CLASSICAL ARCHITECTURE: THEORY AND PRACTICE
CLASSICAL ARCHITECTURE: THEORY AND PRACTICE
(1H:151)
Spring 1999, TTh, 11:30-12:45, Art Building W19 Prof. Scott, AB W142 (tel. 335-1783) (jb-scott@uiowa.edu) Office Hours: TTh 2:00--3:00
SYLLABUS
Class Lecture/Discussion Topics: INTRODUCTION TO CLASSICAL ARCHITECTURE: Definition, Vocabulary, Meaning THEORY: Vitruvius Ancient Prototypes The Orders: Tuscan, Doric, Ionic, Corinthian, and Composite The mythic origins of the orders Rustication Proportion: Vitruvian Man and Cosmic Harmony Renaissance Visionaries: Filarete, Francesco di Giorgio, Francesco Colonna, Leonardo, Luca Pacioli Renaissance Theoreticians and Their Treatises: Alberti, Serlio, Vignola, Palladio Seventeenth-Century Theoreticians in Italy and France PRACTICE: Brunelleschi and the invention of Renaissance classicism Bernardo Rossellino at Pienza Giuliano da Sangallo Bramante in Milan and Rome Raphael as architect Michelangelo and the rule of invention Giulio Romano and Mannerism Palladio: a case study in theory and practice Classicism in England: Inigo Jones Christopher Wren Neo-Classicism in England: Lord Burlington Baroque Classicism in Italy: Maderno, Borromini, Bernini, Guarini Baroque Classicism France: The French Academy and the invention of rule Eighteenth-century Classicism in Europe Jefferson and the Classical Vision of the Early Republic Greek Revival in America New Classicism
CLASSICAL ARCHITECTURE: THEORY AND PRACTICE (01H:151) COURSE DESCRIPTION
This advanced undergraduate course will examine the major theoreticians and practitioners of classical architecture in Renaissance Italy. The semester will begin with a discussion of the relevance of the classical tradition in Iowa City architecture and in post-modern classicism. The vocabulary of classical architecture will be a point of focus in the early weeks, with special attention devoted to the development, meaning, and syntax of the orders. In the lectures on the history of architectural theory considerable emphasis will be given to the renewed interest in Vitruvius's ancient treatise on architecture and the interpretations of it in fifteenth- and sixteenth-century editions and commentaries, as well as to the new concepts introduced in the independent treatises of Alberti, Serlio, Vignola, and Palladio. Platonic philosophy and cosmology will be discussed for their influence on Renaissance architectural thinking. The ethical and political meanings of classical forms and style will be examined through analysis of the theoretical sources, both ancient and Renaissance. The second portion of the course will be devoted to the foremost practitioners of classical architecture in the Italian Renaissance--Brunelleschi, Bramante, Raphael, Michelangelo, and Palladio--and their seventeenth-century successors, focusing on their attempts to formulate, test, and expand the rules of classical design. The creative tension between rule and invention will be a constant theme in this analysis.
Students registering for
this course normally will have some background in the history of
architecture, ancient and/or Renaissance, as in "Western Art and
Culture before/after 1400," but coursework in Classics or Italian
studies would also be acceptable. Interested students who lack this
background but who wish to take the course should contact the
instructor. There will be five quizzes and three 5-page papers.
GOALS AND OBJECTIVES
The course aims through the analysis of design theory and practice in the Renaissance to arrive at a working definition of classical architecture and to explore its relevance to the postmodern world
REQUIREMENTS:
QUIZZES: One announced quiz toward the beginning of the course on the terminology classical architecture. Four short unannounced quizzes on specific reading assignments.
ESSAY PAPERS: Two 5-page essay papers based on general issues related to the theory of history of classical architectural design. Essay papers are due on Feb. 25 and May 6.
RESEARCH PAPER: One 5-page research paper consisting of a thorough analysis of a classical building. Research paper is due on April 6.
GRADUATE STUDENTS: One critical book review. Book review is due on March 23.
EXAMINATIONS: None.
ATTENDANCE: Strictly required. Be certain you sign the attendance sheet at each class session. If you are ill or cannot attend class for some reason beyond your control, the absence will be considered unexcused unless you have submitted to the instructor a written statement indicating the reason for the absence and the instructor then approves that excuse. More than three unexcused absences over the course of the semester result in the lowering of the final grade by one letter grade. More than six unexcused absences lower the final grade by two letter grades. More than nine unexcused absences lower the final grade by three letter grades. Students who miss a quiz or paper submission date must complete and submit to the instructor the "Explanatory Statement of Absence from Class" form available at the Registration Center (30 Calvin Hall). Quizzes missed without justification are graded "F".
GRADING: Plus/minus system will apply. Please inform the instructor of any unavoidable circumstances that negatively affect your course performance and timely adherence to deadlines.
PHYSICAL/LEARNING DISABILITIES: Any student with a disability requiring some modification of seating, testing, or other class requirements should contact the instructor after class or during office hours so that appropriate arrangements can be made.
PLAGIARISM/CHEATING: See the College of Liberal Arts handout.
COMPLAINT PROCEDURES: See the College of Liberal Arts handout. The Director of the School of Art & Art History is Prof. Dorothy Johnson (AB E100, 335-1771)
Required texts (available for purchase at the University of Iowa Book Store and also on reserve in the Art Library):
Curl, James Stevens, Classical Architecture: An Introduction to Its Vocabulary and Essentials, with a Select Glossary of Terms, New York, 1992. (Art fNA260/.C87/1992)
Onians, John, Bearers of Meaning: The Classical Orders in Antiquity, the Middle Ages, and the Renaissance, Princeton, 1988. (Art NA2815/.055/1988)
Payne, Alina, "Rudolf Wittkower and Architectural Principles in the Age of Modernism," The Art Bulletin, LIII, 1994, 322-342. (U-PAC)
Perrault, Claude, Ordonnance for the Five Kinds of Columns, Chicago, 1993. (Art NA2812/.P413/1993)
Scott, John Beldon, "Guarino Guarini's Invention of the Passion Capitals in the Chapel of the Holy Shroud, Turin," Journal of the Society of Architectural Historians, LIV, 1995, 294-321. (U-PAC)
Summerson, John, The Classical Language of Architecture, Cambridge, Mass., 1963. (Main NA2560/.584/1966)
Vitruvius Pollio, Marcus, Vitruvius: The Ten Books on Architecture, trans. M.H. Morgan, New York, 1960 (1914). (Art NA2515/V6E5/1960)
Wittkower, Rudolf, Architectural Principles in the Age of Humanism, 4th ed., London-New York, (Art NA520/.W5/1988)
Strongly Recommended (on reserve in the Art Library):
Fleming, John, Hugh Honour, and Nikolaus Pevsner, The Penguin Dictionary of Architecture, 4th ed., London, 1991. (Main NA31/.F55/1980)
Readings (on reserve in the Art Library):
Ackerman, James S., Distance Points: Essays in Theory and Renais sance Art and Architecture, Cambridge, MA, 1991. (Art N6370/.A26/1991)
Alberti, Leon Battista, On the Art of Building in Ten Books, trans. J. Rykwert, Cambridge, Mass.,1988. (Art NA2515/.A3513/1988)
Filarete [Antonio Averlino], Treatise on Architecture, trans. J. Spencer, New Haven, 1965.
Kruft, Hanno-Walter, A History of Architectural Theory from Vitruvius to the Present, trans. R. Taylor et al., London- Princeton, 1994. (Art NA2500/.K7513/1994)
Plato, Timaeus and Critias, trans. D. Lee, Harmondsworth, 1971. (Main B387/.A5L4/1977)
Rykwert, J., The Dancing Column: On Order in Architecture, Cambridge, Mass., 1996. (Art fNA2815/R95/1996)
Smith, C., Architecture in the Culture of Early Humanism: Ethics, Aesthetics, and Eloquence,1400-1470, New York, 1991. (Main NA510/.S65/1992)
Summerson, John, The Architecture of the Eighteenth Century, London, 1986 (1969). (Art NA956/.S86/1986)
Varriano, John, Italian Baroque and Rococo Architecture, New York, 1986. (Art NA1116/.V37/1986)
Useful Bibliography:
Treatises:
Palladio, A., The Four Books of Architecture, ed. I. Ware, London, 1783 [rpt., New York, 1965; 1st ed, Venice, 1570].
Serlio, S., The Five Books of Architecture, ed. R. Peake, London, 1611 [rpt, New York].
Secondary works:
Ackerman, James S., The Architecture of Michelangelo, 2nd ed., Harmondsworth, 1986.
Battisti, E., Filippo Brunelleschi The Complete Work, New York, 1981.
Borsi, F., Leon Battista Alberti: The Complete Works, trans. R.G. Carpanini, New York, 1989.
-------, Bramante, Milan, 1989.
Chitham, R., The Classical Orders of Architecture, London, 1985.
Frommel, C.L., ed., Raffaello architetto, Milan, 1984.
Jarzombek, M., On Leon Baptista Alberti, Cambridge, Mass., 1989.
Jencks, C., Post-modernism: The New Classicism in Art and Architecture, London, 1987.
Macmillan Encyclopedia of Architects, 4 vols., London, 1982.
Murray, P., Renaissance Architecture, New York, 1985.
Pedretti, C., Leonardo architetto, Milan, 199X.
Pérouse de Montclos, Jean-Martin, Histoire de l'architecture française de la renaissance á la révolution, Paris, 1989.
Picon, Antoine, Claude Perrault, ou la curiosité d'un classique, Paris, 1988.
Puppi, L., Andrea Palladio: The Complete Works, trans. P. Sanders, New York, 1989.
Smith, T.G., Classical Architecture: Rule and Invention, Layton, Utah, 1988.
The Sources of Classicism: Five Centuries of Architectural Books..., Austin, Texas, 1978.
Speaking a New Classicism: American Architecture Now, Northampton, Mass., 1981.
Stratton, A., The Orders of Architecture: Greek, Roman, and Renaissance, London, 1986 (1931).
Sturgis, Russell et al., Sturgis' Illustrated Dictionary of Architecture and Building, 3 vols., NewYork, 1989 (1901-1902).
Tavernor, Robert, Palladio and Palladianism, London, 1991.
Wiebenson, D., ed., Architectural Theory and Practice from Alberti to Ledoux, Chicago, 1982.
Wittkower, R., Palladio and English Palladianism, New York, 1974.
1. Papers can be no less than four and no more than five type-written, double-spaced text pages. (Graduate student papers should be 8-10 text pages in length.) If you choose to include photocopied illustrations, they should be placed at the back of the paper. Do not justify the right margin of your printed text. Text, endnote, and bibliography pages should be numbered consecutively.
2. The neatly trimmed illustrations should have figure numbers (e.g., Fig. 1), be keyed to the text, and have newly made, typed captions but no page numbers. There should be only one illustration per sheet, no matter how small. Captions should contain complete relevant information. Give location (museum, collection, etc.) of any drawings you illustrate. Do not use color photocopies.
3. The title of the paper and your name should be at the top of the first text page. No title pages, cover sheets, or binders of any kind should be submitted with the paper. Simply secure the pages with a paper clip (no staples). Avoid the use of brightly colored clips.
4. Omit biographical material unless directly relevant and avoid quotations from secondary sources, but previous scholarship on the work must be consulted and so credited by endnote reference. If you must refer to secondary sources in the text proper, paraphrase. The emphasis should be on your own visual and intellectual analysis of the work, informed with knowledge of the previous scholarship on the subject. Include a bibliography listing all books and articles given endnote reference (do not include works you read but did not use in your paper). All items referred to in the notes should also be in the bibliography, and vice versa. Use as your guide for endnote format and bibliography Sylvan Barnet, A Short Guide to Writing about Art, 1993. For endnote logic, see Barnet's section "Acknowledging Sources."
5. As a matter of style, avoid using the first person singular. Accepted usage requires that titles of paintings and works of sculpture be underlined. Do not use quotation marks for this purpose. The names of buildings do not require special treatment.
6. Your completed paper will consist of four parts in the following sequence: text, endnotes, bibliography, and illustrations.
7. Omit empty, subjective terms such as master, masterpiece, famous, beautiful, unique, genius, realistic, perfect, etc. Also avoid contractions and split infinitives. Note that "its"=possessive of "it", while "it's" (a contraction)="it is."
8. It is imperative that papers be proofread for grammatical errors and misspellings. Unproofread papers will be lowered by one letter grade.
9. PAPERS MUST BE DELIVERED AT THE BEGINNING OF CLASS ON THE DATE DUE. LATE PAPERS ARE LOWERED ONE LETTER GRADE. If tardy submission is due to unavoidable circumstances, please see the instructor.