in Palladio 1508-2008. Il simposio del cinquecentenario, a cura di F. Barbieri, D. Battilotti, G. Beltramini, A. Bruschi, H. Burns, F.P. Fiore, C.L. Frommel, M. Gaiani, P. Gros, C. Hind, D. Howard, F. Marias, W. Oechslin, L. Puppi, Venezia, Marsilio, 2008, pp. 250-254.
Il tema del saggio è costituito da una delle più celebri e studiate opere palladiane. Sulla base ... more Il tema del saggio è costituito da una delle più celebri e studiate opere palladiane. Sulla base di un’attenta osservazione dell’edificio e dei relativi disegni cinquecenteschi, unita all’analisi della documentazione d’archivio, lo studio intende ricostruire alcuni passaggi significativi del processo progettuale e costruttivo dell’opera. La principale questione affrontata riguarda le modalità del passaggio dal progetto iniziale per la facciata, conservato al RIBA, al progetto eseguito. Particolare attenzione è dedicata all’articolazione del portico, limitato in un primo tempo alla sola parte centrale e successivamente esteso all’intera facciata. La ricostruzione proposta è in grado, tra l’altro, di stabilire la genesi e le motivazioni della singolare compenetrazione delle colonne del portico, all’attacco tra la parte centrale e le ali.
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Il saggio ricostruisce sinteticamente queste vicende attraverso la rilettura di diverse posizioni critiche, con particolare riguardo al contributo di tre grandi studiosi che condividono il fatto di aver utilizzato, per l’architettura, la categoria di Manierismo e di averla poi superata negli studi più recenti: Ernst Gombrich, Manfredo Tafuri e Arnaldo Bruschi.
La storia del concetto di Manierismo è così messa in relazione alle contemporanee esperienze della ricerca storica sull’architettura, rilevando come l’uso di questa categoria abbia permesso di rinnovare i punti di vista storiografici e di attirare l’attenzione su temi precedentemente trascurati.
È infine possibile concludere che i motivi del suo superamento come strumento interpretativo dei fenomeni architettonici siano insiti nell’approfondimento della ricerca, che ha evidenziato la complessità dell’architettura del XV e XVI secolo, nonché in una maturazione metodologica che non riguarda soltanto il periodo rinascimentale ma coinvolge l’intera disciplina della storia dell’architettura.
The concept of Mannerism in architecture had great critical fortune between the 30s and the 60s in the 20th century, with the progressive achievement of this historiographic category in the field of arts and culture. Regarding architecture, the term Mannerism received different definitions, periodisations and evaluations, up until the sudden and silent decline of the interest it had sparked.
This paper briefly reconstructs these events through the analysis of different critical approaches and positions with particular regard to the contributions of three great scholars who share the fact of having used the category of Mannerism to analyze architecture and then of having moved away from it in their more recent studies: Ernst Gombrich, Manfredo Tafuri, and Arnaldo Bruschi.
The history of the concept of Mannerism is put in relationship to contemporary historical research on architecture, by revealing that the use of this category allowed the renovation of traditional historiographical points of view and drew attention to previously neglected subjects. In conclusion, the later rejecting of Mannerism as an interpretative tool of architectural phenomena is attributed to the development of research itself, which had highlighted the complexity of XVth and XVIth century architecture, and to methodological improvements regarding not only the Renaissance but the whole field of architectural history as well.
A review of the fifteenth-century architectural orders in the Church of St. Augustine, especially the capitals, reveals how unusual they were compared to the Roman architecture of that period. Keeping in mind the documentary evidence which accredits Jacopo da Pietrasanta as having completed the building during the reign of Sixtus IV, the paper attempts to establish the reasons for compositional choices, models and references by going beyond traditional accreditations considerations. The research evaluates and proposes several different links with ancient and contemporary works, and then, especially as regards the capitals inside the church, goes on to focus on the most significant: the Florentine architectural sculpturing of the liturgical furnishings, which is based on the penchant for varietas. This sculpturing was transposed into the architecture of St. Augustine by using a new and direct comparison with ancient architecture.
Jean Du Bellay’s Roman villa stood in the area occupied by the monumental ruins of the Baths of Diocletian, at the junction between the Qurinal and Viminal hills, on the piece of land within the large exedra of the enclosure of the spa. The villa, which was built in the middle of the XVI Century, gradually disappeared completely due to the alterations in this part of the city. The aim of this paper is to place the work in the context of Renaissance Roman villas and illustrate their common features and also the particularities of Du Bellay’s villa. It was called Horti Bellaiani as indicated by the inscription on the portal and, like many others, housed an important collection of ancient sculptures. As in many other gardens of that time, the presence of monumental vestiges dating back to the Imperial era was to complete and enrich this image of antiquity. However, in the case of Horti Bellaiani, the ruins were completely absorbed into a coherent and modern design with total integration between old and new which was unusual in contemporary Roman villas. At the same time, the structure of the villa stands out from other villas by the regularity of the geometric plan which not only combines open spaces and buildings but fits perfectly onto the ruins and maintains the same axis of symmetry.
Il saggio ricostruisce sinteticamente queste vicende attraverso la rilettura di diverse posizioni critiche, con particolare riguardo al contributo di tre grandi studiosi che condividono il fatto di aver utilizzato, per l’architettura, la categoria di Manierismo e di averla poi superata negli studi più recenti: Ernst Gombrich, Manfredo Tafuri e Arnaldo Bruschi.
La storia del concetto di Manierismo è così messa in relazione alle contemporanee esperienze della ricerca storica sull’architettura, rilevando come l’uso di questa categoria abbia permesso di rinnovare i punti di vista storiografici e di attirare l’attenzione su temi precedentemente trascurati.
È infine possibile concludere che i motivi del suo superamento come strumento interpretativo dei fenomeni architettonici siano insiti nell’approfondimento della ricerca, che ha evidenziato la complessità dell’architettura del XV e XVI secolo, nonché in una maturazione metodologica che non riguarda soltanto il periodo rinascimentale ma coinvolge l’intera disciplina della storia dell’architettura.
The concept of Mannerism in architecture had great critical fortune between the 30s and the 60s in the 20th century, with the progressive achievement of this historiographic category in the field of arts and culture. Regarding architecture, the term Mannerism received different definitions, periodisations and evaluations, up until the sudden and silent decline of the interest it had sparked.
This paper briefly reconstructs these events through the analysis of different critical approaches and positions with particular regard to the contributions of three great scholars who share the fact of having used the category of Mannerism to analyze architecture and then of having moved away from it in their more recent studies: Ernst Gombrich, Manfredo Tafuri, and Arnaldo Bruschi.
The history of the concept of Mannerism is put in relationship to contemporary historical research on architecture, by revealing that the use of this category allowed the renovation of traditional historiographical points of view and drew attention to previously neglected subjects. In conclusion, the later rejecting of Mannerism as an interpretative tool of architectural phenomena is attributed to the development of research itself, which had highlighted the complexity of XVth and XVIth century architecture, and to methodological improvements regarding not only the Renaissance but the whole field of architectural history as well.
A review of the fifteenth-century architectural orders in the Church of St. Augustine, especially the capitals, reveals how unusual they were compared to the Roman architecture of that period. Keeping in mind the documentary evidence which accredits Jacopo da Pietrasanta as having completed the building during the reign of Sixtus IV, the paper attempts to establish the reasons for compositional choices, models and references by going beyond traditional accreditations considerations. The research evaluates and proposes several different links with ancient and contemporary works, and then, especially as regards the capitals inside the church, goes on to focus on the most significant: the Florentine architectural sculpturing of the liturgical furnishings, which is based on the penchant for varietas. This sculpturing was transposed into the architecture of St. Augustine by using a new and direct comparison with ancient architecture.
Jean Du Bellay’s Roman villa stood in the area occupied by the monumental ruins of the Baths of Diocletian, at the junction between the Qurinal and Viminal hills, on the piece of land within the large exedra of the enclosure of the spa. The villa, which was built in the middle of the XVI Century, gradually disappeared completely due to the alterations in this part of the city. The aim of this paper is to place the work in the context of Renaissance Roman villas and illustrate their common features and also the particularities of Du Bellay’s villa. It was called Horti Bellaiani as indicated by the inscription on the portal and, like many others, housed an important collection of ancient sculptures. As in many other gardens of that time, the presence of monumental vestiges dating back to the Imperial era was to complete and enrich this image of antiquity. However, in the case of Horti Bellaiani, the ruins were completely absorbed into a coherent and modern design with total integration between old and new which was unusual in contemporary Roman villas. At the same time, the structure of the villa stands out from other villas by the regularity of the geometric plan which not only combines open spaces and buildings but fits perfectly onto the ruins and maintains the same axis of symmetry.