO THE YOUNGER AND THE MAKING OF A RENAISSANCE ARCHITECTURAL DYNASTY; THE
ROLE OF DRAWINGS AND MODELS
11. Wed October 5: MICHELANGELO:
THE FACADE OF S. LORENZO AND THE NEW SACRISTY IN FLORENCE
[Mon October 10: NO CLASS--UNIVERSITY OBSERVES FALL
BREAK]
12. Special meeting-time TUESDAY October 11, usual
hour of 3 p.m.: MICHELANGELO: THE
LAURENZIANA LIBRARY
13. Wed October 12: MICHELANGELO:
ST PETER'S
Two
take-home essay topics for the first midterm will be handed out in class
October 11. Email your essay responses to the instructor before midnight next
Monday, October 17 for two bonus points; or in any case before midnight
Wednesday October 19.
14. Mon October 17: MICHELANGELO:
THE CAMPIDOGLIO AND LATE WORKS IN ROME
15. Wed October 19: MIDTERM
TEST
16. Mon October 24: INTRODUCTION
TO MANNERISM: BRAMANTE, RAPHAEL, BALDASSARE
PERUZZI
17. Wed October 26: GIULIO
ROMANO
18. Mon October 31: VIGNOLA
AND THE ROMAN/ACADEMIC SCHOOL
19. Wed November 2: PIRRO
LIGORIO, ARCHAEOLOGY, AND GARDENS IN LAZIO
20. Mon November 7: VASARI
AND THE TUSCAN/ABSOLUTIST SCHOOL
21. Wed November 9: CITY
PLANNING IN ROME, VENICE, SABBIONETA, AND GENOA
22. Mon November 14: RENAISSANCE
IN THE VENETO: SANMICHELI AND SANSOVINO
23. Wed November 16: PALLADIO: HIS FORMATION, THEORY, AND PUBLICATIONS
24. Mon November 21: PALLADIO:
THE PUBLIC WORKS
[Wed November 23: NO CLASS--UNIVERSITY OBSERVES
THANKSGIVING BREAK]
25. Mon November 28: PALLADIO:
THE VILLAS
26. Wed November 30: THE RENAISSANCE EXPORTED:
FRANCE, ENGLAND, GERMANY, SPAIN
Two
take-home essay topics for the second midterm will be handed out in class
Monday, November 28. Email your essay responses to the instructor before
midnight next Monday, December 5 for two bonus points; or in any case before
midnight Wednesday December 7.
27. Mon December 5: THE
RENAISSANCE EXPORTED: TO THE NEW WORLDS, INCLUDING AMERICA
28. Wed December 7: SECOND
MIDTERM
HIGH RENAISSANCE ARCHITECTURE: MAJOR BUILDINGS,
PROJECTS,
AND THEORETICAL WORKS CITED IN THE
LECTURES
The following listing gives the main theme of each
class meeting (some doubled up by week), and lists the main buildings or
projects that will be discussed.
The bolded are the works that
will form the basis of the midterm and final examination. The great majority are illustrated in
Lotz, Architecture in Italy, 1500--1600,
but you are responsible for a close and detailed knowledge of those buildings
whether in Lotz or not. Bracketed
numbers below [like this] correspond to Lotz's illustration numbers, not to his
page numbers.
THEMES OF
THE COURSE: VASARI, HISTORIOGRAPHY, AND THE RENAISSANCE LANGUAGE IN ART AND
ARCHITECTURE
Reading:
Lotz, Architecture in Italy, 1500-1600,
pp. 1-8 on development of this text
Giorgio Vasari, Lives
of the Artists...; Florence 1550 and 1568
Titian: portrait
of Alfonso I d'Este, Duke of Ferrara, c. 1527 (original lost? this copy in
Prado, Madrid)
Titian: portrait
of ducal mistress Laura Dianti, c. 1523 (Kisters collection, Switzerland)
Michelangelo: Pieta,
Florence Cathedral museum, 1560s
Raphael: Villa Madama c. 1518, Rome [continued to 1527
by Ant. Sangallo jr]: [38--42]
Raphael?: Palazzo Uguccioni, Florence, not completed
until 1560s
Palladio: Villa Barbaro at Maser, c. 1549 [250]
Michelangelo: Pal. del Senato and Piazza del
Campidoglio, Rome, 1538ff [137-40].
Harrison and Abramovitz: Lincoln Center, New York,
1962-66.
ACHIEVEMENT
OF THE QUATTROCENTO; THE NEW SPACE CONCEPTION OF LEONARDO AND BRAMANTE
Reading: suggested:
Ludwig Heydenreich, Architecture in
Italy, 1400-1500 for general overview of the Early Italian Renaissance, and
102-44; chapter 13 on Leonardo; also recommended: Wolfgang Lotz, Studies in Italian Renaissance Architecture,
chapter 1 on High Renaissance architectural space
Arnolfo di Cambio (born around 1240--died between 1302
and 1310): S. Croce, Florence, 1295ff;
Arnolfo: plan & original dome conception for S.
Maria del Fiore, Florence, 1294ff.
Filippo Brunelleschi (1377-1446): cupola of S. Maria
del Fiore, Florence, 1420-36.
Masaccio: Trinity
fresco, S. Maria Novella, Florence, c. 1427
Brunelleschi: S. Spirito, Florence; 1430s and 40s;
plan made more conservative 1470s and 80s
Michelozzo di Bartolommeo (1396-1472): Palazzo Medici
(Medici-Riccardi), Florence, 1444-1460s.
Attributed to Leonbattista Alberti (1404-1472); built
by Bernardo Rossellino: Palazzo Ruccellai, Florence, 1440s or 1450s-1460
Giuliano da Sangallo (1443-1516): Madonna degli
Carceri, Prato, 1485
Sangallo: Lorenzo de' Medici's villa at Poggio a
Caiano, 1480ff.
Bernardo Rossellino (1409-64): project for new St.
Peter's c. 1452
Giovanni Amadeo: Colleoni chapel, Cathedral, Bergamo,
1470-73.
Francesco di Giorgio: human proportion sketches,
probably 1480s
Leonardo da Vinci (Vinci, near Florence, 1452-Blois,
France, 1519): human proportion sketches, 1480s-90s
Leonardo: notebooks kept in Milan, 1480s and 1490s
Milan: S. Lorenzo [Early Christian], prob. 5th c. CE.
Donato Bramante (Urbino 1444-Rome 1514): S. Maria
presso S. Satiro, Milan, 1478ff and 1482ff.
Bramante: S. Maria delle Grazie, Milan, 1492.
Leonardo: Last
Supper in S. Maria delle Grazie, Milan, 1495-97.
Pavia:
Cathedral c. 1488; Cristoforo Rocchi
(?) (and Bramante?) (and Leonardo?), with seeming reflections of Brunelleschi's
cupola for S. Maria del Fiore, his S. Maria degli Angeli, and his S. Spirito
Leonardo and Bramante both
leave Milan around 1499. Leonardo works for the Borgias, c. 1501; for the
French c. 1506; in Rome 1513-16; in France 1516-1519.
A GREAT
RENAISSANCE ARCHITECT: GIULIANO DA SANGALLO AND HIS NOTEBOOKS
We will examine in class
the facsimile notebooks of Giuliano da
Sangallo (1443-1516): Cod. lat. Barb.
4424 in the Vatican, 1465ff and Taccuino
Senese from Siena, a bit later.
Giuliano da Sangallo: projected loggia for pope's tuba players, 1505 [4]
Sangallo: palace in Savona for future Julius II, 1498
BRAMANTE COMES
TO ROME: S. MARIA DELLA PACE; THE TEMPIETTO, CANCELLERIA; PALAZZO CAPRINI
Reading: suggested:
Ludwig Heydenreich, Architecture in
Italy, 1400-1500, chapter 6 for Rome in the fifteenth century; Reading:
(for this and two lectures following) Lotz, chapter 1.
Rome: view of the Forum Romanum as cowfield by M. van
Heemskerck, 1535.
Rome: Pantheon, c. 110-120 CE, as seen by Heemskerck,
1535.
Rome: Tomb of Hadrian (c. 135 CE) made into Castel S.
Angelo
Pope Nicholas V
(1447-55): seems to have sponsored Alberti project for the Borgo; Rossellino
project for new St. Peter's c. 1452; Tower and Papal apartments in the Vatican.
Pope Pius II Piccolomini (1458-64): Benediction loggia at St. Peter's;
Alberti-Rossellino rebuilding of Pienza.
Pope Paul II Barbo (1464-71): advanced Rossellino choir of St. Peter's under Giuliano da
Sangallo, 1470; completed Palazzo Venezia of 1455, with loggia in front of S.
Marco church.
Pope Sixtus IV della Rovere (1471-84): four major streets, a bridge, new power to
the magistri de strada for
renovation; Sistine Chapel; S. Maria del Popolo; S. Maria della Pace; S. Pietro
in Vincoli. Favorite architect: Baccio Pontelli, in Rome at least from 1480
until his death around 1494.
Nephews of Sixtus include: Giuliano della Rovere (later Pope Julius II) and
Raffaele Riario also used Pontelli, particularly in the Palazzo della
Cancelleria (1485-98 and 16th century).
Pope Innocent VIII (1484-92) commissioned the Villa Belvedere inside the Vatican walls;
attributed to the Florentine sculptor Antonio Pollai[u]olo; built by Jacopo da
Pietrasanta.
Pope Alexander VI (1492-1503): decorated the Borgia apartments in Vatican.
Pope Julius II (Giuliano della Rovere, b. 1443; ruled 1503-1513): founded Belvedere palace 1505; commissioned huge tomb from Michelangelo 1505; new
St. Peter's 1506; funds building of via
Giulia and via Lungara.
Michelangelo: David,
Florence, 1501-04.
Michelangelo: Ceiling
frescoes, Sistine Chapel, 1508-12.
Raphael: Vatican
Stanze frescoes, 1510-14
Bramante influence on exterior only: Palazzo della Cancelleria, Rome,
1490s (originally Francesco di Giorgio? Baccio Pontelli? 1485ff).
Bramante: cloisters of S. Ambrogio, Milan, 1492-97.
Bramante: cloister
of S. Maria della Pace, Rome: he signs a drawing for the capitals in
1500; building completed (for Cardinal Caraffa) 1504 [3]
Bramante: choir
of S. Maria del Popolo, c. 1508 [22]
Bramante: Tempietto
at S. Pietro in Montorio, Rome, 1502 or 1508 [figures 1 and 2]
Tivoli [nr. Rome]: Italy: Temple of Vesta, Roman, 27
BCE ff.
Cola da Caprarola & others: Madonna della Consolazione, Todi, 1508ff [48--50]
BRAMANTE'S WORKS FOR POPE
JULIUS: THE BELVEDERE PALACE
Reconstruction and views of Bramante's project for the
Belvedere Palace, 1505ff [5--14; 21]
Bramante: Cortile di San Damaso (Raphael's Logge),
Vatican [15]
BRAMANTE'S
ST PETER'S
Michelangelo: project for the tomb of Julius II,
1503--05ff.
Bramante: Palazzo dei Tribunali (Palace of Justice),
c. 1509.
Bramante? Santa Casa at Loreto
Rome: Old St. Peter's, c. 320 CE.
Giuliano da Sangallo: project for New St. Peter's.
Caradosso
medal of new St. Peter's, 1506 [17]
Bramante: project
for new St. Peter's: Uffizi architectural drawing 1A, 1506 [18]
Bramante (?): project for new St. Peter's, 1514; Sir
John Soane's museum, London [19]
Bramante: project for new St. Peter's: Serlio's
reconstruction of the dome [20]
ST PETER'S:
THE LATER HISTORY, WITH SPINOFFS AT TODI AND MONTEPULCIANO
Reading:
Lotz, pp. 23-15
St. Peter's projects, 1506--1546 [16]
Pope Leo X
Medici (1513-21):
1514 Triumvirate of architects Giuliano da Sangallo,
Giovanni Giocondo, and Raphael .
Raphael: superintendant of St. Peter's after 1514:
project drawings now in Washington [27, 28]
Baldassare Peruzzi (1481-1536, appointed
co-superintendant with Ant. Sangallo Jr. 1520 by Leo X). The c. 1520 project
(known from bird's-eye perspective) wraps ambulatories around Bramante cross
[25, 26]
Antonio da Sangallo jr. (1483-1546, began at St.
Peter's 1510; superintendent 1520--1546): project c. 1539ff [28, 31, 72, 73]
Pope Clement VII Medici (1523-34), primarily relies on
Peruzzi plan.
[Sack of Rome 1527].
Views by Fleming Marten van Heemskerck, 1534-37 [71]
Pope Paul
III Farnese (1534-49): 1534
re-establishes Peruzzi as chief architect until his death in 1536; thereupon
Ant. Sangallo jr. chief architect until his death in 1546. Sangallo large model
1539-43 retains Peruzzi ambulatories, adds elaborate nave and facade.
(Thwarted appointments of Giulio Romano, who dies, and
Jacopo Sansovino, who refuses to come.)
RAPHAEL AS
ARCHITECT: THE CHIGI CHAPEL; VILLA MADAMA AND THE DEVELOPMENT OF THE ROMAN
PALACE
Reading:
Lotz, chapters 2 and 3
Raphael=Raffaello Sanzio (Urbino 1483- Rome 1520): Marriage of the Virgin, Milan, 1504.
Raphael in 1514: completes Stanza d'Eliodoro; appointed architect to St. Peter's.
Raphael (attributed to): so-called Letter to Pope Leo X on the antiquities of
Rome, 1519 [p.33]
Rome: S. Eligio degli Orefici [Bramante? Raphael?].
1509
Bramante: Palazzo
Caprini [house of Raphael],
Rome, 1501-10 [23]
Peruzzi: Chigi stables project, Rome, 1512.
Raphael: Chigi
chapel at S. Maria del Popolo, c. 1513 [32--34]
Raphael: palazzo
Branconio-dell'Aquila, c. 1515 [36]
Raphael: palazzo Jacopo da Brescia
Raphael: palazzo
Caffarelli-Vidoni, c. 1524 [37]
Girolamo da Carpi: Palazzo Spada, Rome 1550-56;
kindred to Palazzo Branconio.
Raphael: projected palace for Pope Leo X in Rome, ca.
1515
Rome: Nero's Domus Aurea ["Golden House"],
c. 64 CE.
Raphael: Villa
Madama for Cardinal Giulio de' Medici (later Pope Clement VII) c. 1518,
Rome [continued to 1527 by Ant. Sangallo jr]: [38--42]
Raphael: Palazzo
Pandolfini, Florence, 1518ff [54]. Possibly built around 1530 by
Antonio Sangallo jr.
BALDASSARE
PERUZZI: THE FARNESINA AND PALAZZO MASSIMO ALLE COLONNE
Reading:
Lotz, chapter 4
Baldassare
Peruzzi (Siena 1481-Rome 1536), Chigi Villa, later Villa Farnesina,
Rome, 1505/06 [58--61]
Peruzzi: Palazzo
Massimo alle Colonne, Rome, 1532-35 [64--67]
ANTONIO
SANGALLO THE YOUNGER (1485-1546) AND THE MAKING OF A RENAISSANCE ARCHITECTURAL
DYNASTY; THE ROLE OF DRAWINGS AND MODELS
Reading: Lotz, chapter 4
Giuliano da Sangallo: Poggio a Caiano and S. Maria
Madelenna dei Pazzi in late-15th c. Florence.
Giuliano da Sangallo: projected palaces for Pope Leo X
in Rome and Florence, c. 1515
Antonio da Sangallo Sr. (1460-1534): Madonna di S. Biagio, Montepulciano,
1518ff [color frontispiece; 51--53]
Antonio da Sangallo Jr. (1485-1546): Palazzo Farnese, Rome, vestibule
1517; ground floor 1525-30; redesigned 1541; reworked by Michelangelo 1546 [76,
77, 78, 79, 81, 82, 142]
Antonio Sangallo jr.: Mint [Zecca] of Rome, c.1530
[69]
MICHELANGELO:
THE FACADE OF S. LORENZO AND THE NEW SACRISTY IN FLORENCE
Reading:
(for this and two lectures following) Lotz, chapter 9
Michelangelo Buonarotti (1475-1564) a late-comer to
architecture: Vatican Pieta of
1498-1500; David of 1501-04; Tomb of
Julius 1506-1516ff-1526; Sistine Ceiling
1508-12.
Michelangelo: ca. 1515 chapel for Leo X in Castel S.
Angelo
Competition
for the facade of S. Lorenzo,
Florence, 1516: Raphael; Leonardo?; Jacopo Sansovino; Giuliano da Sangallo
[55]; Baccio d'Agnolo.
Michelangelo: S.
Lorenzo facade, 1516-20 [128]
Michelangelo: Medici
chapel [=New Sacristy],
1520-34 [129--132]
Bartolomeo Ammannati: Ponte Sta. Trinita, Florence, 1567ff.
MICHELANGELO:
THE LAURENZIANA LIBRARY
Michelangelo: Laurenziana
library, 1523-34 (opened 1571; clay model of steps 1558, executed by
Ammannati 1559) [133--136]
Michelangelo: Proposed
Fortifications of Florence, 1528-29.
MICHELANGELO:
ST PETER'S
Michelangelo was appointed chief architect for St.
Peter's in 1546 at age 72, in charge until his death in 1564. He supervised the
north and south transepts and cupola drum; abandons and destroys earlier
ambulatories. He designed the dome c. 1558-61 and supervised the making of a
model that still exists, though modified [74, 75, 143, 144, 147, 148]
--Pirro
Ligorio appointed successor in 1565
--Giacomo
Vignola appointed successor 1566 until his death in 1573.
--Giacomo della
Porta appointed successor in 1573 until his death in 1602: he executed the
dome, 1588-91.
Relevant popes who worked with Michelangelo:
Paul III Farnese (1534-49)
Julius III Del Monte (1550-55) (hence monti on dome buttresses)
Paul IV Caraffa (1555-59)
Pius IV (1559-65): a Milanese by the name of Medici,
who took the arms of the Medici family of Florence
Post-Michelangelo popes and architects:
Pope Pius V Ghislieri (1565-72)
Pope Gregory XIII Boncampagni (1572-85)
Pope Sixtus V Peretti (1585-90) added Domenico Fontana
as second architect.
Pope Paul V Borghese (1605-21) appointed Carlo Maderno
chief architect; he elongated the nave by three bays in 1607 to length of
Constantinian church. Gianlorenzo
Bernini succeeded Maderno in 1629, partially reworked facade, later added baldachino over high altar; the cathedra petri at the apse; and S.
Pietro colonnade outside.
MICHELANGELO:
THE CAMPIDOGLIO AND LATE WORKS IN ROME
Reading:
Michelangelo: cornice Farnese palace
Michelangelo: Piazza
del Campidoglio, begun c. 1539; Michelangelo was made a citizen there
about that time; 1555 anonymous view shows only the statue moved; final scheme
1561; Duperac engraving 1569 [137--140]
Michelangelo completes
Palazzo Farnese, 1546-50 [see under Ant. Sangallo jr., above]
Michelangelo: Ges
project c. 1554 (Vignola began current church 1568).
Michelangelo: S. Giovanni dei Fiorentini project,
1559.
Michelangelo: Sforza chapel in S. Maria Maggiore,
1560-73.
Michelangelo: Porta
Pia for Pope Pius IV (reigned 1559-65), 1561 [155]
Michelangelo: S.
Maria degli Angeli (rebuilt Baths of Diocletian] for Pius IV, 1561
[156]
INTRODUCTION
TO MANNERISM IN BRAMANTE, RAPHAEL, BALDASSARE PERUZZI, GIULIO ROMANO
Reading:
Lotz, preceding chapters, and chapter 7 on Giulio Romano
Mannerist tendencies in Bramante and Raphael
GIULIO
ROMANO
Giulio Romano (Rome, 1499?-Mantua 1546), Palazzo Maccarani, Rome, c. 1520
[110]
Giulio Romano: Palazzo
Te for Federigo Gonzaga, Mantua, 1525--c 1534 [111--116]
Giulio: Rebuilding of the cathedral of S. Pietro,
Manuta
Giulio: Estivale wing of the Palazzo Ducale in Mantua,
c. 1539 [117]
Giulio Romano: architect's
house (Casa Pippi), Mantua, c. 1540 [121]
Popes of the Catholic Reformation
(Counter-Reformation) and the Council of Trent, 1545-63:
Pope Paul III ran eight sessions of the Council of
Trent in Trent itself in 1545-47, plus three sessions in 1547 at Bologna.
Pope Julius III ran five more sessions at Trent,
1551-52.
[Pope Paul IV: no sessions]
Pope Pius IV ran the last nine sessions at Trent,
1559-63.
VIGNOLA AND
THE ROMAN/ACADEMIC SCHOOL
Reading:
Lotz, chapter 10
Vignola (Giacomo Barozzi; 1507-73): Treatise on the Five Orders,
1562.
Vignola and others: Villa Giulia, Rome, begun 1551 [167--170]
Vignola: Castello
Farnese at Caprarola, begun 1559 [171-173]
Vignola (plan and interior) and Giacomo della Porta
(facade), Il Ges for
Cardinal Alessandro Farnese, Rome, 1568ff [178--179, 180, 181]
PIRRO
LIGORIO, ARCHAEOLOGY, AND THE GARDENS OF LAZIO
Pirro Ligorio (Naples ca. 1510-Ferrara 1583), Casino
of Pius IV, Vatican gardens, 1559ff [159--162]
Ligorio: Villa
d'Este at Tivoli for Cardinal Ippolito d'Este of Ferrara, 1565-72 [163,
164]
Attributed to Ligorio: Park of the Monsters at Bomarzo (proper name: Bosco Sacro "Sacred Grove")
projected in 1552 by Prince Pier Francesco Orsini in memory of his wife, Giulia
Farnese; mainly executed 1570s until the prince died 1588.
Attributed to Vignola: Villa Lante at Bagnaia (both it and Bomarzo near Viterbo, in
the northern hilly region of Lazio), for Cardinal Gianfresco Gambara, 1566ff.
Bartolomeo Ammannati: Villa Medici in Rome; begun by the Florentine architect
Nanni Lippi for Cardinal Marcello Crescenzi; purchased 1576 by Grand Duke
Francesco I de' Medici, expanded for him by Ammannati.
Federico Zuccaro: Palazzo
Zuccaro (Zuccari) on via Gregoriana, Rome; late 16th c.
VASARI AND
THE TUSCAN/ABSOLUTIST SCHOOL
Reading:
Lotz, chapter 14
Giorgio Vasari (1511-74): Lives of the Artists, 1550 and 1568.
Cosimo I de' Medici: ruled 1537-69 Duke of Florence;
five more years as Grand Duke of Tuscany
Giorgio Vasari: Palazzo
degli Uffizi, Florence, 1560ff [267--269]
Bartolomeo Ammannati (1511-92): Palazzo Pitti, Florence, 1560ff [264, 265]
Ammannati: Ponte
Sta. Trinita, Florence, 1558--1570 [266]
Bernardo Buontalenti (1531-1608): Uffizi continuation,
1574ff [271]
Buontalenti: steps from S. Trinita, now S. Stefano al
Ponte: Florence, 1574 [272]
CITY
PLANNING AND LANDSCAPE ARCHITECTURE IN ROME, VENICE, SABBIONETA, AND GENOA
Reading:
Lotz, preceding chapters and chapters 11, 13
Bramante: new streets for Pope Julius II in Rome c.
1505 [43]
Michelangelo: Campidoglio, 1539ff (see above}
Jacopo Sansovino: redesign
of pza S. Marco, Venice, 1530s (see below)
Domenico Fontana: new
streets for Sixtus V, Rome, 1585.
Galeazzo Alessi(?): Strada Nuova (=via Garibaldi), Genoa, 1558ff [209]
Sabbioneta, near Mantua, by and for Duke Vespasiano Gonzaga
(1531-91), 1550s through 1590s, probably advised toward the end by Vincenzo
Scamozzi
Vincenzo Scamozzi: Teatro Olimpico at Sabbioneta, 1588-90 [261]
Vincenzo Scamozzi(?): Plan of Palmanova, 1593
RENAISSANCE
IN THE VENETO: SANMICHELI AND SANSOVINO
Reading:
Lotz, chapters 6 and 8
Michele Sanmicheli (1484-1559) of Verona
Sanmicheli: capomaestro
of Orvieto cathedral, 1509 to c. 1526
Sanmicheli: Palazzo
Bevilacqua, c. 1530, Verona [99]
Sanmicheli: Palazzo
Canossa, c. 1532, Verona [100-101]
Sanmicheli: Porta
Nuova gate, 1533-40, Verona [95, 96]
Sanmicheli: Porta
Palio gate, c. 1555, Verona [97, 98]
Sanmicheli: Palazzo
Pompei (=Lavezola), c. 1555, Verona [Lotz illustration 102 is
incorrectly captioned "Venice"]
Sanmicheli: Palazzo
Grimani, Venice, 1556ff [103, 104]
Jacopo Sansovino (1486-1570), protomaestro of S.
Marco, Venice, 1529 to 1570
Sansovino: redesign
of pza S. Marco, Venice, 1530s and later [122]
Sansovino: Zecca
(Mint), Venice, 1536ff [125]
Sansovino: Libreria,
piazzetta S. Marco, begun 1537 [123]
Sansovino: Pal.
Corner della C Grande, Venice, 1540s [126, 127]
PALLADIO:
HIS FORMATION, THEORY, AND PUBLICATIONS
Reading:
(for this and lectures following) Lotz, chapter 12
Andrea di
Pietro della Gondola, renamed Palladio
(1508-80)
Publishes Le
Chiese di Roma and Le Antichit di
Roma, both 1554;
Illustrates Daniele
Barbaro's Vitruvius, 1556;
Publishes Quattro
Libri di Architettura, 1570.
PALLADIO:
THE PUBLIC WORKS
Palladio, Basilica
("Basilica Palladiana"), Vicenza; competition won 1546?, work starts
1549ff [244, 245]
Loggia
del Capitanato, Vicenza, 1571ff
[246]
San
Giorgio Maggiore, Venice, 1566ff
[238, 239]
Il
Redentore, Venice, 1577 [241,
242]
Teatro
Olimpico [completed by Vincenzo
Scamozzi], Vicenza, 1579-85 [259]
PALLADIO'S
VILLAS AND PALACES
Palazzo
Thiene (possibly started by
Giulio Romano c. 1542), Vicenza, c. 1550ff [247, 248]
Palazzo
Chiericati, Vicenca, c. 1545
Palazzo
Valmarana, Vicenza, 1565ff [249]
Villa at
Pojana Maggiore, c. 1549ff [251]
Villa
Barbaro at Maser, c. 1549 [250]
Villa
Capra (La Rotonda), Vicenza, c.
1566-70 [252. 253]
THE
RENAISSANCE EXPORTED: FRANCE, ENGLAND, GERMANY, SPAIN
Domenico da Cortona (involving Leonardo?): Chteau de
Chambord, c. 1515.
G. le Breton, P. Primaticcio: Palais de Fontainebleau,
Renaissance wing 1528, c. 1535ff.
P. Machuca: Palace
for Charles V in the Alhambra, Granada, Spain, 1527.
J. de Herrera: Escorial
monastery and palace, near Madrid, 1563.
Inigo Jones: Queen's
House, Greenwich, ca. 1620
Jones: Royal
Banqueting Hall, Whitehall Palace, London.
THE RENAISSANCE
EXPORTED: TO THE NEW WORLDS, INCLUDING
AMERICA
READING RESOURCES ON ITALIAN RENAISSANCE ARCHITECTURE
The internet has changed everything in bibliography: it would be useless to crank out a great list of books and articles when PITTCAT and the Web resources can do so in a customized manner. Also, with Deborah Howard's revision of the Lotz text, we have a book that is only a few years old--pretty recent for a humanities text!
So the first place to look for research on High Renaissance Architecture is at the back of Lotz's book, pp. 191--200 for both the original Lotz bibliography AND Deborah Howard's additions. Also, as necessary, look through Lotz's notes, pp. 172--190, for more specialized studies that he cited there.
The Reserve List for the course is, by consequence, short:
Ackerman, J. The Architecture of Michelangelo
Ackerman,J. Palladio.
Ackerman,J. The Villas of Andrea Palladio
Argan, G.C. The Renaissance City
Bruschi, A. Bramante (English edition).
Burckhardt, J.The Civilization of the Renaissance in Italy
Benevolo, L. The Architecture of the Renaissance.
Frommel, Christoph, ed. Raffaello architetto (Raphael as architect)
Frommel, Christoph. The Architectural Drawings of Antonio da Sangallo the Younger, vols 1 and 3 (excellent on drawing techniques)
Heydenreich, L. and W. Lotz Architecture in Italy, 1400-1600 (note: this is the large book from which our class text derives: important for works of the Early Italian Renaissance that we will also discuss)
Heydenreich, L. Architecture in Italy, 1400-1500 (this is the parallel book for the Early Italian Renaissance)
Lotz, W. Architecture in Italy, 1500--1600
Lotz, W. Studies in Italian Renaissance Architecture
Lowry, B. Renaissance Architecture
Millon, Henry et al., ed. The Renaissance from Brunelleschi to Michelangelo: the representation of architecture
Murray, P. The Architecture of the Italian Renaissance
Murray, P. Renaissance Architecture
Palladio, A. Palladio's Rome (Eng. ed of his two guidebooks to Rome)
Rowe, C. Mathematics of the Ideal Villa and Other Essays
Shearman, J. Mannerism
Wittkower, R. Architectural Principles in the Age of Humanism
Extended research strategies After consulting the Lotz text and the books on reserve, you'll need further background information. Three valuable volumes, all in the Frick Reference Room (the smaller room behind the Reading Room, with the computers and photocopy machine in it) are the two-volume International dictionary of architects and architecture; the four-volume Macmillan encyclopedia of architects, and the thirty-four volume Dictionary of Art (also on-line under "Grove Dictionary of Art" on www.library.pitt.edu). Ask someone on duty in the library to guide you to them. Every one of your architects will be listed there, and a very large number of your buildings. (Beware, however, of helping yourself too liberally to their contents: I own the first two sets, and constantly turn to the third, so I generally spot plagiarism in about 30 seconds.)
Specific to the Renaissance: Enciclopedia dell'Arte Medioevale (9 vols and growing): yes it's in Italian, but lists articles and books in all languages; and it's for the Middle Ages but plenty of Renaissance people got covered too.
--Encyclopedia of Italian Renaissance and Mannerist Art (2 volumes carved out of The Dictionary of Art)
--Encyclopedia of the Renaissance (6 vols): good but spotty in coverage of some architects and not others. Good for "themes," such as the Renaissance revival of antiquity.
--Encyclopedia of World Art--good long articles on main architects.
If your investigation turns up articles, go to www.jstor.org, from which you may be able to get the whole article fast, on-line (for sure if it's from Art Bulletin or Journal of the Society of Architectural Historians). If it's not on-line, check PITTCAT (www.library.pitt.edu) to see if Frick or Hillman carries that journal, and order the relevant volume.
PITTCAT in any case is crucial to your search, since it gives you all books in the university library system. Look up your particular architect or building, but always broaden your search by typing in "Subject Heading = architecture, Renaissance Italy." This will bring up numerous books that will help you refine your search.
Lastly, some more far-reaching databases: PITTCAT is the most important, for all the electronic resources you find there. Go to "databases A to Z" to find a specific database, OR "Databases by subject" and go to "art and architectural history." The five databases most useful to you are:
Grove Dictionary of Art (already cited above):
Avery Index to Architectural Publications (journals only, but includes reviews that take you to books)
Art full text for recent journal entries;
art index retrospective (included in art full text), for older entries;
BHL/Bibliography of the History of Art (also included in art full text);
ArtBibliographies modern, for both books and journals on topics since about 1850 but sometimes earlier. Many of the databases give summaries of all articles covered, which helps get over hurdle of foreign languages. The website for Frick Library is: www.library.pitt.edu/libraries/frick/fine_arts.html. Go to it, and click at the bottom of the page, on Art History and Architectural History Subject Guide. This will bring you to a full listing of the databases available.
Some miscellaneous sources: Looking for books that you know exist but are not in the University of Pittsburgh system' Then go to www.library.pitt.edu, and click on 'other libraries'. This will bring you to www.worldcat.com, which tells you which libraries DO have that book. You might get it delivered by inter-library-loan in time. This ALSO works with scholarly journals that UPittsburgh might not have. Inter-library-loan can get a computer-based PDF of an article very quickly. Finally, everybody knows how to use www.google.com, but do you know about www.images.google.com, which can lead you also to both images AND texts about buildings, and www.scholar.google.com, for more scholarly citations? The latter really has become awesome in its scope. And have you used www.vivisimo.com, which is in some ways superior to google, since it 'bunches' websites into meaningful groups?
We are also now part of Artstor, which gives exceptionally good illustrations you can use in your papers. And excellent illustrations of buildings and cities will turn up in www.google.earth and mapquest.
Good luck with what should be a fascinating search!