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
Florence
^espignano, près Flor.
Pise
Campi
Sienne
Florence
Florence
Florence
Sienne
Sienne
Florence
Florence
Florence
Florence
Florence
Florence
Sienne
Florence
Maiano
Florence
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.
Floris. en 1570.
1579. I '1675.
I 1590.
Floris. en 1630.
1640
1649.
1656.
1600.
1646.
1652.
1708. 1776.
Vivant.
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
Florence
Florence
Florence
Pisloia
Arezzo
\ icencc, état de Venise.
Florence
Florence
Florence
Florence
Florence
Venise
Cigoli en Toscane
Florence
Fiesole, près Florence. .
Faenza..
Florence
Florence
Sienne
Carrare
Florence
Florence
Florence
Florence
Florence
Sienne
Florence
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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