General Index

Brothers, Cammy

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General Index

Cammy Brothers

Michelangelo, Drawing, and the Invention of Architecture

General Index

Author

Cammy Brothers

PublisherYale University Press

Stable URL: https://aaeportal.com/?id=-20923

General Index

abstraction

defined 52

and the orders 73, 138

and the profile 54

and the San Lorenzo facade 109, 114

and the Laurentian Library 193

accident 10, 13, 41, 71

Alberti, Alberto 219n24

Alberti, Leon Battista 4, 14, 45, 48–49, 102, 212n22, 229n31

anatomy and anatomical studies 16, 20, 215n36, 215n39, figs. 19, 20

anthropomorphism

and Francesco di Giorgio 3–4, 38, 49, 71–72, figs. 2, 97

and the “Letter to an Unknown Prelate” (Cardinal Rodolfo Pio) 3–4, 38

and Peruzzi 72, fig. 98

and Michelangelo’s drawings 4, 50, 72–73, 189, figs. 92, 96, 101, 145, 151

and the Tomb of Julius II 86, 104, 105, 124

antiquarians and antiquarianism 48–50

Aretino, Pietro 30, 213n1, 217n76

Ariosto, Ludovico 205–06, 208–09, 213n1

Aristotle and Aristotelianism 205–06

Armenini, Giovanni Battista 9, 13–14, 32–33, 41

Baccio d’Agnolo 107, 114, 154, fig. 208

Bartoli, Cosimo 161, 206–07

Bertoldo di Giovanni 48, 215n40

Boccaccio 206

Bocchi, Francesco 43, 161, 194, 206–08

Borromini, Francesco 181

Botticelli, Sandro 11, 107, 114, figs. 149, 150

brackets 63, 67, 89, 91, 121, 172, 175, 190, 194, 208, figs. 88, 91, 275

Bramante, Donato

and the Codex Coner 45, 60

and the Cortile del Belvedere 138, 156, 163, 220n33, 225n40, fig. 187

and his drawings 219n12

and Michelangelo’s criticism 221n60

and Michelangelo, rivalry with 216n45

and the Tempietto 156, 225n36, 230n48, fig. 209

Bregno, Andrea 87, fig. 123

Brunelleschi, Filippo 4, 86, 122, 125, 138, 165, 207, 219n16, fig. 119

canon, and canonical architecture or texts 1, 43, 82, 202, 208

caryatids 85, 100–101, 104–05, fig. 141; see also herms

baby herms and caryatids 28, 38, 216n52, fig. 140

Castiglione, Baldassare 9, 81, 206, 209

Cavalieri, Tommaso de’ 199–200

Cellini, Benvenuto 2, 203, 211–12nn13–14, 213–14n14, 215n36

Cennini, Cennino 10, 12, 213n9, 217nn72, 75, 218n85

chalk

red (lapis rosso) 44, 54, 62, 68, 82, 163, 213-14n14

black (lapis nero) 11, 138, 144, 213nn11–12, 213–14n14

Cicero and Ciceronianism 206–07

Cinzio, Giovambattista Giraldi 206

Clement VII (or Cardinal Giulio de’ Medici)

and the Laurentian Library 153, 158–59, 181

and the Medici Chapel 122, 132, 189

Codex Barberini, see Sangallo, Giuliano da

Codex Coner

characteristics and organization 45, figs. 58, 64, 68, 72, 74, 77, 79, 82, 84, 87, 93

compared with the Codex Barberini 51–52, 54

Michelangelo’s copies of 45–48, 50–52, 54, 60, 62–64, 69, 72, 125, figs. 59, 66, 73, 75, 78, 79, 83, 85, 89, 94, 102

Codex Escurialensis 49, 51

Colombo, Realdo 215n36

Condivi, Ascanio 40, 42, 98, 100, 102, 215n136, 216n45

connoisseurship 7, 213n37

contrapposto 195, 199

Cortesi, Paolo 212n28

“Crypta Balbi” 194, 206, 220n41

Danti, Vincenzo 215n36

Dolce, Lodovico 6, 30, 42, 68–69, 212

Donatello 28, 72, 86, 141, 212n26, 219n16, 224n32, 224–25n34, figs. 39, 100, 193

Doni, Anton Francesco 9, 80, 190, 212n16, 213n1, 213n3

drawings

and disegno (drawing or design) 3, 9, 20, 68

and fifteenth-century practice 10–14, 16, 20

and medieval practice 1

and the modello 109, 158

for presentation 199–200

and the primo pensiero (first thought) 13, 214n26

of Roman ruins 2, 48–49

and the sketch (or macchia) 1, 2, 13–14, 214nn26–27

see also Cennini, Cennino; Ferrucci, Francesco di Simone; Francesco di Giorgio (Martini); Ghiberti, Lorenzo; Ghirlandaio, Domenico; Leonardo da Vinci; Lippi, Filippino; Peruzzi, Baldassare; Pollaiuolo, Antonio; Raphael; Sangallo, Giuliano and Antonio da; and Signorelli, Luca

Dürer, Albrecht 215n36

education (of architects) 1–2, 45–46, 82

Elam, Caroline 133

fantasia 10, 153

Ferrucci, Francesco di Simone 91, fig. 127

Filarete, Antonio 3, 4, 222n71

frame (architectural)

defined, and in general terms 85–86, 151, 153

and the facade of San Lorenzo 108–09, 114

and Filippino Lippi 101

and the Laurentian Library 163

and the Medici Chapel 135, 138, 144

and the Sistine Ceiling 96, 98, 102

and the Tomb of Julius II 87, 102, 104–05

see also quadro

Francesco di Giorgio (Martini)

and anthropomorphism 3–4, 49, 71–72, 189, 212n20, 222n71, figs. 2, 97

and studies of the antique 48–49, 64, 73

Gehry, Frank 211n1, 230n1

genius 4, 6, 7, 9, 10, 212n24, 218n85

Ghiberti, Lorenzo 10—11, fig. 4

Ghirlandaio, Domenico 11, 49, 114

Gilio da Fabriano, Giovanni Andrea 30, 41

Giovanni da Udine 144

Giulio Romano 3, 41, 138, 156, fig. 211

grotesques (grottesche) 50, 141, 144, figs. 190, 193, 196

herms 85, 104–06, 124; see also caryatids

Holl, Steven 230n77

Hollanda, Francisco de 9, 212n16, 213n4

Honnecourt, Villard de 1, 211n7

imitation 7, 43, 69, 82, 212n28

invention (invenzione, inventio)

and Armenini 13–14

and Clement VII 153

and drawing 1, 10, 43

and Leonardo da Vinci 41–42

and repetition 10

Julius II (Giuliano della Rovere)

and antiquities 48, 212n27, 219n15

and the Sistine Chapel 22

and the Tomb of Julius II 22, 86–87, 89, 102–06, 114, 122; see also Michelangelo, sculpture

Kleist, Heinrich von 2, 209, 211n9

Laocöon 40, 159, 212n27, 216n65, figs. 57, 220

Leo X 81, 86, 106–08, 114, 138, 149, 153

Leonardo da Vinci

drawings

architectural 215–16n44

Battle of Anghiari 12–13, 21–22, figs. 26, 27, 28

child studies 14, fig. 13

figure studies 16, fig. 16

general approach 9–10, 12–13, 16, 216n63

horse study 14, fig. 12

mixed studies 12, fig. 7

Neptune 14, fig. 9

profile studies 54, fig. 71

Virgin and Child with St. Anne 12, 14, 202, fig. 8

writings

on accident 71

on anatomy 16, 20, fig. 20

on composition (compared to poetry) 7, 13, 214n23, 214n27, 217n72

on memory 41, 54

on poetry 67–68

Ligorio, Pirro 208, 232n16

Lippi, Filippino 11, 29, 49–50, 94, 101, 107, 114, figs. 40, 63, 131, 132

license 6, 49, 50, 82, 205–08

Lomazzo, Giovanni Paolo 10

Manetti, Antonio 86

maniera (style) 68, 213n30, 217n76

Masaccio 45, 219n9, fig. 60

Medici, Giovanni de’, see Leo X

Medici, Giulio de’, see Clement VII

Medici, Lorenzo de’ 4, 6, 48, 49, 106, 216n55

memory 10, 16, 20, 30, 41–42, 215n36, 215n39, 218n85

Michelangelo Buonarroti

architecture

capital studies 50, figs. 61–62

Chapel of Leo X at Castel Sant’Angelo, Rome 108, 138, 230n2, fig. 153

Codex Coner copies 45–48, 50–52, 54, 60, 62–64, 69, 72, 125, figs. 59, 66, 73, 75, 78, 79, 83, 85, 89, 94, 102

and drawing ruins 49–50, 219n24

fortification studies 182–83, 185, fig. 250

Laurentian Library

commission 153–56

details 165, 172, 175, 181, figs. 231–32, 234, 246

drawings

bases 62, 165, 186, figs. 81, 229, 230, 254

base and cornice studies 73, fig. 105

bases and stair for the vestibule 54, 186, figs. 76, 230

cornice studies 72–73, figs. 101, 103

cornice template 165, fig. 232

door studies 172, 175, figs. 238, 245

rare books room plan 181, figs. 248, 249

reading-room desks 190, fig. 255

template for Laurentian Library door 165, fig. 231

vestibule plan 163, figs. 222, 223

vestibule stairs 54, 165, 186, figs. 76, 229, 230

vestibule studies 63, 172, figs. 88, 222, 241

wall studies 163, 165, 168, 172, figs. 225, 226

window study 172, fig. 236

window and tabernacle studies 172, fig. 237

perception and the body 189–91

plan and section figs. 212, 213

rare books room 181–82, figs. 248–49

reading room figs. 207, 266–67

reading room desks 190, fig. 256

reading room door 175, fig. 246

reading room frieze 194, fig. 265

stairway 185–86, 189, figs. 251–53

vestibule 163, 165, figs. 206, 228, 240

vestibule details figs. 262–63, 268–69

Medici Chapel (also known as the New Sacristy)

commission 122, 124

compared with the Laurentian Library 153, 157, 165, 189, 194

drawings

base studies 61–62, 69, 72, figs. 92, 96, 99

candelabra design 141, figs. 190, 192

compared to Laurentian Library drawings 163, 165

Magnifici Tomb designs 159, fig. 216

Magnifici Tomb design (attribution) 144, fig. 202

Magnifici Tomb, base template 60, 62, fig. 80

plan 132, fig. 180

tomb designs 89, 132–33, figs. 181–85, 188

tomb of Giuliano de’ Medici (attribution) 144, fig. 203

wall drawings 141, figs. 194, 195

window, second-level 62, fig. 86

interior, appearance and effect 124–25, 144–45, 149, 165, figs. 173–79, 191, 196, 199–201, 227

plans, sections, and axonometric representations 124, 132, figs. 167–69, 171–72

project for a free-standing tomb 125, 132, 138

see also Michelangelo, sculpture

Palazzo Farnese, window study 181, fig. 247

Palazzo Medici window fig. 242

and its brackets 63, 89, 175, figs. 243–44

drawings 121, 239, figs. 166

papal tombs 159, 161, figs. 215, 217–18, 221

Porta Pia 202, 215n33, fig. 274

San Giovanni 81, 201–02, 215n33, figs. 272–73

San Lorenzo façade

commission 47, 89, 106–09, 157

drawings 89, 109, 114, 121–22, figs. 153–55, 159, 162, 165

model 107, 114, fig. 158

see also Sangallo, Giuliano da

figure studies

anatomical studies 16, fig. 19

copy after Masaccio 45, fig. 60

male figure study 4, fig. 3

Resurrection of Christ 14, 26, figs. 10, 34

study of four figures 78, fig. 108

studies of an infant 14–16, fig. 14

study for the Fall of Phaeton 199, fig. 270

Tityus 26, fig. 33

see also individual projects and Index of Drawings

letters

to Clement VII 133, 153, 155, 189

“Letter to an Unknown Prelate” (Cardinal Rodolfo Pio da Carpi) 3–4, 49, 189

painting

Battle of Cascina 21–22, 163, 175, figs. 25, 29–31

Last Judgment 40–41, 217n68

drawings 32–33, 200, fig. 271

Sistine Ceiling

as architectural framing system 93–94, 96, 98, 100–02, 138, figs. 133–36

commission and general views 22, 26, figs. 35, 36

drawings

ignudi studies 16, 30, 32, 34, 36, 38–39, figs. 17–18, 38–39, 45–48, 50–52, 53–56

scheme for the Sistine Ceiling 65, 96, figs. 90, 133–34

ignudi 26, 29–30, 32–34, 36, 86, 100–02, 104, figs. 32, 35–38, 44, 49, 138

Jonah and foreshortening 98–100, fig. 137

repetition and variation 22, 26, 28–30, 32–34, 36, 38–39

and suppression of subject 40–41

poetry 10, 41, 42, 65, 67–69, 165, 199, 213n32

sculpture

altarpiece design (unidentified) 89, figs. 124–25

Battle of the Centaurs 20–22, 40, 163, figs. 21–24

Day and Night, Medici Chapel 145, 149, fig. 199

drawings 144, figs. 197–98

Hercules and Antaeus 2, fig. 1

sleeping Cupid 6, 213n129

Tomb of Julius II

commission 87

drawings

project of 1505 86–87, 91, 93, 175, 223n11, fig. 121

project of 1513 102–06, 109, 124–25, figs. 144–46

project for a free-standing tomb 102, 125, 189

studies of slaves for the tomb of Julius II 16, 36, 38, figs. 18, 52

as executed 87, fig. 120

see also Victory

Venus studies 78, figs. 108–12

Victory 159, fig. 219

mirroring and mirror images 26, 28–29, 39, 216n49, 216n51

models, in clay and wax 1–2, 32–34, 141, 158, fig. 1

architectural models 2, 114, fig. 158

neurology 217n73, 218n85

orders (classical)

and abstraction and experimentation 73, 106, 138, 225n40

and Bramante 138, 157

and the canon 208

and Cosimo Bartoli 207

and details 54, 69

and the Medici Chapel drawings 135

and recognition or identification 67, 135, 195, 205

and Vitruvius 64, 71–72, 161

originality 4, 6, 42, 45, 102, 213n29

ornament, architectural 93, 106, 108–09, 114, 144, 151, 165, 190, 194–95

Palladio, Andrea 186, 208, 231n3

Palazzo Bartolini-Salimbeni (Florence, Baccio d’Agnolo) 154, fig. 208

Palazzo Branconio dell’Aquila (Rome, Raphael) 151, fig. 205

paper 2, 11–12, 42, 43, 214n15

perspective

and architectural drawings 52, 54, 186, 189, 215-16n4, 224n33

and the Sistine Chapel 98, 100, 102

Palazzo Stati-Maccarani 156, fig. 211

Peruzzi, Baldassare

and abstract architecture 138, 225n40

and anthropomorphic architecture 72, fig. 98

and antiquities 80–82, 211-12n13, figs. 115, 117

and representation of space, light 81, 158, 172, 189, 215–16n44, figs. 116, 214, 235

Petrarch and Petrarchanism 65, 67–69, 165, 199, 206

poetry, see Ariosto, Ludovico; Michelangelo, poetry; and Petrarch and Petrarchanism

Poliziano, Angelo 6, 48, 67, 212n28

Pollaiuolo, Antonio del 11, 87, 102, 215nn41–42, figs. 5, 143

putti 100, 105, 216n52, 216n61, 224n32, fig. 140; see also caryatids

quadro 86, 93, 108–09, 114, 121, 156; see also frame

Raffaello da Montelupo 226n50

Raphael

and adaptability 38, 42

and the antique 80–82, fig. 118

and critical assessment 206

and drawing 14, 215n31, fig. 15

and Leo X, letter to 85–86, 107

and Ludovico Dolce 69

and palace architecture 151, 156, 230n61, fig. 205

and prints 42

and the Stanze 100–101, 200, fig. 141

and tomb design 106, fig. 148

and Villa Madama 81, 149, 151, figs. 118, 204, 210

repetition

as an approach to drawing 6, 209

and its concealment 29, 42

and invention 10, 14

and memory 41

and paper 12

and variation 26, 28

and Vasari’s idea of disegno 68

Riario, Cardinal Raffaele 6

Rocchetti, Giacomo 102, fig. 144

Sangallo, Antonio da 60, 107, 165, fig. 233

Sangallo, Giuliano da

buildings and projects

decorative capitals 219–20n25

façade of San Lorenzo 107–09, 114, 226–27n47, 229n30, figs. 156, 157, 160, 161, 163, 164

Gondi Chapel 191, 226n52, 257–59

Poggio a Caiano 163

Santa Maria delle Carceri 227n75

Santo Spirito (vestibule and sacristy) 94, 193, figs. 130, 260, 261

triumphal arch for Julius II 89–90, fig. 126

drawings of antiquities

Codex Barberini 48–49, 51–52, 89, 163, 182, 194, 224n19, 225n39, figs. 65, 69, 224, 264

Taccuino Senese 4, 6, 48, 51, 73, figs. 106, 107

friendship with Michelangelo 4, 6, 49–50, 212n27

and the Laocoön 49, 216n65

Sansovino, Andrea 87, 107, 223n12, fig. 122

Sansovino, Jacopo 107–08, 157

Serlio, Sebastiano 161, 208

Signorelli, Luca 11, 215n36, 216n55, fig. 6

Socrates 214n17

sprezzatura 9, 209, 213n2

stylus 12, 14, 215n31

in relation to style 217n76

Tasso, Bernardo 206

Torso Belvedere 80, fig. 114

triumphal arches

Arch of Constantine 47, 85–86, 108–09, 226n61, figs. 77, 78

Arch of Septimius Severus fig. 139

and facade architecture 106, 108, 114

for Julius II 89, 91, fig. 126

and the Medici Chapel tomb designs 135, 138

sculpture, in relation to 85, 86–87

and the Sistine Ceiling 100

Varchi, Benedetto 212n15, 213n3

varietà (variety) 6, 42, 82, 205, 208

Vasari

and anatomy 20

and disegno 68

and the façade of San Lorenzo 106–07, 109

and the Last Judgment 40–41, 216–17n67

and memory 42

and Michelangelo’s architectural legacy 1, 7, 206–07

and the primo pensiero 13

and the Sistine Ceiling 98, 100–01

Verrocchio, Andrea del 14, 16, 91, 93, figs. 11, 128

Vitruvius

and antiquities, the study of 48, 49, 64

on architecture and the body 3, 71, 85, 189

and the Laurentian Library 193–95

and Michelangelo’s Vitruvian study group 219n20

and the orders 64, 71–72, 161

and orthodoxy 43, 50, 54, 60, 205–06

and Peruzzi 81

and the principles of firmitas (strength), utilitas (utility), venustas (beauty) 193–95

Volpaia, Bernardo della 45, 52, 54, figs. 58, 64, 68, 72, 74, 77, 79, 82, 84, 87, 93; see also Codex Coner and Michelangelo, Codex Coner

Wilde, Johannes 132

Wölfflin, Heinrich 190

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