1.Renaissance Architecture

2. Outline Time and Place Map of Italy during the Renaissance Socio-Historical Background- The lessons of Greece and Rome- New technologies and inventions- A new way of thinking Renaissance Architects and their Works The Renaissance in France and England 3. Time and PlaceThe Renaissance (Italian: Rinascimento, from ri- "again"and nascere "be born") was a cultural movement thatspanned roughly from the 14th to the 17thcentury, beginning in Florence in the Late Middle Agesand later spreading to the rest of Europe. App 1400 1700AD Italy - In the middle ages, was composed of differentcity-states and fiefdoms egFlorence, Venice, Milan, Mantua.Florence is considered as the birthplace of theRenaissanceIn Florence, the wealthy wool merchants and bankerssought prestige and status through their patronage ofarts and letters, and architects and artists displayed their 4. What was the Renaissance?The intellectual transformation that happened duringthe Renaissance has resulted with this period beingviewed as a bridge between the Middle Ages and the Modern era. 5. The Renaissance inAs a cultural movement, itItalyencompassed a resurgence oflearning based on:classical sourcesthe development of linearperspective in paintinggradual but widespreadeducational reform.Although the Renaissancesaw revolutions in manyintellectual pursuits, as well associal and political upheaval, itis perhaps best known for itsartistic developments and thecontributions of suchpolymaths as Leonardo daVinci and Michelangelo, whoinspired the term"Renaissance man. 6. Access to the ClassicalTexts and the Teaching of Humanities The key to a new vision of humanlife and therefore of architecturecame from the scholars access tothe classical texts. International trading exchanges hadhelped to disseminate ideas, and agroup of teachers of the humanities(grammar, rhetoric, history andphilosophy) who acquired the nameof Humanists, played a crucial partin their propagation. These texts, including eventually The Duke of Urbino. The Dukeabout architecture were spreadcollected one of the finest libraries inthrough developments in printing. Italy, employing it is said, thirty orforty scribes for fourteen years to(Gutenberg invented the movablecopy the great classical and moderntype in 1450)texts. 7. Humanism and the Renaissance Humanism was a new world view. It celebrated rationalityand mankinds ability to make and act upon empiricalobservations of the physical world. Humanist scholars and artists recovered classical Greekand Roman texts and aspired to create a modern worldrivalling that of the ancients. One of the most important wasVitruvius text on architecture which had been re discoveredin Switzerland. Rather than train professionals in jargon and strictpractice, humanists sought to create a citizenry(including, sometimes, women) able to speak and write witheloquence and clarity. Thus, they would be capable ofbetter engaging the civic life of their communities andpersuading others to virtuous and prudent actions. This was to be accomplished through the study of thestudia humanitatis, today known as the humanities:grammar, rhetoric, history, poetry and moral philosophy. 8. Vitruvius Ten Books of ArchitectureIn 1487 the ancient text of Vitruviuswas one of the first books printed.The impact of printing wastremendous.The architectural theorists of therevived antique style Alberti, Serlio, Francesco deGiorgio, Palladio, Vignola, GuilioRomano all wrote treatises thatowed something to Vitruvius. Thesemen were no longer mastermasons, however brilliant, they werescholars.Architecture was no longer thecontinuation of a practicaltradition, handed on throughmasons lodges; it was a literaryidea. The architect was not just 9. De Architectura ("OnArchitecture") Marcus Vitruvius Pollio (born c. 8070 BC, died after c. 15 BC) was a Roman writer, architect and engineer, active in the 1st century BC. He is best known as the author of the multi-volume work De Architectura ("On Architecture").Vitruvius is famous for asserting in hisbook De architectura that a structure mustexhibit the three qualitiesof firmitas, utilitas, venustas that is, itmust be solid, useful, beautiful. These aresometimes termed the Vitruvian virtues orthe Vitruvian Triad. 10. The Vitruvian Man Rather than using thecomplex, geometrictransformations of medievalmaster masons, Renaissancearchitects favoured simpleforms such as the square andthe circle. They made drawings of thehuman figure inscribed withinthe basic outline of the circleand the square, therebydemonstrating that the humanproportions reflected divineratios.Left: The Vitruvian Man byLeonardo da Vinci anillustration of the human bodyinscribed in the circle and thesquare derived from a passage 11. Brunelleschis Discovery of PerspectiveFilippo Brunelleschi (1377-1446)A Florentine goldsmith, Brunelleschimoved to Rome and visited the ancientruins. Brunelleschi codified the principlesof geometrically accurate linearperspective, making possible the exactrepresentation of a 3-dimensional objecton a 2-dimensional surface.In making careful drawings of suchrepetitive elements as the arches ofaqueducts, he realized that parallelhorizontal lines converge at a point on thehorizon and that elements of like sizediminish proportionally in the distance.This discovery had a profound effect ofart, architecture and civic design during 12. Among the cultures ofthe ancient world, onlythe Greeks and theRomans had spacialdepth in art figured out.That is to say, theyunderstood how tocreate an image withconvincing depth and apainted or sculptedillusion of 3dimensional space.Brunelleschi observed that with a fixedsingle point of view, parallel lines appear toconverge at a single point in the distance.Brunelleschi applied a single vanishing pointto a canvas, and discovered a method forcalculating depth. Trinity, Masaccio (1427-28) Right: The 13. Other Developments Gunpowder changed the nature of warfare and thereforerelations among nations. The invention of the compass and the development ofnew techniques in shipbuilding made it possible toexpand the limits of the known world into China, the EastIndies, India and America. Banking, no longer frowned upon by the Church, beganto play a central role in society. The hereditary nobles of feudal times were ousted by anew class of merchant princes the Medici, theStrozzi, the Rucellai, the Pitti whose commercialempires spread throughout Europe. Merchant princes and the artists to whom they extendedfinancial patronage became the new universal men of theRenaissance. 14. The Periods of the Renaissance Early Renaissance ca. 1400-1500 Brunelleschi, Alberti High Renaissance ca. 1500-1525 Bramante Late Renaissance ca. 1525-1600 Palladio 15. Renaissance Architecture Renaissance architecture tends to feature planar classicism (i.e.flat classicism). In other words, the walls of a Renaissance building(both exterior and interior) are embellished with classical motifs (e.g.columns, pediments, blind arches) of minor physical depth, such thatthey intrude minimally on the two-dimensional appearance of thewalls. Put another way, the walls of a Renaissance building serve asflat canvases for a classical veneer. This contrasts sharply withBaroque architecture, in which walls are deeply curved and sculpted(sculpted classicism). Planar classicism also tends to divide a wall into neat sections, withsuch elements as columns, pilasters, and stringcourses.(A stringcourse is a thin, horizontal strip of material that runs alongthe exterior of a building, often to mark the division between stories.)A Baroque wall, on the other hand, is treated as acontinuous, undulating whole. The foremost Renaissance building types werethe church, palazzo (urban mansion), and villa (country mansion).While various great names are associated with Renaissance churchand palazzo design, the most famous villa architect by far 16. Characteristics of RenaissanceArchitectureRenaissance style places emphasison symmetry, proportion, geometry and the regularity of parts as they are demonstrated in the architecture ofclassical antiquity and in particular ancient Roman architecture, of which many examples remained. 17. Characteristics Inspired by Roman buildings, orderly arrangementsof columns, pilasters and lintels, as well as the use ofsemicircular archeshemispherical domes, niches and aedicules replaced themore complex proportional systems and irregular profilesof medieval buildings. Plans - square, symmetrical appearance in whichproportions are usually based on a module Facades - symmetrical around their vertical axis, domesticbuildings are often surmounted by a cornice Columns and pilasters - the Roman orders of columns are used:Tuscan, Doric, Ionic, Corinthian and Composite Arches semi circular Vaults do not have ribs Domes - the dome is used frequently, both as a very largestructural feature that is visible from the exterior 18. Inspired by Roman buildings, orderly arrangementsof columns, pilasters and lintels, as well as the use of semicircular archeshemispherical domes, niches and aedicules replaced the more complexproportional systems and irregular profiles of medieval buildings. Interior courtyard of the PalazzoPalazzo Massimo Alle Colonn Farnese, Rome, by Antonio da SangalloRome, 1532-36the Younger and Michelangelo, 151789. 19. Plans - square, symmetricalappearance in which proportions are usually based on a modulePlan of Chateau de Chamborg, France1519-1527 The Basilica di Santa Maria del Fiore or theFlorence Cathedral 20. Facades - symmetrical around their vertical axis, domestic buildings areoften surmounted by a cornice. Below: Palladian Villas 21. Characteristics of Elements Ceilings - roofs are fitted with flat or cofferedceilings, frequently painted or decorated Doors - usually have square lintels, set within an arch orsurmounted by a triangular or segmental pediment, in theMannerist period the Palladian arch was employed Walls - external walls are generally of highlyfinished ashlar masonry, laid in straight courses, thecorners of buildings are often emphasised byrusticated quoins, basements and ground floors wereoften rusticated Details -courses, mouldings and all decorative details arecarved with great precision. Studying and mastering thedetails of the ancient Romans was one of the importantaspects of Renaissance theory, mouldings stand outaround doors and windows rather than beingrecessed, as in Gothic Architecture, sculptured figuresmay be set in niches or placed on plinths. 22. Above: SantAgostino, RomeGiacomo di Pietrasanta, 1483Ceilings - roofs are fitted with Doors - usually have square lintels, set withinflat or coffered an arch or surmounted by a triangular or ceilings, frequently paintedsegmental pediment, in the Mannerist period the Palladian arch was employed 23. Left: Palazzo Medici- Riccardi, Michelozzo di Bartolomeo.Top: Quoining on the cornersof Palazzo Aragona Gonzaga, Rome.Walls - external walls are generally ofhighly finished ashlar masonry, laid instraight courses, the corners of buildingsare often emphasised byrusticated quoins, basements and groundfloors were often rusticated 24. RusticationA popular decorative treatment of the Renaissance palazzo was rustication, in which a masonry wall is textured rather than smooth.This can entail leavinggrooves in the jointsbetween smoothblocks, using roughlydressed blocks, orusing blocks that havebeen deliberatelytextured. Therustication of aRenaissance palazzois often differentiatedbetween stories. 25. Details -courses, mouldings and all decorative details are carved with great precision. Studying and mastering the details of the ancient Romans was one of the important aspects of Renaissance theory, mouldings stand out around doors and windows rather than being recessed, as in Gothic Architecture, sculptured figures may be set in niches 26. Giorgio Vasari and the Vite Giorgio Vasari 30 July 1511 27 June 1574) was an Italian painter, writer, historian, and architect, who is famous today for his biographies of Renaissance artists, considered the ideological foundation of art-historical writing. As the first Italian art historian, he initiated the genre of an encyclopedia of artistic biographies that continues today. Vasari coined the term "Renaissance" (rinascita) in print, though an awareness of the ongoing "rebirth" in the arts had been in the air from the time of Alberti. Vasaris Le Vite de pi eccellenti pittori, scultori, ed architettori (Lives of the Most Eminent Painters, Sculptors, and Architects) dedicated to Grand Duke Cosimo I de Medici was first published in 1550. 27. The Architects of the RenaissanceFilippo Brunelleschi (1377 1446)Michelozzo di Bartolomeo (1396-1472)Leon Battista Alberti( 1404-1472) Donato Bramante (1444 1514)Andrea Palladio (1508 1580)Giacomo da Vignola (1507 1573)Michelangelo Buonarotti (1475 1564) 28. Filippo BrunelleschiFilippo Brunelleschi (1377 1446) was one of theforemost architects and engineers of the ItalianRenaissance. He is perhaps most famous for hisdiscovery of perspective and for engineering the domeof the Florence Cathedral, but his accomplishmentsalso include other architecturalworks, sculpture, mathematics, engineering and evenship design. His principal surviving works are to befound in Florence, Italy. 29. The Florence Cathedral dome (1436)by Filippo BrunelleschiBrunelleschi drew upon hisknowledge of ancient Romanconstruction as well as lingeringGothic traditions to produce aninnovative synthesis.Employed the Gothic pointed archcross section instead of a semicircular oneTo reduce dead load, he created adouble shell as was done in thePantheonEmployed 24 vertical ribs and 5horizontal rings of sandstone, asobserved in the ruins of RomanconstructionThe cupola on top was a temple ofmasonry acting as a weight on top of 30. The Foundling Hospital, 1421-1444 by Filippo BrunelleschiThe Foundling Hospital is often considered as the first building of theRenaissance. 31. The Foundling Hospital, 1421-1444by Filippo Brunelleschi Featured acontinuous arcade At the hospital thearcading is threedimensional, creatinga loggia with domedvaults in each bay. Use of Corinthiancolumns across itsmain facade andaround an internalcourtyard. The design wasbased in Romanarchitecture. 32. Other Brunelleschi projects Pazzi Chapel, 1460The facade was inspired by the Roman triumphal arch. San Lorenzo, Florence, (1430-33)This church is seen as one of the milestones of Renaissance architecture, with pietra serena or dark stone articulation. 33. The Basilica of Santa Maria del Santo Spirito ("St. Mary of the Holy Spirit"), 1481San Spirito, begun 1445. The planplayed on the configurations of thesquare. The current church wasconstructed over the pre-existing ruinsof an Augustinian priory from the 13thcentury, destroyed by a fire. 34. Michelozzo di Bartolomeo(1396-1472) Italian architect and sculptor. 35. Michelozzo Bartolomeo (1396-1472) and the Palazzo MediciCosimo de Medici of Florence The Palazzo Medici is a Renaissance palace located in Florence. Bartolomeo was a student of Brunelleschi. The Palazzo was influenced by the Foundling Hospital. Used the arcaded courtyard of the hospital. 36. The Palazzo Medici, Florence 1444Rustication- stone blocks with deeply recessed chamfered jointsHad three tiers of graduated textures, beginning with rock-faced stone atthe street level and concluding with smooth ashlar at the third level below a10-ft high cornice with modillions, egg and dart moldings and a dentilcourse.It was the first such cornice since ancient times.The building reflected Renaissance ideals of symmetry, the use ofclassical elements and careful use of mathematical proportions. 37. Leon Battista Alberti (1404-1472) Alberti wasan Italian author, artist, architect, poet, priest, linguist, ph ilosopher, cryptographer and general Renaissancehumanist polymath. 38. Leon Battista Alberti (1404-1472)Was a classical theorist who saw architectureas a way to address societal order.Alberti defined the Renaissance architect as auniversalist, an intellectual, a man of geniusand a consort to those in positions of powerand authority. He himself was a Renaissanceman.He worked in Rome after his studies inFlorence where he had many opportunities tosee the monuments of antiquities as well asmeet the artists who were visiting them.Alberti studied the writings of the classicalworld like Plato, Aristotle, Plutarch and Plinythe Elder.He wrote Della Pittura (On Painting) where itincluded Brunelleschis theories of perspectiveand De Re Aedificatoria (On Building), thefirst architectural treatise of the Renaissance.The book was influenced by Vitruvius TheTen Books of Architecture. 39. Leon Battista Alberti (1404-1472)The Palazzo Rucellai (1446-1451) was the first building to use the classical orders on a Renaissance domestic building. 40. San Maria Novella was the first completed design for a church facade in theRenaissance. Alberti linked the lower aisle roof to the pedimented higher nave withflanking scrolls.Leon Battista Alberti (1404-1472) 41. Basilica of SantAndrea, (1472-94)The Basilica ofSantAndrea is in Mantua, Lombardy, Italy. It is one of the majorworks of 15thcentury Renaissancearchitecture in Northern Italy.Commissioned by Ludovico IIGonzaga, the church wasbegun in 1462 according todesigns by Leon BattistaAlberti on a site occupied bya Benedictine monastery, ofwhich the bell tower (1414)remains. Thebuilding, however, wasfinished only 328 years later.The facade of S.Andrea, Mantua, (1472-94) is 42. Interior, S. Andrea, MantuaThe assemblage of classical elements on the interior presents the first Renaissancevision rivalling the monumentality of the interior spaces of such ancient Roman ruins as the basilicas or baths. 43. Donato Bramante (1444 1514)was an Italian architect, who introduced Renaissance architecture to Milan and the High Renaissance style toRome, where his plan for St. Peters Basilica formed the basis of the design executed by Michelangelo.His Tempietto (San Pietro in Montorio) marked the beginningof the High Renaissance in Rome (1502) when Alexander VIappointed him to build a sanctuary that allegedly marked the spot where Peter was crucified. 44. San Maria presso San Satiro(1482-92),For the church of San Mariapresso San Satiro (1482-92), astreet prevented Bramante fromadding a conventional choir. Hecreated a low relief that whenviewed on axis, has theconvincing appearance of a barrelvaulted choir. Using theillusionistic potential of linearperspective , he created whatmust be the ultimate use of thisdevice in 15th c architecture. 45. The Tempietto, Rome (begun 1502)Built for King Ferdinand andQueen Isabella of SpainThe erection of a monument atopthe spot where St Peter wasbelieved to have been martyred.Bramante designed his building toembody both the Platonicpreference for ideal form andChristian reverence for tradition, inthis case reverence for the circularmartyrium of the early church.The building is a 2-story cylindercapped by a hemispherical domeand surrounded by a one-storyDoric colonnade with entablatureand balustrade.The metope panels of the friezedisplays symbols connecting thecurrent authority of the Pope to the 46. Donato Bramante (1444-1514)St. Peters Basilica, Rome, (1505)Bramantes scheme represented a building on the scale of the Baths of Diocletian capped by a dome comparable to that of the Pantheon. Started in April 1506. By the time the church wascompleted in nearly 150 years later, almost every major architect of the 16th and 17th c hadbeen engaged. 47. Andrea Palladio (1508 1580) Andrea Palladio was an architect active in the Republic of Venice.Palladio, influenced by Roman and Greek architecture, primarilyby Vitruvius, is widely considered the most influential individual inthe history of Western architecture. All of his buildings are located in what was the Venetian Republic, but his teachings, summarized in the architectural treatise,The Four Books of Architecture, gained him wide recognition. 48. The Four Books of ArchitectureAndrea Palladio produced a body of work inarchitecture that arguably has been the mostwritten about in all of Western architecture.He went on study trips to Rome and madeaccurate information on classicalproportions, which he later used in hisdesigns for buildings.The Four Books of Architecture:Orders of architectureDomestic architecturePublic buildingsTown planningTemplesNumerals on the plans give widths andlengths of rooms and heights. It was the mostcoherent system of proportions in theRenaissance. 49. Villa Rotonda, Vicenza (1566-70)was his most famous residential design. It is square in plan with a central 2 story rotonda. The central domed space radiates out to the 4 porticoes and to the elegantly proportioned rooms in the corner. It is a powerful yet simple scheme, one that would be copied many times. 50. The design is for a completelysymmetrical building having asquare plan with fourfacades, each of which has aprojecting portico. The wholeis contained within animaginary circle whichtouches each corner of thebuilding and centres of theporticos.The name La Rotonda refers to the central circular hall with its dome. To describe the villa, as a whole, as a rotonda is technically incorrect, as the building is not circular but rather the intersection of a square with a cross. Each portico has steps leading up, and opens via a small cabinet or corridor to the circular domed central hall. This and all other rooms were proportioned with mathematical precision 51. Villa Barbaro, Maser (1557-58) was the first example of a temple front used extensively on a domestic building.Villa Barbaro, also known asthe Villa di Maser, is a large villa at Maser inthe Veneto region of northern Italy. Itwas designed and built by the Italianarchitect Andrea Palladio. 52. San Giorgio Maggiore, 1566-1610San Giorgio Maggiore is a 16th century Benedictine church on the island of thesame name in Venice, designed by Andrea Palladio and built between 1566 and 1610. The church is a basilica in the classical renaissance style and its brilliant white marble gleams above the blue water of the lagoon opposite the Piazzetta and forms the focal point of the view from every part of the Riva degliSchiavoni. 53. Palladio offered a new solution to the Renaissance problem of placing a classical facade in front of a basilican crosssection. He combined two temple fronts: a tall one consisting of four Corinthian columns on pedestals thatsupport a pediment at the end of the nave, superimposedover a wide one, with smaller Corinthian pilasters, thatmatches the sloping aisle roofs. 54. Giacomo da Vignola (1507 1573) was one of the great Italian architects of 16thcentury Mannerism. His two great masterpieces arethe Villa Farnese at Caprarola and the Jesuits Churchof the Ges in Rome. 55. The Villa Farnese, also known as Villa Caprarola, Northern Lazio, Italy .This villa should not be confused with the Palazzo Farnese and the VillaFarnesina, both in Rome.The villa is one of the finest examples of Renaissance architecture.Ornament is used sparingly to achieve proportion and harmony. Thus whilethe villa dominates the surroundings, its severe design also complements the site. This particular style, known today as Mannerism, was a reactionto the ornate earlier High Renaissance designs of twenty years earlier. 56. "Canon of the five orders of architecture, 1562His two published books helpedformulate the canon ofclassical architectural style.The earliest, "Canon of thefive orders of architecture" (firstpublished in 1562, probably inRome), presented Vignolaspractical system forconstructing columns in thefive classical orders(Tuscan, Doric, Ionic, Corinthian and Composite) utilizingproportions which Vignoladerived from his ownmeasurements of classicalRoman monuments.The clarity and ease of use ofVignolas treatise caused it tobecome in succeedingcenturies the most published 57. The Church of the Ges, Rome, 1568The Church of theGes is the motherchurch of the Society ofJesus, a RomanCatholic religiousorder also known asthe Jesuits. Officiallynamed Church of theMost Holy Name ofJesus, its facade is "thefirsttruly baroque faade", introducing the baroquestyle into architecture.The church served asmodel forinnumerable Jesuit churches all over theworld, especially inthe Americas. TheChurch of the Ges islocated in the Piazza 58. Michelangelo Buonarotti (1475 1564) Michelangelo di Lodovico BuonarrotiSimoni commonly known as Michelangelo wasan Italian Renaissance sculptor, painter, architect, poet,and engineer who exerted an unparalleled influence onthe development ofWestern art. Despite making few forays beyond the arts, his versatility in the disciplineshe took up was of such a high order that he is oftenconsidered a contender for the title of the archetypal Renaissance man, along with fellowItalian Leonardo da Vinci. 59. The Palazzo FarneseThe Palazzo Farnese facade has a cornice and central window with coat of armsat the piano nobile level. Unlike the Florentine interpretation of the type, thispalazzo has rustication only in the form of quoins and at the entry has classicallyinspired window surrounds. 60. The Medici Chapels are two structures at the Basilica of SanLorenzo, Florence, Italy, dating from the 16th and 17th centuries, and built asextensions to Brunelleschis 15th century church, with the purpose ofcelebrating the Medici family, patrons of the church and Grand Dukes ofTuscany. The Sagrestia Nuova, ("New Sacristy"), was designedby Michelangelo. 61. Tomb of Lorenzo di PierodeMedici with Dusk and DawnTomb of Giuliano di Lorenzo deMedici with Night and Day 62. The Laurentian library, Florence, 1524Laurentian Library vestibule andstairs by Michelangelo (c. 1524-34). The library is located ontop of an existing monasterybuilding in San Lorenzo, Florence.The staircase is a piece ofdynamic sculpture that appears topour forth from the upper level likelava and compress the limitedfloor space of the vestibule.The impacted columns astride thisdoorway create in architecture thesame kind of tension expressed inthe reclining figures atMichelangelos Medici Chapel. 63. The stairway connecting thehigh, narrow space of thevestibule to the long, low room ofthe library proper is among themost remarkable inventions ofmannerist architecture. It was builtunder the direction of BartolomeoAmmannati in 1559--more thanthirty years after work on thevestibule had begun--inaccordance with a clay model sentfrom Rome by Michelangelo.As has often been remarked, itresembles a lava flow that thewalls seem intent on containing.Here the volutes assume acharacter totally at odds with thestatic quality of the consoles fromwhich they derive, having beeninvested with great power, bulgingforward in the center only torecede in the lateral swirls andassume conventional form toeither side of the balustrade. The 64. The Laurentian library, Florence, 1524The Laurentian Library is one ofMichelangelos most importantarchitectural achievements.The admirable distribution of thewindows, the construction of theceiling, and the fine entrance ofthe Vestibule can never besufficiently extolled. Boldness andgrace are equally conspicuous inthe work as a whole, and in everypart; in the cornices, corbels, theniches for statues, thecommodious staircase, and itsfanciful division-in all thebuilding, as a word, which is sounlike the common fashion oftreatment, that every one standsamazed at the sight thereof. Giorgio Vasari. 65. The reading room of the Laurentian LibraryLaurentian Library. wooden reading desks. 66. Michelangelos Piet, a depiction of thebody of Jesus on the lap of hismother Maryafter the Crucifixion, wascarved in 1499, when the sculptor was 24years old. The Statue of David, completed by Michelangelo in 1504, is one of the most renowned works of the Renaissance. 67. St. Peters Basilica by Michelangelo, DonatoBramante, Giacomo della Porta and Carlo Maderno.Michelangelos dome for St Peters basilica has a hemispherical form. DellaPorta, who constructed the dome after Michelangelos death, employed a tallerprofile in order to decrease the lateral thrust and use the lantern cupola to force theweight of the dome towards the drum. 68. Papal Basilica of Saint Peterhas the largest interior of any Christian church in the world 69. The Renaissance in FranceFrench Renaissance architecture is the style ofarchitecture which was imported to France from Italy duringthe early 16th century and developed in the light of localarchitectural traditions.During the early years of the 16th century the French wereinvolved in wars in northern Italy, bringing back to France notjust the Renaissance art treasures as their war booty, butalso stylistic ideas. In the Loire Valley a wave of building wascarried and many Renaissance chateaux appeared at thistime, the earliest example being the Chteau dAmboise. 70. The Renaissance in France the ChateauxThe cultural center of France in the early 16th c was not Paris, but the valley of theLoire, where the king and his nobles maintained elaborate chateaux or castles forleisure, entertaining and attending to the pleasures of the hunt. Blois in particularillustrates the transition from the Middle Ages to the Renaissance style. Blois inparticular illustrates the transition from the Middle Ages to the Renaissance throughthe successive stages of its construction. 71. The Chateaux de Chambord By Domenico de Cortona. In contrast to this town-based chateau, the Chateaux de Chambord (1519-47) was built in the countryside in the style of a fortified castle within a bailey or outer wall, thus neatlyoverlaying Renaissance symmetry and detailing on a fundamentally medieval building type. 72. The Louvre Palace was altered frequently throughout the MiddleAges. In the 14th century, Charles Vconverted the building into aresidence and in 1546, Francis Irenovated the site in the French Renaissance style.The Louvre, Paris (begun 1546)By Pierre Lescot 73. The Place des Vosges, Paris, 1605 74. Originally known as the Place Royale, the Place des Vosges was built by Henri IV from 1605 to 1612. A true square (140 m x 140 m), it embodied the first European program of royal city planning and is the oldest planned square in Paris.What was new about the Place Royale in 1612 was that the housefronts were all built to the same design, probably by Baptiste du Cerceau, of red brick with strips of stone quoins over vaulted arcades that stand on square pillars. The steeply- 75. The Renaissance in EnglandRenaissance architecture arrived in England during thereign of Elizabeth I, having first spread through the Lowcountries where among other features it acquired versions of the Dutch gable, and Flemish strapwork ingeometric designs adorning the walls. The new style tended to manifest itself in large square tall housessuch as Longleat House. 76. Elizabethan Country Houses Wollaton Hall by Robert Smythson, 1580Wollaton Hall, Nottinghamshire, Robert Smythson (1580-88). Wollaton wasbuilt between 1580 and 1588 for Sir Francis Willoughby and is believed tobe designed by the Elizabethan architect, Robert Smythson, who was the 77. Hardwick Hall, Derbyshire by Robert Smythson1590-97Hardwick Hall, Derbyshire, Robeert Smythson (1590-97) Hardwick Hall, inDerbyshire, is one of the most significant Elizabethan country houses in England. Incommon with its architect Robert Smythsons other works at both Longleat Houseand Wollaton Hall, Hardwick Hall is one of the earliest examples of the Englishinterpretation of the Renaissance style of architecture, which came into fashion whenit was no longer thought necessary to fortify ones home. 78. Inigo Jones 1573 1652Inigo Jones is regarded as the first significant British architect of the modern period, and the first to bring Italianate Renaissance architecture to England. He left his mark on London by single buildings, such as the Banqueting House, Whitehall and in area design for CoventAbove: Queens House, Greenwich, 1616 was built for Garden squareJames Is wife, Anne of Denmark. It was finished in 1635 which became a and was the first strictly classical building in model for future England, employing ideas found in the architecture of developments inPalladio and ancient Rome. This is Inigo Joness earliest the West End. St. Pauls, Covent surviving work. 79. BanquetingHouse, Whitehall, London (1619-22) TheBanquetingHouse, Whitehall, London, is the grandest andbest known survivor ofthe architectural genreof banquetinghouse, and the onlyremaining component ofthe Palace of Whitehall.The building isimportant in the historyof English architectureas the first building to becompleted in the neo-classical style whichIn Tudor and Early Stuart English architecture awas to transformbanqueting house is a separate building reached English architecture. through pleasure gardens from the main residence, whose use is purely for entertaining.Begun in 1619, anddesigned by Inigo Jonesin a style influenced by 80. FIN 81. The VitruviusManFor if a man be placed flat on hisback, with his hands and feetextended, and a pair ofcompasses centered at thenavel, the fingers and toes of histwo hands and feet will touch thecircumference of a circledescribed therefrom. And, just asthe human body yields a circularoutline, so too a square form maybe found from it. For if wemeasure the soles of the feet tothe top of the head, and thenapply that measure to theoutstretched arms, the breadthwill be found to be the same asthe height, as in the case ofplane surfaces which areperfectly square. 82. The TiempettoDonato Bramante(1444-1514) 83. Villa RotondaAndrea Palladio (1508-1580) 84. Architecture, music and geometryPythagoras discovered musicalconsonancesRenaissance architects derivedwhole number ratios, such as 1:1.1:2, 2:3 and 3:4. They believed thatthe innate harmony of these ratioswould be impressed upon anyoneexperiencing spaces determined bythem. Humanists were convinced thatGods cosmic order could beexpressed on earth through suchmathematical proportions, which wereinevitably related to the mensurationof the human body.In this context, the circular churchrepresented the most perfectform, absolute, immutable.Echoing celestial harmony. 85. Giovanni bataggioPavia cathedral (1490) Santa maria della croce 86. Frequentlypainted ordecoratedCeilings the sistine chapel ceiling