Sebastiano Serlio


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Serlio, Sebastiano

 

Born Sept. 6, 1475, in Bologna: died 1554 in Fontainebleau. Italian architectural theorist.

During the first stage of his career, from 1511 to 1514, Serlio was a master of perspective painting. He studied architecture under B. Peruzzi in Rome from 1514 to approximately 1527 and also worked in Pesaro and Venice and, beginning in 1541, in France. Serlio wrote a treatise on geometry, perspective, and classical and modern buildings and columns. The work, published serially from 1537 to 1575, became well known throughout Europe. The separate books were brought together in a Venetian edition entitled Architecture (1584). Serlio’s treatise influenced the development of Renaissance and early classical architecture in France, the Netherlands, and Germany.

WORKS

Tutte l’opere d’architettura et prospetiva. [Ridgewood, N. J., 1964.]

REFERENCE

Argan, C. C. Dal Bramante at Canova. Rome, 1970. Pages 45–60.
References in periodicals archive ?
31) El tipo de lazo empleado es otra muestra mas de la ordenacion compositiva equilibrada que se encuentra presente, aunque con variantes, en otras carpinterias peninsulares como la ya mencionada del Paraninfo de la Universidad de Alcala de Henares, en las armaduras de la iglesia de San Facundo y San Primitivo de la localidad de Cisneros (Palencia) y de la iglesia de Santa Maria en Castroverde de Campos (Zamora) o en repertorios de dibujos como los contenidos en el Libro Cuarto de Sebastiano Serlio.
Lo mas probable es que los artistas, como Rafael, Giulio Romano, Sebastiano Serlio, Tiziano, Velazquez, Rubens, Rembrandt o Van Dyck, asimilaran estas ideas a traves de la lectura de El Cortesano.
What he did was to make his basic unit on each floor a Venetian window, often also called a Serlian window after Sebastiano Serlio, whose treatise on architecture popularized it.
Sebastiano Serlio, for one, emphasizes the communicative qualities of signs in his many discussions of scene setting.
Hart, Vaughan and Peter Hicks and trans, Sebastiano Serlio on Architecture Volume Two, Yale, London, 2001, p3.
Among them were the outstanding architects, Philibert de l'Orme and the Italian refugee, Sebastiano Serlio.
The galleria is said to be derived from the ideas of the Italian architect Sebastiano Serlio, in the early sixteenth century.
In 1540 the architect and theorist Sebastiano Serlio (1475-1554) remarked that Vendramin, "a most severe castigator of things licentious," was one of the men of his age most equipped to appreciate the architectural principles of Vitruvius.
The book opens with the theme of the inherent conflict between the type of control that theorists such as Sebastiano Serlio (Fourth Book, Venice, 1537) and Daniele Barbaro (Commentary on Vitruvius, Venice, 1556) ascribed to the architect over all aspects of the building, including its decoration, and the far more heterogeneous reality ruefully acknowledged by Andrea Palladio (Four Books of Architecture, Venice, 1570).
The architect of the Quito stair, however, doubtless knew the motif from its appearance in the famous architectural treatise by Sebastiano Serlio (the stair itself was replaced ca.