«E molti ne aveva summa deletatione». Architetture, spettacoli e feste romane nel racconto e nei disegni del Taccuino di Salisburgo
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The codex includes a description and depiction of famous monuments
of ancient Rome and the Arena of Verona. The piece can be dated to
the last two decades of the 15th Century, thanks to the direct account
of the partial destruction of the so-called Septizodium and the killing
of Duke Galeazzo Maria Sforza, both in 1476; the mentioning of
Galeazzo Maria’s death is also one of the elements attesting the Lombard
origin of the manuscript.
The described monuments are the Colosseum, the Arena of Verona, the
Circus of Maxentius, the Stadium of Domitian, Trajan’s Column, the Arch
of Janus, the Vatican Obelisk, the Septizodium, the Circus Maximus, the
Sanctuary of Palestrina, the Baths of Diocletian, of Caracalla and others,
and a theatre.
The drawings show a method of representation similar to that of Filarete,
displaying a suggestive use of perspective, as well as very early examples
of architectural sketches combining elevation and floor plan. The repertoire
of architectural details is very rich: frames, capitals and bases. The
buildings are articulated in a proportional system, with no indication of
measurements, with one exception in which the chosen metric system is
the one in use in Milan. While references to Alberti’s theories abound,
very few words are dedicated to architectural annotations, and more
space is given to the functions and activities of each building. Historical
thoroughness prevails on any artistic or technical purpose, even though
the drawings themselves show remarkable accuracy and a proper use of
instruments, which accounts for the author’s knowledge of representational
techniques. The codex has the form of a brief treatise, and the
drawings might actually be copies, a possibility suggested by the fact
that included in the Uffizi collection are several plates derived form a
common source, supposedly a book of models. The author is well read in
both Latin and vernacular sources for Roman history: he describes gladiatorial
games and circuses in detail, as well as races, naumachiae and
battle simulations, but also baths and shows, often described adapting
categories from Renaissance theater. The description of a feast almost
identical to the famous one held on the occasion of the wedding of
Costanzo Sforza di Pesaro and Camilla Marzano d’Aragona (1475), also
recounted in the chronicles of the time, supports the attribution of the
codex to the Milan milieu of the Sforza period, since representatives of
Milanese branch of the noble family had taken part to the celebration.
The apparent connection to the court, the erudite, descriptive and yet not
at all philological account suggest a likely attribution of the work to one
of the time’s humanists appointed to diplomatic and cultural tasks, such
as Bergonzio Botta.
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