5.000

VIGNOLA. Jacopo Barozzi da.. Regola de cingue ordini d'architettura di M. Iacomo Barozzio Da Vignola. libro primo et originale. [followed by] Alcune opera d’Archiettura di Iacomo Barotio da Vignola raccolte e poste in luce da Francesco Villamena Lanno MDCXVII.

Rome, G.B. de'Rossi; F. Villamena., [1619]; 1617

Folio (407 x 267mm.) two parts in one volume. Part I: engraved title-page with portrait of Vignola and 36 engraved plates. Part II: engraved title-page and 17 engraved plates, the last two folding. Light marginal worming, a few spots, a tear on last plate, a good copy in contemporary stiff vellum.First printed in 1562 the Regola de cingue ordini d'architettura is one of the most influential and famous architectural treatise of every epoch; it remained a standard textbook on the architectural orders for three centuries.Vignola's Regola is part of the practical direction of Renaissance architecture, which has often been compared to the more theoretical interests of the Quattrocento. A brief comparison between Alberti's treatise and Vignola's column book shows how much more focused are the ambitions of the latter. Vignola's method for the design of the five orders can be accused more justly of having produced uneducated architects than Serlio's easy and simple method (as Julius Schlosserhas argued, turning around Lomazzo's severe judgment of Serlio's contributions). But it is precisely the limited scope that is the probable foundation of Vignola's success, according to Maria Walcher Casotti (1985). Because of his narrowe horizon, Vignola's book is more reliable than the more complicated personal approaches of Serlio or Palladio. The advantages of Vignola's work are the clarity of the material, the methodical order, the precise measurements for all the details (the "specs"in architectural parlance), and the elimination of all but the essential content. But how did Vignola arrive at this condensed material? His association with the Vitruvian academy in Rome is well documented, and his Regola can be seen as the practical result of the academy's theoretical and archaeological interests. The clarity of the Regola, its limitation to one argument, the mathematical solutions, and the orderly search for a universal proportion made it an ideal pedagogical instrument. But its significance is largely educational. It is useless, according to Walcher Casotti (1985), to search in it for a poetics that may have pointed the way to new developments in architectural language, nor does it explain the aesthetic theories of the writer. The book's success is due in large part to its elementary quality, being neither a humanist study in the manner of Alberti nor an archaeological corpus like the one that Raphael had planned to publish. Vignola's treatise on the columns may originally have been thought of as the complement to the much more ambitious project of the Vitruvian academy to publish a clear Latin edition of Vitruvius. As the author suggests, the Regola was not conceived as a pedagogical tool, even though that is exactly how it was used for almost three centuries, but was the result of the architect's long experience placed at the disposal of friends and colleagues.Walcher Casotti, Maria. "Giacomo Barozzi da Vignola: Nota introduttiva" and "Giacomo Barozzi da Vignola: Le Edizioni della Regola." In Trattati. Ed. Elena Bassi et al. Milan, 1985: 501-512, 527-577; Fowler 356

 

 

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