201

Vignola undoubtedly followed Serlio's activity closely.

Kommentar: "unzweifelhaft"? Belege?

The Regole generali by its subject and approach would be of capital significance for his own book. But in 1538 Vignola moved to Rome 

Kommentar: Hatte Vignola nicht schon 1537 Rom mit Primaticcio verlassen, um in Fontainbleau zu arbeiten…?

where, under the direction of Jacopo Meleghino (a former associate of both Peruzzi and Serlio as well as co-architect of St Peter's with Antonio da Sangallo the Younger), he worked as a painter and probably as a designer. The critical event of this Roman sojourn was his involvement with the Accademia della Virtù, a private association of intellectuals led by the Sienese humanist Claudio Tolomei (Pagliara 1986, 67–85). In a famous letter of 1542 Tolomei described the academy's goal as the publication of an ambitious multi-volume illustrated study of Vitruvius and ancient architecture (Tolomei 1547, 81–95; Barocchi 1971–7, 3037–46).

Kommentar: Die Beschränkung auf "Vitruvius and ancient architecture" ist natürlich ebenso falsch und irreführend wie die Seitenangabe für Tolomeis Brief, der von fol. 81 recto bis 85 recto reicht. Aber das mag ein Druckfehler sein… (auch wenn die Unterscheidung zwischen Seitenzahlen und Paginierung den Autoren egal zu sein scheint…)

Vignola contributed measured survey drawings. 

Kommentar: …was genau genommen eigentlich schon wieder eine zu spezifische Aussage ist, die sich aus Vasari und Danti (die hier verschwiegenen Quellen für diese Information) nicht ableiten lässt, den beide sagen nur, dass Vignola im Dienste der Akademie "alle Antiken Roms" vermessen habe…

They have been lost, 

Kommentar: … wenn man nur nach Originalzeichnungen von der Hand Vignolas sucht, kann der Eindruck entstehen…

but the impact of this intense archeological and philological experience informs both the Regola and his built works. Around the time the project fell apart and the Vitruvian academy disbanded, Vignola signed on with Francesco Primaticcio to produce bronze replicas of Vatican statuary for King François I of France (Cox-Rearich 1996, 325). This enterprise took him to Fontainebleau from 1541 to 1543, where he supervised the castings of the statues, painted and perhaps practised as an architect. Though scantily documented, this episode must have been significant for Vignola's education as a theorist: for one thing it brought renewed contact with Serlio, and for another it exposed him to the practical and theoretical challenges – already met by such leading French architect-theorists as Guillaume Philandrier, Jacqued Androuet du Cerceau and Philibert De l'Orme – of disseminating the Classical style in norther Europe.