Renaissance

Rnaissance refers to the era of artistic production in creative

reproduction of classical values which began in the late 14 century.
The concept has defined himself against the middle age.the renaissance
its not just an event or a random change in history , it’s a cultural force
with one of the most powerful ideas THE DEVELOPMENT OF THE
INDIVIDUAL.
System of propotiuon, module defined as half of a
diameter(aranyszabaly)

Renaissance artists placed emphasis on certain modes of composition,

aesthetic effect, and self-conception. In addition to the renewed
interest in antiquity, these included the formulation of perspective,
naturalistic depiction of the human figure. raise questions about the
possibilities of representation.
time of the revival of Classical learning and wisdom after a long period
of cultural decline and stagnation.
vast majority of Renaissance art works served the purpose of Christian
devotionBrunelleschi, for example, was praised for delineating the
differences between the Ionic, Doric, Corinthian, and Tuscan orders. His
architectural projects in Florence, such as the Pazzi Chapel (also
attributed to Michelozzo di Bartolomeo) or S Lorenzo, reduce Classical
architectural forms, ornament, and overall structures to their most
essential and pristine features.(BRUNELLESCI)
The ruin and fragment by its very incomplete nature encouraged
Renaissance artists to develop novel ways of both imitating and
emulating antique forms.
The human figure also served as a principal metaphor to draw analogies
between the visual arts and the wider world, between microcosm and
macrocosm. One of the most indelible images attesting to this notion is
Leonardo da Vinci’s ‘Vitruvian man
Early renaissance
It begins in the 13th century with the Italian gothic,the important factor
of development was the heritage of classical antiquity
San minitao church(This is the Gate of Heaven”)
financed by the Florentine Arte di Calimala, The eagle which crowns the
fa¸cade was their symbol. The use of marble, inlay and mosaic indicate
Italo-Byzantine influence, San Miniato is key as part of a group of
Tuscan proto-Renaissance buildings which formed the basis for Italian
Renaissance architecture, particularly the works of Alberti. The basic
plan, with nave and two side aisles is traditional but the paving appears
oriental in flavour.
Significant developments took place later in the thirteenth century,
such as the creation of the mosaic on the fa¸cade, with Christ between
the Virgin and St. Minias (1260) and the apse mosaic of the same
subject, in the fifteenth century with the addition of major chapels (the
Chapel of the Cardinal of Portugal and the Chapel of the Crucifixion)
containing artworks by major artists of the time–Baldovinetti, della
Robbia, and Michelozzo.
The church was thus a key monument in Florence and indicative of the
rise of Florence as a powerful city state in the early Renaissance.
The zodiac at San Miniato, is arranged so that sunlight falls on particular
symbols at particular times of year. The Church is not, as normal,
oriented with the altar in the east to face sunrise (often precisely
orientated to sunrise on feast day of the patron saint). This also causes
the rays of the setting sun to illuminate the west front of Christian
churches. At San Miniato, by contrast, each August, a stream of light
falls onto Christ’s foot which in turn points down to the crypt
containing the bones of St. Minias.
o sun symbolism
The black and white marble panels used to ornament both the interior
and the exterior, as well as the painted timber truss roof, are notable
decorative features.
The façade remind us of antique architecture,with its round arches
carried on colums and its triangular pediment. The contrast effect
between the white and greenish almost white marbel is used to
emphasis the architectural members.
SANTA MARIA NOVELLA(1246)
Built for the domician order
The construction was adapted to the site
The interior and plan makes it one of the most important churches of
its time.the plan was designed to for a very large congragetion in the
nave and a very good acoustics for a large choir but a number of
smaller chapels under the partonage of private families.
The use of the stone vault roof instead of a timber one is the common
Tuscan form and helps with the acoustic.t
The interior is opened,horizontal in the feeling,the main element of the
desing is a square nave bay with aisles on both sides with a dimension
of half of the naves square.the open spacioness is more practical for
the accommodating the cogragation to see and hear clearly the
preacher.the heights are approximately equal ,thus bringing the line of
the roof visually neare to the ground.
The colums and the capitals are near to classical orders,and the use of
black and white helps creating a vibrant interior.
The façade has to main parts,the lower part is devided in 3 by the
composit colums there is the entrance with a big round arch sustained
by half pilasters.the repetition idea of the 2 pilasters its done to realise
the bolt ,respecting the dimensions of the church.also the decoration is
take us to the classical order but is infused with the fresco above the
door.the 2 sides of the entrance are devided in 4 by arches with minor
half pilasters .on the bottom we have 3 small bolts and a smaller
entrance than the main one and the composition is closed by the colum
and the pilaster ensuring the perfect proportion,the main idea of the
renaissance.
The attic is realized to improve the lower part of the building,with the
square decoration continuing from the bottom to the top.
The upper part its composed by volutes,which serve for the hiding of
the asiles,the main nave with the rosetta and the tumpanon decorated
with a circle like the volute part creatig a triangle which upper point is
in the middle of the tumapnon.the central naves upper part follows the
desing below with minor pilasters and squares.
This church is one of the first renaissance buildings by redrawing the
main elements and addig pilasters, and this way, creating the
simetricality of the renaissance.
Santa croce chuch()
It’s a very large and ambitious church and the main building of the
order of saint francis.the two main features are the open timber roof
and the different relationship between the nave and the asile bays.the
open roof is much lighter,there is less weight on the colums.
The plan shows that neither the nave or the aisles is square,the aisles
are long and the nave bases are almost twise as wide as they are
long,so we can state that the architect rewrite the cisterian type of
bay.the horizpntal emphasis its very unique between the other
churches.
The interior its opened ,spacious, with classical pilaster forms and
emphatically horizontal string -course comined to create the effect of a
French gothic cathedral.the Tuscan Romanesque stile can be seen on
the façade, because of the colored marble .
Santa maria del fiore
The cathedral was begun in 1294 by Arnolfo,it was intende to be as
large and impressive as possible to outrun the rivals of Florence.the
florentians almost doomed themselves with the colossal scale, the
domes problem remained unsolved until the arrival of Brunelleschi.
The original plan was modified by Francesco Talenti who enlarged the
building.the façade was finished in the 19th century by Emilio de fabris
but it respects vastly the original design made by arnolfo.
The plan shows that neither the nave or the aisles is square,the aisles
are long and the nave bases are almost twise as wide as they are
long,so we can state that the architect rewrite the cisterian type of
bay.the horizpntal emphasis its very unique between the other
churches.
The roof of the cathedral is stone vault which means heavy structure,at
the east of the church expands to an octagon on 3 sides of which are
great tribune of triconch shape.the total effect of the interior is that
the centrally planed octagonal building have space openings out of the
octagon and the nave is just one among others. The interior is
opened ,spacieous with classical pilaster forms and emphatical string-
course combine t create an effect unlike French gothic cathedrals.the
Romanesque Tuscan stile can be seen on the outside both in the use of
colored marble and the choice of the domed octagon which is clearly
related to the baptistry .
Brunelleschi(1377-1446)
Studied closely the ruins in rome,and enabled him to devise a mean for
covering the area of the dome of the cathedral
He is known as the creator of the renaissance style in architecture by
using the structural systems of classical architecture and to adapt its
principles .
Firstly in 1404 he was consulted for the creation of the dome because
its difficulties .than he came up with the idea that all arches should be
built on a wooden framework called centering. A horizontal beam is
iaid across an opening in the wall at the point in which the arch begins
to spring. A wooden framework is erected on this cross beam and the
framework supports the bricks composing the arch until the keystone is
placed in position. By using the keystone mortar is not needed , the
gravity is replaceing it ,all the stones will press one against the
other,this technique was designed and used often by the romans,so we
can see how related was Brunelleschi to the ancient architecture
techniques.
The arch is octagonal, 140 feet across and about 180 feet above the
ground.he wanted the dome to be hemispherical like in the roman
architecture but it couldn’t be done so after all there was only one
solution,which was a dome pointed in section and supported on ribs
with the lightest possible filling between them. There are 8 major ribs
springing from the edges of the octagon and 16 minor ribs set in pairs
between each major rib.(like the baptistry ).the skeleton is completed
by horizontal arches which tie the all the ribs .
There are two shells to the dome,and inner one, to keep the damp and
give greater magnificence .this is the way that the weight was
reduced.the major ribs can be seen outside while the minor ones inside
and they point to the lantern.he changed the stones to bricks because
there were much lighter in the upper parts. He needed a heavy lantern
to keep all together. But after all the work begin a few weeks before
Brunelleschi died but was executed by his friends Michelozzo and they
followed every steo of the original project.
FOUNDLING HOSPITAL
The first true expression of brunelleschis work ,built between 1419-
24 .the buildings most important part is the outside loggia.the building
has Tuscan Romanesque caracteristics but with new elements derived
from the classical architecture.
The loggia consists of series of round arches,with horizontal element
above them and a vault consisting of small domes carried on the
colums of the loggia and the corbels of the wall. The domes bays have
square plans .the profile of the arches is flat and not triangular in
section ,they are entablatures of the classical antiquity bent upwards
to the form of semicircular aches.
The colums are classical type but they have dosserets inserted
between the capital and the base vaults
SAN LORENZO CHURCH
Medici family
First plan was made in 1419 to rebuild and old church . adapted to the
santa croche church.
The basic shape is a latin cross plan with square central crossing ,a
square choir andsmaller square chapels .each chapels proportion is
related to the nave and aisles and in both parts the temple has the
same number of chaples.
This church and santa croce are one of the best examples of
proportional planning, since they took a type and subjected to a
mathematical discipline. The basic unit is the square of crossing,which
is repeated to form the transept and the choir and the nave is made 4
squares long.the aisle bays are rectangular and exactly half the width of
the main square bay.in this way the spectator standing one one of the
aisles looks croos the transept to the opening of the chapel which size is
related to the nave and aisles so it gives a harmonious felleing.
In order to find place to 10 large sized chapels,it was necessary to
extend them round the ends of the transept,which in turn left an
akward gap at the angles and these were filled with two sacristies ,the
old and the new one. The decoration for the old one was made by
Donatello . because it was finished before the church it can be
considered a building on its own.its among the first centrally planed
building,its sqare in plan,so as a whole it’s a perfect cube.on one side
the wall is devide in 3,the first to beig opened to provide the entance
and the third one provide the entrance to a small altar room ,what has
a square plan and has a hemispherical dome over it.
The arrangement of the the chapels on plan is very simple but super
imposed on the complicated perspective effects .this is because the
dome is carried with pendantives exploited by Donatello .the
decoration of Brunelleschi consists in the pilasters carrying a decorative
entablature with modified roman forms like in the hospital of
foundling, the circles and half circles are proportioned to the basic
elements of the desing .
Brunelleschi used those classical forms reinterpretated mathematically
in the corners where the two pilasters of an akward angle have to be
condensed into fragmentary strip in the opposite ,because there is no
space.similar difficulties can be seen where the pilasters are bent to an
angle to support the entablature where its not possible to place a
pilaster.
The dome is almost the same as in the Florence cathedral,the dome is
lighted by windows which from the outside appears like there is a drum
and from the inside its like the base of gores between the ribs.
The nave has a flat roof and the aisles have simple domes.the use of
dosserets caused some issues,this arose because the domical vaults of
the aisles are supported on pilasters on one side and colums on the
other.those should ve have the same hight but because of the raised
floor of the entrance chapels the pilasters stand higher so the space
were left between the top of the colum and the bottom of the arch but
Brunelleschi used the dosserets tu fill the space just as in the loggia of
the hospital.
Pazzi chapel
church.these changes are due to the new visit of Brunelleschi to rome
and mindset change after 1430.
As the best example of these change is the Pazzi chapel.
The plan is a more complicated version of the old sacristry ,the square
of the choir is balanced by the square vestibule which is extended on
either side to match the lateral extension or transepts attached to the
central space. In this way each of the four sides of the main square is
modified and each part retains a mathematical relationship to the
original unit. The entrance vestibule has a heavy barrel vault with
central saucer domed space.this forms the entrance to the chapel
which has a large ribbed dpme over it.the main has its own
extension,barrel vaulted and parallel to the position of the entrance.the
decoration encludes some sculptures done by himself which shows his
experimental approach to the roman architecture.the angles were still
great difficulty with fragmentary pilasters and bent pilasters.some
problems arise in connection with the façade and the interior, both in
detail and feeling for proportion . throw the lower part of it consists
splendidly heavy colums supporting the barrel vault of the inside
vestibule.

Sto SPIRITO
Not only provides a new solution to some problems encourted in san
Lorenzo, but shows stylistic difference from the earlier church

ALBERTI
Like Brunelleschi he studied the roman ruins but in a different way,
Brunelleschi was interested in it purely for a structural point of view.he
was more interested in the artistical parts of the buildings and how can
he adapt them in the modern age.he gives the theory of the 5 orders
and the theory of beaty and ornament in architecture which depends
on a mathematical system of harmonic proportions.
MALATESTIANO CHURCH,RIMINI
Rebuilt in 1446 by SIGISMONDO
The importance of these church comes from the fact the it is the first
modern example pf classical solution to the problem presented by the
western façade of a normal Christian church,a high central nave with a
lower aisle on either side each covered by a lean to roof.and that
akward shape was not common in gothic architecture.so beaacuse the
temple was dedicated to the glory of an earthly prince so the solution
adopted was a classical triumphal arch at the entrance of the church,so
for the entrance of the church the arch of augustus was used as an
example.
Toward the end of albertis lide he built two churches that represents
the two main types,san Sebastiano with a Greek cross plan and san
andrea with lation cross plan.
SAN SEBASTIANO
It was reconstructed by professor wittwoker .
It has a high flight of steps because alberti thought that churches
should stand ona a high base isolated from the world.it has six pilasters
supporting the entablature nut the extisting building nowdays has just 4
pilasters.albertu used the classical front type since the plan eliminated
aisles.
The plan itself is more important than the façade , for it’s the first of
Greek cross structures,many of which date in the 16th century.alberti
designed the centrally planed church,because the form was symbolizing
the perfection of God. On the other hand is more likely that he was
influenced by the early Christian churches.
SAN ANDREA
It was started after alberti died and it was finished in the 18th century.
The plan is a more traditional latin cross type which had been already
used by Brunelleschi where the central nave and the aisles are defined
and separated by slender of colums and the main axial direction is
towards the altar.in san andrea there are no aisles but a series of
alternating large and small space openinngs of the nave .the larger
spaces are used as chapels and standing in the nave the spectator has
two axial directions, one that consists of a small-large rhythm running
laterally down the nave walls , and an other longitudinal which is
centerd towards the east end,and its provided by the tunnel like
character of the nave itself.
The principal reason for this great difference between the
brunelleschian and albertian type is that alberti modeld his interior on
roman prototype .the nave is very dark has a barrel vault with painted
coffers, some are 56 feet wide.the immense weight of these vault must
be carried on by large supports stronger than the colums used by
Brunelleschi.that is why alberi used enormouse abutements like in the
baths of Diocletian ,carried the weight of vaulting, but the same time
could be hollowed ot to form oppenings at right angles to the maine
axes.
The façade shows that alberti was able to modifie the internal system
and repeated on the exterior ,combining with the type of classical
temple front that he already used at san Sebastiano .
The façade consists in interlocking of a classical triumphal arch with a
classical temple front.it is formed by the 4 large pilasters on high bases
carrying a triangular pediment above them. The triumphal arch consists
of of large round headed opening immediately below the pediment
flanked by pilasters and with its own entablature running behind the
pilasters of the temple front.the result in a small opening at the ground
level between two pilasters , followed by a large round headed opening
and then a repetition of a smaller doorway .this is the same as the
rhythmic alternation of the large and small chapels inside
PALAZZO RUCELLAI
Compared to Michelozzos palazzo medici it was smaller but it was built
in the same time so some details such as the colonettes separating the
windows ,but at the same time differs because it’s the first attempt to
apply classical order to a palace ,and the whole palace has a more
antique air.
But it’s a more sophisticated building , by the use of different textures .
unlike the palazzo medici, has 2 main entrance doors disposed in a way
that the façade can be read as AABAABAA.the bays containing the
doors are slightly wider than the other bays and are also marked by the
carved coats of arms over the first floor windows.
The palazzos complexity dosent stop at the rhythmical organization,it is
increased by the innovation of the orders, used to devide the building
both horizontally an vertically.the horizontal devision is accomplished
by elaborately decorated entablatures carrying ruccelai badges .as in
palazzo medici , each cornice acts like a sill in the window.these
horizontal devisions are supported by correctly proportioned pilasters
and the whole scheme is derived ffrom the coloseum. The palazzo
rucellai on the ground floor has Tuscan type pilasters, the piano nobile
has ionic but infused with Corinthian elements and the top floor has a
correct Corinthian.
Following the classical way the heights of the stories were fixed by the
heights of the pilasters.the ground floor is given a necessary height,
since Tuscan order is much shorter and heavier than others, but with a
considerable base, with diamond pattern to imitate roman opus
reticulatum. As we know albertis relationship to the classical
architecture the palazzo has richly textured effect owning to the
contrast provided by the channelled rustication of the maine wall
surface,the channeling of the round headed windows and the further
contrast provided by the smooth pilasters and the opus reticulatum,
which serves like a base.this opus reticulatum , the dimond shape was a
decorative element for alberti from the romans , but what he didn’t
understand in that time is that the romans used this triangle shaped
stones to enforce the building and not for decoration.
For the cornice its clear that he was inspired from the roman
architecture again,this presented him with a big difficulty .for
respecting the proportions defined on the façade he designed the
highest possible cornice consistent with the size of the topmost order
and he gave it a strong overhang and supported by a series of corbels
implemented in the frize.
MICHELOZZO
PALAZZO MEDICI
The building began in 1444 and it was completed 20 years later in
1459.the only modification that was made on the building is the filling
on of the open arches with the windows designed by Michelangelo and
the increase of the via larga when it was bought by riccardi .
Compared to palazzo davanzati the design dosent show us some
starling innovations, yet it embodies the new principles of symmetry
and mathematical arrangement . there are 3 stories tooped by an
enormous classical cornice with the purpose of shadowing down the
walls when the sun is the highest. The great stone cornice of palazzo
medici is classical form , its based on classical entablature and related
to the height of the entire place . it is approximately 10 feet high and
the palace wall is 83 feet.this means the projection of the cornice has to
be counterbalanced by keying the block back in to the roof on the most
difficult an expensive manner: and to obtain an architectural solecism,
since the cornice has no architrave or frieze and no colums to go with.
Furthermore the height and the projection of the cornice is related to
the whole height not to the individual stories , so that the top floor
appears to be crushed . this is revealed when we consider the
arrangements of the tree separate stories. The ground floor has round
headed opennings with very strongly marked vousoirs.these round
arches are placed symmetrically in a very heavily rusticated wall, the
irregular quality of which gives a vastly rough appearance to the
ground floor.
Separating the ground floor from the piano nobile is the small string
course in the form of classical modillion cornice which serves also as
sills for the windows of the piano nobile. These windows, like the
openings on the ground floor, are arranged symmetrically but they are
not related to each other so that the center of the piano nobile
windows do not correspond with the openings below them.
These windows have voussoir patterns very similar to those below
them , but the opening is divided into 2 lights by means of a single
colonette with round headed arches over it , a more classical expressed
form of the 2 light type window in palazzo vechio. The torey has a
whole is smaller than the ground floor and is sharply distinguished from
it by the fact that the rusticated stonework has no rough bosses but
consists solely of channels cut along the joints.
The top story is identical to the piano nobile exepte that it is now
entirely smooth
Over all these rustication has an optical effect as well, makes the
building taller than it actually is.
The arramente of the inside si similar to the outside .that means the
use of the proportion.the basic shape of the building is hallow square
with a large,opened,central court which , at the ground level , forms an
open arcade.the planning is very symmetrical with the main entrance in
the center creating a tunnel like pathway. Although there are some
flows of perfect symmetry in the plan,the far end of the court is wider
than the other sides and the arrangements of the rooms are strictly
based on the maine axis.
The staircase is opend out of the coverd arcade and are not completely
exposed as in other palaces .the idea of grand ceremonial staircase as a
principal architectural feature was nearly an other century away.
BRAMANTE(1444
He was the pupil of piero della Francesca and Mantegna .
The Lombard architecture had a main influence on his style.
SANTA MARIA PRESSO SAN SATIRO
One of hes earliest works.
Two things that will make important these church in the future I the
fact that the east eng is constructed as a perspective illusion,showing
that he was influenced by his training as a painter.because of the
narrow street running accros the end of the building san satiro couldn’t
be build in a different manner .in order to maintain the special effect of
choir, nave and transepts as an unity, Bramante was forced to evolve
this illusion.the decorative character of the cofferd vaulyting and the
forms of the pilasters derive from piero della Francesca and bramantes
previous studies of milans buildings.
Bramante remodeld the building, particularly in the exterior, but the
plan(Greek cross plan in a circle) is typical early Christian design and
was adapted by Bramante in the baptistry .this simple plan also
contains the germ of bramantes original design for the rebuilding the
st. peters basilica in rome. Still ,this little church is a direct ancestor of
many churches built in Italy in the 16-17 century.
The exterior clearly shows a florentian influence ,Bramante expressed
the cross in circle plan by developing the building upwards in 3 main
stages.the lowest one is sclindrical in shape with deep niches set
between the pairs of pilasters and alternating with smooth walling.this
is reminiscent to brunellschis santa maria degli angeli but the central
plan is emphasized by the fact that the second storey consists of the
four arms of the Greek cross rising out of the cylinder .each of these
arms contains a window and the roofs are gabled.the point where the
roofs meet is made a subsidiary stage , since it becomes a square out of
which there rises an octagonal drum with windows alternating between
single pilasters. Above this , finally, is a small circular lantern which has
Brunelleschi elements but the decoration is totally Lombard.
SANTA MARIA DELLE GRAZIE
The tribune was added, designed by Bramante
Externally the building is not so satisfying , since it consists a long,
rather low nave and aisles built on the 1460s.it has a very large tribune
which rises into a great polygonal drum and a small lantern. There are
apsidial projections on the tree free standing sides, two which are
transparent and the third terminates the choir. What Bramante
imagined , was an independent, centrally planed building attached to
a long nave church. The section and plan shows quite clearly the
abruptness of the junction.internally,the effect is more
satisfacatory,and this is due to the fact that the decoration was made
after bramantes desires and the exteriors was made by local masons
with not a lot of supervision.the effect in the interior is abaout the
lightness and clarity, with geometric patterns such as painted wheel
windows but everything suborderd to the spatial arrangement.
S.AMBRODIO
Bramante designed 3 cloisters and his monistery
PORTA DELLA CANONICA
Is one side of the church and consists of a series of round headed
arches supported on colums with a much larger arch in the center
supported on square piers faced pilasters.the basic design is something
of a combination of the cloister types like brunelleschis foundling
hospital.One small point is of particular interest: the occuernce of
several columns with curious excrences on the shafts.these look like
tree trunks and they were meant to be like this. Vitruvius , in his
account about the beginnings of architecture stated that classical
orders took their rise from tree trunks which was used as vertical
support, Bramante studied his work during his stay in milan and he was
carefull about picturesque details in hes designs.
The other two cloisters, known as the doric and ionic, were begun
before he left milan .the doric cloister is one of his finest and most
mature creations.perhaps the most obvious influence on it is the court
of the palace Urbino, in which we can see combined design with the
Brunelleschi one established on the foundling hospitals.
THE CLOISTER OF THE SANTA MARIA DELLE PACE
Is on two floors with and approximately same hight.the most unusual
feature is the way in which every column is made to stand immediately
above the centers of each ground floor arches.also he adapted the
milaneze scheme which is the removal of the wall on the upper floor
leaving only a member, which is transformed into a colum instead of a
pilaster. Its was necessary because of the weight of the entablature.
The effects of the pace cloister is gained by subtle adjustments of
proportion and by contrasts of light and shade, but his contemporary
work at san Pietro in montorio is far more complicated.
TEMPIETTO SAN PIETRO IN MONTORIO
It was made for Ferdinand and Isabella of spain .bramantes desire was
to reorganize the whole courtyard in such way that the tiny , centrally
planned church would have stood in the center of a larger , centrally
planned cloister. It was often said that the 16 century Italian architects
passion for the centrally planned churches, were pushing pegan ideals
and there was maintained that bramantes church represents a triumph
of worldliness .
Sadly the court was never complited and its easy to see the geometric
effect depend on the combination of concentric circles in the plan with
concentric cylinders in the elevation.
The Tempietto consists of 2 cylinders, the peristyle and the cella, the
peristyle being low and wide and the cella tall an narrow.the wight of
the peristyle is equal to the height of the cella, excluding the dome,
and these simple proportional relationships can be traced throughout
the building .the dome is hemispherical internally and externally,and its
proportioned at the height of the cella.
These temple has a deep connection to the temple of the vesta and the
temple of the sybil in Tivoli with an important exeption, the temple of
sybil is celebrated for the extreme richness of the frieze if its Corinthian
order but the tempiamentto is the first building to use the Tuscan order
correctly.
Vitruvius pointed out that the orders for each temple are different
because they symbolize the purpose and the goddess of the temple, so
temples dedicated to virgin goddess demands Corinthian order,
Hercules or mars demands doric.later these idea was used by alberti
and palladio as well .bramante thought, for the caracter of peter he
shall use Tuscan , which is the roman doric.
He used Tuscan orders of granite with new marble caps and
bases.these was a for of doric so the frieze was carved as triglyphs and
metopes.bramante used as example the temple of Vespasian which has
a lot of pagen elements, but he changed them into Christian ones.we
can observe that the metopes are unlike the normal classical order,
they are carved with liturgical instruments.
These building shows perfectly the thinking of Bramante, who shows us
that good modern architecture grew out of the ancient one as
Christianity grew out of the ancient world.
ST.PETER
Unfortunately his works in the Vatican were altered beyond
recognition.the present main courtyardof the Vatican palace, was built
by Bramante as a series of arcades not unlike those of the colosseum,
the the open spaces have been glazed in to protect , raphaels frescos .
Orderd by Julius the second. Hes first ideas were a centrally planned
but a latin cross plan was forced on him by the clergy.hes project
derives from the tempetto but in a much bigger scale, a martyrium. He
wished redesigning the ancient roam building with the same framework
as Constantines.the central paln had also the symbolism of perfection
of god. Because his lack of experience with monumental buildings hes
predecesors had to constantly enlarge the design so after all hes plans
for the basilica were changed.
After his death he was succeeded by raphael and Peruzzi whom
produced som variants of plans, they changed the centrallyzed plan to a
latin cross one but the buildings were stoped by imperial troops.
So Antonio da Sangallo the younger , who was working under Bramante
as well began to redesign .the central space was fixed because
bramantes piers existed but Sangallo enlarged them and designed a
new type of dome .there is a little model made in sangallos last years
and shows us that bramantes succesors could think on heroic scale and
relied on weaklycompromise solutions.
After the death of Sangallo , Michelangelo succeed him.
He expressed his will to return to the bramantes form, but he made o
combination of his plan and the lation cross one in mannerist terms.this
means , where Bramante had concevid his central plan as a square
shape with an entrance in any of the four sides, Michelangelo decides
to stood the square on one corner and obtain a diamond shape, using
the corner as the main façade and emphasizing it by blunting the point
and adding a very large portico.comparison of the two plans shows that
Michelangelo reduced the overall size, increased the main piers and
reduced the open spaces between the piers and the outside wall.and by
this he ensuredthe stability of the building and provided adequate
support for the dome, even though he abandoned the idea of building
bramantes dome. He pressed ahead with the construction and when he
died a considerable part of the basilica was stending.the dome itself
was a problem of the basilica.at one point he wanted to be
hemispherical like bramantes one but heavily accented ribs
corresponding to the maine lines of his wall treatment.
Michelangelo also projected the dome slightly pointed form and this
was the shape adopted by the builders.hes conception of the building
was more dynamic than bramantes,and from the back of the church we
can gain some idea for that . here the giant pilars.
However, as we see it tuday it was finalized by carlo maderna,he not
only decorated much of the interior,but he also extended and changed
michelangeos plan by adding a long nave and then the façade was
extended. But after all the final masterpiece was made in the baroque
by the completion of the layout of the great piazza and the superbly
thereatrical effect of the Tuscan colonnade with scores of statues on a
gigantic scale, made by Bernini in 1656.
RAPHAEL AND GIULIO ROMANO
RAFFAELLO
in his first years as an architect he followed in the footsteps of
Bramante , but in his last years he moved away from that classicism
what we can see in hes painting, shool of athen , and moved towards a
richer and more dramatic style , which is the beginning of the
manierism . And on of the best examples ais the chapel built in santa
maria del popolo church, for a wealthy Sienese banker, Agostino chigi.
Mannerism as a term is udeful as a means of distinguishing pa phase
between the conscious classical harmony represented by Bramante and
the passionate drama of baroque style which was emphasized by
Bernini. Artwork produced this time was sophisticated ,frustrated, and
sometimes downright neurotic. What is interesting in the 16th century
architects is that, they begin to appreciate the imperial roman art as
wel
CHIGI CHAPEL
It’s a maousoleum,the main idea was a central plan,a circle in the
middle of a square.the mains element is the repetition of the arches.
We have a particular point of view in the center,to understand the
space,the main altar is is directly infront of the entrance,there are two
tombs in the left and the right
The circle of the drum is lighted by the windows,in the dome ,
bramantes idea in the tempietto is repeated.every espect was designed
as a painting, as we can see on the arches. The main aula is decorated
with pendentives in the middle of the trapezoidal area with the square.
To connect the overall elements of the chapel he used Corinthian order.
lPALAZZO PANDOLFINI
it’s a simpler verion of palazzo branconio adapted to the Florentine
taste and to the idea of a villa standing in the country rather in the city,
since it was build near tu porta s.gallo. the villa is important because in
one hand looks back to roman villas and on the other had it gives us a
whole class which derives from the principles to be laid down by
palladio.
VILLA MADAMA.monte mario
It was built for the wife of Alessandro di medici,margarita di parma

The original idea was to recreate a classical villa with enormous circular
courtyard in the center with a great garden like a amphitheatre
terraced in to the hillside.
Villa madama is a work of primary importance since the loggia at the
back,now glazed in,contains the most magnificent surviving decoration
carried out by raphael and it coonects him directly to the golden house
of nero.
The great loggia contains 3 bays, those at either and being covered with
quadripartite vaulting and the one in the center with domical vault.at
one and the wall is recessed into the hillside in a deep apse likeshape
with richly decorated half dome over it. The whole decoration is
carried out in low relief with strong,bright colour contrasting with
dazzling white plaster, and its easy to see how this must have seemed
to contemporizes not only to resemble the golden house of nero, but in
some sense surpass it.
The organization of spaces can be devided In to mayor orthogonal axis,
the ebtrance and the theater and the second as the graden.
The façade towards the rotonda is devided in a rhythm of windows
between to small sized ionic order columns every windows section
devided by Tuscan order columns. Like in the chigi chapel the spectator
is in the middle, in the focus
The loggia shows the path to the garden by a series of arches . however
almost the same organization is used on the façade towards the
garden, but the windows are much bigger, ensuring the light inside for
the spectator to see the richly decorated arches .the windows are
devided by ionic pilasters.
The garden is on two levels,a regular organization of areas with a
fountain below the first level, composed by 3 arches.
GIULIO ROMANO
He was the pupil of raffaello ,hes assistant, a high number of paintings
are presumed that he finish after hes masters death. In his first years of
working under raphael he was developing hes own style .
PALAZZO DEL TE
Mantua , for the duke ,Federico Gonzaga(1526-1534)
Like villa madama, the palazzo was a re creation of a classical villa
suburbana.the villa was meant to be a refuge in the heat of
summer,since the Gonzaga palace is one mile away, palazzo te dosent
have any bedrooms.
The plan shows the typical layout of a roman villa, a long-low range
enclosing a central square court.this is directly confirmed by the
entrance façade , maybe it appears to be a simple ,straightforward
building, its more sophisticated than we can see for the first time.
To take the plan first,it will be seen that the principle of a symmetrical
disposition is not observed , the building has for different ranges an the
axis of the garden and the maine garden front leads to a side door
while the axis, of the main entrance is at right angles to the garden.it
might be argued that this was due to the site, but as we go forward
with the examination of this building we can observ a lot of surprises
and contradictions which are intentional and were intended to appeal
to a highly sophisticated taste , since the overall construction tends to
implement in the educated viewer a feeling of thrilled horror.these can
be seen in the maine entrance front which should be compared with
the west side entrance, both of which should then be compared with
the garden front.in each case element of one front are repeated but
transformed in both others.
The maine entrance front is long ,low,block with a three equal arches in
the center and with four window bays apperantly symmetrically
disposed on either side.the wall is rusticated and articulated by Tuscan
pilasters carrying a richly carved entablature .about tree- quarters of
the way up the pilasters there is a string-course which serves as a sills
for the antic windows.
Almost the first thing is noticed about this articulation is the string
course level with the face of the pilasters, froms the sill of the windows
and is tied into the key stone of the window on the main floor.to the
right of the entrance arches there is wide bay,but the corresponding
bay to the left is not only narrower, it also has the window off center.
Next we notice that the 3 entrance bays are flanked on each side by
tree window bays and than comes a caesura in the form of a pair of
pilasters with a small niche set in a smooth wall between them.after
this tree follows a normal window bay and finally, the façade is closed
by a pair of pilasters.
The reading from the central arch of the entrance the rhythm is
AABBBCB, the last being differentiated from the other bays by the fact
that it has paird pilasters at either side.the design is very subtle and
consciously asymmetrical , but the full sophisticasion of this
architecture can be realized only by moving round to the side front
where similar but not quite identical articulation is adopted with small
niche bays framing the sides f the single entrance arch.the sepctator
supposed to keep in mind the basic disposition of the external fronts
when he arrives on the garden side which has a disposition around
three large arches in the centre. Here, the texture of the wall is quite
different since its rusticated only up to the level of the bridge which
runs across .the main storey has smooth walling and no attic, but has a
tottaly different textual effect obtained by a series of round arches
carried on piers and columns in a complicated rhythm.the larger arches
of the center are further emphasized by a triangular pediment above
them.
Comparing the entrance and garden fronts we see that they have in
common a triplet of arches in the center,followed by tree window
bays on each side, which are then followed by an odd small bay with a
niche separating the main windows from the final bay , which repeats
the form of the original three.thus, they are different fronts, they have
the same underlying motives and there can be no doubt that the
architect intended this to create in the spectators mind a pleasure
similar to that given by variations on a theme in music.
The precise articulation of these arches on the garden side, the 4 great
columns which support the main arches of the garden front, give the
effect of massy supports, carrying a considerable weight so that the
arches and the vaoulting of this portico seem to be adequate for their
task and disposed with symmetrical harmonythere are columns in the
center groups and columns and piers at the ends.the smaller window
bays, however are rather more complex in their disposition known as
the palladian motive, and that is a semicircular arch supported on
columns with a rectangular opening at either side formed by the
entablature and an other column.the window bay nearest to the main
entrance is such a motive and so is the second .the third window
becomes a round headed arch supported on piers.the motive followed
by the small niech bay, and than the last of the arches repeats this new
type of window. By comparison with the main enytrance front,there is
further complication in the disposition of the bays, which reading from
the center arch , are now AABBCDC. In fact the palazzo del te is full of
this sort of sophistication.
Two other things that should be mentioned are, firstly the sodes of the
internal court do not correspond precisely with any of the exterior sides
but have rhythms and complications of their own.and other thing is the
treatement of some details, like the keystones of an arch is normally
intended to give.this feeling f insecurity can be seen still more clearly in
theentablature of the internal court, where Giulio has actually allowed
a number of triglyphs to appear to have slipped down into the wall
space below,creating a definite feeling of inease in the mind of the
spectator.this deliberate malaise is regarded as the half mark mannerist
art on direct contract with bramantes architecture.
The second important feature of palazzo te is the decoration that was
largely executed by giulio and his pupils .however the most decoartiv
feature is the room of giants, what is totaly different is execution .the
angles of these room were softened so the first impression is that does
not have. The paintings of these room are remarkable , the whole
celing is covered by representation of a great circular temple
floating,suspended in space,above the spectators head with the
assembly of the gods and with Jupiter hurling the thunderbolt toward
the earth.
PERUZZI (1481-1536)
He was a leading member of Bramante’s circle . according to Vasari he
was the man who revived the long dead art of stage design,and also he
was a virtuoso in the art of perspective.
VILLA CHIGI(FARNESINA)
Built in tiber in rome ,for Agostino chigi , from 1509-1511.
The building is small, but is far mor important as an example for the
type of villa with central block and projecting wings. The loggia contains
frescos of cupid and pshiche by raphael .the
The façade has been modified by the fact that the plain walls were
originally decorated with frescoes which have long since weathered
away.this explains the odd discrepancy between the bareness of the
walls and the richness of the modelled frieze below the eaves, with its
cherubs and swags pierced by small attic windows. An uncomfortable
effect of the central pilaster which devides the ends of the wings into
two rather than 2 bays is the reason for the old fashion appearance .