by Unknown
46 Milan, Civico Gabinetto dei Disegni, Collezione sardini Martinelli, inv. 5, fol. 99 r.
47 Milan, Civico Gabinetto dei Disegni, Collezione sardini Martinelli, inv. 5, fol. 76 r (fol. 77 shows a longitudinal section).
48 Eroli 1895, pp. 239 and 430.
49 De Blaauw 1994b, pp. 22–23. Eroli 1895, p. 266, mistakenly dates it to the period of Innocent VIII.
50 Lanciani 1902–1912, vol. 1, pp. 88.
51 Pasquali 1996a, pp. 32, 33, 36, and 41, Figs. 16–17.
52 Tod Marder, “Specchi’s High Altar for the Pantheon and the Statues by Cametti and Moderati,” Burlington Magazine 122, 1980, pp. 30–40.
53 Eroli 1895, p. 266.
54 Ulrich-Walter Gans, Korinthisierende Kapitelle der römischen Kaiserzeit, Vienna 1992, pp. 50–53, Fig. 36. In seeking nonstylistic dating criteria, the reported provenance of a capital very similar to the Pantheon capitals from the Baths of Caracalla, as transmitted by the Codex Destailleur B, fol. 103, in the Hermitage in St. Petersburg, is perhaps of interest.
55 El Escorial, Codex Escurialensis, fol. 44 r; CensusID 50729. Egger 1905–1906, vol. 1, pp. 117–118; Nesselrath 2005, p. 191. On the chronological order and attribution of the codex, cf. Arnold Nesselrath, “Il Codice Escurialense,” Domenico Ghirlandajo 1449–1494, Atti del Convegno Internazionale, Florence 16–18 October 1994, Florence 1996, pp. 175–198.
56 London, Royal Institute of British Architects, inv. VIII/6. See Shearman 1977, p. 124; Nesselrath 1996, p. 185, Fig. 24.
57 Florence, Uffizi, inv. 4337 A v. Cf. Nesselrath 1996, p. 185.
58 Such a dating is consistent with the observations on the Codex Escurialensis, its relation to Filippino Lippi, and the proposed dating for the models; cf.Nesselrath 1996, pp. 192–196.
59 Giorgio Vasari, Le vite de’più eccellenti pittori scultori ed architetti, vol. 4, ed. G. Milanesi, Florence 1906, p. 382; Golzio 1936, pp. 116–118; Shearman 2003, vol. 1, pp. 569–571; Buddensieg 1968, pp. 45–46; Norbert Nobis, Lorenzetto als Bildhauer, Bonn 1979, pp. 115–117.
60 Lanciani 1902–1912, vol. 2, pp. 237–238.
61 Corrado Maltese, ed., Francesco di Giorgio Martini: Trattati di architettura, ingegneria e arte militare, Milan 1967, 2 vols.; vol. 1, pp. 280–281, tav. 147; CensusID 60550.
62 Biblioteca Apostolica Vaticana, Barb. lat. 4424, fol. 27 v; CensusID 60257. Cf. C. Hülsen, Il libro di Giuliano da Sangallo: codice Vaticano Barberiniano Latino 4424, Leipzig 1910 (repr. Vatican City 1984), p. 36.
63 Arnold Nesselrath, review of Codices e Vaticanis selecti phototypice expressi, vol. 39, Biblioteca Apostolica Vaticana, Vatican City 1984, reprint of Hülsen 1910, Zeitschrift für Kunstgeschichte 52, 1989, pp. 285–287.
64 London, Sir John Soane’s Museum, Codex Coner, fol. 52 r; CensusID 60104. Thomas Ashby, “Sixteenth-Century Drawings of Roman Buildings,” Papers of the British School at Rome 2, 1904, pp. 1–88; p. 37, no. 63. On the Codex Coner, cf. Arnold Nesselrath, “Codex Coner – 85 years on,” Cassiano dal Pozzo’s Paper Museum 2, 1992, pp. 145–167.
65 Michael Bury, “A Newly-Discovered Architectural Treatise of the Early Cinquecento: the Codex of Antonio da Faenza,” Annali di architettura 8, 1996, pp. 21–42; p. 32, Fig. 13. Timo Strauch is preparing a study on Antonio da Faenza and his treatises.
66 Lisbon, Museu Nacional de Arte Antiga, inv. 1713c v; CensusID 44650. Cf. Tilmann Buddensieg, “Bernardo della Volpaia und Giovanni Francesco da Sangallo – Der Autor des Codex Coner und seine Stellung im Sangallo-Kreis,” Römisches Jahrbuch für Kunstgeschichte 15, 1975, pp. 89–108; pp. 93–94 and 103, Fig. 4.
67 Shearman 2003, vol. 1, pp. 748–749. On the Madonna del Sasso, cf. Nobis 1979, pp. 115–130.
68 CensusID 190999; M.-H. Pluchart, Ville de Lille – Musée Wicar, Notice des Dessins, Cartons, Pastels, Miniatures et Grisailles exposés, Lille 1889, p. 185, no. 875; Barbara Brejon de Lavergnée, Catalogue des Dessins Italiens – Collections du Palais des Beaux-Arts de Lille, Lille 1997, p. 314, no. 789 v (Frédérique Lemerle), fig. on p. 315. On Raffaello da Montelupo’s book of drawings in Lille, cf. Arnold Nesselrath, “Il libro di Michelangelo a Lille,” Quaderni dell’Istituto di Storia dell’Architettura N.S. 24, 1994, pp. 35–52. The drawings of Amico Aspertini in his London book of drawings, CensusID 61459 and 60954 (Phyllis Pray Bober, Drawings after the Antique by Amico Aspertini, London 1957, p. 89) are copied from the Codex Coner, fol. 52 r (Ashby 1904, p. 37, no. 63; CensusID 60104).
69 Cf., for example, the reerected Library of Celsus in Ephesus or the solutions in triumphal arches also from the Trajanic period, such as the one in Timgad.
70 The drawing is only known to me from a photo in the Witt Library in London that was cut out of a sale catalogue and that bears the name of O. Baer, Frankfurt. Curtis O. Baer emigrated from Frankfurt to the United States in 1940. The drawing is not mentioned in Eric Zafran, Master Drawings from Titian to Picasso – The Curtis O. Baer Collection, Atlanta 1985. I am indebted to the late Rupert Hodge for obtaining a reproduction of the photo for me many years ago.
71 Turin, Archivio di Stato, Cod.a.III.15.J.13, fols. 47 r–55 v. Lanciani 1902–1912, vol. 2, p. 23.
72 Kjeld de Fine Licht, The Rotunda in Rome: A Study of Hadrian’s Pantheon, Copenhagen 1968, pp. 111–114 and 221, Figs. 121–122; Andrea Wandschneider, “Das Pantheon – Raumerfahrung und Sakralbestimmung,” Antike Welt 20, no. 3, 1989, pp. 9–24; pp. 14–15, Figs. 6–7.
73 Muñoz 1912, pp. 25–27; Arnold Nesselrath, “Von Volpaia bis Volpi. Die farbige Marmorinkrustation der Vorhalle des Pantheon,” Pegasus 4, 2003, pp. 19–36; pp. 20–22.
74 Eroli 1895, p. 265; P. Tomei, “Le vicende del rivestimento della cupola del Pantheon,” Bollettino d’arte 32, 1938, pp. 31–39.
75 Biondo 1558, fol. 56; Eroli 1895, p. 265; Tomei 1938, pp. 31–32.
76 A series of these lead tiles are riveted onto the exterior perimeter of the drum around the Pantheon dome. Two are now in the Vatican Museums, inv. 56231 and 56232. Cf. Eroli 1895, pp. 265–266; Tomei 1938, p. 32, Fig. 2; Nesselrath 2005, p. 199, cat. II.2.2.
77 Eroli 1895, p. 265.
78 Gerald Heres, “Beiträge zur antiken Bronzekunst. Niet vom Gebälk des Pantheonsvorhalle,” Staatliche Museen zu Berlin, Forschungen und Berichte, 22, 1982, p.197, tav. 30; Der Ruhm des Pantheon, ed. Wolf-Dieter Heilmeyer, Ellen Schraudolph, and Hildegard Wiewelhove, exh. cat., Berlin 1992, pp. 18–19.
79 Sebastiano Serlio, Tutte l’opere d’architettura (I sette libri dell’architettura), Venice 1584, vol. 3, fol. 52 v.
80 Heres 1982, p. 196, fig. 2; Ian Campbell, Ancient Roman Topography and Architecture, London 2004, vol. 1, pp. 312–429; Ian Campbell, “Some Drawings from the ‘Paper Museum’ of Cassiano Dal Pozzo and the Berlin Codex Destailleur ‘D’,” Pegasus 6, 2004, pp. 23–45.
81 New York, Metropolitan Museum, fols. 84 v–85 r; CensusID 241205. Cf. Émilie D’Orgeix, “The Goldschmidt and Scholz Scrapbooks in The Metropolitan Museum of Art: A Study of Renaissance Architectural Drawings,” Metropolitan Museum Journal 36, 2001, pp. 169–206; pp. 177–179; and now, Carolyn Y. Yerkes, “Drawings of the Pantheon in the Metropolitan Museum’s Goldschmidt Scrapbook,” Metropolitan Museum Journal 48, 2013, pp. 87–120.
82 D’Orgeix 2001, p. 178, Fig. 16; Campbell 2004a, vol. 1, pp. 412–416, cat. 140; Campbell 2004b, pp. 41–42, Figs. 11–12.
83 Heres 1982; Anne-Christin Batzilla, “Bronzeniet vom Pantheon,” in Barock im Vatikan 1572–1676 (exh. cat. Bonn and Berlin), Leipzig 2005, p. 142, no. 54. Louise Rice, “Bernini and the Pantheon Bronze,” in Sankt Peter in Rom 1506–2006. Beiträge der internationalen Tagung vom 22–25 Februar 2006 in Bonn, Beiträge der internationalen Tagung vom 22–25 Februar 2006 in Bonn, ed. Georg Satzinger and Sebastian Schütze, Munich 2008a, pp. 337–352; Rice, “Urbano VIII e il dilemma del portico del Pantheon,” Bollettino d’arte 143, 2008, pp. 93–110; Rice, “Pope Urban VIII and the Pantheon Portico,” in Gerd Grasshoff, Michael Heinzelmann, and Marcus Wäfler, eds., The Pantheon in Rome: Contributions to the
Conference, Bern, November 9–12, 2006, Bern 2009, pp. 155–156.
84 John Capgrave, Ye Solace of Pilgrims, trans. and ed. Daniela Giosuè, Rome 1995, pp. 70–72 and 195–196; CensusID 191221. The same expedient, of course, was canvassed by Florentines at the time the cupolone of S. Maria del Fiore was being projected in 1420: it would, they suggested, be a good thing to fill the area below the dome with earth and small coins, so that people would carry away the earth without expense once the dome had been raised (cf. Vasari, vita of Brunelleschi; Vasari repr. 1906, vol. 2, p. 345). I am indebted for the indication of this anecdote to Peter Spring.
85 Capgrave 1995, p. 72; Nesselrath 2005, p. 191.
86 Capgrave 1995, p. 197; Martin Wallraff, “Pantheon und Allerheiligen,” Jahrbuch für Antike und Christentum 47, 2004, pp. 128–143.
87 For further descriptions, their historical analysis depending on the cultural level of the author, at times more anecdotal, at times more analytical, e.g., that of the Florentine merchant Giovanni Rucellai, or that of the mayor of Nuremberg Nikolaus Muffel, or that of the papal historian Flavio Biondo or the humanist Pomponio Leto, cf. Nesselrath 2005, pp. 191–192.
88 Krautheimer 1980, pp. 65–68.
89 Eroli 1895, pp. 266–267 and 451–452; Ashby 1916, p. 131.
90 Antonio Salamanca places the ancient porphyry sarcophagus in almost exaggerated form over the gable end of the porch (cf. Sylvie Deswarte-Rosa, “Les gravures de monuments antiques d’Antonio Salamanca, à l’origine du ‘Speculum Romanae Magnificentiae,’” Annali di architettura 1, 1989, pp. 47–62; p. 54, Fig. 10) and thus takes its emblematic character into account. Antonio Lafreri presents his view of the Pantheon with the ancient sculptures in front (Ashby 1916, p. 131, pl. 42, Fig. 76; Christian Hülsen, “Das Speculum Romanae Magnificentiae des Antonio Lafreri,” Collectanea Varie Doctrinae, Leon Olschki Bibliopolae Florentino Sexagenario, Munich 1921, pp. 121–170; p. 143; Heilmeyer, Schraudolph, and Wiewelhove 1992, pp. 31–32, cat. 2; Gruben and Gruben 1997, pp. 11–12, Fig. 6); they take the place of an explanatory caption and liken the reality of the piazza to the ancient building.
91 Shearman 1977, pp. 130–140.
92 London, RIBA, inv. XIII/1 r and v. Cf. Eckhart Knab, Erwin Mitsch, and Konrad Oberhuber, Raphael – Die Zeichnungen, Stuttgart 1983, p. 601, nos. 462–463; Arnold Nesselrath, “Raffaello: Profilo e alzato ortogonale, combinati tra loro, della trabeazione principale dell’interno del Pantheon,” in Frommel, Tafuri, and Ray 1984, p. 420; Nesselrath 1993, pp. 16, 19, 30, 32–33, 37, 124–125, 131, 132, Figs. 128–129.
93 Nesselrath 1993, pp. 16, 19, 32–33, 37, 123–132, Figs. 25–27; CensusID 67335 and CensusID 67341.
94 Denker Nesselrath 1990, p. 93; CensusID 154486 and CensusID 51095.
95 Denker Nesselrath 1990, pp. 79–86; Denker Nesselrath 1992, pp. 86–89.
96 Florence, Uffizi, inv. 6770 A r und v. Denker Nesselrath 1990, pp. 79 and 81–86, Figs. 165–166; Denker Nesselrath 1992, p. 86, Figs. 14–15.
97 Florence, Uffizi, inv. 1191 A r. Denker Nesselrath 1990, pp. 96–97, Fig. 198; Denker Nesselrath 1992, pp. 88–89, Fig. 20; Arnold Nesselrath in The Architectural Drawings of Antonio da Sangallo the Younger and His Circle, ed. Christoph L. Frommel and Nicholas Adams, 2 vols., New York 1994, 2000; vol. 1, p. 216.
98 Gruben and Gruben 1997, pp. 31 and 54–55.
99 Riccardo Pacciani, “Firenze nella seconda metà del secolo,” in Storia dell’architettura italiana, Il Quattrocento, 2 vols., ed. Francesco Paolo Fiore, Milan 1998; vol. 2, pp. 330–373.
100 Vasari repr. 1906, vol. 4, p. 511: ...dove le costole che si partono dal tondo del mezzo di sopra, cioè dove ha il lume quel tempio, fanno dall’una all’altra i quadri degli sfondati dei rosoni che a poco a poco diminuiscono; ed il medesimo fa la costola, perchè non casca in su la dirittura delle colonne.
101 Vasari repr. 1906, vol. 4, pp. 511–512; CensusID 43497: Nondimeno molti artefici, e particolarmente Michelagnolo Buonarroti, sono stati d’openione, che la Ritonda fusse fatta da tre architetti, e che il primo la conducesse al fine della cornice che è sopra le colonne; l’altro dalla cornice in su, dove sono quelle finestre d’opera più gentile; perchè in vero questa seconda parte è di maniera varia e diversa dalla parte di sotto, essendo state seguitate le volte senza ubbidire ai diritti con lo spartimento: il terzo si crede che facesse quel portico, che fu cosa rarissima. Per le quali cagioni i maestri che oggi fanno quest’arte, non cascherebbono in così fatto errore, per iscusarsi, come faceva Andrea. Cf. Tilmann Buddensieg, “Criticism and Praise of the Pantheon in the Middle Ages and the Renaissance,” Classical Influences on European Culture A.D. 500–1500: Proceedings of an International Conference Held at Kings College, Cambridge, April 1969, ed. R. R. Bolgar, Cambridge 1971, pp. 259–267; p. 265; Arnold Nesselrath, “Raffaello e lo studio dell’antico nel Rinascimento,” in Frommel, Tafuri, and Ray 1984, p. 407; Nesselrath 1993, p. 123.
102 Wolf-Dieter Heilmeyer, “Apollodorus von Damaskus – der Architekt des Pantheon,” Jahrbuch des Deutschen Archäologischen Instituts, Römische Abteilung 90, 1975, pp. 316–347; p. 319; Paul Godfrey and David Hemsoll, “The Pantheon: Temple or Rotunda?” in Pagan Gods and Shrines of the Roman Empire, ed. Henig et. al., Oxford 1986, pp. 195–209; Paul Davies, David Hemsoll, and Mark Wilson Jones, “The Pantheon: Triumph of Rome or Triumph of Compromise?,”Art History 10, 1987, pp. 133–153; Marder 1989, pp. 635–640; Gruben and Gruben 1997.
103 Heilmeyer 1975, pp. 330–333.
104 Ferrara, Biblioteca Comunale Ariostea, ms Classe I 217, fol. busta 4, no. 8 r; CensusID 62544. Cf. Howard Burns, “A Peruzzi Drawing in Ferrara,” Mitteilungen des kunsthistorischen Institutes in Florenz 12, 1965–1966, pp. 245–270.
105 Burns 1965–1966, p. 250, Fig. 3.
106 Nesselrath 2003.
107 Turin, Biblioteca Reale, Codex Saluzzianus 148, fol. 80 r; CensusID 60550. Maltese 1967, vol. 1, pp. 280–281, tav. 147; Buddensieg 1971, pp. 263–265, Fig. 3c; Marder 1989, p. 635, Fig. 11; Nesselrath 2005, p. 192, fig. on p. 190.
108 Florence, Uffizi, inv. 1060 A r; CensusID 46413. Cf. Nesselrath in Frommel-Adams 2000, pp. 200–201.
109 Buddensieg 1971, pp. 265–266, Figs 3, a and b; CensusID 43452. Marder 1989, p. 637, Fig. 20.
110 Florence, Uffizi, inv. 306 A r, 841 A r, 874 A r and v, 1241 A r, and 3990 A r; CensusID 43452. Cf. Nesselrath in Frommel-Adams 2000, pp. 134, 158–159, 171–172, 221 and 268–269, illustrations 347, 369, 380, 425, 476.
111 London, Sir John Soane’s Museum, Codex Coner, fol. 32 v; CensusID 46698. Ashby 1904, p. 29, no. 36. I wish to thank Sebastian Storz for fruitful discussions on this sheet.
112 A. Palladio, I quattro libri dell’architettura, Venice 1570, p. 73; CensusID 43487.
113 Richard S. Field, The Illustrated Bartsch 56 (Netherlandish Artists: Philipp Galle), New York 1987, p. 52, no. 5601.014:5. Horst Bredekamp, “Maarten van Heemskercks Bildersturmzyklen als Angriff auf Rom,” in Bilder und Bildersturm im Spätmittelalter und in der frühen Neuzeit, Wolfenbütteler Forschungen 46, ed. Robert W. Scribner and Martin Warnke, Wolfenbüttel 1990, pp. 203–216; see 203 and 211–213, Fig. 1.
114 Carlos Eire, War against the Idols, Cambridge 1986, p. 211. I wish to thank Horst Bredekamp for this reference.
115 Don Quixote, Part II, Chapter VIII, with grateful acknowledgment to the translator John Rutherford: Miguel de Cervantes Saavedra, The Ingenious Hidalgo Don Quijote de la Mancha, trans. John Rutherford, London 2000, p. 535; Miguel de Cervantes Saavedra, El Ingenioso Hidalgo Don Quijote De La Mancha, Edicíon Commemorativa IV Centenario, Madrid 2004, p. 484: Quiso ver el emperador aquel famoso templo de la Rotunda, que en la antigüedad se llamó el templo de todos los dioses, y ahora, con mejor vocación, se llama de todos los santos, y es el edificio que más entero ha quedado de los que alzó la gentilidad en Roma, y es el que más conserva la fama de la grandiosidad y magnificencia de sus fundadores: él es de hechura de una media naranja, grandísimo en estremo, y está muy claro, sin entrarle otra luz que la que le conce
de una ventana, o, por mejor decir, claraboya redonda que está en su cima, desde la cual mirando el emperador el edificio, estaba con él y a su lado un caballero romano, declarándole los primores y sutilezas de aquella gran máquina y memorable arquitectura; y habiéndose quitado de la claraboyaa, dijo al Emperador. “Mil veces, Sacra Majestad, me vino deseo de abrazarme con vuestra Majestad, y arrojarme de aquella claraboya abajo, por dejar de mí fama eterna en el mundo.”
116 Marder 1989, pp. 637–638; F. Lucchini 1996, p. 10 (without source reference).
Ten The Pantheon in the Seventeenth Century
Tod A. Marder
In the course of the seventeenth century, the Pantheon and its urban context were too dearly loved and too poorly understood to survive unattended. Elements of the building were restored, remodeled, and occasionally plundered over the century, while the urban context was repeatedly studied, reconceived on paper, and occasionally actually reformed. As an object of study, a source of emulation, and a challenge to preservation, the Pantheon was also enigmatic, a target of aesthetic criticism and a stimulus to “correct” architectural composition. In all of these regards, the history of the Pantheon in the seventeenth century largely reflects the kinds of episodes that took place over the previous millennium.