At the same time as the rusticated Zecca in Venice was being built, Serlio was adding a similar nuance by introducing the rustic mode into architectural theory. He suggested the concept and the term 'ornamento rustico' and illustrated it with a series of schemes of quadrangular masonry with quoin arches, largely based on the study of the Basilica of SS Cosmas and Damian, as well as with a number of suggestions for their combination with the orders, eventually rusticated. He defined this architectural feature as appropriate to the Tuscan order, one inherited by the Romans from the Etruscans and bearing their name and as we can see now, he could do so on historical grounds, since both these elements touched upon the Etruscan past. How and why he came to baptize this stylistic mode with the word rustico, which became so successful an addition to the vocabulary of architectural terms in all languages, and whether a literary advisor, such as Bembo or Aretino stood behind it, deserves further inquiry. This word was previously unknown in this sense in the architectural milieu, even in the Roman architectural school where a rusticated wall was called 'mur bozato', a term descriptive of the mode of dressing the stone. If the word rustico was used before Serlio in architectural treatises it was in connection with 'edificii rustici', literally village buildings or villas. Serlio’s rustico evidently refers to a stylistic mode without the physical relation to the countryside. It epitomizes the range of significations otherwise implied in SS Cosmas and Damian. It invokes the aesthetic roughness of the archaic epoch and the agricultural and moral connotations of the Saturnian age. The idea of rural simplicity expressive of nostalgia for the moral standard of the past had a venerable tradition in classical literature, as well.
--"La zecca vecchia," by Lola Kantor-Kazovsky, Renaissance Studies 25 (2010)
Image from Extraordinario Libro by Sebastiano Serlio, 1551 (@metmuseum)
A Michelangelo Villa Gate = Michelangelo Sculptures + Michelangelo decomposition of architectural elements + elements showing verticality + conventional fortress type gate #overlay#portapia#renaissancearchitecture
The winecellar, a vault from the 1380s. Deep inside the castle foundation there are two vaults left from pre Carolean time(1654-1718), probably built when Bishop in Strangnas took over the Rocklista willage from the preast in Forssa.
Gorgeous paintings all around the vault. When looking at the style of the paintings we identify a pronounced Neo Renaissance style, entwined with grapewine decoration. Neo Renaissance spans from around 1860 to 1900. The grapewines feels almost like early Art Nouveau (Jugend) that started to appear in 1890 and was faded into Art Deco around 1910. So we will date the decoration to the 1890s.
We don't have time (or money) to be great wine collectors, but this weekend I had my old friend Stefan here (Math genius, and now hot shot boss). He tought us a valuable lesson. There is a small collection of Mouton Rothschild from 1962 that my Grandmother bought in the 1970s. He said we should put some plastic film around them for protection. Thankyou Stefan, who probably is not a subscriber (I don't want to push anyone to read my garbage texts). But nonetheless, the winecellar was a valuable source of liquor for us as teenagers. We would fill an empty bottle with water, drain a number of bottles of whisky, vodka, gin etc for just a tiny bit and replace with water. We then had what's called a witch-mix, tastes like shit, but does the job. And nobody would ever notice. -Until they did.
One can still appreciate the lucid clarity of Freudenstadt today. Over time, Heinrich Schickhardt’s geometry had gained in regularity until, in the final version, nothing was permitted to violate its abstract clarity, not even the church. Within his trellis of squares there was only one place of honor, which was reserved for the duke. All the church could do was squeeze itself subserviently into a corner. Dürer had also moved his church to a corner of his grid, although he gave it a conventional form. But Schickhardt bent his church in the shape of an L, placing two separate naves at a right angle to each other. Nothing could be less in the spirit of the Renaissance, and it helps that the church was built in a late Gothic style, with net vaulting and a Gothic tower over the entrance to each nave. The choice of Gothic was peculiar, but well into the seventeenth century German architects continued to make late Gothic designs--German historians speak of both Spätgotik and Nachgotik, that is, late Gothic and post-Gothic. Curiously, it was invariably Protestant architects, not Catholics, who built these Gothic laggards, a sure sign that nationalist considerations were at play, and a reluctance to identify with the modern architecture of Catholic Italy....
It seems vaguely impertinent to build a religious sanctuary and then to give such a clearly deferential position and form to the church. Yet such was a consequence of the Reformation. In these decades of Catholic-Protestant conflict, it was for the prince to determine what confession his people followed, which gave to the church a subordinate role that it had not had during the Middle Ages. It was precisely this heightened control over church and state that made possible the age of absolutism. If the plan of the Freudenstadt church was sui generis, it was nonetheless a striking prophecy of how a nonhierarchical and nonprocessional spatial order might govern the plan of a Protestant church.
From Michael J. Lewis, City of Refuge: Separatists and Utopian Town Planning (Princeton Univ. Press, 2016)
“The Convento de San Marcos was a convent in León, Spain is today an operating luxury parador hotel. It also contains a consecrated church and museum, and is one of the most important monuments of the Renaissance in Spain. It is one of the greatest architectural jewels of León, together with the Cathedral, the Basilica of San Isidoro and la Casa Botines. It has a highly ornamental plateresque facade. The darkest period in the monastery of San Marcos's five centuries of history is concentrated in just four years. During the course of the Spanish Civil War cells, rooms, stables, cloisters, church, choir, museum and every fast corner of the building were transformed into impromptu dungeons or jailers' offices. Between July 1936 and the end of 1940, up to 7,000 men and 300 women were imprisoned at the same time. It is estimated that, over the entire war and the period immediately following, the number of Republican militia members and political prisoners that passed through its cells totaled some 20,000. In the province of Leon, around 3,000 deaths are recorded due to the repression, and a good number of these came from the dungeons of San Marcos.” #sanmarcos#parador#paradores#leon#leonespaña#leonspain#spain#españa#renaissance#renaissancearchitecture
EMPIRE OF BEAUTY | Grand cascade fountain in the gardens of the Belvedere, with the upper Belvedere Palace in the background, on a dusty day in Vienna. Designed by the Austrian baroque master Lukas von Hildebranth in the 1710s together with the Belvedere Palace, the gardens of the Belvedere feature three cascade fountains, a typical baroque garden element which stretches over two different levels of height, in between which water flows from the upper pool over several "steps" into the lower pool, which each step is lavishly adorned with individual fountains and baroque and classical sculptured and statues. .
Somewhat hidden behind Esplanade Avenue lies one of the most grandiose mansions in a city full of grand homes: Luling Mansion. Designed by famed New Orleans architect James Gallier Jr., the home was built in 1865 for wealthy cotton merchant Florence Luling, whose family made a fortune selling turpentine to Union soldiers. The opulent Italianate estate boasted 22 rooms on 30 landscaped acres overlooking the Bayou St. John.
Tragedy struck soon after moving in when both of Luling’s sons drowned in the bayou. Luling’s cotton business plummeted after the Civil War and before leaving for Europe in 1870, he sold the manse to the Louisiana Jockey Club. It became their headquarters and many a lavish party was held there until 1905 when they sold the property and it was turned into private apartments, some of which are still occupied.
4/100 - c’est le plus haut château de France, il compte 7 étages et + de 200 pièces. Situé à 15 kilomètres d’Angers, le château de Brissac appartient à la même famille depuis le début du XVIème siècle: les ducs de Brissac, qui vivent encore aujourd’hui dans le château.
EMPIRE OF BEAUTY | The heavenly baroque bliss of the nave of the Jesuits Church in Vienna. The high-baroque redesign of this most splendid church nave was comissioned by Holy Roman Emperor Leopold I. in 1700 as he strengthened the Jesuit order in the imperial capital Vienna. Several Austrian and Italian architects worked a short 5 years to complete this extraordinary piece of architectural mastery which stands as one of the greatest baroque church interiors in the world. The nave design makes lavish use of red, purple, white, and dark green marble as well as exorbitant amounts of real gold which covers large parts of the ceiling .