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ARCHITECTURE 'TOSCANE'

ARCHITECTURE TOSCANE

ou

PALAIS, MAISONS U

Et Autres Édifices

De La Toscane

MESURÉS ET DESSINÉS

PAR A. GRANDJEAN DE MONTIGNY ET A. FAMIN Ih

ARCHITECTES ANCIENS PENSIONNAIRES DE L'ACADÉMIE DE FRANCE, A ROME

251968

Reprinted With a Préface and Description of Plates "S^^^Ty oF TO^'^>i;

By JOHN V. VAN PELT, F. A. 1. A., A. D. G. F.

THE LIBRARY OF ARCHITECTURAL DOCUMENTS Volume I

NEW YORK

THE PENCIL POINTS PRESS, INC

I (; 2 ^

■rq ei /^^^'^^^

THE LIBRARY OF ARCHITECTURAL DOCUMENTS

DRAWIXGS of the best examples of the architecture of the past are indispensable in the practice and in the study of architecture. How- . ever, the books of plates containing such drawings are so costly that many architects are obliged to work under the handicap of an inadéquate library and most draftsmen and students must dépend entirely upon the books in the office or school, when they might dérive much inspiration and develop- ment from studying such books at their leisure.

Knowing this condition and having found that ihe plate pages from old Works on architecture published in Pencil Points are appreciated by a large number of readers, the publishers of Pencil Points hâve begun the publication of a séries of reprints of old books of architectural plates under the gênerai title of "The Library of Architectural Documents," with the purpose of making this material available for every one at as moderate a price as is consistent with a sntisfactoryr présentation of the matter, not costly publications of limited appeal but a practical working library.

This reprint of "Architecture Toscane" is the first book in "The Library of Architectural Documents." Hère ail of the one hundred ten plates of the original édition, first published in Paris in 1815, are reproduced with the greatest care and faithfulness. The table of architects and their works and the table of contents in French hâve Ijeen reproduced, but in place of the French préface and description of plates this reprint is provided with a préface and description of the plates in English.

The second volume in "The Library of Architectural Documents" will l;e "D'Espouy, One Hundred Selected Plates from Fragments D'Architecture Antique," which is now on the press.

Thèse will be followed by other volumes, rounding out the séries into a référence library embracing a wide range of the best material presented in such a way as to meet the requirements of the architectural profession.

PREFACE AND DESCRIPTION OF PLATES

GRANDJEAN DH MON'TIGNY AND A. FAMIN were disciples of Percier and Fontaine. Inspired by the publication of the "Palais et Maisons de Rome," they t'ol- lowed the example of thèse masters and in their work illustrating Palaces, Villas and other Buildings of Tuscany surpassed them, if that were possible, in the accuracy of their meas- urements and the care and tldelity with which tliey portrayed the most minute détails. Famin withdrew from the work after the twelfth of the eighteen parts had appeared and the pub- lication was completed by Grandjean de Montigny alone.

The drawings were made in the scale of the French foot of the period — about 181 5 — which equalled 11 3/12 English inches. The French toise equalled six French feet. Nearly ail of the plates hâve a scale of mètres en- graved on them as well as the scale of French feet or toises.

The tirst plate of each part, or "Cahier," was a frontispiece grouped with a masterly sensé of composition. Its éléments were line draw- ings of actual examples of the style under con- sidération or of classical éléments seen in the Italian muséums of that day. To understand the plan of the work it must be borne in mind that cities of Italy that flourished at the same time were as ditî'erent in their architectural ex- pression as were widely separated periods of the Renaissance in Rome or even in Tuscany itself. Florence astonishes us by the massive hlocks of stone that turn the palaces of its most magniticent nobles into fortresses, while many of the monuments of Pisa, Pistoja and Arezzo are garbed with a delicacy and charm that seems to make small matter of the jealous hâte of dukes or the mad fury of the mob.

The volume contains an interesting chron- ological table of the architects with their birth- places and références to the plates depicting their work.

The first plate, frontispiece of Cahier 1, shows the entrance door of the Palazzo Vecchio at Florence with two colossal figures, that of Hercules and Cacus on the right by Baccio Bandinelli, 1522, the other, that of David, by Michael Angelo, 15()4. The eques- trian statue by John of Bologna, partly hides in this view the large fountain by Bartolom- meo Ammanati, in the center of which is a colossal statue of Neptune.

The Pitti palace and Boboli Gardens are tound (in plates 2, 3, 4, 5, 6, 7, 8 and 61. The

palace was begun by Filippo Brunelleschi about 1435. Luca Fancelli was placed in charge of construction, but the designs for the completion of the main building are those of Ammanati, while Giulio Parigi and Alfonzo Parigi are responsible for the two wings on either side. About the middle of the Seven- teenth Century the Boboli Gardens were be- gun from designs of Nicolo Braccini and con- tinued by Buontalente, who is responsible for the grotto, while the Isola Bella, plate 8, is the work of Giorgio Vasari. John of Bologna was the sculptor.

In the frontispiece of Cahier II, plate 9, and in plate 10, is shown the tomb of Carlo Marsupini by Desiderio da Settignano, about 1485.

The Pazzi Chapel, plates 11, 12, 13 and 82, was designed by Brunelleschi in 1420. The tlgures of the evangelists in the pendentives and the vault, frieze and médaillons of the vestibule are in colored terra cotta by Luca délia Robbia, and the sculpture by Donatello.

Plate 14, frontispiece of Cahier 111, contains détails taken from the muséums and from some of the Florentine cliurches. The column deco- rated with arabesques is in the church of San Pancrazio, the tomb it supports in Santa Croce, while the cornice with its lion heads cornes from the interior of the Loggia de' Lanzi and the frieze above it from one of the columns of the Palazzo Vecchio.

The Palazzo Strozzi is represented by plates 15, 16, 17 and 18, while détails of the base and iron work appear at the left of plate 19. It was begun in 1489 by Benedetto da Maiano and tinished by Simone Pollajuolo, called Oonaca. The internecine strifes of the period are responsible for its rugged character.

The Palazzo Rucellai, plates 21 and 22, was begun in 146(» and designed by Léo Battista Al'berti.

Two charming little palaces are shown on plate 23, but their authors are not given.

The Palazzo Pucci and the Palazzo Orlan- dini follow on plate 24. The former is attrib- uted to Paolo Falconieri.

The Archbishop's palace, plate 25, was very old when it was burned in 1533. It was rebuift and enlarged about the middle and latter half of the Sixteenth Century from designs by Gio. Antonio Dosio.

Plate 26 is another frontispiece. AH the classic détails shown are taken from the Mu- séum (if Florence, except the gold mounted

amber candelabrum, which is part ot the treas- Lire of the Palazzo Veccliio.

The Palazzo Cocchi, plate 27, is attributed to Baccio d' Agnolo. Originally the heavy second-story arches formed an open loggia.

The Palazzo Guadagni, plate 29, has sgraf- fito décorations and its similarity to the Palazzo Nicolini makes reasonable the pré- somption that it was designed by Brunelleschi. Bartolommeo Ammanati designed the Palazzo Giugni, plate 30. On plate 31 is shown the Podesta, which preceded the two palaces just described, by some three hundred years, and is said to hâve been built by Lapo or Jacopo in 1250 although other atithorities hold that Organa also was engaged upon the wortc.

The Palazzo Vecchio, plates 1, 20, 52, 37, 77 and 78, is also of early date, for it was begun in 1298 by Arnolfo di Lapo (not Lapo or Jacopo the architect of the Podesta). Michelozzo Michelozzi restored it in 1450, re- placing the old brick columns of the court with stone. Thèse columns were richly decorated with white stucco on a gold background and the porticos were ornamented with colored arabesques by Marco Marchetti or Marco Marcucci da Faenza in 1565, at the time of the marriage of Pietro Francesco de' Medici with the archduchess of Austria. Meanwhile Cosimo de' Medici, who took up his résidence at the Palazzo Vecchio in 1538, had commis- sioned Giorgio Vasari to restore and embellish the council hall. The balcony of this hall is, however, the work of Baccio Bandinelli and Giuliano da San Gallo. Ammanati made drawings for another balcony opposite the tîrst, but the design was never executed.

Ratïaello d'Urbino made the drawings for the Palazzo Pandoltîni, plates 33, 34, 35 and 36, and Gio. Francesco Aristotile began the construction. After his death, in 1530, Bastiano Aristotile, his brother, completed the building.

The frontispiece to Cahier VU, plate 38, contains sculptural détails of the Fifteenth Century. The arabesque panel is in marquetry from one of the chapels of Santa Maria Novella.

Plates 39, 4o, 41, 42 and 43 show the Palazzo Riccardi, originally the Medici. It was designed by Michelozzo Michelozzi, who com- peted with Brunelleschi in making drawings for it. The construction took place between 1430 and 1433. The grand staircase was built about l66o by Gio. Batista Foggini at which time this palace became the property of the Riccardi family who added the Palazzo Lorenzino Medici to it, extending the façade

in the same style from the tenth bay. The Windows in the tîrst-story arches are attributed to Michael Angelo. As in the Strozzi, we tînd a retlection of the turbulence of the times in the ruggedness of the architecture.

The Palazzo Giacomini, plate 45, would seem to be a copy of the Bartolini, see plate 63.

The Palazzo Ugoccioni, plates 46 and 47, is attributed to Palladio. Unfortunately it was never completed and the projecting cor- nice has been set immediately on the archi- trave. The tîrst tloor is in stone, the balustrade in marble, while the capitals, upper cornices and window casings are in terra cotta. The détails show extrême delicacy and retinement.

The architect of the Gherardesca, plates 48 and 49, was not known to de Montigny. It was built in 1470 for Bartolommeo Scala, sec- retary of the Republic and distinguished his- torian, and the beautiful character of the plan indicates that this palace was the work of one of the ablest architects of Scala's time. The bas-reliefs and spandrels of the court are in bronze. The cotfered vaults are in white stucco.

Plate 50, another fronstispiece, contains a white marble fireplace in the Palazzo Gondi, by Giuliano da San Gallo.

Plates 51, 52, 53, 54 and 55 depict the Palazzo Gondi, designed by Giuliano da San Gallo. It was begun in l49o and was to hâve been larger, but the death of Giuliano Gondi brought the work to an end.

The frontispiece of Cahier X, plate 56, is composed of old fragments including Fifteenth Century détails. In the distance is a view of the Villa Palmieri.

Plate 57 is of the "New Market," begun in 1547 by Bernardo Tasso. Buontalente eut two staircases in the piers at the corners of the building to provide access to the upper floor used for the préservation of the records of the market.

The court and détails of Palazzo Roberto Strozzi are shown in plates 58 and 59. The palace was planned by Vincenzo Scamozzi, but the court was the work of Ludovico Cardi, called Cigoli. The détail is unusually beautiful and pure.

In 1787, Giuseppe Manetti designed the casino of the Cascine, plate 60. The façade of the casino itself is of brick and stone, the stables almost entirely of brick.

The fragments grouped in the frontispiece to Cahier XI, plate 62, were taken from the Florentine muséum. The bas-relief of the bronze pedestal is by Lorenzo Ghiberti.

Plates 63 and 64 show the Palazzo Bartolini,

designed in 1520 by Baccio d'Agnolo. The text referring to plate 63 statesthat Baccio d'Agnolo was the originator of the treatment of doors and Windows with columns, entabla- tures and pediments and that this treatment caused much criticism to which the architect responded by placing over the door of the Palazzo Bartolini "Carpere promptius quani iniitari." The upper gallery upon the court is of wood and is set back. to give more light to the lower stories.

The first of the churches, San Pancrazio, shown in plate 65 (on the left) was begun before 1078, and restored in 1752. The second church, Santa Magdalena del Pazzi, was begun in 1410 and the cloister added later by Giuliano da San Gallo. The third church, San Michèle, was begun in 1604 from the designs of Matteo Nigetti, whose many interests caused him to give to its build- ing so little attention that he was supplanted by Gherardo Silvani.

The Chiesa délia Annunziata, plate 66 (see also the frontispiece, plate 74), was founded in 1262 and has been much changed. its choir was designed in 1452 by Alberti while Luca Fancelli was commissioned to carry out .the work. The large cloister was by Cronaca. On the Piazza, at the right of this plan, is the famous portico of the Hospital of the Inno- cents (marked D and E) built from the draw- ings of Brunelleschi between 1421 and 1444. The portico on the left of the square (marked "D") was designed by Antonio da San Gallo in imitation of Brunelleschi's portico. The portico marked "F" is by Gio. Caccini, I601.

San Miniato, plates 67, 80 and 84, was built as a basilica by Charlemagne in 776, but it was entirely rebuilt in its présent style in 1013. The fine Windows at the back of the church are closed by translucent marble.

The frontispiece to Cahier XII shows a num- ber of fragments taken from the muséums and churches of Florence.

Plates 69, 7o, 71 and 11 depict the Palazzo Niccolini. Brunelleschi was the architect and the peculiar shape of the site forced him to place the entrance door otî" axis. The pro- jecting roof of the street front is particularly interesting.

The hospital of San Giovanni was founded about 1400, but the vestibule shown in plate 73 dates from the end of the Seventeenth Century and is attributed to Carlo Andréa Marcellini.

The frontispiece, plate 74, contains a tomb from the Chiesa délia Annunziata, a bronze group of Judith by Donatello taken from the

Loggia de' Lanzi, a column surmounted bv an eagle from the Cascine, a frieze of children from the Palazzo Vecchio, a baptismal font from the Santa Trinita and, in the background, the ogive-pierced wall of Santa Maria Novella.

Plates 44, 75 and 76 show the Chiesa di San Spirito, and 75, the plan of the Augustine couvent. The plan of the church is by Filippo Brunelleschi, but it was finished in 1470, twenty years after his death. The vesti- bule, plate 44, is marked "G" on the plan and was by Andréa Contucci da Monte Sansovino, while the sacristy is attributed to his master, Cronaca. The cloister next to the church, marked "J" on the plan, was built by Alfonzo Parigi, the second cloister, "M" by Bartolom- meo Ammanati in 1564. The ciborium and high altar are the work of Caccini.

On plate 77, to which référence has already been made, and on plate 79, are drawings showing the Ufiizi, the palace now containing the major portion of the Muséum of Florence. It was begun in l56l by Giorgio Vasari and tinished after his death in 1574 by Alfonzo Parigi.

At the left of plate 77 and through the door of the Palazzo Vecchio, plate 78, is shown the Palazzo Cimenesi. This palace was built by Giuliano da San Gallo for his personal use.

Plate 80 shows a wall with mosaics from San Miniato, an entablature and column from the chapel of the Pitti Palace and a lectern and bishop's throne of walnut from the Cathedral of Pisa.

The plan of the Certosa near Florence on the Siena road is the subject of plate 81.

Plate 82 shows the door in the cloister of the couvent of Santa Croce. The Pazzi Chapel, plates 11,12 and 13, is on this cloister. The doors shown in the doorway do not be- long to it but to the door of the Pazzi Chapel.

The hospital of San Paulo de' Convales- centi, plate 83, was founded in 1221 but much expanded at later dates. The charming façade is by Filippo Brunelleschi. One of the terra cotta medallions bears the date 1451, but that may only indicate the year in which they were placed there by Andréa délia Robbia. The plan and élévation of the tish market by Giorgio Vasari, and the plan of the Palazzo /anopucci and of another small palace are on this plate.

On plate 84 are the plans of five churches. Santa Maria del Fiore was begun in 1298 from the designs of Arnolfo di Lapo, but Filippo Brunelleschi began the dôme in 1420. He died in 1444. at which time the vault was en- closed, although the church was not entirely

finished till 1472. Santa Maria Novella was begun in 1279 by Fra Sisto and Fra Ristoro and fînished in l35o by Fra Giovanni. A façade built under tlie direction of Léo Battista Alberti was completed in 1477 and Vasari is credited witli tlie altars on eitlier side of tlie cliurcli. San Lorenzo was begun in 1425 from drawings by Brunellesclii. Tlie Prince's Cliapel is by Michael Angelo. The "Cliurcli of tlie Angels" is untînislied. The original drawings by Brunelleschi can be seen in the monastery. Plate 85 shows the Loggia de' Lanzi begun in 1356 by Andréa Clone Orgagna.

The frontispiece, plate 86, contains a bronze fountain from the gardens of the Villa Petraia near Florence.

The plan on the left of plate 87 is of a small palace at Castiglioncello.

Plate 88 is of a chapel in Sienna built during the end of the Fifteenth Century from the drawings of Francesco di Giorgio. This archi- tect was a pioneer of the Renaissance.

Plates 89, 90 and 91 show the Palazzo Piccolomini at Sienna. It was built in the early years of the Sixteenth Century and is attrib- uted to Francesco di Giorgio.

The frontispiece, plate 92, is made up of détails from Sienna. The fountain of the Piazza del Campo was begun in 1334 under the direction of Giacomo Vanni di Ugolino and finished in 1342. The sculpture was executed in 1418 by Giacomo délia Quercia and was so much appreciated at that time that he was called délie Fonte. The baptismal font at the left of the foreground is also his. The niarble bench on the right is one of those from the Loggia of Pope Plus II, see plate 95.

On plate 93 are the plans ot^ two palaces. That of the Sergardi family was constructed about the beginning of the Fifteenth Century. It was restored in 1780 by Paolo Posi who built two galleries, used as conservatories, on either side of the second court.

The Palazzo Spannocchi, plate 94, was built in 1472 from drawings by Francesco di Giorgio. The Loggia of the Pope, plate 95, is also by Francesco di Giorgio and dates from 1460. Another of his designs is the small brick and terra cotta house in Sienna, shown on plate 96, and is of the date of 1460. The sacristy of the Cathedral of Sienna, plate 97, was built in 1450.

Détails from Volterra are grouped in the frontispiece to Cahier XVII, plate 98.

The house of the Via del Corso in Siena, plate 99, is brick with a terra cotta cornice. The base and inipost courses are in stone and

the sculptured motive and its franie in niarble. It is attributed to Baldassare Peruzzi.

The Chiesa della Pieve at Arezzo was rebuilt on an old foundation by Vasari. That of the Nunziata is attributed to Antonio da San Gallo, while the hospital of Arezzo would appear to be of the end of the Fifteenth Cen- tury. Thèse are ail shown on plate 100.

The Chiesa della Madona délie Grazie, plates 101 and 102, is situated about a mile from Arezzo and was built toward the end of the Fifteenth Century by Benedetto da Maiano. The crowns and arabesques between the arches are of colored terra cotta by Andréa della Robbia.

Plate 103 gives a perspective view of the Palazzo Communale. It is of brick and stone and would seem to be of the Thirteenth Cen- tury. The council hall was begun in 1327 from the designs of d'Agostino and d'Agnolo and later they built the tower which is at the corner of the palace.

The eighteenth frontispiece, plate 104, con- tains classic and Fifteenth and Sixteenth Cen- tury détails, the latter from the muséum at Volterra. The gallery in the background is a conception of the authors of the book.

Plate lo5 shows the Church of Santa Maria del' Umilta designed by Ventura Andréa Vitoni di Pistoia, originally a carpenter. It was begun in 1509. The roof was not on when the architect died and in 1561 Vasari was ordered by Cosimo de' Medici to complète the building. He changed the original design somewhat, probably not to its advantage.

The plan of the main square of Livorno, plate 106, is attributed to Alessando Pieronl It is of the early Seventeenth Century. The open atrium of the cathedral and the Ducal Palace are somewhat later and by Antonio Cantagallina.

The plan of the "New Venice" at Livorno, plate 107, was laid ont and built by the engi- neer Santi. One of thèse canals connects Livorno with Pisa.

The Campo Santo of Pisa, plates 108 and 109, was begun in 12 18 and finished in 1283 by Giovanni da Pisa. The façade is of black and white marble and the roof of sheet lead.

In making this résumé of de Montigny's préface, Italian nanies hâve been used as more consonant with présent day English custom. Of necessity the inscriptions on the plates remain French but there should be little dif- tlculty in correlating the two. After ail the exquisite charm and accuracy which give the book its great value can be appreciated with- out the aid of any language.

John V. Van Pelt, F. A. 1. A., A. D. G. F.

INDEX

SvBjECT Plates

Froktispieces 1. 9, 14, 20. 26, 32, 38, 44. 50.

.^6. 62, 68. 74. 80, 86, 92, 98. 104

BoBOLi Gardens ( Florence) 6. S

Campo Saxto of Pisa 108, 109

Cappela di Pazzi (Florence) 11, 12, 13

Cascixe of Florence 60, 74

Cathedral of Siexa 97

Chapel AT Siexa 88

Chiesa degli Axgeli (Florence) 84

Chiesa della Annunziata (Florence) 66

Chiesa della Madona delle Grazie (near

Arezzo) 101, 102

Chiesa della Nuxziata (Arezzo) 100

Chiesa del Pteve (Arezzo) 100

Chiesa di Santa Croce (Florence) 82

Chiesa di Santo Lorenzo (Florence) 84

Chiesa di Santa Magdalena de Pazzi (Flor- ence 65

Chiesa di Santa Maria di Fiori (Florence) ... 84 Chiesa Santa Maria Novello (Florence) 38, 74, 84

Chiesa di San Michèle (Florence) 65

Chiesa di Santo Nuniato (Florence) . . 67, 80, 84 Chiesa di Santo Pancrazio (Florence) .... 14, 65 Chiesa di Santo Spirito (Florence) .... 44, 75, 76 Chiesi di Santa Maria del Umilita (Pistoja) 105

FONTANA BrANDA AT SiENA 99

FoUNTAIN AT SiENA 92

HospiTAL AT Arezzo 100

Hospit.\l of San Giovanni (Florence) 7^

HospiTAL of Santo P.\olo de Convalescenti . . 83

HousE AT Siena 96

IIovsE Via del Corso (Siena) 99

LivoRNO (Plan of Town) 106, 107

Loggia de' Lanzi (Florence) 14, 85

Loggia del Papa (Siena) 95

Makket (Fish market at Florence) 83

SuBjECT Plates

M.vrcata Nuovo (Florence) 56, 57

Monastery Near Florence 81

MusECM of Naturat. Hi.stokv ( Florence) 28

Palace at Castiglioncello (Between Flor- ence and Siena) 87

Palazzo (Archbishop's at Florence) 25

Palazzo Bartolini (Florence) 63, 64

Pal.\zzo Biaxchi (Siena) 93

Palazzo Cimexesi (Florence) 77, 78

Palazzo Cocci (Florence) 27

Palazzo Gherardesca (Florence) 48, 49

Palazzo Giacomixi (Florence) 45

Palazzo Giugni (Florence) 30

Palazzo Gondi (Florence) .... 50. 51, 52, 53, 54, 55

Palazzo Nicolini (Florence) 69, 70, 71, 72

Palazzo Orlandini (Florence) 24

Palazzo Pandolfini 33, 34, 35. 36

Palazzo Picolomini (Siena) 89, 90, 91

Palazzo Podesta (Florence) 31

Palazzo Pucci (Florence) 24

P.AXAZZO Riccardi 39, 40, 41, 42, 43

Palazzo Roberto Strozzi (Florence) 58, 59

Palazzo Ruccelai (Florence) 21, 22

Palazzo Sergardi (Siena) 93

Palazzo Spanocchi (Siena) 94

Palazzo Strozzi (Florence) .... 15, 16, 17. 18. 19

Palazzo Uffizi (Florence) 77, 79

Palazzo Uguccioni (Florence) 46, 47

Palazzo Vecchio (Florence) . . 1, 20, 26, 32. 37, 77 Palazzo Via dei Guicchardini (Florence) .... 23

Pal.\zzo Via dei Pandolfini (Florence) 23

Palazzo Zanopucci (Florence) 83

Public Sqiare (Siena) 103

ToMB OF Aretino (Santa Croce, Florence) 14

ToMB OF Carlo M.'vrzuppini (Santa Croce,

Florence) 9, 10

\'n.LA Palmieri (Florence) 56

Tke LiBRARY of ARCHITECTURAL

Documents

Other volumes included in this séries :

D'ESPOU Y

One Hundred Selected Plates

from Fragments D'Architecture

Antique

and several to be announced at an early date

TABLE CHRONOLOGIQUE DES ARCHITECTES

MENTIONNÉS

DANS CET OUVRAGE

NÉS.

NOMS ET PRENOMS.

PATRIE.

NUMERO DES PLANCHES.

Florissoit en H80.

1300.

1262.

1S36.

1320. is. en 1280. is. en 1282. is. en 1350.

1389.

1466.

Florl Flori Flor

1329.

1383.

Floris. en 1330. Flotls. en 1330.

1132.

1377.

1378.

1388.

1398. Floris. en 1450. Floris. en 1418.

1488. 1444. 1455. 1450.

1443. 1444. 1444. 1454.

1517. 1498. 1528. 1509.

Floris. en 1460. Floris. en 1460.

1454. 1460. 1460. 1470.

1474.

1513. 1529. 1543.

1546. 1564.

Beliamino

Arnolfo di Lapo

Lapo ou Jacopo

Giotto

Giovanni da Pisa

Fra Sisto et fra Ristorn

Diiccio

Fra Giovanni

Andréa Orgagna

Donatello

Giacomo de Vanni

Agostino et Agnolo

Andréa Verocchio

Filippo Branelleschi

Lorenzo Ghiberti

Luca dclla Robbia

Léon Batista Albert!

Luca Fancelli

Giacomo délia Quercia,

Giulianu da San Gallo

Benedetto da Maiano

Andréa délia Robbia

Simone Pollajolo, d"'ilCronaca.

Benedetto da Matera

Micheloiio Michclozii

Bernardino Pinturicchio

Andréa Contncci

Baccio d' Agnolo

Antonio da San Gallo

Michel Angclo Runnarroti

Sienne

Florence

^espignano, près Flor.

Pise

Campi

Sienne

Florence

Sienne

Florence

Sienne

Florence

Maiano

Florence

Matera

Florence

Pcrugia

Monte San Sovino

Florence

Mugello, prè» Florence Caprèse, près d'Arciio

99.

77, 84.

31.

84.

108, 109.

84.

103.

84.

31, 81 . 8ô. 12.

92.

103.

32.

2,3,4,7,11,12,13,29,66,69,70,71,72,75,76,83,84

62.

12.

21, 22, 65, 66, 84.

2, 66.

92.

37, 50, 51, 52, 53, 54, 55, 65, 77, 78.

15, 16, 38, 101, lOî.

9, 83.

15, 16, 17, 18, J7, 66, 75.

97.

32, 40, 41, 42, 43. 97.

44, 75.

27, 37, 63, 64.

66, 100.

1, 37, 40, 84.

TABLE CHRONOLOGIQUE

NÉS.

Florissait enli80.

1481. I 1536.

1481. I 1551. Floris. en 1485.

1483. 1487. 1500. 1511.

1520. 1559. 1550. ,1502.

NOMS ET PRÉNOMS.

Floris. en 1490.

Floiis. en 1510.

1512. I 1574.

1518. 1580.

1533. I

Floris. en 1530.

1500. I 1572.

1536. I 1608.

Floris. en 1548.

1552. I 1616.

155*9. 1613.

1562. I 1612.

Floris. en 1570.

1579. I '1675.

I 1590.

Floris. en 1630.

1640

1649.

1656.

1600.

1646.

1652.

1708. 1776.

Vivant.

Francesco di Giorgio

Baldassare Peruzzi

Bast iano Aristotile

Desiderio da Settignano

Raffaello Sanzio

Baccio Bandinelli

Nicole, detto il Tribolo

Bartolomeo Ammanati

Nicolo Grosso, detto il Caparra,

Andréa Ventura Vitoni

Giorgio Vasari ,

Andréa Palladio

Gio Antonio Dosio

Francesco Aristotile

Benvenuto Cellini

Bcrnardo Buontalcnti

Bernardo Tasso

Vinoenzo Scamozzi

Lodovico Gardi , detto Cigoli. .

Gio Caccini

Francesco Ferrucci

Marco Marchetti

Ghcrardo Silvani

Giulio Parigi

Le chevalier Santi

Pietro Tacca

Matteo Nigctti

Alfonso Parigi

Bemigio Cantagallina

Carlo Andréa Marcellini

Gio Batista Foggini

Paolo Posi

Giuseppe Manetti.;

Giuseppe Salvetti

PATRIE.

Sienne

Accaiano, près Sienne.

Florence

Settignano, près Flor. .

Urbino

Florence

Pisloia

Arezzo

\ icencc, état de Venise.

Florence

Venise

Cigoli en Toscane

Florence

Fiesole, près Florence. .

Faenza..

Florence

Sienne

Carrare

Florence

Sienne

Florence

NUMÉUO DES PLANCHES.

88, 89, 90, 91, 94, 95, 'J6, 103.

99.

33, 34, 35, 36.

9, 10.

33, 34, 35, 36,97.

1, 37.

2.

1, 2, 3, 4. 5, 30, 37, 75. 19.

105.

8, 37, 77, 83, 84, 100, 105.

46, 47.

25, 45, 66.

33 , 34 , 35 , 36.

74.

2, 57, 106. 57.

58.

58 , 59.

66, 76.

19.

20, 32.

65.

2.

106 , 107.

57, 66.

65.

2, 4, 75, 77.

106.

73.

39.

FIN DE LA TABLE CHRONOLOGIQUE.

TABLE DES PLANCHES

CONTENUES

DANS CET OUVRAGE

l'LANCnE I.

II. III.

IV.

V.

VI.

VII.

VIII. IX.

X.

XI.

XII. XIII

XIV

XV.

XVI.

XVII.

XVIII

XIX

XX.

XXI.

XXII.

XXIII.

XXIV XXV.

XXVI. XXVII. XXVIII. XXIX. XXX. XXXI.

FLORENCE.

Premier C'alucr. Porte du vieux palais, .servant de cadre à

la vue de la place du Grand-Duc. Plan général du Palais Pitli. ( Façade géométrale du palais Pitli. ) Coupe du même palais. Partie détaillée de la façade du même palais. Coupe de la cour du mémo palais. Vue perspective du même palais, prise de

l'amphilhéàtre du jardin lîoboli. Corniche du même palais.

Second caldcr.

Plan et vue perspective de l'Isola Bella, dans les jardins Bdboli.

Tombeau de Carlo Marznppini , dans l'é- glise de Santa Croce.

Détails du même tombeau.

Plan et élévation géométrale de la chapelle desPajîzi, dans le cloître de Santa Croce.

Coupe et détails de la même chapelle. Vue perspective de la même chapelle.

Troisième cahier. . Frontispice du troisième cahier. Pian du palais Strozzi. Façade géométrale du même palais. Coupe du même palais. Détails du même palais. Vue de la rue qui conduit au pont de la Trinité, prise à l'angle du palais Strozzi.

Quatrième cahier. Vue perspective d'une porte, dans le vieux

palais. Élévation géométrale du palais Ruccelai,

situé dans la rue délia Vigna. Détails du même palais. 'Façade d'un palais situé dans la rue de' \ Pandolfini.

j Façade d'un petit palais situé dans la rue \ de' Guicciardini.

( Plan du palais Pucci , dans la rue dc'Cresci. |Plan du palais Orlandini. Vue intérieure de la cour de l'archevêché.

Cinquième cahier. Frontispice du cinquième cahier. Plan et élévation du palais Cocchi. Plan du Muséum d'Histoire naturelle. Palais Guadagni , sur la place du S.-E.sprit. Plan et élévation du palais Giugni. Vue de la cour de l'ancien palais du Po- dcstà , servant aujourd'hui de prison.

Sixième caJiier XXXII. Vue intérieure de la cour du vieux palais.

XXXIII. Plan et élévation géométrale du palais

Pandolfini.

XXXIV, Élévation détaillée du même palais. XXXV. Élévation latérale du même palais.

XXXVI. Détails de la façade du même palais. XXXVII. Salle du grand conseil dans le vieux palais.

Septième cahier, .XXXVIII. Frontispice du septième Cahier. XXXIX. Plan du palais lliccardi , autrefois Medici. XL. Élévation géométrale du même palais. XLI. Coupe du même palais. XLII. Détails du même palais.. XLIII. Vue intérieure de la cour du même palais.

Huitième cahier. XLIV. Voûte du vestibule de la sacristie de l'église de San Spirito. XLV. Élévation géométrale du palais Giacomini,

situé dans la rue de' Tornabuoni. XJ.VI. Elévation géométrale du palais Ugudcioni. XL VII. Détails du niême palais

XLVIII. Plan du palais des comtes délia Gherar- desca . XLIX. Vue perspective de la cour du même palais. Neuvième cahier. ,

L. Frontispice du neuvième cahier. LI. Plan du Palais Gondi. LU. Élévation géométrale du même palais. LUI. Coupe du même palais. LIV. Détails du même palais. LV. Vue perspective de la cour du même palais.

Dixième cahier.

LVI. Frontispice du dixième cahier. LVII. Plan et élévation du Marché neuf. LVIII. Plan et élévation de la cour du palais de Robcrto Strozzi. LIX. Détails de la cour du même palais. LX. (^asin des Cascine (Laiteries ). LXI. Vue du grand escalier du palais Pilti, prise, du premier étage, dans le vestibule qui précède la salle des gardes.

Onzième cahier. LXII. Fronti.spicc du onzième cahier. LXIII. Plan, élévation, et détails du palais Bartolini. LXIV. Coupe du même palais.

/Plan de l'église de Saint-Michel. Église de Sainte-Madclainc de' Pazzi, située LXV. l rue de' Pinti.

Église de Saint-Pancrace, dans la rue Délia Spada.

TABLE DES PLANCHES

LXVI. Place et église <lc raniioncialio,. LXVII. Vue de l'église de San-Hiinialo , p.xs de rjorence.

L\XXV.

L.WIIl. LXIX.

LXX.

LXXI.

lAxn.

I-WIII.

Donziimc cahier.

Frontispice du douzième cahier.

Pian du palais Niccolini, dans la rue de'

Servi, lilévalion géon*é(rale du même palais. Coupe gt-ométralc du même palais. Détails du métne palais.

V.^ du vestibule de l'hôpital de Saint-Jean de Dieu.

LXXIV.

LXXM.

lAXVII.

IXXMII.

LXXIX.

LXXX. LXXXI

LXX XII,

XXXIII

I.XXXIV

Treizième caltier.

Frontispice du treizième cahier

'••'""If l'église du Saint-Esprit, et du cou- vent des Augusfins.

'élévation géométrale de la façade posté

neurc de l'église du Saint-Esprit

i Coupe transversale delà même église

i »lo"i'^ <lu plan , façade antérieure , et por-

I '."'" ''•^ '-'' <=°"Pe longitudinale du palais ' (les Offices. ^

Plan du palais vieu.x. Plan du palais Ximenès. Porte da,.s l'intérieur du vieu.x palais, ser- vant de cadre à une vue perspective du palais Ximenès.

Vue perspective du palais des Offices, prise des bords de l'A rno.

Quatorzième cahier.

Frpntispice du quatorzième cahier

Plan de la Chartreuse, près de Florence sur la route de Sienne '

Porte dans le cloître du couvent de Sainte- Croix.

/Elévation géométrale de l'hôpital de San 1 Faolode Convalescenti. ) Plan et élévation géométrale du marché ' aux Poissons.

Plan du Palais Zanopueei, et d'un autre petit palais.

I Santa Maria del Fiore.

l Santa Maria Novella.

' San Lorenzo.

^San Miniato hors des murs. \ Eglise des Anges.

LXXXVIII.

LXXXIX.

XCVI. XCVII

Plan et vue intérieure del.. loge des l.anecs, sur la place du Grand-Duc.

Quinzième cahier. Frontispice du quinzième cahier. Plan d'un palais à Castiglioncello, sur la

route de Florence à Sienne. Elévation géométrale d'une chapelle à l'en-

Irée de Sienne, près de la porte de Flo-

rence.

Élévation géométrale du palais Piccolo-

mini , à Sienne. Plan et détails du même palais. Vue intérieure de la cour du même palais.

Seizième cahier.

.Frontispice du seizième cahier. (Plan du palais Sergardi, à Sienne. (Plan du palais Bianchi, à Sienne.

Façade du palais Sp.inocchi

Façade, plan et détails de la loge du pape a Sienne.

Façade d'une maison à Sienne. Vue intérieure de la sacristie de la cathé- drale de Sienne.

Di.T-septième cahier.

■ Frontispice du dix-septième cahier (FaçadedelafonlaincBranda, à Sienne

I ;f ' ''"""'^ ""'"son située dans la rue \ del Corso, à Sienne.

^ Plan deréglise délia Pieve, à Arezzo. Pan del église délia Nunziata. ,Plan d'un hôpital, à Arezzo.

■ Plan, coupe et détails de l'église des Carmes

déchaussés, près d'Aiezzo. Façade de la même église

Vue perspective du pala'is publie , .sur!,, place de Sienne. ' • .t

Dia:-huitie<mc cahier.

Fj^trspieedudrv-huitième et dern. cahier.

H> , T'"'^' léglLsedi Santa Maria del Umilta , à Pistoia

Plan de la grande pl...ce de Livourne. Pian et coupe de la nouvelle Venise , à J-ivourne. '

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