If you are seeing this message, you may be experiencing temporary network problems. Please wait a few minutes and refresh the page. If the problem persists, you may wish to report it to your local Network Manager.
It is also possible that your web browser is not configured or not able to display style sheets. In this case, although the visual presentation will be degraded, the site should continue to be functional. We recommend using the latest version of Microsoft or Mozilla web browser to help minimise these problems.
Wiley InterScience | |||||||||
![]() Renaissance StudiesVolume 19 Issue 1, Pages 46 - 82 Published Online: 21 Mar 2005 Journal Compilation © 2010 Blackwell Publishing Ltd Journal of the Society for Renaissance Studies
Abstract | Full Text: HTML, PDF (Size: 758K) | Related Articles | Citation Tracking
'Tuscan dispositions': Michelangelo's Florentine architectural vocabulary and its reception
*
Copyright © 2005 The Society for Renaissance Studies, Blackwell Publishing Ltd. ABSTRACTAt a time when the language of classical architecture and the architectural orders was being codified into a systematic set of rules, Michelangelo's Florentine architecture, which frequently ignored or broke the rules in the interests of sculptural expressiveness and visual effect, presented something of a theoretical problem. This article considers the 'reception' of Michelangelo's architectural vocabulary, and the terms in which rule-breaking and architectural licence were discussed in Florence under the Medici duchy, where debate about architecture was unusually fervent and sophisticated, and 'Tuscanness' was a cultural as well as a political goal. Taking his lead from the influential Book IV of Serlio's architectural treatise, Vasari invoked the idea of the 'composite order' as a category which could encompass Michelangelo's architec-tural unorthodoxy within the language of the orders. Vasari's usage can also be linked with contemporary discussion among members of the Florentine Academy about the status of Tuscan language as directly descended from the ancient Etruscan, and as a language 'composed' of many elements. However, some commentators, including Vasari himself in the second edition of the Lives, and Cosimo Bartoli in his Ragiona-menti accademici, were uneasy about how much licence was actually acceptable at a time when orthodoxy was beginning to prevail in other Italian centres. While Michelangelo's own work remained above explicit criticism, certain of his 'presump-tuous' followers, especially Battista del Tasso were condemned for producing 'mon-strous things, worse than the Gothic.' Bronzino's satirical verses on rule-breaking in architecture are also considered here, along with Philibert de l'Orme's appropriation of Michelangelesque vocabulary, the much more strictly Vitruvian treatise of Giorgio Spini and the analysis of Michelangelo's Florentine architecture found in Francesco Bocchi's Le Bellezze di Fiorenza of 1591. |
| ||||||||