Neolithic 6000BC-2800BC

Sumerian 4500BC-2000BC
Egyptian 3200BC-400AD
Greek 900BC-250AD
Roman 700BC-700AD
Early Christian 373AD-500AD
Byzantine 300AD-1500AD
Romanesque 900AD-1200AD
Gothic 1200 AD-1550AD
Renaissance 1400AD-1600AD
Mannerism 1540AD-1600AD
Baroque Architecture 1600AD-1750AD

RENAISSANCE ARCHITECTURE
LECTURE 10
 BACKGROUND
Renaissance Architecture

• period between the early 15th and early 17th centuries

• conscious revival and development of certain elements
of ancient Greek and Roman thought.
• Developed first in Florence, with Filippo Brunelleschi as
one of its innovators, the Renaissance style quickly spread to
other Italian cities
• style was carried to France, Germany, England, Russia and
other parts of Europe
• emphasis on symmetry, proportion, geometry and the
regularity of parts
• Orderly arrangements of columns, pilasters and lintels, as
well as the use of semicircular arches,
hemispherical domes, niches and aedicules replaced the
more complex proportional systems and irregular profiles
of medieval buildings.
Renai

What
ssanc

was
the
e?

The intellectual transformation that happened during the

Renaissance has resulted with this period being viewed as a
bridge between the Middle Ages and the Modern era.
 BACKGROUND
Renaissance

• The word "Renaissance" derived from the term "la rinascita", which
means rebirth, first appeared in Giorgio Vasari's ( Vite de' più
eccellenti architetti, pittori, et scultori Italiani ) The Lives of the
Artists, 1550–60.

• The Renaissance style was recognized by contemporaries in the

term "all'antica", or "in the ancient manner" (of the Romans).

• Italy of the 15th century, and the city of Florence in particular, was
home to the Renaissance. It is in Florence that the new architectural
style had its beginning, not slowly evolving in the way
that Gothic grew out of Romanesque, but consciously brought to
being by particular architects who sought to revive the order of a
past "Golden Age".
 INFLUENCES
Renaissance Architecture

• Italian architects had always preferred forms that

were clearly defined and structural members that
expressed their purpose.
• Many Tuscan Romanesque buildings demonstrate
these characteristics, as seen in the Florence
Baptistery and Pisa Cathedral.
• Italy had never fully adopted the Gothic style of
architecture.
• The presence, particularly in Rome, of ancient
architectural remains showing the ordered Classical The Romanesque
style provided an inspiration to artists at a time Baptistery of Florence
when philosophy was also turning towards the was the object of
Brunelleschi's studies
Classical.
of perspective
 CE
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As a cultural movement, it
encompassed a resurgence of
learning based on:
•classical sources
•the development of linear
perspective in painting
•gradual but widespread
educational reform.

Although the Renaissance saw

revolutions in many intellectual
pursuits, as well as social and
political upheaval, it is perhaps
best known for its artistic
developments and the
contributions of such polymaths
as Leonardo da Vinci and
Michelangelo, who inspired the
term "Renaissance man“.
ACCESS
TO THE
TEACHI

CLASSI
HUMA
NG OF
NITIES

TEXTS
AND
THE

CAL
• The key to a new vision of human life
and therefore of architecture came
from the scholars’ access to the
classical texts.
• International trading exchanges had
helped to disseminate ideas, and a
group of teachers of the humanities
(grammar, rhetoric, history and
philosophy) who acquired the name
of Humanists, played a crucial part in
their propagation.
• These texts, including eventually The Duke of Urbino. The Duke
about architecture were spread collected one of the finest libraries in
through developments in printing. Italy, employing it is said, thirty or
(Gutenberg invented the movable forty scribes for fourteen years to
type in 1450) copy the great classical and modern
texts.
 INFLUENCES
Renaissance Architecture

• The development of printed books, the

rediscovery of ancient writings, the expanding of
political and trade contacts and the exploration
of the world all increased knowledge and the
desire for education.
• The reading of philosophies that were not based
on Christian theology led to the development
of Humanism through which it was clear that
while God had established and maintained order
in the Universe, it was the role of Man to establish
and maintain order in Society
• This led to the building of structures such as
Brunelleschi's Hospital of the Innocents with its
elegant colonnade forming a link between the
charitable building and the public square, and
the Laurentian Library where the collection of
books established by the Medici family could be
consulted by scholars
Humanism and the Renaissance

HUMANISM AND THE RENAISSANCE

• Humanism was a new world view. It celebrated rationality and
mankind’s ability to make and act upon empirical observations of the
physical world.
• Humanist scholars and artists 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 practice, humanists
sought to create a citizenry (including, sometimes, women) able to
speak and write with eloquence and clarity. Thus, they would be capable
of better engaging the civic life of their communities and persuading
others to virtuous and prudent actions.
• This was to be accomplished through the study of the studia
humanitatis, today known as the humanities: grammar, rhetoric,
history, poetry and moral philosophy.
 INFLUENCES
Humanism

Pursuit of individualism
Recognition that humans are creative
Appreciation of art as a product of man

Basic culture needed for all

Life could be enjoyable

Love of the classical past

Architecture

• During the Renaissance, architecture became not only a question of

practice, but also a matter for theoretical discussion. Printing played a
large role in the dissemination of ideas.
• The first treatise on architecture was De re aedificatoria (English: On the
Art of Building) by Leon Battista Alberti in 1450. It was to some degree
dependent on Vitruvius' De architectura, a manuscript of which was
discovered in 1414 in a library in Switzerland. De re aedificatoria in 1485
became the first printed book on architecture.
• Sebastiano Serlio (1475 – c. 1554) produced the next important text,
the first volume of which appeared in Venice in 1537; it was entitled
"Regole generali d'architettura [...]" (or "General Rules of
Architecture"). In all, five books were published.
• In 1570, Andrea Palladio (1508–1580) published I quattro libri
dell'architettura ("The Four Books of Architecture") in Venice. This book
was widely printed and responsible to a great degree for spreading the
ideas of the Renaissance through Europe. All these books were intended
to be read and studied not only by architects, but also by patrons
 KS
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The impact of printing was tremendous.
The architectural theorists of the
revived antique style – Alberti, Serlio,
Francesco de Giorgio, Palladio, Vignola,
Guilio Romano – all wrote treatises that
owed something to Vitruvius. These
men were no longer master masons,
however brilliant, they were scholars.
Architecture was no longer the
continuation of a practical tradition,
handed on through mason’s lodges; it
was a literary idea. The architect was
not just putting up a building; he was
following a theory.
E")
UR
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TE
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AR
N
("O
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TU
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Marcus Vitruvius Pollio (born c. 80–70
BC, died after c. 15 BC) was a Roman
writer, architect and engineer, active in the
1st century BC. He is best known as the
author of the multi-volume work De
Architectura ("On Architecture").
Vitruvius is famous for asserting in his
book De architectura that a structure must
exhibit the three qualities of firmitas,
utilitas, venustas – that is, it must be
solid, useful, beautiful. These are
sometimes termed the Vitruvian virtues or
the Vitruvian Triad.
MA

UV
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IA

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E
• Rather than using the complex,
geometric transformations 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
demonstrating that the human
proportions reflected divine
ratios.

Left: The Vitruvian Man by

Leonardo da Vinci an illustration
of the human body inscribed in the
circle and the square derived from a
passage about geometry and human
proportions in Vitruvius' writings
O

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Filippo Brunelleschi (1377-1446)

A Florentine goldsmith, Brunelleschi moved

to Rome and visited the ancient ruins.
Brunelleschi codified the principles of
geometrically accurate linear perspective,
making possible the exact representation of a
3-dimensional object on a 2-dimensional
surface.

In making careful drawings of such repetitive

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 proportionally
in the distance.
This discovery had a profound effect of art,
architecture and civic design during and after
the Renaissance.
 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.
Brunelleschi observed that with a fixed
single point of view, parallel lines appear to
converge at a single point in the distance.
Brunelleschi applied a single vanishing point
to a canvas, and discovered a method for
calculating depth.

Right: “The Trinity,” Masaccio (1427-28)

 INFLUENCES
Renaissance Architecture

• In the early Renaissance, Italy controlled sea trade

over goods from the East
• In this commercial climate, one family in particular
turned their attention from trade to the lucrative
business of money-lending.
• The Medici became the chief bankers to the princes
of Europe, becoming virtually princes themselves
as they did so, by reason of both wealth and
influence.
• The return of the Pope Gregory XI from Avignon in
September 1377 and the resultant new emphasis
on Rome as the center of Christian spirituality,
brought about a boom in the building of churches in Pope Sixtus IV, 1477,
Rome such as had not taken place for nearly a builder of the Sistine
thousand years. Chapel.
Italian Background

BACKGROUND
Florence
Medici's—family of physicians
Money in banking
Financed wool trade
Became defacto rulers of Florence
Renaissance Architecture

BACKGROUND
• Major city centers
Venice: Republic ruled by oligarchy,

Milan: Visconti and Sforza families

Florence (Tuscany): Republic ruled by

the Medici

Papal States: Ruled by the Pope

Kingdom of Naples: King of Aragon

• gathered around them people of learning

and ability, promoting the skills and creating
employment for the most talented artists and
architects of their day
Other Developments

OTHER DEVELOPMENTS
• Gunpowder changed the nature of warfare and therefore relations
among nations.
• The invention 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 times were ousted by a new class of
merchant princes – the Medici, the Strozzi, the Rucellai, the Pitti –
whose commercial empires spread throughout Europe.
• Merchant princes and the artists to whom they extended financial
patronage became the new universal men of the Renaissance.
Renaissance Architecture

BACKGROUND
During the middle ages
Find God
Prove pre-conceived ideas

During the Renaissance

Find man
Promote learning
 BACKGROUND
Causes of the Renaissance

Lessening of feudalism
Church losses importance
Nobility in chaos
Growth of Middle Class through trade

Fall of Constantinople
Greek scholars fled to Italy

Education

Nostalgia among the Italians to recapture the

glory of the Roman empire
Renaissance Man

BACKGROUND
Broad knowledge about many things in different
fields

Deep knowledge of skill in one area

Able to link areas and create new knowledge

 BACKGROUND
Renaissance Architecture

• Historians often divide the Renaissance

in Italy into three phases
✔ Early Renaissance (1400–1500)
also known as the Quattrocento

✔ High Renaissance (1500–1525)

✔ Mannerism (1520–1600)
 TEC

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• 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 motifs (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 sections, 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,
often to mark the division between stories.) A Baroque wall, on the other
hand, is treated as a continuous, undulating 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.
acteri
Renai
ssanc
tectu
Archi

Char
stics
re

of
e
Renaissance style places emphasis on symmetry, proportion,
geometry and the regularity of parts as they are
demonstrated in the architecture of classical antiquity and in
particular ancient Roman architecture, of which many
examples remained.
 ST
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• 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
proportional systems and irregular profiles of medieval buildings.
• Plans - basilican, symmetrical appearance in which proportions are usually
based on a module
• Facades - symmetrical around their vertical axis, domestic buildings are often
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
 CHARACTERISTICS
Renaissance

• The ancient orders were analysed and

reconstructed to serve new purposes
• The plans of Renaissance buildings have a
basilican, symmetrical appearance in which
proportions are usually based on a module. Within
a church, the module is often the width of an aisle
• Façades are symmetrical around their vertical axis. Raphael's unused plan
Church façades are generally surmounted by a for St. Peter's Basilica
pediment and organised by a system of pilasters,
arches and entablatures.
• Domestic buildings are often surmounted by
a cornice. There is a regular repetition of openings
on each floor, and the centrally placed door is
marked by a feature such as a balcony, or
rusticated surround. An early and much copied
prototype was the façade for the Palazzo
Rucellai (1446 and 1451) in Florence with its three
registers of pilasters
 CHARACTERISTICS
Renaissance

Sant'Agostino, Rome, Palazzo Rucellai

Giacomo di Pietrasanta,
1483
Columns and pilasters

• The Roman orders of columns are

used:- Tuscan, Doric, Ionic, Corinthian
and Composite.
• The orders can either be structural,
supporting an arcade or architrave, or
purely decorative, set against a wall in
the form of pilasters.
• During the Renaissance, architects
aimed to use columns, pilasters,
and entablatures as an integrated
system.
Arches, vaults

• Arches are often used in arcades, supported on piers

or columns with capitals. There may be a section of
entablature. Alberti was one of the first to use the
arch on a monumental scale at the St. Andrea in
Mantua.
• Vaults do not have ribs. They are semi-circular or
segmental and on a square plan, unlike the Gothic
vault which is frequently rectangular. The barrel Façade of
vault is returned to architectural vocabulary as at Sant'Andrea, Mantua
the St. Andrea in Mantua.
Domes, Ceilings

• The dome is used frequently, both as a

very large structural feature that is visible
from the exterior, and also as a means of
roofing smaller spaces where they are
only visible internally. After the success
of the dome in Brunelleschi’s design for
the Basilica di Santa Maria del Fiore and
its use in Bramante’s plan for St. Peter's
Basilica (1506) in Rome, the dome
became an indispensable element in
church architecture and later even for
secular architecture, such as The Dome of St Peter's
Basilica, Rome.
Palladio's Villa Rotonda
• Roofs are fitted with flat or coffered
ceilings. They are frequently painted or
decorated.
Doors & Windows

• Doors usually have square lintels. They

may be set within an arch or
surmounted by a triangular or
segmental pediment. Openings that do
not have doors are usually arched and
frequently have a large or decorative
keystone.
• Windows may be paired and set within
a semi-circular arch. They may have
square lintels and triangular or
segmental pediments, which are often
used alternately. Emblematic in this
respect is the Palazzo Farnese in Rome,
begun in 1517.
Walls

• External walls are generally constructed of brick, rendered, or faced with

stone in highly finished ashlar masonry, laid in straight courses.
• The corners of buildings are often emphasised by rusticated quoins.
• Basements and ground floors were often rusticated, as at the Palazzo
Medici Riccardi (1444–1460) in Florence.
• Internal walls are smoothly plastered and surfaced with lime wash.
• For more formal spaces, internal surfaces are decorated with frescoes.
Details

• Courses, mouldings and all decorative details are carved with great
precision.
• 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. They are not
integral to the building as in Medieval architecture
Early Renaissance

ARCHITECTURAL CHARACTER
• concepts of architectural order were explored and rules
were formulated.
• adoption of Classical detail and ornamentation.
• Space was organised by proportional logic, its form and
rhythm subject to geometry. The prime example of this
is the Basilica di San Lorenzo in Florence by Filippo Brunelleschi
Brunelleschi (1377–1446)

• The leading architects of the

Early Renaissance were
– Brunelleschi,
– Michelozzo and
– Alberti.

Alberti Michelozzo
Brunelleschi ((1377–1446)

ARCHITECTURAL CHARACTER
• Founder
• underlying feature was "order“
• In the early 15th century, Brunelleschi began to look
at the world to see what the rules were that
governed one's way of seeing. He observed that the
way one sees regular structures such as
the Baptistery of Florence and the tiled pavement
surrounding it follows a mathematical order—linear
perspective.
• From the observation of the architecture of Rome
came a desire for symmetry and careful proportion
in which the form and composition of the building
as a whole and all its subsidiary details have fixed The Romanesque
relationships. Baptistery of Florence
• Brunelleschi gained the support of a number of was the object of
wealthy Florentine patrons, including the Silk Guild Brunelleschi's studies
and Cosimo de' Medici. of perspective
Florence Cathedral

ARCHITECTURAL CHARACTER
• Brunelleschi's first major architectural
commission was for the enormous brick
dome which covers the central space
of Florence's cathedral, designed
by Arnolfo di Cambio in the 14th
century but left unroofed.
• stylistically Gothic, the dome is in fact
structurally influenced by the great
dome of Ancient Rome (Pantheon)
• Like oculus in Pantheon large opening at
the top
• The dome in Florence is supported by
the eight large ribs and sixteen more
internal ones holding a brick shell, with
the bricks arranged in a herringbone
manner.
 DING
BUIL
E
DOM
Brunelleschi's design contained two shells for the dome, an inner shell made
of a lightweight material, and an outer shell of heavier wind-resistant materials. By
creating two domes, Brunelleschi solved the problem of weight during construction
because workers could sit atop the inner shell to build the outer shell of the dome.
• To support the dome Brunelleschi devised an ingenius ring and rib
support from oak timbers. Although this type of support structure is
common in modern engineering, his idea and understanding about the forces needed
to sustain the dome was revolutionary. The rings hug both shells of the dome, and
the supports run through them. Other than a few modifications to remove rotted
wood, the supports still hold up the entire dome.
• Another fear that a lot of people observing the construction had was how to actually
get the bricks on the dome to stay up in the dome, and not fall to the
ground during the construction. Once again, Brunelleschi had an ingenious idea that is
common practice today, but revolutionary in its time. He created a herringbone
pattern with the bricks that redirected the weight of the bricks
outwards towards the dome's supports, instead of downwards to the
floor. By observing carefully the curve of the dome as it took shape, Brunelleschi was
able to place this bricks in key areas.
San Lorenzo

ARCHITECTURAL CHARACTER
• Designed by Brunelleschi in about
1425, have the shape of the Latin cross
• modular plan, portion being a multiple
of the square bay of the aisle.
• This same formula controlled also the
vertical dimensions.
• In the case of Santo Spirito, which is
entirely regular in plan, transepts and
chancel are identical, while the nave is
an extended version of these.

The church of San Lorenzo

San Lorenzo
Michelozzo (1396–1472)

ARCHITECTURAL CHARACTER
• Architect and sculpture
• Michelozzo (1396–1472), was another architect
under patronage of the Medici family, his most
famous work being the Palazzo Medici Riccardi,
which he was commissioned to design
for Cosimo de' Medici in 1444
• unlike the works of Brunelleschi and Alberti,
there are no orders of columns in evidence.
• Instead, Michelozzo has respected the
Florentine liking for rusticated stone.
• He has seemingly created three orders out of
the three defined rusticated levels, the whole
being surmounted by an enormous
Roman-style cornice which juts out over the Palazzo Medici Riccardi by
street by 2.5 meters Michelozzo.
Palazzo Medici Riccardi

• He was a student of Brunelleschi.

• The Palazzo was influenced by the Foundling Hospital.
• Used the arcaded courtyard of the hospital.
Alberti (1402–1472)

ARCHITECTURAL CHARACTER
• Leon Battista Alberti, born in Genoa
• He was an important Humanist theoretician and
designer, whose book on architecture De re
Aedificatoria (On building) was to have lasting
effect.
• Alberti perceived the architect as a person with
great social responsibilities
• He designed a number of buildings, but unlike
Brunelleschi, he did not see himself as a
builder in a practical sense and so left the
supervision of the work to others.
• Sant'Andrea is an extremely dynamic building Sant'Andrea,
both inside and outside. Mantua, the façade.
• triumphal arch façade
Santa Maria Novella

ARCHITECTURAL CHARACTER
• Two of Alberti’s best known buildings are in
Florence, the Palazzo Rucellai and a Santa
Maria Novella.
• The lower section of the building had Gothic
niches and typical polychrome marble
decoration.
• There was a large ocular window in the end
of the nave.
• For the first time, Alberti linked the lower
roofs of the aisles to nave using two large
Façade of Santa Maria
scrolls.
Novella, 1456–70
• These were to become a standard
Renaissance device for solving the problem
of different roof heights and bridge the
space between horizontal and vertical
surfaces
 ARCHITECTURAL CHARACTER
High Renaissance

• In the late 15th century and early 16th century architects such as
– Bramante,
– Antonio da Sangallo the Younger
• showed a mastery of the revived style and ability to apply it to buildings
such as churches and city palazzo which were quite different from the
structures of ancient times.
• The style became more decorated and ornamental, statuary, domes
and cupolas becoming very evident.
• The architectural period is known as the "High Renaissance" and
coincides with the age of
– Leonardo,
– Michelangelo and
– Raphael.
Donato Bramante
(1444 – March 11, 1514) was an
Italian architect, who introduced the
Early Renaissance style to Milan and
the High Renaissance style to Rome,
where his most famous design was
St. Peter's Basilica.

His Tempietto (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.
 ARCHITECTURAL CHARACTER
Bramante (1444–1514)

• Donato Bramante was born

in Urbino and turned from painting
to architecture, finding his first
important patronage
under Ludovico Sforza, Duke of
Milan, for whom he produced a
number of buildings over 20 years.
• After the fall of Milan to the French
in 1499, Bramante travelled to Rome
where he achieved great success
under papal patronage
• Bramante’s finest architectural
achievement in Milan is his addition
of crossing and choir to the abbey
church of Santa Maria delle Grazie
(Milan).
Santa Maria delle Grazie, Milan.
Santa Maria delle Grazie, Milan.
 ARCHITECTURAL CHARACTER
Bramante (1444–1514)

• This is a brick structure, the form of which owes much to the Northern
Italian tradition of square domed baptisteries.
• The new building is almost centrally planned, except that, because of the
site, the chancel extends further than the transept arms.
• The hemispherical dome, of approximately 20 metres across, rises up
hidden inside an octagonal drum pierced at the upper level with arched
classical openings.

The whole exterior

has delineated details
decorated with the
local terracotta
ornamentation.
 ARCHITECTURAL CHARACTER
Bramante (1444–1514)

• In Rome Bramante created what has been described as "a perfect

architectural gem",the Tempietto in the Cloister of San Pietro in
Montorio.
• This small circular temple marks the spot where St Peter was martyred
and is thus the most sacred site in Rome.
• The building adapts the style apparent in the remains of the Temple of
Vesta, the most sacred site of Ancient Rome.
• It is enclosed by and in spatial contrast with the cloister which
surrounds it.

As approached from the cloister, it is

seen framed by an arch and columns,
the shape of which are echoed in its
free-standing form
 ARCHITECTURAL CHARACTER
Bramante (1444–1514)

• Bramante went on to work at

the Vatican city
• In 1506 Bramante’s design for Pope
Julius II’s rebuilding of St. Peter’s
Basilica was selected, and the
foundation stone laid.
• After Bramante’s death and many
changes of plan, Michelangelo, as chief
architect, reverted to something closer
to Bramante’s original proposal.
Sangallo

Antonio da Sangallo the

Younger, (1485–1546),
was one of a family of
military engineers.
His uncle, Giuliano da
Sangallo was one of those
who submitted a plan for
the rebuilding of St Peter’s The Palazzo Farnese, Rome (1534–1545).
and was a co-director of Designed by Sangallo and Michelangelo.
the project, with Raphael.

61
 ARCHITECTURAL CHARACTER
Antonio da Sangallo (1485–1546)

• Antonio da Sangallo also submitted a plan for St Peter’s and became the
chief architect after the death of Raphael, to be succeeded himself by
Michelangelo.
• Plazzo farnese ( 56 m long by 29.5 meters high) and in its lofty location
overlooking a broad piazza.
• It is also a building of beautiful proportion, unusual for such a large and
luxurious house of the date in having been built principally of stuccoed
brick, rather than of stone.
• Against the smooth pink-washed walls the stone quoins of the corners,
the massive rusticated portal and the stately repetition of finely
detailed windows give a powerful effect, setting a new standard of
elegance in palace-building.
 64
RAPHAEL (1483–1520)
RAPHAEL URBINO, TRAINED
UNDER PERUGINO IN
PERUGIA BEFORE MOVING
TO FLORENCE, WAS FOR A
TIME THE CHIEF ARCHITECT
FOR ST. PETER’S, WORKING
IN CONJUNCTION WITH
ANTONIO SANGALLO.
 ARCHITECTURAL CHARACTER
Raphael (1483–1520)

• He also designed a number of

buildings, most of which were
finished by others.
• His single most influential work is
the Palazzo Pandolfini in Florence
with its two stories of strongly
articulated windows of a
"tabernacle" type, each set around
with ordered pilasters, cornice and
alternate arched and triangular
pediments.
Mannerism

• Mannerism in architecture was marked by widely diverging tendencies

in the work of Michelangelo, Giulio Romano, Baldassare
Peruzzi and Andrea Palladio, that led to the Baroque style.