The Printed Illustration of Medieval Architecture in Pre-Enlightenment Europe (in Architectural History, Vol. 54 [2011], pp. 119-170) (original) (raw)
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This study investigates the changing understanding of the role of the 'architect' in Italy during the sixteenth century by examining frontispieces to published architectural treatises. From analysis of these illustrations four attributes emerge as important to new societal understandings of the role of 'architect.' The first attribute is the desire to delineate the boundaries of knowledge for architecture as a discipline, relevant to sixteenth-century society. The second is the depiction of the 'architect,' as an intellectual engaged in the resolution of practical, political, economic and philosophical considerations of his practice. The third represents the 'architect' having a specific domain of activity in the design of civic spaces of magnificence not only for patrons but also for the city per se. The fourth represents the 'architect' and society as perceiving a commonality of an architectural role beyond the boundary of individual locations and patrons. Five treatises meet the criteria set for this study: Sebastiano Serlio's Regole generali di architetura sopra le Cinque maniere de gli edifici cioè, Toscano, Dorico, Ionico, Corinthio, et Composito, con gli essempi dell'antiquita, che, per la magior parte concordano con la dottrina di Vitruvio, 1537, his, Il Terzo libro nel qual si figurano, e descrivono le antichita di Roma, 1540, Cosimo Bartoli's translation of Alberti's De re aedificatoria titled L'architettura di Leonbattista Alberti, tradotta in lingua fiorentina da Cossimo Bartoli, Gentilhuomo, & Academico Fiorentino, 1550; Daniele Barbaro's translation and commentary on Vitruvius' De'architetura titled, I dieci libri dell'architettura di M. Vitruvio tradutti et commentati da monsignor Barbaro eletto Patriarca d'Aquileggia, 1556; and Andrea Palladio's I quattro libri dell'architettura,
As you can see from the title of my contribution, I give as granted that architecture-for example, a Romanesque church-is to be considered as an art-object. Despite that, in the Middle Ages, architecture was listed among the mechanical arts and despite the role of medieval architects (both are very debated issues 1), it cannot be doubted that a medieval church can be judged as equal to a work of art. We know well that from Renaissance times, and from studies on architectural aesthetics, a work of architecture can be regarded as a work of art in large. Therefore, as an art-object, it requires classification and cognitive approach which relies on specific, always updated tools. This is obviously a vast theme. Nevertheless, despite the brevity of my contribution, I wish to discuss how an art historian should nowadays approach an architectural work, or better a historian of architecture, including one with a historical-artistic background (therefore not just necessarily an architect). I am not interested in a competition between art historians and architects , and which of these two categories are better related to the history of architecture. What interests me is the methodology to apply and its results. The contribution of architecture helps to make a building known in all of its expressive potential, as a whole organism. Besides the aesthetical value, it involves the recontruction of the history of the building, the commissioners, the planning stages, its functions, the organization of the liturgical areas which encompass its religious and political-cultural significance. The technical aspects related to the building methods such as materials used, strategies and building site management, training, and organisation of the craftsmen are also very important. We are dealing with a very complex work of research and analysis, which often requires the partnership of other professionals, such as archaeologists, architects, and restorers. This particular teamwork is the most important aspect of the historical-architectural research and what makes it as such. With regard to Romanesque architecture, recent international and Italian historiography has displayed an attentive consideration and a renewed interest in Romanesque issues, particularly in its origins, between the 10 th and the 11 th centuries 2. A number of interesting projects 1 With regard to the Romanesque period I refer in particular to []. An updated summary about the results of the studies that are dedicated to the Romanesque one in Italy is [44].