Sebastiano Serlio


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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

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.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Setting for a Comedy, 1545, Sebastiano Serlio (1475-1554), from Den Eersten Boeck van Architecturen (Antwerp, 1558).
(80) Sebastiano Serlio on Domestic Architecture: Dfferent Dwellings from the Meanest Hovel to the Most Ornate Palace, ed.
However, it could also have been another book by Sebastiano Serlio (1475-1554): the Regole (40) or Quarto Libro, published in 1537, circulating in Portugal, (41) thus being also available to Diogo Torralva.
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.
Writing in the first half of the sixteenth century, one of the first modern writers on the subject Sebastiano Serlio harked back to Vitruvian notions of the origins of architecture 'Men's first coverings to protect themselves from the moisture of the rain and the blazing heat of the sun were made of tree branches supported on forked poles or rods and bound with willow branches ...
Among them were the outstanding architects, Philibert de l'Orme and the Italian refugee, Sebastiano Serlio. Much of their difficulty was how to be discreet, how much to practice Nicodemism to avoid detection.
The galleria is said to be derived from the ideas of the Italian architect Sebastiano Serlio, in the early sixteenth century.
(19) In the same testament, after exhorting his nephews to maintain the study of naval strategy and navigation, he insisted that they "not abandon the study of letters." 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).
Sebastiano Serlio's treatise, Tutte l'opere d'architettura (1537-51), marks the development of a new image-based architectural method and the first appearance of the canon of five classical orders (1537).