The Goldschmidt and Scholz Scrapbooks in the Metropolitan Museum of Art: A Study of Renaissance Architectural Drawings

Abstract

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. . The University of Chicago Press and The Metropolitan Museum of Art are collaborating with JSTOR to digitize, preserve and extend access to Metropolitan Museum Journal. Scholz in 1949, is made up of ninety-four sheets dedicated to Renaissance studies of contemporary Florentine and Roman buildings, known as the Scholz scrapbook.' An additional five sheets that are treated here as part of the Scholz scrapbook came into the Museum among a large group of drawings of tomb monuments, fountains, and other subjects purchased fromJanos Scholz in 1949.2 In 1968 these acquisitions were enhanced by the Museum's purchase from Lucien Goldschmidt of sixty-eight sheets of Renaissance architectural drawings devoted to buildings of ancient Rome, known as the Goldschmidt scrapbook.3 The purpose of this article is to present the drawings of the Goldschmidt and Scholz scrapbooks together, discussing both groups and the aspects that link them. Appendix 1 lists the sheets in the order in which they were apparently organized and numbered by an early collector. In the late nineteenth century the drawings in the Goldschmidt scrapbook belonged to French collector and interior designer Edmond Lechevallier-Chevignard ( 1825-1902).4 Seventy-three drawings were sold with his collection at the Hotel Drouot, Paris, April 30 and May 1, 1902 (lot 50).5 They were acquired by architect Georges-Paul Chedanne (1861-1940), who bought them while he was working on a never-realized publication of Roman antique buildings.6 In 1968 Lucien Goldschmidt sold sixty-eight of these drawings to the Metropolitan Museum. The drawings came to the Museum accompanied by a typescript catalogue written by Howard Burns, which is the basis of my study. Two sheets from the same group were given anonymously in 1966 to the Cabinet des The provenance of the Scholz scrapbook before 1947 is unknown. Charles de Tolnay discovered the drawings in Paris in 1947 and published one of them (25or) in 1948.7 SIMILARITIES BETWEEN THE GOLDSCHMIDT AND SCHOLZ SCRAPBOOKS The sheets from the Goldschmidt and Scholz scrapbooks were organized by an early owner, numbered, and bound. Both groups of drawings are composed of single and double-spread leaves (some glued together). Most of the single leaves measure approximately 42.5 by 29 centimeters (16: x 1 1/Y in.) and the double leaves 42.5 by 58 centimeters (16<x 22in.). The bound scrapbooks must have shared the same format since the larger drawings are neatly folded to fit these dimensions. On sheets in both groups, the remnants of guards-thin strips of paper pasted on the inner edges of the sheets to reinforce the binding-are similar. Several of the guards are recycled pieces of other, unidentified architectural...

Rome Оut of Borders: The French Architects in Rome in the Middle of the 16th Century

“…Оно отличает его от других теоретиков, однако вполне соответствует той практике изучения античных древностей, с которой он имел возможность познакомиться в Риме. Об этом свидетельствуют общие античные модели, которые фигурируют в его трактате и архитектурных альбомах образцов 6 . Новаторство Делорма состояло в том, что он попытался сделать теоретические выводы из своей римской археологической практики.…”

“…по этому поводу нашу статью [1, c. 408-409]. 6 Например, база храма Конкордии [10, f. 204v женному Серлио и продолженному Виньолой, которые отбирали из доступного им античного наследия лишь те образцы, что соответствовали Витрувию и общим пропорциональным нормам. При этом Бюллан широко использовал свой римский опыт не в теории, а на практике.…”