Journal of the Society of Architectural Historians, 2016
In Surveying, Interpreting, and Designing: The Multiple Essence of a Sixteenth-Century Drawing, L... more In Surveying, Interpreting, and Designing: The Multiple Essence of a Sixteenth-Century Drawing, Lucia Nuti examines Uffizi drawing 7950 A, an unfinished representation of Pisa attributed to Giuliano da Sangallo. First addressing problems of authorship and dating, Nuti analyzes the main features and contents of the drawing, which she concludes cannot be labeled a survey or ground plan, and draws insights regarding a more complex issue, the multiple nature of the artifact. This unique sheet, far from being the visual record of a measured urban space, is a personal record that reflects Giuliano's approach to design as well as the meaning of the process of drawing. At the beginning of the sixteenth century, drawing was developing as a medium for architectural communication, and the borders between surveying, interpreting, and designing were blurred.
... Misura e pittura nella cartografia dei secoli XVI-XVII. Autores: Lucia Nuti; Localización: St... more ... Misura e pittura nella cartografia dei secoli XVI-XVII. Autores: Lucia Nuti; Localización: Storia urbana, ISSN 0391-2248, Vol. 17, Nº. 62, 1993 , págs. 5-34. Fundación Dialnet. Acceso de usuarios registrados. Acceso de usuarios registrados Usuario. Contraseña. Entrar. Mi Dialnet. ...
... Misura e pittura della cartografia dei secoli XVI-XVII. Journal Title: STORIA URBANA. Author/... more ... Misura e pittura della cartografia dei secoli XVI-XVII. Journal Title: STORIA URBANA. Author/s: Lucia Nuti. Year: 1993 Issue: 62 Language: ...
P ERHAPS NO ITALIAN CITY can, or once could, present such a spectacular vision for the approachin... more P ERHAPS NO ITALIAN CITY can, or once could, present such a spectacular vision for the approaching traveller as Genoa. In most cases, it was approached from the sea, whence the view of the city gradually attained substance and clarity. Travellers preferred to avoid the inhospitable tracks over the bleak and rocky mountains, which were even more difficult to cross than Alpine passes. The approach to Venice is (and was) similar, but Venice, spread as it is across the expanse of the lagoon, does not reveal its magnificent proportions all at once. On the other hand, Genoa, wedged at the foot of a towering mountain that reaches almost down to the sea, and set in the restricted space of a crescent-shaped bay, offers itself up all at once to the viewer's eye (See plates 5 and 5a). The high, tightly-packed buildings which were arranged in decreasing circles, together with the defensive walls and solid wharves, added the beauty of art to the beauty of nature, an association often stressed in the literature, which lauds this view as being unparalleled. It was often defined as superba, the adjective most frequently associated with Genoa in brief descriptions, or in verses that recite the names of cities. 1 The stereotypical description of the city as modelled in the form of a theatre or amphitheatre was created by the literature of the Grand Tour at the end of the sixteenth century. The sheet of water bordering the city presented itself as a kind of stage, visible from every side. This stage was not only the site of Genoa's trading activities, but also a place for truly festive events such as parades of ships, with all their flags and multicoloured standards unfurled, ready to fire off their artillery salvos. Spectacles could thus be structured around this bipolarity of the urban landscape: the land as seen from the sea and the sea as seen from the land. In 1598 a corte Áge of ships accompanied Margarethe, the Queen of Spain, on her slow progress towards Fassolo from the triumphal arch built near the Lanterna (See Text 3). All of the galleys`could be seen slowly rowing there below, and sailing to accompany her near the rocks, which was a sight beautiful to behold, with the Royal ship in front, from stern to bow bright with gold and silver on account of all the flags it carried. .. It was such a beautiful sight, as was seeing all of the streets and walls crowded with people and all the nobles of the City'. 2 During Charles V's stay in 1533, Andrea Doria decorated his flagship with banners and provided gold and silverware for banquets and receptions in front of his villa. 3 In May 1633, the same villa and its gardens were decorated with festive illuminations for the Cardinal Infante, who enjoyed the spectacle from the sea on a boat in front of the Palazzo Doria. 4 (See Text 9.) Another peculiarity of the Genoese cityscape was visible from the coast, and was often noted in descriptions since the Middle Ages: 5 the contrast between the city confined within its walls, a densely built and compact urban area, and the villas beyond the walls with their ample gardens. Genoa was a double city, a city of two faces in keeping with the mythological explanation of the city's name: 6 the city of business, tightly packed and niggardly with space, and the city of leisure, spread out amongst the airy suburbs, which even from many leagues away could strike the senses of travellers with an intense perfume of orange flowers, lemon and jasmine. 7 The impact of seeing Genoa for the first time from the sea is recorded in a drawing and etching of the city, issued under a privilege from the Senate in 1552. The observer, Anton van den Wyngaerde, was a Flemish artist in the service of Philip II. 8 The image is better known today in the form of a reproduction, since it served as the model for an engraving in the first volume of Civitates Orbis Terrarum by Georg Braun and Franz Hogenberg. For reprinting, the image was reduced in size and simplified in detail, and, through this influential book of cities, a flattering prototype for the visual representation of Genoa, copied and reproduced for over a century, was diffused throughout Europe. Van den Wyngaerde's view, engraved over GENOA Europa Triumphans
Journal of the Society of Architectural Historians, 2016
In Surveying, Interpreting, and Designing: The Multiple Essence of a Sixteenth-Century Drawing, L... more In Surveying, Interpreting, and Designing: The Multiple Essence of a Sixteenth-Century Drawing, Lucia Nuti examines Uffizi drawing 7950 A, an unfinished representation of Pisa attributed to Giuliano da Sangallo. First addressing problems of authorship and dating, Nuti analyzes the main features and contents of the drawing, which she concludes cannot be labeled a survey or ground plan, and draws insights regarding a more complex issue, the multiple nature of the artifact. This unique sheet, far from being the visual record of a measured urban space, is a personal record that reflects Giuliano's approach to design as well as the meaning of the process of drawing. At the beginning of the sixteenth century, drawing was developing as a medium for architectural communication, and the borders between surveying, interpreting, and designing were blurred.
... Misura e pittura nella cartografia dei secoli XVI-XVII. Autores: Lucia Nuti; Localización: St... more ... Misura e pittura nella cartografia dei secoli XVI-XVII. Autores: Lucia Nuti; Localización: Storia urbana, ISSN 0391-2248, Vol. 17, Nº. 62, 1993 , págs. 5-34. Fundación Dialnet. Acceso de usuarios registrados. Acceso de usuarios registrados Usuario. Contraseña. Entrar. Mi Dialnet. ...
... Misura e pittura della cartografia dei secoli XVI-XVII. Journal Title: STORIA URBANA. Author/... more ... Misura e pittura della cartografia dei secoli XVI-XVII. Journal Title: STORIA URBANA. Author/s: Lucia Nuti. Year: 1993 Issue: 62 Language: ...
P ERHAPS NO ITALIAN CITY can, or once could, present such a spectacular vision for the approachin... more P ERHAPS NO ITALIAN CITY can, or once could, present such a spectacular vision for the approaching traveller as Genoa. In most cases, it was approached from the sea, whence the view of the city gradually attained substance and clarity. Travellers preferred to avoid the inhospitable tracks over the bleak and rocky mountains, which were even more difficult to cross than Alpine passes. The approach to Venice is (and was) similar, but Venice, spread as it is across the expanse of the lagoon, does not reveal its magnificent proportions all at once. On the other hand, Genoa, wedged at the foot of a towering mountain that reaches almost down to the sea, and set in the restricted space of a crescent-shaped bay, offers itself up all at once to the viewer's eye (See plates 5 and 5a). The high, tightly-packed buildings which were arranged in decreasing circles, together with the defensive walls and solid wharves, added the beauty of art to the beauty of nature, an association often stressed in the literature, which lauds this view as being unparalleled. It was often defined as superba, the adjective most frequently associated with Genoa in brief descriptions, or in verses that recite the names of cities. 1 The stereotypical description of the city as modelled in the form of a theatre or amphitheatre was created by the literature of the Grand Tour at the end of the sixteenth century. The sheet of water bordering the city presented itself as a kind of stage, visible from every side. This stage was not only the site of Genoa's trading activities, but also a place for truly festive events such as parades of ships, with all their flags and multicoloured standards unfurled, ready to fire off their artillery salvos. Spectacles could thus be structured around this bipolarity of the urban landscape: the land as seen from the sea and the sea as seen from the land. In 1598 a corte Áge of ships accompanied Margarethe, the Queen of Spain, on her slow progress towards Fassolo from the triumphal arch built near the Lanterna (See Text 3). All of the galleys`could be seen slowly rowing there below, and sailing to accompany her near the rocks, which was a sight beautiful to behold, with the Royal ship in front, from stern to bow bright with gold and silver on account of all the flags it carried. .. It was such a beautiful sight, as was seeing all of the streets and walls crowded with people and all the nobles of the City'. 2 During Charles V's stay in 1533, Andrea Doria decorated his flagship with banners and provided gold and silverware for banquets and receptions in front of his villa. 3 In May 1633, the same villa and its gardens were decorated with festive illuminations for the Cardinal Infante, who enjoyed the spectacle from the sea on a boat in front of the Palazzo Doria. 4 (See Text 9.) Another peculiarity of the Genoese cityscape was visible from the coast, and was often noted in descriptions since the Middle Ages: 5 the contrast between the city confined within its walls, a densely built and compact urban area, and the villas beyond the walls with their ample gardens. Genoa was a double city, a city of two faces in keeping with the mythological explanation of the city's name: 6 the city of business, tightly packed and niggardly with space, and the city of leisure, spread out amongst the airy suburbs, which even from many leagues away could strike the senses of travellers with an intense perfume of orange flowers, lemon and jasmine. 7 The impact of seeing Genoa for the first time from the sea is recorded in a drawing and etching of the city, issued under a privilege from the Senate in 1552. The observer, Anton van den Wyngaerde, was a Flemish artist in the service of Philip II. 8 The image is better known today in the form of a reproduction, since it served as the model for an engraving in the first volume of Civitates Orbis Terrarum by Georg Braun and Franz Hogenberg. For reprinting, the image was reduced in size and simplified in detail, and, through this influential book of cities, a flattering prototype for the visual representation of Genoa, copied and reproduced for over a century, was diffused throughout Europe. Van den Wyngaerde's view, engraved over GENOA Europa Triumphans
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