{"id":11953,"date":"2016-05-24T17:57:13","date_gmt":"2016-05-24T21:57:13","guid":{"rendered":"http:\/\/pages.vassar.edu\/rosso\/?page_id=11953"},"modified":"2016-05-24T17:57:13","modified_gmt":"2016-05-24T21:57:13","slug":"preface","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/architecture\/preface\/","title":{"rendered":"Preface"},"content":{"rendered":"

IL ROSSO PITTOR, E ARCH. FIORENTINO.\u00a0 With this caption Vasari identified the framed woodcut portrait that opens the biography of Rosso in the 1568 edition of the Lives<\/i>.\u00a0 The top of the frame shows La Pittura as a full-length seated woman with a palette, a mahlstick and a brush executing a bust-length portrait of a man propped up on a ledge.\u00a0 On the bottom ledge are seated to the left and right two naked putti, seen from the front and from the back, holding calipers, measuring and drafting instruments, and a book, with a loose sheet of paper with the left putto showing an architectural plan.\u00a0 This is one of several frames used in the Lives<\/i> that distinguish the various activities of the artist as painter, architect, or sculptor, or a combination of them.\u00a0 Rosso is designated primarily as a painter but also as an architect.\u00a0 While Vasari mentions specifically only three architectural works by Rosso, he comments at the end of his introduction of the artist: Nell\u2019architettura fu eccellentissimo e straordinario<\/i>.\u00a0 An exaggeration perhaps but the evidence suggests a serious concern with architecture that should be given attention. This catalogue presents those few works of existing architecture the designs of which can be attributed to Rosso.\u00a0 They are numbered A.1 to A.4, but as their dates, all within his French period, are not precisely documented, their listing here is somewhat arbitrary.\u00a0 All are located at the ch\u00e2teau at Fontainebleau.\u00a0 As elsewhere in this website the catalogue number prefaced by Fig. is the link to an illustration. Documentary evidence is followed by the arguments devoted to the attribution to Rosso and to the date of the work. For a complete accounting of Rosso\u2019s architectural interests and activity these four catalogued works need to be considered in the context of Rosso\u2019s other architectural designs.\u00a0 There are four drawings, the Design for a Chapel<\/i> of 1528-1529 (Fig.D.37a<\/a>), the Design for an Altar<\/i> of 1529 (Fig.D.38a<\/a>), the Design for a Tomb<\/i> of 1539 or 1540 (Fig.D.81a<\/a>) and on a smaller scale, the Design for a Cantoral Baton<\/i> (Fig.D.73a<\/a>).\u00a0 Several destroyed works of architecture at Fontainebleau need also to be taken into account: the small Pavilion of Pomona<\/i> (L.39<\/a>) as well as the large Pavillon des Po\u00eales<\/i> (L.42<\/a>).\u00a0 It is also possible that he designed a Garden Gate there (L.40<\/a>).\u00a0 Some visual evidence exists for these projects.\u00a0 It has also been suggested that he conceived the Gallery of Ulysses, also known as the Long Gallery<\/i> (L.46<\/a>), the appearance of which is also partially known. Other lost works give evidence of his architectural activity.\u00a0 These include three mentioned by Vasari: the Triumphal Arch created for the entrance of Leo X into Florence in 1515 (L.12<\/a>), a cappelluccia<\/i> for the Lord of Piombino (L.16<\/a>), and the design for a cappella<\/i> for the Fraternita di S. Maria di Misericordia in Arezzo (L.33<\/a>).\u00a0 There were also a model for a tomb documented in 1531 (L.37<\/a>), designs for festival decorations and for triumphal entries, mentioned by Vasari, including those for Charles V\u2019s visit to Fontainebleau in 1539 (L.48<\/a> and L.47<\/a>), a choir screen for Notre Dame in Paris (L.53<\/a>), and plans for the alterations of vaults in the same church (L.54<\/a>). An evaluation of his architectural interests would also take into account the architecture in many of his paintings and stucco sculpture, in his figure and composition drawings, and in some of the latter known only from prints.<\/p>\n","protected":false},"excerpt":{"rendered":"

IL ROSSO PITTOR, E ARCH. FIORENTINO.\u00a0 With this caption Vasari identified the framed woodcut portrait that opens the biography of Rosso in the 1568 edition of the Lives.\u00a0 The top of the frame shows La Pittura as a full-length seated woman with a palette, a mahlstick and a brush executing a bust-length portrait of a […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":821,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-11953","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/11953","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/users\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/comments?post=11953"}],"version-history":[{"count":1,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/11953\/revisions"}],"predecessor-version":[{"id":11954,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/11953\/revisions\/11954"}],"up":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/821"}],"wp:attachment":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/media?parent=11953"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}