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Littérature scientifique sur le sujet « Francesco di Giorgio Martini »

Auteur : Grafiati
Publié le 4 juin 2021
Mis à jour le 10 mars 2023

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Articles de revues sur le sujet "Francesco di Giorgio Martini"

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Phillips, Maria A. « Il "Vitruvio Magliabechiano" di Francesco di Giorgio Martini Gustina Scaglia ». Journal of the Society of Architectural Historians 46, no 3 (septembre 1987) : 311–13. http://dx.doi.org/10.2307/990249.

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Stefanović, Tadija. « The humanistic aspects of architecture in the treatises of Francesco di Giorgio Martini ». Kultura, no 166 (2020) : 398–410. http://dx.doi.org/10.5937/kultura2066398s.

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Pedro, Ana Paula Giardini. « A symmetria vitruviana : interpretação de Francesco di Giorgio Martini em seu tratado e obras construídas ». Risco Revista de Pesquisa em Arquitetura e Urbanismo (Online) 19 (28 juillet 2021) : 28–40. http://dx.doi.org/10.11606/1984-4506.risco.2021.166228.

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Francesco di Giorgio Martini (c. 1480-98) elabora método para concepção de templos, a partir de esquemas geométrico-proporcionais pautados por círculos e quadrados, alinhado às prescrições vitruvianas sobre symmetria e analogia arquitetura e corpo humano. Henry Millon e Richard Betts iniciaram estudos de cotejamento destes esquemas com obras e desenhos coevos. Interessa, aqui, continuar tais estudos aplicados às igrejas de San Bernardino degli Zoccolanti e Santa Maria delle Grazie al Calcinanio, ambas atribuídas a Martini. Pretende-se responder lacunas apontadas pelos historiadores e demonstrar que, longe da repetição estereotípica, o método formulado por Martini concerne flexibilidade e adequação a diversidade de exigências impostas pela ideação arquitetônica, bem como avanço técnico e compositivo para superação das referências antigas e coetâneas.
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BENELLI, FRANCESCO. « Diversification of knowledge : Military architecture as a political tool in the Renaissance. The case of Francesco di Giorgio Martini ». Res : Anthropology and aesthetics 57-58 (mars 2010) : 140–55. http://dx.doi.org/10.1086/resvn1ms25769976.

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Stewering, Roswitha. « Architectural Representations in the "Hypnerotomachia Poliphili" (Aldus Manutius, 1499) ». Journal of the Society of Architectural Historians 59, no 1 (1 mars 2000) : 6–25. http://dx.doi.org/10.2307/991560.

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In December 1499 the Hypnerotomachia Poliphili appeared in Venice under the imprint of Aldus Manutius, in an edition whose woodcuts and typography make it one of the masterpieces of Italian printing. The enigmatic dream recounted in the book describes Poliphilo's struggle to win his love and his final happy union with his beloved Polia. The study focuses on the group of architectural representations in the book. Free from a slavish attempt to illustrate, they follow the course of the love story within the framework of an inner visual logic. A second part analyzes the section of the Temple of Venus Physizoa, an architectural representation that was omitted in Lotz's famous study of 1956. Issues of the history of technology, such as the modern cartographic method introduced by Alberti in the 1450s, are addressed in relation to this section. From a comparison with representations of space from the 1490s, however, one may conclude that, contrary to the thesis proposed by L. Lefaivre, there can have been no direct connection between the author or the artist of the Hypnerotomachia and the architectural theorist. At the same time, the Master of Polifilo appears to belong to the group of painter-architects, along with Francesco di Giorgio Martini, Leonardo, and Raphael.
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Connors, Joseph. « Review : Francesco di Giorgio architetto ». Journal of the Society of Architectural Historians 52, no 4 (1 décembre 1993) : 487–90. http://dx.doi.org/10.2307/990872.

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Wolf, Sophie Elaine. « Die vier Elemente der Architekturtheorie des Francesco di Giorgio : spirienza, dottrina, ingegno und scienzia ». Architectura 49, no 2 (1 février 2019) : 182–93. http://dx.doi.org/10.1515/atc-2019-2003.

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Abstract Four central concepts of the writings of Francesco di Giorgio (1439 –1501) are discussed: spirienza, dottrina, ingegno, and scienzia. The spirienza can be both »autoptic study« and »experimentation«. It is rooted in Francesco di Giorgio’s original training and has had a lasting influence on his method. The dottrina, »erudition«, serves both Francesco di Giorgio personally and architects in general to move from practitioner to learned architect. The ingegno, talent, is interpreted as the innate creativity and ability to find innovative solutions, it thus plays a central role as a counterpart to the dottrina. Finally, scienzia means a systematic method in the practice of architecture. This gains great importance, especially in the later Treatise, when Francesco di Giorgio emphasizes that in architecture two methods must complement each other: archaeological investigation and the study of (ancient) literature.
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Moralee, Jason, et Kiel Moe. « WHAT FRANCESCO DI GIORGIO SAW ON THE CAPITOLINE HILL C. 1470 ». Papers of the British School at Rome 83 (16 septembre 2015) : 149–73. http://dx.doi.org/10.1017/s0068246215000070.

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Francesco di Giorgio, the Sienese architect and artist, visited Rome c. 1470. By looking at his plan of the ‘porticho del Champitolio’, it is possible to reconstruct not only what Francesco di Giorgio saw on the Monte Tarpeo, but also what Poggio Bracciolini, Flavio Biondo, Pietro del Massaio and others saw there. It was apparently a notable site, an evocative ruin worthy of commentary, artistic representation and imaginative reconstruction. Whatever temple remains continued to be visible, however, these were insufficient to suggest that they were originally part of the temple. By the end of the fifteenth century, the temple had been lost. None the less, Francesco di Giorgio unwittingly documented the last standing columns of the Temple of Jupiter Optimus Maximus.
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Betts, Richard J. « Structural Innovation and Structural Design in Renaissance Architecture ». Journal of the Society of Architectural Historians 52, no 1 (1 mars 1993) : 5–25. http://dx.doi.org/10.2307/990755.

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The characteristic structural forms of large Renaissance churches-domes, drums, pendentives, and barrel vaults-were the products of innovation in theory and practice during the later fifteenth century in Italy that culminated in Bramante's projects for the new Saint Peter's. Significant ideas were contributed by Leon Battista Alberti, Francesco di Giorgio, and Leonardo da Vinci. Francesco di Giorgio's geometrical methods of design for churches as described in his second treatise incorporate a procedure for calculating the thickness of walls bearing vaults. Francesco di Giorgio tested the procedure in his own churches, and it was later used by Bramante.
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Kolb, Carolyn. « The Francesco di Giorgio Material in the Zichy Codex ». Journal of the Society of Architectural Historians 47, no 2 (1 juin 1988) : 132–59. http://dx.doi.org/10.2307/990325.

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The purpose of this article is to describe and analyze part of the contents of an Italian manuscript and model book compiled in Venice by Angelo dal Cortivo between 1489 and 1536-the Zichy Codex, now in Szabó Ervin Központi Könyvtár (Erwin Szabo Public Library), Budapest. This analysis demonstrates that the contents of the manuscript represent the earliest version thus far discovered of Francesco di Giorgio Martini's first treatise as found in Saluzzianus 148, Biblioteca Reale, Turin. The article proceeds from an account of the history of the manuscript, including an extensive bibliography and unpublished documents for the life of its compiler, to comparisons of the material in the Zichy Codex with that in Saluzzianus 148 of the Biblioteca Reale, Turin. A list, paragraph by paragraph, of the contents and their parallels in the Turin manuscript is found in Table I. Table II compares the subject matter organization of the two texts. Textual and visual material from the Zichy Codex is discussed, showing that it contains material not found in other Francesco di Giorgio texts, that the understanding of Vitruvius found in the Zichy Codex is poorer than that demonstrated in Saluzzianus 148, and that a purposeful re-organization of the material in the Zichy Codex occurred before the writing of the Turin manuscript. A date in the 1460s is proposed for the Francesco di Giorgio material found in the Zichy Codex.
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Thèses sur le sujet "Francesco di Giorgio Martini"

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Mendes, Lorraine Pinheiro. « A cidade ideal de Francesco di Giorgio Martini ». Universidade Federal de Juiz de Fora (UFJF), 2015. https://repositorio.ufjf.br/jspui/handle/ufjf/6656.

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A partir dos “Trattati di architettura ingegneria e arte militare” (1479-1480) de Francesco di Giorgio Martini e de seus projetos como arquiteto, principalmente em Urbino durante o ducado de Federico da Moltefeltro, pretende-se analisar e elucidar de que forma esse artista contribuiu para o desenvolvimento do conceito de cidade ideal durante a Renascença. Para isso é necessário conhecer a biografia de Martini bem como entender sua formação e obra como um todo complexo, inserindo-o em uma tradição tratadística do Renascimento.
From the "Trattati di architettura, ingegneria e arte militare" (1479-1480) by Francesco di Giorgio Martini and his projects as an architect, especially in Urbino during the duchy of Federico da Moltefeltro, it is intended to analyze and elucidate how this artist contributed to the development of the concept of ideal city during the Renaissance. For this it is necessary to know the biography of Martini as well as to understand his formation and work as a complex whole, inserting it in a treatise tradition of the Renaissance.
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Guess, Alice C. « The machines of Francesco Di Giorgio : demonstrations of the world ». Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21340.

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This thesis is an exploration of the chapters of Francesco Di Giorgio's Trattati di Architettura, Ingegneria e Arte Militare, that pertain to mechanical devices. While it is difficult to imagine actually constructing Di Giorgio's machines from the drawings and descriptions in his treatises, given their apparent inefficiencies and ambiguities, the Aristotelean science and philosophy referenced throughout the Trattati provides a basis for looking at them as demonstrations of concepts beyond their immediate applications for architecture and engineering. By considering these devices in Di Giorgio's own terms, terms suggested by his own experiences, as well as his writings and paintings, strong associations can be made to the science, philosophy and the theology of his time.
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Clough, Edwards Sarah. « The Clarissan Convent of S. Chiara in Urbino : its history architecture and architect Francesco di Giorgio Martini ». Thesis, University of Reading, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.645191.

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This thesis is a study of the fifteenth-century convent of S. Chiara in Urbino, designed by the Sienese architect Francesco di Giorgio Martini, and instigated and financed by the ruling Montefeltro family. It investigates the building's foundation, history, patronage and form. It is divided into five chapters. Chapter One deals with the history of the building's foundation and construction. It considers when construction work began and under whose patronage, and analyses major structural changes undertaken at the convent, presenting new evidence that the construction was planned much earlier than previously thought, under the patronage of Guidantonio da Montefeltro. Chapter Two considers the process by which the building was designed, discussing drawings in the hand of the architect Francesco di Giorgio of relevance to S. Chiara It clarifies the previously disputed purpose of a drawing of key importance to S. Chiara and demonstrates that this is clearly a project drawing by the architect. Chapter Three attempts to reconstruct the original Martinian design for the convent as begun. It suggests that this design may have been far more ambitious than previously thought. Chapter Four examines Clarissan convent design and considers S. Chiara as an example of its type. It demonstrates that despite the fragmented nature of the Clarissan Order and the variety of circumstances in which convents were founded, it is still possible to discern common themes in Clarissan architecture. Chapter Five locates the convent in the oeuvre ofthe architect Francesco di Giorgio assessing the building as an example of his work. It demonstrates that as a convent S. Chiara is remarkable, with features such as a two story garden loggia and a spiral ramp that were novel to both convent design per se and Italian Renaissance architecture as a whole.
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Emanuelli, Beatrice, Giovanni Pulcinelli et Claudia Zavalloni. « La rocca di Fossombrone. Progetto di conservazione e valorizzazione della rovina ». Master's thesis, Alma Mater Studiorum - Università di Bologna, 2012. http://amslaurea.unibo.it/3602/.

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L'oggetto della tesi è la rocca feltresca di Fossombrone, cittadina in provincia di Pesaro-Urbino, in parte attribuita a Francesco di Giorgio Martini. Dopo un'approfondita analisi storica ed evolutiva dell'oggetto, si sono studiati attentamente i suoi sistemi costruttivi, al fine di delineare un progetto di restauro principalmente conservativo. Il progetto propone anche la realizzazione di una copertura che abbia lo scopo sia di contribuire alla conservazione e protezione dei resti di murature antiche, sia di consentire un'accesso protetto in una ritrovata fruibilità della rocca.
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MARTINIS, ROBERTA. « Francesco di Giorgio Martini e Cristoforo Solari a palazzo Salvatico : strategie pubbliche e committenza privata a Milano tra Quattro e Cinquecento ». Doctoral thesis, Università IUAV di Venezia, 2002. http://hdl.handle.net/11578/278455.

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Riahi, Pari. « Ars et ingenium : the embodiment of imagination in the architectural drawings of Franceso di Giorgio Martini ». Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=94969.

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ARS ET INGENIUM: THE EMBODIMENT OF IMAGINATION IN THE ARCHITECTURAL DRAWINGS OF FRANCESCO DI GIORGIO MARTINI This study focuses on the work of the Renaissance architect and theorist Francesco di Giorgio Martini (1439-1501), particularly on his Trattati di architettura, ingegneria e arte militare (1475-1490). The characteristics of the act of drawing and its connection to architectural imagination as defined by Francesco are the two themes that structure the inquiry. In addition to an abundant number of captivating drawings which accompany the text, Francesco writes about the reason why drawings are to be used, and what role they have in conveying ideas and images to the reader of his theories. While in the context of the Quattrocento Francesco's use of drawings is not necessarily a novelty, his formulation of drawing as the main vehicle for architectural thought is distinctive. He offers a unique format for architectural theory, rooted in classical and medieval traditions, and yet original in its annexation of text and drawings. His thoughts on disegno (connoting both design and drawing) prove him vocal in highlighting the role of drawing in an architectural process. Francesco suggests that creativity, invention and imagination are all quintessential elements at work in disegno. He identifies both intellect and the senses, especially sight, as providing the criteria of judgment in architecture. His drawings combine elements of the past, insights of the present and anticipations of things yet to come by engaging memory, sense, the intellect and the imagination. In the Trattati drawing becomes a fertile field for infinitely dynamic investigations, by acting as a vehicle for the architect's inquires as well as a vessel for conversations with others. Examining Francesco's work within the two frequently intersecting lines of drawing and imagination enable us to better formulate our expectations of architectural drawings, in the midst of a significant shift in
ARS ET INGENIUM: L'INCARNATION DE L'IMAGINATION DANS LES DESSINS ARCHITECTURAUX DE FRANCESCO DI GIORGIO Cette étude se concentre sur les travaux de l'architecte et théoricien de la Renaissance, Francesco di Giorgio Martini (1439-1501), en particulier sur son traité: Trattati di architettura, ingegneria e arte militare (1475-1490). Les caractéristiques de l'acte de dessiner et de sa connexion à l'imagination architecturale telle que définie par Francesco sont les deux thèmes qui structurent cette étude. En plus d'un grand nombre de dessins fascinants qui accompagnent le texte, Francesco décrit les raisons pour lesquelles les dessins doivent être utilisés, et le rôle qu'ils jouent dans la transmission des idées et des images au lecteur de ses théories. Dans le contexte du Quattrocento, l'utilisation des dessins par Francesco n'est pas nécessairement une nouveauté, par contre la mise en valuer du dessin comme médium principal de la pensée architecturale est unique. Francesco crée un format unique pour sa théorie architecturale, ancré dans les traditions classiques et médiévales, et pourtant original dans son annexion des dessins au texte. Ses réflexions sur disegno (portant à la fois sur la conception et le dessin) en font un partisan de la mise en évidence du rôle du dessin dans un processus architectural. Francesco suggère que la créativité, l'invention et l'imagination sont toutes des éléments essentiels à l'œuvre pour parvenir à disegno. Il identifie à la fois l'intellect et les sens, surtout la vue comme fournissant les critères de jugement pour l'architecture. Ses dessins combinent les éléments du passé, le savoir du présent et les anticipations du futur en mettant en jeu la mémoire, les sens, l'intellect et l'imagination. Les dessins du Trattati deviennent un terrain fertile pour des recherches infiniment dynamiques, en agissant comme un vecteur pour les investigations de l'architecte ainsi qu'un médium pour des
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Guess, Alice C. « The machines of Francesco Di Giorgio, demonstrations of the world ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ50685.pdf.

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Pedro, Ana Paula Giardini. « A ideia de ordem : symmetria e decor nos tratados de Filarete, Francesco di Giorgio e Cesare Cesariano ». Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/16/16136/tde-01022012-105531/.

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Frente aos preceitos ditados por Vitrúvio em seu De Architectura, arquitetos tratadistas do Quatrocentos e do Quinhentos, absortos em requalificar a arquitetura e a cidade, divisam symmetria e decor como premissas excelsas a corporificar na ars aedificatoria a perfeita ordem e beleza da natureza. A perquirição de suas acepções, não obstante os obstáculos postos à exegese dos tratados, desvela novos juízos sobre os sentidos de ordem então exalçados. Instituídas, desde a fonte antiga, pelas analogias com o homo ad circulum e ad quadratum, os tratados de Antonio Averlino, detto il Filarete, Francesco di Giorgio Martini e Cesare Cesariano consolidam e multiplicam as possibilidades de associações macro e microcósmicas com a ordo divina. Congêneres ao decor, tais symmetriai e razões do homem bene figuratus precisam expedientes inescusáveis de adequação e variedade, inerentes à vera práxis arquitetônica.
Before the precepts stated by Vitruvius in his De Architectura, architects from the 15th and 16th centuries, absorbed in requalifying the architecture and the city, perceive symmetria and decor as excelling premises that embodied the perfect order and beauty of nature in the ars aedificatoria. The search of their significances, despite the obstacles placed by the treatises exegesis, discloses new judgments about the senses of order extoled at that age. Antonio Averlino, detto il Filarete, Francesco di Giorgio Martini and Cesare Cesariano\'s treatises consolidate and multiply the possibilities of macro and microcosmic associations with the divine ordo, already settled in the ancient source through the analogy with the homo ad circulum and ad quadratum. Congeneric to decor, such symmetriai and the reasons of the homo bene figuratus determine required expedients for adequacy and variety inherent in the veracious architectural praxis.
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Manucci, Carole. « I Ragionamenti de Giorgio Vasari ou l’édifice de la Mémoire ». Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3110.

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Giorgio Vasari naît le 30 juillet 1511 ; il s'éteint le 27 juin 1574. À la fin de l'année 1554, il entre au service de Cosme Ier de Médicis, duc de Florence, et se voit rapidement confier la responsabilité des travaux de transformation du Palais de la Seigneurie en Palais Ducal. L'artiste livre les clefs de lecture du cycle pictural déployé sur les plafonds et les murs du célèbre monument florentin, connu sous le nom de Palazzo Vecchio, dans une oeuvre peu étudiée : Ragionamenti del Sig. Cavaliere Giorgio Vasari, pittore et architetto aretino, sopra le invenzioni da lui dipinte in Firenze nel Palazzo di loro Altezze Serenissime. Rédigé entre 1558 et 1567, mais publié à titre posthume seulement en 1588, ce texte met en scène Giorgio Vasari et le prince François Ier de Médicis, fils aîné de Cosme Ier et d'Éléonore de Tolède. Sous une plume ekphrastique, au sein de laquelle le mot et l'image s'unissent, l'artiste compose un dialogue distribué sur trois journées et conduit dans trois lieux emblématiques du palais : le Quartier des Éléments, le Quartier de Léon X et la Salle des Cinquecento. L'intérêt de cet ouvrage réside dans les différents niveaux de lecture comme dans les différents "dialogues" qu'il suppose. Si la réécriture de certains épisodes mythologiques, mis en relation directe avec l'histoire de la dynastie médicéenne, participe du dessein officiel de l'oeuvre, à savoir la glorification ducale, le mythe prélude, en raison de son appartenance à un univers ésotérique, à une lecture dérobée du texte vasarien qui, au-delà de servir le règne médicéen, révèle une aura mémorielle nous invitant à appréhender I Ragionamenti de Giorgio Vasari comme un édifice de la Mémoire
Giorgio Vasari was born on 30 July 1511 ; he died on 27 June 1574. At the end of 1554, he starts to be on the service of Cosimo I de' Medici, the Duke of Florence and he quickly sees himself entrusted with the transformation works of the seigneurial palace into a ducal one. The artist delivers the reading guides of the pictorial cycle deployed on the ceilings and the walls of the famous Florentine monument known as Palazzo Vecchio, in Ragionamenti del Sig. Cavaliere Giorgio Vasari, pittore e architetto aretino, sopra le invenzioni da lui dipinte in Firenze nel Palazzo di loro Altezze Serenissime, a little-known and little-studied work. Written between 1558 and 1567, but only posthumous published in 1588, this text stages Giorgio Vasari and Prince Francesco I de' Medici, the elder son of Cosimo I and Eleonora di Toledo. Under a descriptive hand, in which the word and the image unite, the artist composes a dialogue spread over three days and lead in three emblematic places of the palace: the Elements Area, the Leo X Quarter and the Cinquecento Room. The interest of this work lies in the different reading levels as in the different "dialogues" that it means to suggest. If the rewriting of some mythological episodes, directly viewed in relation to the history of the Medici dysnasty, contributes to the official aim of the work - namely the ducal glorification - the myth preludes, owing to its belonging to an esoteric world, a hidden reading of the Vasarian text that, beyond serving the Medici reign, reveals a memory aura inviting us to comprehend Giorgio Vasari's Ragionamenti as an edifice of Memory
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Greco, Mattia. « Restauro e applicazioni informatiche : il cantiere di palazzo del Podestà in Bologna ». Master's thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amslaurea.unibo.it/8962/.

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La tesi si pone il duplice obiettivo, da un lato, di seguire e approfondire i lavori di restauro e messa in sicurezza delle facciate di palazzo del Podestà, dall'altro, contemporaneamente, di proporre, sviluppare e sperimentare strumenti digitali da utilizzare durante la progettazione e l'esecuzione degli interventi di Restauro. Il settore del restauro architettonico si presenta, più di tanti altri, caratterizzato dalla molteplicità delle figure che intervengono nel corso del processso produttivo e dalla grandissima varietà e quantità di informazioni che entrano in gioco, partendo dalla fase di rilievo dello stato di fatto, fino all'indispensabile documentazione di fine lavori. Prendendo avvio, dunque, dal tirocinio svolto presso la Leonardo S.r.l. di Bologna, si è svolta una riflessione sui processi gestionali ed operativi legati alle operazioni di restauro e ci si è proposti di sviluppare e proporre alcuni strumenti digitali che, senza stravolgere l'attuale processo produttivo, potessero portare benefici operativi all'attività aziendale, facilitare il controllo ed il feedback da parte del committente e migliorare ed alleggerire l'onere della rendicontazione dei lavori. L'orizzonte di questi strumenti è multiplo: per l'attualità è stata sviluppata, in collaborazione con l'ENEA di Bologna, un'applicazione mobile su piattaforma FileMaker per la gestione delle operazioni di restauro attraverso la creazione di un database per la gestione delle analisi e del cantiere; mentre, per uno sviluppo "a regime" fra qualche anno, si è valutata l'efficacia di tecnologie SfM (Structure from Motion) per il rilievo speditivo e la documentazione. Nell'ottica di sviluppi ancora più lontani, infine, le due fasi saranno riunite nella proposta di tecnologie di realtà aumentata con l'obiettivo futuribile di poter passare direttamente dalla realtà e dal rilievo tridimensionale speditivo al progetto ed alla documentazione, senza dovere necessariamente passare da elaborati grafici bidimensionali. Durante tutte queste fasi lo sviluppo delle tecnologie è proceduto di pari passo con il cantiere di palazzo del Podestà, tanto nelle fasi di approfondita ricerca storica, quanto nella produzione delle schede di intervento. L'occasione della ricerca storica ha anche permesso di stilare un semplice regesto, corredato da immagini e bibliografia che raduna ed integra con materiali inediti i numerosi contributi sul tema che si sono succeduti dalla fine del XIX ai giorni nostri.
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Livres sur le sujet "Francesco di Giorgio Martini"

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Montebello, Mario. Francesco di Giorgio Martini e Giulianova. Padova [Italy] : Bottega d'Erasmo, 1994.

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Martini, Francesco di Giorgio. Das Skizzenbuch des Francesco di Giorgio Martini. Zürich : Belser Verlag, 1989.

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Francesco di Giorgio Martini : Pittore e scultore. Milano : Electa, 1987.

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Spartaco, Capannelli, et Sannipoli Ettore A, dir. Il Palazzo ducale di Gubbio e Francesco di Giorgio Martini. [Gubbio] (Perugia) : TMM, 2008.

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Martini, Francesco di Giorgio. Das Skizzenbuch des Francesco di Giorgio Martini : Entstanden um 1470. Zürich : Belser Verlag, 1989.

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Martini, Francesco di Giorgio. Das Skizzenbuch des Francesco di Giorgio Martini : Vat. Urb. Lat. 1757. Zürich : Belser, 1989.

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Mussini, Massimo. Il trattato di Francesco di Giorgio Martini e Leonardo : Il codice estense restituito. Parma : Università di Parma, Istituto di storia dell'arte, 1991.

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Marta, Bruscia, et Italia nostra (Association). Sezione di Urbino., dir. La Data (Orto dell'Abbondanza) di Francesco di Giorgio Martini : Atti della giornata di studio, Urbino, 27 settembre 1986. [Urbino] : QuattroVenti, 1990.

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Il Santuario di Maria Santissima Assunta in Rasina : Analisi e proposta di attribuzione a Francesco di Giorgio Martini. San Sisto (Perugia) : Effe F. Fabbri, 2011.

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Montebello, Mario. Francesco di Giorgio Martini : Teoria e pratica proporzionale da giulianova ai Trattati : con cinque appendici. Teramo : Demian, 1997.

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Chapitres de livres sur le sujet "Francesco di Giorgio Martini"

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Ceccarelli, Marco, et Pier Gabriele Molari. « Francesco di Giorgio (1439–1501) ». Dans History of Mechanism and Machine Science, 47–66. Cham : Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-32398-1_3.

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« XII Francesco di Giorgio Martini ». Dans Bearers of Meaning, 171–81. Princeton University Press, 1990. http://dx.doi.org/10.1515/9780691221953-015.

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« XII. Francesco di Giorgio Martini ». Dans Bearers of Meaning : The Classical Orders in Antiquity, the Middle Ages, and the Renaissance. Princeton University Press, 1990. http://dx.doi.org/10.37862/aaeportal.00026.016.

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« Francesco di Giorgio Martini (1439–1501) ». Dans The Emergence of Modern Architecture, 98–105. Routledge, 2004. http://dx.doi.org/10.4324/9780203380512-12.

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Stefano Bertocci. « Interpretazione dei progetti delle fortezze nel Codice Ashb.361 di Francesco di Giorgio Martini ». Dans DIALOGHI / DIALOGUES • visioni e visualità / visions and visuality. FrancoAngeli srl, 2022. http://dx.doi.org/10.3280/oa-832-c17.

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Cyril, Jasmin W. « Classicism from Urbino : The Bichi Chapel Frescoes by Francesco di Giorgio Martini ». Dans Renaissance Papers 2017, 17–30. Boydell and Brewer Limited, 2018. http://dx.doi.org/10.1017/9781787444164.002.

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« Introduction ». Dans Ars et Ingenium : The Embodiment of Imagination in Francesco di Giorgio Martini's Drawings, 13–16. Routledge, 2015. http://dx.doi.org/10.4324/9781315798257-8.

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« A multi-faceted mirror : drawing’s different faces ». Dans Ars et Ingenium : The Embodiment of Imagination in Francesco di Giorgio Martini's Drawings, 125–86. Routledge, 2015. http://dx.doi.org/10.4324/9781315798257-12.

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« Drawing the lines of theory ». Dans Ars et Ingenium : The Embodiment of Imagination in Francesco di Giorgio Martini's Drawings, 51–86. Routledge, 2015. http://dx.doi.org/10.4324/9781315798257-10.

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« Interlacing ingegno, inventio, and fantasia into the fabric of drawing ». Dans Ars et Ingenium : The Embodiment of Imagination in Francesco di Giorgio Martini's Drawings, 87–124. Routledge, 2015. http://dx.doi.org/10.4324/9781315798257-11.

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Actes de conférences sur le sujet "Francesco di Giorgio Martini"

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Galli, Claudio, et Alessandro Tosarelli. « Rapporto di ricerca storica sulle superfici architettoniche esterne della fortezza di San Leo ». Dans FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia : Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11532.

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Historical research report on the external architectural surfaces of the fortress of San LeoThe hinterland of Rimini is characterized by the presence of many castles, but the fortress of San Leo is certainly the most representative because of its position and the different constructive contributions that over time have updated its appearance and military functions. Cited by Dante and Machiavelli for the impervious nature on which it stands, its origin dates back to the early Middle Ages. It was rehashed following the imprint of Francesco di Giorgio Martini in the fifteenth century, restored by Giuseppe Valadier at the end of the eighteenth century and converted to a prison in 1631. A peculiarity that makes the studies on the fortress of San Leo absolutely interesting is the treatment of the external architectural surfaces of which there is ample documentation in the historical archives and of which there are multiple uses in the various areas of the factory; the research aims to offer useful knowledge for the subsequent conservation and restoration project. The theme, completely original, arises from indirect investigations of a documentary and iconographic nature, conducted at the State Archives of Pesaro, Florence, Rome, the Central State Archive and the Vatican Secret Archive, which repeatedly refer in the accounting of works, starting from the seventeenth century, the execution of plasters executed outside the monument. The interpretative tension of the archival documents and the drawings continued by looking for a direct comparison between historical information and materiality of the fortress, in order to identify a correspondence between historical data and constructive reality. It emerges clearly that the external surfaces of many parts of the fortress were treated and finished with plaster since its origins, probably due to the exposure to atmospheric agents; therefore a rethinking of what is reported in the literature is necessary both in terms of interpretative profile of the fortress, and about how its image was perceived over the centuries.
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Díez Oronoz, Aritz. « Nova Imago Urbis : the transformation of city walls in early Renaissance as a model for the contemporary city image. » Dans 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia : Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6035.

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The introduction of the artillery in the middle 15th century represented a revolution not only from a strictly military perspective: at the same time that medieval defences become obsolete and were replaced with other kind of fortifications, the cities lost their crenelated walls and slim towers that until then had configured their image and expression. The forced loose of this medieval Imago Urbis and the urgency of finding a new formal expression for this new type of fortifications was quickly understood by the leading Italian Renaissance architects. From Francesco di Giorgio Martini to Baldassarre Peruzzi, from Giuliano da Sangallo to Michelangelo, all of them –aware of the importance of the problem­– worked on developing this new type of fortifications not only from the technical standpoint but also from its symbolic and formal approach. In Albertian terms, the goal was to search a new façade that would represent once again that “great house” that is the City. The contribution will refer to the importance of the contributions made by these architects in this regard and of its exemplary value in facing this problem –that of the image of the city– in our cities, the contemporary ones, increasingly more and more extensive and without a definite limit.
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