florida state university college of visual arts, theatre and dance ...

Marilyn Aronberg Lavin (New York: Italica Press, 1990), 117-44; Roger J. Crum, "'Cosmos, the
World of Cosimo': The Iconography of the Uffizi Façade," Art Bulletin 71, no. 2 (1989): 237-53;
Stanislaw Wilinski, "La Serliana," Bollettino del Centro Internazionale di Studi di Architettura
Andrea Palladio (1969): 399-429.
72 For Lemercier’s travels in Italy from 1607 to 1611, see Gady, Lemercier, 19-20. Lemercier
had an extensive library, of which architectural works only counted for one percent. Other
notable architectural works were four editions of Vitruvius, two versions of the Regole by
Vignola, and works by Philibert Delorme and Jacques Androuet du Cerceau. For more on his
library, see Gady, Lemercier, 79-81.
73 For more on sixteenth-century examples of the serliana in France, see Jean-Jacques Gloton,
"Le traité de Serlio et son influence en France," in Les traités d'architecture de la Renaissance:
Actes du colloque tenu à Tours du 1er au 11 Juillet 1981, ed. Jean Guillaume (Paris: Picard,
1988), 413-14.
74
Ibid. The upper two floors of the Hôtel d’Assézat closely resemble folio 154 from Serlio’s
fourth book.
75 For descriptions of this room, see Volker Hoffmann, "Le Louvre de Henri II: un palais
impérial," in Bulletin de la Société de l'Histoire de l'Art français Paris (1982), 10-12; Henry
Lemonnier, "Jean Goujon et la Salle des Cariatides au Louvre," Gazette des Beaux-Arts 35
(1906): 177-94; David Thomson, Renaissance Paris: Architecture and Growth 1475-1600
(London: Zwemmer, 1984), 90.
76 Hoffmann, "Louvre," 10.
77 For a discussion of Henri II’s attempts to include imperial imagery in the Louvre, see ibid., 7-
15.
78 For the repetition of the motif, see Gady, Lemercier, 34, 235.
79 Gady, Lemercier, 235, proposes that Lemercier initially intended to include a serliana in each
of the gallery’s bays but then modified the design during construction to include only the current
motif.
80 The description can be found in Archives Nationales MM 623 f. 111-12.
81 For the state portrait as a sign of the reigning monarch, see Peter Burke, The Fabrication of
Louis XIV (New Haven, CT: London: Yale University Press, 1992), 9.
82 For a description of this event, see Archives Nationales MM 623 f. 115.
80