On the whole twentieth-century Renaissance architectural scholarship has paid little attention to architecture's dialogue with the other arts, in particular with sculpture and the so-called minor arts. 2 The fact that architects were also painters, sculptors, decorators, and designers of festivals and entries, as well as makers of a multitude of objects from luxury items to machines, clocks, measuring and lifting instruments, in many different materials has also dropped out of attention. Indeed, broadly involved in the world of objectslarge and small, painted or drawn, carved or poured -architects were highly conversant with a variety of artistic media that raise the question as to what these experiences contributed to the making of buildings. For example, in the fifteenth century in Tuscany, we find architects -Brunelleschi, Francesco di Giorgio, Michelozzo, Ghiberti, and others -not only starting out as sculptors, but also working in wood, painted wood, and bronze and sometimes designing for other crafts, such as stone intarsia or enamel ornaments for luxury cloth. 3 Yet most often scholarship has looked away from hybrid careers and even the full careers of most of these architects have not been evaluated comprehensively or understood as such. In his Lives of the Artists Giorgio Vasari constructed the myth of Michelangelo as the titanic personality and unique performer in painting, sculpture, and architecture, all of which he transformed, and although Vasari delighted in acknowledging others active in multiple arenas he reserved the most emphatic accolades for Michelangelo alone. This pattern has been hard to escape and set against Michelangelo's mythic leadership role in all the arts, other artists remained in the shadows. 4 For example, Francesco di Giorgio's sculpture and minor arts activity is still perceived as relatively disconnected from his architectural career or at least separate and not in dialogue with it. The two volumes on his oeuvre as architect and artist, respectively, illustrate this malaise. 5 The same is true about scholarship on the careers of others, like Raphael, Jacopo Sansovino, Ammannati, Buontalenti, and so on.

A norma della legge sul diritto d'autore e del codice civile, è vietata la riproduzione, totale o parziale, di questo volume in qualsiasi forma, originale o derivata, e con qualsiasi mezzo a stampa, elettronico, digitale, meccanico per mezzo di fotocopie, microfilm, film o altro, senza il permesso scritto dell'editore Silvana Editoriale S.p.A. via Margherita De Vizzi, 86 20092 Cinisello Balsamo, Milano tel. 02 61 83 63 37 fax 02 61 72 464 www.silvanaeditoriale.it Le riproduzioni, la stampa e la rilegatura sono state eseguite in Italia Finito di stampare nel mese di giugno 2014 con il contributo di

Zwei aktuelle Entwicklungen fordern die Architekturgeschichte dazu heraus, das Verhältnis von Bild und Bau zu überdenken: das verstärkte bildwissenschaftliche Interesse der Kunstgeschichte und das Aufkommen eines Typs von Architektur, der versuchsweise als »iconic building« umschrieben worden ist. Der vorliegende Band nimmt diese Herausforderung zum Anlass, um neue Perspektiven eines Verständnisses von architektonischer Bildlichkeit zu erproben. Ein besonderes Augenmerk gilt dabei Wahrnehmungsformen von Architektur, die das alltägliche Bewohnen und Benutzen überschreiten und außergewöhnliche, visuelle und sinnliche Erfahrungen vermitteln. Die Metapher vom »Auge der Architektur« spielt auf jene Momente an, in denen ein Bau aufgrund seiner bildlichen Qualität uns solcherart ›anzusprechen‹ oder ›anzublicken‹ scheint, dass wir ihn in gänzlich neuer Weise wahrnehmen. Vom Film über digitale Entwurfstechniken, von Architekturphotographien bis zu klassischen Themen wie den Säulenordnungen, Schaufassaden und Architekturen im Bild wird das Thema hier verhandelt. 11 39 55 93 115

Using the Braudelian concept of the Mediterranean this volume focuses on the condition of “coastal exchanges” involving the Dalmatian littoral and its Adriatic and more distant maritime network. Spalato and Ragusa intersect with Constantinople, Cairo and Spanish Naples just as Sinan, Palladio and Robert Adam cross paths in this liquid expanse. Concentrating on materiality and on the arts, architecture in particular, the authors identify portability and hybridity as characteristic of these exchanges, and tease out expected and unexpected serendipitous moments when they occurred. Focusing on translation and its instruments these essays expand the traditional concept of influence by thrusting mobility and the "hardware" of cultural transmission, its mechanisms, rather than its effects, into the foreground.

In the late 19th century, a centuries-old preference for highly ornamented architecture gave way to a budding Modernism of clean lines and unadorned surfaces. At the same moment, humble objects of everyday life—from crockery and furniture to clothes and tools—began to receive critical attention in relationship to architecture. Alina Payne addresses this shift, arguing for a new understanding of the genealogy of architectural modernism. Rather than the well-known story in which an absorption of technology and mass production created a radical aesthetic that broke decisively with the past, Payne argues for a more gradual shift, as the eloquence of architectural ornamentation was taken over by objects of daily use. As she demonstrates, the work of Adolf Loos and Le Corbusier should not be seen only as the ignition point of modernism, but also as the culmination of a conversation about ornament and what constitutes architectural eloquence that goes back to the Renaissance. Payne looks beyond the “usual suspects” of philosophy, industry and science and identifies theoretical catalysts for architecture’s shift of attention from ornament to object in fields as varied as anthropology and ethnology; art history and the museum; and archaeology and psychology.

Teofilo Gallaccini’s (1564-1641) oeuvre represents a nearly intact personal archive pertaining to the sciences, architecture and the arts, as well as history, anatomy and letters. The very amount and heterogeneity of the material provides a unique snapshot of how diverse areas of knowledge communicated at a significant moment of transition: between the Renaissance and the Baroque in the arts, or, from the perspective of the sciences, on the eve of the Scientific Revolution. Following these threads, this book examines Gallaccini’s thought against the panorama of contemporary events and issues with which he interacted closely: the astronomical discoveries and condemnation of Galileo in Counter-Reformation Rome; the growing interest in mechanics, motion and engineering; the rise of a Baroque sensibility in the arts; the deep-felt need of eloquent representation techniques across disciplines; and the culture of manuscripts and oral intellectual sociability in the age of the printed book. A “go-between” milieus and disciplines Gallaccini illuminates the nature of intellectual labor and its sites: the university, the academy, the princely court and the isolated haven of the private library.

This volume offers a selection of inedited writings by the Sienese polymath Teofilo Gallaccini (1564-1641). Author of over forty manuscript works--literary, historical, artistic and architectural, scientific and medical--his oeuvre, located on the cusp between the Renaissance and Baroque or, seen from a different perspective, on the eve of the Scientific Revolution, has remained largely inaccessible in print. The inedited texts included in this volume were therefore selected to illustrate both the variety and interconnectedness of his thought: the Monade celeste, a text on astronomy and a splendid example of learning applied to a contemporary topic of great moment; his commentary on John Dee's Monas hieroglyphica;  his drawn commentary on Sebastiano Serlio's Books III and IV; and finally a selection of his academic lectures covering the full range of topics that attracted him from geology to astronomy, mathematics to fortifications, art theory to architecture and that were delivered during the nearly five decades of his membership in the Accademia dei Filomati in Siena. The volume also contains the reconstruction of Gallaccini's library, his most cherished working “instrument”.

Antiquity and Its Interpreters examines how the physical and textual remains of the ancient Romans were viewed and received by writers, artists, architects, and cultural makers of early modern Italy.  The importance of antiquity in the Renaissance has long been acknowledged, but this volume reconsiders the complex relationship between the two cultures in light of recent scholarship in the field and a new appreciation and awareness of the act of history writing itself. The case studies analyze specific texts, the archaeological projects that made “antiquity” available, the revival of art history and theory, the appropriation of antiquities to serve social ideologies, and the reception of this cultural phenomenon in modern historiography, among other topics. Demonstrating that the antique model was itself an artful construct, Antiquity and Its Interpreters shows that the originality of Renaissance culture owed as much to ignorance about antiquity as to an understanding of it. It also provides a synthesis of seminal work that recognizes the reciprocal relationship of the Renaissance to antiquity.

The Architectural Treatise in the Renaissance examines the Italian Renaissance architects' efforts to negotiate between the imitation and reinvention of classicism. Through a close reading of Vitruvius and texts written during the period 1400-1600, this study identifies ornament as the central issue around which much of this debate focused. Argues that ornament facilitated a dialogue across disciplines and invited exchanges with literary and rhetorical practices. Also highlights the place of the architectural treatise in the text-based culture of the period and of architectural discourse in Renaissance thought.