A completely new approach to the history of Renaissance architecture, encompassing the entire continent and dealing with the work of well-known architects such as Michelangelo and Andrea Palladio alongside lesser known though no less innovative designers such as Juan Guas in Portugal and Benedikt Ried in Prague and Eastern Europe.

Drawing Imagining Building focuses on the history of hand-drawing practices to capture some of the most crucial and overlooked parts of the process. Using 80 black and white images to illustrate the examples, it examines architectural drawing practices to elucidate the ways drawing advances the architect’s imagination. Emmons considers drawing practices in the Renaissance and up to the first half of the twentieth century. Combining systematic analysis across time with historical explication presents the development of hand-drawing, while also grounding early modern practices in their historical milieu. Each of the illustrated chapters considers formative aspects of architectural drawing practice, such as upright elevations, flowing lines and occult lines, and drawing scales to identify their roots in an embodied approach to show how hand-drawing contributes to the architect’s productive imagination. By documenting some of the ways of thinking through practices of architectural handdrawing, it describes how practices can enrich the ethical imagination of the architect. This book would be beneficial for academics, practitioners, and students of architecture, particularly those who are interested in the history and significance of hand-drawing and technical drawing.

The Mark J. Millard Architectural Collection is one of the finest private collections of rare illustrated books and bound series of prints on Western European architecture, design, and topography. Comprised of about 750 volumes now housed at the National Gallery of Art, it focuses on the most beautiful and influential books and prints published between the end of the fifteenth century and the middle of the nineteenth century. Each architectural volume has been carefully described and illustrated, and includes, in addition to a catalogue entry, a complete bibliography. This final volume in the extraordinary Millard Architectural Collection features architectural books that helped define the artistic achievements of the Italian Renaissance. Included are illustrations from Vitruvius' De architectura, the treatise that provided architects with their first in-depth understanding of ancient Roman architecture, and works by architects inspired by Vitruvius, such as Leon Battista Alberti's designs for Santa Maria Novella in Florence and Andrea Palladio's ideally proportioned churches and country villas. This volume also features plans for buildings in Rome by Michelangelo, by the great architect, painter, and sculptor Gianlorenzo Bernini, by his arch-rival Francesco Borromini, by Carlo Fontana, and by Antonio da Sangallo, and includes superb examples of various projects for arguably the pre-eminent architectural project of the period, the redesign of the building and piazza of Saint Peter's Basilica. Standard texts by Sebastiano Serlio and Giacomo Barozzi da Vignola are also featured, as are several books published in Madrid in the seventeenth and eighteenth centuries. A highlight of the catalogue is an essay covering the approximately thirty books in the Gallery's collection by the architect and masterful printmaker Giovanni Battista Piranesi. 300 b/w illustrations.

As a master of his discipline, the ancient Roman architect Vitruvius has been read widely for centuries. This collection of essays by an international team of experts investigates his influence and reception in ideas, artistic forms, and building practices from antiquity to modern day. The stories of influence told in these pages suggest that it is the unbridgeable gulf between the Vitruvian text and surviving monuments that makes reading the Ten Books so endlessly compelling. The contributors to this volume offer their own, original readings, which are organized into the five sections: transmission; translation; reception; practice; and Vitruvian topics.