 James Sloss Ackerman is the doyen of the international community of historians of Renaissance architecture. He is one of the scholars to have created the modern history of architecture, founded on a systematic approach and making use of a critical examination of all written and visual sources. It is capacity to use erudition, a sharp sense of observation combined with the sensibility for architecture and an innate facility to bring back to life the great architects of the past with immediacy, almost making them our contemporaries and constantly present in our culture, is perhaps the greatest of Ackerman’s achievements. His work has had a considerable influence on both historians of architecture and architects themselves. In his field, he has written two of the most important monographs of the century that has just closed, dedicated to Michelangelo and Andrea Palladio. Ackerman was born in San Francisco 1919 and first studied the history of art and architecture at Yale under Henri Focillon and then New York University under Henri Erwin Panofsky and Richard Krautheimer. He discovered Italian art while moving north up the peninsula with the US army in the Second World War. Fascinated by Italy, he chose it as his field of study and obtained a scholarship from the American Academy in Rome. In a series of influential and cultured articles, many of which republished in 1991 in Distance Points: Essays in Theory and Renaissance Art and Architecture, Ackerman opened new horizons regarding the way of considering the Italian Renaissance. Much of Ackerman’s work has been dedicated to Michelangelo, culminating in the excellent monograph, The Architecture of Michelangelo, which was published in English in 1961 and subsequently also in Italian, Spanish, French, Japanese and German. After having written about Michelangelo, Ackerman turned his attention to Palladio, investigating him both as architect and is intellectual in his brilliant book, Palladio, published in 1966, which is still considered the best introduction to this historic figure. The influence of this book has been immense, especially thanks to its innovative approach towards patronage. James Ackerman is a scholar of great originality and productivity, a skilled writer of architecture and a lecturer who has guided many eminent scholars in their first steps. He is a member of the British Academy, of the Royal Academy of Arts, of the Centro Internazionale di Studi di Architettura in Vicenza, of the Ateneo Veneto end of the Accademia di San Luca in Rome. He has received an honorary degree from the Istituto Universitario di Architettura di Venezia and he is also a Grande Ufficiale dell'Ordine al Merito della Repubblica Italiana. In 2003, he was awarded the Balzan Prize in the field of the history of architecture and gave half of the prize money to help young architectural historians, financing the publication of their first work via the annual James Ackerman Prize for the history of architecture (now at its fourth edition), and instituting a scholarship at the American Academy in Rome for young foreign students wishing to undertake paleographic studies in Italian archives. Courtesy of the International Balzan Foundation ON JAMES S. ACKERMAN James Ackerman. Interviews with Art Historians, 1991-2002. Getty Research Institute, Malibu, CA, 1994; Welsh, Marjorie. "To the Villa Born." Art News 87 (February 1988): 126-129; Bazin, Germain. Histoire de l'histoire de l'art: de Vasari à nos jours. Paris: Albin Michel, 1986, p. 435; Kleinbauer, W. Eugene. Research Guide to the History of Western Art. Sources of Information in the Humanities, no. 2. Chicago: American Library Association, 1982, pp. 121-122, 158; Kleinbauer, W. Eugene. Modern Perspectives in Western Art History: An Anthology of 20th-Century Writings on the Visual Arts. New York: Holt, Rinehart and Winston, 1971.. B Born: Nov. 8, 1919, San Francisco, Calif. 4 children Education: B.A., Yale, 1941; M.A. (1947), Ph. D. (1952), New York University Honorary Degrees: L.H.D: Kenyon College; University of Maryland, Baltimore County. D.F.A.: Maryland Institute of Art; Massachusetts College of Art. D. Arch., University of Venice, Politecnico di Milano Corresponding Fellow: British Academy; Royal Academy of Arts; Accademia Olimpica, Vicenza; Royal Academy of Uppsala; Ateneo Veneto; Bavarian Academy of Sciences. (Honorary Fellow): Accademia di San Luca, Rome. Fellow, American Academy of Arts and Sciences; American Philosophical Society; Society of Architectural Historians PROFESSIONAL HISTORY: 1946; 1949 Lecturer, Yale University 1949-1952 American Academy in Rome, Fellowship 1951-1952 Fulbright Fellowship 1952-1960 Asst. Prof. to Prof. of Art and Architecture, University of California, Berkeley 1956-1960 Editor-in-Chief, The Art Bulletin 1966 25th Anniversary of the National Gallery of Art medal for distinguished services to Education in Art 1960-1961 Council on the Humanities, Princeton, Fellow 1961-date Professor of Fine Arts, Harvard University; 1983- Arthur Kingsley Porter Professor of Fine Arts., Chairman, 1963-1968, 1982-84 Emeritus, 1990 1967-1975 Co-Founder, President, University Film Study Center 1967-1984 American Academy in Rome, Trustee. 1969-1970 Slade Professor of Fine Art, University of Cambridge (England) 1969- present Member of Consiglio Scientifico, Centro Internazionale di Studi di Architettura, Vicenza 1970 Centennial Award of the University of California 1974-1975 Senior Fellow, National Endowment for the Humanities; Resident scholar, American Acad. in Rome 1977-87 The Artists Foundation, Trustee (President 1977-79) 1980-1982 Council of Scholars, Library of Congress, member. 1985 Mellon Lecturer, National Gallery of Art, Washington. 1987 Gold Medal, Istituto di Storia dell'Arte Lombarda; Institute Honors, American Institute of Architects; Committee for Architecture, Biennale di Venezia 1988 Meyer Schapiro visiting Professor of Art History, Columbia University; Walter Channing Cabot Faculty Fellow, Harvard U.; 1989-92 Art History Panel, Senior Fulbright fellowships; Chair,LM0IN 1991. College Art Assn. of America, Distinguished Teaching Award. Visiting Professor of Art History, Columbia University. 1992 Visiting Fellow, New York Institute for the Humanities at New York University. Visiting Professor of Fine Arts, N.Y.U. Institute of Fine Arts. Editor, Annali di Architettura (through 1994; Editorial Board, 1992 on). 1993 Fellow, John Simon Guggenheim Foundation 1995 Premio Daria Borghese, Rome. 1996 Visiting Professor of Architecture, M.I.T. 1997, 1999 Visiting Professor of Architecture, Graduate School of Design, Harvard. 1998 Paul Kristeller Lifetime Achieviement Award of the Renaissance Society of America. 2001 International Balzan Foundation Prize for lifetime contribution to the history of architecture and Urbanism. 2001 Mellon Senior felloship, Canadian Centre for Architecture, Montreal. 2008 Honorary Citizen of the City of Padua. Leone d’oro award of the Biennale of Architecture, Venice lifetime contribution To the history of architecture. 2008 Lifetime achievement award, Istituto Italiano di Cultura, Los Angeles. BIBLIOGRAPHY: BOOKS The Cortile del Belvedere, Vatican City, 1954; The Architecture of Michelangelo, 2 vols., London/New York, 1961 (Hitchcock Medal, College Art and Assn); Introduzione,” Art and Archaeology(with Rhys Carpenter), Englewood Cliffs, l962; Palladio, Harmondsworth, 1966 (3rd. ed. 2008); Palladio's Villas, New York, 1967. The Villa: Form and Ideology of Country Houses, Princeton University Press and Thames and Hudson, London,1990. Distance Points: Studies in Theory and Renaissance Art and Architecture, Cambridge, Mass. 1991 (American Institute of Architects Award in History and Theory, 1992). (Co-editor and contributor, with Wolfgang Jung) Conventions of Architectural Drawing: Representation and Misrepresentation, Harvard, Graduate School of Design, 2000. Origins, Imitation, Conventions, Cambridge, Mass., 2002. Films: Looking for Renaissance Rome (with John Terry, Kathleen Weil-Garris Brandt), 1976; Palladio the Architect and His Influence in America (with John Terry), 1980 Essays and articles on the history of architecture, critical and historical theory, interaction of art and science. BIBLIOGRAPHY, GENERAL 1949 “The Certosa of Pavia and the Renaissance in Milan,” Marsyas, V, 23-37. “Ars Sine Scientia Nihil Est: Gothic Theory of Architecture at the Cathedral of Milan,” The Art Bulletin, XXXI, 84-111. 1951 “Bramante and the Torre Borgia,” Pontificia Accademia di Archeologia, Rendiconti, XXV, XXVI, 247-265. “The Belvedere as a Classical Villa,” Journal of the Warburg and Courtauld Institutes, XIV, 60-91. 1954 The Cortile del Belvedere, (Vatican City: Biblioteca Aspostolica Vaticana). “Tradition and the Future of Architecture,” California Monthly, XLIV, April, 42-44. “Architecture,” “Leon Battista Alberti,” Encyclopaedia Britannica,14th ed. 1955 “Architectural Practice in the Italian Renaissance, Journal of the Society of Architectural Historians, XIII, 3, 3-11. “California Buildings”, University of California Department of Architecture, Limited Edition. 1956 “Report on California,” Architectural Review, CXX, 717, 237- 239. 1957 “Marcus Aurelius on the Capitoline Hill, Renaissance News, X, 69-75. 1958 “Architecture;” “Leone Battista Alberti,” Encyclopaedia Britannica, 14th ed., rev. “On American Scholarship in the Arts,” College Art Journal, XVII, 4, 357-362. 1959 “Bramante;” “Michelangelo,” Les architectes célèbres, II, Paris 1960 “Art History and the Problems of Criticism,” Daedalus, Winter, 253-263. Republished in: The Visual Arts Today, Middletown, 1961 The Architecture of Michelangelo, London/New York, 2 vols. 2nd ed., Chicago: University of Chicago Press, 1986 "Science and Visual Art," in Seventeenth Century Science and Arts, ed. Hedley Rhys (Princeton, Princeton University Press). 1962 “A Theory of Style,” The Journal of Aesthetics and Art Criticism, XX, 3, 227-237. “One Culture or None,” Current, 22, 67-72. “Abstract Art and the Critics,” Atlantic Monthly, Oct., 73-78. Reprinted by Graham Gallery; The Singer Corporation, American Journal, III, 1963, 199-208. 1963 Art and Archaeology (with Rhys Carpenter), (Englewood Cliffs, NJ: Prentice-Hall). “Art and Social Responsibility”, Rhode Island School of Design Alumni Bulletin, Sept., 2-5. “Sources of the Renaissance Villa,” Proceedings of the Twentieth International Congress of the History of Art (1961), Princeton, II, 6-18. 1964 “Palladio e l’architettura del ‘700 negli Stati Uniti; il Presidente Jefferson e il palladianismo americano,” Bollettino del Centro Internazionale di studi d’architettura A. Palladio, VI, 29-48. 1965 “Della Porta’s Gesù Altar,” in Essays in Honor of Walter Friedlaender, New York, 1-2. “Art and Evolution,” The Nature and Art of Motion, ed. G. Kepes, New York, 32-40. “Notes on Larsen Hall,” Connection, Fall, 16-20. “On Scientia,” Daedalus, Winter, 14-23. “The Future of Humanistic Studies in America,” Humanistic Scholarship in America, Princeton, 12-15. 1966 Palladio, (Baltimore and Harmondsworth, Penguin). “Preface,” Harvard Art Review, I, Winter. “Editorial: Rx for Art Criticism,” Art in America, Mar.-Apr. “Palladio’s Vicenza: A Bird’s-eye Plan of ca. 1571,” Studies in Renaissance and Baroque Art Presented to Anthony Blunt, London-New York, 53-61. 1967 Palladio’s Villas, (Locust Valley, NY: J. J. Augustin/Institute of Fine Arts), 1967. “Palladio’s Lost Portico Project for San Petronio in Bologna,” in Essays in the History of Architecture Presented to Rudolf Wittkower, eds. D. Fraser, H. Hibbard and M.J. Lewine (London: Phaidon, 110-115. Views of Florence by Giuseppe Zocchi, New York. 1969 “Two Styles: A Challenge to Higher Education,” Daedalus, Summer, 855-869. “Listening to Architecture,” Harvard Educational Review, XXXIX, 4, 4-20. “Concluding Remarks: Science and Art in the Works of Leonardo,” Leonardo’s Legacy: An International Symposium, ed. C.D. O’Malley, (Berkeley: University of California Press, 205-225. “The Demise of the Avant Garde: Notes on the Sociology of Recent American Art,” Comparative Studies in Society and History, XI, 371-384; reduced version in L’Arte, VI, 1969, 4-11. 1970 “Education of Vision,” in The Arts on Campus: The Necessity for Change, ed. M. Mahoney with I. Moore, (Greenwich, CT: New York Graphic Society), 63-80. 1972 “The Gesù in the Light of Contemporary Church Design,” in Baroque Art: The Jesuit Contribution, ed. I Jaffe and R. Wittkower, New York, 15-28. “Toward a New Social Theory of Art,” New Literary History, IV, 315-330. 1973 “The Arts in Higher Education,” Content and Context: Essays on College Education, ed. Carl Kaysen (New York:McGraw- Hill), 219-266. Republished in The Visva-Bharati Quarterly, 49, 1-4, 1984, 31-62 (issued 1987). 1974 “Notes on Bramante’s Bad Reputation,” Studi bramanteschi, Rome, 339-350. “Transactions in Architectural Design,” Critical Inquiry, I, 229-243. 1975 “The History of Design and the Design of History, Psicon 2/3, 138-146 (Italian version). “Il contributo dell’Alessi alla tipologia della chiesa longitudinale,” Galeazzo Alessi e l’architettura del Cinquecento, Genoa, 461-466. 1976ff Edited, The Garland Library of the History of Art, (one hundred fifty-two articles in fourteen volumes), (New York: Garland Press). 1977 “Palladio e lo sviluppo della concezione della chiesa a Venezia,” Bollettino del Centro Internazionale di Studi di Architettura, XIX, 9-26 (published 1980). “L’architettura reliosa veneta in rapporto a quella toscana del Rinascimento,” Ibid., 135-164 “Introduction” to Wolfgang Lotz, Studies in Italian Renaissance Architecture, Cambridge Mass., xvii-xxiv Review-Article, “Leonardo da Vinci, The Madrid Codices,” Journal of the Society of Architectural Historians, XXXVI, 46ff. 1978 “Palladio Revisited,” The John Williams Lawrence Memorial Lectures,Tulane University School of Architecture, New Orleans. “Introduction” to Sebastiano Serlio, On Domestic Architecture: The Sixth Book, New York/Cambridge. “Alberti’s Light,” Studies in Late Medieval and Renaissance Painting in Honor of Millard Meiss, New York, 1-27. “On Rereading ‘Style’” Social Research, 45, 153-163. “Leonardo’s Eye,” Journal of the Warburg and Courtauld Institutes, XLI, 108-146. “On Judging Art Without Absolutes,” Critical Inquiry, V, 1979 “Worldmaking and Practical Criticism,” Journal of Aesthetics and Art Criticism, XXXIX, 249-254. “Notes and Exchanges,” Critical Inquiry, V, 795-799. 1980 “On Early Renaissance Color Theory and Practice,” Studies in Art History: American Academy in Rome I, 11-38. “Observations on Renaissance Church Planning in Venice and Florence,” Florence and Venice, Comparisons and Relations, II, Florence, 287-308. “The Cloisters of San Zaccaria,” in John MacAndrew, Venetian Architecture of the Early Renaissance, Cambridge, 554-559. 1981 “The Arts Require Government Aid,” Yale Alumni Magazine, Oct. issue. “La storia dell’architettura e l’architettura della storia,” Spazio e società , IV, 14, 25-37. “Dürer’s Crab,” Ars Auro Prior: Studia Ioanni Bialostocki Sexagenario Dicata, Warsaw, 291-295. 1982 “The Geopolitics of Venetan Architecture in the Time of Titian,” Titian, His World and His Legacy, ed. David Rosand, New York, 41-71. “In Memoriam, Wolfgang Lotz,” Journal of the Society of Architectural Historians, XLI, 5-6. “The Planning of Renaissance Rome, 1480-1580,” Rome in the Renaissance,The City and Its Myth, Binghamton, 3-18. 1983 “Palladio Revisited: Civic Architecture,” Spazio e società, VI, 21, 8-19. “The Tuscan/Rustic Order: A Study in the Metaphorical Language of Architecture,” Journal of the Society of Architectural Historians, XLII, 15-34. “Palladio Revisited: The Churches,” Spazio e società , VI, 22, 62-75. “Palladio Revisited: The Villas,” Spazio e società , VI, 23, 8-19. 1984 “Interpretation, Response: Toward a Theory of Art Criticism,” Theories of Criticism, with M. A. Abrams, (Washington D.C.: Library of Congress). “The Faces of Palazzo Chiericati,” Interpretazioni veneziane: studi in onore di Michelangelo Muraro, Venice, 213-220. 1985 “Il paradigma della villa,” Casabella, XLIX, 53-65. “Early Renaissance ‘Naturalism’ and Scientific Illustration,” The Natural Sciences and the Arts (Acta Univer-sitatis Upsaliensis: N..S., 22), Uppsala, 1-17. “The Involvement of Artists in Renaissance Science,” Science and The Arts in the Renaissance, ed. John W. Shirley and F. David Hoeniger, (Washington, The Folger Shakespeare Library). 1986 “Why Classicism?” The Harvard Architecture Review, 5, 78f. “The Villa as Paradigm,” Perspecta 22, 10-31. “Pellegrino Tibaldi, San Carlo Borromeo e l’architettura ecclesiastica del loro tempo,” San Carlo e il suo tempo: Atti del Convegno internazionale, Rome, 574-586. 1987 Contribution to “Seminar I: Transitional Periods,” Harvard Architectural Review, VI, 10-12. “Introduction” to Michelangelo Muraro, Venetian Villas: The History and Culture, Udine, 7-8. “The Medici Villa in Fiesole,” ‘Il se rendit en Italie: Etudes offertes à André Chastel, Rome/Paris, 49-56. 1989 “Renaissance,” International Encyclopedia of Communications, Philadelphia, III, 447-452. “Social Stratification in Renaissance Urban Planning,” with Myra Nan Rosenfeld, Urban Life in the Renaissance, ed. Susan Zimmerman and Ronald F. Weissman, (Newark: University of Delaware Press), 21-49. “The Visual Arts Collections: Manifold Resources,” The Invention of Photography and Its Impact on Learning, Cambridge (Mass.), 62-71. “Rudolf Wittkower’s Influence on the History of Architecture,” Source, VIII/IX, 87-90. “An Interview with James S. Ackerman,” by Ruth Wilford Caccavale and Allison Lee Palmer, Rutgers Art Review IX/X, 1988-89, 69-81. 1990 “Social Concern and Architectural Discourse,” Places, 6, 68-71. The Villa: Form and Ideology of Country Houses, A.W. Mellon Lectures in the Fine Arts 1985 Bollingen Series XXXV, 34 (Princeton: Princeton University Press and London: Thames and Hudson). 1991 Distance Points: Studies in Theory and Renaissance Art and Architecture, (Cambridge: MIT Press). “Richard Krautheimer: An Homage,” Rome: Tradition, Innovation and Renewal, ed. C. M. Brown, J. Osborne, W. C. Kirwin, (Victoria, B.C.: University of Victoria), 81-92. “Commentary” to Part IV, City States in Classical Antiquity and Medieval Italy, ed. Anthony Molho et. al., Ann Arbor 1991, 453-456. “Andrea Palladio: I quattro libri dell’architetura...” Vision of a Collector: The Lessing J. Rosenwald Collection in the Library of Congress, Washington, D.C., 325f. 1993 “Palladio: in che senso classico?” Centro Internazionale di Studi di Architettura, Vicenza. Republished in Annali d’Architettura, 6, 1994, 11-22. “Revivals as Phenomena in History,” in Companion to Contemporary Architectural Thought, ed. B. Farmer and H. Louw (London/New York: Routledge). 1994 “On the Origins of Art History,” Studi in onore di Giulio Carlo Argan, (Florence: La Nuova Italia Editrice), 39-47. Art Historian: James S. Ackerman. The U.C.L.A./Getty Center Oral History Project, Los Angeles. “The Regions of Italian Renaissance Architecture,” The Renaissance from Brunelleschi to Michelangelo: The Representation of Architecture, Milan, 319-348. “Manfredo Tafuri: in Memoriam,” Journal of the Society of Architectural Historians, 53, 137-138; republished, Annali d’architettura, 6, 11-22. “Disegni del Palladio per la facciata di San Petronio,” in Una basilica per una città: sei secoli in San Petronio (Atti del Convegno di Studi per il Sesto Centenario di fondazione della Basilica di San Petronio,1390-1990), ed. M. Fanti and D. Lenzi (Bologna: Fabbriceria di San Antonio: Istituto per la storia della chiesa di Bologna), 251-269. 1995 Co-author, “In Memoriam: Richard Krautheimer (1887-1994)” Journal of the Society of Architectural Historians, 54, 5-7. “Thomas Jefferson e l’Italia,” La virtù e la libertà, Turin, 225-244. “On Public Landscape Design Before the Civil War,” Regional Garden Design in the United States, Therese O’Malley and Marc Treib, eds., (Washington, D.C.: Dumbarton Oaks Research Library and Collection), 191-207. 1996 “The Power of the Classical Tradition,” ‘Remove Not the Ancient Landmark’: Public Monuments and Moral Values, ed. Donald M. Reynolds, n.p., 21-26. “Daniele Barbaro and Vitruvius,” Architectural Studies in Memory of Richard Krautheimer, Cecil L. Striker, ed., (Mainz: P. von Zabern), 1-6. “I volti del Palazzo Chiericati,” Dimensioni del disegno X, 4-12. 1997 “Richard Krautheimer’s ‘Method’,” In Memoriam Richard Krautheimer,” (Rome: Bibliotheca Hertziana), 67-72 “Villard de Honnecourt’s Drawings of Reims Cathedral: a Study in Architectural Representation,” Artibus et Historiae, 35, 41-50. 1998 Osservazioni sui progetti di chiese di Leonardo da Vinci, Vicenza, privately printed. “Villa Emo: “Restrained Style and Noble Pleasures,” Casabella, 62, no. 662/663, 10-19. “Introduction,” to Christof Thoenes, Sostegno e adornamento, (Milan: Electa), 6-10. “Italian Renaissance Architecture,” Oxford Encyclopedia of Aesthetics, ed. Michael Kelly, New York/Oxford. 1999 “The Anticipation of Cinquecento Architecture in Church Designs by Leonardo da Vinci,” in Studi di storia dell’arte in onore di Maria Luisa Gatti Perer, ed. Marco Rossi and Alessandro Rovetta, (Milan: Vita e pensiero), 197-204. 2000 “Sculpture in the Context of Architecture,” in Art and Architecture: Symposium Hosted by the Chinati Foundation, April 25-26, 1998, Marfa, Texas, 13-30. “Observations on Architectural Photography” "On the Study of Early Medieval Art at Harvard," in Before and after the End of Time: Architecture and the Year 1000, Cambridge “Conventions of Architectural Drawing, North and South,” in Europa e l’arte italiana, Max Seidel, ed., Venice, 220-235. “Introduction: The Conventions and Rhetoric of Architectural Drawing,” in Conventions of Architectural Drawing: Representation and Misrepresentation, James S. Ackerman and Wolfgang Jung, eds. (Cambridge) 9-36. "The Aesthetics of Architecture in the Renaissance," Studi in onore di Renato Cevese, Vicenza, 1-8. 2001 “Leonardo da Vinci: Art in Science,” Science in Culture, ed. Peter Galison et al., (New Brunswick, N.J.: Transaction Publishers), 207-224. Origins, Imitation, Conventions: Representation, in the Visual Arts (Cambridge: MIT Press). “On the Origins of Architectural Photography,” This is Not Architecture: Media Constructions, ed. Kester Rattenbury (London/New York: Routledge). 2003 “The Photographic Picturesque,” Artibus et Historiae no. 48, 73-94. 2004 "................" Per Franco Barbieri : studi di storia dell’arte e dell’architettura venice "La storia come autobiografia: reminiscenze storiche," Tante storie: storici delle idee, delle istityuzioni, dell'arte e dell'architettura, Venice 2005 "La villa,: forma e ideologia," Andrea Palladio e la villa veneta da Petrarca a Carlo Scarpa, Venice, 2-14. "Introduzione," Massimo Scolari, Il disegno obiquo: una storia di antiprospettiviva. Venice, 9-16. 2006 “Gathering the Given, Michelangelo’s Redesign of the Campidoglio,” Harvard Design Magazine, Fall-Winter, 48-58. “Contesto della villa: il ruolo dei testi antichi,” in Villa. Siti e contesti, ed. Renzo Derosas, (Fondazione Benetton: studi e ricerche) Treviso, 3-12. 2007 “Ricordi della Triennale De divina proporzione,”; “La proporzione architettonica ieri e oggi,” La divina proporzione. Triennale 1951, ed. Anna Chiara Cimoli and Fulvio Irace, Milan, 219-235. 2008 “Michelangelo’s Biblioteca Medicea Laurenziana,” FMR, 26 Milan, 45-67. "The Fifty Years of CISA," Annali d'architettura, 20, 9-11. "Palladio fra decoro e licenza," Venice, "Palladio entro licencia e decoro," Palladio 1508-2008, Valencia 37-41. 2010 "Palladio, Michelangelo and Pubblica magnificentia, Annali d'architettura," 22, 63-78. " |