Flaminia Bardati
FLAMINIA BARDATI, architect, Associate Professor of History of Architecture at Sapienza Università di Roma, obtained a PhD in Architectural History (Sapienza Università di Roma) and Art History (Centre des Études Supérieures de la Renaissance, Tours) in 2002, and earned a HDR (diploma confirming the right to supervise doctoral research) at École Pratique des Hautes Études in 2008.
As a specialist both in Italian and European Renaissance, with a background in architecture, art, literature, history and science, her research had focused on Rome and France from the 15th to the 17th century as well as on early 20th-century architecture and on the work of Gio Ponti.
Thanks to several Fellowships (Accademia di San Luca, Sapienza Università di Roma, Harvard University (Villa I Tatti, Florence), P. Getty Foundation (Los Angeles), Kunsthistorisches Institut – Max Planck Institut -- Florence) she has studied in detail the role of patronage in the diffusion of Renaissance art and architecture in France, explaining this country’s capacity for cultural reception and the different modes of artistic transmission (for example, the circulation of artists, patrons, works of art, drawings, treatises, accounts). Her essays and papers have concerned mostly the castles of Fontainebelau and Gaillon; the works of Primaticcio, Vignola, Domenico da Cortona; the area of the Cancelleria in Rome and Renaissance sculpture in France.
She has authored two books : «Il bel palatio in forma di castello». Gaillon tra Flamboyant e Rinascimento (Rome, 2009) and Hommes du roi et princes de l'église romaine. Les cardinayx français et l'art italien (1495-1560), collection de l'Ecole française de Rome, 506 (Rome, 2015).
She has edited the following collective volumes: Tales of the City: Outsiders' Descriptions of Cities in the Early Modern Period, «Città e Storia», special issue, éds. F. Bardati, Fabrizio Nevola, Eva Renzulli, VII, 2012, 1; La réception de modèles cinquecenteschi dans les arts et la théorie français du XVIIe siècle (Droz, 2010, with Sabine Frommel) and Arte e architettura. Le cornici della storia (Bruno Mondadori Editore, 2007, with Anna Rosellini).
FLAMINIA BARDATI, architetto, Professore Associato in Storia dell'architettura (ICAR 18) presso la facoltà di Architettura della Sapienza università di Roma, ha conseguito nel 2002 il dottorato di ricerca in Storia dell'architettura (Università di Roma "La Sapienza") e in Storia dell'arte (Centre des Études Supérieures de la Renaissance, Tours). Nel 2008 ha ottenuto il Diplôme pour l'habilitation à la direction des Recherches (École Pratique des Hautes études, Paris).
Si occupa degli scambi artistici tra Italia e Francia nei secoli XV-XVI e del ruolo della committenza, temi per cui ha ottenuto borse di studio dall'Accademia di San Luca, dalla Sapienza, dalla Harvard University (Villa I Tatti, Firenze), dalla P. Getty Foundation, dal Kunsthistorisches Institut – Max Planck Institut (Firenze). Le sue ricerche vertono principalmente su Primaticcio, Vignola, i castelli di Fontainebleau e Gaillon, l'area della Cancelleria a Roma, la scultura francese del primo Cinquecento e l'opera di Domenico da Cortona ma ha affrontato anche lo studio di alcuni edifici universitari realizzati a Roma nei primi anni del Novecento, tra cui la scuola di Matematica di Gio Ponti, studio per cui ha ottenuto una Scott Opler Emerging Scholar Fellowship (2008).
Autrice di numerosi saggi e delle monografie «Il bel palatio in forma di castello». Gaillon tra Flamboyant e Rinascimento (Roma, 2009) e Hommes du roi et princes de l'église romaine. Les cardinayx français et l'art italien (1495-1560), collection de l'Ecole française de Rome, 506 (Roma, 2015), ha curato con Fabrizio Nevola ed Eva Renzulli Tales of the City: Outsiders' Descriptions of Cities in the Early Modern Period, «Città e Storia», numero monografico, VII, 2012, 1, con Sabine Frommel La réception de modèles cinquecenteschi dans les arts et la théorie français du XVIIe siècle (Droz, 2010), e con Anna Rosellini Arte e architettura. Le cornici della storia (Bruno Mondadori Editore, 2007).
Dal 1 novembre 2017 è Presidente del Corso di Laurea in Scienze dell'Architettura della Sapienza Università di Roma.
Address: Dipartimento di Storia, Disegno e Restauro dell'Architettura
piazza Borghese 9 - 00186 Roma
ITALY
As a specialist both in Italian and European Renaissance, with a background in architecture, art, literature, history and science, her research had focused on Rome and France from the 15th to the 17th century as well as on early 20th-century architecture and on the work of Gio Ponti.
Thanks to several Fellowships (Accademia di San Luca, Sapienza Università di Roma, Harvard University (Villa I Tatti, Florence), P. Getty Foundation (Los Angeles), Kunsthistorisches Institut – Max Planck Institut -- Florence) she has studied in detail the role of patronage in the diffusion of Renaissance art and architecture in France, explaining this country’s capacity for cultural reception and the different modes of artistic transmission (for example, the circulation of artists, patrons, works of art, drawings, treatises, accounts). Her essays and papers have concerned mostly the castles of Fontainebelau and Gaillon; the works of Primaticcio, Vignola, Domenico da Cortona; the area of the Cancelleria in Rome and Renaissance sculpture in France.
She has authored two books : «Il bel palatio in forma di castello». Gaillon tra Flamboyant e Rinascimento (Rome, 2009) and Hommes du roi et princes de l'église romaine. Les cardinayx français et l'art italien (1495-1560), collection de l'Ecole française de Rome, 506 (Rome, 2015).
She has edited the following collective volumes: Tales of the City: Outsiders' Descriptions of Cities in the Early Modern Period, «Città e Storia», special issue, éds. F. Bardati, Fabrizio Nevola, Eva Renzulli, VII, 2012, 1; La réception de modèles cinquecenteschi dans les arts et la théorie français du XVIIe siècle (Droz, 2010, with Sabine Frommel) and Arte e architettura. Le cornici della storia (Bruno Mondadori Editore, 2007, with Anna Rosellini).
FLAMINIA BARDATI, architetto, Professore Associato in Storia dell'architettura (ICAR 18) presso la facoltà di Architettura della Sapienza università di Roma, ha conseguito nel 2002 il dottorato di ricerca in Storia dell'architettura (Università di Roma "La Sapienza") e in Storia dell'arte (Centre des Études Supérieures de la Renaissance, Tours). Nel 2008 ha ottenuto il Diplôme pour l'habilitation à la direction des Recherches (École Pratique des Hautes études, Paris).
Si occupa degli scambi artistici tra Italia e Francia nei secoli XV-XVI e del ruolo della committenza, temi per cui ha ottenuto borse di studio dall'Accademia di San Luca, dalla Sapienza, dalla Harvard University (Villa I Tatti, Firenze), dalla P. Getty Foundation, dal Kunsthistorisches Institut – Max Planck Institut (Firenze). Le sue ricerche vertono principalmente su Primaticcio, Vignola, i castelli di Fontainebleau e Gaillon, l'area della Cancelleria a Roma, la scultura francese del primo Cinquecento e l'opera di Domenico da Cortona ma ha affrontato anche lo studio di alcuni edifici universitari realizzati a Roma nei primi anni del Novecento, tra cui la scuola di Matematica di Gio Ponti, studio per cui ha ottenuto una Scott Opler Emerging Scholar Fellowship (2008).
Autrice di numerosi saggi e delle monografie «Il bel palatio in forma di castello». Gaillon tra Flamboyant e Rinascimento (Roma, 2009) e Hommes du roi et princes de l'église romaine. Les cardinayx français et l'art italien (1495-1560), collection de l'Ecole française de Rome, 506 (Roma, 2015), ha curato con Fabrizio Nevola ed Eva Renzulli Tales of the City: Outsiders' Descriptions of Cities in the Early Modern Period, «Città e Storia», numero monografico, VII, 2012, 1, con Sabine Frommel La réception de modèles cinquecenteschi dans les arts et la théorie français du XVIIe siècle (Droz, 2010), e con Anna Rosellini Arte e architettura. Le cornici della storia (Bruno Mondadori Editore, 2007).
Dal 1 novembre 2017 è Presidente del Corso di Laurea in Scienze dell'Architettura della Sapienza Università di Roma.
Address: Dipartimento di Storia, Disegno e Restauro dell'Architettura
piazza Borghese 9 - 00186 Roma
ITALY
less
InterestsView All (11)
Uploads
Books by Flaminia Bardati
Leonardo_Domenico da Cortona_François Ier by Flaminia Bardati
Domenico da Cortona, active at the French court in the first half of the sixteenth century, was one of the first to spread the Renaissance in France. The design of the Hôtel-de-Ville merging French traditions and Italian solutions created a model for future town halls in France. Trained as a carpenter in the family’s bottega (examined for the first time in this paper), it is quite possible he might have seen drawings by Francesco di Giorgio while working on building sites in Calcinaio and in Naples. While at Amboise he studied with Fra’ Giocondo and improved his knowledge of the orders and Vitruvius; he also became familiar with traditional French building techniques which allowed him to work with Leonardo on his designs for Chambord and Romorantin. The expertise he gained explains how he controlled the numerous restraints inherent in the project in Paris and its successful outcome
(in: Giornate di studio in onore di Arnaldo Bruschi. QUADERNI DELL’ISTITUTO DI STORIA DELL’ARCHITETTURA, vol. 57-59/2011-2012, p. 143-150, Roma: Bonsignori editore, ISSN: 0485-4152))
The paper analyses the project of Domenico da Cortona for the town hall of Paris, commissioned by king Francis Ist in 1532. In order to make full use of the irregular building lot, Domenico designed four building placed around a trapezoidal courtyard. The plan followed a modular schema based on the courtyard arch order span, but in this way the principal façade turned out to be the smallest one. To get round this problem, Domenico doubled its width, positioning two pavilions at both ends and linking them to the façade thanks to two big arches (the right one spanned a street while the left one concealed an oratory). In order to maintain the same proportions in the façade building, in the back wings and in the courtyard, the architectural orders were differently dimensioned. French traditions and Italian solutions are merged by Domenico to create a monumental building destined to become a model for future town halls in France
French Cardinals' patronage (1495-1560) by Flaminia Bardati
Royal Studies Journal, 4(2), pp.38–63.
DOI: http://doi.org/10.21039/rsj.v4i2.136
During the second half of his reign, Francis I decided to increase the French diplomatic presence in Rome, in order to balance the influence of Charles V. The Emperor won the battle of Pavia and his welcome in Bologna in 1531 was more triumphal than that of Francis I in 1515. From the 1530's many French Cardinals had been created and many diplomatic missions were entrusted to men of the Church. Cardinals, in particular, were charged with the most delicate or representative missions. They often were asked to reside at the Papal court to support the work of ordinary ambassadors, for to their rank and potential to interface with the whole College of Cardinals and the Roman aristocracy. More than other members of the French court, they had the chance to participate in Roman cultural life and artistic production: so they could have the role of "importers" of Italian Renaissance architecture in France. The aim of this study is to verify the correctness of this hypothesis for the architectural patronage of Cardinals created during the reign of Francis I, who stayed in Rome for long periods.
Domenico da Cortona, active at the French court in the first half of the sixteenth century, was one of the first to spread the Renaissance in France. The design of the Hôtel-de-Ville merging French traditions and Italian solutions created a model for future town halls in France. Trained as a carpenter in the family’s bottega (examined for the first time in this paper), it is quite possible he might have seen drawings by Francesco di Giorgio while working on building sites in Calcinaio and in Naples. While at Amboise he studied with Fra’ Giocondo and improved his knowledge of the orders and Vitruvius; he also became familiar with traditional French building techniques which allowed him to work with Leonardo on his designs for Chambord and Romorantin. The expertise he gained explains how he controlled the numerous restraints inherent in the project in Paris and its successful outcome
(in: Giornate di studio in onore di Arnaldo Bruschi. QUADERNI DELL’ISTITUTO DI STORIA DELL’ARCHITETTURA, vol. 57-59/2011-2012, p. 143-150, Roma: Bonsignori editore, ISSN: 0485-4152))
The paper analyses the project of Domenico da Cortona for the town hall of Paris, commissioned by king Francis Ist in 1532. In order to make full use of the irregular building lot, Domenico designed four building placed around a trapezoidal courtyard. The plan followed a modular schema based on the courtyard arch order span, but in this way the principal façade turned out to be the smallest one. To get round this problem, Domenico doubled its width, positioning two pavilions at both ends and linking them to the façade thanks to two big arches (the right one spanned a street while the left one concealed an oratory). In order to maintain the same proportions in the façade building, in the back wings and in the courtyard, the architectural orders were differently dimensioned. French traditions and Italian solutions are merged by Domenico to create a monumental building destined to become a model for future town halls in France
Royal Studies Journal, 4(2), pp.38–63.
DOI: http://doi.org/10.21039/rsj.v4i2.136
During the second half of his reign, Francis I decided to increase the French diplomatic presence in Rome, in order to balance the influence of Charles V. The Emperor won the battle of Pavia and his welcome in Bologna in 1531 was more triumphal than that of Francis I in 1515. From the 1530's many French Cardinals had been created and many diplomatic missions were entrusted to men of the Church. Cardinals, in particular, were charged with the most delicate or representative missions. They often were asked to reside at the Papal court to support the work of ordinary ambassadors, for to their rank and potential to interface with the whole College of Cardinals and the Roman aristocracy. More than other members of the French court, they had the chance to participate in Roman cultural life and artistic production: so they could have the role of "importers" of Italian Renaissance architecture in France. The aim of this study is to verify the correctness of this hypothesis for the architectural patronage of Cardinals created during the reign of Francis I, who stayed in Rome for long periods.
The structure of the Horti Bellaiani was dictated by that of the underlying ruins, but was probably also inspired by an ancient model of excellence, located on the Collis Hortolorum: the Horti Luculliani, known from literary sources and partially rediscovered during the construction of the Trinità dei Monti, were identified by Pomponio Leto and Andrea Fulvio, while Pirro Ligorio included a reconstruction of them in his plans of Rome.
Built on the former southern perimeter of the Bath of Diocletian – because of the location, but also because of their layout – the Horti Bellaiani are an example of the relationship between antiquarian scholarship and the artistic creation in the sixteenth century. The commissioner of these gardens, Cardinal Jean du Bellay, was a connoisseur of antiquity: he frequented Roman humanist circles, participated in excavation campaigns, collected classical sculptures, and wanted to be part of the group of prelates and humanists whose villas were built on sites identified with famous ancient monuments.
The structure of the Horti Bellaiani was dictated by that of the underlying ruins, but was probably also inspired by an ancient model of excellence, located on the Collis Hortolorum: the Horti Luculliani, known from literary sources and partially rediscovered during the construction of the Trinità dei Monti, were identified by Pomponio Leto and Andrea Fulvio, while Pirro Ligorio included a reconstruction of them in his plans of Rome.
Du Bellay's commissions for residential buildings (castle of Saint-Maur, palace of Domenico della Rovere and the 'Horti Bellaiani' villa in Rome) reflect his appreciation for the architectural achievements of the Italian Renaissance, his antiquarian skills and his role into Roman cultural circles.
(in: C. Michon et L. Petris (éds.). Jean Du Bellay. Diplomatie et culture à la Renaissance. p. 193-220, Tours - Rennes:Presses universitaires François Rabelais de Tours e Presses univesitaires de Rennes, ISBN: 9782869063051)
Drawing upon documentary acquisitions and graphic reconstitutions of the castle of Gaillon and the archbishop's palace of Rouen, the study investigates the reasons behind the alterations carried out by Georges d'Amboise after his stay in Rome for the conclave of 1503.
(in: J. Dumont, L. Fagnart (eds.). Georges Ier d'Amboise (1460-1510) : une figure plurielle de la Renaissance. p. 131-146, Presses Universitaires de Rennes (PUR), ISBN: 9782753527720, Liège (Belgio), 2-3 dicembre 2010)
The article examines the architectural patronage of Ippolito d'Este in France compared with that of the French cardinals acting in the same period and context. It shows in which way Ippolito distinguishes himself from the French cardinals even though he respects the local traditions in terms of typology.
(in: M. Cogotti, F.P. Fiore (eds.). Ippolito II d’Este, cardinale, principe, mecenate. p. 73-89, ROMA: DE LUCA EDITORI D'ARTE, ISBN: 9788865571248)
Armagnac’s commissions for residential buildings (apartment in the Corbière tower of the Bishop’s Palace at Rodez, Château de Gages, transformation work in the Château Les Bourines and the Malet convent) reflect his gradual entry into cultural circles in Venice and Rome and appreciation for the architectural achievements of the Italian Renaissance.
(in: ETUDES AVEYRONNAISES, 2012, p. 249-263, ISSN: 1271-6081)
The castle of Nantouillet, located at the north-est of Paris, was built from 1517 and 1533 by cardinal-chancellor of France Antoine Duprat. It is one of the first building adopting the new distributive and decorative typologies influenced by the Italian Renaissance, but it has been deeply transformed since the 18th century. By means of a detailed documentary study and a new architectural survey, the essay reconstructs the phases of the building construction and its original plan. It analyses the distributive and decorative solutions and evaluates its influence on the monumental buildings realized in the Parisian region during the 1530th.
À l'aide de documents nouveaux et par l'analyse de deux œuvres, cette communication place leur formation sous l'influence de Benedetto da Maiano et Andrea Ferrucci. Il s’agit d'évaluer l'importance de l'expérience napolitaine de Pacherot, de préciser les modalités de l'arrivée des Juste en France, de mieux apprécier leur apport le processus de création de la première Renaissance française.
Should we follow the historiography of 19th and 20th centuries in regarding the flamboyant architectural achievements as the negative heritage of the Gothic tradition and the 'première Renaissance' as the expression of the stylistic renewal? Descriptive informal texts of early modern period, such as letters and diaries, offer a complimentary point of view of Italian travelers on French renaissance architecture and show that 'Flamboyant' and 'première Renaissance' were both perceived as the expression of avant-garde architectural research.
(in: M. Israëls, L.A. Waldman (éds.). Renaissance Studies in Honor of Joseph Connors, . vol. 1, p. 514-519, Villa I Tatti - The Harvard University Center for Italian Renaissance Studies, 2013, ISBN: 9788897737056)
By means of an analysis of late 19th century texts on the architecture of the French Renaissance (manuals, articles, dictionaries) the essay examines the various positions adopted by French historiography in relation to the phenomenon of the Renaissance, identifying the methodological and cultural reasons underlying the negative accent generally adopted by critics during that period.
(in: A. Brucculeri, S. Frommel. ll'idée du style dans l'historiographie artistique. Variantes nationales et transmissions. p. 299-312, ROMA:Campisano, 2012, ISBN: 9788888168982)
Four outstanding characteristics mark the artistic and intellectual patronage of Anne, Duchess of Brittany and twice Queen of France: her great piety, her concern to perpetuate the memory of her loved ones, her strong identification with Brittany and the differing roles she played during the reigns of Charles VIII and Louis XII. This study seeks to confirm whether these characteristics are to be found when one concentrates on architecture and evaluates the real impact of this patronage, drawing a distinction between works traditionally ascribed to the Queen and those attributable to her on the basis of documentary evidence
(in: S. Frommel, J. Dumas. Bâtir au féminin ?. p. 91-102, PARIGI:Picard, 2013, ISBN: 9782708409538)
By means of a documentary study and an architectural survey, the essay throws new light on the chapel of La Bourgonnière (1500 – 1540) and points out the structural transformations that have taken place after the achievement on the north side altar. This is dominated by the sculpture of a "dressed Christ", inspired by the Holy Face of Lucca. In order to admire better the big effigy, the seigneurial oratory has been opened by a large arch. The works have been commissioned by Charles Du Plessis, who accompanied Charles VIII in Lucca in 1494 and probably was present when he went revering the Holy Face. The iconography of the French sculpture is inspired by a Florentine painting of the end of the XV century, attributed to the entourage of Cosimo Rosselli (Master of the Fiesole Epiphany) and has been probably suggested by the Florentine Antonio Giusti, acting in the Loire valley at the same time.
The funerary chapel of Thomas Le Roy in Nantes (1514-1524) was one of the earliest manifestations of the Renaissance in France, a detailed analysis reveals evidence of a possible project of Italian origin as well as of a relationship with the chapel of the Blessed Giovanni Orsini in Trogir, realized by Niccolò di Giovanni Fiorentino. Thomas Le Roy, Bishop of Dol, probably commissioned the project while in Rome, where, as "Chierico di Camera", he had been living since 1495, and where he had acquired several properties and built his palace near the Cancelleria and the via Papalis.
(in: N. Faucherre, JF. Caraes, A. Gallice, J.-M. Guillouet. Nantes Flamboyante 1380-1530. p. 87-95, Nantes:Société archéologique et historique de Nantes et de la Loire-Atlantique, 2014, ISBN: 9782953737431)
Between the 15th and 16th centuries, horizontal stone coverings appeared in France, in the form of ceilings and flat vaults, using slabs resting on supporting rib-groined vaults or keystone flat arches (straight vaults) and mixing Flamboyant and Renaissance features. This article concentrates on a number of examples to be found in Normandy and Central France, dividing them into two groups: stone caisson ceilings (real or false); flat slab vaults on diaphragm, parallel and radiating arches, both filled and openwork, identifying a relationship between the typologies and geometry of the spaces covered as well as between typologies and geographical locations.
Explored through the letters and travel diaries of the Italian travellers, early sixteenth-century France inspired varying responses, which in turn were conditioned by the differing points of reference that travellers - courtiers, prelates, ambassadors, merchants - brought to them. Although castles and cathedrals were the most frequently described buildings, visitors often commented upon the legislative framework, wealth, beauty, customs, as well as the fortifications and antiquities of the cities they saw.
The article compares the image of Avignon that we can deduce reading the accounts of three Italians, travelling in France from 1512 to 1518 with different aims (Francesco Guicciardini, Antonio De Beatis, and an anonymous merchant from Milan) with that of Rouen, one of the richest cities of France at that time. The journey from the French papal dominion to the capital of French trade towards the New World, seen with the eyes of the same travellers (De Beatis and the Milanese merchant), will show some constant elements in the tales drawn through their accounts as well as the peculiarities of each city. It reveals information regarding the form, urban structures and the characteristics of French cities of the Early Modern period in a comparative perspective but also permits us to catch a glimpse of some less objective aspects of cities, related to social, political and cultural factors filtered by the individual personality of each traveller.
"
(History of Early Modern/Baroque Architecture and Urban Planning)
Learning objectives
The objective of the course is to provide students with the main concepts concerning the architectural context and achievements between the beginning of the 15th century and the end of the 18th century. Within a general outline of the culture, politics, art and architecture of the period, the main architects, works, movements and particularly significant moments will be identified to illustrate the theoretical and methodological approaches to Early Modern end Baroque architecture.
The teaching methodology will rely on understanding and comparing textual and iconographic sources. Exhaustive analysis of urban planning, technical and constructive issues, as well as assessments of contemporary social, political and economic conditions will be provided to give the students the necessary instruments and stimulus to place their architectural knowledge in a conscious and lucid historical perspective.
Expected learning results
Student will be required to acquire a general picture of the history of architecture of Early Modern and Baroque period, such as to find one’s way through time and space, recognizing main characters, works, movements and particularly significant moments as indicated in the detailed program (see BARDATI-Storia dell'Architettura e dell'Urbanistica Moderna e-learning platform or ask the Department of Storia, disegno e restauro dell’architettura, piazza Borghese, 9). Students will be required to present a critical interpretation of the social and cultural context and to analyse the spatial, distributive, material, technological and stylistic solutions of each building. It will be necessary to have direct contact with a few Roman buildings or monumental ensembles, and make drawings of them (see the list in the detailed program). A visit to Florentine monuments of the 15th and 16th centuries will be appreciated.
Form and organization of courses
Class lectures, organised in thematic sessions, will alternate with visits to Roman buildings, during which students will produce graphic notes and drawings of technological and formal details. Sessions include general topics and case-studies, which focus on a particular period/monument/main personality but it is intended that the skills learned in each session be transferrable to all the topics of the program. Some practical graphic sessions and works and some theoretical tests will be proposed during the courses to help the students evaluate their learning in itinere.
Examinations
The final test consists in an individual oral exam. After a review of the theoretical and graphic works produced during the course, the candidate will give a presentation of a topic of choice and then some questions will be posed to assess the student’s learning of the other parts of the program.
Base bibliography
Storia dell'architettura italiana. Il Quattrocento, a cura di P.F. Fiore, Milano, Electa, 1998;
Storia dell'architettura italiana. Il primo Cinquecento, a cura di A. Bruschi, Milano, Electa, 2002;
Storia dell'architettura italiana. Il secondo Cinquecento, a cura di C. Conforti, R.J. Tuttle, Milano, Electa, 2001;
R. Wittkower, arte e architettura in Italia. 1600-1750, Torino, Einaudi, 1972 (e successive ed.)
Storia dell'architettura italiana. Il Settecento, a cura di G. Curcio, E. Kieven, Milano, Electa, 2000.
P.N. Pagliara, Vitruvio da testo a canone, in Memoria dell'antico nell'arte italiana, a cura di S. Settis, Torino, Einaudi, 1986, pp. 5-85.
A. Bruschi, Intriduzione alla storia dell’architettura. Considerazioni sul metodo e sulla storia degli studi, Mondadori Università/Sapienza, 2009.
E. Crouzet-Pavan, Rinascimenti italiani. 1380-1500, Roma, Viella, 2012.
For extended bibliography see : BARDATI-Storia dell'Architettura e dell'Urbanistica Moderna e-learning platform. More documents and materials will be given during the class courses
"
GENERALITES ET APPROCHES METHODOLOGIQUES
École Pratique des Hautes Études, Paris,
Section des Sciences Historiques et Philologiques
Le cycle de conférences, échelonné sur trois ans, a eu pour but d'introduire les étudiants à l'étude et à la compréhension des dessins d'architecture qui constituent un outil d’importance primaire pour l'approche critique de l'étude d'un bâtiment.
The expected papers will thus endeavour to show how, in different fields, at different times and in different cultures, the cage constitutes an object or a device for thinking about gender relations, the production of images of femininity and expressions of male desire, the construction of gendered norms and heterocentric clichés, as well as their possible questioning, through a whole range of reversals of stigmas and role inversions.
The cage can first of all be seen as an object of desire, a place of confinement in love, or even a metaphor for the female sex. The cage is then endowed with erotic or pornographic potential. The motifs of Love as hunter or hunted, of "love in a cage" and "love cages" such as those of the bird hunter and the woman catcher or - more rarely - the birdwoman who collects lovers, make the cage an object of desire that is often ambivalent, where love attachment can turn into a device of alienation, where protective love turns into caging or even restraint. This ambivalence is redoubled by the game of openness or closure (and sometimes of concealment and unveiling) that it allows, by the tensions between captivity and liberation, between penetration and escape, favouring the expression of desire, flirtation or the act of love, but also of power relations, of forms of sexuality judged to be deviant, and even violence or rape. Depending on the case, we oscillate between the expression of courtly love, a game of seduction, a technique of control and the power of retention or confinement.
The domination of humans over birds in cages or aviaries can thus serve as a model for legitimising or, conversely, criticising forms of male domination.
We will start from the typical structure of the aviary – an openwork frame delineated by a grille. The idea of liminality inherent in the permeable and translucent structure, the metaphor of classification and knowledge symbolized by the grid pattern and netting, and the sensory landscape of the aviary (visual, aural, olfactory, and tactile) are the key themes of the workshop, which will carry on the conversations begun in the earlier sessions of PuNaCa. We will investigate enclosed bird houses, from bird cages in domestic interiors to large aviaries conceived as miniature territories where humans could range among the denizens – or entire galleries where avian citizens reign; open bird habitats, such as pergolas covered with greenery; tree-lined boulevards; ragnaia and paretaio (thickets and hedged enclosures for bird hunting); sculptural bird dwellings built onto stone architecture; and virtual aviaries – architectural interiors adorned with painted pergolas where human beings, rather than birds, moved in splendid confinement. These environments function dialectically, encouraging inversion and role reversal, intellectual games and play, aesthetic and rhetorical flourishes, sensory illusion, material instability, and transmediality.
We will expand our geographical scope by moving beyond France and Italy to encompass a Pan-European and global perspective. Collecting exotic fauna raises practical questions about how they were transported, acclimated, displayed, studied, and documented, as well as how their keepers simulated their natural habitats. The workshop further explores the domains of sound and materiality to reconstruct the avian microcosm and its interaction and intersection with the anthropic world. It reemphasizes its inter- and multidisciplinarity by raising broader questions on bird song and music, the avian state, and birds in the history of medicine and health. As digital technologies are applied to the documentation of surviving structures and the reconstruction of lost ones, new questions arise as to the collecting of data, the choice and application of software, the techniques of representing open structures, the visualization and mounting of the results, and publication and access to the final product.
Encager le ciel : approches artistiques, historiques et anthropologiques des volières. Colloque international. Académie de France à Rome – Villa Médicis, Rome, 6-7-8 février 2020.