Book monument imprint: Identifying via foreign information resources

The author reviews foreign science publication, websites, digital databases, catalogs and methods to be used to specify imprints of book monuments and their history as exemplified by 16-th century collection of Russian Academy of Arts Library. The collection comprises over 60 books published in Western Europe; with the special attention to the collection in architecture, in particular books published by Sebastiano Serlio (1475 – c. 1554). To attribute the publications, the catalogs of foreign museums and libraries, bibliographic, fulltext, factographic and objectographic databases in the art market, e. g. ArtPrice, MutualArt, Invaluable, were used to reveal various guides in 16-th century architecture, catalogs of private collections, and auction sale catalogs. The author discusses the methods to use the identified sources to attribute book monuments, as exemplified by Sebastiano Serlio’s books in architecture, and to investigate into this area further.

répercussion dans l'architecture et les arts du traité des ordres de Iacomo Barozzio da Vignola (1562)

Cet article vise à lancer une étude majeure sur le livre Regola delli cinque ordine d'architettura d'Iacomo Barozzi da Vignola (1507-1573) considéré par les chercheurs comme l'un des manuels d'architecture les plus complets des temps modernes, pour avoir reçu plus de 250 éditions entre les XVIe et XXe siècles. Après être passé par l'étape de l'arpentage et de l'étude des monuments romains antiques, à la suite de lectures et de discussions théorico-artistiques promues par l'Accademia della Virtú (vers 1542) à Rome, Vignola a écrit deux ouvrages qui lui permettent d'être placé parmi les théoriciens-architectes. Comme Sebastiano Serlio (1475-1554) et Guillaume Philandrier (1505-1563) qui sont partis de l'étude du De Architettura de Vitrúvio (Ier siècle avant JC) et de l'observation des ruines pour composer leurs traités, Barozzi a donné son contribution à la Théorie des Ordres avec ce petit exemple de 1562. Différentes études sur les racines de l'Art au Brésil ont conduit à comprendre que le pays n'ignorait pas la large diffusion du petit Livre des Figures de Vignola.

Do desenho e da pintura aos lumes coloridos na cena - Plínio, Alberti e Serlio: ornato e amplificação do discurso sobre a arquitetura, a partir das qualificações Dei lumi artificiali delle scene

Este artigo tem como escopo discorrer sobre o texto Dei lumi artificiali delle scene, composto no século XVI italiano, obra literária do preceptor, pintor e arquiteto Sebastiano Serlio, que trata de uma série de assuntos referentes à arquitetura a partir da figura do pintor. Na distinção das artes a prescrição do lume para o “disegno visivo” seguirá preceitos do tratado Da pintura de Alberti. No crescente da construção retórica discursiva, tal proposição é suplantada quando se trata dos lumi da scena, ou seja, “luzes que se vêem”, obtidas pelo fogo, que incidem sobre tintas coloridas, como formas de ornatos materiais, amplificam o relevo e dão a ver os volumes superando, por emulação, as próprias coisas naturais.

EXILED TO HOLY TRINITY CHURCH, SUTTON COLDFIELD, WARWICKSHIRE: THE REFUGEE MARIAN CHOIR STALLS FROM WORCESTER CATHEDRAL

The reign of Mary i (24 July 1553–17 November 1558) is widely seen as a disaster for both the woman herself and her devout faith. It can be argued that she did more than anyone to make England a Protestant nation. When we seek to find any trace of her patronage of the arts or of major building projects, we find that little survives. Eamon Duffy called such traces the ‘disjecta membra’. Yet each piece, each surprising survival, demonstrates an awareness of the latest fashions, embracing a forward-looking form of Renaissance arts rather than a backward-looking, conservative Gothic. To discover and emphatically assign a major new piece of work to this catalogue of relics is justifiably a cause of celebration. In 2011, Charles Tracy FSA re-assessed the Marian choir stalls now in Holy Trinity church, Sutton Coldfield (in Warwickshire), rightly calling them the ‘refugee choir stalls from Worcester’, for it was from Worcester cathedral that this magnificent suite was evicted in a fit of Victorian vandalism. In this article, the author demonstrates that these choir stalls were created through the patronage of Mary i, and their makers evoked in their creation ideas and fashions that emanated from Hans Holbein and Sebastiano Serlio, to create what is a unique set of work.

Las vidrieras de la Catedral de Jaén = Stained Glasses in Jaén Cathedral

El estudio de las vidrieras de la Catedral de Jaén nos lleva a establecer dos tipos: el de las translúcidas, correspondientes al gusto clasicista de los siglos XVI al XVIII, y el de las decorativas, de principios del siglo XX. Carecemos de noticias documentales acerca del pensamiento del arquitecto Andrés de Vandelvira en su proyecto original, si acorde con los programas goticistas ejecutados por entonces en otras catedrales españolas o afín a las nuevas ideas de iluminación «blanca» del Renacimiento italiano. Un estudio del inventario de bienes efectuado a su fallecimiento nos revela la posesión de dos libros del tratadista Sebastiano Serlio, quien ya apostaba por el empleo de vidrieras geométricas, no decorativas. La constatación de esta nueva estética en los continuadores de la obra de Vandelvira es evidente. Una comparación del efecto lumínico entre las vidrieras clasicistas y las historicistas nos da idea de dos concepciones abismales del tratamiento de la luz. A study of stained glasses in Jaen´s Cathedral leads us to distinguish two different types: the transparent ones, corresponding to the classicist taste from the XVI-XIX centuries on the one hand and the ornamented or stained ones, dating back from the beginning of the XX century, on the other. Unfortunately we lack information from Vandelvira´s --the main architect of the Cathedral--original project: whether it was according to the gothic prevalent ideas, which were carried out in many of the Spanish cathedrals at that time, or embraced the new ideas from the Italian Renaissance, which were in favour of a «white light» instead. A survey of the inventory of his goods, made after he died, reveals that Vandelvira was in possession of two of Sebastiano Serlio´s books on architecture. They show that Serlio was in favour of using transparent glasses. The verification of this new aesthetic in the followers of the work of Vandelvira is evident. A comparison of the luminous effect between classicist stained-glass windows and historicist windows gives us the idea of two totally opposed conceptions of the treatment of light.

The Arch of Trajan in Ancona and civic identity in the Italian Quattrocento from Ciriaco d’Ancona to the death of Matthias Corvinus1

This essay offers new insights into the civic value and the reception of the Arch of Trajan for Renaissance architecture in Ancona, a city almost completely overlooked by Renaissance historiography because of the destruction of most of its buildings. Built in 115 AD the Arch was meant to celebrate the Emperor’s victory in the Dacian wars, whose fleet departed from Ancona. Looking to sources to be found outside of the city it is possible to examine the legacy of the arch – a monument praised by Sebastiano Serlio and Andrea Palladio, among others -‐ in public and religious architecture, as well as its role in creating the identity of the city. Some motifs from the arch appear already in Giorgio da Sebenico’s late Gothic church portals of S. Agostino and S. Francesco alle Scale, as well as in the Loggia dei Mercanti (late 1450’s, early 1460’s), but its first important depiction is by Pinturicchio in the Piccolomini library in Siena. Here the arch is placed adjacent to Pius II’s, celebrating the (failed) departure of the fifth crusade from Ancona’s harbour in 1464 as a neo-Trajanic enterprise.

El seguimiento de los modelos de Serlio en los artesonados del sur de Tierra de Campos y el maestro de carpintería Alonso de Porquera

Las trazas de varios artesonados de algunas iglesias de Tierra de Campos, realizados en el siglo XVI, siguen los diseños de Sebastiano Serlio. Entre los carpinteros que los utilizaron destaca Alonso de Porquera, autor del coro de la iglesia de Nuestra Señora del Altozano de Bolaños de Campos (Valladolid). Por sus características y estilo se le atribuye también el gran artesonado del tramo central de la nave de la iglesia parroquial de Castroverde de Campos (Zamora), localidad de la que era vecino.

Ellipse and Oval in Baroque Sacral Architecture in Slovakia

Oval, circular and elliptic forms appear in the architecture from the very beginning. The basic problem of the geometric analysis of the spaces with an elliptic or oval ground plan is a great sensitivity of the outcome calculations to the plan's precision, mainly to distinguish between oval and ellipse. Sebastiano Serlio and Guarino Guarini belong to those architects, theoreticians, who analysed the potential of circular or oval forms and some of their ideas are analysed in the paper. Elliptical or oval plans were used also in Slovak baroque architecture or interior elements and the paper introduce some of the most known examples as a connection to the world architecture ideas.