Architecture

In
Spain and
Portugal
(Renaissance period)

Submitted By:

Calumba, Rondemer
Lacdao, Marvin
Madrid, John Robert
Matinong, Edjey Luis
Moral, Mariz
Operio, Joseph
Rizaldo, Irenelle
Sambile, Henry
Sebastian, Lauren
Tiongson, Elisa Joyce
 I. Introduction

The Renaissance was a civilizing society that was aged within the period of

approximately from the fourteenth to the seventeenth century, founded in Italy in the late
middle Ages and afterwards distributed to the rest of Europe. The revolutionization of the
Renaissance were not evenly practised across Europe even though there were availability of
paper and the discovery of metal locomotive type hasted the distribution of data from the later
fifteenth century.

Renaissance architecture is the architecture which flourished between the early

fifteenth century and early seventeenth century in different regions of Europe, it shows a
conscious restoration and development of certain fundamentals of early
Greek and Roman thought and material traditions. Renaissance architecture followed Gothic
architecture and was succeeded by Baroque architecture. Urbanized first in Florence, by Filippo
Brunelleschi as one of its innovators, the Renaissance style rapidly spread to other Italian cities.
The style was carried to France, Germany, England, Russia and other parts of Europe at
different dates and with varying quantity of impact.

Renaissance style places importance on symmetry, proportion, geometry and the

regularity of parts as they are established in the architecture of traditional antiquity and in
particular ancient Roman architecture. Methodical arrangements of columns, pilasters and
lintels, as well as the use of semicircular arches, and hemispherical domes, niches and aedicule
changed the more difficult proportional organizations and irregular outline of medieval
structures.
Principal Phases

Historians frequently separate the Renaissance into three periods. Whereas art

historians may talk of an "Early Renaissance" period, in which they consist of progress in
fourteenth century painting and sculpture. The severe financial conditions of the late
fourteenth century did not construct buildings that are considered to be part of the
Renaissance. As a result, the word "Renaissance" among architectural historians usually applies
to the period 1400 to ca. 1525, or later in the case of non-Italian Renaissances.

Historians often use the following designations:

 Renaissance (ca. 1400–1500); also known as the Quattrocento and sometimes Early

Renaissance

 High Renaissance (ca.1500–1525)

 Mannerism (ca. 1520–1600)

Quattrocento
In the Quattrocento, ideas of architectural order were discovered and systems were
creates. Space, as a part of architecture, was employed in a different way as of the way it had
been in the Middle Ages. Space was planned by proportional reason, its form and rhythm
subject to geometry, rather than being formed by perception as in Medieval buildings.

High Renaissance
Throughout the High Renaissance, conception derived from classical antiquity were
developed and used with superior surety.

Mannerism
During the Mannerist period, architects tested with using architectural appearances to
highlight solid and spatial associations. The Renaissance model of harmony gave way to freer
and more creative rhythms.
 II. Spanish Architecture

SPANISH RENAISSANCE

The Spanish Renaissance refers to a group in Spain, rising from the Italian

Renaissance during the fourteenth century, which extended to Spain during the fifteenth and
sixteenth centuries. The year 1492 is usually accepted as the start of the influence of the
Renaissance in Spain.

This new focus in art, literature and science, encouraged by Classical antiquity and particularly

the Greco-Roman institution, accepts the transcendental desire in this year by a variety of
succeeding historical events:

 union of the longed-for Christian empire with the classic captivating of Granada,
preceding city of Islamic Spain and the following removal of thousands of Muslim
and Jewish advocates,
 The authorized breakthrough of the western hemisphere, the Americas,
 The publication of the initial grammar of a verbal communication European language,
the Gramática (Grammar) by Antonio de Nebrija.

ARCHITECTURE OF SPANISH RENAISSANCE

In Spain, Renaissance started to attach to Gothic forms in the later decades of the fifteenth
century. The new style is called Plateresque, because of the extremely decorated façade,,that
brought to the intellect the ornamental designs intricately detailed work of silversmiths,
the Plateros. Classical orders and candelabra motifs (a candelieri) joint freely into symmetrical
wholes.

From the mid-sixteenth century, under such architects as Pedro Machuca, Juan Bautista de
Toledo and Juan de Herrera there was a quicker devotion to the art of ancient Rome,
sometimes expecting Mannerism, instances of which consist of the the fifth in Granada and
the Escorial
HISTORY

The beginning of the Renaissance in Spain is closely linked to the historical-political life
of the monarchy of the Catholic Monarchs. Its figures are the first to leave the medieval
approaches that secured a feudal scheme of weak monarch over a powerful and restless
nobility. The Catholic Monarchs unite the forces of the incipient state and ally with the principal
families of the nobility to maintain their power. One of these families, the Mendoza, use the
new style like distinction of its clan and, by extension, of the protection of the monarchy.

Little by little, the novel esthetic was introduced into the rest of the court and the clergy,
mixing with purely Iberian styles, like the Nasrid art of the dying kingdom of Granada, the
exalted and personal Gothic Castilian queen, and the Flemish tendencies in the official painting
of the court and the Church. The assimilation of elements gave way to a personal interpretation
of the orthodox Renaissance, which came to be called Plateresque. Therefore, secondary artists
were brought in from Italy, apprentices were sent to the Italian shops, they brought designs,
architectural plans, books and engravings, paintings, etc., of which portraits, themes and
composition were copied.

King Charles I was more predisposed to the new art, paradoxically called the old way,
remitted to the Classical antiquity. His direct patronage achieved some of the most beautiful
works of the special and unique Spanish Renaissance style: the patronage of Almazan de
Covarrubias, his commissions for Titian, who never agreed to relocate to Spain. Painters of
great quality were, far from the courtier nucleus, Pedro Berruguete, Juan de Juanes, Paolo da
San Leocadio, of whom the delicate Virgin of the Caballero de Montesa is highlighted, Yáñez de
la Almazan and Gerardo de los Llanos.

The painting of the Spanish Renaissance is normally completed in oil. It realizes interiors
perfectly subject to the laws of perspective, without over-emphasis of the people. The figures
are all of the same size and anatomically correct.

The colours and the shading are applied in tonal ranges, according to the Italian
teachings. To accentuate the Italian style, in addition, it is common to add elements directly
copied from it, like the adornments a candelieri (borders of vegetables and cupids that
surround the frames), or Roman ruins in the countryside’s, including in scenes of the life of
Christ.
MATERIALS:

The materials used in Spanish Renaissance period are the traditional wood, bricks and plaster.

STYLE:

Principal styles are “Plateresque style” and “High Renaissance”

 Italian fashion was limited to decorative aspects, with elements such as grotesques,
candelieri or garlands.
 some pieces were imported as is the case of chimneys, columns capitals and shafts,
altars, sepulchres.
 the outside walls are padded
 columns are abalustraded, with Corinthian or composite capitals and a base full of
leaves;
 pilasters are covered with grotesque decoration;
 semicircular arches are used but segmentalis more common
 arches sides and in freezes medallions are used;
 the covers continue being crossing vaults with medallions but barrel vaults with
lacunaria (caseton) also appear;
 buildings are frequently ended with crests;
 in general the proportions are not classical.
 clean forms and little decoration,
 simple shapes
 symmetry made a big come-back.
 III. Portuguese Architecture

The implementation of the Renaissance style in Portugal was

slowly and closely related to the Gothic architecture. The Manueline style (1490-1535) was a
halfway style that joined Renaissance and Gothic decorative fundamentals to buildings that
were architectonically nearer to Gothic architecture. Manueline was succeeded by a short Early
Renaissance stage ( 1530-1550), nearer to Classical standards, go after by the acceptance
of Mannerist (late Renaissance) type. Portuguese Mannerism, especially in secular architecture,
is categorized by simplicity in the organisation of façades and relative lack of adornment, being
often referred to as Estilo Chão (plain style). Even with the appearance of Baroque
architecture in the late seventeenth century, Portuguese architecture sustained to use
Mannerist forms well into the eighteenth century.

INFLUENCES

King Manuel I of Portugal

Manuel I; King of Portugal and the Algarves was the son

of Infante Ferdinand, Duke of Viseu, (1433–1470), by his wife, Infanta
Beatrice of Portugal. His name is linked with an era of Portuguese
society famous by important achievements both in political dealings
and the arts. In spite of its small size and population in association to
the immense land powers of Europe, he was able to obtain an abroad
empire of huge proportions during Manuel's reign.
King Manuel 1 Source:
http://en.wikipedia.org/wiki/File:
Manuel_I.jpg
 King John III of Portugal

John III was the King of Portugal and the Algarves (13 December 1521

-- 11 June 1557), the second ruler of the new House of Aviz-Beja. He
was the son of King Manuel I and Maria of Aragon. John succeeded
his father in 1521, at the age of nineteen.

During his statute, Portuguese properties were extended in Asia and

in the New World through the Portuguese colonization of Brazil.

During his time in power, the Portuguese became the first Europeans
to create contact with both China, under the Ming Dynasty,
King John III Soutce: and Japan, during the Muromachi period. He vacated Muslim areas
http://en.wikipedia.org/wiki/File:Jo
ao_iii_REI.jpg in North Africa in support of trade with India and assets in Brazil. In
Europe, he improved relations with the Baltic region and the Rhineland, hoping that this would
strengthen Portuguese trade.
STRUCTURES

Ducal Palace of Vila Vicosa

Located in the urban context of Vila
Viçosa, the palace is situated on a stable
plain at the foot of the castle hill. Rising
395 metres above this context, on a grand
space.
The building consists of a grand
rectangular profile, extending east to
The Ducal Palace of Vila Viçosa (Portuguese: Paço Ducal de Vila
Viçosa) is a palace located in the civil parish of Nossa Senhora west, with three floors, and an irregular
da Conceição. Source: http://en.wikipedia.org/wiki/File:Pa trapezoid structure to the north-south,
%C3%A7o_dos_Duques_de_Bragan%C3%A7a_em_Vila_Vi
with the roofing differently tiled above
each of the spaces. The principal facade is fully lined with ashlars masonry and pink Estremoz
marble, corresponding to the three respective floors and central pediment broken by two
main doorways. The rest of the facades are broken by a series of rectangular windows that
harmoniously divide the surface in a rhythmic classic pattern, some with semi-circular
pediments and framed cornices. Pilasters and architraves define the horizontal and vertical
frames of many of the windows, giving the whole composition great sobriety and classicism

Jeronimos Monastery

   King Manuel I built it in 1502 on the

site of a hermitage founded by Prince
Henry the Navigator]
In terms of architecture, the
monastery is a triumph of Gothic
Europe, many design details are very
elaborate and detailed mouldings for
The Hieronymites Monastery is located near the shore of the parish of
Belém, in the municipality of Lisbon,Portugal. Source: various reasons. Architecture used to
http://www.bestourism.com/medias/dfp/3479
build the monastery became known as
Manueline style, a style of art that served to glorify the great discoveries of the age. 
Clausters are impressive, each column is carved differently sea monsters, coral and marine
otherwise very suggestive. Are impressive and murals depicting the biblical story of Joseph. The
interior is spacious and decorated with relief carvings. Outside there is a beautiful garden
founded in 1940, which can be seen various coats of arms of some regions of Portugal. In the
center of this garden there is a fountain and decorated with flags and lit it on special occasions.
Viseu Cathedral
Viseu Cathedral is a Latin cross church with
a three-aisled nave, transept and three
Eastern chapels. The main façade is flanked
by two towers. The outer, lateral walls of
the church have a heavy, menacing
appearance, typical of Portuguese
mediaeval cathedrals, being partially
decorated with merlons.
In the interior, all aisles are of
approximately equal height, resembling a
Viseu Cathedral is the bishopric seat of the city of Viseu, in
Portugal. The church started being built in the 12th century and is
hall church. The stone rib vaulting is
the most important historical monument of the town. It is
supported by massive pillars and was built
currently a mix of architectural styles, specially from the
Manueline, Renaissance and Mannerist periods. Source:between 1505 and 1513, being an
http://www.flickr.com/photos/rolf_schwarz/837849270/lightbox
outstanding example
ofManueline architecture. Some ribs of the
roof are shaped like twisted ropes and knots, typical Manueline decorative motifs.
The main chapel was rebuilt in Mannerist style and features a gilt-woodwork Baroque-Rococo
altarpiece designed by famed sculptor Santos Pacheco, who was also responsible for the main
altarpiece of Oporto Cathedral. The altarpiece incorporates a Holy Mary statue from the 14th
century and was carved between 1729 and 1733 by Francisco Machado.
Chapel of Nossa Senhora da Conceicao
The Chapel of Nossa Senhora da Conceição.
Originally the building was intended to be the
king’s funerary chapel, however when King João
III died, in 1557, he was in the end buried in
Lisbon, due to unfolding political events.
However, it remains a tribute to Tomar’s past
strategic and cultural importance.

The chapel consists of three naves with a slight

Nossa Senhora da Conceicao. Source: transept and a narrow chancel. The transept is
http://members.virtualtourist.com/m/p/m/134a2f/ covered by a vaulted ceiling and central tower,
while the chancel is encircled by a square roof
rising to a small arched bell tower that is accessible via a domed staircase.

Sources
 http://en.wikipedia.org/wiki/Renaissance
 http://en.wikipedia.org/wiki/Renaissance_architecture_in_Portugal
 http://en.wikipedia.org/wiki/Spanish_Renaissance
 http://en.wikipedia.org/wiki/Spanish_Renaissance_architecture
 http://en.wikipedia.org/wiki/Manuel_I_of_Portugal
 http://en.wikipedia.org/wiki/John_III_of_Portugal
 http://en.wikipedia.org/wiki/Ducal_Palace_of_Vila_Vi%C3%A7osa
 http://www.bestourism.com/items/di/912?title=Jeronimo-Monastery&b=150
 http://www.flickr.com/photos/rolf_schwarz/837849270/
 http://members.virtualtourist.com/m/p/m/134a2f/