The Italian Renaissance Palace Facade: Structures of Authority, Surfaces of Sense (RES monographs in anthropology and aesthetics)
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The architectural facade -- a crucial and ubiquitous element of traditional cityscapes -- addresses and enhances the space of the city, while displaying or dissembling interior arrangements. Burroughs traces the development of the Italian Renaissance palace facade as a cultural, architectural and spatial phenomenon, and as a new way of setting a limit to and defining a private sphere. He draws on literary evidence and analyses of significant Renaissance buildings, noting the paucity of explicit discussion of the theme in an era of extensive architectural publishing.
mothers, brothers, and husbands … they spend most of the time cooped up within the narrow conﬁnes of their rooms.”7 The stories of the fourth day compellingly illustrate this restriction of women’s will and appetities, not least sexual, which received biblical sanction from the story of Dina, who traveled abroad and was raped.8 The conﬁnement of women DOMESTIC ARCHITECTURE AND BOCCACCIAN DRAMA 45 was a marked feature of late-medieval and Renaissance Italian elite society, but the evidence
the continued residence of the women in the Alberti houses had signaled not only the regime’s tolerance of a continued Alberti presence in the city, but also the expectation of the family’s eventual return. The measures taken in 1412, however drastic they may have seemed, did not include the demolition of Alberti houses, which were still standing to welcome the members of the family who took advantage of the revocation of exile in 1428.22 Such restraint marked a civic culture very different from
in Fig. 24. The high viewpoint emphasizes the relative height of the ground ﬂoor, which apparently terminates at the base of the second ﬂoor windows. Extensive use was also made of rustication by the Florentine state as a unifying element in its projects of urban improvement, notably the late fourteenth-century remodeling of the area around the cathedral and of the Via dei Calzaiuoli, between the Piazza della Signoria and Baptistery (Map 1), linking the political and religious centers of the
kind of con- SETTING AND SUBJECT 113 37. Palazzo Ducale, Urbino. Corridor at head of the grand stair, Porta della Guerra (entrance to Iole Wing). The portal receives its name from the military motifs incorporated into the elaborate sculptured surround. stitutional monarch; his chivalric values; his professional prowess as a man of arms; and his extraordinary standing in the delicately balanced constellation of states that made up later ﬁfteenth-century Italy. In the inmost recess of the
the bove passante of the Capodiferro arms.121 In the early 1520s the Orvietan entrepreneur Giordano Missini built a ﬁne palace in Regola (Fig. 58), close to the church of S. Maria della Quercia and the Capodiferro palaces.122 Perhaps designed by Giulio Romano himself, it was in the latest architectural fashion, and must have stood out in this neighborhood of immigrants and merchants in hides and skins.123 As for Giordano Missini himself, little is known about him, but he was evidently not an