Creating Place in Early Modern European Architecture (Visual and Material Culture, 1300-1700)

✍ Scribed by Elizabeth Merrill (editor)

• Publisher: Amsterdam University Press
• Year: 2021
• Tongue: English
• Leaves: 380
• Category: Library

✦ Synopsis

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✦ Table of Contents

Cover
Table of Contents
Abbreviations
Introduction: Embracing Specificity, Embracing Place
Elizabeth Merrill
1. Architecture on Paper: The Development and Function of Architectural Drawings in the Renaissance
Wolfgang Lefèvre
Part I: Marking Place
2. The Santacroce Houses along the Via in Publicolis in Rome: Law, Place and Residential Architecture in the Early Modern Period
Nele De Raedt
3. Towards a New Architecture of Cosmic Experience
Noam Andrews
4. Architecture for Music: Sonorous Spaces in Sacred Buildings in Renaissance and Baroque Rome
Federico Bellini
Part II: Teaching Place
5. The Spedale di Santa Maria della Scala and the Construction of Siena
Elizabeth Merrill
6. Places of Knowledge between Ulm and the Netherlands in the Seventeenth Century: The Kunstkammer of Johannes Faulhaber*
Paul Brakmann and Sebastian Fitzner
7. Nicola Zabaglia’s Scaffoldings for the Maintenance of Architectural Space in St. Peter’s Basilica and throughout Europe in the Seventeenth to Nineteenth Centuries
Stefan M. Holzer and Nicoletta Marconi
Part III: Excavating Place
8. Building on ‘Hollow Land’: Skill and Expertise in Foundation-Laying Practices in the Low Countries in the Fifteenth to the Seventeenth Centuries
Merlijn Hurx
9. The ‘Conquest’ and Construction of an Urban Place: The Insula dei Gesuiti in Venice in the Early Modern Period
Ludovica Galeazzo
10. Exploring the Book of Fortresses
Edward Triplett
Index
List of Illustrations
Fig. 1.1 Full-scale architectural tracing on a wall (Ritzzeichnung), c. 1260. Cathedral of Notre-Dame at Clermont-Ferrand. © Robert Berger, Clermont-Ferrand
Fig. 1.2 Architectural elevation of Freiburg Münster Cathedral. Pen and ink on vellum, c. 1250. Akademie der bildenden Künste Wien, Object Nr. 16.869. From Böker, Architektur der Gotik, 166
Fig. 1.3 Francesco di Giorgio Martini (attributed), architectural veduta of an ideal city. Oil on panel, c. 1490. Staatliche Museen zu Berlin, Object Nr. 1615. © Photo: Gemäldegalerie der Staatlichen Museen zu Berlin – Preußischer Kulturbesitz; photograph
Fig. 1.4 Hartmann Schedel, chorographic urban view. Liber chronicarum, Nuremberg, 1493, fol. LXI. Cambridge University Library, Classmark Inc.0.A.7.2[888]
Fig. 1.5 Antoine Caron, depiction of ancient monuments. Histoire de la Reine Arthémise. Pen and brown ink, wash heightened with white on black chalk, c. 1562. Bibliothèque nationale de France, ark:/12148/btv1b6901591q, fol. 43r
Fig. 1.6 Landgrave Moritz of Hessen, design for a castle bastion. Pen and ink, 1624. MLUB, 2° Ms. Hass., fol. 107 [278]r. Courtesy of the Universitätsbibliothek Kassel, Landesbibliothek und Murhardsche Bibliothek
Fig. 1.7 Bernardo della Volpaia (attributed), section in perspective of San Pietro in Montorio. Pen and ink, c. 1520. Sir John Soane’s Museum, Codex Coner, fol. 34r. © Sir John Soane’s Museum, London
Fig. 1.8 Technical diagrams for vaultinga) Jacob Fracht von Andernach, combined ground plan and elevation projection. Pen and ink on paper, late sixteenth century. Archiv der Stadt Köln, Ms. W° 276, fol. 29v. From Müller, Grundlagen gotischer Bautechnik
b) Alonso de Vandelvira, combined ground plan and elevation. Libro de cortes de cantería. Pen and ink on paper, c. 1580. Bibl. Nacional de Madrid, Ms. 12.719
Fig. 1.9 Albrecht Dürer, combined orthogonal projections. Hierin sind begriffen vier Bücher von menschlicher Proportion, 1528, fol. E2v. Beinecke Library, Object Nr. 10613881
Fig. 1.10 Hans Müller, bathhouse at Ems, presented in combined orthogonal projections: elevation, section and floor plan, 1580. MLUB, 2° Ms. Hass. 107 [96]. Courtesy of the Universitätsbibliothek Kassel, Landesbibliothek und Murhardsche Bibliothek
Fig. 1.11 Michelangelo, study for the vestibule of the Laurentian Library. Black chalk, pen and red chalk on paper, c. 1525. Casa Buonarroti, Florence, inv. 92 Ar. © bpk / Scala (70206536)
Fig. 1.12 Heinrich Höer, isometric projections of the Schloss Ottweiler. Pen and ink on paper, c. 1614/1617. Abt. 3011/1/3715 H, Hessisches Hauptstaatsarchiv Wiesbaden. From Fitzner, Architekturzeichnungen der deutschen Renaissance, 188
Fig. 1.13 Albrecht Altdorfer, design for a portal. (c) Wikiart
Fig. 1.14 Giuliano da Sangallo, the Basilica Emilia in Rome. Pen and ink on parchment, c. 1480. Biblioteca Apostolica Vaticana, Codex Vat. Barb. Lat. 4424. By concession of the Biblioteca Apostolica Vaticana, all rights reserved
Fig. 1.15 Cesare Cesariano, proportions of Roman architectural members. Vitruuio Pollione De architectura libri decem, 1521, fol. 60r. © Werner Oechslin Library Foundation
Fig. 1.16 Sebastiano Serlio, architectural patterns. Primo libro d’ architettura, 1559, c. 20. Courtesy of the Max Planck Institute for the History of Science, Berlin
Fig. 1.17 Andrea Palladio’s Villa Rotonda. Engraving by Bernard Picart in Giacomo Leoni, The Architecture of A. Palladio; in Four Books, vol. II., London 1775, Table XV. The Metropolitan Museum of Art, Accession Number: 41.100.169(1.2.15). Bequest of W. G
Fig. 2.1 Antonio Tempesta, plan of the city of Rome showing the Palazzo a Punta di Diamante along the Via Mercatoria. Rome: Giovanni Domenico de Rossi, 1645. The Metropolitan Museum of Art, Accession Number: 1983.1027(1-12). Edward Pearce Casey Fund, 1983
a. Santa Maria in Publicolis
b. Residence bought by the Santacroce brothers in 1439
c. Home of Prospero Santacroce
d. Palazzo a Punta di Diamante
e. Via Mercatoria
f.  Via in Publicolis
Fig. 2.2 The Palazzo a Punta di Diamante along the Via Mercatoria. © Photo: Nele De Raedt, 2018
Fig. 2.3 The fasces et secures consulares, as illustrated by Jacopo Mazocchi. Epigrammata antiquae Urbis, Rome, 1521, fol. CXXI. Courtesy of the Österreichisches Nationalbibliothek
Fig. 2.4 Prospero Santacroce’s house on the Piazza Costaguti. © Photo: Nele De Raedt, 2018
Fig. 2.5 The loggia of Prospero Santacroce’s house on the Piazza Costaguti. © Photo: Nele De Raedt, 2018
Fig. 2.6 Fragment of the Catasto Urbano showing Santacroce properties along the Via in Publicolis and Piazza Costaguti. Archivio di Stato di Roma, presidenza generale del censo, Catasto Urbano di Roma, Piante, Rione XI, I. Courtesy of il Ministero per i B
Fig. 2.7 Reconstruction of original Palazzo a Punta di Diamante. From Tomei, L’architettura a Roma nel Quattrocento, pl. 168
Fig. 2.8 Reconstruction of façade along the Via in Publicolis. From Tomei, L’architettura a Roma nel Quattrocento, pl. 170
Fig. 2.9 Reconstruction of façade along Via Mercatoria. From Tomei, L’architettura a Roma nel Quattrocento, pl. 169
Fig. 2.10 Antonio Tempesta, plan of the city of Rome showing the Piazza Branca and Platea S. Crucis. Rome: Giovanni Domenico de Rossi, 1645. The Metropolitan Museum of Art, Accession Number: 1983.1027(1-12). Edward Pearce Casey Fund, 1983
Fig. 3.1 Hartmann Schedel, depiction of the Ensisheim meteorite fall. Liber Chronicarum, Nuremberg, 1493, fol. 257r. Courtesy of the Klassik Stiftung Weimar
Fig. 3.2 Albrecht Dürer, verso of Saint Jerome. Oil on panel, c. 1494. The National Gallery, Object Nr. NG6563.D1. © The National Gallery, London
Fig. 3.3(a-b) Hartmann Schedel, the first and third days of creation. Liber Chronicarum, Nuremberg, 1493, fol. 2v and fol. 3v. Courtesy of the Klassik Stiftung Weimar
Fig. 3.4 Charles de Bovelles, God’s creation of the world. Que hoc volumine continentur Liber de Intellectu, Liber de […] sensu. Liber de nichilo, Paris, 1510, fol. 63r. Tolosana, Bibliothèque universitaire de l’Arsenal, Resp. 4842-2
Fig. 3.5 John Shute, Corynthia. The First and Chief Groundes of Architecture, London, 1563. Royal Institute of British Architects, Object Nr. EW E.f526. © Royal Institute of British Architects
Fig. 3.6 God as Architect. Frontispiece of Bible moralisée. Ink, tempera, and gold leaf on vellum, c. 1220-1230. Österreichisches Nationalbibliothek, Codex Vindobonensis 2554, fol.1v
Fig. 3.7 Cesare Cesariano, declination of celestial bodies/perspectival construction. Vitruuio Pollione De architectura libri decem, 1521, fol. 11v. Max Planck Institute, Object Nr.: Gf 200-120 gr. raro. Courtesy of the Bibliotheca Hertziana – Max Planck
Fig. 3.8 Albrecht Dürer, Martyrdom of St. Catherine (1492). The Metropolitan Museum of Art, Accession Number: 1975.653.99. The George Khuner Collection, Gift of Mrs. George Khuner, 1975
Fig. 4.1 Marktkirche, Halle, following the Lutheran renovations of 1542
a) Plan: (in red) the transverse Querkirche focused on the pulpit of the prayer; (in blue) the longitudinal axis aligned with the chancel area; (in yellow) the longitudinal axis dedicated to Eucharist and Baptism. © Federico Bellini
Fig. 4.1 Marktkirche, Halle, following the Lutheran renovations of 1542
b) Nave: looking toward the altar. © Photo: Wikipedia
Fig. 4.2 Westerkerk, Amsterdam, designed by Hendrick Cornelisz de Keyser the Elder, 1620-1631
a) Sound plan: (in red) the axis of spoken Word; (in blue) the axis of the music and sung. © Federico Bellini
b) Daniel Stoopendaal, interior of the Westerkerk, looking towards the gallery. Engraving, c. 1700. Rijksmuseum, Object Nr. RP-P-AO-23-47B
Fig. 4.3 St. John Lateran, Rome
a) Plan by Francesco Borromini, c. 1646: (in red), altar; (in blue), sound axis of the organ gallery. From Albertina Graphische Sammlung, Az. Rom 373a. © Federico Bellini
b) Organ gallery. © Photo: Federico Bellini
Fig. 4.4 Santa Maria sopra Minerva, Rome. Sound plan for the feast day of St. Dominic of 1639: (in red) the Dominican chancel; (in blue) the poggioli and the organ lofts. © Federico Bellini
Fig. 4.5 Dominique Barrière, San Luigi de’ Francesi, Rome, with decoration for the saint’s feast day, 1665. At right: the poggioli (singer lofts) prepared for the polychoral mass. The Metropolitan Museum of Art, Accession Number: 51.501.2924. The Elisha W
Fig. 4.6 Valérien Regnart, section drawings of SS. Nome di Gesù, Praecipua Urbis Romanae Templa, Rome, 1650. From private collection
a) Interior perspective, showing the matronaea for the Jesuit fathers
b) Transformation of the matronaea into lofts for the polychoral music
Fig. 4.7 Santi Luca e Martina, Rome, 1635-1672. Sound plan with singer lofts. © Federico Bellini.
Fig. 4.8 Sant’Agnese in Agone, Rome, c. 1652. Sound plan with singer lofts. © Federico Bellini
Fig. 4.9 Santa Maria in Campitelli, Rome, 1662-1667. Sound plans with singer lofts. © Federico Bellini
Fig. 4.10 SS. Apostoli, Rome, 1702-1717. Sound plan with singer lofts. © Federico Bellini
Fig. 4.11 Holy Wisdom chapel at the Studium Urbis (the so-called Sant’Ivo alla Sapienza), 1643-1659. Sound plans. From Albertina Graphische Sammlung, Az. Rom 500k. © Federico Bellini
a) Prior to the layout imposed by Borromini, 1643-1644, with the cantorie (in blue) and the cardinals’ loggia (in red)
b) Final layout, 1658-1659, with the cantorie (in blue)
Fig. 4.12 Placement of singer lofts in Roman oratories. For the comparison, the transversal length of the churches has been made equal and the counter-façades aligned. © Federico Bellini
a) SS. Crocifisso di San Marcello, 1562-1568
b) Santa Lucia del Gonfalone, 1556-1571
c) San Francesco Saverio del Caravita, 1632-1633, and c. 1670-1677
Fig. 4.13 Oratorio dei Filippini, Rome, 1637-1640. Section and sound plan: (in red) the transverse axis of the spoken Word during the oratorio piccolo (short oratorio); (in blue) the longitudinal axis between the singer lofts and cardinals loggia; (in yel
Fig. 4.14 Oratorio dei Filippini, Rome, 1637-1640. Section view of the singers’ and organ lofts. From Borromini, Opus architectonicum Equitis Francisci Boromini, 1725, tav. XLII. © Federico Bellini
Fig. 4.15 Oratorio dei Filippini, Rome, 1637-1640. Diagram of the separate paths taken by the faithful, depending on spiritual practice and social standing. From Borromini, Opus architectonicum Equitis Francisci Boromini, 1725, tav. III. © Federico Bellin
Fig. 4.16 SS. Spirito, Rome
a) Sound plan: (in red) the sacred areas of the chancel and Guidiccioni’s chapel; (in blue) the singer lofts. © Federico Bellini
Fig. 4.16 SS. Spirito, Rome
b) Nave, looking towards the altar. © Photo: Federico Bellini
Fig. 4.17 Organ galleries
a) Santa Maria del Popolo, Rome, designed by Bernini, 1655. © Photo: Wikimedia
b) Santa Maria in Vallicella, Rome, designed by Camillo Rusconi, 1698. © Photo: Wikimedia
Fig. 4.18 Santa Maria della Vittoria, Rome
(a) Sound plan, with singer lofts (in blue). © Federico Bellini
Fig. 4.18 Santa Maria della Vittoria, Rome
((b) Counter-façade organ gallery, attributed to Mattia de Rossi, 1682. The upper balcony is an eighteenth-century addition for the concerto grosso. © Photo: Livio Andronico, Wikipedia
Fig. 5.1 Map of Siena. Detail from etching by Francesco Vanni, c. 1597. Rijksmuseum, Object Nr. RP-P-OB-207.709
Fig. 5.2 Girolamo Macchi, façade of the Spedale di Santa Maria della Scala in Siena, c. 1700. Archivio di Stato di Siena, Origine dello Spedale di S. Maria della Scala di Siena, D-113, cc. 59v-60r
Fig. 5.3 Locations of the granges owned by the Spedale, c. 1500. © Photo: Elizabeth Merrill
Fig. 5.4 Giuseppe Maria Zaccheri, elevation of the grange and houses of Serre, 1751. Archivio di Stato di Siena, Ospedale S. Maria della Scala n. 1441: ‘Grancia di Serre’, c. 79: ‘Casa del Podere di Torciano’
Fig. 5.5 Grancia di Serre, rib vaults of the loggia. © Photo: Elizabeth Merrill
Fig. 5.6 Grancia di Serre, main courtyard. © Photo: Elizabeth Merrill
Fig. 5.7 Grancia di Spedaletto, crenellated wall and tower, developed c. 1446. © Photo: Elizabeth Merrill
Fig. 5.8 Jacopo Mariano Taccola, illustration of a fulling mill. De Ingeneis, c. 1430. Bayerische Staatsbibliothek, Munich, codex Monacensis 197 II, fol. 40r
Fig. 5.9 Jacopo Mariano Taccola, illustrations of excavation equipment. De Ingeneis, c. 1430. Bayerische Staatsbibliothek, Munich, codex Monacensis 197 II, fol. 69v
Fig. 5.10 Design for a chain pump
a) Jacopo Mariano Taccola, De Ingeneis, c. 1430. Biblioteca Nazionale Centrale Firenze, codex Palat. 766, fol. 30r. © Biblioteca Nazionale Centrale Firenze, by permission of the Ministry for Cultural Heritage and Activities and Tourism
b) Anonymous Sienese, c. 1480. The British Library, Ms. Add. 34113, fol. 23v. © The British Library Board
c) Anonymous Sienese, c. 1480. Sächsische Landesbibliothek, Staats- und Universitätsbibliothek, Dresden, codex Ob. 13 Dresden, fol. 123r.
d) Francesco di Giorgio, Codicetto, c. 1465-1480. Biblioteca Apostolica Vaticana, Vat. Urb. Lat. 1757, fol. 96r. By concession of the Biblioteca Apostolica Vaticana, all rights reserved
e) Anonymous Sienese, c. 1480. Biblioteca Nazionale Centrale Firenze, codex Palat. 767, fol. 33r. © Biblioteca Nazionale Centrale Firenze, by permission of the Ministry for Cultural Heritage and Activities and Tourism
Fig. 5.11 Design for water-powered mills
a) Anonymous Sienese, c. 1480. The British Library, Ms. Add. 34113, fol. 230r. © The British Library Board
b) Anonymous Sienese, c. 1480. Sächsische Landesbibliothek, Staats- und Universitätsbibliothek, Dresden, codex Ob. 13 Dresden, fol. 146r.
c) Francesco di Giorgio, Codicetto, c. 1465-1480. Biblioteca Apostolica Vaticana, Vat. Urb. Lat. 1757, fol. 162v. By concession of the Biblioteca Apostolica Vaticana, all rights reserved
d) Anonymous Sienese, c. 1480. Biblioteca Nazionale Centrale Firenze, Codex Palat. 767, fol. 74r. © Biblioteca Nazionale Centrale Firenze, by permission of the Ministry for Cultural Heritage and Activities and Tourism
Fig. 5.12 Design for drilling machinery
a) Anonymous Sienese, c. 1480. The British Library, Ms. Add. 34113, fol. 75v. © The British Library Board
b) Anonymous Sienese, c. 1480. Sächsische Landesbibliothek, Staats- und Universitätsbibliothek, Dresden, codex Ob. 13 Dresden, fol. 127
c) Francesco di Giorgio, Codicetto, c. 1465-1480. Biblioteca Apostolica Vaticana, Vat. Urb. Lat. 1757, fol. 134r. By concession of the Biblioteca Apostolica Vaticana, all rights reserved
d) Anonymous Sienese, c. 1480. Biblioteca Comunale, Siena, Ms. S.IV.5, fol. 66r. © Biblioteca Comunale degli Intronati, Siena, by permission of the Ministry for Cultural Heritage and Activities and Tourism
Fig. 5.13 Design for piston pump
a) Jacopo Mariano Taccola, De Ingeneis, c. 1430. Biblioteca Nazionale Centrale Firenze, Codex Palat. 766, fol. 18r. © Biblioteca Nazionale Centrale Firenze, by permission of the Ministry for Cultural Heritage and Activities and Tourism
b) Anonymous Sienese, c. 1480. The British Library, Ms. Add. 34113, fol. 70r. © The British Library Board
c) Anonymous Sienese, c. 1480. Sächsische Landesbibliothek, Staats- und Universitätsbibliothek, Dresden, codex Ob. 13 Dresden, fol. 118r
d) Francesco di Giorgio, Codicetto, c. 1465-1480. Biblioteca Apostolica Vaticana, Vat. Urb. Lat. 1757, fol. 132r. By concession of the Biblioteca Apostolica Vaticana, all rights reserved
e) Anonymous Sienese, c. 1480. Biblioteca Nazionale Centrale Firenze, Codex Palat. 767, fol. 55r. © Biblioteca Nazionale Centrale Firenze, by permission of the Ministry for Cultural Heritage and Activities and Tourism
Fig. 6.1 Johann Matthäus Faulhaber, handwritten inventory of the Kunstkammer of Johannes Faulhaber. Specification, title page, 1 April 1636. © Landesarchiv Baden-Württemberg, StAL, D 55 Bü 40
Fig. 6.2 Johannes Faulhaber, Geheime Kunstkammer, title page, 1628. © Zentralbibliothek Zürich, Inv. Nr. 18.15,38
Fig. 6.3 Johannes Faulhaber, Geheime Kunstkammer, entries 1-4, 1628. © Zentralbibliothek Zürich, Inv. Nr. 18.15,38
Fig. 6.4 Johannes Faulhaber, Zwey und Viertzig Secreta, entries no. I-VI, 1621. © Niedersächsische Staats- und Universitätsbibliothek, Göttingen, Inv. Nr. 8 MATH I, 4059
Fig. 6.5 Sebastian Furck, portrait of Johannes Faulhaber with gold medal, surrounded by four ‘Miraculorum’, an opened book of ‘secreta’, and holding a compass, 1630/1631. © Herzog August Bibliothek Wolfenbüttel, Inv. Nr. I 4107
Fig. 6.6 Johannes Faulhaber (engraved by Matthäus Rembold), inventions of military objects. Ingenieurs-Schul, 1637, table Ff. © Niedersächsische Staats- und Universitätsbibliothek, Göttingen, Inv. Nr. 4 ARS MIL 506/1
Fig. 6.7 Johann Carl, Kleines Zeughaus with various models of military equipment, c. 1625. © Sebastian Fitzner, courtesy of the Germanisches Nationalmuseum, Nuremberg
Fig. 6.8 Joseph Furttenbach, ground floor of the Kunstkammer. Architectura universale, 1632. © Stadtarchiv Ulm, Furttenbach H 5
Fig. 6.9 Joseph Furttenbach (engraved by Matthäus Rembold), ground floor plan of the Kunstkammer. Architectura privata, table N° 10, 1641. © Sächsische Landesbibliothek, Staats- und Universitätsbibliothek, Dresden, Shelfmark Archit.146, misc. 1
Fig. 6.10 Joseph Furttenbach (engraved by Raphael Custos), frontispiece with ‘mechanica’ and her daughters and sons. Mechanische Reißladen, 1644. © Universitätsbibliothek Technische Universität Darmstadt, Hs 2795
Fig. 6.11 Johannes Faulhaber, Ingenieurs-Schul, frontispiece with ‘sapentia’ educating the liberal arts and the artes mechanicae, 1630. © Herzog August Bibliothek Wolfenbüttel, Shelfmark 15.3 Arithm.(1)
Fig. 7.1 Nicola Zabaglia (engraved by Girolamo Rossi after Pietro Leone Ghezzi), frontispiece. Castelli, e ponti di maestro Niccola Zabaglia, 1743
Fig. 7.2 Nicola Zabaglia (engraved by Giuseppe Vasi after Francesco Rostagni), scaffolding for the restoration of the nave of St. Peter’s Basilica. Castelli, e ponti di maestro Niccola Zabaglia, 1743, pl. XXIX. National Gallery of Art, Accession Number: 1
Fig. 7.3 Nicola Zabaglia (engraved by Giacomo Sangermano), mobile scaffolding designed by Pietro Albertini in the nave of St. Peter’s Basilica, 1773. Castelli, e ponti di maestro Niccola Zabaglia, second edition, 1824, pl. LIX. The Metropolitan Museum of
Fig. 7.4 Felice Pizzagalli and Giulio Aluisetti after Nicola Zabaglia, installation of a scaffolding in the nave of St. Peter’s Basilica. L’arte pratica del carpentiere, II, 1827, pl. XXVIII. From private collection
Fig. 7.5 Amand-Rose Émy after Nicola Zabaglia, scaffoldings for the restoration of the dome and the nave of St. Peter’s Basilica. Traité de l’art du charpentier, 1837-1841, pl. 127. From private collection
Fig. 7.6 Edward Lance Tarbuck, scaffold for the restoration of the dome of the Pantheon and the nave of St. Peter’s Basilica. Encyclopedia of Practical Carpentry and Joinery, 1859, pl. 49. From private collection
Fig. 8.1 Claes Jansz Visscher II, bird’s-eye view of the Amsterdam Exchange. Lodovico Guicciardini, Beschryvinghe van alle de Nederlanden, 1612. Rijksmuseum, Object Nr. RP-P-1880-A-3841
Fig. 8.2 Three different types of pile foundations: (1) stakes with an intermediate layer of horizontally placed trunks; (2) stakes with a wooden grid; and (3) the so-called ‘Amsterdam foundation’ with long piles that reached the first solid layer below t
Fig. 8.3 Giacomo Fusto Castriotto and Girolamo Maggi, pile foundations. Della fortificatione delle città, 1564, 79r. Courtesy of The Getty Research Institute
Fig. 8.4 Claes Jansz Visscher II, piledriving machine. Detail from Roemer Visscher, Sinnepoppen, 1614, 127. Rijksmuseum, Object Nr. BI-1893-3539-127
Fig. 8.5 Pietro Guerrini, drawing of the pile foundations of the fortifications at Sas van Gent, 1683. Archivio di Stato di Firenze, Mediceo del Principato, 6390, c. 320r.
Fig. 8.6 Anonymous draughtsman, plan and section of pile foundations of the citadel in ’s-Hertogenbosch, 1736. Biblioteca Nacional de Portugal, Lisbon, D. 250 P
Fig. 8.7 Pieter Sluyter, map of Gorinchem showing the Blauwe Toren at the banks of the Merwede (detail), 1553. Nationaal Archief, The Hague, Kaarten Hingman, 4.VTH 2453
Fig. 8.8 Rombout II Keldermans, plan of Schoonhoven Castle, 1524. Nationaal Archief, The Hague, Kaarten Hingman, 4.VTH 3352
Fig. 8.9 Cornelis Frederickszn, elevation and plan of the Westsluis at Halfweg, 1556. Oud Archief van Rijnland, Leiden, Collectie Kaarten, A 601
Fig. 8.10 Cornelis Frederickszn, plan of the foundations of the Westsluis, 1556. Oud Archief van Rijnland, Leiden, Collectie Kaarten, A 598
Fig. 8.11 Cornelis Frederickszn, plan of the foundations of the Westsluis, 1556. Oud Archief van Rijnland, Leiden, Collectie Kaarten, A 599
Fig. 8.12 Reynier Corneliszn, plan of the Gouwsluis at Alphen aan den Rijn, oriented to the south, 1562. The verso contains the note: ‘Mr. Reyer stadsmetselaer tot Aemstelredam.’ Oud Archief van Rijnland, Leiden, Collectie Kaarten, A 564
Fig. 8.13 Cornelis Fredericksz van Montfoort (attributed), elevation of the Gouwsluis seen from the Oude Rijn at the north, 1562. The verso contains the note: ‘Die Orthigraphie ofte Recht opstaende bescrivinghe ende toninghe van de Sluyze tot Alphen.’ Oud
Fig. 8.14 Cornelis Fredericksz van Montfoort (attributed), plan of the foundations of the Gouwsluis, oriented to the south, 1562. The verso contains the note: ‘Het Slothout of den eersten Gront van de Goutsche Zluyse leggende tot Alphen in den Rijndijck.’
Fig. 8.15 Cornelis Fredericksz van Montfoort (attributed), Plan of the Gouwsluis, 1562. The image is oriented to the south. The verso contains the note: ‘Die Ichnographie of platten grondt van de Sluyse in den Rijndijck leggende tot Alphen.’ Oud Archief v
Fig. 8.16 Anonymous draughtsman, plan of the foundations of the Gouwsluis, oriented to the south, 1562-1563. Oud Archief van Rijnland, Leiden, Collectie Kaarten, A 561
Fig. 9.1 Jacopo de’ Barbari, View of Venice, 1500. Detail of the insula dei Gesuiti. Venice, Correr Museum, Cl. XLIV, n. 57
Fig. 9.2 Watercolour map of the area between the Sacca della Misericordia and Biri, c. 1490. ASVe, Archivio Gradenigo Rio Marin, b. 237, fasc. V
Fig. 9.3 Cristoforo Sabbadino, survey of the reclaimed plots located behind the convent of Santa Caterina, 8 March 1556. Archivio di Stato di Venezia, SCdS, b. 20, proc. 7, fol. 20r
Fig. 9.4 Design for the urban development of the plots located behind the convent of Santa Caterina, post-1556. Archivio di Stato di Venezia, SCdS, b. 20, proc. 7, fol. 20r
Fig. 9.5 Alvise Galesi, reconstruction of the land reclamation interventions carried on by the nuns of Santa Caterina, 15 June 1594. Archivio di Stato di Venezia, SCdS, b. 20, proc. 7, fol. 21r
Fig. 9.6 Cristoforo Sabbadino, Pianta de Venetia, 1557. Archivio di Stato di Venezia, Savi ed esecutori alle acque, Disegni, Diversi, 128/10
Fig. 9.7 Digital reconstruction of the insula’s land use (ecclesiastical and private). © Ludovica Galeazzo
a) 1514
b) 1661
Fig. 9.8 Reconstruction of the purchase agreements following the land reclamations. © Ludovica Galeazzo
Fig. 9.9 Reconstruction of the system of public walkways. © Ludovica Galeazzo
a) 1566
b) 1661
Fig. 9.10 Digital reconstruction of the insula’s land use (residential and commercial) in 1514, 1661, and 1712. © Ludovica Galeazzo
Fig. 9.11 Digital reconstruction of the insula’s land use (buildings for rent and private buildings) in 1514, 1661 and 1712. © Ludovica Galeazzo
Fig. 9.12 Survey of the convent of Santa Caterina and design for the new buildings to be constructed, first half of the seventeenth century. Archivio Storico del Patriarcato di Venezia, Parrocchia di San Felice, Santa Sofia, Atti generali, fasc. 4
Fig. 9.13 Vincenzo Maria Coronelli, The Freezing of the Venetian Lagoon, 1708. Venice, Biblioteca Nazionale Marciana, 150.d.5
Fig. 10.1 Brás Pereira, Fronteira de Portugal fortificada pellos reys deste Reyno, 1642. Biblioteca Nacional de Portugal, Ms. IL 192, c. 1
Fig. 10.2 Duarte de Armas, Book of Fortresses. Arquivo Nacional Torre do Tombo, Lisbon, Ms. 159
a) Plan for Mertola Castle (c. 122). Note the identification of lengths and heights in varas (v) and palmos (p)
b) Detail of Duarte de Armas and his servant at the fortress of Ouguela (c. 30)
Fig. 10.3 Duarte de Armas, south-facing view of Almeida castle, bearing the personal standard of Manuel I and the customary flag of the kingdom of Portugal. Book of Fortresses, Arquivo Nacional Torre do Tombo, Lisbon, Ms. 159, c. 74.
Fig. 10.4 Duarte de Armas, Book of Fortresses, Arquivo Nacional Torre do Tombo, Lisbon, Ms. 159
a) North-facing view of ‘prototype’ bastion at the fortress of Miranda do Douro, detail (c. 84)
b) North view of Vinhais, showing foundations dug for new gunner towers (c. 92)
Fig. 10.5 Duarte de Armas, Book of Fortresses, Arquivo Nacional Torre do Tombo, Lisbon, Ms. 159
a) South-facing view of the Fortress of Nisa, with detail of Albatross nesting near a partially ruined tower (c. 48)
b) East-facing view of Montalvão castle, with detail showing grass growing from the ruined foundations (c. 51)
c) Detail of an abandoned farmhouse near the fortress of Portelo (c. 100)
d) North-facing view of the fortress of Idanha-a-Nova, with detail of growing trees (c. 54)
Fig. 10.6 Duarte de Armas, Book of Fortresses, Arquivo Nacional Torre do Tombo, Lisbon, Ms. 159
a) South-facing view of Castelo Mendo with a detail of crumbling towers (c. 69)
b) North-facing view of Castelo Mendo with detail of crumbling walls (c. 70)
Fig. 10.7 Duarte de Armas, Book of Fortresses, Arquivo Nacional Torre do Tombo, Lisbon, Ms. 159
a) South-facing view of the fortress of Penha Garcia (c. 60). Note the appearance of the gallows on hilltop to the right of the fortress; b) North-east view of town of Mogadouro, with detail of pillory (c. 79).
Fig. 10.8 Duarte de Armas, Book of Fortresses, Arquivo Nacional Torre do Tombo, Lisbon, Ms. 159
a) North-west-facing view of the fortress of Salvaterra do Extremo (c. 57). Note the subtle identification of the river that separates Salvaterra from the nearby Castilian fortress of Penafiel. This is one of the only fortresses that was likely drawn by D
Fig. 10.9 Perspectival map showing in blue the viewsheds cast from observer locations at the top of each fortress location in the Book of Fortresses. This region of Alentejo Alto reveals very widely spread viewsheds. © Edward Triplett
Fig. 10.10 Duarte de Armas, views of Ouguela, with the Castilian castle/town of Albuquerque in the background. Book of Fortresses, Arquivo Nacional Torre do Tombo, Lisbon, Ms. 159, cc. 29-30
Fig. 10.11 Viewshed analysis from an observer location 10 metres above the site of Ouguela. © Edward Triplett
Fig. 10.12 Viewshed gap between the sites of Assumar and Castelo de Vide. Viewsheds of Portalegre and Alegrete (labelled) have been turned off to highlight the gap in visibility in the region. © Edward Triplett
Fig. 10.13 Sites depicted in Duarte de Armas’ Book of Fortresses. © Edward Triplett
a) With locations connected using red lines
b) Detail of clustered sites connected by Duarte de Armas in his perspective drawings
Fig. 10.14 Detail of ‘billboard’ north-facing view of Monforte linked to Alegrete, passing right by Assumar, which is roughly half the distance away and in the same direction as Assumar. © Edward Triplett
Fig. 10.15 An illustration of the use of Duarte de Armas’ perspective drawings to locate watchtowers around the city of Olivença. © Edward Triplett
Fig. 10.16 Viewsheds after adding observers on the proposed locations of the watchtowers around Olivença and Castelo de Vide. © Edward Triplett
Fig. 10.17 Sightlines between fortresses drawn by Duarte de Armas. Positive intervisibility based on analysis of a 15-metre digital elevation model as previous viewshed analysis. © Edward Triplett
a) Fortress sightlines shown in white
b) Fortress sightlines shown in white with sightlines between watchtowers and fortresses shown in orange
Fig. 10.18 West-facing ‘billboard’ image of Mertola castle in ArcGIS Pro. This is one of a select number of drawings that appears to have a single primary vantage point. © Edward Triplett
Fig. 10.19 North-facing view of the Fortress of Alcoutim in ArcGIS Pro. The view presented by Duarte de Armas is placed in one of several vantage points that he likely combined in his drawing. © Edward Triplett
Fig. 10.20 3D scene containing georeferenced photogrammetric point cloud data. This data has been invaluable for discovering vantage points used by Duarte de Armas for his perspective drawings. The fortress of Mourao, pictured here, is a typical example.
Fig. 10.21 CAD model of Alandroal castle, based on a tracing of Duarte de Armas’ plan with extruded towers and walls according to his height measurements. This is compared to dense 3D photogrammetric data of the same site. © Edward Triplett
Fig. 10.22 Simple CAD model of Castro Marim castle based on Duarte de Armas’ plans and height measurements. This is compared to dense 3D photogrammetric data of the same site. © Edward Triplett
Fig. 10.23 Mosaic of self-portraits of Duarte de Armas in the Book of Fortresses. © Edward Triplett