3. Background/History of Style
Time
and
Place:
The
Renaissance
(Italian:
Rinascimento,
from
ri-‐
"again"
and
nascere
"be
born")
was
a
cultural
movement
that
spanned
roughly
from
the
14th
to
the
17th
century,
beginning
in
Florence
in
the
Late
Middle
Ages
and
later
spreading
to
the
rest
of
Europe.
• App
1400
–
1700AD
• Italy
-‐
In
the
middle
ages,
was
composed
of
different
city-‐states
and
fiefdoms
eg
Florence,
Venice,
Milan,
Mantua.
Florence
–
is
considered
as
the
birthplace
of
the
Renaissance
In
Florence,
the
wealthy
wool
merchants
and
bankers
sought
presQge
and
status
through
their
patronage
of
arts
and
leRers,
and
architects
and
arQsts
displayed
their
support
through
their
development
of
new
forms
in
painQng,
sculpture
and
architecture.
4. Background/History of Style
What
was
the
Renaissance?
The
intellectual
transformaQon
that
happened
during
the
Renaissance
has
resulted
with
this
period
being
viewed
as
a
bridge
between
the
Middle
Ages
and
the
Modern
era.
5. Background/History of Style
• As
a
cultural
movement,
it
encompassed
a
resurgence
of
learning
based
on:
• classical
sources
• the
development
of
linear
perspecQve
in
painQng
• gradual
but
widespread
educaQonal
reform.
• Although
the
Renaissance
saw
revoluQons
in
many
intellectual
pursuits,
as
well
as
social
and
poliQcal
upheaval,
it
is
perhaps
best
known
for
its
arQsQc
developments
and
the
contribuQons
of
such
polymaths
as
Leonardo
da
Vinci
and
Michelangelo,
who
inspired
the
term
"Renaissance
man“.
6. Background/History of Style
Access
to
the
Classical
Texts
and
the
Teaching
of
HumaniQes
• The
key
to
a
new
vision
of
human
life
and
therefore
of
architecture
came
from
the
scholars’
access
to
the
classical
texts.
• InternaQonal
trading
exchanges
had
helped
to
disseminate
ideas,
and
a
group
of
teachers
of
the
humaniQes
(grammar,
rhetoric,
history
and
philosophy)
who
acquired
the
name
of
Humanists,
played
a
crucial
part
in
their
propagaQon.
• These
texts,
including
eventually
about
The
Duke
of
Urbino.
The
Duke
collected
architecture
were
spread
through
one
of
the
finest
libraries
in
Italy,
employing
it
is
said,
thirty
or
forty
scribes
developments
in
prinQng.
(Gutenberg
for
fourteen
years
to
copy
the
great
invented
the
movable
type
in
1450)
classical
and
modern
texts.
7. Background/History of Style
Humanism and the Renaissance
• Humanism
was
a
new
world
view.
It
celebrated
raQonality
and
mankind’s
ability
to
make
and
act
upon
empirical
observaQons
of
the
physical
world.
• Humanist
scholars
and
arQsts
recovered
classical
Greek
and
Roman
texts
and
aspired
to
create
a
modern
world
rivalling
that
of
the
ancients.
One
of
the
most
important
was
Vitruvius’
text
on
architecture
which
had
been
re
discovered
in
Switzerland.
• Rather
than
train
professionals
in
jargon
and
strict
pracQce,
humanists
sought
to
create
a
ciQzenry
(including,
someQmes,
women)
able
to
speak
and
write
with
eloquence
and
clarity.
Thus,
they
would
be
capable
of
beRer
engaging
the
civic
life
of
their
communiQes
and
persuading
others
to
virtuous
and
prudent
acQons.
• This
was
to
be
accomplished
through
the
study
of
the
studia
humanitaGs,
today
known
as
the
humaniQes:
grammar,
rhetoric,
history,
poetry
and
moral
philosophy.
8. Background/History of Style
Vitruvius’ Ten Books of Architecture
• In
1487
the
ancient
text
of
Vitruvius
was
one
of
the
first
books
printed.
The
impact
of
prinQng
was
tremendous.
• The
architectural
theorists
of
the
revived
anQque
style
–
AlberQ,
Serlio,
Francesco
de
Giorgio,
Palladio,
Vignola,
Guilio
Romano
–
all
wrote
treaQses
that
owed
something
to
Vitruvius.
These
men
were
no
longer
master
masons,
however
brilliant,
they
were
scholars.
• Architecture
was
no
longer
the
conQnuaQon
of
a
pracQcal
tradiQon,
handed
on
through
mason’s
lodges;
it
was
a
literary
idea.
The
architect
was
not
just
pubng
up
a
building;
he
was
following
a
theory.
9. Background/History of Style
De
Architectura
("On
Architecture")
Marcus
Vitruvius
Pollio
(born
c.
80–70
BC,
died
aeer
c.
15
BC)
was
a
Roman
writer,
architect
and
engineer,
acQve
in
the
1st
century
BC.
He
is
best
known
as
the
author
of
the
mulQ-‐volume
work
De
Architectura
("On
Architecture").
Vitruvius
is
famous
for
asserQng
in
his
book
De
architectura
that
a
structure
must
exhibit
the
three
qualiQes
of
firmitas,
uGlitas,
venustas
–
that
is,
it
must
be
solid,
useful,
beauQful.
These
are
someQmes
termed
the
Vitruvian
virtues
or
the
Vitruvian
Triad.
10. Background/History of Style
The Vitruvian Man
• Rather
than
using
the
complex,
geometric
transformaQons
of
medieval
master
masons,
Renaissance
architects
favoured
simple
forms
such
as
the
square
and
the
circle.
• They
made
drawings
of
the
human
figure
inscribed
within
the
basic
outline
of
the
circle
and
the
square,
thereby
demonstraQng
that
the
human
proporQons
reflected
divine
raQos.
LeJ:
The
Vitruvian
Man
by
Leonardo
da
Vinci
an
illustraQon
of
the
human
body
inscribed
in
the
circle
and
the
square
derived
from
a
passage
about
geometry
and
human
proporQons
in
Vitruvius'
wriQngs
11. Background/History of Style
Brunelleschi’s Discovery of
Perspective
Filippo
Brunelleschi
(1377-‐1446)
A
FlorenQne
goldsmith,
Brunelleschi
moved
to
Rome
and
visited
the
ancient
ruins.
Brunelleschi
codified
the
principles
of
geometrically
accurate
linear
perspecQve,
making
possible
the
exact
representaQon
of
a
3-‐dimensional
object
on
a
2-‐dimensional
surface.
In
making
careful
drawings
of
such
repeQQve
elements
as
the
arches
of
aqueducts,
he
realized
that
parallel
horizontal
lines
converge
at
a
point
on
the
horizon
and
that
elements
of
like
size
diminish
proporQonally
in
the
distance.
This
discovery
had
a
profound
effect
of
art,
architecture
and
civic
design
during
and
aeer
the
Renaissance.
12. Background/History of Style
Brunelleschi
observed
that
with
a
fixed
single
point
of
view,
parallel
lines
appear
to
converge
at
a
single
point
in
the
distance.
Brunelleschi
a p p l i e d
a
s i n g l e
vanishing
point
to
a
canvas,
and
discovered
a
method
for
calculaQng
depth.
Among
the
cultures
of
the
ancient
world,
only
the
Greeks
and
the
Romans
had
spacial
depth
in
art
figured
out.
That
is
to
say,
they
understood
how
to
create
an
image
with
convincing
depth
and
a
painted
or
sculpted
illusion
of
3
dimensional
space.
“TheTrinity,”
Masaccio
(1427-‐28)
13. Background/History of Style
Other
Developments:
• Gunpowder
changed
the
nature
of
warfare
and
therefore
relaQons
among
naQons.
• The
invenQon
of
the
compass
and
the
development
of
new
techniques
in
shipbuilding
made
it
possible
to
expand
the
limits
of
the
known
world
into
China,
the
East
Indies,
India
and
America.
• Banking,
no
longer
frowned
upon
by
the
Church,
began
to
play
a
central
role
in
society.
• The
hereditary
nobles
of
feudal
Qmes
were
ousted
by
a
new
class
of
merchant
princes
–
the
Medici,
the
Strozzi,
the
Rucellai,
the
Pib
–
whose
commercial
empires
spread
throughout
Europe.
• Merchant
princes
and
the
arQsts
to
whom
they
extended
financial
patronage
became
the
new
universal
men
of
the
Renaissance.
14. Background/History of Style
The
Periods
of
the
Renaissance:
• Early
Renaissance
ca.
1400-‐1500
Brunelleschi,
AlberQ
• High
Renaissance
ca.
1500-‐1525
Bramante
• Late
Renaissance
ca.
1525-‐1600
Palladio
15. Renaissance Architecture
• Renaissance
architecture
tends
to
feature
planar
classicism
(i.e.
“flat
classicism”).
In
other
words,
the
walls
of
a
Renaissance
building
(both
exterior
and
interior)
are
embellished
with
classical
moQfs
(e.g.
columns,
pediments,
blind
arches)
of
minor
physical
depth,
such
that
they
intrude
minimally
on
the
two-‐dimensional
appearance
of
the
walls.
Put
another
way,
the
walls
of
a
Renaissance
building
serve
as
flat
canvases
for
a
classical
veneer.
This
contrasts
sharply
with
Baroque
architecture,
in
which
walls
are
deeply
curved
and
sculpted
(“sculpted
classicism”).
• Planar
classicism
also
tends
to
divide
a
wall
into
neat
secQons,
with
such
elements
as
columns,
pilasters,
and
stringcourses.
(A
stringcourse
is
a
thin,
horizontal
strip
of
material
that
runs
along
the
exterior
of
a
building,
oeen
to
mark
the
division
between
stories.)
A
Baroque
wall,
on
the
other
hand,
is
treated
as
a
conQnuous,
undulaQng
whole.
• The
foremost
Renaissance
building
types
were
the
church,
palazzo
(urban
mansion),
and
villa
(country
mansion).
While
various
great
names
are
associated
with
Renaissance
church
and
palazzo
design,
the
most
famous
villa
architect
by
far
is
Palladio.
In
England,
large
residences
were
called
Elizabethan
country
houses.
In
France
they
were
called
chateaus.
16. Renaissance Architecture
Renaissance
style
places
emphasis
on
symmetry,
proporQon,
geometry
and
the
regularity
of
parts
as
they
are
demonstrated
in
the
architecture
of
classical
anQquity
and
in
parQcular
ancient
Roman
architecture,
of
which
many
examples
remained.
17. Characteristics
• Inspired
by
Roman
buildings,
orderly
arrangements
of
columns,
pilasters
and
lintels,
as
well
as
the
use
of
semicircular
arches
hemispherical
domes,
niches
and
aedicules
replaced
the
more
complex
proporQonal
systems
and
irregular
profiles
of
medieval
buildings.
• Plans
-‐
square,
symmetrical
appearance
in
which
proporQons
are
usually
based
on
a
module
• Facades
-‐
symmetrical
around
their
verQcal
axis,
domesQc
buildings
are
oeen
surmounted
by
a
cornice
• Columns
and
pilasters
-‐
the
Roman
orders
of
columns
are
used:
Tuscan,
Doric,
Ionic,
Corinthian
and
Composite
• Arches
–
semi
circular
• Vaults
–
do
not
have
ribs
• Domes
-‐
the
dome
is
used
frequently,
both
as
a
very
large
structural
feature
that
is
visible
from
the
exterior
18. Characteristics
Inspired
by
Roman
buildings,
orderly
arrangements
of
columns,
pilasters
and
lintels,
as
well
as
the
use
of
semicircular
arches
hemispherical
domes,
niches
and
aedicules
replaced
the
more
complex
proporQonal
systems
and
irregular
profiles
of
medieval
buildings.
Interior
courtyard
of
the
Palazzo
Farnese,
Rome,
by
Antonio
da
Sangallo
the
Younger
and
Michelangelo,
1517–89.
Palazzo
Massimo
Alle
Colonne
Rome,
1532-‐36
19. Characteristics
Plans
-‐
square,
symmetrical
appearance
in
which
proporQons
are
usually
based
on
a
module
Plan
of
Chateau
de
Chamborg,
France
1519-‐1527
The
Basilica
di
Santa
Maria
del
Fiore
or
the
Florence
Cathedral
21. Essential Elements
CharacterisQcs
of
Elements:
• Ceilings
-‐
roofs
are
fiRed
with
flat
or
coffered
ceilings,
frequently
painted
or
decorated
• Doors
-‐
usually
have
square
lintels,
set
within
an
arch
or
surmounted
by
a
triangular
or
segmental
pediment,
in
the
Mannerist
period
the
“Palladian”
arch
was
employed
• Walls
-‐
external
walls
are
generally
of
highly
finished
ashlar
masonry,
laid
in
straight
courses,
the
corners
of
buildings
are
oeen
emphasised
by
rusQcated
quoins,
basements
and
ground
floors
were
oeen
rusQcated
• Details
-‐courses,
mouldings
and
all
decoraQve
details
are
carved
with
great
precision.
Studying
and
mastering
the
details
of
the
ancient
Romans
was
one
of
the
important
aspects
of
Renaissance
theory,
mouldings
stand
out
around
doors
and
windows
rather
than
being
recessed,
as
in
Gothic
Architecture,
sculptured
figures
may
be
set
in
niches
or
placed
on
plinths.
22. Essential Elements
Lee:
Sant'AgosQno,
Rome
Giacomo
di
Pietrasanta,
1483
Ceilings
-‐
roofs
are
fiRed
with
flat
or
coffered
ceilings,
frequently
painted
Doors
-‐
usually
have
square
lintels,
set
within
an
arch
or
surmounted
by
a
triangular
or
segmental
pediment,
in
the
Mannerist
period
the
“Palladian”
arch
was
employed
23. Essential Elements
Lee:
Palazzo
Medici-‐Riccardi,
Michelozzo
di
Bartolomeo.
Right:
Quoining
on
the
corners
of
Palazzo
Aragona
Gonzaga,
Rome.
Walls
-‐
external
walls
are
generally
of
highly
finished
ashlar
masonry,
laid
in
straight
courses,
the
corners
of
buildings
are
oeen
emphasised
by
rusQcated
quoins,
basements
and
ground
floors
were
oeen
rusQcated
24. Floor & Wall Treatment
RusQcaQon
A
popular
decoraQve
treatment
of
the
Renaissance
palazzo
was
rusPcaPon,
in
which
a
masonry
wall
is
textured
rather
than
smooth.
This
can
entail
leaving
grooves
in
the
joints
between
smooth
blocks,
using
roughly
dressed
blocks,
or
using
blocks
that
have
been
deliberately
textured.
The
rusQcaQon
of
a
Renaissance
palazzo
is
oeen
differenQated
between
stories.
25. Floor & Wall Treatment
Planked
or
parquet
hardwood,
marble
and
terracoRa
Qles
are
frequently
used
in
Italian
Renaissance
floors.
Area
rugs
add
cozy
comfort
to
wood,
marble
or
Qle
floors.
Wall-‐to-‐wall
carpet
is
seldom
seen
in
this
style
of
home.
Marble
counter
tops,
fireplace
mantels
and
columns
enhance
the
Italian
Renaissance
ambiance.
Scagliola
is
a
less
expensive
subsQtute
for
natural
marble.
VeneQan
plaster,
a
decoraQve
stucco,
adds
texture
to
walls.
26. Details
-‐courses,
mouldings
and
all
decoraQve
details
are
carved
with
great
precision.
Studying
and
mastering
the
details
of
the
ancient
Romans
was
one
of
the
important
aspects
of
Renaissance
theory,
mouldings
stand
out
around
doors
and
windows
rather
than
being
recessed,
as
in
Gothic
Architecture,
sculptured
figures
may
be
set
in
niches
or
placed
on
plinths.
27. Color | Soft Furnishing &
Accessories
Artworks
in
tapestries,
frescoes
and
framed
painQngs
provide
much
of
the
color
in
Renaissance
interiors,
as
well
as
drapery
and
upholstery
texQles.
Walls
are
made
from
plaster,
and
not
given
to
hold
paint
as
seen
in
contemporary
Qmes.
The
interiors,
though,
are
colorful;
red,
blue
and
yellow
in
their
primary
shades
are
prominent
with
purple
and
green
used
throughout
in
darker
hues.
31. to
Ornaments
SHIELD
FROM
THE
DOORWAY
IN
PALAZZO
DUCALE
–
URBINO
WORK
OF
THE
15TH
CENTURY
PANEL
ORNAMENT
FROM
BALCONY
OF
PALAZZO
CANCELLERIA
–
ROME
WORK
OF
THE
15TH
CENTURY
MEDALLION
FROM
FAÇADE
OF
M^/cm/^^
CHURCH
OF
OR
S.
MICHELLE-‐
^^^;^^^^n^ofttfcr/.5Ts^^^^^^
FLORENCE
WORK
OF
LUCCA
DELLA
ROBBIA
–
15TH
CENTURY
OR
S.
MICHELE-FLORENCE
32. Ornaments
INLAY
DESIGN
FROM
CHOIR
STALLS
COLLEGIO
DEL
CAMBIO
–
PERUGIA
WORK
OF
DOMENICO
AND
MARCO
DEL
TASSO
–
15TH
CENTURY
kl
57
"~IF
<
a
D
CQ LU
^-
2z
SO
u
-J
a<
d
zO
=; u
a:
2<
^^
q
08
q:
U)
20
2^
O
a^
z
PIERCED
STONE
PANEL
FROM
BALCONY
OF
THE
PALAZZO
POLA
–
TREVISO
WORK
OF
THE
15TH
CENTURY
PANEL
ORNAMENTS
FROM
THE
GIANTS’
STAIRCASE
IN
THE
PALAZZO
DUCALE
–
VENICE
WORK
OF
ANTONI
DI
GIOVANNI
ROZZI
–
15TH
CENTURY
33. Fabric | Textile
Silk,
velvet,
linen
and
wool
are
used
for
bedding,
upholstery
and
drapery,
as
well
as
for
wall
hangings.
Drapery
is
ceiling
to
floor
in
length
and
oeen
in
a
damask
or
brocade.
Tapestries
play
an
important
role
in
interiors
not
only
as
visually
pleasing
works
of
art,
but
as
a
means
of
telling
stories,
such
as
hunts,
poliQcal
events
and
religious
parables.
The
heavy
tapestries
may
also
have
served
as
an
insulaQng
element
in
the
large,
airy
rooms
of
the
wealthy.
34. Furniture
• ecclesiasQc
and
Roman
influence,
and
some
Gothic
Influence
was
sQll
present.
• One
of
the
most
important
features:
massive
and
highly
decorated
• The
most
common
woods
used
for
furniture:
walnut,
pine,
cypress,
chestnut,
elm
and
poplar
• were
decorated
with
marquetry
and
inlays
of
ivory,
stones,
ebony,
and
grotesque
carvings
• The
use
of
columns,
common
in
Greek
and
Roman
buildings
were
now
being
used
in
furniture
design.
Relief
ornament
using
carving
was
the
most
common
way
to
embellish
the
furniture
during
the
16th
century.
PasQglia
and
certosina
also
became
very
popular
in
this
period.
Aeer
the
15th
century,
turning
became
very
popular
and
had
a
highly
decoraQve
value
in
the
Italian
Renaissance
furniture.
Finials,
bedposts
and
some
furniture
legs
were
oeen
turned.
During
the
Renaissance,
the
chair,
once
a
symbol
of
status
and
power
underwent
a
process
of
democraQzaQon,
and
now
became
accessible
to
anyone.
35. Furniture
Sgabello
Chair
Dante
Chair
The
X-‐chairs,
derived
from
the
Roman
curule
and
was
the
most
common
piece
of
furniture.
It
was
made
of
two
pairs
of
short
beans
intersecQng
at
a
central
joint
and
linked
to
a
stretcher.
These
chairs
were
known
as
the
savonarola
chairs.
Oeen
upholstered
in
velvet
or
leather,
light
weighted
and
portable.
Other
famous
seaQng
was
the
the
Sgabello
chair,
with
a
octagonal
seat
over
a
solid
trestle
support
and
a
tall
back.
36. Furniture
The
cassapanca,
was
a
combinaQon
of
chest
and
seats.
Solid,
massive
and
rectangular
this
piece
was
oeen
mounted
in
a
dais.
The
hinged
lid
served
as
the
seats.
The
most
important
piece
used
for
storage
during
the
Italian
Renaissance
was
the
cassone.
It
was
also
know
as
the
marriage
chest.
The
side
panels
were
usually
covered
with
colored
or
gilded
gesso
built
into
reliefs,
classical
figures
and
scenes.
It
was
also
common
to
be
painted
by
a
fine
arQst
or
carved.
37. Furniture
The
credenza,
a
rectangular
movable
storage
also
became
an
important
piece
of
furniture.
It
oeen
had
a
oblong
top
over
a
frieze,
and
two
or
three
drawers,
over
two
or
three
doors.
An
famous
item
found
inside
most
of
Italian
houses
was
the
long,
rectangular
table.
Massive
and
highly
decorated,
with
a
long
stretcher
between
the
end
supports.
They
also
has
center
tables,
with
round,
hexagonal
or
octagonal
tops.
The
bases
were
usually
columnar,
baluster
or
pedestal.
They
were
used
in
the
center
of
the
room,
or
in
occasional
events.
38. Furniture
The
bed,
also
known
as
leRo,
was
in
a
rectangular
form
with
paneled
head
and
footboards.
They
used
texQle
treatments
in
their
beds
to
protect
people
against
insects
and
cold
weather.
The
Italian
Renaissance
furniture
were
decorated
with
care,
they
paid
extreme
aRenQon
to
details.
ProporQon
was
perfect
and
the
classical
purity
was
clearly
reflected
in
the
details.
39. The
Architects
of
the
Renaissance
• Filippo
Brunelleschi
(1377
–1446)
• Michelozzo
di
Bartolomeo
(1396-‐1472)
• Leon
Babsta
AlberQ(
1404-‐1472)
• Donato
Bramante
(1444
–1514)
• Michelangelo
Buonarob
(1475
–
1564)
40. Filippo
Brunelleschi
Filippo
Brunelleschi
(1377
1446)
was
one
of
the
foremost
architects
and
engineers
of
the
Italian
Renaissance.
He
is
perhaps
most
famous
for
his
discovery
of
perspecQve
and
for
engineering
the
dome
of
the
Florence
Cathedral,
but
his
accomplishments
also
include
other
architectural
works,
sculpture,
mathemaQcs,
engineering
and
even
ship
design.
His
principal
surviving
works
are
to
be
found
in
Florence,
Italy.
41. Filippo Brunelleschi
The Florence Cathedral dome (1436)
by Filippo Brunelleschi
•
Brunelleschi
drew
upon
his
knowledge
of
ancient
Roman
construcQon
as
well
as
lingering
Gothic
tradiQons
to
produce
an
innovaQve
synthesis.
•
Employed
the
Gothic
pointed
arch
cross
secQon
instead
of
a
semi
circular
one
To
reduce
dead
load,
he
created
a
double
shell
as
was
done
in
the
Pantheon
Employed
24
verQcal
ribs
and
5
horizontal
rings
of
sandstone,
as
observed
in
the
ruins
of
Roman
construcQon
The
cupola
on
top
was
a
temple
of
masonry
acQng
as
a
weight
on
top
of
the
dome.
Designed
special
machines
for
construcQon.
•
•
•
•
42. Filippo Brunelleschi
The
Foundling
Hospital
is
oeen
considered
as
the
first
building
of
the
Renaissance.
The Foundling Hospital,
1421-1444
by Filippo Brunelleschi
• Featured
a
conQnuous
arcade
• At
the
hospital
the
arcading
is
three
dimensional,
creaQng
a
loggia
with
domed
vaults
in
each
bay.
• Use
of
Corinthian
columns
across
its
main
facade
and
around
an
internal
courtyard.
• The
design
was
based
in
Roman
architecture.
43. Filippo Brunelleschi
LeQ:
Pazzi
Chapel,
1460
The
facade
was
inspired
by
the
Roman
triumphal
arch.
Right:
San
Lorenzo,
Florence,
(1430-‐33)
This
church
is
seen
as
one
of
the
milestones
of
Renaissance
architecture,
with
pietra
serena
or
dark
stone
arPculaPon.
44. Filippo Brunelleschi
The
Basilica
of
Santa
Maria
del
Santo
Spirito
("St.
Mary
of
the
Holy
Spirit"),
1481
San
Spirito,
begun
1445.
The
plan
played
on
the
configuraQons
of
the
square.
The
current
church
was
constructed
over
the
pre-‐exisQng
ruins
of
an
AugusQnian
priory
from
the
13th
century,
destroyed
by
a
fire.
46. Michelozzo di Bartolomeo
The
Palazzo
Medici,
Florence
1444
The
Palazzo
Medici
is
a
Renaissance
palace
located
in
Florence.
• Bartolomeo
was
a
student
of
Brunelleschi.
• The
Palazzo
was
influenced
by
the
Foundling
Hospital.
• Used
the
arcaded
courtyard
of
the
hospital.
• RusQcaQon-‐
stone
blocks
with
deeply
recessed
chamfered
joints
• Had
three
Qers
of
graduated
textures,
beginning
with
rock-‐faced
stone
at
the
street
level
and
concluding
with
smooth
ashlar
at
the
third
level
below
a
10-‐e
high
cornice
with
modillions,
egg
and
dart
moldings
and
a
denQl
course.
• It
was
the
first
such
cornice
since
ancient
Qmes.
• The
building
reflected
Renaissance
ideals
of
symmetry,
the
use
of
classical
elements
and
careful
use
of
mathemaQcal
proporQons.
47. Leon
Babsta
AlberQ
(1404-‐1472)
AlberP
was
an
Italian
author,
arQst,
architect,
poet,
priest,
linguist,
philosopher,
cryptographer
and
general
Renaissance
humanist
polymath.
48. Leon Battista Alberti
The
Palazzo
Rucellai
(1446-‐1451)
was
the
first
building
to
use
the
classical
orders
on
a
Renaissance
domesQc
building.
49. Leon Battista Alberti
San
Maria
Novella
was
the
first
completed
design
for
a
church
facade
in
the
Renaissance.
AlberQ
linked
the
lower
aisle
roof
to
the
pedimented
higher
nave
with
flanking
scrolls.
Leon
Babsta
AlberQ
(1404-‐1472)
50. Leon Battista Alberti
Basilica
of
Sant'Andrea,
(1472-‐94)
The
Basilica
of
Sant'Andrea
is
in
Mantua,
Lombardy,
Italy.
It
is
one
of
the
major
works
of
15th
century
Renaissance
architecture
in
Northern
Italy.
Commissioned
by
Ludovico
II
Gonzaga,
the
church
was
begun
in
1462
according
to
designs
by
Leon
Babsta
AlberQ
on
a
site
occupied
by
a
BenedicQne
monastery,
of
which
the
bell
tower
(1414)
remains.
The
building,
however,
was
finished
only
328
years
later.
The
facade
of
S.
Andrea,
Mantua,
(1472-‐94)
is
a
synthesis
of
the
triumphal
arch
and
the
temple.
51. Interior,
S.
Andrea,
Mantua
Leon Battista Alberti
The
assemblage
of
classical
elements
on
the
interior
presents
the
first
Renaissance
vision
rivalling
the
monumentalit
y
of
the
interior
spaces
of
such
ancient
Roman
ruins
as
the
basilicas
or
baths.
52. Donato
Bramante
(1444
–1514)
was
an
Italian
architect,
who
introduced
Renaissance
architecture
to
Milan
and
the
High
Renaissance
style
to
Rome,
where
his
plan
for
St.
Peter's
Basilica
formed
the
basis
of
the
design
executed
by
Michelangelo.
His
TempieRo
(San
Pietro
in
Montorio)
marked
the
beginning
of
the
High
Renaissance
in
Rome
(1502)
when
Alexander
VI
appointed
him
to
build
a
sanctuary
that
allegedly
marked
the
spot
where
Peter
was
crucified.
53. Donato Bramante
San
Maria
presso
San
SaQro
(1482-‐92),
For
the
church
of
San
Maria
presso
San
SaQro
(1482-‐92),
a
street
prevented
Bramante
from
adding
a
convenQonal
choir.
He
created
a
low
relief
that
when
viewed
on
axis,
has
the
convincing
appearance
of
a
barrel
vaulted
choir.
Using
the
illusionisQc
potenQal
of
linear
perspecQve
,
he
created
what
must
be
the
ulQmate
use
of
this
device
in
15th
c
architecture.
54. Donato Bramante
The
TempieRo,
Rome
(begun
1502)
•
•
•
•
•
Built
for
King
Ferdinand
and
Queen
Isabella
of
Spain
The
erecQon
of
a
monument
atop
the
spot
where
St
Peter
was
believed
to
have
been
martyred.
Bramante
designed
his
building
to
embody
both
the
Platonic
preference
for
ideal
form
and
ChrisQan
reverence
for
tradiQon,
in
this
case
reverence
for
the
circular
martyrium
of
the
early
church.
The
building
is
a
2-‐story
cylinder
capped
by
a
hemispherical
dome
and
surrounded
by
a
one-‐story
Doric
colonnade
with
entablature
and
balustrade.
The
metope
panels
of
the
frieze
displays
symbols
connecQng
the
current
authority
of
the
Pope
to
the
grandeur
of
anQquity.
55. Donato Bramante
St.
Peter’s
Basilica,
Rome,
(1505)
Bramante’s
scheme
represented
a
building
on
the
scale
of
the
Baths
of
DiocleQan
capped
by
a
dome
comparable
to
that
of
the
Pantheon.
Started
in
April
1506.
By
the
Qme
the
church
was
completed
in
nearly
150
years
later,
almost
every
major
architect
of
the
16th
and
17th
c
had
been
engaged.
56. Michelangelo
Buonarob
(1475
–
1564)
Michelangelo
di
Lodovico
BuonarroP
Simoni
commonly
known
as
Michelangelo
was
an
Italian
Renaissance
sculptor,
painter,
architect,
poet,
and
engineer
who
exerted
an
unparalleled
influence
on
the
development
ofWestern
art.
Despite
making
few
forays
beyond
the
arts,
his
versaQlity
in
the
disciplines
he
took
up
was
of
such
a
high
order
that
he
is
oeen
considered
a
contender
for
the
Qtle
of
the
archetypal
Renaissance
man,
along
with
fellow
Italian
Leonardo
da
Vinci.
57. The
Palazzo
Farnese
The
Palazzo
Farnese
facade
has
a
cornice
and
central
window
with
coat
of
arms
at
the
piano
nobile
level.
Unlike
the
FlorenQne
interpretaQon
of
the
type,
this
palazzo
has
rusQcaQon
only
in
the
form
of
quoins
and
at
the
entry
has
classically
inspired
window
surrounds.
58. The
Medici
Chapels
are
two
structures
at
the
Basilica
of
San
Lorenzo,
Florence,
Italy,
daQng
from
the
16th
and
17th
centuries,
and
built
as
extensions
to
Brunelleschi's
15th
century
church,
with
the
purpose
of
celebraQng
the
Medici
family,
patrons
of
the
church
and
Grand
Dukes
of
Tuscany.
The
Sagres,a
Nuova,
("New
Sacristy"),
was
designed
by
Michelangelo.
Material:
white
stucco
walls
with
gray
pietra
marble.
59. St.
Peter’s
Basilica
by
Michelangelo,
Donato
Bramante,
Giacomo
della
Porta
and
Carlo
Maderno.
Michelangelo’s
dome
for
St
Peter’s
basilica
has
a
hemispherical
form.
Della
Porta,
who
constructed
the
dome
aeer
Michelangelo’s
death,
employed
a
taller
profile
in
order
to
decrease
the
lateral
thrust
and
use
the
lantern
cupola
to
force
the
weight
of
the
dome
towards
the
drum.
60. Papal
Basilica
of
Saint
Peter
has
the
largest
interior
of
any
ChrisQan
church
in
the
world
