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Bernini,Sant'Andrea al Quirinale,Rome, begun 1658, façade ca1670

Francesco di Giorgio Martini, AnthropomorphicArchitectural Drawings, made in northern Italy, 4th quarter of 15th century

anthromorphic Anthropomorphic architectural drawings involve imbuing buildings or architectural elements with human-like characteristics or qualities. These drawings aim to create a sense of empathy or connection between the viewer and the architectural design by portraying structures in a way that evokes human emotions or behaviors. This approach can help architects and designers communicate their ideas more effectively and engage viewers on a deeper level by making the architecture feel more relatable or personable.

Giulio Romano, Palazzo del Te, Mantua,1524-34

Giulio Romano, Palazzo del Te, Mantua,1524-34

Landshut (Germany), City Palace,Begun 1536

Landshut (Germany), City Palace,Begun 1536

Sebastiano Serlio - the five column orders,From book 4 (Venice, 1537

Doric order as Hercules (left), and Ionic order as Juno (right), both from JohnShute,The First and Chief Groundes of Architecture (London, 1563)

Pantheon (Rome, built from ca 117 AD),from Sebastiano Serlio, book 3, on antiquities (Venice, 1540)

St Peter's basilica, from Sebastiano Serlio, book 3, on antiquities (Venice, 1540)

Capitoline Hill, Rome, Designed byMichelangelo ca 1538

Marcus Aurelius, ca 170 AD, Capitoline Hill, Rome

Michelangelo, Conservators' Palace, Campidoglio, Rome, planned from ca 1538 (with ancientstatue of Marcus Aurelius)

Michelangelo, Senators' Palace, Campidoglio, Rome, planned from ca 1538

Michelangelo's Project for St Peter's, Rome,1546-64

Andrea Palladio, Villa Emo, Veneto (Venetian Mainland), 1560s.

-cheap building

-made of stucco and paint

interior of Villa Emo,Frescoes byBattista Zelotti, ca 1570

Villa Emo - Woodcut print, fromAndrea Palladio,

Antonio Averlino, Called Filarete, Ideal City of Sforzinda From the Trattato, ca 1465

Francesco di Giorgio Martini Ideal City, ca 1470s-90s

Antoine Lafrery, The Seven Churches of Rome, Rome, 1575

The Urbanism Projectsof Sixtus V in Rome, 1585-90

Gian Francesco Bordini, Map of Rome, from derebus praeclaris gestis a Sixto V P.M. 1588

Santa Maria Maggiore, Rome, probably begun early 5th century AD,exterior reworked 18th century by Ferdinando Fuga

Santa Maria Maggiore, Rome, probably begun early 5th century AD,exterior reworked 18th century by Ferdinando Fuga

Domenico Fontana, MosesFountain, Rome, 1587

Carlo Maderno, Sta Susanna, Rome, 1597-1603

St Peter's, Rome, façade by Carlo Maderno1607-1612

cortona, reconstruction of the temple of fortune, rome, 1630

cortona, mt athos, rome 1650

cortona, villa del pignetto, sacchetti, rome 1630s-1640s

cortona, st. maria della pace, rome , 1656

piazza del popolo, rome, reworked by alexander the vii and rainaldi, 1660

churches of st. maria de montasenato and sta maria de miracelo, built in 1670

Francesco Borromini, S Carlo alle quattro fontane("San Carlino"), Cloister, Rome, begun 1634

Borromini, S Carlo alle quattro fontane("San Carlino"), Church, Rome, 16340

Borromini, S Carlo alle quattro fontane ("San Carlino"), Church,Rome, 16340

Borromini, Oratory of the Philippians, Rome, 1637-40

bromni Plan of the Chiesa Nuova and Oratoryof the Philippians

Borromini, Oratory of thePhilippians, Rome, 1650

Borromini, Sant'Ivo alla Sapienza, Rome, 1640

bormini saint ivo alla saoienza, rome 1640

bormini saint ivo alla saoienza, rome 1640

Bernini, Cornaro Chapel, Sta Maria della Vittoria, Rome, 1650

Bernini, Bell Tower of St Peter's, Print from Carlo Fontana, Templum Vaticanum et ipsius origo, 1690

Bernini,Sant'Andrea al Quirinale,Rome, 1670

Bernini, Piazza San Pietro / St Peter's Square, Rome, begun 1656

Falda, St Peter's with the "third arm" of the colonnade, Rome, 1665

Bernini, ScalaRegia, Vatican Palace, Rome,1663-65

Bernini, Sketches for the Chair of St Peter, Rome, later 1650s

Longhena, Santa Maria della Salute 1630

boschini, procession to santa maria della salute, 1640

cathedral of saint giovvani, turin, late 15th century, with chapel of the shroud 1690

guarini, chapel of the shroud, 1690

gaurini, dome of the chapel of the shroud, 1690

gaurini s lorenzo turin 1690

Juan Bautista de Toledo and Juan deHerrera, El Escorial (near Madrid), 1561-1584

Juan Bautista de Toledo and Juan deHerrera, El Escorial (near Madrid), 1561-1584

Juan Bautista de Toledo and Juan deHerrera, El Escorial (near Madrid), 1561-1584

Francisco Becerra and others, Cathedral, Lima, Peru, Begun 1582.(Façade Juan Martinez de Arrona and Pedro de Noguera, 1628-1645)

Anonymous, View of Cuzco,Cuzco, Peru, 1650

Plaza Mayor, Cuzco, Peru,Churches built later 16th century

Becerra, Cathedral,Cuzco, Peru, begun ca 1583-5.Façade by Diego Arias de laCerda and FranciscoDomínguez de Chávez y Arellano,1583-1654.

Inca Temple of Coricancha, near Cuzco, Peru, with later colonialadditions (Church of Santo Domingo)

Casa del Almirante, ca. 1600, Cuzco, Peru

virtuvious

In "De architectura" (On Architecture), Vitruvius outlined his views on the education of an architect, emphasizing the importance of a broad and comprehensive education that encompasses a wide range of subjects beyond just technical skills. Here's a summary:

Vitruvius believed that architects should be well-rounded individuals with knowledge and expertise in various fields, including mathematics, geometry, philosophy, history, music, astronomy, and even medicine. He argued that a deep understanding of these subjects is essential for architects to create buildings that are not only functional and structurally sound but also aesthetically pleasing and harmonious with their surroundings.

Furthermore, Vitruvius emphasized the importance of practical experience gained through apprenticeship and hands-on training. He believed that architects should learn from experienced masters and engage in practical work to develop their skills and understanding of building construction techniques.

Overall, Vitruvius advocated for a holistic approach to architectural education that combines theoretical knowledge with practical experience, allowing architects to develop the creativity, technical proficiency, and cultural awareness necessary to design buildings that serve the needs of society while also reflecting the values and aspirations of their time.

ackerman

-michengelo reveres ancinet rome

-importance of architecture having the ability to inspire awe

-form, space, expressopm

-sculptures, reliefs, symmetry, poportion,

icomparison to anatomy, because he was a sculptor

-body microcasm of universe

connors -cultural moment st ivo

The main argument presented in the passage revolves around the construction of the S. Ivo alla Sapienza church by Borromini amidst a backdrop of political turmoil, particularly during the War of Castro and the transition of papal power from Urban VIII to Innocent X. Despite the challenges posed by war, the church's construction was seen as a significant cultural and political statement.

One aspect of this argument focuses on the symbolic significance of the church in relation to key historical figures and events. For example, the text suggests that the construction of S. Ivo was motivated in part by a desire to rival the cultural achievements of Cardinal Richelieu, particularly his patronage of the Sorbonne in France. Additionally, the church's construction coincided with the death of Galileo, and it was seen as a response to the controversy surrounding his condemnation by the Catholic Church. Thus, the church served as a cultural response to prominent figures and events of the time.

Furthermore, the argument explores the role of mathematics and rhetoric in shaping the cultural context of the church's construction. Mathematics, particularly geometry, was valued as a form of intellectual pursuit among the Barberini court, and it influenced the design and symbolism of S. Ivo. Rhetoric, on the other hand, played a crucial role in shaping the cultural discourse of the period, as evidenced by the elaborate Latin discourse delivered during the defense of Carlo Cartari's thesis.

Overall, the main argument asserts that the construction of S. Ivo alla Sapienza was not merely a response to architectural needs but also a deliberate cultural and political statement that reflected the intellectual and ideological currents of its time.

krautheimer

Krautheimer's chapter on the planning of the Piazza del Popolo provides a detailed exploration of the square's development from its origins to its Renaissance and Baroque transformations. He examines how the layout of the Piazza evolved over time, considering factors such as topography, architectural styles, and the influence of prominent families and religious institutions.

The chapter discusses the early history of the Piazza, including its function as a site for public spectacles and gatherings during ancient Roman times. Krautheimer then delves into the Renaissance period, highlighting the work of architects such as Leon Battista Alberti and Donato Bramante, who contributed to the redesign and embellishment of the square.

One of the central themes of the chapter is the role of Pope Sixtus V in reshaping the Piazza del Popolo during the late 16th century. Krautheimer examines Sixtus V's ambitious urban planning initiatives, which aimed to transform Rome into a grandiose and orderly capital befitting its status as the center of the Catholic Church. The chapter explores how Sixtus V commissioned the construction of new roads, fountains, and monuments, including the iconic obelisk at the center of the Piazza del Popolo.

Additionally, Krautheimer discusses the Baroque period and the contributions of architects such as Gian Lorenzo Bernini and Carlo Fontana to the Piazza's architectural ensemble. He analyzes their designs for churches, palaces, and other structures surrounding the square, highlighting their innovative approaches to urban design and spatial organization.

Throughout the chapter, Krautheimer considers the social, political, and religious contexts that shaped the Piazza del Popolo's evolution. He also examines the symbolic significance of the square as a reflection of Rome's cultural heritage and spiritual i

ackerman rome planning

In "The Planning of Renaissance Rome," Ackerman delves into the intricate process of urban planning and development that shaped the city of Rome during the Renaissance period. He likely explores how various architects, artists, and leaders contributed to the transformation of Rome's urban landscape, from the chaotic medieval city to the majestic capital of the Renaissance.

Ackerman may examine the key figures involved in Renaissance Rome's planning, such as Pope Sixtus V and his architect Domenico Fontana, and their ambitious projects aimed at revitalizing the city. He may analyze the principles of Renaissance urbanism that guided these projects, including the revival of classical architectural forms, the creation of monumental public spaces, and the establishment of grand avenues and thoroughfares.

Furthermore, Ackerman might discuss the challenges and obstacles faced during the planning process, such as the preservation of ancient landmarks, the relocation of existing neighborhoods, and the management of resources and labor. He may also explore the social and political implications of Renaissance urban planning, considering how it reflected the power dynamics and aspirations of the ruling elite.

Overall, "The Planning of Renaissance Rome" likely provides readers with a comprehensive overview of the vision, execution, and impact of urban planning initiatives in Rome during the Renaissance, shedding light on the city's transformation into a symbol of artistic, cultural, and architectural excellence.

rapse-bromini final

The text you've provided discusses Francesco Borromini, an Italian architect known for his Baroque designs, and his efforts to publish his architectural designs. Borromini attempted to convert his designs into engravings for wider dissemination, hoping to increase his popularity. However, despite his optimism about the prospects of such a publication, Borromini ultimately destroyed all the drawings prepared for engraving before taking his own life. The connection between these two acts of self-destruction, the failed publication project, and Borromini's suicide remains a subject of scholarly inquiry.

Borromini's publication project began during the pontificate of Pope Innocent X in the mid-17th century when his architectural career was flourishing. He aimed to publish his designs through specialized drawings and accompanying explanatory texts. While there are traces of Borromini's efforts, including manuscripts and drawings, the comprehensive reconstruction of his publication project remains challenging. Borromini's plans for publication evolved over time, involving various collaborators and focusing on different architectural works.

Despite the efforts to understand Borromini's suicide, uncertainties persist about his mental state and the reasons behind his decision to end his life. Some scholars have explored psychological and philosophical explanations, but a comprehensive investigation into the circumstances of Borromini's death is still lacking. The text highlights the need for a more impartial examination of Borromini's life and death to understand the true motivations behind his actions.

hager carlo fontana

Furthermore, the book explores Fontana's role as a preceptor, mentoring a new generation of architects and leaving a lasting legacy on the architectural landscape of Rome. Fontana's teachings and design principles influenced numerous architects who followed him, shaping the Baroque architectural tradition in Italy and beyond.

Overall, "Carlo Fontana: Pupil, Partner, Principle, Preceptor" provides a detailed portrait of Fontana's life and career, offering insights into his artistic vision, his creative process, and his enduring impact on the history of architecture.