HISTORY OF ARCHITECTURE 2
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RENAISSANCE ARCHITECTURE
The renaissance architecture can be called as
the re-birth of classical architecture
INFLUENCES
A. GEOGRAPHICAL
Arising in Italy in the fifteenth century, spread
from thence to France, Germany, and England
and over the whole of western Europe.
B. RELIGION
The invention of printing which aided the spread
of knowledge, the spirit of inquiry and the
diffusion of freedom, from thought led among
the Teutonic races, to a desire to break away
from roman influences.
REFORMATION in religion proceed side with
renaissance in architecture, this renewed vigiour
in thought and literature was accompanied by
fresh building era in northern Europe.
In Italy, a revival of ecclesiastical architecture
took place, and in all important town
renaissance churches were carried out on a
grand scale and in a most complete manner
The Jesuits who headed the counter reformation
carried the style into all parts, at the same time
giving it a special character.
C. SOCIAL & POLITICAL
A new intellectual movement manifest itself
sooner in literature than in architecture, and thus
the former influences the public taste.
The spread of the newly discovered classic
architecture causes a revolt against medieval
art.
Subsequent fall of Constantinople in AD 1453
caused an influx of Greek scholars into Italy. The
revival of classical literature produced a desire
for the revival of roman architecture.
Vitruvius’ Book of Architecture written in BC 50,
which was translated into Italian in AD 1521.
Italian architecture was naturally the first to be
affected, because the Gothic style had never
taken a firm hold on the Italians.
In Italy, therefore, where feudalism had never
fully established itself, and where the
municipalities had developed a spirit of
municipal enterprise, practically a direct return
was made to roman forms.
D. HISTORICAL
At the beginning of the sixteenth century there
was a general grouping together of the smaller
states into dependent kingdoms, under powerful
rulers, who governed with authority, and kept
large standing armies.
Three great inventions had an important
influence – Gun powder, Miriner’s compass,
printing
Galileo (1564-1642) proven that the earth was
not the center of the universe.
ARCHITECTURAL INFLUENCES
Worship of style – of the past results of the
nature of materials as formulate into systems.
Such results were worshipped for their own
sake, and often to a great extent applied
regardless of the materials of their execution.
Main features in the style were the classical
orders
The development of the schools of painting also
had their influence on architecture and aided the
tendency which caused structures to be looked
upon as works of art
The period may be looked upon as the age of
accessories, in which iron, gold and silver works
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and tombs monuments, altars, fonts and
fountains, were designed in great numbers, and
by the whim and fancifulness of the designer,
were special features of the style.
The renaissance architects followed the
byzantine treatment of the dome but increased it
in importance by lifting if boldly from its
substructure and placing it on a drum in which
windows were formed, thus making it a great
external domination feature.
The influence of climate on these was important:
in Italy, with a bright atmosphere, the windows
are small .
In northern Europe, with dull climate windows of
the earlier period are large, and of then have
stone mullions or solid uprights dividing the
window space vertically
The classic system of moulded architrave
projecting from the wall face was revived.

First to introduce as an architectural motif the

wall of massive rusticated masonry with arched
openings.

RENAISSANCE VAULTING

Classical Method of solid semicircular vaulting

Cross-vaulting with narrow and wide spans it

appears that the groins were now formed by
means ordinates with elliptical soffits.

COMPARATIVE
D. ROOFS
A. PLANS Vaults are of simple roman form without ribs.
Symmetry and proportion of part to part carefully
studied. Domes have usually an internal plaster soffit or
ceiling, and are painted in colored fresco, upon
Towers are sparingly used, and when they occur which they depend for their beauty. The dome
are symmetrically placed. over a large space was generally constructed
with an inner and outer covering.
To dome is a predominant feature.

B. Walls
These were constructed in ashlar masonry of
smooth-faced walling which, in the lower
stories, was occasionally heavily rusticated.

C. OPENINGS
Door and windows openings are semicircular or
squared – headed
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E. COLUMN
The classic columns and orders were revived
and used decoratively in façade, as in the roman
manner
F. MOULDINGS
Cornices, balconies, string bands, and
horizontal features generally are strong
pronounced, and by their frequency and
importance produce an effect of horizontality.
G. ORNAMENT
The human figure abandoned as a scale,
statuary being often much larger than life size
Stained glass was little used, all the best efforts
at color being obtained by means of opaque
decoration, as fresco or mosaic, which was
lavishly applied to interiors.
FRENCH RENAISSANCE
A. GEOGRAPHICAL
A style which was prominent between the late
15th and early 17th centuries in the kingdom of
France. It succeeded French gothic architecture.
The style was originally imported from after the
hundred years’ war by the French kings Charles
VII, Louis XI, Charles VIII, Louis XII and Francois I
B. GEOLOGICAL
France is rich in building stone and slate which
could be transported and frequently attracted
eccentric decoration.
The use of wood and plaster, was widespread in
vernacular architecture, but few building
constructed in their materials have survived.
C. CLIMATE
South-sub-tropical
North-experiences snow
D. RELIGION
Jesuits order – The chief influence on
ecclesiastical architecture in France during the
later renaissance period; built great churches
designed for peaching to large congregation.
E. SOCIAL & POLITICAL
Paris – Attained pre-eminence in art and
literature
F. HISTORICAL
16th century – Italy became the battlefield of
Europe and Florence became the ally of France.
ARCHITECTURAL CHARCTER
French Renaissance Architecture is a mixture of
the Italian Renaissance, a little drop of Gothic
form.
They admire classicism and highly regard order
and symmetry among their design principles.
Arches, both rounded and pointed, are prevalent
in French Renaissance Architecture.
Doors, windows, and stairways are important
features. Large, prominent chimney pieces are
focal points.
Characteristics include slender nymphs with
clinging drapery, scrolls, and stucco figures.
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use of natural materials, such as stone and brick,
further enhances the aesthetic appeal of French
Renaissance Architecture.
Ornamentation is a hallmark of French
Renaissance Architecture, enriching the facades
and interiors with intricate decorative features.
Quoins – Masonry Blocks at the corner of a wall
Chaines – Vertical strips of rusticated masonry
rising between the horizontal string moulding
and cornice of a building and so dividing the
facades into bays or panels
Scrolls – A moulding typical in Gothic
Archtecture
Stucco – The French tradition of stuc pierre
literally means “stone stucco” and is rendered,
run or cast plaster technique. The exterior walls
of the house are covered with stucco.
GERMAN RENAISSANCE
The renaissance style first appeared in hungary
in 1458 at the court of matias corvinus. In
germany and austria, renaissance elements
were introduced by native architects around
1510 into predominantly gothic buildings. South
germany's rococo church interiors reached
levels of exuberance found nowhere else in
europe.
A. GEOGRAPHICAL
The earliest manifestations of the renaissance in
the german states were marked by the infusion
of italian architectural influence into the eastern
provinces, a region that encompassed austria,
bohemia, and the tyrol. During the late 15th
century, the distinctive touch of florentine and
milanese architects began to grace this part of
europe. Their arrival ushered in a new era of
architectural transformation, particularly in the
construction of palaces and chapels, which bore
the unmistakable mark of italian aesthetics.
B. GEOLOGICAL
The geological influences on german
renaissance architecture are not explicitly
mentioned in the provided text. However, the
choice of building materials could be influenced
by the geological characteristics of the regions
where these structures were built. The
availability of different types of stone, such as
limestone or sandstone, might have affected the
choice of materials for construction
C. CLIMATE
The climate in germany, which influenced
german renaissance architecture, includes a
range of seasonal conditions, varying from cold
winters with snowfall to variable temperatures
and rainfall throughout the year. It's
characterized by distinct seasons and the need
for buildings to withstand these weather
variations, making durability and weather
resistance essential considerations in
architectural design.
ARCHITECTURAL CHARCTER
German renaissance architecture encompasses
distinct architectural characteristics. During the
early renaissance (1525-1600), it introduced
elements like orders, gables, and dormers,
retaining gothic influences. In the late
renaissance (1600-1675), it adopted a more
ornate style with broken curves and ornamental
details. The baroque period (1675-1800) added
further decoration and oscillated between
minimalism and excessive ornamentation.
Notably, german renaissance buildings featured
picturesque roofs, gables, and dormers, often
eschewing classical norms. Their plans tended
to be asymmetrical and diverse, incorporating
elements like oriels, bay-windows, and turrets.
Castles, town halls, churches, and houses
exhibited regional flair, with unique and fanciful
details. In summary, german renaissance
architecture displays diverse characteristics,
from restrained early designs to ornate baroque
creations, with a consistent emphasis on
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picturesque rooflines and a penchant for the
whimsical in building ornamentation.
BELGIAN & DUTCH RENAISSANCE
A. GEOGRAPHICAL
BELGIAN
Belgium's position in Europe made it a
crossroads of cultural influences from France,
Germany, and the Netherlands. Belgian
Renaissance architecture often incorporated
elements from these neighboring regions
DUTCH
The Netherlands' low-lying geography and
proximity to the sea influenced architectural
techniques to deal with water management,
leading to the development of canal houses and
innovative drainage systems.
B. GEOLOGICAL
BELGIAN
Belgium's wealth of high-quality building
materials, including limestone, sandstone, and
clay, enabled the construction of sturdy and
ornate Renaissance structures, with intricate
carvings and decorations reflecting the
abundant resources available.
DUTCH
The Dutch relied heavily on bricks due to its
abundance in the region. Brickwork became a
prominent feature in Dutch Renaissance
architecture, with intricate patterns and designs.
C. CLIMATE
BELGIAN
Harsh winters and varying seasons influenced
architectural features like thick walls, small
windows, and sloping roofs for insulation and
protection from the elements.
DUTCH
The Netherlands' maritime climate,
characterized by mild summers and cool
winters, influenced the need for well-insulated
buildings. This encouraged the development of
compact, functional designs in Dutch
Renaissance architecture.
D. RELIGION
BELGIAN & DUTCH
The strong influence of Catholicism in these
regions is evident in the ornate religious buildings
constructed during the Renaissance period.
Churches and cathedrals were often grand and
decorated with intricate stained glass,
sculptures, and paintings.
E. SOCIAL & POLITICAL
BELGIAN
Economic prosperity during the Renaissance
allowed for the construction of elaborate civic
buildings and merchant houses, showcasing the
wealth and status of the emerging bourgeoisie
class.
DUTCH
The Dutch Republic's emphasis on trade and
commerce influenced the design of buildings,
with a focus on practicality and functionality.
Canal houses in cities like Amsterdam reflect
the social structure and trading heritage of the
region.
F. HISTORICAL INFLUENCES
BELGIAN
The influence of the Burgundian and
Habsburg rulers brought a sense of grandeur
and sophistication to Belgian Renaissance
architecture. The rulers were patrons of the
arts, encouraging the construction of
magnificent palaces and public buildings.
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DUTCH
The Dutch Revolt against Spanish rule in the late
16th century led to the emergence of an
independent Dutch Republic. This period of
national identity and pride influenced
architecture, emphasizing Dutch motifs and
symbols in buildings.
ARCHITECTURAL CHARCTER
Brick Facades: Unlike the extensive use of
stone in Italian Renaissance architecture. It
often feature prominent brick facades. Red
or brown brick was the primary building
material.
Stepped Gables: One of the most
recognizable features of this architectural
style is the stepped gable, which is a
stepped, decorative design at the top of a
building's facade.
Flemish Bond Brickwork: Alternating rows
of bricks have headers (short ends) and
stretchers (long sides) to create a distinctive
pattern on the facade.
Carved Stone Decoration: Buildings
frequently featured elaborately carved
stone decorations, such as cartouches,
heraldic motifs, and sculpted figures.
Large Windows: In this region emphasized
large, rectangular windows with stone
surrounds.
Crow-stepped Gables: A variation of
stepped gables where the gable outline
resembles a series of ascending or
descending steps.
Courtyards and Inner Gardens: Frequently
incorporated inner courtyards and gardens,
allowing for light and ventilation within
buildings
Dutch Gable Roof: These are gable roofs
with a pediment-like shape, and they often
featured decorative finials or gable
ornaments.
Symmetry and Proportion: Valued
symmetry and proportion in building design.
Facades were often organized with a sense
of balance and harmony.
Use of Classical Elements: They still
incorporated classical elements, such as
columns, pilasters, and entablatures, into
their designs. These classical elements
were adapted to the local context.
SPANISH RENAISSANCE
Renaissance Spanish architecture is
characterized by highly decorated facades,
classical Roman design, symmetrical
decoration, and Christian motifs like statues1. It
began as plasteresque, a transition between
Gothic and Renaissance styles, and was a
combination of Moorish, Gothic, and
Renaissance elements.
A. GEOGRAPHICAL
Spain was originally inhabited by Celts, Iberians,
and Basques, became a part of the Roman
Empire in 206 B.C., It occupies 85% of the
Iberian Peninsula, which it shares with Portugal,
in southwest Europe.
B. GEOLOGICAL
Most of the topography of Spain consists of flat
plains that are surrounded by rugged,
undeveloped hills.
C. CLIMATE
characterized by the overlap of one fundamental
climatic division. The Pyrenees and the
Cantabrian ranges play an important role in the
Spanish climate, holding the warm, dry
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subtropical airstream over Spain during the
summer months
D. RELIGION
Roman Catholicism became the official religion
of Spain in 589. The advent of political liberalism
at the beginning of the 19th century led to a
series of conflicts between church and state,
especially over land ownership and the control
of education. However, Catholicism remained
the official religion of the state until the Second
Republic (1931–36). After the Spanish Civil War,
General Francisco Franco restored it as the state
religion, and it retained that status until the
proclamation of the constitution of 1978.
E. SOCIAL & POLITICAL
Spain continually had a parliamentary system
with a written constitution. Except during the
First Republic (1873– 74), the Second Republic
(1931– 36), and the Spanish Civil War (1936–
39), Spain also always had a monarchy.
Spain was a highly centralized state that did not
recognize the country’s regional diversity.
F. HISTORICAL
In the time of King Felipe II (1556– 1589), the
Renaissance influence expanded throughout the
territory thanks to the dissemination of
architectural treatises. Cities in Spain possess a
cultural richness that translates to diverse
architectural styles. The history of Spain is broad
and has led to multiple influences reflected in
Spanish architecture
ARCHITECTURAL CHARCTER
Spanish Renaissance Revival structures usually
have red tile roofs with a shallow slant and no
overhanging eaves. On the sides of buildings you
might see elaborate carved or molded
decorations. Surfaces might also have niches,
shallow recessed areas in a wall meant to hold
decorative sculptures.
The Spanish Renaissance entered a more
Italian-like phase in the 16th century.
Characteristics include symmetry, order, and
proportions as well as classical hallmarks such
as columns, rounded arches, and, later, vaulted
domes. Most structures reflected human scale.
Spanish buildings include civic buildings,
universities, churches, hospitals, palaces,
townhouses, and rancheros.
ECCLESIATICAL BUILDING
Ecclesiastical buildings are usually divided into
four classes: churches properly so called,
- public oratories
- private oratories
- semi-public oratories.
This division was confirmed by the Congregation
of Rites, January 23, 1899 (Decreta authent.
Congreg. sacr. Rit. no. 4007, Rome, 1900).
PUBLIC ORATORIES are buildings of less
importance, definitely given over to Divine
worship, and accessible to the public, whether
the entrance itself be upon the public road or
upon a passageway leading to the latter
PRIVATE ORATORY is one established in favor of
a particular family or even of a single individual
SEMI-PUBLIC ORATORY is established for the
benefit of a number of people; such is the chapel
of a seminary, a college, a congregation of simple
vows, a hospital, a prison, etc. With these may
be classed the chapels of cardinals and of
bishops.
ENGLISH RENAISSANCE
Renaissance architecture arrived in England
during the reign of Elizabeth l, having first
spread through the Low countries where among
other features it acquired versions of the Dutch
gable, and Flemish strapwork in geometric
designs adorning the walls. The new style
tended to manifest itself in large square tall
houses such as Longleat House
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Periods
• Elizabethan and Jacobean
o Introduction to the concept of
historical architecture and its
relationship to history
• Anglo Classic and Queen Anne
o Introduction to the concept of
historical architecture and its
relationship to history
• Early Victorian and Late Victorian
o Introduction to the concept of
historical architecture and its
relationship to history
ELIZABETHAN AND JACOBEAN
• Elizabethan (1558-1603 AD)
o The first phase of English
Renaissance architecture.
o During the Reign of Queen
Elizabeth I of England.
o Transition style with Gothic
Features.
o Influenced by: Italian
Renaissance, Loire, and
Flemish Strapwork Buildings.
o The Great Rebuilding.
• Jacobean (1603-1625 AD)
o The second phase of English
Renaissance architecture
after the Elizabethan style.
o It is named after James VI and
his 1st reign (1603-1625 in
England).
o Blended Medieval and
Renaissance Styles.
o Tends to be more unified and
consistent.
ARCHITECTURAL CHARCTER
• Desire for symmetry and height in
elevation and the floor plan having a
more compact form.
• Builders wanted to express their status
in society.
• A big change of the period is the
outward-looking form of the building.
• Floor Plan: an “E” or an “H” shape
• Facades: might be doubled or tripled in
this period
• Roofs: High, flat, or low roofs with
balustrades, occur both separately and
in the same design.
o Elizabethan - gabled either
triangle or curved-Flemish
influence
o Jacobean - flat roofs with
parapet
• The kitchen was in the shorter wing,
and the living room was in the longer
wing of the building. The main
entrance was in the middle followed
by the hall. The bedrooms and the long
gallery were on the upper floors.
• The Long Gallery had a special
function: this is where the family
entertained or exercised (walking,
fencing, playing games) in case of bad
weather and it was a perfect spot for
the family's painting collection
• Openings: Bay windows were used
and Mansard windows were born in
this period.
The broad staircase of oak; The great hall;
gardens were often laid out in a formal
manner, with yews, and other trees cut in
fantastic patterns.
Exterior Features: Towers, Gables,
Parapets, Balustrades, chimney stacks,
oriel, and bay windows with mullions and
transoms
Interior Features: Fittings, Furniture, and
Decoration - Made for repose, dignity, and
uniformity.
Details: Prismatic rustic ornamentation
and ornamental details of scrolls, straps,
and lozenge.
Plans: E or H shape floor plans were used.
Buildings were for entertainment.
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Architectural Character (Anglo-Classic
Style)
Classical Elements: columns (Doric, Ionic,
Corinthian), pilasters, pediments, arches, and
entablatures.
Symmetry and Proportion: a balanced and
harmonious arrangement of elements. Facades
are symmetrical.
Grand Facades: Central entrances sometimes
feature columns or pilasters.
Use of Domes: crown the central portion of
buildings, such as churches and public
buildings. hemispherical or have other classical
shapes.
Ornate Decoration: sculptures, friezes,
cornices, and other intricate details.
Regular Fenestration: Windows are typically
arranged in a regular pattern and feature
classical details like pilasters, lintels, and
moldings.
Palladian Influence: Palladio's architectural
principles, as seen in his treatise "Four Books of
Architecture, " Palladian villas and designs often
served as models for English architects.
Solid Masonry Construction: durable materials
like brick or stone
Neoclassical Revival: revival during the 18th
and 19th centuries, Sir John Soane and the
Adam brothers
Influence on Urban Planning: the layout of
cities and towns, with classical principles
Architectural Character (Queen Anne Style)
Asymmetry: irregular floor plans and facades
with various rooflines and projections, creating a
picturesque and whimsical appearance.
Ornate Detailing: decorative woodwork,
textured surfaces, patterned shingles, carved
elements, and other complex and elaborate
ornamentation.
Variety of Textures: contrasting materials such
as brick, stone, and wood, as well as textured
wall surfaces Bay Windows Turrets and Towers.
Stained Glass: colorful and decorative element
to the building's exterior. patterns and designs.
Colorful Paint Schemes: multiple colors to
accentuate the ornate details and architectural
features. Steeply Pitched Roofs
Wraparound Porches: decorative railings and
turned or spindle work.
Eclectic Influences: combines elements from
various architectural traditions, resulting in an
eclectic design. Medieval, Renaissance, and
Asian architectural styles, among others.
Brick and Half-Timbering.
Anglo-Classic and Queen Anne are two distinct
architectural styles that were prevalent in
England during different periods, and they have
several contrasting characteristics.
• Anglo-Classic Style
o Era
o Classical Elements
o Symmetry
o Domes
o Use of Stone and Brick
• Queen Anne Style
o Era
o Asymmetry
o Ornate Details
o Mixture of Styles
o Colorful Paint and Schemes
o Steep Roofs and Gables
EARLY VICTORIAN AND LATE VICTORIAN
• Victorian Architecture
The term Victorian architecture refers not to a
particular style but to an era—the reign of Queen
Victoria over the United Kingdom of Great Britain
from 1837 to 1901.
It encompasses a jumble of overlapping styles
that include early Gothic Revival, Folk Victorian,
Greek Revival, Italianate, Second Empire, Stick,
Romanesque Revival, Shingle, Colonial Revival,
and the popular Queen Anne style at the tail end
of the era.
Architectural Character
Early Victorian (1830-1850)
This period coincides approximately with the
Early Victorian phase of architecture in Britain.
In spite of widening eclecticism, the Classical
tradition showed astonishing resilience, and a
Classical design was the natural choice for most
public buildings throughout this period.
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common in continental Europe, their

The planning and spatial organization of such picturesqueness was often modified in
buildings demonstrated a system of design execution by the return to more formal
based on symmetry and formal geometry. architectural values.

In Britain the purity of the Greek Revival was Proportioned rooms in typically three-story
superseded in the 1840s by a Graeeo-Roman residences where families lived on the first two
phase of great magnificence, used for public floors and servants occupied the smaller third
buildings. story.

For domestic and commercial buildings, less Characteristics

rhetorical forms of Classicism, of Renaissance - Steeply pitched roofs
derivation, were often preferred. In Germany, - Plain or colorfully painted brick
there was a preference for more sharply - Ornate gables
articulated buildings, often characterized by - Painted iron railings
round-arched forms that might suggest - Churchlike rooftop finials
Renaissance, Romanesque, Byzantine, or - Sliding sash and canted bay windows
Roman precedents. - Octagonal or round towers and turrets
to draw the eye upward
There was a tendency to emphasize the solidity - Two to three stories
of structure. For structure, it has been - Generous wraparound porches
emphasized the scientific basis of architecture, - Small gardens
and if ornament were introduced it should - Asymmetry
consist of enrichment of the essential - Grand staircases
construction of the building. - Complicated layouts with multiple
rooms including formal dining rooms,
Brickwork was left exposed rather than libraries, and parlors
rendered, and the flimsy Gothic of the - High ceilings
eighteenth century was rejected. Even in iron, - Ornately carved wood paneling
there was a shift from the more decorative - Geometric tile hallways
treatment. - Decorative fireplaces
- Stained glass windows
Late Victorian (1870-1914) - Dark wood furniture
The period from 1870 to 1914 roughly coincides - Heavy drapes
with the German Second Reich and covers the - Decorative wallpaper
Late Victorian. - Hardwood floors covered with rugs

Increase in the pace of architectural change, a

broadening of the range of structural and
ITALIAN RENAISSANCE
stylistic possibilities, and the swan-song of Periods:
historicism. The baroque richness and imperial
Early Renaissance
scale were often maintained for major buildings.
- 1400-1500
- Also known as Quattrocento
The Gothic Revival was by no means a spent
- Explored the concepts of architectural
force after 1870 and provided the basis of much
order, study of classical antiquity.
church architecture until well into the twentieth
century.
High Renaissance
- 1500-1525
Although such developments were clearly
- Period of harmony and balance.
designed in contrast to the regular terraced
streets of British cities and the blocks of flats
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Late Renaissance
- 1520-1600
- Also known as Mannerism
- Asymmetrical and unnatural beauty;
characterized by complexity, novelty,
and visual trickery.
Influence
• GEOGRAPHICAL
Northern Italy was divided into a number of
warring city-states.
The most powerful being Milan, Florence, Pisa,
Siena, Genoa, Ferrara, and Venice.
High medieval Northern Italy was further divided
by the long-running battle for supremacy
between the forces of the papacy and of the
Holy Roman Empire: each city aligned itself with
one faction or the other, yet was divided
internally between the two warring parties,
Guelfs, and Ghibellines.
• GEOLOGICAL
The Po Valley, South of the Alps, forms a
Northern Plain from Turin and Padua,
encompassing Lombardy and Veneto cities.
Milan’s brick building showcases Renaissance
forms expressed in brick and stucco or clothes
with moulded terracotta.
Venice imported wood, red marble, and Istria
stone for sculpture detail.
Florence’s quarries provided abundant
Arenaceous Limestone (Pieta Forte), Grey
Sandstone (Pieta Serena), White Marble, and
Colored Marble for architecture. The Medici
opened new quarries in Carrara and Seravezza,
while Siena built brick structures but had access
to tufa and travertine.
In Rome, materials used were fine bricks,
travertine, volcanic peperino, tufa, white, and
colored marbles, and light vaulting materials
from quarries around Tivoli.
• .CLIMATE
The Italian region’s climate influenced building
styles, with cooler, wetter towns
having arcade streets and Veneto villas having
larger courtyards.
Rome’s hotter climate led to a large courtyard
with loggias, and water played a crucial role in
villa design.
Windows were smaller in Italy than in Northern
Europe, and open arcades prided shade,
Gentle-pitched roofs allowed for cornices and
balustrades.
• RELIGION
The Reformation movement led by Martin Luther
transformed Western Christendom, influencing
church architecture.
The counter-reformation led by Jesuits adopted
Roman 16th-century church forms worldwide.
Aisle-less single-nave churches were popular
for monastic and collegiate churches.
• HISTORICAL
Renaissance architecture is a style of
architecture, reflecting the rebirth of classical
culture, that originated in Florence in the early
15th century and spread throughout Europe,
replacing the medieval Gothic style.
Many Italians believed that gothic architecture
often found in church constructions, was a
Northern style that had spread unwelcomed into
their country.
Italian architects sought to get back to
something more focused on their regional
history found in ancient Greek and Roman
buildings and style.
ARCHITECTURAL CHARACTERS
Symmetry and proportion placed a strong
emphasis on symmetry and proportion in their
design.
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Use of classical orders such as Doric, Ionic, Use of Pilasters: Pilasters, which are shallow
and Corinthian columns, each with specific rectangular columns often attached to walls,
proportions and decorative elements employed were used for decorative and structural
purposes. They gave the illusion of supporting

to create aesthetically pleasing and structural

buildings. the building while adding a classical touch to the
facade.
Dome Structures: The use of domes became
prevalent during this period.
EXAMPLE
Rustication: Renaissance buildings often FLORENTINE
feature rusticated (rough, textured) stone at
the ground level, creating a strong visual
Florence was the artistic capital of Italy during
contrast with the smoother upper stories. This
the 13th century.
technique added depth and visual interest to the
facades.
The Florentine School of Architecture revived
Tripartite Division: Buildings were often divided ancient architecture and put a renewed
emphasis on humanism in their design.
into three main parts: The base; The shaft: and
The cornice. This division was visible in
Filippo Brunelleschi an architect and sculptor
columns, pilasters, and facades creating a
is one of the reasons why the architecture in
sense of order and proportions.
Florence and throughout Italy was changed.
Arches and Vaults: Rounded arches and
Brunelleschi and Donatella journeyed to Rome
vaulted ceilings were commonly used,
to study the masterworks of ancient art.
architects experimented with different arch
forms, including semicircular, and segmental
Types of doors:
arches, allowing for greater flexibility in design.
- Arcade Type - usual in the heavily
Classical Pediments: Pediments, often rusticated examples, consists of a
triangular in shape, were used to crown round arch, in the center of which is a
circular column supporting a simple
entrances, windows, and other significant
architectural elements. They were decorated piece of; as at the Strozzi, Pitti, and
Riccardi Palaces.
with classical motifs and sculptures.

Linear Perspective: The discovery and - Architrave Type - is that in which

application of linear perspective in a painting by moldings include the window and
artists like Brunelleschi influence consoles on either side support a
architectural representation. Architects horizontal pediment cornice, as in the
started using perspective techniques to create courtyard of the Pandolfini Palace’ and
more realistic and spatially accurate drawings in the Palazzo Riccardi
and paintings of their designs.
- Order Type - is that in which the
Courtyards: Renaissance buildings often openings are framed with pilaster or
featured central courtyards surrounded by column on each side supporting an
arcades. These courtyards provided natural entablature above, this being the final
light, ventilation, and a sense of openness development, as employed in the
while maintaining privacy. Pandolfini Palace, ascribed to Raphael.
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DOME OF FLORENCE CATHEDRAL (THE
DUOMO)
- Also called Cathedral of Santa Maria
Del Fiore was created in 1420-1436
- Symbol of Florence, Renaissance
culture, and Western humanism.
- Largest masonry vault in the world.
- Has 2 octagonal shells.
- Has 8 major ribs and 16 minor ribs.
- Has stone and timber chains.
- Architect/s: Filippo Brunelleschi,
Arnold Di Cambio, Francisco Talenti,
and Emilio De Fabris.
S. LORENZO (BASILICA DI SAN LOZARO),
FLORENCE
- One of Florence’s largest churches is
located in the city's Main Market
District outside the city walls.
Completed in 1470.
- Became the grave house of the Medici
family.
- Its old sacristy was another domical
design of great beauty.
- Architect/s: Dilippo Brunelleshi,
Michelozzo, and Michaleangelo.
PAZZI CHAPEL, FLORENCE
- Built by Brunelleschi
- Located in Sta. Croce, Florence.
- The design was borrowed from a Greek
cross covered with a dome at the
intersection and preceded by a
vestibule with a richly decorated vault.
- The main purpose of the building was
the cathedral chapter house and the
use of a classroom for the teaching of
monks and other religious purposes.
- Architect/s: Filippo Brunelleschi
PALAZZO PATTI, FLORENCE
- Was built for Luca Pitti in the mid-5th
century and was originally planned by
Brunelleschi.
- The Medici family bought it and made it
their primary residence after
Brunelleschi died.
- The Medici family hired Ammannti to
build a grand courtyard for them.
- It was the perfect way to describe
Brunelleschi's designs. From its two
barrel-vaulted bays to the gray and
white articulation of the interior to the
use of glazed terracotta roundels it
clearly distinct the Brunelleschi
aesthetic.
- But it lacks inadequate cornices.
-
- The original seven-bay building is noted
for its extensive rustication, regular
placement of windows and doors, and
continuous balustrades that recess
each floor.
- Architect/s: Filippo Brunelleschi,
Giorgio Vasari, Bartolomeo
Ammannati, Luca Fancelli, Giulio
Parigi, and Guiseppe Ruggeri.
ROME
- The classic orders were largely used
in the facades and courtyards.
- The size and simplicity of the palaces
of Rome produce an effect of dignity.
- The principle which animated
architects in the later school was that
of unity, which they endeavored to
attain by making a whole building
appear to be a single story
ST. PETER BASILICA
- Located on the west side of the Tiber
River in Rome.
- The building is small in scale and
situated in a courtyard of San Pietro in
Montorio Building
- 120 years before it was built.
- Has a dome that is similar to a
Pantheon
12 ARCHITECTS of ST. PETER’S BASILICA
1. Donato Bramante
- Greek cross with dome similar to
pantheon
2. Giuliano Da Sangallo
3. Fra Giocondo
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MIDTERM REVIEWER

4. Raphael Sanzio - Conservatori) and Palazzo Nuovo at its

- Latin cross plan
5. Baldassare Peruzzi
- Reverted to Greek plan
6. Antonio Sangallo
7. Michaelangelo Buonarotti
- Dome
8. Giacomo Della Porta
9. Domenico Fontana
- Competed dome in 1590
10. Diacomo da Vignola
- Added side cupola
11. Carlo Maderna
- Lengthened nave to form latin cross
gigantic façade
12. Gian Lorenzo Bernini
- Baldachino
- Erected oble entrance piazza (198
wide)
- Completed plan in a latin cross
PALAZZO FARNESE, ROME
- The most imposing Italian palace of the
sixteenth century, begun in 1517 by
Antonio De Sangallo the Younger,
commissioned by Cardinal
Alessandro Farnese, the future Pope
Paul III (1534-1549).
- The works were continued first by
Michaelangelo when Sangllo died
(1546-1549), then by Vignola (1569-
1573).
- Vignolas designed the rear facade and
Finally, Giacomo Della Porta
completed the works in 1589.
THE CAPITOLINE PALACES
- Most coherently planned group of
buildings of the 16th century and
provides an appropriate setting for the
traditional heart of the city.
- At the center of the square, we can see
the Place of the Senators (Palazzo
Senatorio) with the Place of the
Conservators (Palazzo Dei
-
sides.
- Architect/s: Michelangelo Buonarotti.
VENICE
- The Venetian School of Renaissance
Architecture refers to the distinctive
architectural style that developed in
the Republic of Venice during the
Renaissance period (14 century to 17th
century.
- It is characterized by several unique
features and influences that set it
apart from other regional architectural
styles of the time.
- Andrea Palladio (1508-1580) -
Prominent architect active in the
Republic of Venice. Influenced by
Roman and Greek architecture,
primarily by Vitruvius is widely
considered the most influential
individual in the history of Western
architecture..
- Palladio’s interpretation of classical
architecture became known as
Palladianism.
- Palladianism is characterized by
balance, symmetry, and harmony. All
of his buildings are located in what was
the Venetian Republic, but his
teachings, are summarized in the
architectural treatise.
- Lighter and more graceful kind than
that of Florence, columns and pilasters
being used freely in all designs,
- A special Venetian feature is the
groupings of the windows near the
center, leaving comparatively solid
boundaries to the facades, which
facades are comparatively flat, and
have no great projections, a straight
frontage with the water.
- The rustication of walls, as at Florence,
is unusual, and a cornice usually marks
each story, in contrast with the great
crowning Florentine cornices
- Extreme depth was sometimes given to
the frieze, in which windows were
sometimes placed.
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- The balconies are graceful and SAN GIORGIO MAGGIORE

important features, and give light and
shade to the facade, having the same
effect as the recessing of portions of
the structure.
- In the later period perfection of details
is characteristic of the Venetian
Renaissance.
DOGE’S PALACE (PALAZZO DUCALE)
- Located in St. Mark’s Square.
- It is a masterpiece of Venetian Gothic
and Renaissance architecture.
- It served as the residence of the Doge
of Venice, the political and judicial
leaders of the Venetian Republic.
- Architect/s: Andrea Palladia and
Giovan Antonio Rusconi.
THE BASILICA, VICENZA
- One of the most iconic and significant
buildings.
- Its architectural character is a
testament to the Principles of Palladian
architecture, which emphasizes
classical elements, harmony, and
proportion.
- Designed by Andrea Palladio.
- This church is a masterpiece of
classical Renaissance architecture.
- This church stands as a testament to
its elegance and sophistication.
- Architect/s: Andrea Palladio
THE CHIESA DEL SANTISSIMO REDENTORE
- Church of the Most Holy Redeemer.
- Commonly known as IL Redentore, it
was built as a votive church to thank
God for the deliverance of the city from
a major outbreak of the plague.
- Architect/s: Andrea Palladio
SANTA MARIA DEI MIRACOLI
- A church in the Sestiere of Cannaregio,
also known as the Marble Church.
- It is one of the best examples of the
early Venetian including colored
marbles, a false collande on the
exterior walls (pilasters), and a
semicircular pediment.
- Architect/s: Pietro Lombardo

PALAZZO DELLA LOGGIA, BRESCIA

- One of the outstanding public buildings
of Renaissance Italy.
- Only equaled in the 16th century by
Palladio’s Basilica in Vicenza.
- Architect/s: Jacopo Sansovino, Andrea
Palladio, and Lodovico Beretta.

BASILICA DI SAN MARCO (ST. MARK

BASILICA)
- This iconic church showcases the
Venetian architectural style with its
domes, arches, and intricate mosaics,
reflecting the rich cultural and artistic
heritage of the Venetian republic during
the Renaissance period.
- Architect/s: Domenico I Contarini