%0 Generic %A Bürger, Stefan %C Würzburg %D 2021 %E Hamm, Joachim %E Klein, Dorothea %F artdok:8197 %P 233-287 %R 10.11588/artdok.00008197 %T Text-Bild-Beziehungen in der Fachliteratur: das Beispiel der Architekturtraktate des späten Mittelalters und der Frühen Neuzeit %U https://archiv.ub.uni-heidelberg.de/artdok/8197/ %V 8 %0 Journal Article %A Hedtke, Britta %D 2021 %F artdok:7395 %K Mainzer Dom, Architektur, Memorie, Geistliches Gericht %R 10.11588/artdok.00007395 %T in consistorio ecclesiae Moguntine – Zur ursprünglichen Raumfunktion der sogenannten "Memorie" im Mainzer Dom %U https://archiv.ub.uni-heidelberg.de/artdok/7395/ %0 Generic %A Strunck, Christina %C Berlin %D 2020 %E Strunck, Christina %E Scheidel, Carolin %F artdok:8887 %P 5-21 %R 10.11588/artdok.00008887 %T Textgebundene, bildgebundene und intermediale Übersetzungsprozesse. Versuch einer Systematisierung am Beispiel frühneuzeitlicher Kunsttraktate %U https://archiv.ub.uni-heidelberg.de/artdok/8887/ %0 Generic %A Günther, Hubertus %C Paris %D 2018 %E Frommel, Sabine %E Leuschner, Eckhard %E Droguet, Vincent %E Kirchner, Thomas %F artdok:6298 %P 187-201 %R 10.11588/artdok.00006298 %T Hugues Sambin and supporting figures in treatises and engravings of the Renaissance %U https://archiv.ub.uni-heidelberg.de/artdok/6298/ %V 1 %0 Book %A Furttenbach, Joseph %D 2017 %E Fitzner, Sebastian %F artdok:5383 %K Traktat / Architektur %R 10.11588/artdok.00005383 %T Mechanische Reissladen (FONTES 83) %U https://archiv.ub.uni-heidelberg.de/artdok/5383/ %Z Verfasser ist Joseph Furttenbach der Ältere (1591-1667) %0 Generic %A Sammern, Romana %C Berlin %D 2015 %E Bushart, Magdalena %F artdok:5407 %P 179-198 %R 10.11588/artdok.00005407 %T "Painting upon the life": Colour knowledge and colour practice in English art writing and cosmetic treatises of the sixteenth and seventeenth centuries %U https://archiv.ub.uni-heidelberg.de/artdok/5407/ %X The English verb >to paint< means both, painting with (oil) colors on panel and painting with cosmetics on the human face. Accordingly, English treatises on painting have discussed cosmetics since the late 16th century, like Richard Haydocke in his famous translation of Giovanni Paolo Lomazzos treatise on painting. Likewise, treatises on cosmetics analogized painting panels and painting faces. The paper analyzes how English cosmetic treatises of the 17th century dealt with color. Alongside practical color recipes and treatises on painting and cosmetic, it discusses if these writings talked about colors in terms of artisan production or aesthetic theory. However, the paper focuses on the question of the materials employed, i. e. the pigments described, their local or imported origin and the traditional or industrial nature of their production. %0 Book %A Wotton, Henry %D 2012 %E Davis, Charles %F artdok:1870 %K Traktat / Architektur ; Traktat / Malerei ; Traktat / Plastik ; Kunst- und Architekturkritik %R 10.11588/artdok.00001870 %T Henry Wotton, The elements of architecture, London: John Bill, 1624. Part one (FONTES 68) %U https://archiv.ub.uni-heidelberg.de/artdok/1870/ %X FONTES 68 präsentiert den Architekturtraktat "Elements of Architecture" von Henry Wotton, veröffentlicht 1624 in London. "Das Werk "The Elements of Architecture" des englischen Diplomaten und Gelehrten Henry Wotton darf in vielerlei Hinsicht als die bedeutendste Architekturschrift des englischen 17. Jahrhunderts gelten. Innerhalb der englischen Geistesgeschichte stellt sie die erste intensive Auseinandersetzung mit der vitruvianischen Architekturlehre dar. Im Kontext des europäischen Schrifttums gehört sie zu der neuen Architekturkritik, die nicht von praktizierenden Architekten, sondern von architekturinteressierten Dilettanten verfasst wurde. Die Architektur wird so zum Gegendstand intellektueller Spekulation. (...) Seine Absicht besteht in der Vermittlung architektonischer Kategorien und Qualitätsstandards, die er für die kritische Urteilskraft eines gelehrten aristokratischen Laienpublikums als notwendig betrachtet". (Ruhl) Der zweite Teil des Buches ist den spezifischen Bedürfnissen des englischen Hauses gewidmet. Das Haus wird als "Theatre of Hospitality" und "kind of private Princedom" definiert. Ornament wird hier als Ausstattung des Hauses mit Skulptur und Malerei verstanden, was Wotton zum Anlass nimmt, sich kurz mit diesen auseinanderzusetzen. Unter seinem Ornament-Begriff kommt er auch auf Gartenanlagen zu sprechen, wobei er einen Kontrast zwischen Wohnhaus und Gartenanlage fordert: "For as Fabricks should be regular", so "Gardens should be irregular, or at least cast into a very wild Regularity". Indem er wiederholt die Rolle des Betrachters für den Garden betont, wird er zum theoretischen Wegbereiter des bildhaft verstandenen englischen Landschaftsgartens. (Kruft) Die "Elements of Architecture" stellt eine wichtige Ergänzung zu dem Fontes-Schwerpunkt "Architektur- und Kunsttheorie in England, 16.-18. Jh." (Fontes 7, 8, 16, 18, 51, 52, 53, 54, 56, 58) dar. %0 Book %A Serlio, Sebastiano %D 2011 %E Davis, Margaret Daly %F artdok:1352 %K Guiden / Reiseliteratur / Topographische Literatur ; Traktat / Architektur %R 10.11588/artdok.00001352 %T East of Italy: early documentation of Mediterranean antiquities. Excerpts from Sebastiano Serlio: Il terzo libro di Sebastiano Serlio Bolognese nel qual si figurano e descrivono le antiquità di Roma, e le altre cose che sono in Italia, e fuori d’Italia (Venezia 1540) with further texts excerpted from Bernardino Amico, Giosafat Barbaro, Garcia de Silva y Figueroa, Pietro Della Valle, Jean Chardin and others (FONTES 57) %U https://archiv.ub.uni-heidelberg.de/artdok/1352/ %X Sebastiano Serlio’s third book on architecture, Il terzo libro di Sebastiano Serlio Bolognese nel qual si figurano e descrivono le antiquità di Roma, e le altre cose che sono in Italia, e fuori d’Italia, published in Venice in 1540, contains, beyond illustrations and analytical texts treating the antiquities of Rome and other cities in Italy and Istria, three non-Roman monuments from the East, the pyramid of Cheops in Egypt, the tomb of the Kings of Israel in Jerusalem and a monument consisting of one hundred columns which Serlio believed to be in Greece. The book further contains a treatise about some marvellous things in Egypt. Neither Serlio’s descriptions of the monuments in the Levant nor his treatise on the Cose meravigliose de l’Egitto have attracted particular attention in studies of the Terzo libro. Nevertheless these texts hold considerable interest. Serlio’s treatment of ancient monuments outside Italy was stimulated during his presence in Venice (1527/28 - 1541). French scholars and antiquarians, among them, the French ambassador to Venice, Guillaume Pellicier, told him about Roman monuments in France, and other Venetian friends, most notably Marco Grimani (1494-1544), the Patriarch of Aquileia, drew his attention to non-Roman antiquities in the Levant. Venice itself was an important repository of knowledge about the Eastern Mediterranean, its libraries containing many manuscripts by travellers with reports of their journeys to the East. Serlio’s treatise sheds light upon the travellers who departed from Venice for the Orient – ambassadors, diplomats, merchants, missionaries and pilgrims – and who, in their travels, recorded the vestiges of earlier ages and other cultures. The Terzo libro experienced a wide distribution and reception. Only four years following the first printing, in 1544, the second edition of the book appeared. Other editions in Italian followed in 1551, 1559, 1562, 1566, 1584 and 1600. Numerous translations – into Netherlandish, Spanish, Latin, German and English – were published in the following decades. Vincenzo Scamozzi’s very thorough index to Serlio’s books (1584) contributed significantly to the diffusion of Serlio’s treatment of ancient non-Roman architecture. Serlio’s analytic treatment of the buildings of ancient Rome and of the methods of construction of the Romans, together with his documentation of monuments in the Levant, rendered the Terzo libro an invaluable handbook for generations of later travellers, who investigated, interpreted and reconstructed the monuments they encountered beyond the confines of Italy. This is confirmed in the writings of such archaeologists and scholars as Bernardino Amico (ca. 1576 - after 1620), Garcia de Silva y Figueroa (1550 - 1624), Pietro Della Valle (1586 - 1652) and Jean Chardin (1643 - 1713). %0 Book %A Aldrovandi, Ulisse %D 2009 %E Davis, Margaret Daly %F artdok:704 %K Traktat / Plastik %R 10.11588/artdok.00000704 %T Ulisse Aldrovandi: Tutte le statue antiche, che in Roma in diversi luoghi, e case particolari si veggono, raccolte e descritte per Ulisse Aldroandi, pp. 115-315, in: Lucio Mauro, Le antichità della città di Roma, brevissimamente raccolte da chiunque hà scritto, ò antico, ò moderno; per Lucio Mauro, che hà voluto particolarmente tutti questiluoghi vedere; onde hà corretti molti errori, che ne li altri scrittori di queste Antichità si leggono. Appresso, tutte le Statue antiche, che in Roma in diversi luoghi, e case particolari si veggono, raccolte e descritte per M. Ulisse Aldroandi, opera non fatta piu mai da scrittoralcuno, & in questa quarta impressione ricorretta (Venezia 1562) (FONTES 29) %U https://archiv.ub.uni-heidelberg.de/artdok/704/ %X Ulisse Aldrovandi’s "Delle statue antiche" (1556, 1558, 1562) is the most important source for the collection of ancient statuary in Rome in the first half of the sixteenth century. It is also an early and important work on statuary and sculpture in general, a topic treated by relatively few treatises. Aldrovandi’s work has been fundamental for documenting the sculpture gardens and the collections of antiquities that existed in Rome around 1550, for reconstructing the contents and the appearance of single collections, and for establishing the provenance and tracing the history of single statues. The text has also been examined as a document of the aims and methods of archaeologists and antiquarians in the mid-sixteenth century. Among Aldrovandi's publications, his early "Delle statue" is an anomaly: it is his only published work that treats antiquities, despite many indications in Aldrovandi’s unpublished manuscripts that he investigated both ancient art and the customs of daily life in antiquity. Aldrovandi’s "Delle statue antiche", also displays a broad knowledge of many other classes of antiquities: inscriptions, vases, masks, coins and instrumentaria. The purpose of Aldrovandi, Part I, is to present the searchable full text of this work. The full text is accompanied by a brief introduction and a summary biography of Aldrovandi, both with bibliographical indications that lead to further literature. Both of these sections will be presented in a very considerably expanded form in ADROVANDI, PART II. An Appendix in Part I records in full text the summary treatment of Aldrovandi’s book by Paul Gustav Hübner (1912). Part II will also include a digital facsimile of the text presented here in full text, a commentary, and indexes (inscriptions, collections, statues, reliefs, and other objects), as well as an introduction and guide to research on Adrovandi and his work. Ulisse Aldrovandi’s book is far more than a simple list of statues in Rome, as the systematic character of his recording of the ancient works in terms of multiple parameters reveals. Aldrovandi’s detailed and accurate descriptions of ancient statues, busts, and multi-figured reliefs indicate that, for the final composition of his text, he had at his disposal not only accurate lists and careful notes made in situ but also very clear drawings. The Statue di Roma represents a milestone in the history of the systematic, almost scientific recording and documentation of works of art, and it is an important document in the history of the interpretation of ancient works of art. Ulisse Aldrovandi's "Delle statue antiche" reflects the author's encyclopaedic antiquarian interests, and displays his ability to describe and classify the most diverse materials. The wide scope of Aldrovandi’s documentation suggests that he had conceived of his work, not only as a catalogue of statues, but also as a guide to the antiquities in Roman palaces. %0 Book %A Palladio, Andrea %D 2009 %E Davis, Margaret Daly %F artdok:839 %K Traktat / Architektur %R 10.11588/artdok.00000839 %T Andrea Palladio: L’Antichità di Roma. Raccolta brevemente da gli auttori antichi, et moderni. Nuovamente posta in luce (Rom 1554) (FONTES 41) %U https://archiv.ub.uni-heidelberg.de/artdok/839/ %X Andrea Palladio’s Quattro libri dell’architettura has always attracted great interest on the part of architects and scholars. But Palladio’s brief book, l' Antichità di Roma di M. Andrea Palladio. Racolta brevemente da gli Auttori Antichi, & Moderni, has been, in comparison, neglected. Nevertheless, Palladio's Antichità has been republished in a very large number of editions. In the preface to the book Palladio writes that he has written it, owing to (1) the the destruction of a great part of Roman architecture, (2) a book, full of strange falsehoods, which has come into his hands, Le cose maravigliose di Roma, and (3) his knowledge that many readers want to know the truth about Roman antiquities and about other significant aspects of the city of Rome. Palladio states that he has collected together what he has found in ancient and modern writers. After mentioning ancient authors, he names the following modern writers: Flavio Biondo, Andrea Fulvio, Lucio Fauno, Bartolomeo Marliani. The Antichità di Roma differs from earlier books on the same subject, because Palladio’s brief entries treat, in addition to the customary discussion of Roman topography – the city, its monuments and its buildings –, the political and social institutions of ancient Rome, and the customs and everyday life of the Roman people. A close examination of Palladio's text and of earlier literature about the topography and the monuments of Rome demonstrates clearly that Palladio has relied on four principle modern sources: (1) Flavio Biondo’s Roma restaurata, in the Italian translation by Lucio Fauno (ed. pr. 1542); (2) Andrea Fulvio’s Antiquitates urbis (1527), in its Italian translation by Paolo Dal Rosso (1543); (3) Lucio Fauno’s Antichità di Roma (1548, 1549, 1552); (4) Bartolomeo Marliani’s Topographia urbis Romae (1544), in the Italian translation by Hercole Barbarasa (1548). The chapters treating the institutions of Rome and the life and customs of the people depend on a single work: Flavio Biondo’s Roma triumphans, in the recently issued translation by Lucio Fauno (1544). Despite the lack of originality in the compostion of the texts in Palladio’s Antichità, the author’s attention to the two principal, but divergent tendencies of antiquarian research render the book an important document in the emergence of multiple and differentiated focuses in classical scholarship during the period leading up to the 1550s. Palladio’s purpose in publishing his book about Roman antiquities as well as his book on the churches of Rome, both issued in the same year, 1554, was perhaps to enhance his reputation. Palladio knew from Vitruvius that the architect must also be a “man of letters”, “familiar with history.” His book on the antiquities qualified him to join the ranks of the men who followed after Bramante, an architect accomplished not only in building, but also in architectural theory and in the study of antiquity. %0 Book %A Bacon, Francis %D 2008 %E Davis, Charles %F artdok:609 %K Traktat / Architektur %R 10.11588/artdok.00000609 %T Francis Bacon: Of Building, Essay 45, aus: Francis Bacon: The Essayes or Counsels, Civill and Morall, of Francis Lo. Verulam, Viscount St. Alban (London: Printed by Iohn Haviland for Hanna Barret, 1625) (FONTES 16) %U https://archiv.ub.uni-heidelberg.de/artdok/609/ %X Together with 'The Elements of Achitecture' by Henry Wotton (1624), Francis Bacon’s essay 'Of Building' (1625, no. 45) constitutes the earliest significant statement of architectural thought both in printed form and in English. With his opening sentence, “A house is to live in, and not to look on”, Bacon gives expression to a new functionalist and empiricist position that anticipates architectural theories of modern times. Bacon discusses the site of the house (“seat”), and he proposes a verbal model for a “princely palace”. This building is placed within a row of symmetrical courtyards and in a landscape garden. A glossary of technical and archaic terms and words is provided, in addition to: (1) a brief discussion of architectural publications in England before 1625, (2) a biography of Bacon, (3) a brief treatment of Bacon’s utopia, The New Atlantis (1627), (4) a summary bibliography of literature about Bacon and his writings. Full texts are provided of (1) Bacon’s dedication of his Essays in 1625 to the Duke of Buckingham, (2) Bacon’s essay, 'Of Plantations', (3) his essay, ‘Of Beauty’. (The essay, 'Of Gardens', will be the subject of a subsequent number of FONTES.) The full text of Bacon’s 'Of Building' is complemented by an index of ‘notable things’. An anthology of commentaries to Bacon’s 'Of Building' provides excerpts from the critical literature in English and German. %0 Book %A Bacon, Francis %D 2008 %E Davis, Charles %F artdok:617 %K Traktat / Architektur %R 10.11588/artdok.00000617 %T Francis Bacon: Of Gardens, Essay 46, aus: Francis Bacon, The Essayes or Counsels, Civill and Morall, of Francis Lo. Verulam, Viscount St. Alban (London: Printed by Iohn Haviland for Hanna Barret, 1625) (FONTES 18) %U https://archiv.ub.uni-heidelberg.de/artdok/617/ %X Together with 'The Elements of Achitecture' by Henry Wotton (1624), Francis Bacon’s essay 'Of Gardens' (1625, no. 45) constitutes the earliest genuinely significant statement about the Garden and its form and functioning which was both in printed form and in English. Bacon proposes a plan or plot for the “princely garden”, partly in words with verbal prescriptions and partly with a draught or plan with which he gives the dimensions and layout of the garden. A glossary of technical and archaic terms and words is provided, in addition to: (1) a brief discussion of garden literature in England before 1625, (2) a biography of Bacon, (3) a summary bibliography of literature about Bacon and his writings. Full texts are provided of (1) Bacon’s dedication of his Essays in 1625 to the Duke of Buckingham and (2) Bacon’s essay, 'Of Gardens’. (Bacon’s essay, 'Of Building', was the subject of FONTES 16; http://archiv.ub.uni-heidelberg.de/artdok/volltexte/2008/609/) An anthology of commentaries to Bacon’s 'Of Gardens' provides excerpts from the critical literature in English and German. Also included are extracts from the essay ‘Of Gardens’ in a German translation. %0 Book %A Gerbier, Balthazar %D 2008 %E Davis, Charles %F artdok:448 %K Traktat / Architektur %R 10.11588/artdok.00000448 %T Balthazar Gerbier: A Brief Discourse concerning the three chief Principles of Magnificent Building. Viz. Solidity, Conveniency, and Ornament (London 1662) (FONTES 7) %U https://archiv.ub.uni-heidelberg.de/artdok/448/ %X A Brief Discourse concerning the three chief Principles of Magnificent Building (1662) is the first of the two architectural treatises by Balthazar Gerbier which he printed soon after his return to England in 1660. The second treatise, Counsel and Advise to all Builders, followed one year later in 1663. Both works are still in the tradition of Alvise Cornaro and Henry Wotton, and others who followed them, pragmatic and empirical in orientation, and witten more for patrons, for men of the ordinary kind, and for executing supervisors, builders, and workmen than for elevated architects. %0 Book %A Gerbier, Balthazar %D 2008 %E Davis, Charles %F artdok:546 %K Traktat / Architektur %R 10.11588/artdok.00000546 %T Balthazar Gerbier: Counsel and Advise to all Builders; For the Choice of their Surveyours, Clarks of their Works, Bricklayers, Masons, Carpenters, and other Workmen therein concerned. As also, In respect of their Works, Materials and Rates thereof. Together with several Epistles to Eminent Persons, who may be Concerned in Building (London 1663) (FONTES 8) %U https://archiv.ub.uni-heidelberg.de/artdok/546/ %X Counsel and Advise to all Builders of 1663 is the first of the two architectural treatises by Balthazar Gerbier which he printed soon after his return to England in 1660. The first treatise, A Brief Discourse concerning the three chief Principles of Magnificent Building (FONTES 7), was printed the year before, in 1562. Gerbier’s Counsel and Advise to all Builders represents an extension of and completion of the earlier Brief Discourse. In 1664, both works were printed together in a single book under the title, The First and Second Part of Counsel and Advice to all Builders (...), London 1664. Both works are still in the tradition of Alvise Cornaro and Henry Wotton, and others who followed them, pragmatic and empirical in orientation, and written more for patrons, for men of the ordinary kind, and for executing supervisors, builders, and workmen than for elevated architects. The introductory text gives an outline account of the two treatises, with greater emphasis devoted to the Counsel and Advise, and analyses their structure and content. The character of the treatises is defined in light of their content, and their originality is isolated through a specific reading of Gerbier’s intentions in treating of the realization of buildings. In particular, the unusually detailed definition of the rôle of the Clerk-of-the-Works emerges as a distinctive feature of Gerbier’s discussion of building. Gerbier’s emphasis lies in the technical, practical, material, and economic-and-financial aspects of building. In his treatise there may be discerned perhaps unique testimonies concerning the economics of building and the world of work in the building trades. %0 Generic %A Günther, Hubertus %C Lyon %D 2004 %F artdok:1316 %K Traktat / Architektur %P 501-503 %R 10.11588/artdok.00001316 %T Les ouvrages de l'architecture publiés par Walther Hermann Ryff à Nuremberg en 1547 et 1548 %U https://archiv.ub.uni-heidelberg.de/artdok/1316/ %0 Journal Article %A Hauser, Andreas %D 2003 %F artdok:8579 %J architectura %K Gattungsgeschichte Architektur, Architekturtypologie, Politische Ikonologie, Stilikonologie %P 189-216 %R 10.11588/artdok.00008579 %T Gottfried Semper und der Rathausbau : Politische Ikonologie im 19. Jahrhundert %U https://archiv.ub.uni-heidelberg.de/artdok/8579/ %V 33 %X The political symbolism in the work of the architect Gottfried Semper can be best recognised in his town hall projects. He considered the town hall to be a Com­mission of the greatest significance, worthy of being designed as a dominant town architectural element. Only one of his town hall plans was ever realised: the one in Winterthur, near Zurich in Switzerland. With forms borrowed from classical antiquity, it is a special case among historicist town hall buildings. Designed to serve as a programmatical building for a democratic reform movement, Semper endowed it with the characteristics of a national monument and a miniature parliament. %0 Generic %A Günther, Hubertus %C Lille %D 2002 %E Heck, Michèle-Caroline %F artdok:1278 %P 13-32 %R 10.11588/artdok.00001278 %T Das Astwerk und die Theorie der Renaissance von der Entstehung der Architektur %U https://archiv.ub.uni-heidelberg.de/artdok/1278/ %0 Journal Article %A Pfisterer, Ulrich %D 2002 %F artdok:548 %J Mitteilungen des Kunsthistorischen Institutes in Florenz %P 121-151 %R 10.11588/artdok.00000548 %T Filaretes Künstlerwissen und der wiederaufgefundene Traktat De arte fuxoria des Giannantonio Porcellio de' Pandoni %U https://archiv.ub.uni-heidelberg.de/artdok/548/ %V 46 %0 Generic %A Günther, Hubertus %D 1985 %E Fagiolo, Marcello %F artdok:1279 %P 272-310 %R 10.11588/artdok.00001279 %T Gli ordini architettonici: rinascita o invenzione? Parte seconda %U https://archiv.ub.uni-heidelberg.de/artdok/1279/ %Z Hubertus Günthers Aufsatz ist Teil 2 des in ident. Quelle abgedruckten Aufsatzes von Christof Thoenes: Gli ordini architettonici: rinascita o invenzione? Parte prima, S. 261-271