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The Printed Illustration of Medieval Architecture in Pre-Enlightenment Europe
Published online by Cambridge University Press: 11 April 2016
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The aim of this article is to bring to the attention of readers a series of significant examples of texts printed prior to 1700 and illustrated with images of medieval architecture in continental Europe. British illustrations of buildings and ruins from the Middle Ages have received relevant attention from modern scholarly writers, but studies of analogous continental examples are lacking. Illustrations of medieval architecture have been little considered in most studies of the Early Modern period, as compared with those of their sixteenth-to eighteenth-century counterparts. In addition, the few studies that do exist of the interest in medieval buildings and illustration of them, prior to the ‘age of mechanical reproduction’, have generally been restricted to monographs on individual antiquarians or else have focused on Enlightenment, Romantic and Positivist criticism, and have tended to concentrate on medieval revivalism. Furthermore, with the exception of a few studies on the perception of the Romanesque, the most frequently investigated category has been the Gothic. Hence, despite the existence of some crucial works, the perspectives adopted in research into Early Modern attitudes to medieval architecture have inevitably been limited. We still lack any comprehensive overview of the architecture of the Middle Ages as a whole (that is, including the Late Antique / Early Christian era), or any studies showing genuine interest in the late Renaissance and Baroque roots of subsequent antiquarian medievalism. This article, therefore, attempts to begin to fill such a lacuna by studying the architectural aspect of those pre-Enlightenment illustrations of medieval antiquities that appeared in continental Europe, and by considering scholars’ awareness of the entire medieval millennium.
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References
Notes
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42 Previtali, La fortuna dei primitivi, pp. 32–36.
43 Tozzi, Simonetta, in Cavazzi, Lucia, Margotta, Anita and Tozzi, Simonetta, Vedute romane del Seicento nella raccolta grafica comunale (Rome, 1991), pp. 25–35 Google Scholar, 37.
44 See the section below, ‘Historia Sacra and the representation of Early Christian monuments’.
45 Thomas Noonan, F., The Road to Jerusalem. Pilgrimage and Travel in the Age of Discovery (Philadelphia, 2007)Google Scholar.
46 On Zuallart’s pilgrimage and travel account, see Noonan, The Road to Jerusalem, pp. 167–75.
47 Zuallart, Jean, Devotissimo viaggio di Gerusalemme (Rome, 1587), pp. air–v Google Scholar): ‘Quel che nel fatto posso compiacermi, è che mi vedo esser stato il primo che mi sono adoprato con la vista, che dei luoghi parte per parte scopriva, farne dissegni, i quali, per essere giudicati da quei ch’in quelle parti sono stati, verisimili et naturalissimi, ho sparso per l’opera, et per farle più sottilmente non ho risparmiato a fatiga o spesa alcuna sforzandomi, venuto in Roma, di farle disegnare meglio et farne intaglio per persone prattiche et famose nell’arte. Et se qualcosa vi manca, supplico et ammonisco i pietosi pellegrini et quelli che sono dotati di più sottile ingegno che ‘1 mio, che trovandosi nei luoghi qui descritti, non solo ad imitarne, ma a corregere et accrescere quest’opera, pigliandola non già per modello, ma per abbozzo, et me riputarò molto honorato da quei che si degnaranno farlo, et nei falli miei avvisarmene.’
48 Zuallart’s work may be seen as a technical and more refined counterpart to the Viaggio da Venetia al Santo Sepolchro (Venice, 1587)Google Scholar, attributed to the Franciscan Noè and published in the same year; here the most developed illustrations focus on individual monuments in Jerusalem, emphasising the venerable antiquity of early medieval edifices built on biblical sites.
49 Zuallart, Devotissimo viaggio, pp. 135, 199.
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53 Baldinucci, Filippo, Notizie de’ professori del disegno da Cimabue in qua (Florence, 1681), p. 113 Google Scholar. ‘[Callot] intagliò il frontespizio del libro intitolato: Trattato delle piante e immagini de’ sacri edifizj di Terra Santa, disegnate in Jerusalemme dal padre fra Bernardino Amico di Gallipoli, de’ minori osservanti, e similmente tutti gl’intagli contenuti in esso libro in numero di trentaquattro pezzi che sono le piante, profili, alzate e spaccati delle sacrate fabbriche di que’ luoghi, ove fu operata nostra redenzione; ed i rami di queste carte si conservano [...] nella Real Guardaroba del Granduca. E giacché parliamo di tal libro, non lascerò di dire, come Pietro della Valle, che ben vide que’ santi luoghi, ne’ suoi Viaggi, attesta che quanto si vede in questo libro del padre Bernardino Amico è degno d’ogni stima per essere in tutto e per tutto le sue figure somigliantissime al vero.’
54 See the ‘Esortatione a quelli che desiderano visitare li sudetti santi luoghi’, inserted at the end of the book.
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57 As is well known, the Centuries were led by Matthias Flacius; on this, and for bibliographical references, see Lyon, Gregory B., ‘Baudoin, Flacius, and the Plan for the Magdeburg Centuries’, Journal of the History of Ideas, 64.2 (April 2003), pp. 253–72 CrossRefGoogle Scholar; for Catholic reactions, see pp. 258–59 and related bibliography. On ‘Historia sacra’ and post-Tridentine historiography, see Ditchfield, Simon, Liturgy, Sanctity and History in Tridentine Italy. Pietro Maria Campi and the Preservation of the Particular (Cambridge, 1995)Google Scholar, and Simon Ditchfield, ‘Historia magistra sanctitatis. The Relationship between Historiography and Hagiography in Italy after the Council of Trent (1564–1742 ca.)’, in Nunc alia tempora, pp. 3–23 (pp. 3–5).
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60 The fundamental role of the Cardinal of Sora in fixing the basis of, and in promoting studies on, sacred archaeology inevitably also impacted upon the progress of knowledge about the Church’s architectural history: Carla Pisaniello, ‘Il significato storico del patrimonio artistico negli Annales’, in Baronio e l’arte, pp. 329–83 (pp. 351–83)
61 Thiery, ‘Il Medioevo nell’introduzione e nel proemio delle Vite’, pp. 359–61.
62 See Massimiliano Ghilardi, ‘Baronio e la “Roma sotterranea” tra pietà oratoriana e interessi gesuitici’, in Baronio e le sue fonti, pp. 435–87.
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65 A similar case in the region of Messina was the fortuitous discovery of the San Gaudioso Catacombs in Naples in 1577, celebrated with comparable enthusiasm. See Russo, Francesco, ‘La fortuna dei primitivi nella letteratura erudita campana. Napoli e Capua tra la fine del Cinquecento e la metà del Seicento’ (unpublished doctoral thesis, University of Naples Federico II, 2006)Google Scholar, chapter 5: ‘La riscoperta delle catacombe nell’erudizione storica napoletana prima delle esplorazioni di Carlo Celano.’
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72 Borea, Evelina, ‘Bellori e la documentazione figurativa fra l’antico il moderno e il contemporaneo’, in L’idea del bello: viaggio per Roma nel Seicento con Giovan Pietro Bellori, ed. Borea, Evelina and Gasparri, Carlo (Rome, 2000), pp. 141–51 Google Scholar (p. 141). For Severano’s role in the edition of Bosio’s Roma Sotterranea, see Ghilardi, Gli arsenali della fede, pp. 48–53.
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81 Papal brief, printed in the preliminary essay, dated 15 December 1616.
82 In fact, the basilica was built between 425 and 440, and was completed by Sixtus III: Krautheimer, Richard, ‘The Architecture of Sixtus III: A Fifth-Century Renaissance’, in Essays in Honour of Erwin Panofsky, ed. Meiss, Millard (New York, 1961), pp. 291–302 Google Scholar. Liberio was claimed to have played a significant role, but this was due to confusion between Santa Maria Maggiore and the ‘Basilica Liberiana’, cited concerning the famous legend transmitted by the Liber Pontificalis of the Holy Virgin’s inspiration on Liberio for the construction of the primitive nucleus of the church and also known as the ‘miracolo della neve’; see Cecchelli, Margherita, ‘S. Maria Maggiore e la Basilica Liberiana: considerazioni preliminari di una ricerca in atto’, in S. Maria Maggiore e Roma, ed. Luciani, Roberto (Rome, 1996), pp. 31–38 Google Scholar.
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84 This book was produced within the Jesuit milieu, as was made clear on the title page. This book also benefited from Jesuit patronage, as is indicated by the Jesuit Bernardino Stefonio’s epigram (Paolo de Angelis, Basilica Sanctx Marix Maioris, p. 4).
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86 ‘Et hoc pacto ubi ex historia lectione mens rei naturam conceperit, etiam oculis per delineationem satisfiat, ac proinde magis intelligentia sit expleta, eædem delineationes iis deservient, qui vel architecturam profitentur, vel in illa se oblectant, atque adeo reliquis artificibus, qui in lapidibus et picturis se exercent, cum talis basilicæ moles principes et praeteritarum ætatum, atque præsentis artifices recognoscat.’ Paolo de Angelis, Basilica Sanctæ Mariæ Maioris, ‘Lectori’, p. 2.
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92 It was effectively conceived in the 1630s. It is well known that, in 1638, Henry Spelman suggested to Dugdale that he both undertake a study of English monastic foundations and join Dodsworth, who had already structured a comparable project, for this. For the Monasticon and biography of its author see, above all, Charles Douglas, David, English Scholars (London, 1943), pp. 34–45 Google Scholar; Roberts, Dugdale and Hollar, pp. 46–72; Parry, Graham, The Trophies of Time. English Antiquarianism of the Seventeenth Century, 3rd edn (Oxford, 2007), pp. 219–21 Google Scholar, 227–36; Walsham, ‘Like Fragments of a Shipwreck’, pp. 87–109.
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94 Roberts, Dugdale and Hollar, p. 51.
95 Quote from Walsham, ‘Like Fragments of a Shipwreck’, pp. 99–102. See also Roberts, Dugdale and Hollar, pp. 50, 67.
96 Roberts, Dugdale and Hollar, p 51.
97 Aston, English Ruins, p. 252.
98 Parry, The Trophies of Time, pp. 235–36.
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101 Germain began to work on the history of the abbey in the mid-1670s. The text and the 168 plates of the Monasticon were only published in 1871: Monasticon Gallicanum, ed. Peigné-Delacourt, Achille and Delisle, Léopold (Paris, 1871)Google Scholar.
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105 Ouvrages posthumes de d. Jean Mabillon et de d. Thierry Ruinart, ed. Thuillier, Vincent, 3 vols (Paris, 1724), III, p. 256 Google Scholar.
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107 The dating is due to the indication of the year reported in many plates.
108 On la Tremblaye’s contribution to Germain’s Monasticon, see l’Abbé Porée, M., Guillaume la Tremblaye sculpteur et architecte, 1644–1715 (Caen, 1884), p. 12 Google Scholar.
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112 Ibid.
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121 See Wood, Alfred C., A History of the Levant Company (Oxford, 1935), pp. 100–07 Google Scholar.
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126 Ibid., I, pls VIII-XI.
127 For Ciampini’s fascination in Maurist erudition, see Pia Donato, Maria, ‘Le accademie romane e l’antiquaria: tre casi e alcune riflessioni’, in Dell’antiquaria e dei suoi metodi, ed. Vaiani, Elena (Pisa, 2001), pp. 139–45 Google Scholar (p. 140)
128 See Schnapp, The Discovery of the Past, pp. 188–92; Parry, The Trophies of Time, pp. 297–98.
129 Ciampini, , Vetera monimenta, I, pl. XIII Google Scholar.
130 Fontana, Carlo, Templum Vaticanum et ipsius origo (Rome, 1694), pp. 61–68 Google Scholar.
131 Ciampini, Aedificiis, pp. 9–10, pl. I.