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Review: Architectural Invention in Renaissance Rome: Artists, Humanists, and the Planning of Raphael's Villa Madama , by Yvonne Elet

2019; University of California Press; Volume: 78; Issue: 2 Linguagem: Inglês

10.1525/jsah.2019.78.2.231

2150-5926

Paul Davies,

Architecture and Art History Studies

Book Review| June 01 2019 Review: Architectural Invention in Renaissance Rome: Artists, Humanists, and the Planning of Raphael's Villa Madama, by Yvonne Elet Yvonne EletArchitectural Invention in Renaissance Rome: Artists, Humanists, and the Planning of Raphael's Villa MadamaCambridge: Cambridge University Press, 2017, 360 pp., 19 color and 98 b/w illus. $120 (cloth), ISBN 9781107130524 Paul Davies Paul Davies University of Reading Search for other works by this author on: This Site PubMed Google Scholar Journal of the Society of Architectural Historians (2019) 78 (2): 231–232. https://doi.org/10.1525/jsah.2019.78.2.231 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Paul Davies; Review: Architectural Invention in Renaissance Rome: Artists, Humanists, and the Planning of Raphael's Villa Madama, by Yvonne Elet. Journal of the Society of Architectural Historians 1 June 2019; 78 (2): 231–232. doi: https://doi.org/10.1525/jsah.2019.78.2.231 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of the Society of Architectural Historians Search Standing majestically on Monte Mario just north of Rome overlooking the Tiber and the Milvian Bridge, the unfinished Villa Madama (1518) is one of the most celebrated and innovative buildings of its time. As a locus amoenus for Cardinal Giulio de’ Medici and his friends, and as a setting used by Pope Leo X to accommodate foreign dignitaries when they visited the city, the villa represented an attempt to create an environment in which visitors could imagine themselves transported back to Roman antiquity. Its spaces were intended to seem ancient in name, form, and function. It was to have had a semicircular theater cut into the hillside; a hippodrome; a set of cold, warm, and hot baths; and a circular courtyard emulating one of Pliny the Younger's villas. The forms, materials, and techniques adopted during the villa's construction were radically antique too. The stucco duro decoration of the garden loggia... You do not currently have access to this content.