The Term 'Architect' in the Middle Ages

Pevsner, Nikolaus

doi:10.2307/2856447

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“…Van Noort versus Van den Borch exists as a symbolic marker for the subsequent cultural shift that legitimized the appropriation of the act of design, as the conception and making of the disegno, as an intellectual, learned, conceptual, and expert art by those adopting the title ''architect'' in Italy, France, Belgium, Holland, and England in the second half of the sixteenth century. 4 The case made it clear, both legally and professionally, that the new architect was a master of design and not a master of the building craft. 5 Those who were skilled in this new art of design were rapidly socialized into its domain of focused discourse.…”

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Disegno

Schneider¹

2007

Journal of Architectural Education

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This essay explores the premise that thinking by drawing-thinking through the crafting of the disegno-is the primary way that architects extend their understandings of architecture. It suggests that drawing is an architect's unique mode of research, inquiry, and is the site for his/her most crucial speculations and constructions. Douglas Darden's drawings are speculative architectural fantasies that demonstrate this argument.

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Disegno

Schneider¹

2007

Journal of Architectural Education

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“…* Alberti specifically recommends the study of mathematics and painting to assure the architect's ability to convey his 2 There is a considerable body of literature dealing with the transformation of the architect's role during the fifteenth century. See Pevsner;Ackerman, 1954;Saalman;Ettlinger;Wilkinson;Goldthwaite, 1980, 351-96;Brown, 1981, 86-90;and Hollingsworth. 3 Alberti, IX, x (2: 852-63). 4 Vitruvius, I, i (5-13).…”

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An Enthusiastic Amateur: Lorenzo de' Medici as Architect

Brown¹

1993

Renaiss. Q.

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Ottavio Vannini's Fresco, Lorenzo the Magnificent as a Patron of the Arts (Fig. I), forms part of a cycle painted around 1623 in the Palazzo Pitti to celebrate the marriage of Ferdinando II and Vittoria della Rovere. Lorenzo is seen surrounded by artists who proffer the fruits of their creative endeavor. Among them we immediately recognize the young Michelangelo, who presents a marble copy of an antique fawn's head, made, Vasari tells us, at Lorenzo's urging, and to the extreme left Giuliano da Sangallo, who holds under his arm a drawing from the façade of the Medici villa, Poggio a Caiano. The implication of Vannini's fresco is beyond doubt. By evoking the history of the early Medici, the Grand Dukes hoped to establish a framework within which their own glory might shine all the more brilliantly.

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Architectural Knowledge

Lefèvre¹

2017

The Structures of Practical Knowledge

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The Term 'Architect' in the Middle Ages

Cited by 25 publications

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An Enthusiastic Amateur: Lorenzo de' Medici as Architect

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