2. Mannerism, style in art and architecture of
the 16th century, characterized by the
distortion of elements such as proportion and
space
The term Mannerism derives from the Italian
word maniera, meaning “style” or “way of
working.”
3. INTRODUCTION
Mannerist architecture was marked by
widely diverging tendencies from
Renaissance and Medieval styles that
eventually led to the Baroque style
During the Mannerist period, architects
experimented with using architectural forms
to emphasize solid and spatial relationships.
.
4. o The best known architect associated with the
Mannerist style was Michelangelo (1475–1564).
o He is credited with inventing the giant order, a
large pilaster that stretches from the bottom to the
top of a façade-used in his design, Campidoglio in
Rome.
o Andrea Palladio, "the most influential architect of
the whole Renaissance", transformed the
architectural style of both palaces and churches.
INTRODUCTION
5. PALAZZO DEL TE
BY
GIULIO ROMANO
The Palazzo Del
Te by Giulio
Romano is a true
classic among the
Mannerist style of
architecture from
the Renaissance
period in Italy.
6. INTRODUCTION
The Palazzo was
the pleasure
palace or “Villa
Suburbana” of
Federico II
Gonzaga, then
Marquess of
Mantua who later
became the Duke.
It was
constructed in
Mantua, Italy in
1524-34.
The whole palace was built with a
theme of horses and horseback
riding, the great love of the Gonzaga
family.
7. KEY FEATURES
The building appears to be a straightforward classical
building; but close scrutiny shows great
sophistication.
In the North Façade, the features at first glance
appear evenly spaced, they are actually quite
irregularly spaced.
Also the strange way the building seems to be
halfway between one and two stories, so the
observer can not be quite sure if there is a second
story or not. It is as if the second story has been
compressed down.
8. The Northeast part of the building, there on the left is a
“secret garden” containing a grotto. There is a fake
door on this grotto.
On the right is the hemispherical exedra, through
which the Marquess would have had a grand view on
horseback.
Apartment Of The Secret
Garden
9. The columns that have
been given a very rough
surface treatment that
perhaps seems out of
place, common
throughout.
The beam above has a
keystone shape that
might be functional in
another place, but
certainly is not here and
is therefore perplexing or
humorous.
The passageway on the axis of symmetry is covered by
a barrel vault with octagonal coffering, but the vault is
carried on a heavy entablature supported by Tuscan
columns with heavily rusticated shafts.
10. There are fake windows all over, mirroring the
dummy doors. The dropped triglyphs at the top that
seem to be falling out of the entablature.
This was done on purpose as well as the keystone is
slightly raised out of place, pushing the joint above
open.
11. COURTYARD OF HONOUR
Like the exterior, the
four faces of the
courtyard are all
different, no pair
identical to one
another.
Like the exterior, the four faces of the courtyard are all different, no pair identical to one another.
14. HALL OF THE HORSES
The Hall of the Horses in
which the Duke of
Mantua had not only
himself but his favourite
horses painted in portrait
in the midst of an
illusionistic architecture.
This must have been a
shock for unsuspecting
guests and a great
delight on the part of the
duke.
16. The Hall of Psyche shows the classical mythological scene of
the wedding banquet of Cupid and Psyche
17. St. Peter’s Basilica in the Vatican is probably the
world’s largest church and it is far and away the
largest Renaissance building.
Built between 1506and 1626, it stands over the
original basilica built on the site of Nero’s Circus
by Emperor Constantine in the 4th century.
The church is approached through St. Peter’s
Square, the architectural masterpiece of
GianLorenzo Bernini.
ST PETER’S BASILICA, ROME
18. INTRODUCTION
The present basilica
was started in 1506
under Julius II (by
Donato Bramante, to
the top of the piers)
and completed in 1626.
Michelangelo is the
most significant artist
and architect
associated with St.
Peter’s
Plan
20. INTRODUCTION
It was Michelangelo who
abandoned the concept of
corner towers, and changed
the shape for the design of
the dome to that which we
see today.
Quite a bit of the work had
been done by Bramante and
Sangallo, which was
squelched by Michelangelo,
and he simplified the
interior by reducing it from
multiple components to a
single congruous part.
21. THE DOME
Michelangelo designed the
famous dome, and it was
intended to rival
Brunelleschi’s dome in
Florence.
The dome is the tallest in
the world at 448 ft.
It is just slightly smaller in
diameter than the
Pantheon and
Brunelleschi’s dome.
22. THE FACADE
The facade was designed by Carlo Maderno.
He was bound to the already existing Michelangelo's wings.
He put the attic all around the building, as planned by
Michelangelo.
That creation looks mighty and dynamic along the west side of
the Basilica but is disharmonious in the facade.
23. THE FACADE
The eight gigantic columns of the facade are
almost 10ft wide and 90 feet high.
24. THE FACADE
In 1646, Bernini tried to
erect the bell towers again,
but had to demolish the
left-hand side bell tower
because of cracks in the
facade.
Only the bases of the bell
towers remain, two
archways at the sides of
the facade that seem to
form part of it while they
should have been
separated.
25. THE SQUARE
Piazza San Pietro
This monumental elliptical space
(240m wide), is the masterpiece
of Gian Lorenzo Bernini
Colonnades & 140 Statues
The Colonnades consist of
284 Doric columns and 88
pilasters of travertine
marble.
These columns, 13m. tall,
are arranged in four rows.
With the trabeation
surmounted by a
balustrade, the overall
height is 21m.
26. CHAPEL OF THE PIETA
This is probably the
world's most famous and
controversial sculpture of
a religious subject.
Michelangelo carved it
when he was 24 years old,
and it is the only one he
ever signed.
The beauty of its lines and
expression leaves a lasting
impression on everyone.
28. ANDREA PALLADIO
Andrea Palladio, "the most influential architect of the whole Renaissance"
transformed the architectural style of both palaces and churches by taking
a different perspective on the notion of Classicism.
While the architects of Florence and Rome were influenced by structures
like the Colosseum and the Arch of Constantine, Palladio looked to
classical temples with their simple peristyle form.
When he used the “triumphal arch” motif of a large arched opening with a
lower square-topped opening on either side, he invariably applied it on a
small scale, such as windows, rather than on a large scale.
This Ancient Roman motif is often referred to as the Palladian Arch.
29. VILLA ALMERICO CAPRA OR VILLA LA
ROTONDA
Situated on the top of a hill
just outside the town of
Vicenza, Italy the Villa
Capra is called the Villa
Rotonda, because of its
completely symmetrical plan
with a central circular hall.
building has a square plan
with loggias on all four sides,
which connect to terraces
and the landscape.
Duration-1566 to 1571
30. VILLA ROTONDA
At the center of the
plan, the two story
circular hall with
overlooking balconies
was intended by
Palladio to be roofed by
a semicircular dome.
However, after his
death, a lower dome
was built, designed by
Vincenzo Scamozzi and
modeled after the
Pantheon with a central
oculus originally open to
the sky.
31. VILLA ROTONDA
The proportions of the rooms
are mathematically precise,
according to the rules Palladio
describes in the Quatro Libri.
The design reflected the
humanist values of
Renaissance architecture.
32. VILLA ROTONDA
The building is rotated 45 degrees to south on the
hilltop, enabling all rooms to receive some sunshine.
The villa is asymmetrically sited in the topography,
and each loggia, although identical in design, relates
to the landscape it enfronts differently through
variations of wide steps, retaining walls and
embankments.
33. Each of the four porticos has pediments graced by
statues of classical deities. The pediments were each
supported by six Ionic columns. Each portico was
flanked by a single window. All principal rooms
were on the second floor
34. VILLA ROTONDA
Thus, the symmetrical architecture in
asymmetrical relationship to the landscape
intensifies the experience of the hilltop.
The northwest loggia is set recessed into the hill
above an axial entry from the front gate.
This axis is flanked by a service building and
continues visually to a chapel at the edge of the
town, thus connecting villa and town.
35. VILLA ROTONDA
The interior design of the Villa
was to be as wonderful, if not
more so, than the exterior.
Alessandro and Giovanni
Battista Maganza and
Anselmo Canera were
commissioned to paint frescoes
in the principal salons.
36. VILLA ROTONDA
The highlight of the interior is the central, circular
hall, surrounded by a balcony and covered by the
domed ceiling; it soars the full height of the main
house up to the cupola, with walls decorated in
trompe l'oeil.
