{Renaissance Architecture [continued (29)]}[1st May 1991]

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*’This period of free and decorative Mannerism was followed by a more restrained Classical architecture seen to perfection in one of the greatest architects of the Renaissance, Andrea Palladio....** [His] Villa Capra or Rotonda (1550-51[ce];** with later changes) near Vicenza is magnificent in its simplicity and massing. In the centre of a cubelike block (a cube is typical of most Palladian villas) is a circular hall, and on all four sides are projecting Classic temple fronts as porticos, resulting in an absolute Classic rigidity in the plan.’

****

*(In Venice?)

**{cf [(presumably)[Redbook9:312][19910510:0904#]{Baroque Architecture [continued #] (England)}[10th May 1991],] 312}

***64M~1552[ce]

**** – ibid [Encyclopaedia Britannica 13]: 1004-5

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{Renaissance Architecture [continued (28)]}[1st May 1991]

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[continued]

*

**

***

*[ref last previous ts journal entry]

**cf [[Redbook9:228][19910501:0800u]{Renaissance Architecture [continued (21)]}[1^st May 1991]] 228

*** – ibid [Encyclopaedia Britannica 13:] 1005

[continued]

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{Renaissance Architecture [continued (27)]}[1st May 1991]

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[continued]

*

**

*[Marginal notes above:]

64r~S~1544[ce]

[Figures 57 & 60 referred to are not reproduced in the ms; for Figure 59. see next ts journal entry]

** – E[ncyclopaedia] B[ritannica] 13: 1004

[Continuing immediately after last previous ts entry in source text]

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{Renaissance Architecture [continued (26)]}[1st May 1991]

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[continued]

*

**

*[Marginal notes above:]

64M~1552

64G~1560

[Figures 57 referred to is not reproduced in the ms]

** – E[ncyclopaedia] B[ritannica] 13: 1003-1004

[Continuing immediately after last previous ts entry in source text]

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[continued]

*

**

*[Marginal notes above:]

64C|2048G~1536[ce]

NB

[Figure 54 referred to is reproduced in the ms & ts but not in blog]

** – E[ncyclopaedia] B[ritannica] 13: 1003

[Continuing immediately after last previous ts entry in source text]

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{Renaissance Architecture [continued (24)]}[1st May 1991]

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(Italian Mannerism or Late Renaissance (1520-1600)*

**

***

*2048G~1536[ce]

64G~1520|C1600[ce]

**[Marginal notes above:]

64G~1520[ce]

64C1600[ce]

{?M~s~

G~?}

*** – E[ncyclopaedia] B[ritannica] 13: 1003

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*

**

*{cf eg [[Redbook9:345][19910511:1000#]{The Rococo [continued] #}[11th May 1991],] 345,

[[Redbook9:343][19910511:1000#]{The Rococo [continued] #}[11th May 1991],] 343,

[[Redbook9:341][19910511:1000#]{The Rococo [continued]#}[11th May 1991],] 341;

[(presumably)[Redbook9:225][19910501:0800l]{Renaissance Architecture [continued (12)]}[1^st May 1991]&f,] 225***

X:[]360,

XI:[] 41

VII[I][[Redbook8:302-306][19910305:2240]{Chaos* in the Cathedral}[5th March 1991]ff,] 302-306}

** ibid [‘Chaos: Making a New Science’, J Gleick:] f[acing] p194

(The Mandelbrot Set)

***[unclear why]

[cf last previous & next ts journal entry]

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*

*-- ‘Chaos: Making a New Science’, J Gleick: f[acing] p172

[cf last previous & next ts journal entry]

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[continued]

*

* – ibid [Encyclopaedia Britannica 13:] 1001

[Plan referred to in last previous ts journal entry. This is presumably Bramante’s first design.]

[cf next ts journal entry]

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[continued]

*

**

*[‘Figure 52’ – see next ts journal entry]

** – ibid [Encyclopaedia Britannica 13:] 1000-1001

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and continues in next ts journal entry]

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