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    chapter 5 - 6

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    © All Rights Reserved
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    9 views28 pages

    Chapter 5-6

    Uploaded by

    Anonymous PAdVDF
    chapter 5 - 6

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    © All Rights Reserved
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    of 28
    Prifc, The ae the mater masons, the apache act mut ays conto) nb swe ms sete Tee Foam stl an ntact trace th peed Co fe ee 5 The New Professionalism in the Renaissance (CATHERINE WILKINSON, sacra f architecture as «profession Sarnath ene en ne poten cup De fon tein soa 5 hep tm simcliet er erren ia tau teg wees tata oe lg os ocr fed espns ad pegs ini amir me econ the Se ave aiictly adie the achitet and faces Satna te posts td eso he eo ere beadt che bling entre caine ts second Bek to En Cr pon fo he hed a of pron, won wow no Big em Em cr pon othe thi ier tre de Parte DT Fl ol. 6). Mest of tse woud te architets were rely tained for nana wok ood ot ett ofthe principe of arte, The othe had sapped an ‘ok kang an, stil with thor ssometcal Genome Seapets thar to the work What they dl as nage 'aalndow of vel bung” (Bk, 0a puraphiase of View toe architect was something diffrent man who combine ihe Pia experience of the mister mason with the knowledge ot wee ‘Smuts 2 man (8 Pier sud) choked na only in bck et sone ‘perience. What give the arhtet ara profesional men is wee {as St of telationsips—both profesional ae soc with then {aie in contict with: the patton, the workmen, andthe ndings {a grting himself fom the mason andthe capenter, Pitbe: was taking a scl tinction, The architet mas shivng to roe Ne, Fale bactitonee of a Liberal AW. Thi efor was tatnch nt Erte but it was well esebid in Tay, where the emerserge a {rec in the Renisaes pulls the te ofthe puter oad sens {the sates of inteestil In 1436, when Albert tte ha note frie Uean vesion of his tte on painting (Dee pte ae ntl to the xneval ofthe thie ats of epg, ping cee —— whose activity had nothing to do with that of + rftsman. But of the hee at architecture was the mos easly separated fom the ats. T ional found wpm goamery aod sathematics,acitctre na ak ton Literal Art. Ae we hae ee, ei ea as clear in Vitro’ text td sovied in lat anti, bot was cl ate in medieval aiding Dpctice The architect in Tuscany, snc he didnot belong to an arch Tees quid, was mow eat diingushed ftom the craftsman than either the pine nthe sculptor In Deve gdifatori Abert never mentioned the pis and his definition ofan seit, which was based upon the futher of Vitovos, was the fist modern potit of the art intlletan "Ar Alber ed resize, the nis striving fora higher soil stats de pend pon 4 new style of putonage, The architec spiced to be et Patt ikea coutier and to behave like one and between him and his fption asthe bond ofa shared preston ofthe theory of architecture Bev edifcatrina written to sf the homanit pat ater than fhe architect (Kelhiimer, “Alls and Views," p. 328). The distin [ila patronage thal every achtet hoped for wat the guarantee of it Social status, Inthe middle ofthe sstenth century, Giorgio Vast was ‘alestemlysensive to the soil postion of ass, and he described the eater of the Florentine arte Gilio da Sangalo (14452536) tsa progcsion frm palton to patron. Giuliano enjoyed the protection tnd fvor of Loren Ge’ Mtic who pat him in touch vith Alfons of Naples. The project for Alfosns palace of Poggio Rese apparently a fmt the attention of Cardinal Graino della Revere, late Pope Joss Tan Gino became bis arhiteet. The tal eat pation ould ma- tain an actst ulos tok Glin to France, presented him to the ing so aed him to Rome when he was dete pope. Giuliano had tery reson to expect a gett fare as papal architec, when ls Supt sepaced him with Bramante (1444514)- patron like Jit Sith great means and am addetion Yo Buin was inate ko anit Tut he could be ruthless with them, Mest distinguished aebitetua cx recs inthe sntcenth eentry were ba around such patrons: los tind Bramante the Gonzaga and Gio Romano, the Farese and A tenia da Sangla he Younger, Pp UT and Joon de Here, Michela felo (1y7es64) worked for'a soason of great pron incoding Jats the Mic and he Famese ‘hiibert Delorme had been fortemate enough to find his ist impor tant patton in Canina Do Bella, with whom he was cosy sociated ‘n Rome and for wom be tilt te Chat ofS. Mau Di Bly pase hi on tthe enh King Hen and Pies ces wa fave ben ase ad not Hews atest pe hi os ton tee Phi orc hs he a aly aa the vulnerability of an architect entirely at the whim of his patron to ‘teeta for elt. Te pats tye sped, ‘ought to be confined to the preliminary stage ofa project when he was tee i om tte of ie an ig cn dean atte sn ens. He might go on seat Ata ofthe projet ete he pls ws he ugh Gh snd ene teat ne emery tna thstareyhppee ene might spect fm Pie pe ‘Thee we fow seat atone who tid tt dead ge, ena vey tg nga my etme heat Tims wate cod hoyle soca ene han Js I xy say ete Sr ap of his om ih he eke tere biged ocala dsp.) Mos ofthe ehangs heen pation sn aie apa np son, and we hae fost of than, seasons che Be te asa sale amos for cating marble himself ad fo allowing only the smalls share ofthe work toasts, He tok the exeetion of his buildings as personally she tok his sclptre, and his eamnental - cabulary was so complex and so inca hat mst have regi ‘oth sill workmen and the closet supenson. In his axhitetural practi, the Teall was @ concer for bailing inate and building technology and a professional sense of esponsibility for the comteuction Although to old to super ll the wrk at St, Peters in person, he ‘watched it earefally, When he was absent fom Rome and a it of en ‘ual vaiting vas impropely exited, he hadi orn out amd redone, ‘uch ois personal “shame and vxtion.” “Michelangelo treated wht we would ell echnical problems a design problems, sd this bring him lose to Piet’ view Hat the acest Inst concer hinsaf ay mach with materls and techniques as with the sign and orameat of actetuse Tn fat this aide brovght them oth eloser othe raf of bung than Albert had envisioned for is hi mani architect centuay eat, althongh te merely an extension ofthe {Gs eal ofthe fsion of thory and practice, AE ay zat, by the 15s, we ay say Hat the architect had ached fll profesional status and lita doctor ora lawyer, he might take fll espomsiity forall pests of his practice. ‘We mus remember, oneve, tha th stil was no he proesion in its ‘modern form which sa cation ofthe nineteenth centr As Ackeraan Is pointed out, the diference is pay i the fk that he sect ‘century, and indeed yt the India Revlaton, every piece ofa bi ing was made to order. Tis crested problans of eommorication, The nev architect, who would not be working he stone ardor be alms present at the ding site, needed to prorde his warkien with prece insti tions, An important pat ofthis prosedre, the moce traditional way of ‘commeriating pelonally and verbally eps ws todays that at points svecan be pz by hon thing were baat all- Oo the other and, new ‘evice were esplyed in the sitenth centr and od oes readjusted to tstibldh communication wth patrons and, more smportanty, with the frecutais. The ashiect came to rely on models and increasingly on {ravings to communicate is dsins othe bile, "As we bie sen, the medieval ration of model balding in tly com tinned in the Rensisance. The mrdel was isto all made forthe paton tnd occasionally forthe publica parpoe ssl Serves Tt was ako wed tsa gudefor the buen. In thessteenth cnt the character of ach fect model sens to have varied consdenby. Philibert complained ‘of fancy model hat were pnt upto conceal 2 poot design; but mad {hs cold be impresve, Michlangel' ten fot false wooden model ‘oF the comice forthe Farnese Palace vas hoisted into place so the pope fc see how it would look. Sack an elaborate and cost afar must alo Fave been intended forthe we ofthe workmen. Working mods ual of wood, were expensive, Single’ mode for his xg of St Peles famous becase i cor frtane. Philibert, who complained of the ex ‘ene of modes, nevertheless advised the paton and the arlitet to i teat than Base tiled models ofall the major pats ofthe ding trou be jute in the long n- Michelangelo, who lft ly model of {he saicase ofthe Laentsn Library forthe wosianen to fellow when Ihe Tet Florence was wing scale models forthe workmen at St. Pte’ ‘many yeas ater. Bat, een inthe itcenth century, deawings were Deginnng to replace a aici acta poi late docs +p of ding ‘hte ll ving don ed pape Po hs a te pla frre dings of tae pas wuld Be mate The tei om te guing of oe ta penpetne osne ton at Abt xpd th Delp, tt ice sens fo ave teen he to ap he tg ital daving The te ‘ito ttn ccm nat id ating cast tron meting the eps of aches ‘tural drawings in the sixteenth century. “ "Tojudgefeom he cop of rt, its davis wee er pre gw 3) cca hen ep ih test teu diwings ve fom the ae Rena, en ie "esc of deg comin on Uae eect coin he tenth cents ch ical ewig pi aes ‘gyn eontepony ling chs nae eye Some pan ad sane ain nd sein elo prone Soa gest with facta dt am ecto te Sl weiht xt o bea ovn the pogo bing om the {chet St hetietthe ol wong ings ut ct he ffeil nadeof ase domingo se Ove fe (Geta te ne dom esa ding am ayo pj fe ee isco br xi fied Grains maybe css into etegois: Bt the Ings, aay din, nd tee ender projet that oe ade oe he Cent they meant cmt hv coh or cotton hey Alas nee inh meseneat or ae More, hey tpl show ‘SC Tlng tt mar ve be el te oy ton awa be "The cond type of fied wing ws nen forse fn come ion bat ned to dee window, sw entabtee=aod as tended el 0 gd sos and carvers ("Arches Pati”. Where ate the working dranings that might in ome way corespond 10 the Bugpits used ina modem ofce? One anne tht they te gone, sed up on the job; another i that they never exited. Crtinly a gest ‘uber of drawings Inve peed, bat tt przing that so few of the Araings that do survive can be dente as working dings. ‘Many of the drawings we hae were polubly made for the patron These inl not only the presentation dang fom an ial phase of A projec, but alo the ste and sketches that mere exchanged when the ie Sia plans were Being negated and contract was actly under We Such se of clawing is documented in the eorespondence between Mi ‘hckngelo and Pope Clement VI during the werk onthe Laurentian Le Tram already mentioned above. A number of drawings may also have eon sae ring the mesings and consllatons that were often held betreen the patton and seve atchitects, The numero “idea!” plan of St. Petr’, which ext in Devldcring nomber of versions by dierent Inds and which are offen covered with notations and comections, do not seem ores to any identifiable stage of costeution but ray wel be the » + product of group discussions wth the patio, I we seal Vasari account [ed exer of Sangale's meeting with Pope Leo X and his lity eng noes, we reine that this group must have produced numberof draw ‘ng within a very fw days Presumably, once the plans were settled, the approved design was psd on tothe workmen for excetion, A shady fora fri at the Fa noe Palace at Caprarls (Figue 34) shows the architect ith sme a sociats (perhaps intended to personify his Micra elation) delivering his drawing tothe contactor for excetion while inthe beeasoand, the stone catters and masonsate busy with the bing, Certainly, bythe mi sixeenth century, it was possble to uid bling without a model. Mi helangelo’s Laurentian Libary mast have been lgely exceed fom ravings, since thete ino secord ofa medal until he left Florence. But wha sat of avis? The tay for the feed at Capraro shows thea Chitct holding a pln, and master plans were cetiny made, The other ype et working dawing ithe acitctral dtd, and st ay wll be, a8 Ackerman has suggested, that when the architect mas able to supers constuction, thse wore all hat wee needed, “There's, however, evidence of diferent typeof mchitectal raving in the Renaisance-the pespectne projection, the analytical seston and eleaton draving—which i asiodated withthe bing of St. Pers, spcifally wth the appointment of Raphael ia 5s chit architec, “The appointment of Raphael (4832520) a1 architect of St Peters is the mest stking came of the Fabian eonSdeace is the genius of the ams St Peters was the mast compl bung program ofthe cet, tnd Raphael lad very itl experience as an architec, Hi appointment ame Because oF his stats ay reat punter and apparently on Bramante’s recommendation. As Raphael realized himsel, ir other commitments, a: tell as his inexperience, made i mspossible er him fo work as Braman Ind done, and we saw inthe list chapter that he wae given Gin da Sangalo and Fra Gacoado ay arcteetaral mentor. Raphael welcomed Fn Giocondo gstealy, but since Fx Gincondo ar serenynine i at Iarly to be expected that he woul supenrieconstracton for very longs ‘nd Giuliano as old and soon reed to Florence. Two year ler (1516) Fa Gioondo died, and Rapel asked fr another asta, An Tonio da Sangalo was given the job hus was cxeated the organized bud ing operation at St. Peter’, with Antonio as chit superior uni 520 hes on Rapes deat, he became chit architect “Thar i seme seston tobi that Repel may have shaped thea slants sige to him int something resembling sn archtetual fe, although how much of it was aeay established under Bramant before 2514 ill open to dete. One reson to favor Raphael, ther than Biamant, a the organizer of the work at St, Peters the character of Replat ovn punting ater. Raphacsassitants worked as extensions of his own hand, preparing drawings and cartoons from his sets and ‘das aswell as execting much of the work Except perhaps for Gio "Romano, who was chi att and shop foreman, these atts were not independent personals while they were in Raphael's shop, and they are ‘dentable only occasionally and only in the exciton of works, nt in tei conception. Raphael's panting shop ws remarkable novation Tt isabo close tote modem architectural ofie than any atchitectral pra tie We know fom the Reraisnee, Raphael was not Sguchead at St, Peter; on the contrary, he was 0 preoceoped by his re espns that ontemporaris ftad hin un Tie his usual se In spite of thi thee ae no dings of St Petr’ that fare cetaily by hi hand. Anew plan ofthe bulding ms awn up ding this peo, and + mode ws gon. The plan, publhed by eto 4. and existing in oer versions a wel considera to he Raphael's desi but the many drawings frm his period of ce ate cstaily by others chily Antonio da Sangalo, Thi suggests that he may have been sing “Antonio the way he used hi painting sistants—to prepare sts fom his ideas. He could then eork more itd plans. TE this sue, ehen Raphses need for mote prise kinds of architec tual dering is obvios A bling om the sal ofS. Peter's cold have ‘bun bat fom the few plans and details tht would serve for smaller ‘ailing, bt the patil conception of St, Peters was far more complex than hat of previous buildings Tt nas too eet te eld in he mind ofthearcitet or conveyed to the pation and work by spl etches aed deta, Perspective renderings made the projet visible more cheaply fd mpidly an a model. They could be revue, and messed sections tnd Sevations could seve to prepare mote dead sprfcations—all of Which could be done by asta As nentiond in the last cate, the famous leterto Lea X eonceming the projed “tecontrction daw ings of ancient Reme explained thatthe stratons woul be accurate and legible. The would show no only the foundations, which ene cold see fom a plan, but abso the character of the architecture in space—they ‘vould have buena complete appiation of diego to achtetre Fig 2. Menino (cine devaon an secon of an ety pret fo {fry tone, eta feng ot pre pot, bese ‘Svc athe ancestors tanh wings sed the moder of, ‘None of Rape’ drawing for thi seconstton pret hat nen ‘tented, and tere some ueston # any wete ade, bu some of the few fpf lation and stim deavigs made for Se. Peters a pee {ened nashtcook belonging o Pal Neto (Figue3). Thi tp of thawing, howe, camot fe asocated wih new type of aekiteto Dutice, Rape! ded in yam bee Bison of he works eas Fry ctablshed: and slthough Aatono dx Sangalo inented is pos toms kept tut bis orn death 54, be sem to hae ave sot of his eu inthe otto wooden made and to hve be i> fel with htc for hs ow esgning sod plas nd deta for ‘ovting dwn Nor dd Michell, who ds deleting any de Sv foctins tots choose fo wor 2 Raplae!had The measured {let and section dings which wee Iter made fom the model srr appenty nt wed inthe sctal eign res. Th te sateen century, hovee, He sch of meaaed architect xaingspln, elevation, and send lp ito the means of communication between architet and workmen, The Fiori, began in the 156, was bul lagly from sich drawings, although model were alo made number af eleation and setondiaings by Jann Hutista Ae Toledo and Jun de Herers survive, Juan Bautista was Michelangelo's assitant at St. Pot’, so perhaps the anal dawings were wed in Taly more than surviving wings would ode. In France, Philibert Delorme was perfectly are of tain developments in architectural afin after etre from Rome in 536 His opis ofthe elevation rowing fr St Peter’, which are preserved in Munich, te love to those fn the Melon sketchbook. Philibert, moeoter, clay sa the advantage to wing drawings im bang, although he was not prepared to give up mode} bailing. He devote the majr pat of istrative to explinng the Aferent types of dawing and Mksteting the decorative acaba of (Cas acitectre Ini instesetions to the masons, he sas tate ies to demonstrate “what instrament and methods the masons shoud se for measurement, as much as fo the orthograpie as for the eno. raphe thtis to afr the plans, elevations an facades of billings inower that they might havea sound Knowledge before proceeding to any ‘rawing or model” (Bk I, Fa.) Abert had made it clear at aeitectual practice without theory was just trade, nota discipline (De reaeifeatrie Bk, IX, Ch sb the tual elton between they and practice the Renae a matter of dete: Wittkower(chitectrl Principe inthe Age of Hianiss) ieatied humanist theories of proportion and geometty a: 2 serious as ect fra bli, psticalarly the by Alberti and Palla, On the ‘other band, Kreiner ("Albert and Vitis”) has shown that De re sedifestoria was not addresed to practioner and Ackerman ("Archi fect Pate” p53) hs obsened that anchitets ofthe High Reni sance produced ithe theoreti wring of tei ow, Although cannot sage with Ackerman’ conctson (p. 79) that High Renasanc ar tects ere ant theortial n tlk ts thay in some of the ater architectural teatises at last, the theoretical dtension fen seems largely hetorial and lacking in any dict rationship to desiga. The fac i that, Ike Vitro belore them, Renaissance architects wetc aw ious to unite theory with practice because the defniton of thet profes ‘on depeaded pon i. The development of profesional Iieratre inthe siseeth century was lagels the elt ofthe coping with this probe Viravi’ Libr decom was the only theoretical work onthe Eines have survived fom antiquity, ad this socount for the independent char acter of Remissance architectal writing, hich ae no pall in on temporary teats on punting or seule. After De easter, Vi trains was the mode and vehicefor dicusions of archtetoa theory Albert's work was canecied 3 a moder answer to Viton, bit being ‘rtten in Latin and having no asteatons, ted handy ve een of ‘och ws to the builder ex after the Sint printed edition appeared in 1485. The sitenth-eentury editions of Vitus, binning ith Fre Gocondo's Latin txt in 533, were stil dared to the same, but no ‘mote numerous, audience of humanist patrons and edvsted artes. ‘The number and quality ofthese edition, both Latin and Talia, testy to the continuing fritl bond among patrons, schol, and artes Danile Barbar’ splendid edition (Vente, 536) has an eteasve schol. aul commentary ane illsttions by Pll the end ofthe cetary, ‘trains was accesible in oer strated Tan editions and in Feel sd Geman transafions. In Ue coments upon Vite! cen ob sore tei, architcts pd hee abreast of caret theres of proportion sn composition, an they ould sty the Orders and neconseatons of ome Clasial bling. Bu this did ot make Vitnris am arhietaral Inandbook, nr did the editors tempt to present the crrent sat of shitectual practice. Ceara (editon of Vituvss, Como, 2522) had ‘wed some contemporary bulings—notably the section ofthe cathe lf Milan and a whematie plan and elevation of Fiat’ hoptal—to i Ttrate Vitvis' pints and to assert 2 reationship between Milanese and Clic spe but he wis chi inteesed in pbahing Bis om, rather fn rconstrction of ancient bling. "The ambitious publications of the Bolognese rhitectScutinn Serio (147554) were the fst o present acitctwaltheny i he form of profesional manual Sei puihed his Bonk TV in Venice in 2537, the fist to appear of seen projected books en archietoe (he publshed ve aud assth apeated after his deals se next chapter). Sern edged the fahertance of humans theory toa systematic preentation of perspective, the Clas Orders, and buldings of antiquity, with which he ao i adel some modem buildings such as Bramante's Tempieto and the lojet for the dome of St. Peters (Bk. IL, Venice, 1549) ‘Sal's theoretical commneniary was peifnctry and revealed a certain iors Between a thoretcal reside and the sms of ssghtforeard pattem book. Ix Book TV, for example, he presented each Vitrvin Or ‘er and then moved en to his own design lsatng how st could Be ss, His Bok V wa clon of his own digs fr pt, en ear to ty se ith no thet sparta dw aa ‘onto Viti or Aetin thn. Ener bok, Se tated ‘india of ert os theme sch a he placer pete hows tone of hich dred on Chae ings Sti sd ply “on is lige wont o dentate the pl of propio a

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