A revelatory account of the complex and evolving relationship of Renaissance architects to classical antiquity Focusing on the work of architects such as Brunelleschi, Bramante, Raphael, and Michelangelo, this extensively illustrated volume explores how the understanding of the antique changed over the course of the Renaissance. David Hemsoll reveals the ways in which significant differences in imitative strategy distinguished the period's leading architects from each other and argues for a more nuanced understanding of the widely accepted trope--first articulated by Giorgio Vasari in the 16th century--that Renaissance architecture evolved through a linear step-by-step assimilation of antiquity. Offering an in-depth examination of the complex, sometimes contradictory, and often contentious ways that Renaissance architects approached the antique, this meticulously researched study brings to life a cacophony of voices and opinions that have been lost in the simplified Vasarian narrative and presents a fresh and comprehensive account of Renaissance architecture in both Florence and Rome.

This two-volume catalogue is the second Part of the catalogue raisonné devoted to the large corpus of architectural and topographical drawings from the Paper Museum. The first Part (A.IX), published in 2004, was dedicated to drawings of ancient Roman topography and architecture, while the present one covers Renaissance and seventeenth-century architectural drawings. Commissioned and collected by Cassiano dal Pozzo (1588–1657) and his younger brother Carlo Antonio (1606–89), these drawings are today divided between the Royal Library at Windsor Castle, the British Museum’s Department of Greek and Roman Antiquities, and numerous other institutions and private collections worldwide. Bringing them here together emphasises the remarkable range and quality of the collection as a whole and provides an opportunity to bring to public attention drawings that are for the most part unpublished and unidentified.

This two-volume catalogue is the second Part of the catalogue raisonné devoted to the large corpus of architectural and topographical drawings from the Paper Museum. The first Part (A.IX), published in 2004, was dedicated to drawings of ancient Roman topography and architecture, while the present one covers Renaissance and seventeenth-century architectural drawings. Commissioned and collected by Cassiano dal Pozzo (1588–1657) and his younger brother Carlo Antonio (1606–89), these drawings are today divided between the Royal Library at Windsor Castle, the British Museum’s Department of Greek and Roman Antiquities, and numerous other institutions and private collections worldwide. Bringing them here together emphasises the remarkable range and quality of the collection as a whole and provides an opportunity to bring to public attention drawings that are for the most part unpublished and unidentified.