pegasusBerliner Beiträgezum Nachleben der AntikeHeft 17 · 2015

Census of Antique Works of Artand Architecture Known in the RenaissanceBerlin-Brandenburgische Akademie der WissenschaftenHumboldt-Universität zu Berlin

www.census.de

Census of Antique Works of Artand Architecture Known in the RenaissanceBerlin-Brandenburgische Akademie der WissenschaftenHumboldt-Universität zu Berlin

Herausgeber: Horst Bredekamp, Arnold Nesselrath

Redaktion: Franz Engel, Davide Ferri, Wiebke Hölzer, Barbara Lück, Lilla Mátyók-Engel, Birte Rubach

Institut für Kunst- und BildgeschichteUnter den Linden 610099 Berlin

© 2017 Census of Antique Works of Artand Architecture Known in the Renaissance

Layout und Satz: Alexander Dowe (Lukas Verlag)Druck: Elbe Druckerei Wittenberg

ISBN: 978–3–86732–220–1ISSN: 1436–3461

3inhalt

inhalt

Vorwort 5Horst Bredekamp / Franz Engel / Arnold Nesselrath

Francesco di Giorgio, Constructing Acoustic Spaces. A Contribution to the Understanding of the Harmonic Concepts of 15th Century Architectural Theory 9Paolo Sanvito

L'Antico nella trattatistica rinascimentale: il rapporto con lo studio dal naturale e con la »notomia« 33Stefano Pierguidi

Madrider Briefe des Antoine Morillon (um 1520–1556) und des Stephanus Pighius (1520–1604) an Antoine Perrenot de Granvelle 65Henning Wrede

»la più rara antiquità ch’oggidì si trovi«. Die Turiner »Mensa Isiaca« in einem Rechtsstreit zwischen Antonio Anselmi und den Erben des Kardinals Pietro Bembo 109Lothar Sickel

Idealplastik der Sammlung Giustiniani in Berlin 127Sascha Kansteiner

Karl Friedrich Schinkel und der Stier. Eine archäologische Anmerkung zu antiken Vorbildern in Schinkels Gemälde »Blick in Griechenlands Blüte« 149Constanze Graml

vorwort 5

vorwort

Die Geschichte der digitalen Umwälzung aller Lebensbereiche wurde begleitet und auch durchgesetzt durch die »große Erzählung« von der Aufhebung aller Gegensätze. In der Überführung aller Phänomene in die digitalen Simulatio-nen seien alle materiellen Gegebenheiten und alle Sinneseindrücke aus ihren spezifischen Rahmen auf eine Ebene prinzipieller Vergleichs- und Austausch-barkeit gerückt worden. Der Effekt war paradox. Er hat dazu geführt, in den Forschungen etwa zur »Synästhesie« oder zum »Paragone als Mitstreit« die vermittelnden, wechselseitig sich herausfordernden und bestärkenden Gegen-sätze zu betonen, zugleich aber auf die Unverwechselbarkeit und Unübertrag-barkeit der Sinnesempfindungen zu pochen.1

Aus dieser Perspektive hat die Antike und deren Wiedergewinnung und Transformation erneut eine sowohl distanzierende wie bekräftigende Rolle. Das erst allmählich in das Bewusstsein rückende Zusammenspiel von Ton und Architektur ist das Kernstück einer neuen Untersuchung zur Architek-turgeschichte des Forum Romanum in Rom.2 Hier zeigt sich, was seit jeher gilt: Sowenig die Antike weiß gewesen ist, sowenig war sie still, und ihre Über-legungen zum Zusammenspiel von Bau und Laut haben weitergewirkt.

Im vorliegenden Heft des Pegasus findet Paolo Sanvito in den Schriften Francesco di Giorgio Martinis Spuren einer nach akustischen Prinzipien gestalteten Architektur. Der Klang von Vasen ist Ausgangspunkt und Mo-dell, sich über akustische Verhältnisse von Rundbauten klar zu werden. Hier kommt eine Forschungsperspektive zur Sprache, die seit einigen Jahren die Architektur der Frühen Neuzeit auf ihre akustischen Konzepte hin untersucht.

Auch die weiteren Beiträge des vorliegenden Bandes belegen exemplarisch die immer neu sich aktualisierende Antikenforschung. Wie eng die Antiken-rezeption in ihrer Hochzeit zu Beginn des 16. Jahrhunderts mit dem Natur-studium zusammenhing, zeigt Stefano Pierguidi. Er untersucht die Traktatli-teratur auf die Frage nach dem Verhältnis von Antikenstudium, Naturstudium und Anatomie hin. Galt zunächst noch der Grundsatz, dass die Natürlichkeit einer menschlichen Figur sich am Beispiel der Antike zu orientieren habe, so wandelte sich diese Vorstellung mit der zunehmenden Sezierungspraxis, um schließlich in die gegenteilige Auffassung zu münden, wonach das exakte Naturstudium, die anatomische Sektion, den Nachweis der mangelhaften bis falschen Darstellungsweise des menschlichen Körpers in der Antike erbringe.

vorwort6

Unter den Schätzen der Antikenrezeption der Berliner Staatsbibliothek be-findet sich der Codex Pighianus. Dessen Namensgeber, den Antiquar Steven Winand Pigge, verband eine enge Freundschaft zu dem früh verstorbenen und ebenfalls als Antiquar tätigen Antoine Morillon. Henning Wrede rekon-struiert anhand erstmals veröffentlichter Briefe beider diese Freundschaft und liefert damit Bausteine zu einer intellektuellen Biographie, deren Bedeutung für das antiquarische Studium im 16. Jahrhundert bislang weit unterschätzt wurde.

Mit einem Fallbeispiel aus der Rechtsgeschichte des Antikenhandels er-weitert Lothar Sickel das Themenspektrum des Pegasus um ein wichtiges und gleichfalls noch wenig erforschtes Gebiet. Sickel rekonstruiert einen Abschnitt der Biographie eines der heute kostbarsten Sammlungsstücke des Ägyptischen Museums in Turin, der sogenannten »Mensa Isiaca«, einer mit Einlegearbeiten in Silber und Niello verzierten Bronzetafel, vermutlich aus der zweiten Hälfte des ersten Jahrhunderts nach Christus. Ende des 16. Jahr-hunderts befand sie sich im Besitz von Torquato Bembo, dem Sohn des be-rühmten Kardinals und großen humanistischen Gelehrten Pietro Bembo. Torquato Bembo schuldete Antonio Anselmi, dem ehemaligen Sekretär von Pietro Bembo, Geld, weswegen es 1584 in Rom zu einem Rechtsstreit kam, infolgedessen Anselmi die »Mensa Isiaca« als Pfand bis zur Auszahlung der Schuld durch Torquato Bembo erhielt.

Einen weiteren gewichtigen Beitrag zur Provenienzforschung bedeutet die Identifikation von drei Skulpturen der Berliner Antikensammlung als ur-sprünglich der Sammlung Giustiniani zugehörig. Sascha Kansteiner ist diese Bestimmung im Zuge der Erarbeitung eines neuen Bestandskatalogs der Ber-liner Antikensammlung gelungen. Die Sammlung Giustiniani galt zu Beginn des 17. Jahrhunderts als eine der bedeutendsten Kunstsammlungen Roms. Sie bildet den Grundstock der Berliner Gemäldegalerie. Dass die Berliner Samm-lungen auch Antiken aus dieser Sammlung besitzen, war bis dato nur von einem Objekt bekannt, da moderne Ergänzungen der antiken Skulpturen die Identifizierung mit den im Katalog der Sammlung Giustiniani von 1635 abge-kupferten Werke erschwerten.

Das wohl eindrücklichste Bildwerk des Berliner Architekten Karl Friedrich Schinkel ist der heute verschollene und nur noch in der Kopie von Wilhelm Ahlhorn überlieferte »Blick in Griechenlands Blüte«. Lange Zeit wurde davon ausgegangen, dass die im Mittelgrund und Hintergrund des Gemäldes dar-gestellten griechisch-antiken Bauwerke und Bildsäulen eher ein Idealbild als

vorwort 7

eine Referenz auf tatsächlich existente Objekte darstellten. Constanze Graml weiß durch die Rekonstruktion zeitgenössischer Publikationen, die Schinkel zur Verfügung gestanden haben müssen, konkrete Antikenbezüge im Bild auszumachen.

Dieses Vorwort soll nicht beschlossen werden ohne den Dank an den Son-derforschungsbereich »Transformationen der Antike«, der, durch Hartmut Böhme begründet und von Johannes Helmrath weitergeführt und zum Ab-schluss gebracht, in seiner zwölfjährigen Laufzeit der internationalen For-schung zur Antike und deren Vermittlung einen seit der Zeit Mommsens wohl beispiellosen Impuls gegeben hat. Auch der Pegasus hat von ihm in enormer Weise profitiert.

Die Herausgeber, gemeinsam mit Franz Engel

anmerkungen

1 Paragone als Mitstreit, hg. von Joris van Gastel, Yannis Hadjinicolaou, Markus Rath, Ber-lin 2014 (Actus et Imago. Berliner Schriften für Bildaktforschung und Verkörperungsphi-losophie 11).

2 Unter der Leitung von Christian Kassung, Susanne Muth und Stefan Weinzierl wird am Exzellenzcluster Bild Wissen Gestaltung der Humboldt-Universität zu Berlin mit-hilfe raumakustischer Simulationen sowie Auralisationen zur Frage nach dem »Hören auf dem antiken Forum Romanum« geforscht. Siehe www.digitales-forum-romanum.de [06.02.2017].

francesco di giorgio, constructing acoustic spaces 9

francesco di giorgio, constructing acoustic spaces. a contribution to the understanding of the harmonic concepts of 15th century architectural theory

paolo sanvito

acoustics as one of francesco di giorgio’s concerns

This paper will deal with two interrelated research strings in Francesco’s writ-ings. First, I will look at the specific, though sparse, references to the subject in his texts, where he – either acting on Vitruvian suggestions or just simply applying his original ideas to the legacy of Roman theatre architecture, consid-ers the use of resonant vases which he regards as requisite for round buildings. Second, I will try to identify a number of applications of the theoretical rules, mostly in the field of resonant or acoustical space planning, in Francesco’s work.

There are concerns as to the authenticity and reliability of the graphic ma-terial in his manuscripts, as well as the expressions coined as translations for rare and unusual Vitruvian terms, or specific contemporary technical terms. For example, in the nearly identical Saluzziano and the Laurenziano Codices,1 he illustrates: 1. »vases into which the voice directed itself, breaking [itself]«; and 2. vases into which the voice »entered and broke« – »vasi dove la voce ronpendosi« (verb of the principal sentence is missing). The legend beside the drawing reads, in the more complete Laurenziano (fig. 1):

»Vases with lid […] allowed the voice, which had traveled [from] one to the other vase, to go out. Steps where the copper vases were located, into which the voice entered, spreading to the ears of the [spectators?, audience? – here the folio is damaged]. A canal through which the voice, breaking, travelled quickly«.2

He also assigns legends to the step (»grado«) and the »lid of the vase« (»capel-lamento del vaxo«) in his drawing.

There is a further instance where Francesco proves knowledgeable about acoustics: in a different context in the Sienese Codex S. IV. 4, fol. 65v he ad-vises patricians, particularly the owners of palaces, on an instrument which we might call the first »bugging device« of the Early Modern era. It consisted of a tunnel in the walls,

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1 Francesco di Giorgio, Florence, Biblioteca Medicea Laurenziana, Codex Ashburnham 361, fol. 13r

francesco di giorgio, constructing acoustic spaces 11

»through which the sovereign easily hears everything that, in his absence, is being said in his house. Dig a concavity in the wall as demonstrated in the drawing, in the form of a blind window in the thickness of the wall and continuing in a narrow tube. This tube should end in a place in which the Lord, putting his ear, will hear everything, even if spoken softly […]«.3

Problems of acoustics crop up in numerous places of Francesco’s manuscripts, not only when they deal with theatres. According to Mussini, the Saluz-ziano Codex is the result of a »rethinking« (ripensamento) of the treatise structure, along with materials and designs accumulated over several years and beginning with 1482.4 It is thus worthwhile determining whether the wealth of materials concerning the shape of resounding or harmonic spaces is the result of particularly recent investigations and discoveries in this field: either the study of examples from antiquity; or of the Casa del Mantegna, as Rosenthal once proposed;5 or what he calls an »edificio in Tiboli«, »a building in Tivoli«?6 Discoveries which deserve more attention because they refer to contemporary acoustical investigations and to the behavior of sound waves, their consonances or dissonances. Interestingly, Francesco proves being knowledgeable about the behavior of sound waves, which he recognizes as traveling in a concentric pattern, much like ripples of water in a pool: »like […] when we throw a stone into a sea, where endless circles spread in the ripples, as if moving from a centre towards the farthest place: thus behaves the voice in the air«.7

Francesco understood that the way in which a body reacts to movement is essentially identical or follows the same rules, as those of a solid body react-ing to sound: he also drew on this specific knowledge about the transmission of sound, or respectively, of movements through solid agents in devising his designs for various kinds of military buildings, castles or fortifications. One century later, these scientific acquaintances would trigger the work that led to the first scientific revolution.

An entire chapter of the Magliabechiano Vitruvius is devoted to an intro-duction of the concepts of acoustics:8 there Francesco explains that the sound produces »innumerable circles of waves which originate in the centre and expand, when the spatial restrictions or some other obstructions do not impede them from reaching their destination«.9 In this same commentary, he further even compares – translating Liber V, chap. 3, 8 – the art of building of Antiquity to the construction of organs: he declares that, like in the construction of organs

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with copper or horn, the »ragioni« – which are the proportions – »of theatres were built by the Ancients in order to amplify the sound«.10

Some of the round buildings that Francesco studied over a long period were the amphitheatres: they were on the one hand »all’antica«, and simultane-ously served as models for modern projects, which he depicted and described in the Saluzziano Codex. This codex briefly anticipates in an intriguing way Francesco’s further investigation of circular or octagonal courtyards or in-teriors in private buildings; or, on the other hand, some of the buildings he includes in his typologies are contemporary, as in the Saluzziano Codex and feature spaces which he calls »chortili e piazze«, as he inscribes on fol. 19v (fig. 2). One might name the semi-circular, or nearly circular examples such

2 Francesco di Giorgio Martini, Turin, Biblio-teca Reale, Codice Saluz-ziano 148, fol. 19v

francesco di giorgio, constructing acoustic spaces 13

as Ferento near Viterbo, one of the few examples with a still surviving scaena (Saluzziano, fols. 71r–72r). He revisits the theatres in the same treatise later, in the context of a general analysis of ancient Roman theatrical buildings. Francesco gets then back to this subject in the Magliabechiano Codex where he re-interprets Vitruvius Liber V, chap. 5,3 from a contemporary perspective, definitively explaining the phenomenon of the resounding vases, as what is basically the physical phenomenon of resonance of overtones: the voice »will produce a further consonance which is akin to itself, i. e. adapted to itself«.11 No scholarship has any idea yet about where and how he learned about overtones: even Catherine Saliou’s most detailed and recent commentary on this passage only refers to the usually mentioned scientific sources of the Ancients on this topic: Ps. Aristotle’s »De audibilibus« and »Problem 11«. But both sources allow to attribute a knowledge of the overtones in the Aristotelian school, however the latter seemed to assume their existence only on an empirical ground (i.e. the Aristotelians pointed out to the phenomenon, though not of sound amplification by using the vases, but of its contrary: sound absorption; and, by giving this for granted, they never explained its causes anyway).12 Again, Saliou’s mentioned commentary in fact admits that both amplification and absorption are possible hypotheses for the identification of the purpose of the system of the resonant vases. What is relevant to us here though is a different issue: instead of the question how much reliable the system has been (a topic debated up to now over generations and still unresolved); rather: how interesting it has been for Francesco di Giorgio, and, therefore, how much research he has spent on it.

Martini finally refers also to the anecdote of Lucius Mummius who, after having »ruined the theatre of Corinth, brought those vases to Rome«.13 This episode therefore does not seem to have been of his interest only as a scholarly quotation.

As Francesco Paolo Fiore has explicitly emphasised, Vitruvius had indeed considered »machination«, that is the function of »machinae«, an integral part of architecture,14 which means that he dedicated his investigations also to hydraulics, astronomy and acoustics and to the related instruments: a part of these investigations is witnessed by his surviving work, but it seems likely he dedicated himself to these sciences more extensively than the related sources tell us.

Some of Francesco’s decisive researches had taken place during his mature activity, ending up in the vast theoretical writings we know. I propose that at

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least his late appointment as architect of the Kingdom of Naples – discontinu-ously – from 1492 to 1501 might have given him occasion to extensively study ancient »theatra« and »amphitheatra« in Central and Southern Italy. Besides the numerous examples of civic theatrical architectures from Rome, we must also consider the large and well preserved theatres for example in Pozzuoli, the one in Naples itself (today almost destroyed or largely covered by later buildings), in Paestum (amphitheatre), in Scauri (=Minturno: as we read on the drawing in Saluzziano, fol. 72r; still extant) or in Capua, whose bulky, elliptical »Amphi-theatrum Campanum«, from the 1st cent. A.D., served as a model for no less a building than the Colosseum, which has been built later and is approximately the same size. Francesco must have been acquainted with public buildings, for cultural gatherings, or for political activities, from Campania, this is evident from his studies on rotundas from Baiae, Pozzuoli or the Phlegraean Fields in general, like GDSU 329 Ar, in which he clearly noted the location of the so-called »tempio d’Apollo«: the neighbourhoods of the »lacus Cumanus«, i.e. Lago d’Averno: also Giuliano da Sangallo will be reproducing it shortly later, in 1488 in his Codex Barberini. It is the so called Tempio della Sibilla Cumana (»di Sibila Chumana«), again a sort of rotunda building (»thermae«), portrayed by him in the Barberiniano, on fol. 8v - probably because of its acoustical characteristics. Some scholars date Francesco’s first possible trip to the Aragonese capital as early as 1479.15

But the philological and empirical data indicate that Francesco must have received crucial impulses for his reinterpretation of the ancient theatre prac-tice from the renowned humanist Pomponio Leto,16 himself of Campanian family, who with his pupils organized theatre performances in the interiors of Roman palaces from as early as 1487, during Francesco’s late years. After the end of Leto’s career, a well known elaborate theatre was built in Rome on the Capitol Hill in 1513, on the occasion of the granting of citizenship to Giuliano de’ Medici: a ground plan of the »Capitol Theatre«,17 investigated by Arnaldo Bruschi on several occasions, can be found in the Coner Codex, on fol. 23.18

We could therefore agree with Gunter Schweikhart, when he stated that Rome had become under Leo X the »navel of the performing arts«.19 This re-newed interest and knowledge was due also to the heritage and the contribution of Francesco, who remained a reference theoretician as long as a good edition of Vitruvius was lacking. In fact, the 1486 edition printed by Sulpicio da Veroli, during the period when Francesco produced his marvellous theoretical works, was still not reliable enough.