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Andrew Morrogh (1992)
The Magnifici Tomb: A Key Project in Michelangelo's Architectural CareerArt Bulletin, 74
Biblioteca Laurenziana
Ackerman also suggests that the upper elevation, with its four bays
D. Hemsoll (2003)
The Laurentian Library and Michelangelo's Architectural MethodJournal of the Warburg and Courtauld Institutes, 66
F. Salmon (1990)
The Site of Michelangelo's Laurentian LibraryJournal of the Society of Architectural Historians, 49
(1981)
Salmon and Brothers both agreed with this identification; see Salmon
L. Berti, Michelangelo Buonarroti, Alessandro Cecchi, Antonio Natali, Casa Buonarroti (1985)
Michelangelo : i disegni di Casa Buonarroti
Brothers describes the portals as 'strangely thick'; see Brothers, Michelangelo
J. Ackerman, John Newman (1961)
The architecture of Michelangelo
Giorgio Vasari (1963)
Lives of the Painters, Sculptors and Architects
Casa Buonarroti 48A recto is discussed below
J. Wilde, J. Shearman, M. Hirst (1978)
Michelangelo: Six Lectures
C. Elam (2005)
‘Tuscan dispositions’: Michelangelo's Florentine architectural vocabulary and its reception *Renaissance Studies, 19
Bibliotecca Laurenziana
Michelangelo Buonarroti, Charles Tolnay (1981)
Corpus dei disegni di MichelangeloArt Bulletin, 63
(1979)
The Site and Early Building History of Michelangelo's New Sacristy
Frederick Hartt (1975)
The drawings of Michelangelo
Hemsoll also identifies the lower elevations of the interior of the Pantheon as a likely source of inspiration for Michelangelo's ricetto design in Casa Buonarroti 48A recto; see Hemsoll
Tl sugello mancate
The vanishing point on the horizon of a person of average height is just above the level of the desktops. Because of this acute viewing angle and the close spacing of the desks
R. Wittkower (1934)
Michelangelo's Biblioteca LaurenzianaArt Bulletin, 16
riducesi in tondo di sopra e tucti e' lumi si piglion dalla volta per che non si possono aver d'altrove
Quoted from Argan and Contardi, Michelangelo Architect
Howard Saalman (1966)
Tommaso Spinelli, Michelozzo, Manetti, and RosselinoJournal of the Society of Architectural Historians, 25
C. Elam, Casa Buonarroti, Centro Vicenza (2006)
Michelangelo e il disegno di architettura
W. Wallace (1994)
Michelangelo at San Lorenzo: The Genius as Entrepreneur
Laurentian Library
(1966)
Angelis d'Ossat, The Complete Work of Michelangelo
J. Wilde (1955)
Michelangelo's Designs for the Medici TombsJournal of the Warburg and Courtauld Institutes, 18
M. Hirst, Michelangelo Buonarroti (1988)
Michelangelo and his drawings
Howard Saalman (1985)
The New Sacristy of San Lorenzo before MichelangeloArt Bulletin, 67
(1978)
Brothers follows Wilde's interpretation, arguing that columns have replaced the traditional sculptural figure typically found in a niche
Golo Maurer (2004)
Michelangelo _ Die Architekturzeichnungen. Entwurfsprozeß und Planungspraxis
J. Cooper (2008)
Two Drawings by Michelangelo of an Early Design for the Palazzo dei ConservatoriJournal of the Society of Architectural Historians, 67
Frederick Hartt, R. Orme (1970)
HISTORY OF ITALIAN RENAISSANCE ARTThe Art Book, 1
Re-examination of a key group of Michelangelo's sketches for the Laurentian Library, located in the monastic complex of Florence's S. Lorenzo, offers a new understanding of his design process and the project as it was built. While drawings by Michelangelo survive for all three of the library's intended spaces, this study concentrates on a number of drawings on four sheets for the entrance vestibule, or ricetto, and the two drawings for what would have constituted the third space, the unbuilt rare books room. It offers a major revision of Rudolf Wittkower's pioneering study of the library's design stages, and will also allow for the identification and discussion of key precedents and their role in the development of Michelangelo's design. These included ancient Roman and Renaissance sources, as well as his own designs both for the unbuilt façade of S. Lorenzo, and for the Medici Chapel attached to the same church (Fig. 1). Consideration of the drawings for the Laurentian Library ricetto in conjunction with letters written to Michelangelo from his Roman agent, Giovanni Francesco Fattucci, and the papal secretary Pier Paolo Marzi, recording Pope Clement VII's responses to a number of important design ideas, allows for a reliable reconstruction of Michelangelo's penultimate scheme for the ricetto, which enables the recognition of a key ancient precedent that inspired Michelangelo, and throws new light on the genesis of the final design. It becomes clear, too, that Michelangelo would later rework certain design ideas that he developed in these Laurentian Library sketches for subsequent projects in Rome, including an early design for the Palazzo dei Conservatori, and also the final form of both this palace and the Palazzo Senatorio.
Architectural History – Cambridge University Press
Published: Apr 11, 2016
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