Search

The article deals with the problem of images of active and contemplative life on the example of translations of the 1570 treatise by the Italian architect of the Late Renaissance Andrea Palladio Four Books on Architecture. A widely read treatise in different countries and cultural regions of Europe has been translated into different languages (French, English, Russian). This article will refer to the English translation of Giacomo Leoni in 1715 and the Russian edition of I. V. Zholtovsky in 1936. Analysis of the translations of G. Leoni and I. V. Zholtovsky allows us to determine the significance of A. Palladio’s treatise on European and world culture. The main equivalents of Palladio’s treatise are the concepts of words borrowed from the Roman architect Vitruvius: convenience, strength, and beauty. Each of the translators, according to the context of the time, was looking for their equivalents to Italian words, thereby supplementing and expanding the meanings discovered and declared by Palladio in his theory and practice. But despite this, one thing remained unchanged: the forms reflected the era (macrocosm), methods of thinking, and the structure of the inner world (microcosm) of the individual. The combination of these two worlds resulted in the achievement of harmony, which is typical for the works of Palladio, and his construction is considered to be the ideal of a harmonious, comfortable life. An important aspect of this article is the extraction of the concepts ‘vita activa’ (active life) and ‘vita contemplativa’ (contemplative life) from the context of the architect Palladio’s theoretical discussions about usefulness, strength, and beauty. The villa, Palladio writes about, during its existence opened up various connections between man, architecture, and nature. Today it is possible to consider the ‘villa’ in new aspects: a villa in a well-organized space, according to Palladio, creates a comfortable lifestyle characterized by contemplation and tranquility. The Anglicisms that exist and are included in everyday conversation today: comfort, harmony, proportion, etc. designate and reveal to us the problem that Palladio spoke about back in the 16th century.

The 18th century was a politically crucial period for the Ottomans and the Habsburg Empire. The Ottomans, who retreated from the lands they conquered in Europe in previous centuries due to the wars they lost against their arch-enemy Habsburg Empire, also had to cope with their internal problems. At the beginning of the 18th century, the Habsburg envoy Anselm Franz von Fleischmann, who undertook a diplomatic mission in the Ottoman lands between 1711 and 1716, reported the Turkish social life and political developments to Vienna in nearly 70 documents. The reports, as mentioned above, include Fleischmann's correspondence with foreign politicians and his letters. These correspondences and reports can be a research topicfor Digital History studies, a branch of Digital Humanities. It is possible to work on these documents with visualization tools in this context. "Palladio" is a web-based platform that allows Humanities scholars to upload data andexplore it through various visualization types easily. It is a digital research tool explicitly designed for humanistic inquiry. This study includes adapting Anselm Franz von Fleischmann'sreports to Palladio, which is a multi-layered visualization tool. In this way, it is aimed to processa subject in the field of Diplomatic History with Digital History tools. [ABSTRACT FROM AUTHOR]

This paper compares the interior spaces of the Great Halls of four Roman baths (Diocletian, Constantine, Caracalla and Agrippa), as documented in Palladio's reconstruction drawings, to the interior space of the nave of his Venetian church, Il Redentore. Three-dimensional computer models based on these reconstruction drawings then are compared to 3D computer models of the Il Redentore nave and side chapels. An interactive interface provides fresh insight into the architect's previously unexamined late design processes, and allows viewers to compare similarities in composition, form, and proportion by overlaying plan, sections and scaled 3D models of the bath's Great Halls and the Il Redentore interior. While it is well known that the design of Palladio's buildings, particularly his villas, drew many of their features from Roman architecture, this paper analyzes the design sources for the Il Redentore nave and side chapels and finds previously uninvestigated similarities in their form, composition, and proportions to the Great Halls of the Roman baths that a young, aspiring architect carefully documented, then studied closely. [ABSTRACT FROM AUTHOR]

This study presents an analysis of two aesthetic properties, complexity and diversity, in Palladian architecture. The former highlights the fractal dimension of façade geometry, and the latter its semantic randomness. Along with a methodological description and advice on settings, this study contributes to the discussion about mathematical beauty in architecture. [ABSTRACT FROM AUTHOR]

A recent survey was undertaken of the church interior at Palladio's Il Redentore in Venice, using contemporary laser technology. The survey findings provide a significant body of evidence that Palladio used specific ratios to establish the proportional relationships of the most important horizontal and vertical dimensions in the church interior. The large number of instances (thirty-one) that were found, and the close match between the ratios and the actual built dimensions in the church, make a strong case that the ratios Palladio used were those cited in his list of preferred ratios in Book 1 of the Quattro Libri, or those that can be found repeatedly in the dimensions of his villa plans in Book 2. Interestingly, and despite the earlier prediction by Rudolph Wittkower, the irrational number ratio 1:√2 was found in several significant places in the nave and tribune of the church, as well as the ratio 1:√3. [ABSTRACT FROM AUTHOR]

The article focuses on the use of quotations as a rewriting device in the architectural treatise composed by Alessandro Galilei in the first half of 18th century and left unpublished until recently. By examining the different manuscript versions of the treatise, the essay demonstrates that for Galilei quotations are pivotal in providing him authority as an expert in architecture, but they are also useful means for facilitating the dissemination of specialized knowledge.

This essay explores a preliminary attempt to map the circulation and use of Korean ceramics, specifically tea bowls, in sixteenth-century Japan, using the integrated application, Palladio, developed at Humanities + Design, Stanford University. I focus on the diaries kept by sixteenth-century Japanese merchants, who were active collectors and participants of Japanese tea practice called chanoyu : a cultural forum where Korean tea bowls became highly valuable items among Japanese elites from 1537 onwards. The four diaries, Matsuya kaiki, Tennōjiya kaiki, Imai Sōkyū chanoyu nikki nukigaki , and Sōtan nikki , which document tea gatherings that took place in sixteenth-century Japan, demonstrate the growing popularity of Korean tea bowls among merchants, warriors, and Buddhist monks. While these historical texts are key sources of information on the appreciation of premodern Korean ceramics in Japan, they have been overlooked by scholars of Korean art history, since their renown has been limited to the specialized field of premodern Japanese tea culture. Moreover, the idiosyncratic format of these diaries requires knowledge of premodern Japanese tea practice to understand, and there have been no formal translations into other languages, making them inaccessible to those who do not read Japanese. Palladio presents the opportunity to digitally visualize and map the author's own English translation of more than 600 diary entries from 1537 to 1591 that mention Korean ceramics. I consider how data visualization can expand our understanding of the transnational impact of premodern Korean ceramics, and facilitate the introduction of unfamiliar primary sources to the field of Korean studies. [ABSTRACT FROM AUTHOR]

Copyright of Architectural Journal / Jian Zhu Xue Bao is the property of Architectural Journal Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of this essay is to illustrate some aspects of the notion of “patrimonialization”. The adopted definition includes social and cultural practices, stratified and changing over time. To discover values, shifts of meaning and expectations of the French outlook on the Italian Renaissance architecture, I borrow methods from micro-history. The period covered by this article is the beginning of the 19thcentury. The major source analysed is the Journal de voyage in Italie (1803-1804) by the young architect Hubert Rohault de Fleury (1777-1846). It was written during his travel in Italy, that he undertook at his own expense although winner of the Grand Prix (1802) – recently re-established. To illustrate which problems Rohault posed in an attempt to decode the concept of proportion, I analyse his studies both on a work of recognized authorship, Palladio’s Rotonda, and on an authorless architecture poised between the Middle Ages and the Renaissance, San Miniato. Some of Rohault’s observations may in fact constitute a barometer of a theoretical and not personal, but shared, research in France. [ABSTRACT FROM AUTHOR]

A Justified Plan Graph (JPG) method uses graph mathematics to measure the connectivity properties of an architectural plan, providing insights into how a building may have been used, or how it differs from other buildings. The standard JPG method has several practical limitations that are evident when it is used to study relatively simple planning, of the type found in Palladian villas. This paper introduces two new approaches that use weighted and directed centrality measures and that can provide a different type of plan graph analysis to accommodate the types of spatial properties and behaviours exhibited by visitors to and inhabitants of Palladio's villas. In this paper a comparison of the results of the standard JPG and the new weighted and directed JPG is developed for five Palladian villa plans. The results are used to highlight the differences between the two approaches and to suggest some implications for future readings of the planning of Palladian villas. [ABSTRACT FROM AUTHOR]

Abstract Palladianism, which originated in Italy, is a style of architecture which spread widely across the world and has been extensively studied. It is known that it migrated to the UK during the eighteenth century at the same time as it did to Germany through Georg Knobelsdorff, to Russia through the work of Charles Cameron and Giacomo Quarenghi, to the US through Thomas Jefferson between the eighteenth and nineteenth centuries, and was adopted in Poland, Sweden, and elsewhere. Palladianism became a tool of politicians and a status symbol for the elites to differentiate themselves from the common man. There are a few studies on the migration and adoption of Palladianism in India, primarily in relation to Calcutta’s architecture between the eighteenth and nineteenth centuries. In particular, there is specific research focusing on Lord Wellesley’s Palladian building programme, frequently highlighting the relationship between Government House, Calcutta and Kedleston Hall in Derbyshire. This essay focuses on the subject of the migration of Palladian architecture and, in particular, on its adoption by the capitals of India, Calcutta and Delhi, on the basis of primary archival material.

Dejando a un lado el ingente número de catalanismos presentes en la traducción al castellano del De re rustica de Palladio, atribuida a Ferrer Saiol, en el presente trabajo se analizan algunos de los también muchos aragonesismos que la pueblan. En concreto, se presenta un estudio sistemático de once de ellos: conrear, empeltar, borrò ~ borrons, senalla, lambrusca, brocada, entrecavar, palafangar, pámpano, espleyto y espleytar. Algunas son formas que el catalán compartía con el aragonés, pero no con el castellano, donde tampoco tuvieron un amplio recorrido. No obstante, la importancia del aragonés no hemos de medirla solo por los aragonesismos que se introdujeron en castellano, sino también por el hecho previo de que no dudaran los traductores en servirse de ellos, a sabiendas, incluso, de que muchos no iban a pervivir. Es la prueba de una actitud abierta hacia las lenguas de la Corona de Aragón.

This paper sheds light on the intertextuality of Ben Jonson's Volpone (1605) by looking at the textual affinities between the Volpone and Celia subplot in acts I-II-III of Jonson's play and the Moscheta (1528), a play written and directed by italian actor and playwright Angelo Beolco, also known as Ruzante. Considering the current impossibility of documenting the presence of Ruzante's works in England, this essay also takes into account the series of relationships that link Angelo Beolco to England and to Ben Jonson specifically, via the commedia dell'arte on the one hand and the figure of inigo Jones on the other. This essay begins by describing the framework of known performances and textual influences of Italian, and especially Veneto, theater on English theater and of known personal contacts between Englishmen and Italians active in and around the theater, including visits of both to the others' country. The paper will then move to specific comparisons between the two plays in their multi-layered complexity. [ABSTRACT FROM AUTHOR]

Based at Troy in Upstate New York, the School of Architecture at Rensselaer Polytechnic Institute is directed by Dean Evan Douglis. He describes the school's worldview and the challenges that architecture must help to solve. Evoking the influence of characters such as Lebbeus Woods and Buckminster Fuller on the school's mission, he takes us on a journey through some of the recent high points of the student output in his professional and graduate research programmes. [ABSTRACT FROM AUTHOR]

Palladianism, which originated in Italy, is a style of architecture which spread widely across the world and has been extensively studied. It is known that it migrated to the UK during the eighteenth century at the same time as it did to Germany through Georg Knobelsdorff, to Russia through the work of Charles Cameron and Giacomo Quarenghi, to the US through Thomas Jefferson between the eighteenth and nineteenth centuries, and was adopted in Poland, Sweden, and elsewhere. Palladianism became a tool of politicians and a status symbol for the elites to differentiate themselves from the common man. There are a few studies on the migration and adoption of Palladianism in India, primarily in relation to Calcutta's architecture between the eighteenth and nineteenth centuries. In particular, there is specific research focusing on Lord Wellesley's Palladian building programme, frequently highlighting the relationship between Government House, Calcutta and Kedleston Hall in Derbyshire. This essay focuses on the subject of the migration of Palladian architecture and, in particular, on its adoption by the capitals of India, Calcutta and Delhi, on the basis of primary archival material. [ABSTRACT FROM AUTHOR]

Palladio’s heritage has aspects that are interrelated with the vernacular architectural heritage of the Mediterranean, and it entails a collective knowledge. The aim of this research is to analyse his work and its evolution over time, paying specific attention to three architectural design elements: the patio, the portico and the atrium in relation to their proportions and ratios. This work will highlight how geometry shapes the space and the form of these three elements, producing architecture for well-being. The main results may constitute a possible new frontier of research where these three design elements make a connection between interior and exterior spaces, strengthen a greater visibility of the geometry, create “intermediate spaces” and enhance the idea of a “Continuous Monument”. The paper will underline how mathematical factors such as proportions, ratios and constructive geometry, together with climatic reasons, are important in architecture for both its configuration and geometry and they are a constant in Palladio’s heritage and his Mediterranean cultural influence.

Inigo Jones' portraiture consists of an engraving by Villamena, a painting by Van Dyck and a small ink self-portrait. But the most widespread and constantly reproduced image was the one created by the Flemish painter. The appearance of a painting that is partially different from the previous ones, with the nickname "Vitruvius", makes it possible to retrace the formative stages of the iconographic tradition and to analyse the peculiar characteristics and the probable period of realization of the new representation. To this end, an ideal path has been investigated, leading from the "severe" and "imperious" face (engraved by Villamena) of the forty-year-old man engaged in Italy in the study of Vitruvius and Palladio, to the "inspired" face (drawn and painted by Van Dyck) of the man who, with the Banqueting House, had built the symbol of the royalty of the early Stuarts. Between these points is the painting that has now appeared, offering a less "official" and more "private" image of Inigo Jones. [ABSTRACT FROM AUTHOR]

Copyright of Drawing Ideas Images / Disegnare Idee Immagini is the property of Gangemi Editore S.P.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

There is an arc of 'chunkiness' (collage, montage and assemblage) which runs through much art and architecture, pulling together art practices and eras that at first seem very different from each other. Mario Carpo, Reyner Banham Professor of Architectural Theory and History at the Bartlett, University College London and Professor of Architectural Theory at the University of Applied Arts in Vienna, eloquently takes us along its path. [ABSTRACT FROM AUTHOR]

Lera Samovich describes the cooler appropriation of Postmodernism in the work of fala atelier, based in Porto, Portugal, of which she has been a member since 2014. While borrowing from and influenced by previous Postmodernisms, the practice's designs combine disparate formal tropes, materials and styles to create a less ironic, more sensible, less ornament‐dependent and more serious architecture. [ABSTRACT FROM AUTHOR]

With the emergence of computational design, the production of architecture has come to be dominated by the algorithm, yet the presence of algorithmic methods can be traced back to Vitruvius. As with the computational algorithm, his rules led to conditions that appeared unresolved, but unlike computational design, they allowed for resolution through the intervention of the architect. Through a close analysis of the condition of the inside corner, this paper investigates how the formulaic system of linear or gridded repetitions that underlie the rules of architectural geometry prior to the digital turn—a type of analog algorithm—lead to complex and seemingly inconsistent conditions when the system meets at the corner. Such consequences are manifested as accidents, visually unresolved conditions that are nevertheless consistent and conform to the logic of the system. However, in the pursuit of perfection, the architect intervenes with an aesthetic judgment from outside the system to resolve the condition. Accidents are considered manifestations of the consistency or "truth" of the system, while interventions are seen as inconsistencies enforced from outside the system as judgments of beauty. [ABSTRACT FROM AUTHOR]

Copyright of Revista de Investigación Lingüística is the property of Servicio de Publicaciones de la Universidad de Murcia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Archeologia dell'Architettura is the property of Edizioni all'Insegna del Giglio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

An exploratory study on the design schemes underlying two architectural precedents is presented and discussed. The study compares the formalistic compositions of two prominent precedents on multiple levels. These levels include the morphological, semantic, and pragmatic layers. The morphological aspects of these layers are emphasized. The study aims to identify the commonalities and differences between two cases of classical sacred architecture in terms of their morphometric and morphosyntactic structures. These cases are represented by Palladio׳s II Redentore Church and Sinan׳s Süleymaniye Mosque designs. The scope of the analysis focuses on the syntax and mathematics of the floor plans, and the facade and section of each case are referenced occasionally. Within this scope, the proportional system that regulates the compositions and eidonomy of the precedents are scrutinized. Findings resulting from the comparative analysis are reported and then discussed. The study shows that the two ostensibly different precedents share obscurely many commonalities, which are greater than what their initial appearances suggest.

The restoration - following decades of abandonment and vandalism - of Palladio’s Villa Saraceno is now twenty years old. This article presents a personal reflection by the architect in charge of the restoration on the occasion of a commemorative seminar held at the villa. The text, transformed into a declaration of principles, compiles interesting ideas and concepts applicable to restoration, including sprezzatura (as opposed to affectation), tempered restoration to its original state or imperfect restoration. With the passing of the years, the restoration of this building appears to have functioned correctly confirming the original decisions and intuitions of the author to a great extent.

This "Letter from the Editor" begins with an explanation of the impetus for this special issue honoring Carl and Sally Gable for their exemplary stewardship of Palladio's Villa Cornaro in Piombino Dese. Over the course of their 28-year ownership of the villa, the Gables approached every renovation by trying to be as faithful as possible to what Palladio would have done and/or to preserve the centuries-old history of the villa. Anecdotal evidence is offered as examples of the kind of careful attention to detail that they exhibited. This discussion is followed by an introduction to the papers that make up vol. 21, no. 2 (2019). [ABSTRACT FROM AUTHOR]

The 2006 book by Branko Mitrović and Stephen R. Wassell, Andrea Palladio: Villa Cornaro in Piombino Dese, which was based on a 2003 survey as well as supplementary measurements made in 2004, contains analyses that suggest several potential aspects of Palladio's design methodology for the villa. This present paper offers additional analyses, based not only on the previous data but also on subsequent measurements that the author took of column diminution as well as the ceiling heights of the main hall and the upper-story hall of the villa. [ABSTRACT FROM AUTHOR]

Daniele Barbaro examined 'geometric ratio' at length in his 1567 commentary on Vitruvius, explaining the properties of and operations with ratios involving continuous quantities such as lengths. While some of this is lost on us today, his explanations were certainly clear to those of his contemporaries who were studying Euclid thanks to new translations. The purpose of this present paper is to recoup for modern readers some of the notions covered by Barbaro, and to set his explanation into context by briefly reviewing similar treatments by Leon Battista Alberti and Andrea Palladio. [ABSTRACT FROM AUTHOR]

The Pantheon in Rome has been depicted in countless paintings and measured drawings. This paper considers how the building and its subsequent representations express meaning through elementary geometric symbols, patterns, and proportions. The author observes notable discrepancies between a sampling of measured plans from Sebastiano Serlio's woodcut engravings in the Renaissance to current laser campaigns. She analyzes the different drawings for underlying geometric patterns. A pattern of rotated squares, in root-two proportion, appears consistently in the horizontal plan of each measured set and complements Mark Wilson Jones's proposed scheme of a conjoined sphere and cube. This comparative method of analysis offers students and scholars of descriptive geometry a useful tool for interpretation. [ABSTRACT FROM AUTHOR]

Copyright of Thiasos Monografie is the property of Edizioni Quasar di Severino Tognon s.r.l. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Drawing Ideas Images / Disegnare Idee Immagini is the property of Gangemi Editore S.P.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Goethe, como dramaturgo y director del teatro de Weimar, se interesó por la arquitectura teatral, tal como quedó reflejado en sus dibujos arquitectónicos. El tipo de teatro descrito por Vitruvio, y su adaptación a la época moderna propuesta por Palladio en su teatro Olímpico de Vicenza, fueron los cauces por donde canalizó sus ideas. Todo esto quedó plasmado en varios esbozos dibujados y en el proyecto elaborado junto con el arquitecto Coudray tras el incendio del teatro de Weimar en 1825.

The exposition “Andrea Palladio e la Villa Veneta. Da Petrarca a Carlo Scarpa” (Andrea Palladio and the villa veneta. From Petrarca to Carlo Scarpa) offers a trip through the history of the villa, in places of time, space and culture. The exposition crosses the seven centuries of the villa civilisation, suggests an itinerary of the most celebrated villas in Veneto, and has the start point in the latin culture. In this contest, we’ll explore, in latin authors original texts and in art-works showed, the typolocigical, ideological, literary archetypes of the villa, discovering the landscape relationship, read in the ancient Rome. Palladio is the concrete and conceptual centre of the exposition, and in his work, we’ll find the same ideological elements of the villa, grow up in latin culture. This text, divided in two parts, proposes, in this first piece, the born, the consolidation, the growth of the myth of an idea, that from the ancient Rom till today, doesn’t cease amazing end evolving.

This contribution examines Palladio's relation to Vitruvius with regard to the canonical orders: the Tuscan, Doric, Ionic, and Corinthian. Palladio became acquainted with Vitruvius Through his first mentor, Gian Giorgio Trissino, who had founded an academy. in the first book of I quattro libri dell'architettura Palladio repeatedly refers to Vitruvius. However, like most Renaissance architects, Palladio also studied the existing remains of Roman architecture. For him, archaeological evidence had more weight than the written words of Vitruvius. Though Palladio regarded Vitruvius as his "master and guide", he would deviate from Vitruvius' rules when he found the remains of Roman architecture more satisfactory. For Palladio, Vitruvius' rules were not unalterable, they were guidelines which the architect could modify.

The virtual reconstruction of no longer existing historic structures is obviously a subjective process that simplifies a visualization of the historical original monument. In this paper we define a methodological procedure focused on the validation of the 3D reconstructive model. The case study reported, cause of its complexity and overabundance of informations, allows to focus the attention to the level of subjectivity that concern the 3D modelling process trying to find a methodological solution to visualize the uncertainty level of the reconstruction process: the goal is to create an hypothetical virtual reconstruction based on a 3D model scientifically correct in morphological and dimensional terms derived from the integration of 3D recording, historical documentation and renaissance representations. A methodological workflow from data acquisition to the formulation of reliable hypotheses related to the 3D virtual-model of Porta Aurea ables to allow the verification of the assumptions used during the reconstruction pipeline is proposed.

An exploratory study on the design schemes underlying two architectural precedents is presented and discussed. The study compares the formalistic compositions of two prominent precedents on multiple levels. These levels include the morphological, semantic, and pragmatic layers. The morphological aspects of these layers are emphasized. The study aims to identify the commonalities and differences between two cases of classical sacred architecture in terms of their morphometric and morphosyntactic structures. These cases are represented by Palladio׳s II Redentore Church and Sinan׳s Süleymaniye Mosque designs. The scope of the analysis focuses on the syntax and mathematics of the floor plans, and the facade and section of each case are referenced occasionally. Within this scope, the proportional system that regulates the compositions and eidonomy of the precedents are scrutinized. Findings resulting from the comparative analysis are reported and then discussed. The study shows that the two ostensibly different precedents share obscurely many commonalities, which are greater than what their initial appearances suggest. [ABSTRACT FROM AUTHOR]