Ian Campbell
Ian was born in Leeds and studied the History and Theory of Art at the University of Essex (BA Hons); Italian Renaissance Architectural Theory at UEA (MA); and wrote a thesis on ‘Reconstructions of Roman temples made in Italy between 1450 and 1600’ for the University of Oxford (D. Phil). He was Rome Scholar at the British School at Rome (1979-80) before moving to Edinburgh to work as a Historic Buildings Inspector for the predecessor of Historic Scotland (1981-6). After two years as Research Associate on the Census of Antique Works of Art and Architecture known in the Renaissance at the Bibliotheca Hertziana-Max Planck Institute for Art History, Rome, he returned to the UK as Librarian of the Faculty of Architecture and History of Art, University of Cambridge (1988 -1991). In 1992 he moved to Edinburgh College of Art / Heriot-Watt University as Lecturer in Architectural History and Theory. He was promoted to Reader in 1999 and to Professor in 2005. He has been a professor of the University of Edinburgh since 2011. Ian has held a Leverhulme Senior Research Fellowship (1996-7), a British Academy Research Readership (2004-6) and was Rudolf Wittkower Guest Professor at the Bibliotheca Hertziana in Rome from October 2010 to March 2012. In October 2015 he was awarded a Senior Fellowship at the Paul Mellon Centre for British Art
Phone: 0044 131 669 7096
Address: Ian Campbell
Emeritus Professor of Architectural History, Edinburgh School of Architecture and Landscape Architecture Edinburgh College of Art University of Edinburgh Minto House 20 Chambers St, Edinburgh EH1 iJZ
Scotland
Phone: 0044 131 669 7096
Address: Ian Campbell
Emeritus Professor of Architectural History, Edinburgh School of Architecture and Landscape Architecture Edinburgh College of Art University of Edinburgh Minto House 20 Chambers St, Edinburgh EH1 iJZ
Scotland
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Talks by Ian Campbell
Apologies for the short notice but this lecture will also celebrate the publication of my edition of Ligorio's Oxford Album
Mary of Guise as a conduit between Lorraine, France and Scotland
The lecture will argue that it was deliberately modelled on the Vatican Borgo, the area between St Peter’s and the Tiber in Rome, which had been fortified in the ninth century AD.
At the time of the laying out of the burgh, the bishops of St Andrews were trying to elevate their status by using the relics of St Andrew, St Peter’s older brother, just as the bishops of Compostela had done earlier in the twelfth century, when they gained the title of ‘apostolic see’ for Santiago, putting it on a par with Jerusalem and Rome.
Papers by Ian Campbell
General Editor: J. H. Humphrey), Cambridge, 2023
Apologies for the short notice but this lecture will also celebrate the publication of my edition of Ligorio's Oxford Album
Mary of Guise as a conduit between Lorraine, France and Scotland
The lecture will argue that it was deliberately modelled on the Vatican Borgo, the area between St Peter’s and the Tiber in Rome, which had been fortified in the ninth century AD.
At the time of the laying out of the burgh, the bishops of St Andrews were trying to elevate their status by using the relics of St Andrew, St Peter’s older brother, just as the bishops of Compostela had done earlier in the twelfth century, when they gained the title of ‘apostolic see’ for Santiago, putting it on a par with Jerusalem and Rome.
General Editor: J. H. Humphrey), Cambridge, 2023
The first part of chapter outlines the development of the city of Edinburgh up to 1603, while the second takes it up to the creation of the New Town in 1760.
In addition, there are around thirty folios not by Ligorio, although some, such as one showing ancient architectural details, were almost certainly in his possession. Others, however, including drawings of churches designed by Giovanni Battista Aleotti after Ligoro’s death, and twenty folios of a sixteenth-century Italian translation of Vitruvius, appear to have no association with him. Aleotti, who, remained in Ferrara, after the Este moved to Modena, appears to have owned the Ligorian folios, then still unbound, and began putting them into order. That, in many cases, the order has been disturbed, especially by the insertion in the middle of material unrelated to the Libri della antichità suggests it was bound after leaving Aleotti’s hands, most likely, immediately after his death in 1636. It then disappears from history until 1817, when the Bodleian Library acquired it as part of the largest single purchase of manuscripts in its history from the heirs of the Venetian Jesuit Matteo Luigi Canonici, a voracious bibliophile and art collector (1727-1807).
Recognising the preciousness of its contents, the Bodleian restricted access to the album to only those who demonstrated a need to look at the original, meaning it is far less studied than the Neapolitan and Turin codices. The present edition for the first time reveals the full complexity of this mosaic of tantalising fragments with all its lacunae and intrusions. They make it the key codex for understanding Ligorio’s corpus as a whole, and in particular, his working methods, showing that, whatever his reputation as an epigraphical forger, in his drawings of ancient buildings he is scrupulous in explaining where his recording finishes and conjecture begins.