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VIII.—Notes on the Church of St. Francis, or Tempio Malatestiano, at Rimini; more especially as regards the sculptured decorations
Published online by Cambridge University Press: 25 January 2012
Extract
Complaints have been not infrequent of late years that the history of the Italian Renaissance is a subject that is worn rather threadbare. So far as popular and picturesque writing is concerned there may be some truth in this complaint, but it can hardly apply to serious studies, and it certainly does not apply to one branch of the subject, the history of the revival of the national style of architecture in Italy in the first half of the fifteenth century. Due homage has, indeed, been paid to the genius which raised aloft the splendid dome of S. Maria del Fiore, and the history of that achievement has, I believe, been thoroughly investigated. But Brunellesco was something more than an engineer, and the history of his purely architectural works, so remarkable for their severe and noble style, seems not unworthy of being studied in the same spirit and with the same scientific method as the Gothic architecture of the north. Nor are the buildings of Alberti, Antonio di San Grallo, Bramante, and other early architects less worthy of antiquarian research, and much of their history remains very obscure.
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- Copyright © The Society of Antiquaries of London 1892
References
page 173 note a Yriarte, l. c. p. 419.
page 175 note a Yriarte, p. 406.
page 175 note b The expression “capella de li martori ” used in this letter, as published by Yriarte, is evidently a mistake, either in the original or in transcription. There were no elephants in the chapel of the Relics (3, fig. 2).
page 175 note c Yriarte, p. 420.
page 175 note d Ib. p. 421.
page 175 note e This letter will be found in extenso in the Appendix to this paper.
page 175 note f Yriarte, p. 398.
page 177 note a Yriarte, p. 421.
page 178 note a The original will be found in the Appendix to this paper.
page 181 note a Vasari, vol. ii. p. 439.
page 181 note b See Yriarte, p. 171.
page 181 note c Milanesi's Vasari, vol. i. p. 110.
page 182 note a Opere Volgari di L. B Alberti, vol. 4., p. 392Google Scholar.
page 183 note a Le Scrittore d' Italia, Brescia, 1753Google Scholar.
page 184 note a Histoire de l' Art pendant la Renaissance, vol. i. p. 463Google Scholar.
page 189 note a The Tempio Malatestiano must have been well-known to Vasari, as he not only painted for the high altar an oil picture of St. Francis receiving the stigmata, but also executed a painting in fresco in the church of the Olivetan order at Rimini.
page 189 note b See Milanesi's, Vasari, vol. ii. p. 460Google Scholar.
page 189 note c Bernardo Ciuffagni che lavorò a Rimini in San Francesco una sepoltura di marnio per Gismondo Malatesti e vi fece il suo ritratto di naturale. Vasari, vol. ii. p. 462Google Scholar.
page 191 note a Semper assigns the work to Ciuffagni, and we need not quarrel with this attribution.
page 192 note a A la sepultura non mancha se non uno pocho al copercliio et commo M. Agostino retorna de Zesena subito glie la faro fornire. Yriarte's Rimini, p. 407,
page 195 note a Ancora appresso arimino, citta in Romagna, si trova una spezie di gesso in tal modo sodo die diresti fusse marmo o alabastro, el quale già feci segare con sega d' acciaio dentata, per essere Comodissima e atta a incrustare parete e faccie. Alberti dell' Arte Edificatoria, Bonucci, Opere Volgari di L. B. Alberti, vol. iv. p. 305Google Scholar.
page 195 note b Arpe sonate citere e lauti
E pifari e trombetti di Lamagna
Siche cola vostro son damor maiuti.
Yriarte, p. 392.
page 196 note a Yriarte, p. 216.
page 202 note a On Roman lamps the eagle is sometimes placed at the head instead of at the foot of Jupiter.
page 204 note a In some parts, as in the hair and in a portion of the drapery, the figures are unpolished.
page 207 note a The chronicle of Morelli, A.D. 1393, and Decembrio's History of Philip Visconti Duke of Milan, who was born in 1391, afford evidence as to these “naibis.” See Dr.Willshire's, Catalogue of Playing Cards in the British Museum, 1876, p. 71Google Scholar.
page 207 note b I am not certain about Urania, as I omitted to note the point on the spot, and I have no photograph to refer to.
page 208 note a See Archaeologia, lii. 175Google Scholar.