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

The importance of place - as a unique spatial identity - has been recognized since antiquity. Ancient references to the 'genius loci' , or spirit of place, evoked not only the location of a distinct atmosphere or environment, but also the protection of this location, and implicitly, its making and construction. This volume examines the concept of place as it relates to architectural production and building knowledge in early modern Europe (1400-1800). The places explored in the book's ten essays take various forms, from an individual dwelling to a cohesive urban development to an extensive political territory. Within the scope of each study, the authors draw on primary source documents and original research to demonstrate the distinctive features of a given architectural place, and how these are related to a geographic location, social circumstances, and the contributions of individual practitioners. The essays underscore the distinct techniques, practices and organizational structures by which physical places were made in the early modern period 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 Alandroa Introduction: Embracing Specificity, Embracing Place / Elizabeth Merrill ; 1. Architecture On Paper : The Development And Function Of Architectural Drawings In The Renaissance / Wolfgang Lèvere -- 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 Galazzo ; 10. Exploring The Book Of Fortresses / Edward Triplett. Edited By Elizabeth Merrill. Electronic Reproduction. Baltimore, Md Available Via World Wide Web.