Acknowledgements |
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ix | |
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List of Abbreviations and Frequently Cited Works |
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xii | |
Introduction |
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1 | (21) |
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`Not Built with Walls, but Truly Born' |
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The Hybrid Estate: Multiple Structures, Multiple Arts |
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Scholars and Critics on the Farnesina |
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Agostino Chigi and His `familiares' |
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1 `Antique' Imagination and the Creation of the Villa-Palazzo: Origins and Precursors |
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22 | (73) |
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1 Emulating the Ancient Villa |
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24 | (17) |
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Vitruvius, Theory and Practice of Painted Decoration |
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Statius, Vopiscus and the Interpretation of Ancient Sources |
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The Ground Floor and the Main Reception Room: A New Reconstruction |
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41 | (7) |
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The Bolognese Villa of Mino de' Rossi |
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Palaces by Filarete and Poliziano Niccold da Correggio |
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3 Siena and Rome: Chigi Patronage and the Launching of Peruzzi's Career |
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48 | (13) |
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Peruzzi's Earliest Commissions |
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Self-fashioning, Marriage and Dynastic Alliance Patronage of Art and Architecture |
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Chigi Town Houses in Siena and Rome The Tiber Site and Its Rival Neighbours |
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4 The Villa Le Volte and the Conception of the Farnesina |
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61 | (20) |
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The Fabric of the Villa Le Volte |
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The Farnesina: Applying the Lessons of Le Volte The House and the Street |
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5 Villa Speculate: The Rising Structure from Basements to Rooftops |
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81 | (14) |
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Staircases and Internal Circulation |
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Fireplaces and Chimneys at the Structural Core |
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2 The Stanza del Fregio and Peruzzi's First Architectural Wall-Painting |
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95 | (43) |
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1 Narrative in Architecture: The Stanza del Fregio, Ostia and the Chapel of St Helena |
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97 | (13) |
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The Room and the Painted Frieze |
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Peruzzi's Autumnal Landscape |
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2 Sources Ancient and Modern |
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110 | (11) |
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Earlier Renaissance Models |
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The Imperial Villa on Chigi's Property |
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3 Hybrid Creatures of Water and Land |
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121 | (17) |
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The Libreria Piccolomini as Primary Source |
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Lighting and Modelling: The Frieze between Painting and Sculpture |
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3 The Lost Facade-Paintings: `Di terretta con storie di man sua, molto belle' |
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138 | (80) |
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1 The Extant Spandrel Paintings, the Form of the Facades, the Possibilities of the Medium |
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140 | (18) |
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Multiple Fields and Irregular Facades |
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Graphic Evidence: The Metropolitan Drawing |
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Reconstructing the Complete Exterior |
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The Meaning of the Terretta Medium |
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2 `Disegno rather than colorito': The Drawings Related to the Facade |
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158 | (25) |
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The Mythological Scenes and the Mezzanine Windows Pasiphae and Daedalus: The Design Evolves Mars and Venus Captured by Vulcan Stylistic Affinities across Peruzzi's Oeuvre |
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3 Adventures Underground: The Imperial Villa Rediscovered |
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183 | (18) |
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Caryatids, Captives and Satyrs |
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Masks, Ancient and Modern Dividers and Supporters Paintings of Erotica |
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4 Peruzzi's Design Principles |
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201 | (6) |
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The Building Takes to the Air |
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5 Flights of Fancy: Images from Maiolica and Prints |
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207 | (11) |
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The Story of Pasiphae Continued |
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Evidence from Prints: An Apollo-Daphne cycle? The Power of Love |
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4 1512 Overtures: The Villa, the Landscape |
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Architecture and the Literature of Celebration |
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218 | (4) |
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222 | (18) |
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Approaching the Villa with Egidio Gallo |
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The Culture of Festivity Blosio Palladio's' Suburbanum' |
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2 Hypogea and Hipocausta: The Secrets of the Lower Storeys |
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240 | (11) |
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The Summit and the Depths |
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Ancient Materials from the Earth Chigi's Private Bathing Suite |
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3 `Twin Porticoes Such as Never Existed in the Entire World' |
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251 | (23) |
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Drawing the Gaze: Blosio's Response to the Interior |
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Sebastiano in the `Antico Soggiorno' The Galatea Loggia: Three Artists at Work |
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Raphael's Galatea in Conversation |
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4 Fragrant Gardens, Shady Woods, Deep Meadows and Transparent Floods |
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274 | (24) |
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Reconstructing the Gardens: Poems and Documents |
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`The progress of this House' |
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Blosio Palladio's `Topiary' |
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Entrances and Exits, Gates and Doorways |
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Fountains and the `Mastery' of Water |
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Garden Sculpture Continued: Tiber, Pan, Psyche |
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Reminiscences and Recreations |
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5 Architecture in the Landscape: The Three Major Buildings |
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298 | (26) |
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Raphael's Stable/Guesthouse |
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The Main Carriage Gateway Rediscovered The Tiber Pavilion |
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Grotto, Pool and `Cave of the Nymphs' |
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Graphic Traces of Riverbank Structures, and Their Destruction |
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5 The Second Phase, IS 18-1519: The `Hall of Perspectives', the Nuptial Suite and the Loggia |
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324 | (3) |
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1 The Piano Nobile Transformed |
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327 | (9) |
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Reconstructing the North and South Suites |
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2 The Sala delle Prospective and Its Frieze |
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336 | (24) |
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Rus et Urbe: The Painted Vistas The Fictive Architecture Gods and Niches |
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Decorum and Decoration in the Upper Frieze |
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3 Roxana, Alexander and the Nuptial Bedroom |
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360 | (17) |
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Roxana and Alexander in Double Perspective |
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Vulcan and Companions Looking Up and Looking Back |
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4 Psyche's Upward Mobility |
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377 | (24) |
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Peruzzi's Structure, Giovanni's Pergola, Raphael's Figures |
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`Cosa Vituperosa' or `Myriad Pleasures'? |
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5 Giovanni da Udine's Biodiversity: `Painting and Poetry Truly Most Beautiful' |
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401 | (18) |
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`Fruits and Flowers without End' |
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Giovanni da Udine's Aviary |
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All That Is Solid Takes to the Air |
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Notes |
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419 | (72) |
Photograph Credits |
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491 | (3) |
Index |
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494 | |